With our annual Building of the Year Awards, over 30,000 readers narrowed down over 3,000 projects, selecting just 14 as the best examples of architecture that ArchDaily has published in the past year. The results have been celebrated and widely shared, of course, usually in the form of images of each project. But what is often forgotten in this flurry of image sharing is that every one of these 14 projects has a backstory of significance which adds to our understanding of their architectural quality.
Some of these projects are intelligent responses to pressing social issues, others are twists on a well-established typology. Others still are simply supreme examples of architectural dexterity. In order that we don’t forget the tremendous amount of effort that goes into creating each of these architectural masterpieces, continue reading after the break for the 14 stories that defined this year’s Building of the Year Awards.
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.
Pritzker laureate Shigeru Ban has won an international competition to design the future Tainan Museum of Fine Arts. With an agenda to promote arts culture and tourism in Taiwan’s cultural capital, the museum will foster the research of arts, literature and history, while exhibiting local talent.
Cascading volumes featuring an auditorium, classrooms and exhibition galleries will be capped with a pentagonal roof canopy and softened with lush terraces and landscaping. An outdoor sculpture park and public recreation area will allow the museum’s inner contents to bleed into its surroundings and activate the city.
More images, after the break…
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.
The Architecture of Pompidou Metz: An Excerpt from “The Architecture of Art Museums – A Decade of Design: 2000 – 2010″
In honor of International Museum Day, we’re taking a look back at the 21st century’s most exciting museums. The following is an excerpt from the recently released book, The Architecture of Art Museums – A Decade of Design: 2000 – 2010 (Routledge) by Ronnie Self, a Houston-based architect. Each chapter of the book provides technical, comprehensive coverage of a particular influential art museum. In total, eighteen of the most important art museums of the early twenty-first century - including works from Tadao Ando, Herzog & de Meuron, SANAA, Steven Holl, and many other high-profile architects - are explored. The following is a condensed version of the chapter detailing Shigeru Ban and Jean de Gastines’ 2010 classic, Centre Pompidou-Metz.
The Pompidou Center – Metz was a first experiment in French cultural decentralization. In the late 1990’s, with the prospect of closing Piano and Roger’s building in Paris for renovations, the question arose of how to maintain some of the 60,000 works in the collection of the National Museum of Modern Art available for public viewing. A concept of “hors les murs” or “beyond the walls” was developed to exhibit works in other French cities. The temporary closing of the Pompidou Center – Paris spurred reflections on ways to present the national collection to a wider audience in general. Eventually a second Pompidou Center in another French city was imagined.
This post was originally published in The Architectural Review as “Size Doesn’t Matter: Big Ideas for Small Buildings.“
Taschen’s latest volume draws together the architectural underdogs that, despite their minute, whimsical forms, are setting bold new trends for design.
When economies falter and construction halts, what happens to architecture? Rather than indulgent, personal projects, the need for small and perfectly formed spaces is becoming an economic necessity, pushing designers to go further with less. In their new volume Small: Architecture Now!, Taschen have drawn together the teahouses, cabins, saunas and dollhouses that set the trends for the small, sensitive and sustainable, with designers ranging from Pritzker Laureate Shigeru Ban to emerging young practices.
Last week, Patrik Schumacher, Zaha Hadid’s right-hand man, attempted to mandate the boundaries of Architecture in a social media post worthy of a Millennial. The tone was prescriptive and characterized by a liberal application of caps lock. In an ideal world, it might have been collectively ignored, but the discussion sprawled across multiple Facebook threads and inspired a broad media response (not to mention this one). I offer you a very reductive abstract: Architecture’s contribution to society is form, not political correctness and not art, which lacks a function beyond itself. A fair bit of the ensuing banter on Schumacher’s Facebook wall draws, then erases, then rehashes the distinction between art and architecture. With more than a hint of indignation, he specifically denounces the winners of the 2012 Venice Architecture Biennale. He was not on the roster. Injured dignities aside, the commentary allowed a pervasive and omnipresent question within our discipline to resurface in the digital forum: What do architects offer that no one else can?
Pritzker Laureate Shigeru Ban may be as well known for his innovative use of materials as for his compassionate approach to design. For a little over three decades, Ban, the founder of the Voluntary Architects Network, has applied his extensive knowledge of recyclable materials, particularly paper and cardboard, to constructing high-quality, low-cost shelters for victims of disaster across the world – from Rwanda, to Haiti, to Turkey, Japan, and more. We’ve rounded up images of Ban’s humanitarian work – get inspired after the break.
Explore the architectural development of Pritzker Laureate Shigeru Ban – from his early, more minimalist residential work in the 90s to his experimental, undulating structures (2010′s Pompidou Metz, Nine Bridges Golf Club) to his latest masterpiece in timber construction, Tamedia New Office Building (2013).
Shigeru Ban was pulled from a selection of 238 competitors as the “best person” to design the new Mount Fuji World Heritage Center in the Shizuoka Prefecture of Japan. The 4,300 square meter structure is expected to cost up to ¥2.4 billion and complete in the year 2016. We will keep you posted as more details become available.
In a recent article for the Denver Post, Ray Rinaldi discusses how the box is making a comeback in U.S. museum design. Stating how architecture in the 2000’s was a lot about swoops, curves, and flying birds – see Frank Gehry and Santiago Calatrava - he points out the cool cubes of David Chipperfield and Renzo Piano. We’ve rounded up some of these boxy works just for you: the Clyfford Still Museum, the Kimbell Art Museum Expansion, The St. Louis Art Museum’s East Building, Tod Williams and Billie Tsien’s Barnes Foundation, and Shigeru Ban’s Aspen Art Museum. Each project begins to show how boxes can be strong, secure, and even sly. Check out more about the article here.
Shigeru Ban’s Cardboard Cathedral is officially open to the public, just over two years after the crippling 6.3 magnitude earthquake ravished the New Zealand town of Christchurch. With an expected lifespan of 50 years, the temporary cathedral will serve as a replacement for the city’s iconic 1864 Anglican cathedral – one of Christchurch’s most prized landmarks – until a more permanent structure is built.
Disappointed that most architecture is built for the privileged, rather than society, Shigeru Ban has dedicated much of his career to building affordable, livable and safe emergency shelters for post-disaster areas. As described by TED:
Long before sustainability became a buzzword, architect Shigeru Ban had begun his experiments with ecologically-sound building materials such as cardboard tubes and paper. His remarkable structures are often intended as temporary housing, designed to help the dispossessed in disaster-struck nations such as Haiti, Rwanda, or Japan. Yet equally often the buildings remain a beloved part of the landscape long after they have served their intended purpose.