After two weeks of nominations and voting, we are pleased to present the winners of the 2015 ArchDaily Building of the Year Awards. As a peer-based, crowdsourced architecture award, the results shown here represent the collective intelligence of 31,000 architects, filtering the best architecture from over 3,000 projects featured on ArchDaily during the past year.
The winning buildings represent a diverse group of architects, from Pritzker Prize winners such as Álvaro Siza, Herzog & de Meuron and Shigeru Ban, to up-and-coming practices such as EFFEKT and Building which have so far been less widely covered by the media. In many cases their designs may be the most visually striking, but each also approaches its context and program in a unique way to solve social, environmental or economic challenges in communities around the world. By publishing them on ArchDaily, these buildings have helped us to impart inspiration and knowledge to architects around the world, furthering our mission. So to everyone who participated by either nominating or voting for a shortlisted project, thank you for being a part of this amazing process, where the voices of architects from all over the world unite to form one strong, intelligent, forward-thinking message.
Similar to last year, over 18,000 architects and enthusiasts participated in the nomination process, expressing what architecture means to them by highlighting the buildings that have inspired them the most.
This year’s finalists represent a diverse group of projects, coming from all corners of the globe and from firms of different sizes and trajectories. Yet they all capture architecture’s capacity to improve people’s lives.
The winners of the two iPads from the nomination stage are: Linda Hinderdael (iPad Mini) and Sylvia Robert (iPad Air). We’re also going to give away two more iPads to our readers during the final voting stage so be sure to vote!
2014 was a great year at ArchDaily. As we grow to over 350,000 daily readers, our global network is leveling access to architectural knowledge, fostering an ongoing exchange between professionals from diverse locations and backgrounds. We are now able to see a new regionalism appearing, giving identity to emerging countries, and becoming a source of fresh ideas and innovations in the world of architecture.
For the 6th consecutive year it will be your task to recognize and reward the projects that are making an impact on the profession. By voting, you are part of an unbiased, distributed network of jurors and peers that has elevated the most relevant projects over the past five years. During the next three weeks this collective intelligence formed by ArchDaily’s readership will filter the 3,000 projects up for nomination– choosing the ones that stand out due to their spatial, material, social, and technical innovations.
Our partners HP will generously give the three most-voted practices the latest HP Designjet ePrinters - wirelessly connected plotters that give you the freedom to print from anywhere. See rules below more details.
Now it is your chance to reward the architecture you love by nominating your favorite for the 2015 Building of the Year Awards (plus, you’ll have a chance to win an iPad).
Full rules below:
During the next 3 weeks, you’ll be in charge of nominating buildings (in fourteen categories) for the shortlist, and then voting for the winners of each category. We will guide you through these stages accordingly.
During the nominating stage, each registered user of the My ArchDaily platform will have the chance to nominate one project (published between Jan 1st 2014 and Dec 31st 2014) per category. This stage starts on Jan 20th and ends on Jan 27th at 11:59PM EST. After this, five projects per category will move into the voting stage, starting January 28th and ending on February 4th at 11:59PM EST. The winner will be announced on February 5th, 2015.
We will give away two iPad Air 2 and two iPad Mini 2 (16GB WiFi, Space Grey, White, or Gold) to four lucky MyArchDaily users who participate in the nominating/voting process. Each nomination/vote will give you a chance in the draw – plus, you’ll get more chances if you invite people to vote (using the link that we will give you after you vote). One iPad Air and one iPad Mini will be given during the nomination stage, and the rest during the final stage.
Thanks to our friends at HP, the firm behind the project that receives the most votes overall will win an HP T520 Designjet T520 ePrinter, and the second and third most voted practices will receive an HP T120 Designjet ePrinter.
- All buildings published between Jan 1st 2014 and Dec 31st 2014 under the following categories are eligible for this award: Houses, Housing, Healthcare Architecture, Industrial Architecture, Educational Architecture, Sports Architecture, Cultural Architecture, Hospitality Architecture, Refurbishment, Offices, Interiors Architecture, Commercial Architecture, Public Architecture, and Religious Architecture.
- By submitting their works to ArchDaily for publication, offices agree to enter this competition and to be present on the promotional material.
- Authorship and copyright of each project belong to the offices and architects mentioned on each project’s page.
- The nomination process starts on January 20th and ends January 27th, 2015 at 11:59PM EST.
- The voting round starts on January 28th and ends February 4th, 2015 at 11:59PM EST.
- The winners will be announced on February 5th, 2015.
- Only registered users of the My ArchDaily platform can nominate/vote.
- Anyone can register on the My ArchDaily platform to nominate/vote. To do so, you must follow the registration link and complete the required steps to become a registered user (or use your existing My ArchDaily account).
- To register you must use a valid email address. Votes coming from users without a valid email address will be removed.
- You can only nominate/vote for one building per category.
- Offices and architects are encouraged to promote their works for voting, but no monetary or virtual gift compensation should be offered. You can use the following links:
First stage: Nominations
- Starting January 20th, 2015, registered users will be able to nominate their favorite project for each of the 14 categories included in the Awards. One nomination per category.
- Nomination ends on January 27th, 2015 at 11:59PM EST.
- The five projects with the most nominations for each category will move on to the voting round.
Second stage: Voting
- On January 28th, 2015, we will update the platform with the shortlisted projects and registered users will be able to vote for their favorite project among the finalists.
- Users can vote for one project per category.
- The voting round will end February 4th, 2015 at 11:59PM EST.
- Winners of each category will be announced on ArchDaily’s home page on February 5th, 2015.
- Winners of each category will receive a physical award from ArchDaily, delivered to their offices.
- Of all the 14 winners (one per category), the firm behind the overall most voted project will receive an HP T520 Designjet T520 ePrinter, and the second and third most voted practices will receive an HP T120 Designjet ePrinter. HP will contact the winners after the announcement to coordinate the delivery.
- The 5 finalists and the winners of each category can use the respective title for their own purposes. ArchDaily will provide promotional material.
You could win an iPad
- We will give away two iPad Air 2 and two iPad Mini 3, one each during each stage of the award (16GB, WiFi). Winners can choose color (Space Grey, White, or Gold).
- Every registered user who votes in the first stage of nominations will automatically enter for a chance to win one of the iPad Air 2 or one of the iPad Mini 3; every registered user who votes in the second stage of voting will automatically enter for a chance to win one of the iPad Air 2 or one of the iPad Mini 3.
- If you participated in the first stage, and were the winner of an iPad, you are still eligible to participate in the Second Stage with the possibility of winning another iPad.
- Each time someone uses the share link obtained after your vote, you will get an additional chance to participate in the draw.
- The winners of each iPad will be announced after each round.
- ArchDaily will be responsible for notifying the winners, confirm the color, and shipping the prize to the winners, but won’t cover any additional costs related to local taxes, customs, etc.
- All data the data of registered users will be kept private and will not be shared with 3rd parties.
- After each stage, all nominations/votes will be checked. Votes submitted by fake/invalid registrations will be remove. All attempts to abuse the system, such as creating dummy accounts, suspicious behavior from individual IPs addresses or any other techniques to generate nominations/votes in automated ways will be logged and reviewed for removal.
- ArchDaily reserves the right to analyze the data during every stage of the Awards in order to ensure a fair process.
- All questions should be sent to David Basulto, director of the awards, through our contact form.
With more than half of the world’s population living in cities today, a process that will only accelerate in the near future, the dynamics of large metropolitan areas –especially in the emerging world have– have become an object of study and urban experimentation. India is one of the regions where this process is happening at a fast pace. With a current urbanization rate of 32%, it is expected to grow up to 40% in the next 15 years.
India’s fast-growing economy and accompanying rural-urban migration has led to many environmental issues caused by the explosive growth of slums in metropolitan areas such as Mumbai. Currently the largest human settlement in India, a population of 21 million people makes it one of the top ten most populated urban agglomerations in the world.
During the Moscow Urban Forum we had the chance to talk with Uma Adusumilli, the chief of planning at the Mumbai Metropolitan Region Development Authority (MMRDA), to understand the problems that Indian cities are facing due to this rapid urbanization, and how architecture –even at the smallest scale–can play a crucial role in improving quality of life.
Now that the frenzied holiday season has passed, I’d like to take a moment to recap some of the things that happened at ArchDaily during 2014, and share what will happen in 2015.
Once again we had a great year in terms of traffic, reaching more than 350,000 daily readers, who generated more than 80,000,000 pageviews (projects, drawings, diagrams, etc) per month. This means that we are reaching more architects, all around the world, who are using ArchDaily as their source for inspiration, knowledge, and tools.
We’ve been busy working on our new publishing platform — it’s already working for our local sites Plataforma Arquitectura (soon to be ArchDaily en Español), ArchDaily Brasil and ArchDaily México – along with a new country-specific version for one of the biggest markets in the world (coming soon!). We expect to implement this new platform by Q2 at ArchDaily, which will be much faster, with a better responsive version for mobile devices and tablets. It will also include a faceted search (so that in three easy clicks you can find things as specific as “houses built in stone in Portugal”) and a revamped version of My ArchDaily with lots of new features, firm profiles, and more!
During this past year we also had many changes in our editorial and projects teams. Our editorial side, led by our Executive Editor Becky Quintal, has tackled today’s important stories with a global angle, and also detected issues that are crucial for the future of our profession. During the Venice Biennale we were on the ground covering what has surely been one of the most discussed versions of this important event. For this, we developed a specific sub site with all the news, pavilions, interviews, books, and more. On the other side, the projects team, led by Nico Saieh, implemented a series of new methodologies to track down projects and engage architects from all over the world. With a specific focus on what is happening in emerging countries and regions where innovation is happening in the less is more spirit, they are bringing bringing new ideas for a sustainable future in terms of design to inspire our readers. And once again, our readers will help us highlight and recognize the best buildings in our 2015 Building of the Year Award initiative that launches in the next few days.
ArchDaily Materials, our new materials catalog, was launched in the US to bring more technical content that can help you materialize your ideas, creating a place where architects and manufacturers can connect.
These three areas will see several improvements during the year, both in terms of content and in the technology that makes it a useful resource for you — the architect — in your day-to-day work.
We also gave a series of lectures in the US, China, Mexico, and Colombia (countries where architecture is experiencing exciting times), helping us maintain a broad and diverse point of view to share with you. Definitely one of the highlights was our lecture at the Center for Architecture in New York, where we had the chance to connect directly with our readers and discuss the issues that our cities will need to focus on. See you at the AIA Convention Atlanta 2015!
In our interview section, we’ve had the chance to discuss important issues with a diverse group of architects from all over the world. Our AV team is working hard to edit the interviews in a suitable format for the web and on-the-go.
As you can see we’ve been working hard, and we will continue to do so this year: from better content and a new platform, to e-learning, the new dimension of Oculus Rift, mobile apps, and more! Got feedback or ideas? Leave them in the comment section below so you can help us shape ArchDaily into the tool for the architect.
- David & the team at ArchDaily
Materials will make ArchDaily more useful for you. When you come to our site to browse our projects, and come across certain facades, lighting, or any other kind of detail you admire, Materials allows you to instantly access the makers of those architectural products, so you can incorporate them into your own projects. It’s Inspiration, Materialized.
We wanted to update you now and let you know how Materials has grown over the last five months. Since launching, we’ve added 31 categories that let you easily explore our 286 products. We’ve added a useful link from the product page to the project page – allowing you to see the material applied in all its glory. Following your feedback, we’ve even added construction details and specs to project pages. And we’ve partnered with some amazing manufacturers, including: Hunter Douglas, Equitone, Sherwin Williams, Alucobond, VMZinc, and Big Ass Fans.
Today, we’re happy to report 466,000 pageviews and counting! However, we know we’re still in the early stages yet. Take a moment to explore this inspirational resource by clicking on Materials at the top of the page (between Articles & Interviews), share it with your friends, and let us know how it can be more useful to you!
The ArchDaily Team
Though the professional practice of architecture can be broadly defined, we often just focus on the design work in relation to the completed building, leaving behind other areas in which architects find more opportunities. In this infographic created by OMA in preparation for the Monditalia exhibition at the Venice Biennale, we see how the professional activities are distributed among these sub-areas such as planning, landscape design, interior design and feasibility studies–a relationship which can also allow us to extrapolate the outcomes and products that emerge from these countries.
Click the infographic to get a closer look and browse the projects we’ve published from the represented countries:
With applications closing on the 26th of July, those wishing to apply to the prestigious Strelka Institute in Moscow need to act fast. The Strelka Institute is a non-governmental research institute with a particular focus on the City, using multidisciplinary techniques from fields as varied as sociology, economics, architecture, political and cultural studies. Since 2012, Strelka has been among DOMUS Magazine’s top 100 European Schools of Design and Architecture.
Successful applicants will study at the Strelka institute for free, with each student receiving a monthly scholarship to focus on their studies.
More after the break
“We were sensitive to the way in which society was becoming more consumption-oriented and gave serious thought to how we ought to respond to that change without simply accommodating ourselves to it.” -Toyo Ito
“I was entering a dead world, which would never see the light of the day. I wanted to treat that dead world as if it were alive, or to put it another way, to try to create a different reality.” - Terunobu Fujimori
Under the title of Fundamentals, Koolhaas’ Biennale asked national pavilions to focus on their respective countries’ relationships with modernity, the movement that has, for better or worse, shaped the contemporary city. In the case of Japan, modernity was expressed in a unique way, as architecture was instrumental to the rapid industrialization and growth that the country experienced after World War II. This growth resulted in the first architectural avant-garde outside of the Western world. By the 70s, as this movement reached its peak, local architects, historians, artists and urbanists began to look at modernism in a critical way, questioning its impact.
In “The Real World,” the Japan exhibit at the Biennale, curator Norihito Nakatani unearths how this critical movement expressed itself through Osamu Ishiyama, Toyo Ito, Terunobu Fujimori, and other Japanese masters whose works strove to connect to the human of “the real world” rather than contribute to the failed utopias of modernism. Interviews with this group of architects bring to light the desire that they had to positively impact society, and how they attempted to materialize that desire in their early works. The objects found inside the pavilion articulate the storytelling behind the process, leaving their interpretation open to visitors.
“You’ve got to try to make an impact on the times you live in, and you’ve got to do it through your work, not through words.” – Osamu Ushiyama
“Actual objects continue to possess tremendous energy – much more so than photographs or models.” – Tsutomu Ichiki
More about the “In the Real World” after the break:
By the late 1960s, two dynamics were shaping a new urban reality in Italy: on the one hand, TV was heavily influencing Italian society, becoming an intrinsic part of daily life; on the other, the social tension resulting from student protests and accelerated immigration had begun to impact cities in a chaotic way. These dynamics paved the way for Milano Due, a new town on the outskirts of Milan, which promised a new, idyllic type of urbanism.
The complex, although traditional in appearance with its red pitched roofs, put into practice modern concepts: its 2,600 apartments, which had access to amenities for education and entertainment, were arranged around a giant artificial garden/lake and were connected via an elevated circulation system. Below ground, the complex housed the studios of the first private TV channel in Italy, a fact that would shape the lives of the inhabitants of Milano Due and eventually all of Italian society.
This interesting urban phenomena is analyzed by Andrés Jaque / Office for Political Innovation in “SALES ODDITY: Milano 2 and the Politics of Direct-to-Home TV Urbanism,” a project that was part of the Monditalia section at the Venice Biennale and was awarded the Silver Lion for the Best Research Project. According to the jury “The project presents critically a fundamental aspect of modern societies: how the power of media occupies other social spaces, both physically and politically. It is based on innovative research combining surveys and interviews with planners and residents and re-appropriation of the mass media language. While based on an Italian case, this issue is present in many international contexts dominated by contemporary technological and neo-liberal cultures.”
Dossier, trailer, and more photos of the project by Miguel de Guzmán, after the break:
SALES ODDITY. Milano 2 and the Politics of Direct-to-Home TV Urbanism
by Andrés Jaque / Office for Political Innovation
Helene, who also serves as the Executive Director at The Virginia Museum of Architecture & Design, is the third female president in the history of the AIA. We discussed the challenges currently facing the organization, particularly the issue of diversity in the profession, and Dreiling’s ambitions to lead a cultural sea-change to improve the way the profession is perceived in the US.
Last year I saw Beatriz Colomina present Radical Pedagogies, a research project that she led together with PhD students at Princeton University School of Architecture. Radical Pedagogies focuses on schools and programs from around the world that emerged postwar, strongly tied to social changes of the time. The material produced over three years of seminars, interviews and archive digging shows a compelling story of the ways that “architectural pedagogy” have impacted today’s architecture education.
Invited to the Monditalia section of the Venice Biennale, Radical Pedagogies paints a global picture while focusing on some of the strong Italian influences of these new movements—such as Lina Bo Bardi in Brazil and Aldo Rossi in Argentina—in an interactive exhibit that includes augmented reality content by dpr-barcelona.
The exhibition was awarded a Special Mention, cited by the jury for ”highlight[ing] the emergence of new poles of architectural thinking in the current world and mak[ing] these accessible as a living archive. The research project is part of an ongoing global project that shows that knowledge is produced and develops in a networked way beyond national borders and national identities.”
We wanted to show our readers more about this project, but focusing on the physical armature of the exhibit, a dimension that is often ignored from a technical point of view. That’s why we asked Chilean practice Amunátegui Valdés Architects to share the architectural details of the Radical Pedagogies: Action – Reaction – Interaction exhibit and construction. Read more after the break.
Morocco was heavily influenced by European modernism due to its strategic position in Northern Africa. It was governed as a European protectorate for much of the 20th century, and it was in this region that the modern movement found a place for experimentation; a place where modernist ideals met such particular climate conditions that they evolved a unique regional expression.
The Morocco Pavilion for the 2014 Venice Biennale—their first presence at the event—acknowledges this particular expression aligned with the theme of Absorbing Modernity under the title of Fundamental(ism)s. Curator Tarik Oualalou erected it over a ground of desert sand to create a setting for Morocco’s architecture in the past, entitled Living in the City, and the future, Inhabiting the Desert.
The ceremony will occur outside of the recently re-opened Rijksmuseum. Speakers will include Martha Thorne (Executive Director of the Prize), Eberhard van der Laan (Mayor of Amsterdam), Lord Palumbo (Chairman of the Prize), Tom Pritzker (Preisdent of the Hyatt Foundation), and the 2014 Laureate Shigeru Ban.
Between 1931 and 1981, the Soviet Union exported a prefab concrete panel system for housing – whose development and exportation embodied the ideals of the modern movement – to countries around the world, creating more than 170 million apartments. In 1972, during the socialist government of Salvador Allende, the USSR donated a panel factory to Chile. The Chile KPD (an acronym derived from the Russian words for “large concrete panel”) produced a total of 153 buildings during its operation, before being shut down and forgotten during the military dictatorship.
The full story of the concrete panels produced in Chile had been buried in history, but research conducted by curators Pedro Alonso and Hugo Palmarola for the Chile Pavilion has resurfaced the political, ideological and aesthetic implications of the panel. Monolith Controversies not only shows the technical aspects of a fundamental element of a prefab building system, but also demonstrates how it was connected to an ideology. Upon entering the Chile pavilion, visitors find themselves in the recreation of an interior of one of the apartments. Next they enter the main space, in which one concrete panel found by the curators stands as the representation of how modernity was absorbed in Chile.
In the Absorbing Modernity section of the Biennale, Koolhaas asked curators from all over the world to bring to light the ways modernism developed in their countries. The work done by the Chilean curators in the Monolith Controversies exhibition is one of the best examples of this call, recognized by the jury with the Silver Lion. Read on for the curator’s statement.
Curated by Rem Koolhaas, this year’s Biennale set high expectations in the architecture world, a fact reflected in the massive attendance during the preview. As Koolhaas stated at the awards ceremony, he took on the hard task of reinventing the Biennale, recognizing its influence in how architecture is exhibited around the world.
Under the title “Fundamentals,” Rem rallied this year’s curators to assemble a vast amount of knowledge, bringing to light research that had been hidden, forgotten, scattered, and/or previously unexamined, and making it available to the larger architectural community. This was achieved not only in the form and content of the Biennale, but also in the numerous publications produced by the curators (a practice which closely follows OMA/AMO traditions).
Yet this is actually a double-edged sword; in many pavilions, the density and depth of the content made it hard to understand at first glance. Architecture festivals and exhibitions tend to lean on experiential one-liners, but since “Fundamentals” was so focused on conveying ideas about architecture’s relationship to modernity over the past 100 years, it was a significant challenge to the curators. Many pavilions produced impressive publications, so that all the rich knowledge they unearthed may continue to influence architectural thought long after the Biennale ends in November.
Today, the Korean Peninsula provides a striking example of a post-war polarization: two opposite political and economical systems, constantly presented in contrast/conflict by the global media, that still maintain an intricate, complicated relationship. Architecture’s role in this polarization was instrumental. North Korea sought to represent the aspirations of a new communist nation within a context devastated after the war — a tabula-rasa from which adaptations of modernism could appear. In South Korea, fast economic growth bred a form of modernization that represented the ideals of a globalized world.
These distinct absorptions of modernity, and the relation between the two neighboring nations, are represented in Korea’s Pavilion in an exhibition called Crow’s Eye View, winner of the Gold Lion at the Venice Biennale 2014. The dense exhibition, commissioned and curated by Minsuk Cho together with Hyungmin Pai and Changmo Ahn, used every corner of the pavilion to represent this subject. The curators invited a multidisciplinary group of architects, urbanists, poets, writers, artists, photographers, film-makers, curators and collectors to demonstrate (to best of their availability, since official cooperation with North Korean institutions proved impossible) the architectural intersections and divisions between North and South Korea.
Recognized by the judges as “research in action,” Crow’s Eye View provided an invaluable addition to a discourse which has been predominantly carried by Western-centric narratives. And it is precisely this that, according to rumors, made it Koolhaas’ favorite pavilion.
Israel is a country that was built with modernism as its guide. It flourished in a particular way and resulted in a unique architectural landscape, not only in terms of singular buildings, but also in the way in which the territory itself was planned. Anti-urban in essence, the Sharon Plan from 1951 gave birth to more than 400 new towns scattered across the territory.
This new landscape -a tabula rasa- evolved into a variety of patterns and forms, a landscape that is neither Urban nor Suburban.
“Urburb” is the title of the Israeli exhibit at the 2014 Venice Biennale. Within the pavilion, a constant robotic performance traces the patterns that resulted from the Sharon plan in the sand, only to erase them after a few minutes and then draw them again. It is a performance that makes one think about the future of new settlements and the possibilities of robotic construction.
The exhibition is curated by Ori Scialom, Dr. Roy Brand, Keren Yeala Golan and Edith Kofsky.