“The building industry is one of the most polluting and inefficient industries out there,” Hedwig Heinsman of Dus Architects tells The Guardian's Olly Wainwright, “With 3D-printing, there is zero waste, reduced transportation costs, and everything can be melted down and recycled. This could revolutionise how we make our cities.”

Working with another Dutch firm, Ultimaker, Dus Architects have developed the KamerMaker (Room Maker), a 3D Printer big enough to print chunks of buildings, up to 2x2x3.5 meters high, out of hotmelt, a bio-plastic mix that's about 75% plant oil. The chunks can then be stacked and connected together like LEGO bricks, forming multi-story homes whose designs can be adapted according to users' needs/desires. For Dus' first project, they've taken as inspiration the Dutch canal house, replacing hand-laid bricks with, in Wainwright's words, "a faceted plastic facade, scripted by computer software."

In response to the recent study by New London Architecture, which found that there are currently over 230 tall buildings either planned or under construction in London, an argument is brewing over the UK capital's sudden, seemingly uncontrolled, growth.

The most vocal reaction to all of this has come from Rowan Moore, architecture critic for The Observer, who has teamed up with the Architects' Journal to launch a campaign calling for more rigorous planning and public consultation when it comes to tall buildings. The campaign has support from 80 signatories, a list that reads like a 'who's who' of British architecture, including architects, planners, politicians, developers and artists as well as a range of civic societies.

Read on for more reaction to London's tall building boom.

The Munson-Williams-Proctor Arts Institute is a Modern masterpiece and revolutionary precedent of American museum design. Located in Utica, New York, it was the first of many influential cultural facilities designed by Philip Johnson. Also known as the Museum of Art, the structure represents a stylistic turning point in Johnson’s career, marking the end of his loyalty to the International Style and the beginning of his experimentation with Neo-Classicism.

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Federico Babina, the illustrator behind the extremely popular ARCHIST and ARCHICINE, has just released his latest project: ARCHIPORTRAIT, "an artistic representation of 33 architects, in which the faces and the expressions are made of their architecture." As Babina says, "The intent is to display the likeness, personality, and even the mood of the protagonist through his aesthetic."

See all the portraits - from Corbu to Foster to Gehry and more - after the break.

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In this interview, originally published by Paperhouses as "Decisive Moment: Conversation With Fernando Guerra", the Portuguese photographer details his career in architectural photography, and how he approaches the art of photographing buildings. As an advocate of free sharing and online publicity, and one of a new breed of photographers who - shock horror - likes to include people in his shots of buildings, Guerra is well placed to explain how the world of architectural photography has changed over the past decade.

I do not want to call it an interview—it was a fabulous discussion that Fernando Guerra led as a loose narrative with notes on work that he practices with hedonism and filled with life. They are all stories dedicated to the great beauty of doing what one loves and letting it grow.

Read on after the break for the interview

Videos

The following is the first article of Material Substance, a column, penned by Christopher Brenny and presented by AD Materials, which investigates the innovative applications of materials in architecture.

A material is nothing without a process. The characteristics of plastic, for example, vary dramatically depending on where and how the raw material is applied during the forming process. The same material can be used to create a bag, a solid container, or a woven textile. The difference between a disposable water bottle and carpeting is so distinct that one could not make the material connection without some foreknowledge of the manufacturing process of each.

The result of this material ecosystem is a scenario in which design and manufacturing must inform one another. This connection often moves so slowly in the building industry that it is difficult to perceive and very slow to adapt. Shape memory alloys such as nitinol (muscle wire), for example, are gradually moving into public nomenclature. While the novelty of such materials is ripe for exploration, application has proven difficult as the cost of such materials is quite prohibitive. Shape memory alloys, unless they are developed using more abundant metals such as aluminum, will likely remain a niche product developed for very specific applications.

Memory plastics, while less developed and responsive, have significant potential to become a familiar fixture in our daily lives. Combining this technology with the lightweight, structural capabilities of foamed materials, our preconceptions of the portable and flat packed may soon transform from disposable and insubstantial into something much more beautiful and valuable.

First off, I would like to thank Patrik Schumacher for taking to Facebook on March 17 at 9:45pm to let off steam -- thus starting a meaningful discussion on the role of the architect in society and culture. We could deconstruct it line by line, but I don’t think that will yield much in the way of enlightenment. What I take from it is that architecture creates form and should be free to do so without being restricted by ethical or moral imperatives to be social or political. But, as Benjamin Bratton remarked in reply to Schumacher, “To set the political to one side and at the same time make grandiose claims for how architectural form can in fact ‘remake civilization’, is a self-defeating program.”

Perceptions on the role of architecture in society can easily fall along class, race, and national lines. Coming from a place of privilege, it is easy to assume an apolitical, form-making agenda for the profession. The argument that architecture has nothing to do with the social domain, or the “content” as Schumacher calls it, is an argument for political conservatism, a hands-off, sink or swim argument for social Darwinism, that limits the range and impact of high architecture. Why can’t the best and most challenging forms of architecture penetrate through all social strata? Why shouldn’t it serve the poor? And why shouldn’t this be one criteria among others for judging the value of architecture? 

Vernacular Versatility, recently awarded first place in the 2014 eVolo Skyscraper Competition, seeks to adapt traditional Korean architecture into a contemporary mixed-use high-rise. The vernacular design of the Hanok, the "antonym of a western house" and epitome of the Korean style, has disappeared from every town. Extensive urban development in the 1970s led to a boom in modern apartment dwellings and, consequently, a loss of established Korean vernacular architecture. Yong Ju Lee's proposal aims to reimagine the Hanok in one of the country's busiest districts, drawing people's attention to and stimulating their interest in traditional architecture with the intention that "it will eventually be absorbed into people’s everyday lives"

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As you may have seen, ArchDaily has been publishing UNIFIED ARCHITECTURAL THEORY, by the urbanist and controversial theorist Nikos A. Salingaros, in serial form. However, in order to explain certain concepts in greater detail, we have decided to pause this serialization and publish three excerpts from another of Salingaros’ books: A THEORY OF ARCHITECTURE. The previous excerpt explained the difference between “Pattern Language” and “Form Language.” The following excerpt will establish how these languages can combine to form the “Adaptive Design Method.”

Proposition: An adaptive design method arises out of a complementary pair consisting of a pattern language and a form language.

I have indicated very briefly what a pattern language and a form language are; we still need to understand what an adaptive design method refers to. Out of many contemporary approaches to design, there are very few that result in structures and environments that are adapted both to physical human use, as well as to human sensibilities. In the past, the opposite was true. Human use is straightforward to understand: the physical dimensions and geometry have to accommodate the human body and its movement.

By accommodating human sensibilities, I mean that environments should make human beings feel at ease; make them feel psychologically comfortable so that persons can carry out whatever functions they have to unselfconsciously, without being disturbed by the built environment in any way. This imposes a strong constraint on the design process to adapt to the many factors (both known and unknown) that will influence the user on many levels, including emotion. An adaptive design method should accommodate all these criteria, and this Chapter shows how this may be accomplished.

In this TED Talk, Aga Khan Award-winning architect Diébédo Francis Kéré explains how to build a community with clay. With his firm Kéré Architecture, the Burkina Faso native has achieved international renown by using local building materials and techniques to engage and improve local expertise. Watch as explains how he applied his personal success to benefit the small African village he grew up in.

The use of light can lead to very diverse feelings: a ray of sunlight calls attention; glare overpowers; the nocturnal sky fascinates, while a dense dark forest arouses fear. Religions have made use of these experiences to convey the mystic aspects of their respective deities — accordingly, so too do their erected buildings.

After the break, an exploration of the different approaches for using light as a vehicle of symbolic meaning and spiritual experience in religious spaces.

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Qatar says the World Cup projects are “on track,” but the International Trade Union Confederation (ITUC), which has been investigating worker deaths in the Gulf Emirate for the last two years, vehemently disagrees. To date there have been 1200 worker deaths associated with the on-going World Cup projects. A scathing report, issued by the ITUC on March 16, claims that unless significant improvements are made to working conditions on World Cup-related sites at least 4000 more migrant construction workers could lose their lives. This would mean that those construction sites are “on track” to kill 600 workers per year, or at least 12 per week until the ribbons are cut and the fireworks are set off.

At a FIFA executive committee meeting held in Zurich on March 20, FIFA president Sepp Blatter stated, “We have some responsibility but we cannot interfere in the rights of workers." Likewise, local FIFA organizing committee in Qatar says workers are not their responsibility. Zaha Hadid said the same.

However, given the increasing chorus of headlines along the lines of “The Qatar World Cup is a Total Disaster” they may have to say something stronger on the issue at some point — or have the image of their architecture tarnished. Of course we all know that what they mean is that legally it is not their responsibility. But does that mean they should be sitting back, not even attempting to influence change?

Get all the facts on the situation of the Qatar construction workers, after the break…

Lines Drawn, the latest gathering of student delegates by the Architecture Students Network (ASN), recently met at the Centre for Alternative Technology (CAT) to discuss the future of architectural education. Seventy RIBA Part 1, 2 and 3 students (including those on their placement years) from across twenty two schools of architecture gathered together to address and unify their voice in calling for improvements to the current pedagogy of UK’s architectural education to reflect a changing society.

The weekend conference provoked questions surrounding the merits and pitfalls of the Part 1, 2 and 3 British route to qualification, raising aspirations of a more flexible education system. Sparked by the latest directive from the European Union (EU), which seeks to "establish more uniformity across Europe by aligning the time it takes to qualify" and by making mutual recognition of the architect's title easier between countries, the discussions centred around how architecture students' opinions can be harnessed at this critical moment of change to have voices heard.

Continue reading for ArchDaily's exclusive pre-coverage of the ASN's report.

After deliberating over the stellar proposals of three renowned firms, BIG, Büro Ole Scheeren, and OMA, Berlin-based media company AXEL SPRINGER SE has just announced that Rem Koolhaas' design is the winning proposal for their new office building.

The task of the competition was to create additional space for the media company, particularly its digital offers, and thus design a workplace fit for the future of online media. Koolhaas' design, which features a large 30-meter high atrium or "open valley" with interconnected terraces and public workspaces for both individual, collaborative, and mobile work, won favor with the jury for its forward-thinking concept. As Dr. Mathias Döpfner, Chief Executive Officer of Axel Springer SE, commented: “[Koolhaas] presented the conceptually and esthetically most radical model. The fundamental innovation of working environments will support the cultural transformation towards a digital publishing house."

For his part, Koolhaas had this to say: “It is a wonderful occasion to build in Berlin again, on this historical site of all places, for a client who has mobilized architecture to help perform a radical change…a workplace in all its dimensions.”

See more of OMA's winning proposal, after the break...

We culled the Twitterverse looking for reactions to Shigeru Ban's Prizker win - from readers and critics alike. While the responses were generally positive, some were less so. 

See our favorite responses - from #baffled to #goodenough to #Banstheman! - after the break.

Yesterday we asked some prominent critics and a few of Ban's peers to weigh in on the Japanese architect's Pritzker win. Curators, architects, and writers praised Ban's approach and conviction, describing what Ban's work signifies to the architecture community. Read on for comments from Architecture for Humanity co-founder Cameron Sinclair, MoMA curators Barry Bergdoll and Pedro Gadanho, Cooper Union classmates Nanako Umemoto and Jesse Reiser, of Reiser + Umemototo, and more.

"We are very proud of Shigeru as the first Pritzker Prize Winner to have graduated from Cooper Union. Shigeru continues to embody the independent thinking that was highly emphasized through our education. We met Shigeru in 1979, and can speak to his dedication to humanity from the beginning. As we recall, each design problem for Shigeru became an occasion to explore the work of what he considered to be the master architects as a way of developing his own voice. It has become fashionable to connect architecture to social causes; however, Shigeru has never seen it as a trend, but rather something fundamental to his design practice. Unlike those in the discipline who conflate their social and political commitments with architecture, he happens to be a very fine architect. As a result of his education abroad and his inclination to define a unique practice, Shigeru has always been viewed as an independent within the Japanese scene. We are very excited that Shigeru's work is being honored."
- Nanako Umemoto and Jesse Reiser
Founders of Reiser + Umemototo, RUR Architecture PC

The winners of the 2014 eVolo Skyscraper Competition have been announced! Established by eVolo Magazine in 2006, the competition recognizes innovative proposals for vertical living. After reviewing nearly 600 projects from 43 different countries, the jury has selected three winners and 20 honorable mentions. View them all, after the break...