This article was originally published by Amar Singh on Medium titled "You're working in the wrong place."

At my most recent job, I did all of my best work at home. I would actively try to avoid the office for as long as possible. At home, I had two desks and complete control over my environment. Distractions and breaks were choices.

Once I went into the office, the environment changed. There were constant distractions, from other employees, dogs barking (for the record: puppers were a net positive), impromptu meetings and birthday celebrations. It was very difficult to get into flow states and incredibly easy to be broken from them. Of all the places I could work, my desk at the office was often the worst option.

This article was originally published by Common Edge as "The Politics of Architecture Are Not a Matter of Taste."

Late last month Current Affairs published an essay by Brianna Rennix and Nathan J. Robinson titled “Why You Hate Contemporary Architecture: And if you don’t, why you should.” The piece, written in a pseudo-funny Internet lexicon wherein all objects of criticism are “garbage,” is so laden with irony—the poorest of substitutes for analysis—that it is difficult to discern a core argument. Still, I’d like to question the central premise of the piece: that what the authors term “contemporary architecture” is ugly and oppressive, and that liking it is nothing shy of immoral.

This article was originally published by The Architect's Guide as "5 Techniques To Land A Job With The World's Most Competitive Architecture Firms."

As I discussed in my interviews with several firms in 7 Questions Answered By The World’s Top Architecture Firms On What They Look For In Job Applications, the quality of your application documents is extremely important.

However, for some of the most competitive offices even having a perfect portfolio isn't enough. So what can you do to stand out? 

This article was originally published on the blog of the Chicago Architecture Biennial, the largest platform for contemporary architecture in North America. The 2017 Biennial, entitled Make New History, will be free and open to the public between September 16, 2017 and January 6, 2018.

“Writing about music is like dancing about architecture.” This famously misattributed analogy has floated through the arts world for decades as shorthand for the difficulty of imposing the gestures of one creative discipline onto another. But why should dance and architecture get lost in translation? Isn’t there an inherent poetry to the movement of bodies navigating the built environment?

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Earlier this month, Abu Dhabi’s much-awaited “universal museum,” the Louvre Abu Dhabi designed by Pritzker Prize-winner Jean Nouvel, was opened to the public. After several years of delays and problems including accusations of worker rights violations, revisions in economic strategies, and regional turmoil, the completion of the museum is a feat in itself. Critics, supporters, naysayers, artists, economists, and human rights agencies, have all closely followed its shaky progress, but now that it’s finally open, reviews of the building are steadily pouring in.

Read on to find out how critics have responded to Nouvel’s work so far.

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As a trailblazer of Brazilian Modernism, Oscar Niemeyer is celebrated for his bold, sinuous forms, and his use of the “the liberated, sensual curve.” Paul Goldberger described it best when he wrote that “Niemeyer didn’t compromise modernism’s utopian ideals, but when filtered through his sensibility, the stern, unforgiving rigor of so much European modernism became as smooth as Brazilian jazz.”

When Georgio Mondadori, chairman of the Italian publishing house Mondadori, commissioned Niemeyer to design the company’s new headquarters in 1968, he wanted the building to look like the Itamaraty Palace (also known as Palace of the Arches) in Brasília. Niemeyer agreed, but given his playful spirit, he deliberately deviated from the earlier design and proceeded to build what he would later identify as his favorite of the projects he completed in Europe. Read on to see a striking set of sixteen photographs of the Mondadori building by Milan-based photographer and visual artist Karina Castro, who was commissioned by Mondadori to capture their headquarters over 40 years after the building's completion.

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“Beauty,” as Umberto Eco tells it, “has never been absolute and immutable but has taken on different aspects depending on the historical period and the country.” So how is beauty defined today in our increasingly globalized world? Perhaps a more interesting question to ask is whether arriving at such a conclusion remains relevant to our society.

The main objective of the BambooU build and design course is to promote bamboo as a green building material, and to provide tools to architects, designers, builders, engineers, and carpenters from all over the world to value this material and increase its use.

The 2017 version of the course invited its participants to be part of a basic carpentry workshop, in which Indonesian artisans—led by I Ketut Mokoh Sumerta—taught them to build the base of a simple structure in Bamboo, without using other materials and by experimenting with the cutting and joining of different pieces.

See the process of this construction below.

This article was originally published by Archipreneur as "Architect Salaries by Country: Where Do Architects Earn the Highest Salaries."

While the amount of information about architect salaries in specific countries and cities is abundant, there are many discrepancies between different sourced when it comes to country-to-country comparisons. Having a global overview of architect salaries is also tricky to get because of the many variables that go into the equation. You need to take into consideration the position, experience, size of firm, location, not to mention the relationship between earnings and living costs and various tax, insurance and legal differences among different countries.

In a hilarious TED talk by world-famous blogger Tim Urban, the procrastinating brain is explained using three squiggly characters: Rational Decision Maker, Instant Gratification Monkey, and Panic Monster. For most of us who procrastinate without fail, the Monkey dominates while the Decision Maker suffers. Panic Monster enters the moment a deadline looms dangerously close—and that’s when all the actual work is done, amid much grumbling, self-loathing and lofty promises of never procrastinating again. But of course, we fail to keep our promises and the wheel keeps turning!

While the internet is full of lists and guides on how to stop procrastinating, for quite a lot of people, those somehow just don’t help at all. And while deadlines, as Urban points out, work for some in terms of getting the work done sooner or later, “long-term procrastination” affects those who must set their own deadlines—think business owners, PhD students, or freelancers. So, how do you get yourself to stop? You don’t! What you need to master is John Perry’s concept of “structured procrastination”—the same concept that Piers Steel earlier explained as “productive procrastination.” Read on for some advice gleaned from pro-procrastination literature.

In this essay British architect and academic Dr. Timothy Brittain-Catlin presents the work of Space Popular, an emerging practice exploring the meaning of and methods behind deploying virtual reality techniques in the architectural design process.

Architectural practice, especially in the UK, is moving fast into a realm where history plays as much a part as medium. But the ways in which architects work have been transformed entirely from those of the past, generating a fundamental conflict: how in practice does design through virtual reality use history? In the earliest days of fly-throughs we all realised that we could show our work to clients in a way that even the least plan-literate could understand. We could develop details three-dimensionally and from different angles, even representing different times of day. But what next? How do we engage historical knowledge and experience of buildings?