This article was originally published on Common Edge as "Making a Case for the Renaissance of Traditional African Architecture."

Last September, Nigerian Afrobeat musician Wizkid played to a sold-out house at the Royal Albert Hall in London, joining a growing list of illustrious African musicians, such as Selif Kaita, Youssou Ndour, Miriam Makeba and others, that have performed at that prestigious venue. This event affirmed the unfolding cultural renaissance across the continent, but it also signified the rising global influence of African music, movies, fashion, cuisine and the arts.

Sadly, traditional African architecture, especially in Sub-Saharan Africa, has not profited from this renaissance and has instead steadily lost its appeal across the continent. In spite of its towering influence in the pre-colonial era, it has largely failed to develop beyond the crude earthen walls and thatch roof architecture; for this reason it has remained unattractive to homeowners who often associate it with poverty. Consequently, the neglect of indigenous architecture has resulted in the dearth of skilled craftsmen knowledgeable in the art of traditional building, a reality that has further dimmed hopes for a revival of this architectural style.

The history of Slovakia is riddled with political unrest and unwanted occupation, with the Slovak people having repeatedly been denied a voice throughout history. In the years following World War I, Slovakia was forced into the common state of Czechoslovakia; the territory was dismembered by the Nazi regime in 1938 and occupied by the Nazis for most of the Second World War, before being eventually liberated by Soviet and Romanian forces in 1945. Over the next four decades of communist rule—first by communists within Czechoslovakia itself and then later by the Soviet Union—the architecture of Slovakia came to develop into a unique form of sci-fi postmodernism that celebrated the shift in industrial influence at the time.

Photographer Stefano Perego has documented the Slovakian architecture from the 1960s–80s and has shared some of his photos with ArchDaily.

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#donotsettle is an online video project created by Wahyu Pratomo and Kris Provoost about architecture and the way it is perceived by users. They visit buildings, make videos and write extended stories in their exclusive column on ArchDaily, #donotsettle Extra.

Yes, that library. The images of the Tianjin Binhai Library have appeared everywhere, from architecture blogs and news broadcasts to going completely viral on social media. We had to go see it and show you what the space is really like. So, we teamed up with MVRDV who sent us to Tianjin to see it up close.

Tianjin Binhai Library, designed by MVRDV, is part of the bigger master plan for the new Binhai Cultural Center (masterplanned by Germany’s GMP). The building has seen phenomenal success on social media reaching all corners of the world. Since the opening, the number of visitors has been constantly increasing, with many of them coming from way beyond Tianjin. It is a library as destination point, redefined.

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This article was originally published by Common Edge as "What We Talk About When We Don’t Talk About Buildings."

One of the last programs I attended as part of the Chicago Architecture Biennial was a panel titled “Making/Writing/Teaching Contested Histories” at the Chicago Cultural Center. The panel, organized by the Feminist Art and Architecture Collaborative (FAAC), aimed to “foreground issues of class, race, and gender, interrogating how they partake in the production of the built environment.”

The panelists, all academics in fields related to the built environment, were asked to bring in an object central to their practice or their teaching method. The objects on display were a painting, a pier, a refugee camp, and a living room.

Three or four decades ago, this array would’ve scandalized an audience of architects and architectural scholars, who might’ve been expecting, I don’t know, a photo of the Pantheon, or a plan of it, or even a piece of wood or a brick. Maybe even the choice of a piece of furniture would’ve induced some surprised gasps or confused looks.

Located on a hill in Mauer, on the outskirts of Vienna, the Wotruba Church was the culmination of sculptor Fritz Wotruba’s life (the project’s architect, Fritz G. Mayr, is often forgotten). Constructed in the mid-1970s, Mayr completed the project one year after Wotruba’s death, enlarging the artist’s clay model to create a functional walk-in concrete sculpture. As can be seen in these images by Denis Esakov, the result is a chaotic brutalist ensemble that toys with the boundaries between art and architecture.

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We live in a world that spends more time online than outside. And as architects and designers, we invest in creating a more engaging world by means of enhancing life through our buildings. However, through a perhaps unique form of tunnel vision, we are missing an incredible opportunity to leverage alternative mediums to impact more people through our design businesses.

Here are 5 ways to utilize your creativity to produce unique content that will help enhance your impact on the world of design, and in turn, push you and your design business forward:

This article was originally published by The Architect's Newspaper as "A wave of affordable and market-rate housing could soon wash ashore in California."

In recent months, legislators in California have begun a concerted effort to use state law to address the state’s ongoing housing crisis. The moves come amid worsening regional inequality that has pushed housing affordability outside the reach of many populations. Facing mounting pressure from a growing cohort of pro-housing YIMBY activists and increasingly grim economic and social impacts—including a sharp increase in the number of rent-burdened households and the number of individuals and families experiencing homelessness—state-level legislators have begun to take action where municipal leaders have thus far stopped short.

A post shared by H.Nakamura (@toilets_a_go_go) on May 25, 2017 at 12:44am PDT

When looking back on the rich history of Japanese architecture, some of the things that immediately come to mind are complex wood joinery, hipped roofs and intimate experiences with water. Today, Japan is on the cutting edge of architectural innovation in many different buildling types—skyscrapers, office buildings and micro-housing to name a few. However, this Instagram account chooses to highlight an extremely unappreciated building type—public restrooms.

Cheekily named @toilets_a_go_go, the account promises its followers the "discovery of Japanese toilets," covering everything from bathroom pavilions inspired by traditional Japanese architecture to metabolist-like toilet pods—with a few novelty structures thrown in for good measure. If the name of the account did not already reveal the identity of the structures, one might even mistake many of them for something else. We typically overlook public restrooms or even see them in a negative light, but this account showcases the power of architecture to improve a neglected building type, showing that even a trip to the toilet can (and should) be beautiful.

The Scottish liberal economist and philosopher Adam Smith once argued: “To feel much for others and little for ourselves, to restrain our selfishness and exercise our benevolent affections, constitute the perfection of human nature.” While we may have come some way since the 1700s, selfishness is still viewed by many as one of humanity’s ugliest traits.

Yet with the rise of mindfulness and the burgeoning self-help and life-coach industry, the view towards selfishness—more palatably referred to as "self-care"—is changing, which isn’t necessarily a bad thing.

Fans of absurd architecture, over-the-top action, and wrestling-stars-turned-beloved-actors are in for a treat this summer thanks to the recently-announced film Skyscraper. The movie’s central character is “The Pearl,” an imagined 1,067-meter-tall skyscraper in Hong Kong—although apparently some guy named “Dwayne ‘The Rock’ Johnson” also plays a pretty big role with his character Will Sawyer, a former FBI Hostage Rescue operative who lost a leg in the line of duty and now reviews building security for a living.

The plot, as revealed in the trailer and a single-paragraph synopsis on the official website, sees Will Sawyer criticizing the security of the “vertical city” billed as the tallest, most advanced, and safest building in the world. His concerns are immediately shown to be well-founded, as a group of (what are presumably) terrorists set fire to the 96th floor of the building, trapping Sawyer’s family and somehow framing Sawyer for the whole thing. As a result, Sawyer must save his family while running from the law, with the trailer showing a climactic leap from an adjacent crane (we can only assume that Dwayne Johnson doesn’t fit into a ventilation duct). The film has come in for some good-natured ribbing already, with internet jokesters questioning how a 260-pound amputee makes a 15-meter jump off the end of a crane. But of course, closer inspection reveals that these concerns are just the start of the entertaining wackiness of this movie.

2018 should prove to be a pivotal moment in how the design community uses virtual reality to deliver work. With leading firms exploring the introduction of mult capabilities, the technology will experience a breakthrough shift from purely enabling new modes of consumption to one that empowers design.

Today, VR essentially allows designers, clients, and stakeholders to consume models in dynamic new virtual environments. One by one, individuals can put on VR goggles and experience spaces that only exist digitally as others watch, listen to their reactions, and wait their turn. This implementation of VR technology has already strengthened design outcomes by enhancing strong communication throughout the design process, translating to less risk and stronger confidence in the eventual built product for clients.

The tenth Case Study House wasn’t actually intended for the Arts & Architecture programme. It was added on its completion in 1947, to fill out the roster, as many houses remained unbuilt. Clearly, the Nomland design earned its place on the list, having many features in common with other Case Study homes and, most importantly, meeting the stated aims of economy, simplicity, new materials and techniques, and indoor/outdoor integration. The different departure point, however, can be seen in the layout. Whereas Case Study homes were designed primarily for families, this plan is for “a family of adults”—which is to say, a childless couple.