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Architects play an important role in creating healthy, functional and aesthetically pleasing environments. Interior design represents a natural continuation of the same prerogative, and its importance has been accentuated in recent years, from the lockdown forcing many people to remain indoors for extended periods of time, to the rise of remote work. The task of the interior designer is not decorating spaces, but planning for an effective use of space, understanding the needs of the user and highlighting the intrinsic qualities of a space. Acoustics, lighting, material properties and proportions all play a role in achieving a coherent and enjoyable interior space.

This week’s curated selection of Best Unbuilt Architecture highlights interior design projects submitted by the ArchDaily community. From a pastel-colored library in Turkey to a renovated symphony hall in San Diego, US, this selection of unbuilt projects showcases how architects design interior spaces by integrating textures, materials, light, and color in well-proportioned spaces. The article includes projects from Turkey, US, Switzerland, Indonesia, UK, and Denmark.

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Laurent Troost personally received the Oscar Niemeyer Award at the 18th International Architecture Biennial in Buenos Aires. His winning project Cassina Innovation House, in the capital of the state of Amazonas in Brazil's Northern Region, brought the challenges of building in Manaus to the table.

This article was originally published on Common Edge.

While approaching Wainscott Beach on Long Island’s South Fork in early December, one could see the most tangible aspect of offshore wind’s New York progress even before hearing the crash of waves: three pillars, each about as tall as the Statue of Liberty, jutting up from the ocean. They were the legs of the Jill, a liftboat from the Gulf of Mexico stationed about a third of a mile off the coast of Long Island’s South Fork.

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Developed by WERK Arkitekter and Snøhetta, the new maritime center on the coast of Esbjerg, Denmark, opens to the public. The wooden structure is conceived as a gathering space for watersports clubs and other visitors to the harbor, providing the coastal town with a maritime social hub. The circular structure protects the visitors from harsh weather conditions, while the large windows and amphitheater stairs open up views of the sea. Dubbed “The Lantern,” the project represents the winning design of a competition organized in 2019.

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Scale is a term that has dominated the architectural profession for as long as built structures have existed. In the literal sense, scale defines the measurable standards that we have come to know and accept —the widths of door frames, a car turn radius, and of course, a means of producing measurable drawings. In a more abstract and figurative representation, scale describes a feeling of individual experiences when comparing themselves or a familiar object to something unfamiliar.

Nowadays, much is said about the importance of collaborative design processes that involve joint creation, affirming a context in which there is less and less room for individual work and much more for the logic of collective and co-creation. Therefore, the idea that the work is created exclusively by the architect is already understood as a distortion of the complex reality of designing a project, going beyond the technical staff and also adding the community and its users.