This article was originally published by Metropolis Magazine as "How a Small Mexico City Exhibition Fueled a Debate About Preservation and Power."

It’s a slate-gray day in Mexico City’s Colonia Narvarte neighborhood and mounting gusts signal imminent rain. Centro SCOP, a sprawling bureaucratic complex, rises sharply against this bleak backdrop. The building is a masterful, if not intimidating, example of Mexican Modernism, an H-shaped assemblage of muscular concrete volumes designed by architect Carlos Lazo, covered in an acre-and-a-half of vibrant mosaic murals.

At its peak, the building accommodated more than 3,000 workers for the Secretariat of Communications and Transportation (SCT). Today, save a security guard in its gatehouse, it is empty.

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On Saturday, at the opening of her latest building, Ellen van Loon sat on the terrace of BLOX in Copenhagen exuding the satisfaction and fulfillment that comes with finishing a major public building. A day of opening activities concluded, van Loon spoke with ArchDaily about the 27,000-square-meter mixed-use building. Built for client Realdania, it’s the Danish Architecture Center’s new home on the edge of the harbor, located on an incredibly challenging site that is bifurcated by a busy street.

It’s no mystery why we put people in our designs. People are the quickest way to an emotional connection. With the right visual cues, you can evoke deep feelings, turning a simple image into a source of awe or aspiration. In architectural visualization, we try to shape those feelings, working off the perceptions most of us share. While we are all creatures of circumstance, using our experiential knowledge to guide us day-to-day, a lot of our conditioning is the same. Which is why it is so important to consider how you use people when you create visualizations of your designs.

Entourage are your visual guides, alerting the viewer to the story or feelings you want to convey. Sometimes that story is one of usage, an explanation of how someone interacts or moves about a space. Other times, it’s a bit more abstract. Whatever the direction, the art of entourage is really a study of composition, conditioning, and narrative. The more you know about each topic, the better your visualization will turn out—especially when you have a complicated brief.

In this piece, I’d like to show you how we approach entourage at Kilograph. Since our backgrounds are diverse—artists, architects, brand experts, and VR technicians—we are constantly having discussions about how to make people stand out, from a psychological and aesthetic perspective. Here’s what we’ve found.

A lot of things are said about Smiljan Radic. Some say that he belongs to an architecture that borders on the sculptural. It is also said that both his aesthetic and his silence is admired by his peers. It is also said that he is so hermetic that he doesn’t even have a website to promote his work. All these things are said about the 52 years old Chilean architect, before he starts his talk "more or less a year," at the Puerto de Ideas Festival in Valparaíso (Chile), where he reviews his latest projects.

"Saying something -and saying something else- has always seemed impossible or very difficult for me. I always collect things from everywhere. And that's what I do. There isn’t much more to it than that: there is little invention. In spite of everything, one has to end up talking, saying things. And today we are going to talk about what I could and could not do in the past year", he says at the beginning of his talk at the Cousiño Palace in Valparaíso.

Not many architects will come across the challenge of building in outer space, but who knows what the future will hold... asteroid mining and space photobioreactors? In a recent article, Metropolis Magazine looks into the design of the International Space Station, examining how our conventional rules of architecture become obsolete in zero gravity. Walls, ceilings, and floors can be interchangeable, and "form follows function" is taken to the extreme.

2018 marks 20 years since construction first began on the International Space Station. The satellite is made up of 34 separate pieces, each of which was either delivered by space shuttle or self-propelled into space. With absolutely no room for error, the 13-year construction of the space station was perhaps one of the big success stories of the millennium, seeing 230 astronauts, cosmonauts and space-tourists visit over the past two decades.

Amanda Levete is among one of four teams to be shortlisted for a competition to reimagine the visitor experience for the famous Eiffel Tower in Paris. The four teams, chosen from 42 entries, will be tasked with rethinking the ways in which people discover and interact with the tower, working in collaboration with the City of Paris government.

Titled “Discover, Approach, Visit,” the competition site covers 54 hectares of land on both sides of the River Seine, with the Eiffel Tower site located at the center. In preparation for Paris’ hosting of the 2024 Olympic Games, the competition asks teams to spend 10 months exploring how to enhance the visitor experience at the base of the tower, strengthen existing connections across the site, reconfigure public transport routes.

KTK-BELT Studio, a not-for-profit organization based in rural Nepal, is currently working with local communities to create a fascinating "Vertical University," which will teach students about biodiversity and environmental conservation in 6 "living classrooms" positioned along a vertical forest corridor that stretches from 67 meters above sea level to the top of an 8,856-meter peak. These 6 stops encapsulate the 5 climatic zones of Eastern Nepal: tropical, subtropical, temperate, subarctic and arctic.

The project explores the specific impacts of climate change in each climatic zone, creating “classrooms” where students can walk from Koshi Tappu to Mt. Kanchenjunga, the third tallest peak in the world, and learn onsite from indigenous farmers about the biological diversity of each area. By teaching place-based skills in these micro-conservation hubs, the project aims to conserve and activate local knowledge. Each of these “classrooms” responds to the visual and cultural cues of its unique landscape, with one campus focusing on a flood-proof design in a heavy monsoon area, and another mimicking the semi-nomadic lifestyle of local yak-herders.

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Videos

Louisiana Channel has released a new video interview with Ellen van Loon, the Dutch “design duchess” of OMA. In the interview, available to watch below, van Loon discusses the concept of “architectural contamination” behind OMA's new mixed-use "BLOX" scheme, home of the Danish Architecture Center in Copenhagen.

Van Loon discusses the process of “re-invention” needed for the scheme’s realization, in terms of both function and location. Situated on an old brewery site, the scheme seeks to embed architects and visitors in their own field of study, “placing them in the center of the building, which meant they would contaminate all other functions.”

This article was originally published by Common Edge as "Architecture Ignores History At Its Own Peril."

Gravity is undeniable. We stand, lift packages, wince when we see our weight on the scale. For architects, gravity has special meaning: it is the essential force to be dealt with. Weather, energy, materials all matter too—but those all have local realities specific to their location.

Gravity is the forever constant. But there is another universal element in design: history, the role of what has passed from idea to reality in all things, everywhere. Whether there are “reasons” for a building being formed or finished in a certain way, the undeniable lens of history is always part of how designers think about what’s to be built.

In architecture we are so caught up in creating something new, we often forget about what happens at the end of a building’s life cycle—the unfortunate, inevitable demolition. We may want our buildings to be timeless and live on forever, but the harsh reality is that they do not, so where is all the waste expected to go?

As with most non-recyclable waste, it ends up in the landfill and, as the land required for landfill becomes an increasingly scarce resource, we must find an alternative solution. Each year in the UK alone, 70–105 million tonnes of waste is created from demolishing buildings, and only 20% of that is biodegradable according to a study by Cardiff University. With clever design and a better awareness of the biodegradable materials available in construction, it’s up to us as architects to make the right decisions for the entirety of a building’s lifetime.

Thirteen projects have been announced as winners of Docomomo US’ 2018 Modernism in America Awards, honoring projects within the United States that highlight and advocate for the restoration of postwar architecture and landscapes.

Now in its fifth year, the Modernism in America Awards were founded to celebrate "the people and projects working to preserve, restore and rehabilitate our modern heritage sensitively and productively. The program seeks to advance those preservation efforts; to increase appreciation for the period and to raise awareness of the on-going threats against modern architecture and design."

Below, we have rounded up the successful schemes, and an organizer’s description of their significance.

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This article was originially published by Metropolis Magazine as "Architects, Armed with Data, Are Seeing the Workplace Like Never Before."

A workplace that improves employee productivity and efficiency has been a white whale of corporate managers for decades. But even before the office as we know it today was born, designers and innovators were already studying sites of labor, such as the factory, to devise strategies to boost worker performance. By the 1960s, Robert Propst, the inventor behind Herman Miller’s Action Office line of workplace furniture, and others were conducting workspace research that would ultimately lead to the creation of the modern cubicle.

These developments relied largely on observation and intuition to organize office workers in purportedly effective ways. Now, advances in technology allow designers to take a more sophisticated approach, using sensors, internet-connected furniture and fixtures, and data analytics to study offices in real time. “You can take into account every single employee, and people are very different,” says London architect Uli Blum. “It’s about solving the fundamental problems of getting people the environment they need. And the easiest way is to ask them,” he adds. But finding out the needs of hundreds, sometimes thousands, of workers can quickly become an exercise in futility.

April 26th saw the 32nd anniversary of the 1986 Chernobyl Nuclear Disaster, with the explosion of the Reactor 4 of the Chernobyl Nuclear Power Plant in Ukraine causing the direct deaths of 31 people, the spreading of radioactive clouds across Europe, and the effective decommissioning of 19 miles of land in all directions from the plant. Thirty-two years later, a dual reading of the landscape is formed: one of engineering extremes, and one of eeriness and desolation.

As the anniversary of the disaster and its fallout passes, we have explored the past, present, and future of the architecture of Chernobyl, charting the journey of a landscape which has burned and smoldered, but may yet rise from the ashes.

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The editorial notes on Arts & Architecture’s 11th Case Study House set out the “basic principles of modern architecture”: an emphasis on “order, fitness and simplicity.” Livability and practicality are key, and “sham” is frowned on. As with other houses in the series, this design by JR Davidson adheres to these goals with clean, horizontal lines, an open floor plan, and integration of the outdoor space.

It’s a modest, compact home, less high-concept than some of the other houses in the programme—no indoor plantings or reflecting pools; no complicated backstory for the imagined clients (think of the next two, #12 and especially #13)—but arguably more successful in providing a model for the average American home. Its value doesn’t depend on dramatic landscaping or views, but on thoughtful design and attention to solving everyday problems. Walking through Archilogic’s 3D model reveals the elegance of Davidson’s approach.

Videos

Hong Kong is a unique city. With its unlikely history as a British Colony, its position as a global hub city, and its spectacular geography, the dense, lively streets of Hong Kong feature a variety of urban phenomena that can't be found anywhere else in the world. In this series of video essays, New Office Works probes the urban character of Hong Kong with stunning depth, uncovering histories and explanations that bring new intrigue to an urban fabric that is, both literally and figuratively, already heavily layered.

The title of the series, Middle Man, references Hong Kong's status as a city that mediates between east and west, calling back to the "compradors" that helped the city to grow in the 19th century by translating for traders—middlemen in the most literal sense. Rooted in this history, the urban environment is not one built on grand schemes or overarching ideals, says New Office Works: "The combination of a growing population and limited land has cultivated an instant-fix mentality. There is neither time nor space for architectural ideologies, only pure pragmatism."

Mercer released their annual list of the Most Livable Cities in the World last month. The list ranks 231 cities based on factors such as crime rates, sanitation, education and health standards, with Vienna at #1 and Baghdad at #231. There’s always some furor over the results, as there ought to be when a city we love does not make the top 20, or when we see a city rank highly but remember that one time we visited and couldn’t wait to leave.

To be clear, Mercer is a global HR consultancy, and their rankings are meant to serve the multinational corporations that are their clients. The list helps with relocation packages and remuneration for their employees. But a company’s first choice on where to send their workers is not always the same place you’d choose to send yourself to.

And these rankings, calculated as they are, also vary depending on who’s calculating. Monocle publishes their own list, as does The Economist, so the editors at ArchDaily decided to throw our hat in as well. Here we discuss what we think makes cities livable, and what we’d hope to see more of in the future.

This article was originally published by Common Edge as "Architecture, Aesthetic Moralism, and the Crisis of Urban Housing."

It may shock some people to hear this, but architecture is not urban planning. It is not transportation planning, sociology, political science, or critical geography. However, architecture, new-build apartment architecture specifically, has become a social media scapegoat for today’s urban housing crisis: escalating developer-driven gentrification.

Out of my own curiosity, I searched several academic databases for research that successfully correlates the architectural aesthetic of new build apartments with gentrification. While many writers and denizens of social media really want to blame today’s bland, boxy, cladding-driven style of multifamily urban housing for gentrification, I’m afraid the research isn’t there. In fact, one study featured in a paper on neighborhood early warning systems for gentrification cites historic architecture as one of five predictors of gentrification in the DC area.

The dream of universal affordable housing has been an idea tried and tested by architects throughout history. From the wacky Dymaxion House by Buckminster Fuller, an imagining of how we would live in the future, to mail-order houses able to be assembled like IKEA furniture, many proposals have tackled the challenge of creating affordable housing or dwellings which could be replicated no matter the time and place. However, although their use of techniques such as pre-fabrication and cheap materials seemed, in theory, to be able to solve pressing issues of homelessness and the global housing crisis, time and time again these proposals have simply failed to take off. But why?

IKEA’s research lab SPACE10 is attempting to find an answer to this question through open-source collaboration. By releasing their design of a micro-house that used only one material and one machine to make it and an accompanying website that catalogs the process and invites feedback, they are inviting architects, designers, and aspiring home-owners to work together in creating a solution which could improve the lives of millions. “The vision,” they say, “is that by leveraging the world’s collective creativity and expertise, we can make low-cost, sustainable and modular houses available to anyone and, as a result, democratize the homes of tomorrow.”