It is often said that architecture only makes projects more expensive; that architects only add a series of arbitrary and capricious complexities that could be avoided to lower costs, suggesting that the project could function exactly the same without them. Is this true in all cases? Although they may be more profitable economically, human beings don't seem to be happy inhabiting cold concrete boxes without receiving sunlight or a breeze every now and then, or in an unsafe neighborhood where there's no possibility to meet your friends and family outdoors. Quality in architecture is a value that sooner or later will deliver something in return.

Balance is key, and a good design will never be complete if it's not economically efficient. How do we achieve this ideal? We reviewed the design process for 'The Iceberg' in Aarhus, Denmark, a project that managed to convince the authorities and investors by proposing a high-impact and tight-budget design, which seeks to respond to the objective of guaranteeing the quality of life of its users and their neighbors.

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This project, by Spanish architects Longo + Roldán, turned out to be a great solution for an unused space that was unexpectedly getting a lot of attention in the interior of a quarry.

Instead of building new buildings or remodeling existing cabins they designed an intricate metal lattice structure that forms a web of planters of different depths, containing various species of plants. This solution not only revitalizes the space but also protects existing buildings from the sun, improving their thermal conditions.

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One of the hallmarks of architectural sensibility is a clean, clutter-free space – "a place for everything and everything in its place." Every project requires some element where things can be neatly stored away, whether it be books, kitchen appliances, or entire furniture pieces. Solutions for these storage needs can range from invisible and out of the way, to stunning, textural centerpieces – either way adding necessary functionality to our most-used spaces.

Check out this selection of ten brilliant storage spaces.

We would like to take a second to focus on the wonderful, yet often overlooked, inner courtyard. The inner courtyard is essentially a "contained outside space" made up of transparent walls, and a well thought-out drainage system is a must. Other elements such as furnishings, decks, vegetation, stairs, water are then added, complicating the space created. The inner courtyard also plays a role in the building's layout; in most cases it functions as the central point from which the other rooms and functions of the project are organized, giving them air and light when the façade openings are not enough.

Here is our selection of 13 stunning inner courtyards of houses and buildings that we have previously published on our site.

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A huge cathedral with tall towers and a magnificent dome rises slowly in the municipality of Mejorada del Campo, 20 kilometers from Madrid. It seems like a common occurrence, but it is not. The building has been under construction for 50 years - brick by brick - by one man: Justo Gallego Martínez, farmer, ex-monk and a self-taught architect of 91 years of age.

Learn about his life's work (literally) after the break.

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Developed by the architects of the "think-act tank" Archquid, in connection with the indigenous community and other institutions of the parish of San Rafael de la Laguna (Otavalo, Ecuador), this project revolves around the material research of the totora plant, a subspecies of the giant bulrush sedge. The Totora Cube project deepens the understanding of the art and craft with which these fibers have been used since pre-Inca times.

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With the aim of creating a new civic experience at a central point in the city of Aarhus, Denmark, the 'Next Level' project by Schmidt Hammer Lassen Architects expands the interior capacity of the ARoS Art Museum through a 1,200 square meter subterranean gallery and a huge semi-subterranean dome. The €40 million expansion plan was born from a collaboration with renowned American artist James Turrell, generating a unique experience of color and light.

The horizontal underground space will extend 120 meters below the surface, allowing the visitors to pass through a string of galleries and exhibition spaces before arriving at the Dome. "With its 40 meter diameter, the Dome will form one of the most spectacular spaces ever built into an art museum," explain the architects.

Using concrete and bricks made of raw mud, architects Solanito Benitez, Solano Benitez, Gloria Cabral, Maria Rovea and Ricardo Sargiotti built a wall able to be constructed by the two materials working in tandem. Once the concrete dries, the bricks are washed away, returning the mud back to its natural state, leaving spaces in the lines of concrete, like a kind of negative.

This artistic intervention arose from an invitation to participate in an art exhibition in Unquillo MUVA, Cordoba, Argentina from April 11 to May 3, 2014.

More information and images below.

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For several decades, a set of oriental practices and techniques have strongly infiltrated the western world. A new program that, as architects, we must start solving more often, and that poses interesting challenges from the point of functional, environmental, and aesthetic.

These disciplines are completely focused on the human being, as they seek to work and satisfy their physical, psychological and spiritual needs, and that's why it seems important to analyze how these needs are being met spatially by architects. Many of the operations taken in these spaces create enabling environments for reflection, introspection, healing, and therefore could also be applied in other relevant programs, such as housing, educational, hospital, and even office spaces.

This article seeks to draw lessons from some projects already published on our site, in order to perform a kind of guide for designs that helps our community of readers to find inspiration more effectively.

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Thanks to the invitation we received from the team at The Architecture Project, we had the opportunity to travel to the city of Aarhus, Denmark, and meet with Kazuyo Sejima during the Aarhus School of Architecture conference in August 2016.

Winner of the 2010 Pritzker Prize and founder of SANAA (Sejima + Nishizawa and Associates), Japanese architect Kazuyo Sejima talks to us about the importance of white in their designs, with the intention of bringing and diffusing natural light to all the spaces. Sejima also describes how their buildings are able to integrate and bring people together through open spaces that connect, in an almost extreme way, the interiors and exteriors.

With a short career of only thirteen years, Italian architect Giuseppe Terragni (1904-1943) left an important legacy of built works that are now used as classic references of modern and rationalist architecture.

We traveled to Como and Milan to visit Terragni's emblematic works that clearly reflect his style. These projects are based on the organized configuration of architectural elements that individually appear clean, pure, and expressive, but together also form a harmonious whole.

These are: Novocomum, Casa Rustici, Asilo Sant'Elia, Casa Giuliani Frigerio and Casa Lavezzari. 

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Japanese architect and 2014 Pritzker Prize winner Shigeru Ban will visit Ecuador on April 30 to help with disaster relief following the recent earthquake, according to a press release from the College of Ecuadorian Architects – Pichincha Province (CAE Pichincha). Known for bringing innovative and high quality design to the people that need it the most, Ban has developed successful responses to disasters in Asia, Africa, Europe and Central America.

In 2011, after the partial collapse of the Matrera Castle in Cádiz, Spain (dating back to the 9th century) the city decided to restore the remaining tower, with the aim of preventing its collapse and protecting the few elements that were still standing.

The challenge fell into the hands of Spanish architect Carlos Quevedo Rojas, whose design received the approval of the Regional Government of Andalucía, in compliance with the Historical Heritage law 13/2007, which prohibits mimetic reconstructions and requires the use of materials that are distinct from the originals.

In the words of the architect: “This intervention sought to achieve three basic objectives: to structurally consolidate the elements that were at risk; to differentiate the additions from the original structure (avoiding the mimetic reconstructions that our law prohibits) and to recover the volume, texture and tonality that the tower originally had. The essence of the project is not intended to be, therefore, an image of the future, but rather a reflection of its own past, its own origin.”

The polemical restoration has provoked a broad international discussion about heritage restoration, and the Izquierda Unida group has said it will bring the case to the Andalusian Parliament’s Culture committee to see if the restoration was the result expected by the Ministry of Culture. On the other hand, while the building had previously received only sporadic visits, it has now become a new tourist attraction in the area.

Why has a restoration based on the anastylosis technique – which exists around the world – caused so much controversy? It is it really a “heritage massacre” as the media has said? Do you think it could have been carried out in a better way?

Join the debate and leave your comments after the break.

With the goal of harnessing and exploring the benefits of clay as a raw material, which is characteristic of Colombia's Cúcuta region, Architects Miguel Niño and Johanna Navarro created Sumart Diseño y Arquitectura SAS, a studio that designs and develops sustainable architectural solutions.

One of their most successful projects is the Bloque Termodisipador BT, a ceramic block designed with an irregular cross section that allows ventilation to pass through the brick, reducing the amount of heat that enters the interior of the building.

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