We will be publishing Nikos Salingaros’ book, Unified Architectural Theory, in a series of installments, making it digitally, freely available for students and architects around the world. In Chapter 12, Salingaros concludes his discussion of the physiological and psychological effects of architecture, demonstrating how ornament can lead to an enriching human environment. If you missed them, make sure to read the previous installments here.

Ornament and Human Intelligence

Ornament and function go together. There is no structure in nature that can be classified as pure ornament without function. In traditional architecture, which was more tied to nature, such a separation never existed. The breakdown of the human adaptation of architecture can be traced to the forced conceptual separation of ornament from function, a relatively recent occurrence in human history. It is only in 20th-century architectural discourse that people began to think of ornament as separate from function: see “How Modernism Got Square” (Mehaffy & Salingaros, 2013).

Urban waterfronts have historically been the center of activity for many cities. They began as economic, transportation and manufacturing hubs, but as most industries changed their shipping patterns and consolidated port facilities, many industrial waterfronts became obsolete. In Europe, smaller historic ports were easily converted to be reused for leisure activities. However, in North America, where the ports were larger, it was more difficult to convert the waterfronts due to logistical and contamination issues.

Over the past 40 years or so, architects and urban planners have started to recognize the redevelopment potential for waterfronts across the United States and Canada, and the impact they can have on the financial and social success of cities. Though cold-climate cities pose a unique challenge for waterfront development, with effective planning waterfront cities with freezing winter months can still take advantage of the spaces year-round.

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With 145 countries participating in the 2015 Expo, alongside input from international organizations, corporate partners and an extensive program organized by the Expo itself, there's a lot going on in Milan right now. So much so, in fact, that it can be a little overwhelming to get a handle on all the sights that are worth your attention.

To help you out, we've put together a guided tour of the key pavilions that are turning heads, including the defining vistas of the expo grounds, the displays that are worth your time and the oddities that might entertain. From the Expo's defining icon, the 30-meter-tall Tree of Life, to the exhibition on architecture's favorite consumable (that's coffee), and all the national pavilions in between, the things you need to see are here. Whether you're planning to visit the Expo and want a quick and dirty way to ensure you've covered the highlights, or whether you're simply hoping to live vicariously through the internet, this tour is for you.

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One of the most interesting trends in architectural materials of recent years is the increase in use of weathering steel - more commonly referred to by its trademark name, Cor-Ten. Thought the material has been around for decades, first being used for architectural purposes in the Eero Saarinen-designed John Deere Headquarters in 1964, the material has seen a surge in popularity in the last decade or so, being used in everything from individual houses and tiny kiosks, to SHoP's design for the Barclays Center in Brooklyn, which used a staggering 12,000 weathering steel panels.

To celebrate this material we've rounded up nine of the most innovative and striking uses of weathering steel from recent years: Haworth Tompkins' tiny Dovecote Studio; Feilden Clegg Bradley Studios' offices and student housing at Broadcasting Place; the perforated facade of IGC Tremp by Oikosvia Arquitectura; the rusted ribbons of Ron Arad's Design Museum Holon; vertical striations on The Corten House by DMOA Architecten; Tony Hobba Architects' Third Wave Kiosk and its corrugated Cor-Ten walls; striking patterned facades in Santiago's Gabriela Mistral Cultural Center by Cristian Fernandez Arquitectos, Lateral Arquitectura & Diseño; weathered facades and louvers in Guillermo Hevia's Ferreteria O´Higgins; and finally the folding garage-style doors of Origin Architect's Refurbishment of the Offset Printing Factory.

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In the architecture world, there are a handful of persistent debates that arise time and time again: the challenges of being a woman in the field of architecture is one of them, for example; the problems of a culture of long hours and hard work is another. But one of the most enduring arguments in architecture - especially in the academic sphere - is the battle between hand drawing and computer aided design. Both schools have their famous proponents: Michael Graves, for example, was known as a huge talent with a pencil and paper, and came to the defense of drawing in articles for the New York Times, among others. Patrik Schumacher, on the other hand, is famous for his commitment to the capabilities of the computer.

To advance this heated conversation, two weeks ago we reached out to our readers to provide their thoughts on this topic in an attempt to get a broad cross-section of opinions from architects from all walks of life. Read some of the best responses after the break.

We will be publishing Nikos Salingaros’ book, Unified Architectural Theory, in a series of installments, making it digitally, freely available for students and architects around the world. In Chapter 11, Salingaros introduces and explains a list of 15 properties theorized by Christopher Alexander which give rise to the phenomenon of “life” in architectural designs. If you missed them, make sure to read the previous installments here.

Alexander’s Fifteen Fundamental Properties

We have come to the point in this course when we need to present the geometric properties responsible for the deep connectivity that I have discussed in previous chapters. Christopher Alexander has derived a set of 15 properties that all structures that we perceive to have “life” possess (Alexander, 2001).

One of the more niche trends in sustainable design of the past few years has been the re-use of shipping containers in order to create the structure of a building. Due to their convenient size, shipping containers are well-suited for use in houses and their appeal lies in their apparent simplicity: you get a room delivered in one piece, and you can stack them together to make multiple rooms or join them up to make larger rooms.

But of course, things are never so simple, and using shipping containers to make a house is still fraught with challenges - particularly as the idea is still relatively new, so there are few people with the expertise required to build one without a hitch. That's why the folks over at Container Home Plans reached out to 23 experts from around the world - designers and owners who have overcome the challenges to build their own container houses - to ask them what they wish they'd known before taking on this challenge. Check out their 11 top tips after the break.

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The Burj Khalifa might get all the headlines today, but for nearly half a century before it was built, some of the tallest structures in the world were actually in North Dakota, in the form of TV masts. In this post originally published by re:form on Medium, Casey Tolan investigates the threatened industry that once gave the world some of its most heroic structures.

Name the tallest structures in the world. Maybe flashy skyscrapers in China or the Gulf States come to mind. Or maybe you’re thinking of U.S. icons like One World Trade Center in New York or the Willis Tower in Chicago.

You’re almost certainly not thinking of TV towers. But dozens of nearly anonymous towers around the United States, most in small rural communities, dwarf all but the tallest man-made structures in the world.

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Looking towards the uppermost floors of the new Whitney Museum of American Art, thick clouds roll diagonally across the sky behind. Reflected in the ample window of the museum’s main gallery they dash in a different direction, while the building’s white facade flashes light and dark in response to the changing light conditions. Superimposed over this scene, bold all-caps lettering pronounces the title of an article: the simple but dramatic “A New Whitney.”

This is the sight that greeted readers of Michael Kimmelman’s review of the Whitney in The New York Times last Sunday. Scroll down just a little, and the first thing you encounter is a list of credits: Jeremy Ashkenas and Alicia Desantis produced the article; graphics were contributed by Mika Gröndahl, Yuliya Parshina-Kottas and Graham Roberts; and videos by Damon Winter (the editor behind the entire endeavor, Mary Suh, is not mentioned).

Before even reading the article’s opening words, one thing is clear: this is not your average building review. As a matter of fact, it might even be the most important article in recent architectural memory.

here.

Biophilia: Our Evolved Kinship To Biological Forms

The organized complexity in artifacts and buildings, as I have described it, leads to a positive response from users. This is the perception of “life” which we sense in certain structures and places in the built environment. The physical structure of the world has a massive effect on human beings. A crucial task of architectural theory is to explain and predict the impact that living structure — or its absence — has on us.

In 2014 renowned Dutch politician Neelie Kroes, then a commissioner for the European Union, stated that coding should be taught in elementary school in the Netherlands, arguing that “Coding is the reading and writing of the future” and that if the Dutch didn’t incorporate it into their education system it would fall behind school systems in other countries. The reactions to both Kroes’ statement and Michael Kilkelly's article "5 Reasons Architects Should Learn To Code" were quite similar. Those already capable of writing code agreed; many who have never even seen, let alone written any script responded negatively. Many reactions to Micheal Kilkelly's article covered the same ideas: “There's no time!” “Coding is not designing!” Or just plain, “No!”

There are few mediums that the Grimm Brother's Fairy Tales haven't been adapted into. Bowdlerized stories and films for children have since given way to revisionist tales that embrace the gruesome coloring of the originals, but something about the Grimm Brothers' gothic folklore still holds sway over popular imagination around the world. No matter what kind of adaptation is created - musical, childlike or modernized - the essential Grimmness of the tales still glowers through. FleaFolly's Grimm City is just such a creation.

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What have these three projects got in common? They will never be published in a reputable architecture magazine. This news is no surprise: only a few projects in all the world deserve the right to be published. Editors set trends, put focus on hot topics, give visibility to emerging firms and confirm architectural stars.

A printed magazine has limited space and therefore has to engage in a very strict decision-making process; only the very few are shown. In this Darwinian selection some worthy and brilliant architects perish. On the other hand, an internet site has the possibility to widen the projects range. The web has virtually unlimited space - but still, this space is not to be wasted. Very few would benefit from a site that published every architecture project on earth.

Depending on how you measure it, Renzo Piano's new building for the Whitney Museum of American Art in New York (designed in collaboration with New York practice Cooper Robertson) could be the most long-awaited museum of the 21st century. At just a fraction under seven years since the first designs of the building were released, the incubation period has been long enough on its own - but in fact the project has its roots in a scrapped 1981 design by Michael Graves, when the Whitney was instead planning an extension to their previous home in Marcel Breuer's 1966 masterpiece on Madison Avenue. With such a highly anticipated building, the Whitney could hardly have a better man for the job; Piano is one of the most prodigious museum builders of our time. Yet despite this, since construction began in 2011 the design has been beset by criticism for its ungainly external appearance.

Ahead of the Whitney's grand opening on May 1st, this past Sunday saw a slew of reviews from New York's many reputable art and architecture critics, who attempted to make sense of the institution's long-overdue move from their idiosyncratic but endearing former home. We've rounded up some of the best of them, after the break.

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The French duo of Anne Lacaton and Jean-Philippe Vassal are known for their delicate interventions, repurposing neglected structures with apparent effortlessness. Originally published on the Harvard Gazette website entitled "They Build, But Modestly," this article recounts the lessons which they offered students in a recent lecture at the Harvard Graduate School of Design.

Around 1980, two young architects finished their training in Bordeaux, France, and moved to Nigeria. In that African nation’s remote regions, they were inspired by the simple structures they saw amid the stark, stunning desert landscapes. The houses were open to the air, had utilitarian thatched roofs, and were made with bits of local wood. Modesty prevailed in structures that also invited beauty.

The lessons of building in Africa stayed with Anne Lacaton and Jean-Philippe Vassal in their Paris-based practice, Lacaton & Vassal: use what is there, stay simple, embrace open air, and honor light, freedom, and grace. They practice social architecture based on economy, modesty, and the found beauty of environments.

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Update: We have now published our follow-up article of readers' responses - see it here.

For the best part of a century, architectural discussion has been dominated by modernism and other related forms of futurism and functionalism. For some, this constant invocation of the radically new has begun to look quite tired. In the 1980s looking backwards for inspiration famously brought us the adaptive and populist postmodernists, but also emerging at this time was New Classical architecture, which completely rejected any continuity with modernism and returned instead to traditional rules. In the years since, New Classical architecture has evolved into a resurgence of pre-modern forms, with the term also incorporating designs that would never have been considered "classical" in the first place - including Gothic and non-western historicist styles. We've rounded up some of the most surprising, interesting - even high-tech - examples of New Classical architecture after the break.

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With Lisbon now bouncing back from the 2008 recession, its estimated 12,000 buildings in decay offer plenty of opportunities to bring the city's buildings more in line with its new economic structure. In this article, originally published by Curbed as "What Could Be Next for a Noted Lisbon Modernist Relic?" Lisbon's Subvert Studio presents a speculative proposal for one of the city's most notable - and visible - modernist ruins.

Views from the balcony of what was once the Panoramic Restaurant of Monsanto show a band of green treetops, a stretch of white cityscape that spans Lisbon's old and new quarters, and a glimmering slice of the Tagus river beyond, mouthing toward the Atlantic. Bracketing the view is blue: a blue sky above, and below, a blue smash of broken glass, reflecting and refracting the sky's color. Wherever there is a vista at the Panoramic Restaurant of Monsanto, wherever there are windows—and the view is the focal point of the space—there is broken glass.

Last used as a club at the top of a 2,400-acre city park, the modernist structure has slipped ever further into riotous abandon since the mid-1990s. Windows have collapsed, graffiti long ago joined the reliefs by Portuguese ceramic muralist Querubim Lapa on the walls and the stained glass sculpture at the entry, chunks of ceiling have tumbled to the ground. And in recent months, a discussion has emerged: what to do with this city-owned modernist relic, which some estimate will require 20 million Euros to fix?