In the midst of the tall, rectilinear skyscrapers which make up downtown Chicago appears a short, sloped glass curtain wall, topped by a protruding truncated cylinder structure: Helmut Jahn’s Thompson Center. Opened in 1985, the building was to be home for a variety of agencies of the State of Illinois, and its design was a play off of the traditional American statehouse, updated with glass walls symbolizing government transparency and an immense atrium evoking the atrium spaces found in most United States’ statehouses. The interior spaces, however, stirred further contention with the public. Unconventional red, blue, and white paints coat the interior elements—a design choice many believed to be provocative and even jarring.

From the moment we attend our very first lecture to the peak of our careers, architects are plagued with stressful events that are unlike any other profession. Meeting deadlines, dealing with planning and fabricating the dreams of our clients, our job can be intense and extremely demanding.

Often when we complain about it to our non-architect friends, however much they try, they don’t quite understand. They are not used to the impact that moving a staircase or rotating a plan might have on our workload, nor can they relate to losing a favorite pen. But among ourselves, we can wallow in our pain together as we go through just what makes our job so stressful (and rewarding)!

Winter is here, the streets are full of festive lights and store displays are decorated with gift-wrapped goodies which must mean only one thing—the holiday season is upon us!

Architects, ArchDaily has got you covered: our 2017 holiday gift guide features over 40 ideas, with gifts ranging from the slightly wacky to the delicately designed. This year the list includes an assortment of concrete furnishings and accessories, space frame-inspired jewelry and architectural building blocks.

So without further ado, let the shopping begin!

One year on from the Chicago Riverwalk’s completion, designers Sasaki Associates have released mesmerizing footage of the Riverwalk from a new perspective. Using a drone to give an overview of the project, the video captures the successful integration of the Riverwalk into the urban landscape as it changes shape and form, defining a unique experience for the public. Global design firm Sasaki led the team as prime consultant on the last two phases of the Riverwalk, working in close collaboration with local firm Ross Barney Architects.

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In the second film from this year's series of PLANE—SITE's Time-Space-Existence videos, Mexican architect Tatiana Bilbao shares her philosophy of how architecture should be designed with the user’s experience in mind, rather than for standalone aesthetic qualities. In the video she discusses how architects should to some extent let go of their artistic intentions for a more practical approach to serve the needs of people, discussing how architecture has become detached from its key purpose over the last fifty years due to the influence of capitalism.

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The seventh house in the Arts & Architecture Case Study program was built with real clients in mind: a family of three with creative hobbies. The result, designed by Thornton M Abell, is a flexible home with a distinctive functional character.

The house divides neatly into three separate areas: to the left of the entrance, working spaces make up nearly half of the full floorplan, with living and sleeping areas off to the right and extending forward into the garden. Sliding panels between the roomy central reception/dining area and the cozy living room create the option of privacy or extra space, as required, with the terrace and splash pool beyond offering further possibilities for summer entertaining. A small planting area beside the sliding door blurs the line between indoors and out.

This Fall, global architecture and design firm, Morphosis has their plate full as four of their projects reach significant construction milestones. From Africa to the Middle East, Europe and the U.S., Morphosis is creating international landmarks that display their values of sustainability and future development. Read on to learn more about what Thom Mayne's team is up to.

This article was originally published by Amar Singh on Medium titled "You're working in the wrong place."

At my most recent job, I did all of my best work at home. I would actively try to avoid the office for as long as possible. At home, I had two desks and complete control over my environment. Distractions and breaks were choices.

Once I went into the office, the environment changed. There were constant distractions, from other employees, dogs barking (for the record: puppers were a net positive), impromptu meetings and birthday celebrations. It was very difficult to get into flow states and incredibly easy to be broken from them. Of all the places I could work, my desk at the office was often the worst option.

This article was originally published by Common Edge as "The Politics of Architecture Are Not a Matter of Taste."

Late last month Current Affairs published an essay by Brianna Rennix and Nathan J. Robinson titled “Why You Hate Contemporary Architecture: And if you don’t, why you should.” The piece, written in a pseudo-funny Internet lexicon wherein all objects of criticism are “garbage,” is so laden with irony—the poorest of substitutes for analysis—that it is difficult to discern a core argument. Still, I’d like to question the central premise of the piece: that what the authors term “contemporary architecture” is ugly and oppressive, and that liking it is nothing shy of immoral.

This article was originally published by The Architect's Guide as "5 Techniques To Land A Job With The World's Most Competitive Architecture Firms."

As I discussed in my interviews with several firms in 7 Questions Answered By The World’s Top Architecture Firms On What They Look For In Job Applications, the quality of your application documents is extremely important.

However, for some of the most competitive offices even having a perfect portfolio isn't enough. So what can you do to stand out? 

This article was originally published on the blog of the Chicago Architecture Biennial, the largest platform for contemporary architecture in North America. The 2017 Biennial, entitled Make New History, will be free and open to the public between September 16, 2017 and January 6, 2018.

“Writing about music is like dancing about architecture.” This famously misattributed analogy has floated through the arts world for decades as shorthand for the difficulty of imposing the gestures of one creative discipline onto another. But why should dance and architecture get lost in translation? Isn’t there an inherent poetry to the movement of bodies navigating the built environment?

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Earlier this month, Abu Dhabi’s much-awaited “universal museum,” the Louvre Abu Dhabi designed by Pritzker Prize-winner Jean Nouvel, was opened to the public. After several years of delays and problems including accusations of worker rights violations, revisions in economic strategies, and regional turmoil, the completion of the museum is a feat in itself. Critics, supporters, naysayers, artists, economists, and human rights agencies, have all closely followed its shaky progress, but now that it’s finally open, reviews of the building are steadily pouring in.

Read on to find out how critics have responded to Nouvel’s work so far.

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The sketchbook: it is probably the first thing you buy in architecture school, and, the thing you hold on to most dearly. It is one of the most important tools to help document, problem-solve, and archive your journey as an architect. The sketchbook is the physical extension of one’s architectural mind, and the way one organizes it says a lot about the holder. What does your sketchbook say about you? Read on to find out:

With a growing global trend of rural to urban migration, a focus on an understanding of parks, gardens and general green space in city centers is more important than ever. While a move to an urban center can offer improved access to employment, schooling, healthcare and cultural opportunities, it can come at a cost of increased stress and noise and decreased access to open space, fresh air and nature. For urban and forestry researcher Phillipp Gärtner, this raised the question of which European capital cities have the greenest space.

In this extended interview from the Louisiana Channel, Japanese architect and experimentalist in sustainable architecture Hiroshi Sambuichi explains how he integrates natural moving materials—sun, water and air—into his architecture. A rare symbiosis of science and nature, each of his buildings are specific to the site and focus on the best orientation and form to harness the power of Earth’s energy, particularly wind. Two of his projects displayed in the video, the Inujima Seirensho Art Museum and the Orizuru Tower, force a contraction of air to make it flow faster and circulate with you through the building, while the Naoshima Hall takes a more sensitive approach due to the nature of the building, reducing the wind’s velocity as it passes.

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As a trailblazer of Brazilian Modernism, Oscar Niemeyer is celebrated for his bold, sinuous forms, and his use of the “the liberated, sensual curve.” Paul Goldberger described it best when he wrote that “Niemeyer didn’t compromise modernism’s utopian ideals, but when filtered through his sensibility, the stern, unforgiving rigor of so much European modernism became as smooth as Brazilian jazz.”

When Georgio Mondadori, chairman of the Italian publishing house Mondadori, commissioned Niemeyer to design the company’s new headquarters in 1968, he wanted the building to look like the Itamaraty Palace (also known as Palace of the Arches) in Brasília. Niemeyer agreed, but given his playful spirit, he deliberately deviated from the earlier design and proceeded to build what he would later identify as his favorite of the projects he completed in Europe. Read on to see a striking set of sixteen photographs of the Mondadori building by Milan-based photographer and visual artist Karina Castro, who was commissioned by Mondadori to capture their headquarters over 40 years after the building's completion.

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“Beauty,” as Umberto Eco tells it, “has never been absolute and immutable but has taken on different aspects depending on the historical period and the country.” So how is beauty defined today in our increasingly globalized world? Perhaps a more interesting question to ask is whether arriving at such a conclusion remains relevant to our society.

As the son of famed Mexican architect Ricardo Legorreta, and now the leader of the firm which he joined under his father in 1989, Victor Legorreta is one of Mexico’s most visible architects. In this interview, the latest in Vladimir Belogolovsky’s “City of Ideas” series, Legorreta discusses the complexities of following in the footsteps of his father and how, in his view, good architecture is made.

Vladimir Belogolovsky: What kind of projects are you working on at this moment?

Victor Legorreta: We work on a variety of projects—about 60 percent are in Mexico and the rest are abroad. Mexico City is increasingly becoming a vertical city in its attempt to reverse its tendency of growing into an endless and dysfunctional sprawl. We are working on several mixed-use towers with retail, entertainment, restaurants, offices, and residential uses in a single building to enable people to find everything they need within easy reach, to lessen the pressure on traffic, which in the city is now among the worst in the world. We are also working with The Aga Khan Foundation on two projects—a university in Tanzania and a hospital and university in Uganda.

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