Five European projects have been selected as finalists for the 2017 EU Prize for Contemporary Architecture - Mies van der Rohe Award. Chosen from a shortlist of 40 projects, the five finalists were lauded by the jury for their ability to “respond to the concerns of today’s European society.”

“Our instincts could be summed up by the words of Peter Smithson: ‘things need to be ordinary and heroic at the same time,’” said Jury Chairman Stephen Bates. “We were looking for an ordinariness whose understated lyricism is full of potential’.”

Through April, the jury members will visit each finalist project to evaluate the buildings firsthand and to see how they are used by the public. The Prize Winner will be announced in Brussels on May 16.

The five finalists are:

This article was originally published by Metropolis Magazine as "Studio Fuksas' Controversial (Yet Striking) Convention Center Opens At Last."

Despite its evocatively fluffy name, “The Cloud” (Nuvola in Italian) has been one of the most seriously discussed and debated architectural projects in Italy in the last decade. Even after its opening in October 2016, the building continues to generate controversy over its cost (an estimated €353 million, or $390 million) and the delays its construction incurred.

The EUR Convention Center, as it’s officially known, is the largest new building to be built in Rome in more than 50 years—a flicker in time for the Eternal City, perhaps, but not an inconsiderable span either. The design was hatched by Massimiliano and Doriana Fuksas in 1998, but it languished on the drawing boards for nearly two decades after that. In that time the city elected five different mayors and had three temporary commissioners. It also weathered a number of corruption scandals.

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Videos

This is a story about a girl..... her red tricycle, and of a beautiful house. Inspired by “The Shining” from Stanley Kubrick.

In this film, by architects Spaceworkers and produced by Building Pictures, of Cabo de Vila House instead of using the tricycle and the space to install a sense of madness, the idea of the project is to show that the house has no barriers between the different spaces. The house is set up as an organic geometry that establishes hierarchies between spaces allowing mutual visual contact. What better way to show this than to follow a young girl as she travels through the house on her tricycle.

Check out the full video and more about the project after the break. 

If there was ever a time when the world needed a bit of extra love, that time is now. And even though Valentine's Day is a celebration of romantic love, we know these uplifting messages of affection will resonate with peers, friends, and family members, alike.

ArchDaily's mission is to improve the quality of life of the world's inhabitants by publishing content for architects, designers, and decision-makers. We also realize how important tolerance, acceptance, and love are to the process of building a better world. So, from us to you, and from your fellow readers to the world, may you feel a wealth of love on this Valentine's Day.

Gif submitted by Vilma Picari

In the latest video from architecture vlogging favorites #donotsettle, the infectiously energetic duo of Wahyu Pratomo and Kris Provoost team up to take us inside Herzog & de Meuron's newly-completed Elphilharmonie in Hamburg. Filmed during the music venue's "family day," part of its three-week-long opening festival, #donotsettle gives us an engaging look into the building's many spaces—cleverly accompanied by an annotated cross-section of the building which allows us to track their progress through the project's labyrinthine interior.

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This article was originally published on Metropolis Magazine as "New Retrospective Glimpses the Man Behind the Maison de Verre."

Pierre Chareau was an architect whose buildings have almost all been demolished; an interior designer whose designs have all been remodeled; and a film set designer whose films you cannot see. These are not the most auspicious circumstances on which to mount a retrospective, but an ongoing exhibition at the Jewish Museum, imaginatively designed by Diller Scofidio + Renfro (DS+R), attempts it nonetheless.

Chareau, who is best known for his one surviving building, the Maison de Verre in Paris, defies neat classification. Without any sort of architectural training, he worked briefly as a furniture designer for a British firm then struck out on his own, creating an idiosyncratic corpus of furniture, interior designs for life and cinema, and even several homes.

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As the remnants of an empire that once covered almost the entire area from Greece to China, Iran is full of historic wonders. Due to the country's current political situation, it is not exactly a top tourist destination and as such many of these wonders are kept a secret from the rest of the world. As with any historical building, the ten sites listed below each contain a rich history within their spaces. However, Iran’s history is exceptionally complex, layered with dynasties and rulers whose influence extended way beyond modern-day Iran. These sites, therefore, are physical memories of the rich culture that underpins Iranian people today, despite the radical change in the country’s political sphere after the 1979 Revolution. Sacred sites for the Zoroastrians, for example, are still visited and remembered, despite the restrictions placed upon them by the Iranian government. The essences of these sites provide opportunities to learn about and empathize with the history of Iran, beyond what we hear in the news.

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The Americans with Disabilities Act (ADA), passed in 1990, had sweeping consequences for all persons with disabilities as well as all those in the building and construction industries, especially architects. In 2015, its 25th anniversary was commemorated with special events in cities and states across the USA.

Yet despite the ADA’s widespread impact on the built environment, few schools of architecture have full-time design studio faculty with disabilities to teach their students about accessibility first-hand. I am most fortunate to teach at one of those schools and to have had Carl Lewis as a longtime colleague at the University of Illinois at Urbana-Champaign. We have known each other ever since he first enrolled in my graduate seminar, and our friendship spans well over a quarter century, just like the ADA.

The milestone anniversary of the ADA, my ongoing research on diversity, personal experiences with family members with disabilities, and numerous occasions reviewing students’ design studio projects alongside Carl prompted me to interview him and to share his expertise with ArchDaily readers.

With two weeks of nominations and voting now complete, we are happy to present the winners of the 2017 ArchDaily Building of the Year Awards. As a peer-based, crowdsourced architecture award, these winners were chosen by the collective intelligence of over 75,000 votes from ArchDaily readers around the world, filtering over 3,000 projects down to the 16 best works featured on ArchDaily in 2016.

The winners, as always, include a diversity of architectural output from around the globe. Alongside high-profile, perhaps even predictable winners—who would have bet against BIG's first completed project in New York or Herzog & de Meuron's long-awaited philharmonic hall in Hamburg?—are more niche and surprise winners, from Nicolás Campodonico's off-grid chapel in Argentina to ARCHSTUDIO's organic food factory in China. The list also features some returning favorites such as spaceworkers, whose Casa Cabo de Vila brings them their second win in the housing category, repeating their success from 2015.

In being published on ArchDaily, these 16 exemplary buildings have helped us to continue our mission, bringing inspiration, knowledge, and tools to architects around the world. This award wouldn't be possible without the hundreds of firms that choose to publish their projects with ArchDaily every year, or without those who take part in the voting process to become part of our thousands-strong awards jury. To everyone who took part—either by submitting a project in the past year, or by nominating and voting for candidates in the past weeks—thank you for giving strength to this award. And of course, congratulations to all the winners!

Read on to see the full list of winning projects.

This article was originally published by Autodesk's Redshift publication as "5 Ways to Design Solar Architecture Beautifully—Not as an Ugly Afterthought."

No one puts solar panels on their house because they’re sexy—at least, not yet.

Jon Gardzelewski, an architect and associate lecturer at the University of Wyoming in the Building Energy Research Group (UW-BERG), wants to change that. He believes the fact that solar panels are usually an afterthought to the design of a building is a big barrier to integrating them into a critical mass of houses and buildings.

Yesterday evening, in a ceremony at the National Building Museum in Washington DC, Blank Space announced the winners of their annual Fairy Tales competition. Representing the best the architectural imagination has to offer were 4 winners and 10 honorable mentions, selected by a jury of high-profile judges including Dan Wood, Michel Rojkind, Marion Weiss, and Stefano Boeri, among many more.

“The winning entries in this year’s competition include oblique references to current events, mundane daily activities and human emotions that we all easily relate to—they make visible how we shape space, and in turn, how space shapes us,” said Executive Director of the National Building Museum and jury member Chase W Rynd. “The images and narratives are so wildly outlandish, and yet, so grounded that it seems like we could mistakenly stumble into any of them.”

The winning entry this year went to Mykhailo Ponomarenko, a Ukrainian architect whose sci-fi landscapes and painterly presentation provide the backdrop for a surprisingly relatable tale. Read on to find out more about this Fairy Tale, as well as the remaining 3 winners and 10 honorable mentions.

Our modern day, image-obsessed culture has got us consuming a large quantity of architecture through photographs, as opposed to physical, spatial experiences. The advantages of architectural photography are great; it allows people to obtain a visual understanding of buildings they may never get the opportunity to visit in their lifetime, creating a valuable resource that allows us to expand our architectural vocabulary. However, one must stay critical towards the disadvantages of photography when it comes to architecture. Jeremy Till, author of “Architecture Depends,” summarizes this in his chapter “Out Of Time”: “The photograph allows us to forget what has come before (the pain of extended labor to achieve the delivery of the fully formed building) and what is to come after (the affront of time as dirt, users, change, and weather move in). It freezes time or, rather, freezes out time. Architectural photography ‘lifts the building out of time, out of breath,’ and in this provides solace for architects who can dream for a moment that architecture is a stable power existing over and above the tides of time.”

The following tips aim to not only improve the visual strength of your architectural photography, but also the stories that they can tell—going beyond the individual images in order to communicate buildings’ relationships with their contexts, space and time.

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In the 1960s James Stirling asked Ludwig Mies van der Rohe why he didn’t design utopian visions for new societies, like those of Frank Lloyd Wright’s Broadacre City or Corbusier’s Cité Radieuse. Mies replied that he wasn’t interested in fantasies, but only in “making the existing city beautiful.” When Stirling recounted the conversation several decades later it was to the audience of a public enquiry convened in London – he was desperately trying to save Mies’ only UK design from being rejected in planning.

It couldn’t be done: the scheme went unbuilt; the drawings were buried in a private archive. Now, for the first time in more than thirty years, Mies’ Mansion House Square will be presented to the public in both a forthcoming exhibition at the Royal Institute of British Architects (RIBA)—Mies van der Rohe and James Stirling: Circling the Square—and, if it is successful, a book currently being funded through Kickstarter by the REAL foundation.

You've seen the floor plans of famous TV homes, but this fun new endeavor from Drawbotics is something a little different. With detailed 3D models of offices from Parks and Recreation, Suits, Brooklyn Nine-Nine, Mad Men, The IT Crowd, Silicon Valley, and, yes, The Office, the marketing agency provides a new level of familiarity with the sets of these cult workplace TV shows. Take a break from your own office and check out each model after the break.

In 2013 former Los Angeles Magazine architecture critic Greg Goldin and journalist Sam Lubell co-wrote and co-curated Never Built Los Angeles. The acclaimed book and accompanying exhibit at the Architecture and Design Museum of LA celebrated hundreds of projects that never quite reached fruition. Following its success, the duo published a second installment: Never Built New York. Having just sold out of its first pressing, the book has garnered similar praise as its predecessor. Goldin and Lubell are currently planning an accompanying exhibit at New York’s Queens Museum that will debut this fall. Fresh off their NYC book tour, I sat down with Mr. Goldin to discuss his latest book and the future of Never Built.

Thomas Musca: You’ve been able to snag two high-profile architects to write the foreword for each book: Thom Mayne for Never Built LA and Daniel Libeskind for Never Built NY. Why do you think they’re so willing to help? Why are they so interested in the unbuilt?

Greg Goldin: I think architects feel that a lot of the work they do is the stuff that we would describe as "on paper." It’s not something that got realized. So, I think that there’s a natural sympathy for this subject matter in general. We didn’t have to convince anyone: "Oh, overcome your worst fears, you’re going to be included in this book that is consigning you to the dung heap of history." I don’t think anybody ever felt that way. I think that they feel like these are things that they don’t want to see just disappear into the archives. There’s a sympathy that already exists. Sam and I knew Thom Mayne and we thought Thom would be good for this and he just said yes. The same is true with Daniel Libeskind. Our editor, Diana Murphy, is friends with him. We felt fortunate because he has an amazingly positive attitude for a guy who’s been batted about by how things work in the real world of trying to get stuff built. You can have the dream project, Freedom Tower, and get ground down by it. But Daniel, bless his heart, is kind of upbeat about the whole thing, and that comes across in what he had to say in the foreword.

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This article was originally published by Metropolis Magazine as part of their 2017 Game Changers issue. You can read about all of their 2017 Game Changers here.

I meet architect and educator Ralph Knowles on an unseasonably warm autumn day, even for Southern California. He greets me in shirtsleeves (his shirt is a tropical pattern of vines and branches) and leads me to a seat on the balcony of his condo. The building—a retirement community—is fairly new, but mature oak trees line the quiet street. As we talk about his career, the California oaks form a poignant backdrop. For more than five decades, Knowles, 88, has argued for an architecture that hews closely to nature’s forces and rhythms.

Update: Paulo Mendes da Rocha was today awarded the RIBA Royal Gold Medal at a ceremony at the RIBA headquarters in London. The article below was originally published when the award was announced on September 29, 2016.

The Royal Institute of British Architects (RIBA) has awarded its 2017 Royal Gold Medal to Paulo Mendes da Rocha. The 87-year-old is among Brazil's most celebrated architects, known for his special brand of Brazilian Brutalism which has had a dramatic effect in his home country, particularly in the city of São Paulo. The award continues a spectacularly successful year for Mendes da Rocha, who won the Golden Lion for Lifetime Achievement at the 2016 Venice Architecture Biennale in May, and was announced the 2016 Premium Imperiale Laureate just weeks ago. Mendes da Rocha has also previously received the Pritzker Prize in 2006 and the Mies van der Rohe Prize for his Pinacoteca de São Paulo project in 2000.

Mendes da Rocha becomes the second Brazilian to win the RIBA's Gold Medal, after Oscar Niemeyer received the award in 1998. He joins other luminaries such as Zaha Hadid (2016), Frank Gehry (2000), Norman Foster (1983), and Frank Lloyd Wright (1941).

Flagship stores excite both fashion shoppers and designers alike due to their role as visionary laboratories for the latest trends and stimulating retail experiences. Architects have developed various ways to dress haute couture stores, from distinctive icons in the day to seductive night-time images. The images accompanying this article, created by the Portuguese architect and illustrator André Chiote, help to explore the graphic potential of famous brands like Dior, Prada and Tod's. The illustrations clearly reveal the various techniques of playing with diaphanous layers, intimate views inside or the contrast of light and shadow.