The INSIDE World Festival of Interiors has announced the nominations for their Interior of the Year award for 2014. This award is an international honor that covers nine categories. This year’s 60 nominations span the architectural spectrum, from schools to airports, and include well-known firms, such as MAKE Architects and a21 Studio.

The nominees will compete against each other from October 1^st to the 3^rd at the World Architecture Festival in Singapore (see this year's architecture shortlist here). More on the interior nominees, after the break.

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Peter Zumthor and the Los Angeles County Museum of Art (LACMA) have revealed a revised design for the museum's $650 million new home on Museum Row in Los Angeles. The new design still features the sinuous glass and grey concrete slab raised a full story off the ground, but under the new proposal part of the museum would bridge Wilshire Boulevard to touch down on what is currently a car park opposite.

The change comes in response to criticisms that the previous design would put the neighboring La Brea Tar Pits at risk, threatening their status as an active paleontological research site and a popular tourist destination. The shape of the new design removes this risk by withdrawing from the boundary with the adjacent tar pits, without compromising on floor space in the museum.

More on the revised design after the break

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The following is an essay that originally appeared in Australian Design Review as "Beyond the Wall, the Floor." In it, Michael Holt and Marissa Looby describe the evolution of Herzog and de Meuron's work. Using numerous examples of recent projects (such as VitraHaus and 56 Leonard Street), they point out that Herzog and de Meuron have, increasingly, relied on the floor slabs of their buildings to suggest the building’s shape. By removing the façade’s prominence in favor of a more suggestive way of creating mass, they have turned their original design signature on its head.

Simple adjustments, slight alterations, subtle illusions. These are not tagline descriptions of the 1111 Lincoln Road, Miami Beach project, or a synopsis for a body of work. Instead they operate as retroactively projecting the course of professional development in the works of Swiss architects Herzog & de Meuron. The practice is known, from its earliest built projects, as a firm who produced artistically driven facade treatments where the vertical plane — the ‘nominal façade’ — would define form through the visually stimulating surface or skin. As the practice has evolved, it is argued here, they have crafted a new strategy: the horizontal plane as vertical facade generator.

In its progression the practice has deviated from facade ornamentation and fabrication towards the removal of the facade altogether; allowing for the floor plate — as a visual element — to operate as inadvertent facade and thus doubling its structural and visual importance. The placing of floor plates becomes the force creating the form – the ‘inverted structural skin’. The stripped back architectural form does not remove the facade, but removes the idea of a facade, paradoxically creating a building mass almost by default.

What can you do with a business district that has an office vacancy rate of 40%, is completely separated from its surroundings and is facing increasing competition from business centers emerging throughout the city? These are questions that are increasingly being asked about Moscow's International Business District, the symbol of capitalism that was planned in 1992 after the fall of the Soviet Union, yet is still under construction today.

Eduardo Cassina and Liva Dudareva, founders of METASITU and researchers at the Strelka Institute, have proposed a provocative idea in response to this dilemma: envisaging the business district's future in 2041, they imagine a scenario where the district is linked by underground metro to Sheremetyevo And Domodedovo airports in the North and South - forming the world's first mega-airport, and the first one where it is possible to live in the terminal building without ever leaving.

Read on after the break for more explanation of idea

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Frank Gehry and Developer David Mirvish have revealed the latest design iteration in their embattled plan to build a set of mixed-use skyscrapers in Toronto. The new design reduces the number of towers, from three to two, however the remaining towers are taller than before, with one at 82 stories and one at 92.

The buildings will house apartments, a new art gallery and space for OCAD University as previously planned, but the decision to use two towers instead of three means that three of the five existing buildings can be retained - including the Princess of Wales Theatre, and two designated heritage warehouses - sidestepping some of the criticisms of the previous scheme.

Read on after the break for Frank Gehry's take on the design

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In the following interview, presented by ArchDaily Materials and originally published by Sixty7 Architecture Road, Canadian firm Campos Leckie Studio defines their process for designing site-specific, beautiful architecture that speaks for itself. Enjoy the firm's stunning projects and read the full interview after the break.

We asked Michael Leckie, one of the principals of Vancouver-based Campos Leckie Studio, about the importance of discovery in design and the textural differences between projects. Your website states that your firm is committed to a rigorous process of discovery. How do you explain that to clients?

Process is extremely important in our work. When we meet with clients we do not immediately provide napkin sketches or an indication of what form the work will ultimately take on. Rather, we focus on the formulation of the ‘design problem’ and the conditions that establish the basis for exploration and discovery. These contextual starting points include the site, program, materiality, budget, as well as cultural reference points. This is challenging for some clients, as our culture generally conditions people to expect to see the final product before they commit to something. 

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Fifty years ago Churchill College Cambridge opened its doors. In contrast to the historic Colleges, with their medieval Gothic and Neo-Classical buildings corralled behind high walls, this was in an almost rural setting on the outskirts of the city, modern in design, and Brutalist in detail.

The 1959 competition that brought the College into being is considered by many to be a watershed moment in British Post War architectural history. It brought together 20 names, young and old, all practicing in Britain, all working in the Modernist and more specifically the nascent Brutalist style. It was a “who’s who” of British architecture at the time, including the Smithsons, Hungarian-born Erno Goldfinger, Lasdun (then in partnership with Maxwell Fry, Jane Drew & Lindsay Drake, and formerly with Russian émigré Lubetkin), Lyons Israel Ellis and Robert Matthew (one half of the Royal Festival Hall team, who teamed up with Johnson Marshall). None of these made the shortlist of four.

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In an age when 1:1 3D printed buildings are becoming ever more commonplace from the Netherlands to China, it's important to pause and assess the existing built fabric of our cities, towns and villages. If we want to maintain and preserve them whilst protecting the inherent craft imbued in their construction, the importance of nurturing and promoting these skills should be recognised.

In the UK, the Heritage Skills Hub (HSH) push to see "traditional building skills, conservation, restoration and responsible retrofit" included within all mainstream built environment courses. In a recent conversation with Cathie Clarke, CEO of the HSH, we discussed the obstacles faced by an organisation dedicated to conserving and teaching skills like stonemasonry, roof thatching, glass making, traditional brick construction to a new generation.

Private preview of this summer's Warm-Up installation at @MoMAPS1 #HyFi #theliving pic.twitter.com/jtYy6Cmk7I

— jackiecaradonio (@jackiecaradonio) June 27, 2014

Last night, the organic brick structure known as 'Hy-Fi' opened in the courtyard of MoMA's PS1 space in New York. Designed by David Benjamin of New York architects The Living, the tower was designed as part of MoMA's Young Architects Program, and its construction centers around the use of an innovative building material: organic, biodegradable bricks consisting of no more than farm waste and a culture of fungus that is grown to fit a brick-shaped mold.

Acting as the centerpiece for MoMA's Warm Up music festival on Saturdays throughout the Summer, the temporary structure will provide shade, seating and water until September 7th. Read on after the break for more on the design.

This year's MoMA PS1's Young Architects Program opens tomorrow (you can see the schedule of events here). Find out how the innovative winning design (a tower of fungal bricks), by The Living's David Benjamin, was tested and built with this article, originally posted on Arup Connect as "Engineering a mushroom tower".

Soft, spongy, and delicious on pizza, mushrooms have approximately as much to do with structural engineering as alligators or lawnmowers. Or so we thought, until architect David Benjamin of New York firm The Living walked into our offices with a brick grown from fungi.

This brick was the key to his concept for an entry to MoMA PS1’s Young Architects Program competition. Every year, the museum commissions a designer to build a centerpiece for its popular outdoor Warm Up concert series.

If architectural design competitions are where brave, innovative ideas rise to the top, The Living’s mushroom tower (official name: Hy-Fi) checked all the right boxes. In addition to the novelty factor, mushroom bricks offer a host of sustainability benefits. The raw materials needed to produce them — mushrooms and corn stalks (waste material from farms) that the spores feed on — are as eco-friendly as they come. Bricks can be grown in just five days, and the process produces no waste or carbon emissions. When the structure is taken down at the end of the summer, they can be composted and turned into fertilizer.

CTBUH, the organization best known for its Tall Building Awards, has announced the winner of its inaugural Urban Habitat Award: OMA / Ole Scheeren's The Interlace in Singapore. The jurors, including Studio Gang Architects' Jeanne Gang, praised the apartment complex, which includes communal gardens and spaces on the roofs and in between the apartment blocks, for responding to its tropical context and "integrating horizontal and vertical living frameworks."

CTBUH Jurors also recognized Rogers Stirk Harbour + Partners' NEO Bankside as a finalist. Read more about the The Interlace and NEO Bankside, after the break.

Material Minds, presented by ArchDaily Materials, is our new series of short interviews with architects, designers, scientists, and others who use architectural materials in innovative ways. Enjoy!

Wood. The United States is the largest producer of the natural resource in the world. But yet we rarely see it in commercial, high-rise construction. So we asked a wood expert -- Rebecca Holt at Perkins+Will, an analyst for reThink Wood's recent Tall Wood Survey -- to tell us about its potential benefits.

AD: Why is wood a material architects should use in taller buildings?

There are lots of reasons to consider wood – first it has a lower environmental impact than other traditional choices like concrete and steel. Wood is the only major building material that is made the by sun and is completely renewable.

In celebration of the Brazil World Cup, architect and illustrator André Chiote has created a series of illustrations featuring the tournament's most iconic stadiums. Comparing the social importance of these stadiums to cathedrals, Chiote believes that "the new architectural objects are landmarks in the cities that will perpetuate in the future as a cultural and social legacy," and there are few better ways to envision this legacy than to treat the structures with his abstracted, colorful aesthetic - in Brazilian green and yellow, of course. Check out the full illustration set after the break.

The Middle East has historically been known for many things — sustainability not being one of them. The clash of Western values with the harshness of the local climate can often wedge sustainability between a lot of sand and a hard place. Though there is a broad critique of the unsustainable attributes of the region’s development path, for years there has been a shining exception: Masdar City in the United Arab Emirates, seventeen kilometers east-south-east from the city of Abu Dhabi. 

Masdar City exists as an urban development project run by the renewable energy company Masdar, who has committed $15 billion to making Masdar City the planet’s most sustainable new city. Unlike Abu Dhabi, a city which unthinkingly follows antiquated models and Western building principles, Masdar City has a wealth of potential to offer the world of green urban planning - something the world sorely needs.

But Masdar City is certainly not without its share of critics. On first approach, the concentrated development, located in the center of six square kilometers of empty space, does little to awe, especially in comparison to the sprawling wave that is Abu Dhabi. Thanks largely to the global financial recession, buildings currently comprise less than 10% of the area committed to the urban experiment. Even today there is a group of onlookers that suggest Masdar City may just be a mirage after all.

However, this broader view is not necessarily synonymous with the bigger picture.

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Sheffield born Alison Gill, later to be known as Alison Smithson, was one half of one of the most influential Brutalist architectural partnerships in history. On the day that she would be celebrating her 86th birthday we take a look at how the impact of her and Peter Smithson's architecture still resonates well into the 21st century, most notably in the British Pavilion at this year's Venice Biennale. With London's Robin Hood Gardens, one of their most well known and large scale social housing projects, facing imminent demolition how might their style, hailed by Reyner Banham in 1955 as the "new brutalism", hold the key for future housing projects?

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ArchDaily is pleased to announce our partnership with the European Union Prize for Contemporary Architecture - Mies van der Rohe Award. The following is an essay from Constructing Europe by Pedro Gadanho, member of the 2013 Prize jury.

When one wants to consider the future of any form of activity, one is tempted to extrapolate trends from current conditions. One translates signs from the present onto the shape of things to come. The conditions of a given moment, however, may be too circumstantial, and one should be particularly aware of their transient nature. This is the dilemma one obviously faces when considering ‘the future of European architecture’.

At the time the European Union Prize for Contemporary Architecture - Mies van der Rohe Award commemorates its 25th anniversary, the European project from which this Prize emanates – and to which it owes its symbolic meaning and promoting purpose – is itself at a crossroads.

In between austerity measures, the South and North divide, growing unemployment, a feeling of impoverishment and insecurity, and the apparent unsustainability of the Welfare State model, which had given the region prosperity after World War II, Europe itself seems to be facing a pivotal, if transient moment.

The British Pavilion at the 2014 Venice Biennale takes the large scale projects of the 1950’s, 60’s and 70’s and explores the "mature flowering of British Modernism at the moment it was at its most socially, politically and architecturally ambitious but also the moment that witnessed its collapse." The exhibition tells the story of how British modernity emerged out of an unlikely combination of interests and how "these modern visions continue to create our physical and imaginative landscapes." To those who know the UK's architectural heritage, this cultural and social history is delivered in a way which feels strangely familiar, whilst uncovering fascinating hidden histories of British modernity that continue to resonate in the 21st century.

We caught up with Sam Jacob, co-founder of FAT Architecture (of which this exhibition is their final project), and Wouter Vanstiphout, partner at Rotterdam-based Crimson Architectural Historians, outside the British Pavilion to discuss the ideas behind, and significance of, A Clockwork Jerusalem.

Material Minds, presented by ArchDaily Materials, is our new series of short interviews with architects, designers, scientists, and others who use architectural materials in innovative ways. Enjoy!

Arthur Andersson of Andersson-Wise Architects wants to build ruins. He wants things to be timeless - to look good now and 2000 years from now. He wants buildings to fit within a place and time. To do that he has a various set of philosophies, processes and some great influences. Read our full in-depth interview with Mr. Andersson, another revolutionary "Material Mind," after the break.

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