In today's fast-paced and highly connected urban environment, people are increasingly realizing the vital importance of nature in improving both our physical and emotional health. This awareness directly impacts the quality of the spaces where people reside. Discussions and studies on topics such as neuroarchitecture and biophilia are becoming more prominent in the field of modern architecture and interior design. These discussions prompt us to think critically about the deliberate and mindful selection of design elements that shape our shared living environments.

In this scenario, the use of materials such as wood, whether in residential, commercial, or corporate environments, has shown positive effects on how we feel and experience the spaces by eliciting a connection with the natural environment, reconfiguring the way we perceive our living and working spaces and how we are affected by them. By incorporating wooden elements, we can create places of greater tranquility that allow us to disconnect from the stress and busyness of urban life.

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The priority when it comes to a building’s exterior surface material is durability. Having to literally stand up to the tolls of rainwater, wind, sunlight, temperature fluctuations, and many other weather conditions, we demand a lot of them. On the opposite side of the insulated coin, meanwhile, interior surfaces instead tend to prioritize their finish – with the characterful color, pattern, and texture of materials such as paints, ceramic tiles, or wood panels.

Traditionally, these two worlds, exterior and interior, never need to be met. Opposing requirements, it was thought, need opposing surfaces. But as our external and internal environments continue to collide into a singular typology of simply liveable space, more and more projects both large and small, commercial and private, are taking surface design inspiration from the outside world. Dragging the materials, themes, and the history of facades inside. Here are four recent projects from the Architonic Archive that do just that.

Wood in contemporary construction is often associated with coziness, simplicity, and a certain sense of nobility. Despite requiring more frequent maintenance compared to materials like concrete, wood is increasingly considered a viable option within the concept of regenerative design, owing to its place in the natural organic cycle of our planet. While wood has been a staple in architectural design, carbonized wood, known as yakisugi, is gaining significant attention as a finishing choice.

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More and more, the field of architecture is shifting its focus towards revitalizing existing spaces. This shift is motivated by various factors, including concerns about sustainability, cost constraints, and the scarcity of available land in rapidly expanding urban areas. It presents an opportunity not only to renovate buildings but also to engage with the layers of time. This intricate task involves fostering a dialogue between contemporary and historical materials, acknowledging traditional construction techniques, and even uncovering hidden aspects of history and geography within the built environment to create truly unique architectural experiences.

As society, technology, and architecture have evolved, designers and architects have embraced novel construction systems and innovative approaches to reshape the built environment. This advancement has stretched the boundaries of traditional construction techniques and ignited fresh ideas in building design.

In the past, some architects and artists aimed to question an architectural paradigm deeply entrenched in anthropocentrism. Historically, architecture has been linked to the notion that buildings, being conceived by human beings, must be extremely durable, even imperishable. Considering the principle that the best intervention is the least intrusive, inflatable architecture, in contrast to these human-centric viewpoints —but aligned to our ephemeral nature—, can propose structures that may exist one day and vanish the next, leaving a temporal imprint on the landscape. This architectural approach uses textiles as the primary material and air as the structural system, potentially challenging the traditional Vitruvian ideals of Venustas, Firmitas, and Utilitas.

The relationship between art and architecture is a recurring topic of discussion, seeing as architecture can be positioned at the intersection of structure, technology, and aesthetics. Despite the utilization of technical knowledge, architecture, and interior design also incorporate artistic concepts into their processes. From captivating illustrations during the design development phase to murals and artistic pieces that form an integral part of spatial conception, art plays an essential role in architectural production and society.

In the context of contemporary society, many of our activities are carried out digitally, from booking accommodation for travel to manufacturing materials and creating art exhibitions. In this sense, digitalization has also permeated the art world, conceiving initiatives like SINGULART, which challenges the traditional concept of art galleries by existing in a digital format. This platform combines works from various sources of inspiration and artistic techniques, encompassing everything from sketches and paintings to architectural photography. It fuses multiple influences from various contexts, including architectural work.

Working within the restrictions of a limited carbon footprint can be one of the hardest – but also most rewarding – parts of a modern architect’s role. Whether to suit a large multinational corporation’s sustainability report, to achieve LEED status or similar for a commercial developer, or to build an eco-home for a climate-conscious private client – or even one who just wants to spend less on energy, it’s imperative to keep up-to-date with the latest carbon-neutral and low-carbon building practices and materials.

Whether looking at a project’s structural beginnings, its high-grade finishes, or thinking more holistically about its entire lifetime, there are huge gains to be made with sustainable substitutes and alternatives to traditional materials and techniques.

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This text was originally published in The ArchDaily Guide to Good Architecture, our first-ever book currently available for purchase.

Besides denoting a show of careful thought, in architectural terms, the word ‘considerate' also suggests an emotional and perhaps even empathetic approach. And why shouldn't it? 

Good architecture can and should be considerate—in all the varied ways the word embodies. While it could start off with the motivation to do good and require an initial moral approach, this sensibility, combined with a meticulous knowledge of individual/communal needs and transparent communication, generates a well-adapted, and accessible built environment that can promote growth. 

Timeless design possesses qualities that resonate with people on a fundamental level, whether through its simplicity, functionality, emotional impact, or adaptability. It continues to captivate and inspire indefinitely, remaining relevant and cherished across generations. This is the primary ambition of any designer, to endure through their creations over time. Philippe Starck, the renowned French designer, has long been at the forefront of the design world. He emphasizes that "The keywords for the future and ecology are longevity, transmission and heritage." His designs aim to go beyond mere aesthetics, incorporating a commitment to timelessness and a dedication to environmentally conscious practices.

Living in a tropical country means cherishing outdoor experiences, whether feeling the gentle breeze, connecting with nature, or basking in the sunlight. We have grown up with a cultural tradition of playing in our yards, gathering with family and friends on balconies, enjoying barbecues, or simply admiring the beautiful landscape. Numerous Brazilian residences integrate wooden decks for these purposes. They are versatile spaces that fulfill various functions.

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The atmospheric sadness of a typical office ‘kitchen’ – and by kitchen I mean an old kettle, two rusty spoons (both missing) and three flimsy chairs around a one-person table – can be the root of much employee unrest. But when the alternatives mean either walking through the city smog or hunching over a desk with a Tupperware sandwich, dropping crumbs on the keyboard, there isn’t much choice.

In the post-pandemic workplace, however, where employee wellness demands respect and employers themselves are searching for ways to make their offices more appealing in a hybrid schedule, the age-old canteen format might just find its way back onto the menu. Here is a selection of projects that prove it can work, and how.

In the world of interior design, light serves as an essential medium, but light can also create immersive public spaces. While James Turrell, Olafur Eliasson, and Dan Flavin are celebrated for their transformative mastery of color, reflections, and luminous contrasts, it's crucial to note that the realm of light art isn't exclusively male-dominated. In response to the underrepresentation of female light artists, a refreshing and enlightening perspective emerges from the British lighting designers Sharon Stammers and Martin Lupton of Light Collective.

After founding the platform "Women in Lighting" their book "Women Light Artists," takes a bold step in introducing us to 40 creative women whose work radiates with responsive ingenuity and brilliance. The book offers a captivating spectrum of projects from interactive pools to the play of colorful daylight shadows dancing across a bridge in London, from the peaceful projection onto an iconic Berlin landmark to the vivid rainbow arching above Manhattan's skyline, each work embodies a unique dialogue between light and space. The luminous journey offers a valuable tribute to the power of female artists who, for far too long, have remained in the shadows.

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For the Indian subcontinent, the mid-1900s marked a transformative period, brimming with turmoil and hope. Leaving a century of British rule, India and the newly formed countries of Pakistan and Bangladesh held onto an optimistic vision of a transformed society. The newfound independence invited the international Modernist movement to envision a fresh identity for the nations. Spearheading the movement in Bangladesh was the architect Muzharul Islam whose work continues to influence contemporary Bangladeshi architecture.

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The role and relationship of furniture in architecture and space design are of great relevance. Designers such as Eileen Gray, Alvar Aalto, Mies Van der Rohe, and Verner Panton conceived furniture —primarily stools and chairs— that endure over time as powerful and timeless elements, with a determining impact on the interior atmosphere. Thus, the relationship between furniture and space becomes a constant dialogue in which design, aesthetics, and materials contribute their dimension.

Today, furniture should not be limited solely to fulfilling an aesthetic and functional role, but should also have a purpose in the context of contemporary design and sustainable development. It is essential to reflect on and question the processes and choice of materials in the manufacturing of these elements, in addition to the value they bring to interior spaces. In this context, HEWI has taken a step forward by creating the Re-seat family, consisting of stools and chairs made from post-industrial recycled materials (PIR), sourced in part from the processes of the company itself and a regional supplier, both based in Bad Arolsen, Germany. It also features integrated solutions with universal design in mind, making a statement in favor of innovation and eco-design.