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In a constant search to find new ways to reduce costs and construction times, modular architecture emerges as an opportunity to implement various methods, technologies, and techniques to design livable spaces using separate repetitive elements such as modules. As Tom Hardiman, executive director of the Modular Building Institute (MBI), maintains, "Modular" is not about a construction product but rather a construction process.
Many ancient Egyptian, Greek and Islamic religious buildings share a common feature known as hypostyle. Defined as rows of columns that support a roof, this solution has developed in different cultures in different periods of time, which can explain the variety of materials, shapes, sizes and distances between the columns that can be found around the world. Famous examples of the use of this concept are Great Hypostyle Hall (c. 1290–1224 BC), part of the Karnak Temple Complex and one of the most visited monuments of Ancient Egypt, and the Wooden Hypostyle Mosques of Medieval Anatolia (c. 13th and mid-14th centuries), World Heritage Site located in present-day Turkey.
In contemporary architecture, it is possible to see different kinds of examples of how this concept is revived. While some projects use the concept to refer to vernacular architectures that correspond to the same program and use as the proposed building, as is the case with some mosques, others rely on the abstraction of the term through an interpretation that highlights the pillars and their organization in the proposition of the space. In all of them, however, it is clear that the relationship between the hypostyle inspiration and modular architecture is very close, practically intrinsic.
Marble held profound significance in Greek and Roman architecture due to its abundance, luminous surfaces, and subtle veining. Its durability ensured structures' longevity, while its cultural symbolism of purity and divine favor made it ideal for temples, theaters, and amphitheaters. As a symbol of perfection, marble facilitated intricate craftsmanship for decorative elements, inspiring architectural marvels and exquisite art, leaving a legacy of sophistication and refinement.
Today, marble remains a symbol of excellence and refinement, prevalent in contemporary architecture and art. Its timeless beauty and durability continue to captivate clients and designers alike. In sculptures, furniture, and decorative pieces, marble's natural elegance elevates any environment. Companies like antoniolupi integrate marble into their designs, combining creativity and meticulous craftsmanship to redefine the possibilities of this natural stone in innovative projects. The Italian company—a leading designer and manufacturer of high-end products—has ventured beyond conventional boundariesin a quest for innovation, embarking on projects that redefine the possibilities of this naturalstone.
Powerhouse Company, together with Studio Donna van Milligen Bielke & Ard de Vries Architecten, Team V Architecture, Joppe Kusters, and DELVA Landscape Architecture | Urbanism, has won the competition to design a creative urban district in Havenstraat, a well-known fringe area in Amsterdam. Set in a location defined by disused industrial remnants, historic trams, and informal greenery, the area shows its potential in offering space for experimentation, opening itself to local businesses, creatives, and makers to refine its character.
The recently released “Abijo Mosque Documentary” explores the journey of designing and building the Abijo Mosque in Lagos, Nigeria. The documentary provides a detailed narrative of the design process and the cultural context around the new structure. Designed by Patrickwaheed Design Consultancy (PWDC), the mosque is a testament to the integration of traditional materials and contemporary architecture. The Abijo Mosque design also helps “build the case for a Nigerian architectural language.”
Safdie Architects has officially opened the new campus headquarters for Surbana Jurong, Singapore’s leading architecture, urban design, and infrastructure firm. The project expands Safdie Architects’ vision of 'for everyone a garden' into the workplace with a design that draws on the tranquility of the site’s previously undeveloped natural setting to foster shared moments of engagement and creativity. Achieving Green Mark (Super Low Energy) certification, the campus is the flagship development of the emerging Jurong Innovation District, envisioned as the first business park set in a tropical rainforest.
The development marks Safdie Architects' sixth project in Singapore and enhances the firm's prominent built portfolio in the city-state, which already includes Marina Bay Sands, Sky Habitat, and the Jewel at Changi Airport. On the occasion of the opening, ArchDaily spoke to Charu Kokate, Partner at Safdie Architects, who leads efforts in the Singapore region, about the firm's unique development footprint and building philosophy.
Long celebrated as havens of relaxation and luxury, resorts offer guests an escape from the mundanity of daily life. These sanctuaries seek to offer lavish accommodations, scenic locations, and comprehensive experiences. From sun-drenched beaches to mountain retreats, or secluded spots in the wilderness, resorts can take a variety of forms, each offering a unique experience. The history of architects designing resorts is intertwined with the development of the hospitality industry and the concept of leisure travel. In the realm of architecture, resorts allow designers to meld functionality with luxury living, creating spaces that offer experiences beyond just residences.
The Multifunctional complex “Next Collection” in Georgia by SPECTRUM Architecture illustrates this by adopting organic forms that blend into the seaside, while “Ethereal Mountains” by the Maden Group in Albania seeks to foster youth engagement in a breathtaking landscape. In Indonesia, the Villa complex “Olympus” by Geometrium Studio presents a unique structural concept where each villa’s roof acts as the terrace for the one above, echoing the rice fields of Bali. In this week’s curated selection of unbuilt resorts, submitted by the ArchDaily community, these themes are explored in different settings and design conditions.
This article was originally published on Common Edge.
Traditional architecture is perceived as being historical architecture, both by the general public and by design professionals. Put another way, “traditional” = “style.” There’s no awareness of the process of tradition that creates what’s later considered a style. Modernism takes this perception one step further and frames traditional architecture as “not of our time,” and therefore obsolete.
