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Trial and error. On a napkin, on tracing paper, or on a black CAD background, much of an architect's work is to make and redo lines, shapes, objects, and images. Discard, start over, repeat. Between an initial idea and a final project is a long and exhausting path. This difficulty lies in the root of designing as a process of making infinite decisions, where a change can influence countless other elements and consequently is an exercise in choosing benefits and concessions. These choices can take a number of forms, from determining how much area to cover while minimally impacting the environment to fitting as many work tables in an office as possible without losing good circulation. Each require many studies or considerations to arrive at the most suitable option. For example, the position of a window, even if it looks great on a the façade, can make the location of the bed in a dormitory unfeasible or increase the building's energy consumption.

Of course, there are always tight deadlines and budgets throughout any project, with the client often in a hurry and willing to devote limited time to thinking about every possible combination or the precise appropriateness of each decision. This stage is where, increasingly, the concept of Generative Design has appeared in architecture.

While an overwhelming majority of the world is still fighting against COVID-19, the economic and social situation in China has shown beginning signs of a return to a new normal way of life in recent weeks. In another sign of good news, the Chinese government recently announced that the two hospitals in Wuhan that were built from ground up within 10 days would close on April 15th and the remaining 30 patients will be transferred to other hospitals in Wuhan to receive further treatment. Other regions of China have followed similar steps, also announcing the closure of temporary hospitals, showing a positive sign that the COVID-19 pandemic is finally being defeated where it first began.

We've compiled a list with the temporary hospitals constructed in the first two months of 2020, designed specifically to treat patients with COVID-19 symptoms. In total, China constructed more than 30 temporary hospitals built across the country. The speed at which these medical facilities were built was achieved through the hard work of tens of thousands of people working around the clock.

Since the beginning of modernism, countless architects have expressed their architectural theories and concepts through the design of residential interiors. In Vanna Venturi House, Venturi exaggerated the scale of internal components to create a counterbalance to the small house, expressing complexity and contradiction. In Villa Mairea, Alvar Aalto built an ‘imperfect’ home, as a way of rebelling against the strict aesthetic standards of functionalism. 

Conceptual and theoretical experimentation of housing interiors in China has had a delayed start due to political influences and differing pace of development. While the birth of communism lead to standardisation, rapid urbanisation and economic rebirth has provided the perfect catalyst for architects to challenge the status quo and conceptualise new definitions of interior and living.

The COVID-19 pandemic has shown yet again how designers are needed to reimagine emergency shelters. With an estimated 900 million people around the world to remain at home because of the virus, there are also a number of hospitals without the necessary beds to treat infected patients. At the same time, the need for emergency shelters is tied to many types of crisis, not just this virus or a pandemic.

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Dear Architects,

As we all #slowdown to reduce the impact of the COVID-19 pandemic, I want to share with you how we as a global company have faced this situation, and what we are doing (together with you!) to keep us, the architecture community, informed and connected. It is our responsibility.

Over the last three months, Coronavirus has spread to more than 100 countries and claimed more than 3,800 lives (as of 8th March 2020). It has also plunged many global industries into a paralysis, from canceled flights and mass quarantines to disruptions in supply chains and financial markets. Setting aside the serious health implications of the outbreak, the coronavirus epidemic has, in an unorthodox way, amplified a debate over the future of work. With millions of people around the world working from home as a result of the outbreak, whether through quarantine or as a company precaution, the question is being asked by outlets around the world: are we seeing the beginning of the end of the traditional office typology?

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Entering the Guggenheim Museum, visitors find themselves surrounded by a feast of vivid colors and mismatched fonts. Passing the gigantic green tractor at the entrance, they move across the ground floor, littered with stickers, like a lunchbox, or a lid of a laptop. A thick pillar that pierces the internal atrium has become a garish advertising column. A bale of hay, a drone, and some other object (impossible to identify) levitate high overhead. A cardboard cutout of Joseph Stalin on robot wheels moves down the ramp, scaring off visitors. Big reflective letters say: “Countryside, The Future”.

Architect Rem Koolhaas, the founder of the Office of Metropolitan Architecture (OMA) and Samir Bantal, director of OMA’s internal think-tank AMO, created this utterly confusing environment to exhibit years of research on the space beyond the boundaries of the 21st-century city.

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Newton’s Third Law of Motion dictates that for every action, there is an equal and opposite reaction. In urbanism, this concept is evident in how the unprecedented growth of the built environment causes a reaction in rural landscapes. By 2050, the number of people living in cities will have increased by 2.5 billion, representing two-thirds of the global population. This mass flow of people from rural to urban areas gives rise to an equally dramatic flow of natural resources. As can be seen in studies such as Tom Hegen’s The Quarry Series, whose imagery accompanies this article, the extraction of these minerals represents yet another physical manifestation of rapid, linear urbanism.

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Madrid architect Alberto Campo Baeza was born in 1946 in Valladolid, Spain and grew up in Cádiz. He graduated from Universidad Politécnica de Madrid in 1971 and earned his PhD there in 1982. Campo Baeza has been teaching architecture at the Higher Technical School of Architecture of Madrid, ETSAM for more than 40 years. He sees architecture as building ideas and expressing them in the most essential and clear ways, consistently relying on such basic elements as firmly grounded rectangular platforms, thick solid walls with deep cavities and frameless cutouts, and flat thin planes propped up by delicate posts. Colors, complex curves, and diversity of materials are largely avoided to accentuate primary relationships between elementary prisms and to exalt magic out of sunlight. Campo Baeza’s architecture is about transparency and precision, as well as asserting such fundamentals as ground planes, straight lines, and precise corners. He has built relatively few projects and, for the most part, on a small scale. Yet, his legacy is remarkably complete, consistent, profound, memorable, and inspirational.

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Labor gives rise to design. As the aggregate of physical and mental effort used in the creation of goods and services, labor is tied to both what we create and our process. In a field shaped by production, architecture and design depend on labor from a broad range of professionals. But as workers increasingly put in longer hours and traditional measures of security change, questions of labor practices have arisen amid broader conditions of contemporary work culture. 

Other than curating amazing architecture, ArchDaily is well-known for producing exclusive content and cutting-edge editorial pieces. Sought-after, these articles are produced by a highly experienced team of editors, scattered around the world, generating writings in 4 languages.

Moreover, our platform has pushed its educative status, furthermore this year, in order to function as a comprehensive tool for Architecture. 2019 has given us an abundance of materials to explore, and our editors have tackled with different possibilities, from highlighting technical information, material guidelines, theoretical and conceptual approaches to investigating the digital realm, cities, and traveling. Read on to discover a curated selection from our readers’ most notable articles for 2019.

Bauhaus: a school, a design discipline, and a movement that has been influencing generations of architects and designers for 100 years.

The school was a lot more than modernist designs and primary colors, it was a movement with a political, social, and cultural impact, led by some of the most notable figures in the field. Since its inauguration in 1919, the school has defined its own style through the intersection of architecture, art, industrial design, typography, graphic design, and interior design. When the school was forced to close its doors in the face of political pressure, its professors and students dispersed, spreading its teachings across the world.

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With a mission to provide tools and inspiration to improve the quality of life in our built environment, ArchDaily curators constantly track and share with our audience the best "built projects" in the world. In order to celebrate these achievements and thank our readers for actively participating in our community, we selected the 50 best architectural works published during 2019.