The Revit Importer converts families and building elements to SketchUp’s native tags and components. It optimizes geometry creating a lightweight and well-organized SketchUp file that is ready-to-use.

The rights to reconstruct Kisho Kurokawa's iconic Nakagin Capsule Tower are currently sold on one of the largest NFT sites. While the tower’s demolition has begun earlier this year, the auction sells the right to rebuild the structure, in both the metaverse and in real space. The idea of recreating the Metabolic building in a virtual space seems natural. It could allow a larger community to explore an iconic piece of architecture and encourage them to experiment with it, an initiative in line with Metabolist ideals. On the other hand, the idea of reconstructing a demolished historical building in the physical world raises a different set of conflicting emotions. Architectural replicas are not the norm, but their existence raises questions regarding the identity and authenticity of works of architecture.

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Frank Lloyd Wright first came up with the concept of the open-plan office in 1906, in the Larkin Building in Buffalo, New York, United States. The innovative nature of this approach, at the beginning of the 20th century, contrasted with the norm of closed offices and probably stunned those who first used it. Fast-forwarding to the 1950s, the concept of an open-plan office –Bürolandschaft or Office landscape– originated in Germany, with the objective of eliminating spatial hierarchy through shared spaces. The architects strategically designed the office layout to improve communication and teamwork, removing solid barriers and replacing rows of desks with work areas that were organized based on functions and workflows, with a mentality aligned with the precepts of the time, especially related to the European post-war reconstruction effort.

Collaboration challenges happen in any construction project; with so many stakeholders and disciplines needing to be heard, agreeing on something and making it happen can be mired in delays, misalignment, and frustration. For architects, one of the greatest challenges involves dealing with inconsistent or lengthy inter-team workflow processes, overburdened staff and worries over litigation risks. It results in duplications, needless delays, and unclear communications, all of which risk the most important asset any architecture firm has: its reputation.

The term "rede" in Portuguese traditionally conveys the idea of an interweaving of wires. In a contemporary context, it takes on a broader meaning related to connection, collaboration, and integration, whether among ideas, people, or processes. Not coincidentally, these are the core principles of Rede Arquitetos, a collaborative architecture studio founded in 2011 in Fortaleza, Ceará, by architects Bruno Perdigão, Epifanio Almeida, Igor Ribeiro, and Bruno Braga. Presently, the team is led by Braga, Luiz Cattony, and João Torquato, with their main approach emphasizing collective work and valuing encounters over the domination of ideas as a strategy for achieving the best solutions.

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Ever since humans first looked up towards the heavens, we’ve wondered what is up there. From 1923 when Edwin Hubble first discovered galaxies beyond our own, our hunger and obsession for knowledge of the cosmos has grown almost as quickly as the universe itself.

As our technology advanced throughout the 20th century, we realized that ‘space’ is, in fact, filled with a huge array of ever more colorful galaxies, gasses, and stars. And the world’s leading product designers were taking note.

Few building materials stand the test of time as well as copper. Unlike other materials that have been replaced over the years –either due to lack of longevity, sustainability issues, or simple aesthetic preferences– copper can continue to be present in a huge variety of applications and its appeal has evolved over the years. Whether in façades and key building elements or in detailing and accessories, it continues to be a solid favorite for architects, designers and the public in general. 

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We live in an increasingly urbanized world. Housing, hospitals, schools, and roads –the foundations of everyday life– require strong, durable materials. The AEC (Architecture, Engineering, and Construction) industry therefore relies heavily on cement, the main component in concrete, to build these elements. Yet for architects, the versatility and resistance of concrete don’t always go hand in hand with sustainability credentials. 

Amid our ongoing battle against climate change, the need for authentic decarbonization strategies has never been more urgent. Professions, companies, and organizations worldwide face mounting pressure to integrate sustainable practices into their operations, particularly in response to recent climate challenges. The realm of architecture and urban planning is no exception. Phrases such as "sustainable architecture" and "green architecture" have gained widespread popularity, accompanied by various certifications, products, and advertising, all promising transformative advancements in the field that should align with our global aspirations for a sustainable future.

However, amidst this growing environmental awareness, another phenomenon has emerged: greenwashing. It refers to practices adopted by various sectors, especially those related to marketing strategies that present initiatives that convey a false impression or provide misleading information about how a company's products or projects are more environmentally friendly than they are when analyzed from a more critical and careful perspective.

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Brick beams have been widely used in construction due to their strength, durability, and aesthetic appeal. By embedding steel reinforcing bars into a series of bricks arranged in a specific pattern, these elements form horizontal load-bearing structures that distribute the weight and forces that act on a building. However, it is difficult to find brick beams with excessively large spans, in order to avoid long-term structural problems. Instead, they mostly come in the form of simple lintels, which can be easier to handle.

With a length of 16.2 meters and an impressive clear span of 15.8 meters, CEBRA architects have collaborated with the Randers Tegl group, the largest brick supplier in Scandinavia, to complete the construction of probably the longest brick beam to date. This exterior beam is accompanied by a 13-meter-span interior "sister" beam and is located above the main entrance to the Danish Crown's new headquarters in Randers, Denmark, extending freely between two of the building's wings. The longest beam is made up of almost 4,200 bricks – its height is made up of 25 rows of bricks, equivalent to 1.6 meters, and its edge consists of 4 bricks.

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In 1945, the declaration of the end of World War II brought a wave of euphoria to the streets, and optimism permeated the atmosphere with the promise of brighter days. Inspired by this newfound hope, the United Nations Organization (UN) was established in the same year. The vibrant city of New York was chosen as the headquarters location, and an international team of carefully selected and invited architects was tasked with conceiving the project.

For this ambitious and truly international project, eleven renowned architects were brought together from various corners of the world. These architects, often known for their inflated egos, a common trait in their profession, were accustomed to exercising full control over their architectural designs and even their respective countries. They had to coexist in the same space and collaborate on a single project. The successful collaboration on this project would be a compelling demonstration of the possibility of achieving world peace.

This article was originally published on Common Edge.

It has been a bull market for downbeat urban reporting since the pandemic arrived in town. And it isn’t hard to see why. In 2020, central U.S. cities went from “comeback” success stories to ghost towns; transit lost nearly all ridership; tens of thousands of stores and restaurants shuttered; and many of the affluent decamped to the suburbs and distant Zoom towns. 

For an industry that contributes 6 per cent to the global GDP, the fainting voice of the Architecture, Engineering and Construction (AEC) industry is something to ponder. The global AEC market was reported at USD 8.9 billion in 2022 and is anticipated to reach USD 16.5 billion by 2030. However, pessimism is rampant across the industry. Professionals oblivious of their options and the industry's trajectory are in a vicious cycle where the lack of access to awareness and opportunities limits their growth. While statistics forecast an optimistic prophecy, there’s a flip side to it.

Home is not just a physical structure defined by its materials and spatial characteristics. It is the result of everyday habits, routines, and fond memories blending into the very essence of the place through its walls, textures, and aromas. This is why a true home cannot be instantly created; it demands time, and a sense of continuity, as it reflects the ongoing adaptation of both the family and the individual within that space.

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With the high population density of cities and voracious appetite of the market for every square meter, it is not uncommon for urban vegetation to be forgotten. For this reason, forests, vegetable gardens, and vertical gardens have aroused much interest and figured into a variety of different innovative proposals. Using the vertical plane to maintain plants in an urban setting is a coherent and common-sense solution, especially when there is little possibility of bringing green to the level of the people on the streets.

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This article is the sixth in a series focusing on the Architecture of the Metaverse. ArchDaily has collaborated with John Marx, AIA, the founding design principal and Chief Artistic Officer of Form4 Architecture, to bring you monthly articles that seek to define the Metaverse, convey the potential of this new realm as well as understand its constraints.

Artificial Intelligence is at the genesis of creating fundamental changes in the way we design and construct buildings and cities. Some of these changes will be abrupt and disruptive to normative practice.  Others will take more time to feel the effect of this new technology, but the change will be pervasive.  When combined with the Metaverse, AI will also offer vast opportunities for the profession to expand and grow.  The kinds of spaces and environments we design in the Metaverse will be, in some aspects, very different from what we currently design in the physical world alone. AI evolves every day, and we are compelled to learn while we innovate. AI has proven it is a powerful tool to assist designers and offers the potential to challenge us to alter our design process. Combining AI with narrative design is one of those challenges.

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The city of Mendoza, Argentina, hosted the international event known as the "Feria de América," an industrial and continental exhibition that took place from January to April 1954. To provide a suitable setting for the exhibition, 30 hectares of land were allocated around the perimeter of Lake Parque General San Martín. Here, 93 pavilions and nearly 20 facilities were set up, including the Allegorical Tower, an open-air theater, and bars. The American countries represented with their own pavilions were Brazil, Chile, Ecuador, and Paraguay. There was also a large pavilion that housed various Latin American countries such as Colombia, Cuba, Bolivia, El Salvador, Honduras, and Mexico, along with stands for Chilean and local Mendoza-based companies and provincial pavilions for Mendoza, San Juan, Misiones, La Rioja, Eva Perón (now La Pampa), Juan Domingo Perón (now Chaco), Córdoba, Corrientes, Santa Fe, Tucumán, and Buenos Aires. Additionally, there were stands and premises for various trade chambers (Quiroga, 2012). The fair embodied the government's aspiration to showcase a thriving, prosperous Argentina that was connected to regional countries and at the forefront of industrial development.