Modernism always wanted to have it both ways: on the one hand, modernist architecture was supposed to be, in theory, the same in all places; that's one reason why modernism in architecture was also called the International Style. If all modernist buildings look the same, when you see one you have seen them all: no need for further travel. Yet throughout the 20th century modernist culture and technology enthusiastically endorsed and favored travel. In the 60s we traveled to the Moon, and civil aviation made the world smaller. In modernist culture, travel was good. It made all travelers better, happier humans. It was good to learn foreign languages and to go see distant places. High modernist travel was not only good; it was also cool. The jet setters of the 60s were the coolest citizens of the world. Even later in the 20th century the general expectation was that borderless, seamless travel would keep getting easier and more frequent. Most Europeans of my generation grew up learning two or more foreign languages, and it was not unusual until recently to be born in one country, to study in another, and find one's first job in a third one. That was seen as an opportunity, not as a deprivation.

The recently-formed town of Sadra, Iran, is gradually evolving into a mega-city as a result of its geographical location and architectural potential. To improve the cultural standards of the town, several cultural centers were constructed, transforming the area into a major hub for people of all ages.

Keeping in mind that a newly-built town requires an adaptable space for potential expansions, NextOffice - Alireza Taghaboni architecture studio created the “Sadra Civic Center”, a town within a town built from its surrounding urban elements.

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Published at the end of 2018, the new European Standard EN 17037 deals with daylight in buildings. It is the first Europe-wide standard to deal exclusively with the design for, and provision of, daylight. EN 17037 replaces a patchwork of standards across different European countries or provides one where no existing standard is present.

This is all quite recent: less than a year ago, a French family became the first in the world to live in a 3D printed house. Short of 20 years, this seemed like a distant dream, this new technology has developed quickly, and it arises as a possible contribution to the housing crisis around the world.

Traditionally, bricks have been used in architecture to fulfill a double function: structural and aesthetic. While they act as an effective and resistant modular solution in building structures, their faces can be exposed to constitute their architectural appearance, generating facades rich in texture and color, thanks to the iron present in the clay they are composed of.

At present, there are products that allow the attractive appearance of bricks to be merged with other structural systems, separating their functions and providing the necessary freedom of design so that the facades can adapt creatively in favor of the conditions of each project and the requirements of its users.

In their new student housing project, Walshe's Yard, Urban Agency has placed incredible importance on blending the building into its context while also providing a high quality of living for students. Located in Carlow, Ireland, the building is situated on the threshold between the looser urban periphery and the denser historic center of the town. The 3800 square meter project will include 125 bedspaces arranged into 32 “student houses” of either 3, 6, or 8 students, plus graduate studios on the top floor.

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China seems to be at the peak of a refurbishment fever. Not only hutongs in historic downtowns, but abandoned industrial factories are becoming new tech or cultural hubs, and even buildings in the risk of collapse are refurbished to extend their lifespan. Why is this happening? Who is investing? How could this happen in a country where you cannot buy properties?

In this edition of Editor's Talk, our editors from ArchDaily China share their thoughts on how in a fast-paced development process, such as the one China is going through, there is a refurbishment fever in its biggest cities.

Through their pioneering theory and provocative built work, husband and wife duo Robert Venturi (born June 25, 1925) and Denise Scott Brown (born October 3, 1931) were at the forefront of the postmodern movement, leading the charge in one of the most significant shifts in architecture of the 20th century by publishing seminal books such as Complexity and Contradiction in Architecture (authored by Robert Venturi alone) and Learning from Las Vegas (co-authored by Venturi, Scott Brown and Steven Izenour).

Etienne-Louis Boullée, though regarded as one of the most visionary and influential architects in French neoclassicism, saw none of his most extraordinary designs come to life. Throughout the late 1700s Boullée taught, theorized, and practiced architecture in a characteristic style consisting of geometric forms on an enormous scale, an excision of unnecessary ornamentation, and repetition of columns and other similar elements.

While the United States’ green-building industry was still relatively slow in the early 1990’s, Herman Miller, who are known for their architectural experimentation, decided to construct a new facility for Simple, Quick, Affordable (SQA), a company that bought used office furniture to refurbish them and sell them to smaller businesses. To do so, they chose to build sustainably, a design approach that was not yet utilized in the region.

Designed by New York architect William McDonough, the 295,000 sq ft building (approx. 90,000 sqm) was built in Holland, Michigan in 1995. The facility’s design qualities, such as storm-water management, air-filtering systems, and 66 skylights, helped set the standards for the U.S. Green Building Council LEED Certification.

Thermal comfort becomes very evident when it is not attended to. When thermal conditions are adequate in one location, our body is in balance with the environment allowing us to perform activities normally. On the other hand, when a space is too hot or too cold, we soon see changes in our mood and body. Dissatisfaction with the thermal environment occurs when the heat balance is unstable, that is when there are differences between the heat produced by the body and the heat that the body loses to the environment.

This article was originally published on Metropolismag.com.

Regardless of what field designers specialize in, they are capable of translating their ideas and fantasies into visible and tangible material. After all, a designer's principle is quite simple: If it doesn't exist, create it.

For his final photography exam, Szabó Viktor took photos of existing buildings and manipulated them into structures that only exist in his imagination.

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Today, improvements in glass processing technology have made it possible to render specific and effective solutions for a wide range of architectural projects. In fact, there are so many options available that it's almost necessary to research different products and their properties, and how this will impact, for example, the windows and doors that you are designing.

What variables should be considered – and prioritized – when choosing the glass used in a project? How can aesthetics coincide with function and efficiency? We sat down with the experts at Cristales Dialum to delve into the complex world of glass and to better understand the hows and whys of choosing the best type of glass for your projects and ensuring the best results for your clients.

As founder of the “Do Tank” firm ELEMENTAL, Chilean architect Alejandro Aravena (born on June 22, 1967) is perhaps the most socially-engaged architect to receive the Pritzker Prize. Far from the usual aesthetically driven approach, Aravena explains that “We don’t think of ourselves as artists. Architects like to build things that are unique. But if something is unique it can’t be repeated, so in terms of it serving many people in many places, the value is close to zero.” [1] For Aravena, the architect’s primary goal is to improve people's way of life by assessing both social needs and human desires, as well as political, economic and environmental issues.

Mainly known outside of his home country for his design of the 2014 Serpentine Gallery Pavilion, architect Smiljan Radić (born June 21, 1965) is one of the most prominent figures in current Chilean architecture. With a distinctive approach to form, materials, and natural settings, Radić mostly builds small- to medium-sized projects that flirt with the notion of fragility.

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Videos

Past, Present, Future is an interview project by Itinerant Office, asking acclaimed architects to share their perspectives on the constantly evolving world of architecture. Each interview is split into three video segments: Past, Present, and Future, in which interviewees discuss their thoughts and experiences of architecture through each of those lenses. The first episode of the project featured 11 architects from Italy and the Netherlands and Episode II is comprised of interviews with 13 architects from Spain, Portugal, France, and Belgium.

The goal of the series is to research these successful firms and attempt to understand their methods and approaches. By hopefully gaining a clearer picture of what it means to be an architect in the 21st century, the videos can also serve as inspiration for the next generation of up-and-coming architects and students as they enter the field.

There’s no doubt that architects spend a lot of time in front of a desktop, be it virtual or three-dimensional. In fact, although this statistic is not exclusive to architects, the average time a person now spends sitting down per day is 7.7 hours; in the United States the average is an unbelievable 13 hours. Of course this includes time spent on the train, watching a movie on the sofa, or a whole range of other seated activities, but the vast proportion of this time is likely to be spent working by a desk or laptop.

How can you improve the quality of that time, so it’s both well spent and, ideally, minimized? To have a more efficient, productive—and most importantly, more pleasant—time at work, here are 13 ways to improve your physical and digital workspace.

What happens when the sensor-imbued city acquires the ability to see – almost as if it had eyes? Ahead of the 2019 Shenzhen Biennale of Urbanism\Architecture (UABB), titled "Urban Interactions," ArchDaily is working with the curators of the "Eyes of the City" section at the Biennial to stimulate a discussion on how new technologies – and Artificial Intelligence in particular – might impact architecture and urban life. Here you can read the “Eyes of the City” curatorial statement by Carlo Ratti, the Politecnico di Torino and SCUT.

Terrazzo is made by combining a cement base (sand, water, and cement) with a mixture of ground minerals - like marble, granite, and quartz - and can be applied to almost any surface, vertical or horizontal. The technique, produced using a completely hand-crafted method, was used worldwide in the construction of modern buildings and is noted for its durability, resistance (to water and abrasion), and easy maintenance. This made it a go-to material in the creation of flooring for houses and the common areas of residential and office buildings.  

Today, terrazzo is experiencing a revival as one of the key trends in contemporary architecture. Here, we will discuss the whats and hows of terrazzo and illustrate some of its uses in current projects.