Our experience of information is changing. We now consume more and more information digitally, with much of this being non-textual. Videos, photos and GIFs have become commonplace, with technology allowing these mediums to be as easily shareable as text. This gives way to another trend: the increase in the number and accessibility of online platforms. Not only is more information being digitized, but more dynamic ways of digitization are being developed; multimedia articles and online exhibitions, for example, hope to provide a more engaging way of sharing information.

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The European Commission and the Fundació Mies van der Rohe has announced the 355 projects from 36 countries which have been nominated for the 2017 European Union Prize for Contemporary Architecture – Mies van der Rohe Award. Among the countries included, France and Spain are represented the most among the selected projects, with each country featuring 28 times. Meanwhile, Georgia, Moldova and Ukraine appear in the prize for the first time, with Georgia offering a commendable 7 listed projects.

Among the building types included on the list, as in the 2015 Prize housing and cultural buildings dominated. However, the 2017 Prize sees an increase in the number of educational buildings and mixed use buildings compared to two years ago.

The European Union Prize for Contemporary Architecture – Mies van der Rohe Award was established in 1987 and is awarded every two years, with the winner receiving a €60,000 prize. Previous winners have included the Harpa Concert Hall and Conference Centre in Reykjavik, designed by the Danish architectural firm Henning Larsen in collaboration with the Islandic practice Batteríið and the artist Olafur Elíasson, and the Neues Museum in Berlin, designed by David Chipperfield Architects and Julian Harrap. The winner in 2015 was the Philharmonic Hall Szczecin in Poland by Barozzi / Veiga.

The list will be narrowed to a shortlist of 40 projects in late January, with the winner announced in April 2017. In addition to the main prize, the Fundació Mies van der Rohe is once again running a special mention award for emerging architects, with winners of this award receiving a €20,000 prize.

Read on for the full list of 355 selected projects.

This article was originally published by Autodesk's Redshift publication.

You are walking through an elegant house, admiring the large living-room windows, the paintings on the wall, and the spacious kitchen. Pendant lights cast a soft glow, the terrazzo flooring gleams beneath your feet, the furnishings feel inviting. Then you take off the virtual-reality goggles and resume your meeting.

This scenario is becoming increasingly common as more architects incorporate virtual reality (VR) into their practices. Along with its cousins—augmented reality (AR) and mixed reality (MR)—virtual reality allows designers to push the boundaries of visualization, giving colleagues and clients new ways to experience and understand a building or space long before it is actually built. With VR, architects can transmit not just what a building will look like, but also what it will feel like.

New typologies in architecture generally arise in two ways. The first is through a reevaluation of existing typologies that cater to familiar programs such as housing, schools, or healthcare. This is done in an effort to improve on the norm and to challenge accepted architectural notions, as seen for example, in the work of Moshe Safdie and OMA. The other is when an entirely new program, site condition, or client emerges and forces the invention of a new typology simply through their design requirements.

For his Master’s degree project at the University of Alcalá in Spain, Saúl Ajuria Fernández has envisioned the essential civic building of the future: the Urban Droneport. Located in what Ajuria has identified as a “disused urban vacuum” in Madrid, Spain, the Urban Droneport “allows and optimizes the transport of goods with Remotely Piloted Aircraft Systems in urban areas” - in other words, drone-delivered packages.

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While Yekaterinburg’s avant-garde architecture is the city’s hallmark, and Moscow’s avant-garde is the subject of arguments, in Saint Petersburg the prominence of the style and its influence are somewhat harder to identify. Some researchers even suggest that the avant-garde is an “outcast” or a “non-existent style” here, and its presence in has remained largely unrecognized. Alexander Strugach sheds light on this phenomenon:

In Saint Petersburg, the avant-garde style is simply overshadowed by an abundance of Baroque, Modernist and Classical architecture, and is not yet considered an accomplished cultural heritage category. Meanwhile, gradual deterioration makes proving the cultural value of avant-garde buildings even more difficult.

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Fifteen stunning images from top photographers around the world have been selected as finalists of Chartered Institute of Building’s (CIOB) 2016 Art of Building Photographer of the Year competition.

With subjects ranging from the windswept wonderland of an empty New York City to a rapidly changing Tibetan hillside village to a dreamy shot of Foster + Partners’ Swiss Re Headquarters ( a.k.a. “The Gherkin”) this year’s entries constitute a “cornucopia of styles and stories,” says CIOB spokesman Saul Townsend.

Pritzker Prize winner Thom Mayne has completed a three-semester–long study of Houston’s future, given its current sprawling urban conditions and rapid growth. The project, conducted alongside 21 University of Houston students and faculty members Matt Johnson, Peter Zweig, and Jason Logan, focused on ways of addressing the problems that arise from Houston’s historical lack of zoning in conjunction with the largely unregulated growth of industry and capitalism. These approaches include reinventing the current energy infrastructure, changing real estate and density, and leveraging the lack of zoning to generate new ideas.

This article was originally published on Autodesk's Redshift publication as "Architecture for Autism Could Be a Breakthrough for Kids With ASD."

Good architects have always designed with tactile sensations in mind, from the rich wood grain on a bannister, to the thick, shaggy carpet at a daycare center. It’s an effective way to engage all the senses, connecting the eye, hand, and mind in ways that create richer environments.

But one architecture professor at the University of Michigan in Ann Arbor is working on a tactile architecture-for-autism environment that does much more than offer visitors a pleasing and diverse haptic experience: It’s a form of therapy for kids like 7-year-old daughter Ara, who has autism spectrum disorder (ASD).

Observing the architectural landscape today it’s clear that the type of work which is currently ascendant, particularly among young practices, is very different to what came before the financial crisis of 2008. But what, exactly, does that architectural landscape look like? In an essay titled “Well into the 21st Century” in the latest issue of El Croquis, Alejandro Zaera-Polo outlined a 21st-century taxonomy of architecture, attempting to define and categorize the various new forms of practice that have grown in popularity in the years since—and as a political response to—the economic crisis.

The categories defined by Zaera-Polo encompass seven broad political positions: The “Activists,” who reject architecture’s dependence on market forces by operating largely outside the market, with a focus on community building projects, direct engagement with construction, and non-conventional funding strategies; then there are the “Populists,” whose work is calibrated to reconnect with the populace thanks to a media-friendly, diagrammatic approach to architectural form; next are the “New Historicists,” whose riposte to the “end of history” hailed by neoliberalism is an embrace of historically-informed design; the “Skeptics,” whose existential response to the collapse of the system is in part a return to postmodern critical discourse and in part an exploration of contingency and playfulness through an architecture of artificial materials and bright colors; the “Material Fundamentalists,” who returned to a tactile and virtuoso use of materials in response to the visual spectacle of pre-crash architecture; practitioners of “Austerity Chic,” a kind of architectural “normcore” (to borrow a term from fashion) which focuses primarily on the production process, and resulting performance, of architecture; and finally the “Techno-Critical,” a group of practices largely producing speculative architecture, whose work builds upon but also remains critical of the data-driven parametricism of their predecessors.

As a follow-up to that essay, Zaera-Polo and Guillermo Fernandez-Abascal set out to apply the newly-defined categories to the emerging practices of today with a nuanced “political compass” diagram. They invited practices to respond to their categorization in order to unveil the complex interdependencies and self-image of these political stances. For the first time, here ArchDaily publishes the results of that exercise.

This article was originally published by Autodesk's Redshift publication as "Reincarnated Architecture: Through Green Alleys, Dead Space Can Live Anew."

Did you know Pngimg has a large number of free images available for download in .png. The best part? They are perfectly clipped and background-free! The collection is divided into categories that includes trees, people, objects, appliances, sports, clothing, and a host of other strange but perhaps useful animals/things. Just when you needed fresh trees in your renders, Pngimg comes to the rescue.

Adding contextual objects and scale figures can really give life and added value to project visualizations. See the .pngs here here and check out other tools that might be helpful, below.

As 2016 comes to a close, we want to extend our sincerest thanks for your continued support during this past year; it has been our most inspiring and successful yet as we continue to connect to architects all over the world.

On behalf of the entire ArchDaily team, we are very excited to share a special feature – 2016’s most visited projects and articles. This selection features the most relevant and noteworthy content created and shared over the past 12 months.

Alongside Camilla Block and David Jaggers, Neil Durbach of Durbach Block Jaggers has carved out a unique place in Australian architecture. Known primarily for their carefully sculpted modernist houses, the firm's architecture is simultaneously rich in architectural references and thoroughly original. In this interview, the latest in Vladimir Belogolovsky's “City of Ideas” series, Durbach explains the true inspirations behind their work, why these inspirations have little to do with the public descriptions of their projects, and why for him, the intention of all of his architecture “is to win Corb’s approval.”

Vladimir Belogolovsky: You came to Australia while the Sydney Opera House was still under construction. Does this mean you were here even before going to the US?

Neil Durbach: Yes, I first came to Australia as an exchange student while still in high school.

VB: So you have seen the Opera under construction then. How special was that? Did that building change anything in particular in you?

ND: Well, at that time I wanted to be an artist. A friend took me on a boat to see it. It was kind of staggering... And I thought – you know, this is much more interesting than art. And I felt – maybe architecture is what I should pursue.

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Have absolutely no idea what to get your architecturally-predisposed friend or family member? Or perhaps you think you’ve managed to decipher their Moleskine-toting, coffee-drinking veneer and know just the perfect gift? Perhaps, even, you are the architecturally-predisposed family member, looking for a convenient way to show others what to get you. Either way, architects have rapidly evolving and often incredibly niche tastes that can be hard to shop for. But worry no longer, the secret guide to what and what not to give architects this holiday season is here:

The Futuro House looks more like an alien spacecraft than a building. Designed by Finnish architect Matti Suuronen in 1968 as a ski chalet, the radical design was subsequently marketed to the public as a small prefabricated home, easily assembled and installed on virtually any topography. Its plastic construction and futurist aesthetic combined to create a product which is identifiable with both the future and the past.

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The design of industrial architecture presents a considerable challenge, since certain factors such as the industrial workflow and the conditions for the workers and machinery provide the guidelines for the development of the project. However, in many cases, industrial projects are designed without further exploration in terms of materials or construction systems, aiming simply to comply with regulations.

This month we want to highlight the Organic Farm in Tangshan by Chinese firm ARCHSTUDIO, a project in which an interesting structural and conceptual exploration results in a new industrial architectural intention, and which also generates new public spaces to promote a relationship with the nearby community through the construction.

Read on for our interview with ARCHSTUDIO about this Organic Farm.

Following an unofficial update in August 2016, Apple's Campus 2 is entering the final stages of construction. A new drone video, captured by aerial videographer Matthew Roberts earlier this month, shows the 'Research and Development' facility nearing full completion and capped by a vast roof plant, the 'tantau roof' on the security kiosk in place, and an epic effort in landscaping taking place both within the "spaceship's" courtyard and across the company's enormous property. Only one crane now remains on site and the solar installations appear to be around 60% complete, suggesting that the scheduled 2017 move-in date remains on track.

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With the opening of the new Design Museum in London, the former Commonwealth Institute building designed by RMJM in 1962 has been given a new lease of life. With an exterior renovation by OMA and Allies & Morrison, and interiors by John Pawson, last month the building reopened after a fourteen-year closure—finally offering the public a chance to experience the swooping paraboloid roof from the inside. Read on to see photographs of the Design Museum's new home by Luc Boegly & Sergio Grazia.

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