As an architect, critic and winner of the 2002 Pritzker Prize, Glenn Murcutt, (born 25 July 1936) has designed some of Australia's most innovative and environmentally sensitive buildings over a long career—and yet he still remains a one man office. Despite working on his own, primarily on private residences and exclusively in Australia, his buildings have had a huge influence across the world and his motto of "touch the earth lightly" is internationally recognized as a way to foster harmonious, adaptable structures that work with the surrounding landscape instead of competing with it.
When applying for architecture jobs, it's often necessary to self-evaluate your skill at various tasks. However, with many of these tasks--especially software--it can be difficult to give an accurate assessment since you often don't know what you don't know about the skill. This article, originally published by ArchSmarter as "Where Are You on the Path to Revit Mastery?" will help you come to an objective assessment of your skill level with one of the most complex and powerful pieces of software available.
BAM! I shook my head and peeled my sore body off the mat. “Good,” the instructor said, “Now try it again but with a little more force.” My partner grabbed my arm, twisted his hips and threw me to the mat again. BAM! Fortunately, I remembered to tuck in my chin so my head didn’t slam against the mat.
“Alright, a little better that time”, the instructor commented. “Do it another ten times then take a break. You both need to master this throw for your upcoming belt test.” Just as I started to groan, thinking about how sore I was going to be tomorrow, my partner grabbed my wrist again and tossed me over his hip. BAM!
Putting aside finishes, coatings, and cladding to work with exposed structural elements is not an easy task. Faced with this challenge, architects have demonstrated an eagerness to surpass ourselves and to design increasingly creative structures. In portraying this type of project, there are often opportunities for photographers to create incredible and innovative compositions: from geometric patterns, to the use of symmetry and rhythm, to the possibility of focusing on the textures and details of the materials. Here, we present a selection of photographs of impressive structures by renowned photographers such as Iwan Baan, Julien Lanoo and Yao Li, among others.
The next time you're cursing the price of a city parking meter, think instead about the high cost of free, off-street parking in terms of the urban environment. Urbanists these days agree that cities are at their best when they are walkable—designed for people instead of cars—but the reasons for the car-centric design of cities in the US are complex. In this video, Will Chilton and Paul Mackie of Mobility Lab describe all the problems inherent with parking in US cities and how it got to be this way: namely, off-street parking requirements, or mandatory parking minimums.
Most people know that US cities are dominated by parking, with roughly 8 parking spots per car throughout the country, but this video will give you all the information you need to win any debate about the impacts of mandatory off-street parking. Describe with confidence why cities love mandatory minimums for developers, extoll the virtues of correctly-priced parking meters, and impress your friends and colleagues with your knowledge of the other ways you pay every day for "free" parking.
Given a chance to realize the architect’s dream of creating his own utopian city from a blank slate, French architect Jean Balladur was inspired by lost civilizations of the past. His designs recall the architecture of grand Mayan ruins with some added flair from the 1960s, all in the form of a seaside resort village in southern France, La Grande Motte. Balladur devoted nearly 30 years to his life’s work, which today welcomes over 2 million tourists annually.
Have you ever visited a worksite and thought, "Wow, this contractor knows a lot more about construction than I do"? Have you had to change your original design because it was too difficult to construct or because it exceeded the budget? Do you think you're good at creating well-designed, efficient spaces but you're not so good when it comes to resolving the project's details?
Chances are you've found yourself in one or more of these situations, especially if you are a recent graduate. And depending on where and how you were educated, most students learn about construction and materials as it relates to the particular projects they are designing in school. Some people dedicate their career to the construction side of things--choosing classes, studios, and jobs that are focused on more technical, real-world training; others decide to focus their studies on urbanism, landscape architecture or the history of architecture. Finally, it also highly depends on the specific strength and concentration of the school you attend.
In spite of the differences that make our profession one rich in diverse interests and allows us to create many different kinds of buildings, the educational deficit (as it relates to materials and construction), prevents us from perhaps exercising the most significant parts of our job: the architect's ability to bring designs to life.
The third Arts & Architecture Case Study House has a noticeably different sensibility to that of many of the other designs in the series. While equally engaged with the goal of maximizing enjoyment of the natural surroundings, in this design the architects show more concern for privacy and protection.
The approach from the street is somewhat forbidding; aluminum siding presents an impenetrable front. Besides the front and garage doors, the small, high kitchen windows are the only visible openings, though it is possible to peer over the fence of grape stakes into the children’s private garden.
Artist, architect and architectural theorist John Hejduk (19 July 1929 - 3 July 2000) introduced new ways of thinking about space that are still highly influential in both modernist and post-modernist architecture today, especially among the large number of architects who were once his students. Inspired both by darker, gothic themes and modernist thinking on the human psyche, his relatively small collection of built work, and many of his unbuilt plans and drawings, have gone on to inspire other projects and architects around the world. In addition, his drawing, writing and teaching have gone on to shape the meeting of modernist and postmodern influences in contemporary architecture and helped bring psychological approaches to the forefront of design.
This article was originally published by Common Edge as "A Letter to Prospective Architecture School Parents."
Is your child suddenly wearing angular clothes and pretending to need glasses and talking about things like maylines (sorry, forgot we’re not in the 90s anymore) and 3d-printing and the power of the research lab to change the world studio? Has your child started rejecting your Frank Lloyd Wright photo books and started asking for that super sweet punched-out Chora L Works thing that makes no sense to you because there are literally holes in it? Has your child refused to go on anymore holiday house tours because, seriously mom, this is what I do all day at school?
Then congratulations! You now have an architecture school student child. And as much as we have—and need—the framework of, say, Adult Children of Alcoholics, just as deeply do we need a framework for Adult Parents of Architecture Students. You may be panicking right now. You may be wondering why Bessie is suddenly hating prints (unless she’s wearing all the prints at the same time); why Mark is rolling his eyes when you say there’s a nice-looking house for sale down the block. Rest assured, these are phases that will pass.
I would like to offer you the Phases of Architectural Education, so that you may feel calmer as you embark on this new journey:
You did it! You finished those grueling years of architecture school, perfected your portfolio and your interview pitch, and you landed your first job with an architecture firm. Everyone told you that working in a firm would be lightyears different from what you were used to doing in school, but until you get out there yourself, there is really no way to know just what that might entail. Once you’ve tackled life’s bigger questions about surviving outside of architecture school, you still have to learn to function in a day-to-day job. The learning curve is steep and it can certainly be overwhelming, but you’ve made it this far and there are a few lessons and skills you are sure to gain quickly as you start your career.
The halfway point of 2017 has come and gone, and this year is already shaping up to be the biggest and best in ArchDaily history: in six months, we've published more than 2,000 built projects of all different shapes and sizes from locations all over the world.
Of all the project categories we publish, residential projects are without a doubt one of the most popular. Houses are, after all, the most personal building typology – not only for the end user, but for the architect as well. Where the design of public buildings is often massaged by codes and opinions of institutional representatives, designing a house is a chance for an architect to make a personal bond with a client, together envisioning a creative structure that perfectly captures their architectural spirit.
We’ve published more than 700 houses already this year, but the following 50 have been the most popular, connecting with our readers and reaching the widest audience. In the list below, check out the 50 most popular houses of 2017 so far.
Ever wondered what it would be like to wake up within the iconic pink walls at La Muralla Roja? Or, you could finally swim in the rooftop pool atop the Brutalist Torres Blancas in Madrid, or even enjoy the weekend in a house designed by Pritzker laureate Shigeru Ban in Sri Lanka. Thanks to house renting platform AirBnb, that architecture daydream is now a reality. Residential architecture masterpieces can often feature in an architecture lovers bucket list but can be limited to looking at it from the outsides. Now, you can actually experience many famous works for what they are designed to be. This time we have selected 17 homes, rooms, offices and even capsules designed by your favorite architects around the world. Are you ready to book your next vacation?
Is your life lacking in dragons? Do you long for the excitement and danger of a constant, treacherous struggle for governing power? If you find yourself simply biding your time waiting for new seasons of Game of Thrones to air (or for George R.R. Martin to finally write another book) one option is to spend some time traveling to the real-life locations used in the filming of the show! From Iceland to Morocco, the show’s creators have traveled all over the world to bring the mythical world Martin describes in his novels to life on screen. While much of the filming is done in a studio, and of course there’s plenty of CGI involved, many of the landscapes and buildings seen throughout the show’s 6 seasons are real places open to the public. We can’t promise you dragons or control of the Iron Throne, but what you will get are some spectacular sights that might just make you feel like a real Westerosi.
In honor of the show’s seventh season beginning later today, here’s a list of 7 Game of Thrones filming locations you can visit! (This list is mostly spoiler-free, but you may want to read with caution if you’re not caught up!)
It can't be denied that architects love brick. The material is popular both for its warmth and for the diversity of expressions that can be achieved by applying it in a creative way—depending on the arrangement of individual bricks or the combination of bonds, it’s possible to arrive at a result that is both original and attractive. That ingenuity is what photographers like Hiroyuki Oki, Gustavo Sosa Pinilla, and François Brix, among others, have attempted to capture in their photographs. In these images, light is a key element of good composition, allowing the photographers to control the intensity of color and the contrast of masses and voids, as well as enhancing the incredible textures of the brick we love so much.
Ah, Invisible Cities. For many of us, Italo Calvino’s 1972 novel reserves a dear place in our libraries, architectural or otherwise, for its vivid recollections of cities and their curiosities, courtesy of a certain Marco Polo as he narrates to Kublai Khan. And while the book doesn’t specifically fit the bill in terms of conventional architectural writing, it resists an overall categorisation at all, instead superseding the distillation of the cities it contains into distinct boundaries and purposes.
For though there is a certain kind of sensory appeal that is captured in the details of places, the real beauty of Invisible Cities lies in the masking of underlying notions of time, identity and language within these details – a feat that is skillfully accomplished by both Marco and Calvino. With this in mind, here are three of many such principles, as revealed by the layered narrative of Invisible Cities.
How the World's Largest Building Materials Manufacturer Used Its Own Products to Create a World-Class Headquarters for Its Employees
Saint-Gobain’s new corporate headquarters campus in Malvern, PA—the North American home to the world’s largest building materials company—is not a typical corporate campus. As the company approached its 350th anniversary, they set out to build a headquarters that would offer a dynamic showcase for its products.
The company assembled a team of designers from two firms—Bernardon and Jacobs—to transform a long-dormant site consisting of two office buildings into an integrated, world-class headquarters located in the suburbs of Philadelphia.
Theorist, architect, and educator Moshe Safdie (born July 14, 1938), made his first mark on architecture with his master's thesis, where the idea for Habitat 67 originated. Catapulted to attention, Safdie has used his ground-breaking first project to develop a reputation as a prolific creator of cultural buildings, translating his radicalism into a dramatic yet sensitive style that has become popular across the world. Increasingly working in Asia and the Middle East, Safdie puts an emphasis on integrating green and public spaces into his modernist designs.
This article was originally published by The Architect's Newspaper as "How green are Apple’s carbon-sequestering trees really?"
Apple is planting a forest in Cupertino, California. When the company’s new headquarters is completed later this year, 8,000 trees, transplanted from nurseries around the state of California, will surround the donut-shaped building by Foster + Partners. The trees are meant to beautify Apple’s 176 acres (dubbed Apple Park). But they will also absorb atmospheric carbon.
That’s a good thing. Carbon, in greenhouse gases, is a major cause of global warming. Almost everything humans do, including breathing, releases carbon into the atmosphere. Plants, on the other hand, absorb carbon, turning it into foliage, branches, and roots—a process known as sequestration.
In all but the most optimistic architect's career, there will be moments you come across doubts and insecurities about our profession. It is in these moments where the wisdom of the greats who have come before us can help provoke the inspiration needed to face the challenges proposed by architecture and urbanism.
Needing an architectural pick-me-up? Check out some advice from Alejandro Aravena, Álvaro Siza, César Pelli, Francis Kére, Jeanne Gang, Norman Foster and Paulo Mendes da Rocha after the break.
A Different Kind of Sharing Economy: How the REAL Foundation is Building Social Equity Into the Nuts and Bolts of Architecture
The Chicago Architecture Biennial is the largest platform for contemporary architecture in North America, and the blog invites designers and other contributors to express their perspectives in a range of formats. The 2017 exhibition, entitled Make New History, will be free and open to the public between September 16, 2017 and January 6, 2018.
Chicago Architecture Biennial (CAB): We want to start by noting that REAL foundation, which stands for "Real Estate Architecture Laboratory," is not a typical design practice. You design spaces, but you also make books, exhibitions, a magazine, and tools for advocacy. Why?
Jack Self (JS): The REAL foundation is an unusual model for an architectural firm. We're a normal architectural practice, but we are governed by a very strict set of conditions that allow us to pursue certain political and economic ideologies. We see the social role of the architect, as well as the structure of the architectural firm, as a subject for design as much as buildings.
I spent four glorious days in Copenhagen recently and left with an acute case of urban envy. (I kept thinking: It’s like... an American Portland—except better.) Why can’t we do cities like this in the US? That’s the question an urban nerd like me asks while strolling the famously pedestrian-friendly streets, as hordes of impossibly blond and fit Danes bicycle briskly past.
Copenhagen is one of the most civilized cities on the planet. The world’s “most livable,” it’s often called, with some justification. (Although a Danish relative did caution me, “Spend a few weeks here in January before you make that pronouncement.”) But the seemingly effortless civility, Copenhagen’s amazing level of grace, is not an accident of place or happenstance. It’s the product of a shared belief that transcends urban design, even though the city is a veritable laboratory for pretty much all of the best practices in the field.
If you visit an architecture office today, you may sense a slight change. The days of bulky desktops, ergonomic mouse pads and tower-high stacks of drawing sets are slowly giving way to digital pencils, tablets, and tons of architects’ hand-drawings—both physical and digital. Architects across the globe are clearing their desks, literally, and utilizing emerging touchscreen tools and software for designing, sharing and collaborating. It seems possible that, for the first time in years, the architecture profession could revisit Bernard Tschumi’s “paperless” studio which formed a key part of his tenure as dean of Columbia University’s GSAPP in the mid-1990s. However, this time, “paperless” starts with a pencil, instead of a click.
How many lives does a great work of architecture have? The first begins when it is built and inhabited, judged based on the quality of life it provides for its residents. The second comes generations later when it becomes historically significant and perhaps its original function no longer suits the demands of society. The value of such buildings is that they inform us about the past and for that reason their conservation is necessary.
However, in Latin America, there are countless cases of buildings of great architectural value that are in tragic states of neglect and deterioration. Seven such examples are:
Considered as one of best buildings for opera in the world, the Colón Theatre in Buenos Aires is internationally renowned for its acoustics and its heritage value, showcasing the Italian and French influence on cultural architecture in Argentina. It is situated in a privileged location of the city´s downtown, between the streets Cerrito, Viamonte, Tucumán, and Libertad.
Inaugurated on the 25th of May in 1908, it had a significant impact and is considered one of the most emblematic historical monuments of the country.