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It's common sense: a good design is based on people and what they really need. As architects, are we deepening enough to give the correct answers to the requirements we face in each project?

Herman Miller is a great example of this understanding. Founded in 1905 by Dirk Jan De Pree, the American company produces equipment and furnishings for offices and housing, including a high level of research to understand the human body and the way we inhabit our daily spaces. These investigations, supported by usability testing and multidisciplinary work, results in a large number of furniture pieces and spatial designs that are now used by people around the world.

We had the opportunity to visit their headquarters in Zeeland, Michigan to understand how these studies have been carried out for several decades.

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One of the most important factors when designing is the specific climate of the site. This can often present challenges when dealing with extreme climates and it is necessary to use insulating materials that adapt to changing conditions. However, Mexico and its privileged climate can be in an architect's favor. Here, architects can create microclimates and spaces that blur the transition of inside and outside.

© Annie Spratt. Image Courtesy of Architect-US

Looking for a job isn’t fun. It’s nerve-wracking for the applicant and it’s often time-consuming for the potential employer as well. It can be even worse if you’re job-seeking internationally, hoping for a position with a top firm in the United States. For an applicant from another country hoping to make the move to an architecture career in the US, the process can seem overwhelming: rules and regulations, visa issuance processes, and loads of supplementary documentation necessary for immigration.

Top Architecture Firms enrolled in the Architect-US Programs. Image courtesy of Architect-US. 

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Saving space, reducing costs and a pleasant user experience – parking doesn’t get much better than this.

Cityscapes around the world are changing, architects face the constant challenge of integrating parking space into new or existing real estate in densely built-up urban environments. While there is a growing ambition to replace cars as a prime mobility tool, we’re far from realizing this goal. Most downtown revitalizations today require structured parking. Where space is tight, access ramp or radius of a conventional parking garage may be hard to fit. Because robotic parking systems require neither these nor access for pedestrians, they can place up to 60% more cars in the same space – increasing the RoI on parking spaces Alternatively, the same number of cars can be parked in 60% of the space of a conventional parking garage, creating significant cost savings in the construction phase. In either case, the user experience in robotic parking systems – brightly lit entrance areas, safe vehicle retrieval processes and reduced car fumes as the search for parking is effectively eliminated – is second to none.

Architects are often bound by the will of their client, reluctantly sacrificing and compromising design choices in order to suit their needs. But what happens when architects become their own clients? When architects design for themselves, they have the potential to test their ideas freely, explore without creative restriction, and create spaces which wholly define who they are, how they design, and what they stand for. From iconic architect houses like the Gehry Residence in Santa Monica to private houses that double as a public-entry museum, here are 9 fascinating examples of how architects design when they only have themselves to answer to.

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Online courses have gained more and more recognition in the past couple of years. In addition to the flexibility and convenience of learning wherever and whenever you want, they provide access to content from well-respected professors and colleges. In the field of architecture and construction, online courses have grown exponentially. Last year, we compiled a list that focused mainly on constructive and material techniques. This time we selected 15 online courses covering a range of subjects. We hope this selection of courses can help you with your next project.

We find ourselves in the Madrid of the 1980s. Specifically at the Superior Technical School of Architecture of Madrid [E.T.S.A.M.], a school in the shadow of the one in Barcelona, a city optimistic about its urban transformations. The latter was a city that trusted its architects, pushing them to participate in the reconstruction of its identity. Meanwhile, Madrid seemed to come alive through other avenues. The city championed other artistic sectors, leaving young architects with few opportunities to express their shared enthusiasm. Iñaki Ábalos and Juan Herreros belonged to this Madrilenian generation. They, like many others, had to wait and devise intellectual strategies to define the new professional and territorial boundaries that would reconstruct the Madrid of the future.

The work of Ábalos & Herreros is not only a virtuous exercise in surfaces and construction techniques; it also establishes mixtures, connections, and spatial relationships. It establishes links that foster a dialogue between all parts: the existing and the new, people and objects, building and landscape, and so on. Their architecture inherits the legacy of Modernism to translate its gestures into something that, while perhaps appearing new and innovative to a less attentive observer, is intrinsically charged with the accumulated technological experience of the 20th century. They do all of this in an illustratively modest way, seeking to solve age-old problems in a different manner. Theirs is not a revolutionary or radical architecture—understanding the latter term as a desire to dismantle a totality. There are no origins, only discoveries along their path. Established tropes are reconsidered, employing technologies, materials, gestures, and forms that, for various reasons, remain stored in the conceptual archives of many who have not yet figured out how to implement them in an ingenious and creative way.

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Some architects love color, some are unmoved by it, some hate it, and some love to dismiss it as too whimsical or non-serious for architecture. In an essay on the subject, Timothy Brittain-Catlin mentions the “innate puritanism among clients of architecture,” architects and their “embarrassment of confronting color,” and how “Modernism tried to ‘educate out’ bright colors.” So, while the debate on color in architecture is far from being a new one, it is not finished, and probably never will be.

In today’s world where the exhausted stereotype of the no-nonsense architect clad in black still persists, and while we quietly mull over the strange pull of the Cosmic Latte, there are some architects who haven’t been afraid of using broad swathes of color in their work at all. Read on for a list of 7 such exemplary architects both from the past and the present.

For as much as we regard technology as a panacea to heal the world, design is probably the most formidable tool we have in addressing the challenges of the 21st century. Its relationship with technology is often symbiotic, but just as common are the strange contradictions that emerge at the intersection of design, technology, and humanity.

This project is the concept competition for the world’s only WorldSkills Museum. The goal is to renovate and renew an old warehouse on the banks of the Huangpu River, transforming it into a venue dedicated to skills competitions and vocational education for youth, while creating a vibrant urban public space.

Hans Scharoun [1893-1972] drew from this language. Along with many of his contemporaries—Mies, Taut, Mendelsohn, and Häring himself—he was shaped by the expressionist milieu of postwar Germany, studying under Poelzig at his Breslau School. This expressionism first appeared in a series of watercolors he contributed to the *“Gläserne Kette” (“Glass Chain”)*, the famous correspondence network among architects and artists in Germany at the time. Conceived by Bruno Taut, this chain of letters served as a medium of communication among the group's members. In these letters, liberated from the constraints of feasibility, the members outlined their visions of an ideal society and a benevolent architecture.

By the 1920s, however, on the cusp of another conflict, a culture of resourcefulness and efficiency took root once again globally. Economic recovery demanded austerity, a trend reflected not only in household management but across many artistic avant-gardes of the period—a collective quest for material, formal, and, consequently, economic efficiency. Rationalism emerged as the dominant trend, championed by architects like Hannes Meyer and André Lurçat, who sought to strip the communicative attributes of architectural language down to zero in favor of addressing the organizational tasks demanded by technological and political developments.

Cities are hotter than surrounding areas because of a climate phenomena that is known as the urban heat island (UHI). While scientists have studied this effect for decades, new information has recently come to light that points to the way we arrange our cities as a key contributor to raised temperatures. The results could help city planners build our future cities better.

The recent book 'Plan de desarrollo urbano de la zona noroeste de la ciudad de Mar del Plata' by Guillermo Tella, Beatriz Cuenya, Martín Delucchi, and Laura Corbalán Vieiro synthesizes the results achieved through the technical assistance and institutional coordination experience carried out during 2017-2018 for the Municipality of General Pueyrredón (province of Buenos Aires, Argentina) by the Center for Urban and Regional Studies (CEUR-CONICET) and the Inter-American Development Bank (IDB).

Ecuadorian firm URLO Studio has been selected as the winner of the ideas competition for the southern articulating axis of Quito, a contest aimed at urban renewal in the Ecuadorian capital through the development of micro-centralities along the 13-kilometer tourist route.

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The European Commission and the Mies van der Rohe Foundation have announced the 40 shortlisted works that will compete for the 2019 European Union Prize for Contemporary Architecture – Mies van der Rohe Award. The Prize, for which ArchDaily is a media partner, has seen a jury distill 383 nominated works into a 40-project-strong shortlist, celebrating the trends and opportunities in adaptive reuse, housing, and culture across Europe.

The first moon landing, widespread anti-war protests, Woodstock and the hippies, rural communes and environmentalism, the Berlin Wall, the women’s liberation movement and so much more—the tumultuous decades of the Sixties and Seventies occupy an unforgettable place in history. With injustices openly questioned and radical ideas that set out to unseat existing conventions and practices in various spheres of life, things weren’t any different in the architectural world. 

The grand visions dreamt up by the modernists were soon challenged by utopian experiments from the “anti-architecture” or “radical design” groups of the 1960–70s. Reestablishing architecture as an instrument of political, social, and cultural critique, they drafted bold manifestoes and designs, experimented with collage, music, performance art, furniture, graphic design, zines, installations, events, and exhibitions. While certain individuals from this era like Cedric Price, Hans Hollein, and Yona Friedman remain important to the realm of the radical and the unbuilt, the revolutionary spirit of these decades also saw the birth of various young collectives. For eccentricity at its very best, read on for a (by no means exhaustive) list of some groups who dared to question, poke, expand, rebel against, disrupt and redefine architecture in the 60s and 70s.

In recent years, solar energy has become a very popular method to power electric vehicles. This emerging technology has motivated the development of new architectural typologies. An evident evolution of traditional gas stations, it could be foreseen that solar-powered charging stations will begin to significantly grow in numbers in our cities in both public and private spaces.

Córdoba is one of the pioneer cities in the implementation of landscape architecture as we know it today.  Moving beyond the paved plazas of the colonial era, it was the first city in the country where the renowned French architect and landscape designer Carlos Thays designed a major urban park: Parque Sarmiento. Inaugurated in 1911 along the ravines that then marked the city's limits, the park became an integral part of the Nueva Córdoba neighborhood.

Similar initiatives followed over the years, creating highly characteristic green corridors such as the canalization and urban development of La Cañada. Later, during the 1970s and 1980s, the creation of pedestrian streets in the downtown area featured the incorporation of green pergolas, paved surface treatments, and plaza designs—such as Plaza Italia and Plaza España—led by architect Miguel Ángel Roca.

Today, this same emphasis on public and green space is no longer evident. The city currently has only 8 square meters of green space per inhabitant, falling short of the 10 to 15 square meters recommended by the WHO.