Flexibility has become a distinctive feature of contemporary interiors, driven by factors like the evolution of architectural programs and the progressive reduction of interior spaces, among others. This transition has shifted interiors from static to dynamic, aiming to achieve a state-of-the-art balance in space configuration. This sentiment is well encapsulated by Ricardo Bofill's statement that "architecture is the art of structuring space."
Considering the intricacies of interiors, it is essential to foster versatile spaces, aided by elements such as multipurpose design and flexible furniture. However, a challenge arises: while these strategies redefine the boundaries and dynamic essence of interiors, aspects like acoustics are often overlooked, which has become crucial in environments such as offices, conference rooms, schools, auditoriums, etc. Therefore, improving acoustics becomes essential to create functional multipurpose interiors. In that sense, Skyfold’s operable walls are an interesting alternative, as their solutions can serve as both soundproofing barriers and design pieces.
https://www.archdaily.com/1014623/movable-walls-the-transformative-effect-of-retractable-and-folding-partitionsEnrique Tovar
When discussing sustainability in construction, we are used to an approach based on complex technological solutions, expensive sensors, costly materials and, most recently, artificial intelligence. But what if everything we are looking for (in terms of sustainability) could come from the materials themselves, taking advantage of their intrinsic properties, without even relying on electricity? The use of hygromorphic materials offers an innovative perspective and sheds light on little-explored possibilities in the field. These materials can adapt to variations in environmental humidity, changing their shape, size or other physical properties. Examples in nature include wood, hygroscopic proteins such as collagen, polysaccharides such as cellulose and chitin, hygroscopic minerals such as certain salts and silica gel, as well as spores and pollen grains; all of which exhibit the ability to absorb or release moisture in response to changes in humidity. In architecture, researchers have been striving to develop materials, particularly for façades, that can take on a life of their own and make buildings more comfortable naturally.
PIF Tower, Riyadh, Saudi Arabia Photo: Bader Otaby. Image Courtesy: The International High-Rise Award 2022/23
The future Saudi tower designed by Foster + Partners is expected to reach a staggering height of two kilometers. This multibillion-dollar project, towering twice as high as the current record holder, the Burj Khalifa in Dubai, will dominate the skyline of Riyadh, accommodating offices, residences, and entertainment spaces. It forms part of a development program led by Saudi Arabia, driven by the vision of Crown Prince Mohammad bin Salman to establish the country's presence through ambitious, large-scale projects. While these super-tall towers symbolize visibility and global recognition, they face criticism for their extravagant construction costs and environmental impact.
Historically, architecture has served as a canvas for artistic expression. Building elements have been adorned with relief-carved garlands, inscriptions, fresco murals, portrait busts, and classicizing figurative sculptures, all of which emphasize the unique and intentional nature of each component. However, the industrialization of the 19th century brought about a shift in ideals, that stripped architectural components of their decorative elements. Instead, it preferenced the search for beauty in standardization and the economic accessibility provided by mass-produced building elements.
But is there room for artistry within mass production? Can artists be involved in the industrial-making processes of building elements? And how can new technology facilitate artistic mass customization of building components? These questions prompt us to consider the potential for expression, communication, and reflection in the craft of building elements in both interior and exterior spaces.
MVRDV has revealed a large-scale residential complex to take shape as part of a new smart city campus built by technology company Tencent in Qianhai Bay, Shenzhen, China. MVRDV’s intervention, named Tencent P5, is comprised of 11 apartment towers arranged around four courtyards. The project also includes amenities such as an adjacent kindergarten, to offer all the necessary facilities for the company’s employees. Construction began in early 2022 and is scheduled for completion in 2024.
The rise of generative AI has given every design educator sufficient reason to reconsider both what to teach and how to teach it. Training an architect is a long process, and mapping it onto an uncertain future is a daunting task. Researchers at OpenAI, DeepMind, Meta, and similar companies seem constantly surprised by the rapid development and sometimes unforeseen capabilities of their AI creations. If even the creators don’t know how fast the future will arrive, it would be hubristic for any of us to claim that AI will do X or AI won’t be able to do Y in the next decade, which is about how long it takes to really train an architect.
https://www.archdaily.com/1014830/how-ai-can-help-us-end-design-education-anachronismsEric J. Cesal
The Feynan Ecolodge project. Image Courtesy of Dongola DAS 01 | Notes on Formation and Ammar Khammash
Ammar Khammash is a Jordanian architect, designer, and artist best known for his approach that focuses on the preservation of cultural and natural heritage while crafting an architecture that engages with its surroundings. With deep admiration for nature and its ecosystems, Khammash trusts that "the site is the architect”, a statement for which he is renowned that underscores the profound influence of context on his architectural design. With over three decades of experience spanning various disciplines and across several Middle Eastern countries such as Jordan, Oman, Palestine, Egypt, Syria, and the UAE, Ammar Khammash has consistently attempted to preserve and enhance the symbiosis between human constructions and the natural environment. His contributions include the Royal Academy for Nature Conservation, the Wild Jordan Center, and the restoration of the Church of Apostles.
In 2022, he was featured in the first edition of the Dongola Architecture Series, a biannual publication that offers unique perspectives into Arab culture by highlighting prominent contemporary architects. The issue, titled “Notes on Formation: Ammar Khammash,” written by Raafat Majzoub, explores "architecture as a transdisciplinary tool of expression, and as a method of imagining and reimagining the future," encapsulating the ethos of the publication. ArchDaily had the opportunity to talk to Ammar Khammash and Sarah Chalabi, founder of Dongola Limited Editions, to delve into the architect’s perspectives on site, materiality, and culture, along with his philosophy, notions on academia, and insights into the future of the profession.
As an additive manufacturing method, 3D printing has been characterized by the construction of objects through the horizontal deposition of material, layer by layer. This still restricts, nonetheless, the manufacture of elements and limits the shape of early prototypes to within the range that allows the addition of material in a single direction, making it difficult to create complex shapes with smooth curves.
However, the team from the Chair of Digital Construction Technologies at ETH Zurich—integrating computational design, digital manufacturing, and new materials—has been exploring an innovative non-planar robotic additive manufacturing system. This method facilitates the printing of thin structures with double curvature, significantly expanding the possibilities of their application in architecture on a larger scale.
Pioneering advanced construction and large-scale 3D Printing, ICON was selected as ArchDaily’s Best New Practices of 2021 due to its boundary-breaking technology that is advancing capability in the built environment. The Texas-based startup has just unveiled various toolkits and products to modernize construction processes further. Dubbed “Domus Ex Machina,” the event showcased a range of innovations, such as an AI Architect created for home design and construction, a digital library containing over 60 pre-designed home plans, a new eco-friendly building material, and a robotic printed facilitating multi-story construction. Together, these developments aim to offer a quicker, more environmentally friendly way to build high-quality, affordable housing globally.
Jingdezhen Imperial Kiln Museum_View to the vaulted foyer of the auditorium. Image
On April 4 – 6, the international conference FABRICATE 2024will be held at the Royal Danish Academy in Copenhagen. Since its inception in 2011, FABRICATE has established itself as a global forum for new radical possibilities for architecture and welcomed thousands of participants from practice, industry, and research.
In this third article we meet architect Zhu Peiwho is the founding Director of Studio Zhu Pei and Dean of the School of Architecture at Central Academy of Fine Arts in Beijing. The text is an excerpt from the upcoming FABRICATE 2024 book and is based on an interview conversation led by Co-chairPhil Ayres between Zhu Peiand architect Cristiano Ceccato, Director of Zaha Hadid Architects. The book will be published on the opening night of the FABRICATE 2024 conference.
For decades, our society has predominantly embraced an extractivist approach when formulating models for material manufacturing across diverse industries. While we now know that this model is unsustainable, a major question remains: So, how do we do it? We may be a while away from offering a definitive answer to this challenge. Still, it is exciting to note that, in a context marked by a challenging global and ecological horizon, the architectural community maintains a positive approach by pushing for a re-evaluation of what we make and how we make it.
This momentum may be gaining relevance due to the emergence of new, more environmentally conscious generations, such as Gen Z and Alpha. What is certain is that we are witnessing the development of new production philosophies, such as plant-based materials, which adopt practices aimed at favoring the use of resources derived from plants, reducing dependence on extractive processes, and promoting conscious and sustainable alternatives in various aspects of the manufacture and production of materials in architecture.
https://www.archdaily.com/1014260/harvesting-architecture-a-glimpse-into-3-plant-based-materialsEnrique Tovar
When we talk about the building envelope, we often make the analogy of a skin that protects and wraps the structure, creating a transition in the physical environment. This concept is interesting as it identifies that, similar to its function in humans, the skin plays a role in protecting and regulating the interior setting, besides contributing to the aesthetics of the building. In this way, both the human skin and the building envelope act as elements that respond to the stimuli of the surroundings and the life that develops within them. More than just protective barriers, they are experienced as means of active interaction with the context.
While envelopes evolve within diverse contexts, materials, and systems, minimalist windows distinguish themselves through their aesthetic qualities by being transparent and fluid skins. These windows excel with their functionality and visual lightness, standing out in the architectural landscape. In addition, they are noteworthy thanks to their versatility across different systems that connect life within the interior and exterior. Considering Swiss and Pritzker Prize-winning architect Peter Zumthor's statement that "architecture is exposed to life,” windows play a vital role in expressing that connection, becoming a significant part of the building's identity and essence.
https://www.archdaily.com/1013905/reframing-the-concept-of-building-envelope-through-minimalist-windowsEnrique Tovar
In the coming decades, it seems inevitable that architects will increasingly focus on renovations and rehabilitations –especially in established urban centers–, whether to modernize outdated structures or adapt to new uses and demands by contemporary society. A main challenge when executing these types of projects is obtaining a truly reliable working base, including accurate and true-to-life 3D models. Conducting surveys can be a herculean task, requiring extensive hours or days of on-site work and considerable effort to organize and interpret the collected information, often resulting in data that lacks adequate precision.
To simplify these processes, technological advancements have provided a solution: site surveys based on point clouds and 3D scanning, which have the potential to revolutionize the design process. Point clouds are collections of millions or billions of individual measurement points on the surface of objects, which can be obtained through laser scanners, drones, or 3D cameras. Each measurement point contains X, Y, and Z coordinates, as well as other optical properties (reflectance, color). Multiple scanning positions are registered (stitched) to create point clouds of an entire scene, which can be loaded into virtually any CAD platform for standard fieldwork.
On April 4 – 6, the international conference FABRICATE 2024will be held at the Royal Danish Academy in Copenhagen. Since its inception in 2011, FABRICATE has established itself as a global forum for new radical possibilities for architecture and welcomed thousands of participants from practice, industry, and research.
In this second article, we meet architectIndy Johar who is the director of WikiHouse Foundation and CEO and founder of Dark Matters Lab working with institutions around the world, from UNDP, the European Commission on Net Zero Cities, the European Environmental Agency, and various national agencies and cities. The text is an excerpt from the upcoming FABRICATE 2024 book and is based on an interview conversation led by Co-chair Phil Ayres between Indy Joharand Professor Philippe Block, Head of the Institute of Technology in Architecture (ITA), ETH Zürich. The book will be published on the opening night of the FABRICATE 2024 conference.
As commonly understood, gutters are elements installed along the edges of roofs and balconies to channel rainwater. Their primary function is to collect water flowing over the roof's surface and direct it to the appropriate downspouts. Proper sizing is crucial regardless of the material—whether aluminum, PVC, concrete, galvanized steel, or others. Depending on the climate in which the project is situated, the damages caused by incorrect application can be considerable.
Courtesy of Thom Mayne | Constructing the Spontaneous
The Pritzker-winning architect Thom Mayne is presenting his display “Constructing the Spontaneous” in the Paul Kyle Gallery in Vancouver, Canada. Known for his contributions to architecture and design, the architect founded Morphosis in 1972, embodying his philosophy of architecture as an ever-evolving, dynamic process. Mayne’s latest display features his artworks, diving into the intricate relationship between cutting-edge technology and timeless human expression.
Translucency, at its essence, is an optical property that enables the total or partial passage of light through materials, without providing a clear view of the objects behind them. Despite its apparent simplicity, this property has fascinating applications in the architectural field, generating attractive and powerful proposals that play with light without obstructing views.
Traditionally, glass sheets have been the symbolic material associated with transparency, commonly used in the fabrication of doors and windows. However, technological advances in production and the exploration of innovative materials have significantly expanded the opportunities to take advantage of this property in both interior and exterior applications. These advances challenge preconceived limitations and encourage creativity in the development of novel architectural proposals.
https://www.archdaily.com/1013517/seeing-through-layers-translucent-materials-in-architectureEnrique Tovar
