Launching this Fall, Architizer is thrilled to announce a brand new, international awards program, specifically designed to spotlight the world’s best architecture and design firms and their incredible partners.

Expanding on the A+Awards — the world’s largest architectural awards program — the A+Firm Awards will spotlight the best in the AEC industry, giving innovative companies the global recognition they deserve. It is the only program designed explicitly to reward studios of all sizes, geographies, and specializations.

Registration is open today, and the program will open for entries on September 15th, 2020. Register today for key updates, important information and deadline reminders:

Register Your Firm

Jeanne Gang receiving the Firm of the Year Award on behalf of Studio Gang at Architizer’s A+ Awards Gala in 2016; photography by Jenna Bascom.

Become an Industry-Leading Name

The A+Firm Awards is designed to honor firms at every level and every region of the world. The program is open to architecture firms, landscape architects, engineers, interior designers, rendering studios, developers and photographers. Award categories will offer opportunities for firms of all sizes, specialisms and geographies, including:

• Best Small Firm
• Best Medium Firm
• Best Large Firm
• Best XL Firm
• Best Young Firm
• Best in North America
• Best in South America
• Best in Asia
• Best in Europe
• Best in Africa
• Best in Australasia
• Architecture – Private Residential
• Architecture – Multi Unit Residential
• Architecture – Commercial
• Architecture – Cultural
• Architecture – Institutional
• Architecture – Hospitality
• Architecture – Humanitarian
• Architecture – Urban Planning
• Architecture – Conceptual
• Interior Design – Residential
• Interior Design – Commercial
• Interior Design – Institutional / Cultural
• Landscape Architecture
• Rendering Studio
• Photography Studio
• Engineering Firm
• Real Estate Developer
• Sustainability
• Small Projects
• Public Projects
• Collaboration

Eligible firms can submit for multiple awards categories, so there are many ways to win.

Iván Marín and his team celebrate their 2019 A+Award win at the Cultural Center at Centro Educativo de Morelia, winner of the Popular Vote in the Architecture +Brick category. Image courtesy of the architects

Celebrate the People Behind Your Projects

Great architecture would not be possible without the talent, creativity and innovation of the teams that work so hard to bring it to life. The new A+Firm Awards program is designed to celebrate those amazing architects, designers and consultants, each of whom play a pivotal role in a project — from concept to completion.

Architecture has never been created by a singular, star architect — so why should they take all the plaudits? The concept of the “lone design genius” is outdated and needs to be overhauled. The A+Firm Awards provides an opportunity for your whole team to be given the spotlight. It’s the ultimate award for collaborative creativity in the 21st Century.

Register Your Firm

Take Your Place Among the World’s Best Firms

The new awards program provides architecture and design firms with an opportunity to join the extraordinary ranks of Architizer’s past Special Honoree A+Award Winners, including BIG – Bjarke Ingels Group (2014 Firm of the Year), Reiulf Ramstad Architects (2015), Studio Gang Architects (2016), Adjaye Associates (2017) and MVRDV (2018).

Principals from past Firm of the Year firms, from left to right: Sir David Frank Adjaye OBE RA, Principal of Adjaye Associates, photo © Ed Reeve; Jeanne Gang, principal at Studio Gang; Jacob van Rijs, co-founder and principal architect of MVRDV, photo by Bastiaan van der Sluis

On receiving the 2017 honor on behalf of his firm, Sir David Frank Adjaye OBE RA, Principal of Adjaye Associates, said: “It’s an incredible honor and, of course, very humbling. To be recognized for work that you deeply believe in is incredibly rewarding.” Jacob van Rijs, co-founder and principal architect of MVRDV, said of his firm’s achievement in 2018: “Firm of the Year is a great appreciation of our work, because Architizer is such an international, global platform.”

Categories for Every Team Player

The A+Firm Awards seeks to celebrate everyone involved in the design process, recognizing the incredible collaboration required to bring brilliant buildings to fruition. This includes rendering studios, modelers, architectural designers, landscape architects, engineers, interior designers and architectural photographers.

There are also awards on offer for design firms of all sizes, so whether you are part of a tenacious team of two or an epic team of 800, there is an opportunity for you to receive recognition on a global stage.

Send Us Your Portfolio

A firm’s work can never be defined by one project. That’s why, with the A+Firm Awards, a firm can show the full breadth of their achievements by submitting 3 to 6 projects for review by our expert panel of jurors. This provides a powerful platform to showcase the full range of your architectural work in front of some of the most esteemed thought leaders in the industry.

Winners will see their work celebrated in the form of a year-round digital exhibition, with their projects being published on Architizer Journal, Facebook, Instagram, Linkedin, Pinterest and Twitter. With a combined audience of more than 7.5 million, the exposure that awaits A+Firm Award recipients is unparalleled.

Without further ado, register your firm now to ensure you are kept up to date on the program, and begin preparing your project materials for entry. We can’t wait to see your work this Fall!

Register for the 2020 A+Firm Awards

The post Rewarding the World’s Best Firms: Register for the 1st Annual A+Firm Awards appeared first on Journal.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

Swiss industrial designer Yves Béhar and French ocean conservationist Fabien Cousteau have unveiled their design for what could be the world’s largest underwater research station and habitat. Called Proteus, it was conceived as an underwater equivalent of the International Space Station. 

Béhar and his team at Fuseproject designed the habitat for the Fabien Cousteau Ocean Learning Center. The 4,000-square-foot modular lab will sit underwater, at an approximate depth of 60 feet, off the coast of the Caribbean nation of Curaçao, providing a space for scientists and researchers to live and conduct advanced scientific and oceanic research. Work there will center around ocean conservation, promoting renewable energy and food sustainability. This will make Proteus the largest and most technologically advanced underwater station ever built. 

According to ArchDaily, Proteus will enable “… the discovery of new species of marine life, creating a better understanding of how climate change affects the Ocean and allowing for testing of advanced technologies for green power, aquaculture, and robotic exploration.” 

Proteus will be a two-story circular structure grounded to the ocean floor on stilts. A series of protruding pods will contain laboratories, personal quarters, medical bays and a moon pool, where divers can access the ocean. The facility will be powered by wind and solar energy, along with ocean thermal energy conversion. It will also include the first underwater greenhouse and a video production facility. 

Like the International Space Station, the underwater habitat will host an array of government agencies, academics, scientists, NGOs and the private sector in order to collaborate. Proteus will be able to hold up to 12 people at the same time for up to 30 days, which is longer than any underwater station ever built. 

Yves Béhar (left) and Fabien Cousteau (right)

Proteus is not a huge departure for Fabien Cousteau. He comes from a family of famous oceanographic explorers, the son of filmmaker Jean-Michel Cousteu and grandson of Aqua-Lung co-creator Jacques-Yves Cousteau.

In terms of the habitat’s aesthetic, Béhar and Cousteu “…wanted it to be new, different, inspiring and futuristic.” As explained by Béhar, the team looked at “everything from science fiction to modular housing to Japanese pod [hotels].” Older underwater research facilities from the 60s and 70s were also studied, informing Proteus’ retro-futuristic look.

These renderings are the latest step for the pair’s ambitious project. As noted by CNN, Cousteau believes it will take three years for Proteus to be realized, though the COVID-19 pandemic has already delayed the process. Béhar hopes the project will be one of a series of marine habitats dedicated to research and conservation. 

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

All images via Fuseproject

The post Aquatecture: Designers Visualize the World’s Largest Underwater Research Habitat appeared first on Journal.

As we all already know, architecture students have a lot on their plates. Balancing countless studio hours, lecture time, reading and coursework can be overwhelming. The grind is rite of passage that should — in theory — help to establish complete, prepared and highly skilled architects. Everyday is spent refining one’s craft, and one of the primary practices is through drawing. Hand drawing is a pillar within any aspiring architect’s curriculum, and Architizer’s One Drawing Challenge is a competition designed to recognize the best of the best in this field.

Your task is simple: Send us one, singular drawing that tells a powerful story about architecture. It’s likely you already have one you are proud of in your latest thesis or portfolio. Submit it here before August 28th for a chance to win $2,500 and have your work published globally.

Enter the 2020 One Drawing Challenge

There is a wealth of drawing talent on the drawing boards of architecture schools around the world. Below is a group of eight incredible drawings by architecture students that communicate ideas in compelling ways, while giving professionals a run for their money. Let this group of brilliant students inspire you as you develop your drawings for this year’s One Drawing Challenge competition:

“Nave Section” by Anna Nasonova

This piece was illustrated by Yale School of Architecture student, Anna Nasonova, as part of an intensive five-week summer workshop in Rome designed to provide a broad overview of the city’s major architectural sites, topography, and systems of urban organization. This work is a freehand drawing of the Santa Maria in Campitelli done in pencil and watercolor. The proportions and details of the High Baroque interior by Rainaldi were studied to reveal the structure’s phases in construction.

“American Dream or American Nightmare” by Yue (Maria) Ma

Cornell Masters of Architecture student, Yue (Maria) Ma’s project, American Dream or American Nightmare: 2020, 2050, 2070, features a steel ark that circumvents a border wall to establish fair trade between separated people. In a broader context the project refers to segregation and discrimination in today’s society. The project is part of an intercollegiate collaboration project examining Mexican-American topics in architecture.

“Capital for the Collective: The Labour Miracle” by Erik Bean

For his master’s thesis, Aarhus School of Architecture graduate, Erik Bean, produced “Capital for the Collective: The Labour Miracle”. The project explores how the impacts of climate change can be used to positively influence the formation and critical engagement of public urban space in sea level rise-impacted London. “The Labour Miracle” explores how individuals can participate in refreshed ways when it comes to the construction and sustainability of their communities. It promotes social cohesion, public altruism, civic philanthropy, and enhanced participation.

“The Tower of Memory: The Tower and the Landscape” by Juan Alberto Arjona Belmonte

This illustration by Juan Alberto Arjona Belmonte from the Superior Technical School of Architecture of Madrid was highly commended in the 2018 Architecture Drawing Prize competition hosted by the World Architecture Festival. The concept of the project seeks to create a space for memory and reflection.

Freehand Stadium Drawings by Mohammad Pirdavari

For his B.A. final project, Pirdavari illustrated his modernist stadium concept through a series of freehand airbrush drawings. This medium allowed him to create intricate graphics that accentuated the stadiums’ raw materials and the relationships between the primary exposed structures and their covered underbellies.

“Penang 2095” by Tianjing Lim

Under the theme “Shaping new Realities”, this piece by Tianjing Lim was awarded first prize by the Aarhus School of Architecture’s drawing competition. From afar the structure appears to be a tall, densely packed factory, but up close active urban life is revealed. It’s a vertical city that builds upon its pre-existing organization and layout. The structure expresses a continually adaptive growth that is physically based on its past.

“Pastel-coloured Hillside” by Felicity Barbur

Out of The Bartlett School of Architecture, Felicity Barbur developed a vivid, artificial mountain-scape depicting the setting for a new river festival in Chicago. It’s an ethnographic perspective on the architecture of city life, simplifying and mapping Chicago’s urbanism through spatially engaging events. The “Pastel-coloured hillside” features a scalable piece of the Great Wall of China for the lunar new year along with water towers, common across the city of Chicago.

Drawing by Aysylu Zaripova

Russian architectural student Aysylu Zaripova was a finalist of the Dallas-based Ken Roberts Memorial Delineation Competition. This illustration provides a birds-eye-view, three dimensional perspective of a globed cityscape. It showcases an almost exoskeleton-like depiction of a city with infrastructures and building frames laid bare.

Now show us what you can do: Register for the One Drawing Challenge and submit your best drawings before August 28th, 2020 for a chance to win amazing prizes:

Enter the 2020 One Drawing Challenge

The post The All-Nighters: 8 Mind-Blowing Architecture School Drawings appeared first on Journal.

The 2nd Annual One Drawing Challenge is open for entries, with the Final Entry Deadline right around the corner on August 28th. Last year’s competition saw a breadth of captivating entries, which, through the power of a single drawing, told unique narratives centered around architecture and the experiences of those that would inhabit it.

Enter the 2020 One Drawing Challenge

Ozair Mansoor’s “Between Possibilities and Limitations” and Mandalika Justine Roberts’ “The Machine: A Mechanical Mudlark” brilliantly exemplified these qualities, netting them the two top prizes in last year’s inaugural competition. While both high in quality, the two pieces were crafted in completely different ways, reflecting a growing dichotomy in architectural drawing. 

The division here is between CAD drawing and hand drawing, with the former increasingly rising in prominence as the go-to drafting method. Many believe the growing use of CAD and 3D modeling, especially in architecture schools, means students and young architects are no longer practicing drawing by hand, signaling the end of the ‘art’ of drawing and sketching. 

“Between Possibilities and Limitations” by Ozair Mansoor (2019 One Drawing Challenge Student Winner)

Prophesying the complete erasure of hand drawing in architecture is extreme, however, it is clear why CAD has grown to be so popular. For starters, the contemporary world operates almost entirely digitally. Using software is simply a more practical, time-efficient option for most at this point in time. 

“The Machine: A Mechanical Mudlark” by Mandalika Justine Roberts( 2019 One Drawing Challenge Non-Student Winner)

The power of a computer offers pinpoint accuracy and the ability to use an array of features to assist the drawing process, such as line weights and line styles to communicate different elements of a building.

When it comes to technical drawing, CAD also allows individuals to work much faster compared to those that hand draw, a method that requires a more meticulous and taxing workflow. Additionally, CAD allows for multiple people to collaborate on a single drawing, and if there are any mistakes made, one can edit their work without the fear of having to start over. 

Frank Gehry used the CATIA software, which utilizes CAD, for this 3D model of the Guggenheim Museum, Bilbao in 1992; image courtesy of Gehry Partners, LLP

Hand drawing, on the other hand, is a timeless art form that spans far outside the realm of architecture. Whether a simple sketch or detailed illustration, hand drawing infuses a unique, human quality to a piece that can’t quite be achieved with CAD.

Advocates for hand drawing argue that there is more scope to introduce emotion and atmosphere into an ‘analogue’ drawing. Hand drawing forces individuals to deliberate and strategize, requiring an extensive understanding of the subject, the materials and techniques. 

Frank Lloyd Wright and John H Howe, Fallingwater, 1937, pencil and colored pencil on tracing paper; image via The Modern House

Both CAD drawing and hand drawing have their pros and cons. It is clear from last year’s One Drawing Challenge winners, however, that each avenue can produce remarkable work. While hand drawing is less popular than before, there is definitely a place for both it and CAD drawing in architecture.

Depending on the need, both can be used to tell a story about architecture, which is the ultimate goal. With that being said, we invite entrants to use either method in this year’s One Drawing Challenge. Don’t hesitate to participate and showcase your architectural drawing skills!

The post Let’s Settle This: CAD or Hand Drawing? appeared first on Journal.

Architects, interior designers, rendering artists, landscape architects, engineers, photographers and real estate developers are invited to submit their firm for the inaugural A+Firm Awards, celebrating the talented teams behind the world’s best architecture. Register today.

Architects need clients. There is, unfortunately, no other way to be an architect. But despite the fact that obtaining clients follows a relatively consistent, formal process, navigating this process is not often taught in architectural schools, and young architects don’t usually participate in it.

So for anyone interested in bringing new projects into their firm or striking out on their own, this process needs de-mystifying. The process architects typically progress through to get clients involves networking, being invited to propose, preparing proposals, and interviewing. The specifics of this process are outlined below, and often differ depending on the type of project.

via Free-Photos from Pixabay

Networking

It seems logical that an architect would spend most of their time designing buildings, but in practice the majority of a lead architect’s efforts are directed toward lining up future projects. In just about any firm, principals are primarily responsible for winning new work while less experienced designers draw up and administer the construction of that work. To that end, networking for prospective clients involves understanding how people decide to hire an architect in the first place, then being in front of them when they’re about to make that decision.

People who hire architects frequently, such as real estate developers, often keep relationships with many designers and rotate which ones they select to lead projects. People who rarely hire architects, such as individual homeowners, often ask their friends for architect recommendations and pick one from the suggestions they receive. In either case, both client types have a list, and you have to be on their list to be considered for their project.

Getting Invited

You may or may not be aware you’re on someone’s list of potential architects until they ask you to give them a proposal. To be ready to respond to such a request, it’s important to note the different forms they take. On one end of the spectrum someone at a dinner party asks if you’re interested in designing an addition to their house. On the other end, you receive a formal invite to bid on a design project that spells out the exact format your response is required to take, all the way down to font size and typeface.

In both cases, the potential client’s request will be direct, closed, or open. Direct means the potential client is considering no other architect besides you, so you simply need to negotiate fees and any other concerns that client may have. A closed process involves multiple architects competing for the same project, with each architect being exclusively invited by the client to bid on it. An open process occurs only in projects for government agencies, which are often required to accept proposals from any interested architect, or widely-advertised competitions sponsored by private organizations.

via Pexels from Pixabay

Proposing

The proposal an architect submits to a potential client can be simple or complex. A simple proposal may be nothing more than a letter outlining the services you’ll provide with a price for each design phase. A complex proposal, typically prepared in response to a detailed request from a client, often requires resumes for proposed team members, examples of past projects, a comprehensive work plan and schedule for the project, and a breakdown of the design fees you’re asking a client to pay. Some requests for proposals might even ask you to submit conceptual design work.

It’s easy to get caught up in preparing a proposal, especially if it’s asking for design ideas, but it’s important to remember that a proposal is a negotiation. For that reason, many architects simply refuse to respond to requests that require design work unless they’re being paid for it. Requests for proposals may also include language that legally binds an architect to a contract before they win a project, so it’s important to read requests carefully and consult a lawyer if needed. Finally, it’s usually a good idea to set your desired design fees with the expectation that you’ll be asked to lower them at some point before being awarded the job.

via Free-Photos from Pixabay

Interviewing

Often the last step before winning a project, architects are frequently asked to meet with a potential client face-to-face (physically or virtually) to discuss their approach to the client’s project. It’s at this point where architectural commissions are won or lost, typically on criteria the architect is completely unaware of.

A client’s final decision can come down to cost, past experience or even personality traits, depending on how they happen to feel when they make the decision. Mostly, a client’s decision to award a project means they’re committing to an extended professional relationship with an architect, so a smart approach to interviewing is to sell the process of working with you, as opposed to selling a particular design or capability.

Differences by Project Type

The differences an architect might encounter in the process of getting clients is frequently dependent on the type of project being pursued. Single-family residential projects, for example, are often completed for clients who have never worked with an architect before, so the architect will likely drive this process. Commercial construction is carried out by organizations that may have more experience hiring designers, but the way they pick one can be dependent on how they’re paying for the project. Bidding on design work for government agencies tends to be heavily standardized, but architects with prior knowledge of the project or client are often at an advantage.

Regardless how you pursue projects, remember that persistence, patience, and a willingness to learn from mistakes are all essential to the challenge. Trying to get clients can be daunting, but with a bit of tenacity, it can be nurtured into a skill that lasts a lifetime.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter

Top image via Malachi Witt from Pixabay

The post Young Architect Guide: How to Get Clients appeared first on Journal.

Project management takes a special skillset, especially in architecture. One must be able to keep track of multiple moving pieces, including budgets, personnel and — most frustratingly — the whims of the client.

Patience, flexibility and a little bit of luck all go a long way toward managing a successful project, but the most important thing is staying organized. Project managers are tasked with tracking time, expenses and work in progress to ensure that a project is delivered on time and within budget, providing the client with what they need while helping the architecture firm to maintain profitability.

Of course, managing a successful project is about more than just tracking tasks. Project managers must also be conscientious in their outlook and approach. This means staying aware, from the outset, of what might go wrong and how to quickly get things back on track. After all, systems are only as good as the logic that underpins them.

With this in mind, the following guide includes 10 of the most common mistakes project managers tend to make, and tips on how to prevent them.

1. Not Defining Goals — And Agreeing on Them

A project with ill-defined goals — or worse, one where the client and the team aren’t on the same page — is doomed from the start. That’s why it is important to define your objectives as clearly as you can and to make sure the client and the team are on the same page.

In addition to solidifying what precisely the client will see as the measure of success, it is vital to talk about internal objectives and agree how they’ll be measured. This involves examining your key performance indicators (KPIs) and benchmarking them.

Having clients agree to KPIs in advance is an important way to protect your firm in the event that the client is dissatisfied.

2. Not Thinking Through Your Estimates

It’s easy to be optimistic, and to promise the client that you will be able to accomplish a lot in a short time frame and a modest budget. In fact, a little bit of this can-do attitude is probably necessary if you are to succeed in an ambitious project.

However, there is no sense — or honor — in running into a project blind. In order to create a realistic schedule and budget, it is imperative that you look at data from previous projects to see how much time and money you spent in the past, especially if you have information from previous projects.

Good project managers know how to read data and use it to make realistic projections. Hone this skill if it isn’t currently an area of strength.

3. Not Asking for What You’re Worth

Past client data is also important for ensuring that your client pays you enough. In determining what to bill, you need to examine your employee’s utilization rates on past projects.

Image courtesy of BQE

There is a nifty formula for determining the minimum bill rate, which is what you should charge for each employee’s time. This formula takes into account the employee’s pay rate, overhead costs, the target profit and the utilization rate for that employee:

Minimum Bill Rate = (Pay Rate X Overhead Multiplier X Target Profit) / Utilization

Armed with the knowledge of your minimum bill rates, you’ll always know what to charge in order to turn your desired profit. This is a powerful spot to be in.

4. Taking On Projects That Don’t Help Your Firm

Jumping at new opportunities is, in many cases, a virtue. It’s admirable to read a lot of books, travel to different countries, and pick up new languages and skills on a whim. However, when it comes to selecting a project, discernment is the name of the game.

When you decide whether or not to accept a project, a few factors must always be considered. For instance, are the client’s demands practical? Do you gel with their personality? Do you have all the necessary licenses to complete this work? It’s worth keeping a list of key questions and going through them all before accepting a new assignment, even when it seems like a sure thing.

Data can also come in handy here. It’s important to periodically run the numbers and see which types of projects are more or less profitable for you. That said, it is sometimes OK to accept a less profitable project if it will bring exposure or prestige. Whatever your reasoning, just make sure you’ve thought it through.

5. Assigning the Right People to Do the Wrong Tasks

Project managers don’t just manage projects; they manage people. To be a great one, it’s critical that you know your team. This means being aware of their strengths as well as their weaknesses.

Pay attention to employee performance across their various tasks and activities. If possible, use your project management software to run the numbers for utilization and profitability. This way, you can ensure you make the best choices when you hand out assignments.

6. Not Communicating Properly

Communication is a broad issue, but a critical one. As a manager, you need to liaise regularly with the client, the team, and your supervisors. In each case, the information you present needs to be relevant and to the point, ensuring that everyone is on the same page.

Lora Teagarden’s sketch of different communication forms in architecture provides a neat overview of the many interactions within the AEC industry; image via L2 Design

With communication, less is sometimes more. You don’t want to bog people down with irrelevant details that distract them from what they need to be focusing on. Communication must be strategic and meaningful.

Think about which tools will help you simplify your discussions and whether or not you can automate any processes. By making your communication as streamlined and instant as possible, you’ll avoid a lot of confusion.

7. Only Running the Numbers After You’re Done

We’ve talked about data a lot so far, especially in terms of using data from past projects to inform your current strategy. However, it is also important to analyze data from your current project as you are doing it. Good project managers regularly monitor the KPI’s established for the team as the project is underway.

Weekly reviews with the team can help make sure you are on the right track. More importantly, though, you must have a framework in place that you can follow if you find you are falling behind. When you build your systems, always make sure they are flexible enough to accommodate exigencies.

8. Using Inconsistent Tools and Processes

Switching around between different software solutions, methods of communication, and other project management essentials is a recipe for disaster. If the key elements of your project are located in different places, it becomes impossible for everyone on the team to stay up to speed on what is going on.

Consistency is also important when it comes to collecting useful data. If you don’t have comparable sets of data between your different projects, there’s no good way to measure what has worked and what hasn’t.

9. Not Watching Out for Scope Creep

In the project management world, the word “creep” doesn’t evoke a Radiohead song, but a major issue where small changes, over time, lead to a fundamental shift in the scope of the project.

Over the course of a project, it is inevitable that the client will request changes. It is important that you have a plan for how to accommodate these changes without throwing off your overall priorities. A good way to start is having a conversation with the client, up front, about what your expectations are and what types of requests for change are reasonable.

Assertiveness, if it is coupled with competence, goes a long way toward keeping the “creep” at bay.

Image courtesy of BQE

10. Working with Inferior Project Management Software

Spreadsheets had their place in the project management world in the past, as graph paper did and, before that, the abacus. But if you want to manage a project with 21st century efficiency, you need to use contemporary tools. Your project management solution should give you visibility into your projects and help you organize and assign work. Make sure it’s adapted to your needs and that everyone on the team is comfortable using it.

There are a number of factors to consider when choosing a project management system, such as whether it has mobile options and if it is able to share information with other systems. But the key thing to consider is whether it helps your firm achieve its goals. Good software should be easy to use and it should speed up your workflow considerably, automating what needs to be automated and storing important data in places where it is easy to call upon.

You can learn more about errors in project management and how you can refine your operations in the ebook 10 Fatal Project Management Mistakes You Might Be Making (and How to Prevent Them) by BQE Software, the creators of BQE CORE Architect, the smart cloud practice management solution that lets you efficiently and productively handle all your project management, time and expense tracking, invoicing, accounting, HR, and client relationship management on a single platform. To try BQE CORE Architect for Free for 15 Days, click here. 

The post 10 Fatal Project Management Mistakes and How to Avoid Them appeared first on Journal.

Byron Cai is the lead editor at Archi Hacks, a platform dedicated to architecture visualization, portfolio, and design tips and tricks for students and professionals.

Duy Phan is the winner of the Ronen Beckerman TMRW 2020 Challenge and his project “Orchard Jenga” was honored to win two out of ten best-commended entries from One Rendering Challenge by Architizer.

I first came across Duy Phan’s work while browsing through the finalist gallery of Architizer’s One Rendering Challenge. His images immediately stood out to me for their bold expression of color and uniquely crafted narratives.

I would describe his style of visualization as ‘hyperrealism’; the prefix “hyper” being defined as above-and-beyond or ‘enhancing reality’. Robin Eley, Nathan Walsh, and Emanuele Dascanio are excellent examples of hyperrealist artists.

The ARM at Hudson Yards; design and visualization by Duy Phan

I think it is important to mention that hyperrealism, even though it is often mistaken as a term to be synonymous with photorealism, is not the same as photorealism. Rather, hyperrealism is the clever synthesis of color, composition and atmosphere with a hint of the avant-garde that ultimately invokes a heightened sense of emotion and mood. Duy Phan’s work does it all, and its exemplified in his winning entry for the Ronen Beckerman TMRW Challenge 2020.

I had a chance to reach out to Duy Phan and ask him about his work, methodology, and any insights he may have about ArchViz.

Byron Cai: How did you initially become interested in the field of architectural visualization? What made you decide to pursue architectural visualization or even architecture to begin with? Did you have a background in traditional art or digital art?

Duy Phan: Things started back in my high-school days when I got too addicted to drawing imaginary comic scenes and my Mom discovered that I designed and drew the little buildings I put in my images so she encouraged me to apply and study architecture. It is not that architectural design bored me, but on the contrast, having to portray and represent my ideas glued me so tight to the chair.

It made me as the question — how do I convince the project viewer to explore my work further by showing powerful images just like all the legendary architects and visual artists do? Genuinely speaking, the more I refined my project images, the more it helped me to realize my path as an ArchViz illustrator in the future.

The ARM at Hudson Yards; design and visualization by Duy Phan

Your renderings often invoke a unique sense of mood. Is photorealism the goal, or are you striving for something more?

I believe Photorealism is more of a tool rather than a goal in order to chase the outcome. Understanding and using physics in visualizing images could help the shot be more convincing, but the most realistic image might not be the most interesting. Since we observe our world with all its lights and materials daily, things become curious if those realities are stretched a bit to promote certain ideas. I have to keep reminding myself about the message I would like to convey in the image to help me collect the ingredients, and photorealism usually plays a main part here.

Urban Farm Temple; design and visualization by Duy Phan

What I find interesting about your work is that each image has its own unique quality. Where do you get your inspiration from? Does it differ from image to image?

I’m really glad that you found my works differ from one to another, as I love to try and bring something fresh to the table each time. Besides following and studying visual images from profound studios, I love to spend a bit of time everyday exploring photography sites such as Flickr and Unsplash, training my eyes to see how all physical elements attach together in a beautiful shot. At the same time, I note interesting moods that are present in some adventurous photographers’ work.

I keep these random inspirational images in a cloud drive, where I can access and note any ideas I have during my free time. Later on, when touching base with a specific image, this resource helps remind me of some concepts, and I explore whether it could fit the project brief and is worth developing further.

The ARM at Hudson Yards; design and visualization by Duy Phan

One thing that stands out immediately are the beautifully selected color palettes for each render. How do you decide which colors to use?

Color in an image is like the alphabet of our language. Letters and words are picked and organized to help us demonstrate our thoughts. In the case of visualization, considering which color to go with sis dictated by what feeling the painters would like their viewer to have. Studying the color palette and how it connects to the narrative of the image concept is key. Collecting reference images by both photographers and other rendering artists can help pre-production go in the right direction.

What is your favorite rendering that you have done so far?

Orchard Jenga is my most memorable image, which happened to be a career guide for me when I was finalizing my thesis project in university recently.

Orchard Jenga image development; design and visualization by Duy Phan

What kind of software do you use? How did your choice of digital mediums change between your school education and the ArchViz industry? Vray or Corona? Something else?

At the moment I mostly use Sketchup, 3ds Max, Corona and Photoshop. I found it was quicker for me to build my concept and preview it quickly in Sketchup, playing around with it by adjusting the Style tab features before moving on to 3ds Max. Corona got me hooked straight away when I first tried it after using Vray for a while. It’s more of personal preference when comparing these two; we can barely distinguish between them when looking at high-end renders by the masters in this industry.

Though I continually learn new techniques in 3D software, the more images I have a chance to work on, the more I lean toward 2D resources to get the result pictured in my head. Hence, the digital mediums might not change, but the proportion of time I spend on each step is changing in my workflow.

Orchard Jenga image development; design and visualization by Duy Phan

You obviously have your own creative approach to an image. Your work-in-progress images can look very different from the final result. Can you describe the process you go through for an image?

In the brainstorming process, if I didn’t model the design myself, I simplify the 3D file and then import it to Sketchup. Personally, I have found the user interface in Sketchup helps me explore and invoke more potential concepts by playing with basic light and shadow, lines weight and fog. With some images, I could go straight to Photoshop from a shot I captured here and matte paint the rest, but usually the next stage is moving to 3ds max for rendering.

From the sketched concept, I replicate the angle similar to what I had in Sketchup using Corona cam, and start with sun, lights and materials. I always keep all the lights separated in Corona Lightmix so that I can quickly find a potential mood by messing around with the light setting. As an example, two versions of the Orchard Jenga both came out of a single rendering, but differ by custom lightmix. I try to balance the time I spend in 3D and 2D; if I can solve a problem using Photoshop, I will not invest too much time in the CPU burning process.

The ARM at Hudson Yards (gallery view); design and visualization by Duy Phan

Can you describe the influence of matte painting and how you use it in the visualization process?

In my case, I think matte painting is more about eye-training rather than hand-training, just like in the old days when painters had to mess up the palette to find out which color is most similar to nature. Attaching and gluing all the pieces together to create a beautiful image is a time consuming process, and requires knowledge about any brush or montage we choose to put in.

Fully relying on 3d software sometimes gets us to forget how reality works and makes us hesitant to pursue the original concept because there is a limitation of technology, or we simply can not find the right 3d model.

The ARM at Hudson Yards (matte painting); design and visualization by Duy Phan

Are there different visual approaches that you use depending on the kind of architecture you are portraying?

Yes there are a few ways to approach a specific image in my case. A good example for this is with a birds-eye view, I would spend more time studying the surrounding context, if not in person then by google map and local images. This sometimes results in capturing good images for a photomontage, or otherwise provides me heaps of information to build the context from scratch, either in 3D or using matte painting.

Then there are interior images, where I spend more time on looking or making the right materials which happen to be exposed within the scenes, again things could be purely done from the render engine but I found it always needs a quite decent of touches when moving onto post-production process.

Interchange Oasis image development; design by Xpace, visualization by Duy Phan

Tatiana Bilbao controversially said that renderings are “dangerous and damaging” in a recent Dezeen article. Do you agree with her reasoning?

I partly agree with Tatiana about holding ideas from further development after seeing a realistic render. As I understand, from a design concept to built reality, it has been and will always be a constantly communicating process, back and forth, between designers and decision makers. Realistic renderings, collages, physical models, technical drawings or any other presentation mediums are considered as a method to convey the message from one mind to another.

Choosing to use any of these mediums is dependent on an architecture studio’s culture of demonstrating their thoughts, and this should be uniquely tailored to that studio’s type of project and their clients. Hence, in Bilbao’s studio, with a very interesting story about an old client and their potential clients, it makes sense that they found a new way to express their process.

From the viewpoint of architects, using renderings is just one of the tools to achieve their goal for a specific client or public community. When a project suits the need of making compelling images that communicate ideas, that is where ArchViz artists can help.

Where do you see the future of ArchViz going?

The more developed technology is, the easier it is to produce renderings for architectural designers. For illustrators, this should be a more positive thing rather than a competitive thing. There are always good, very good and super good images. Those who recognize the differences between them tend to value the manual work and effort put in to portray the unbuilt.

Nonetheless, this raises the bar higher for the industry. Better tools help artists unveil their potential skill set and discover more hidden inspiration in the corners of their imaginations. As a result, we will see more and more stunning work that will define new boundaries.

The post The Art of Rendering: Duy Phan on Creating Powerful Architectural Visualizations appeared first on Journal.

Architects, interior designers, rendering artists, landscape architects, engineers, photographers and real estate developers are invited to submit their firm for the inaugural A+Firm Awards, celebrating the talented teams behind the world’s best architecture. Register today.

Monumental architecture begins with the details. Last year, the Beijing Daxing International Airport by Zaha Hadid Architects and ADP Ingénierie opened as the world’s largest airport. Featuring the largest terminal ever built, it is an architecture of superlatives, spanning over 7.5 million square feet. Working with Arup and BuroHappold, the team was able to design long-span steel structures that integrated with a continuous open floor plan.

Read on to discover some of the ingenious details that helped bring the project, recipient of a 2020 A+Awards Special Honoree Award, to reality.

The BDIA was made as a new airport located in the Daxing district south of the city center. Developed to alleviate congestion at the capital’s existing airport, it was designed to be a major transport hub for the region that’s fully integrated within the country’s expanding transport network.

The terminal includes a ground transportation center offering direct connections to Beijing for economic development in Tianjin and the Hebei Province.

Size comparison graphic by Twitter user @sasha_trub

Inspired by traditional Chinese architecture that organize interconnected spaces around a central courtyard, the terminal’s design guides passengers through the relevant departure, arrival or transfer zones towards the grand courtyard at its center.

Six forms within the terminal’s vaulted roof reach to the ground to support the structure and bring natural light within, directing all passengers towards the central courtyard.

Beijing Daxing was designed to set a new standard in air transport services within a compact and efficient passenger terminal that is adaptable for future growth. The design team worked with Arup to engineer the steel roof, a large-span hyperboloid grid structure that contained over 170,000 steel members.

The iconic roof structure spans over 350,000m² and was supported by C-shape columns that connect with the roof. Structural spans of up to 100m create the terminal’s generous public spaces and allow for future reconfiguration.

Arup engineers studied the structural configuration, loading, vertical support system reactions and the structural deflection and displacement. 420 total load combinations were considered and 38 different cross section sizes were employed in the superstructure.

Arup proposed various strategies for the different zones of the terminal to improve the roof truss patterns. The result was a reduction in steel tonnage, as well as the integration of the transportation hub and the terminal building.

The radial design of the terminal and the integrated roof also allows a maximum number of aircraft to be parked directly at the terminal with minimum distances from the center of the building.

Gates and air bridges connect directly to the terminal, while five aircraft piers radiate directly from the terminal’s main central court where all passenger services and amenities are located. This radial configuration ensures the farthest boarding gate can be accessed in a walking time of less than 8 minutes.

The team also worked with BuroHappold on a number of engineering and design choices, incorporating numerous passive elements into the project, from high performance glazing to roof lights that optimize the energy performance of the terminal.

In turn, the terminal roof structure incorporates fresh air intakes and return air ducts, with tempered air supplied at low levels to minimize energy use and increase comfort.

By vertically stacking the international and domestic levels and integrating the roof structure, the Beijing Daxing creates a continuous space between parabolic mega columns and convex skylights.

The result is a futuristic and innovative design built to accommodate 45 million passengers per year as it opened, rising up to 75 million in future years. The world’s largest airport is not only a triumph of form, but also of spatial experience as a gateway to both Beijing and China as a whole.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter

The post Architectural Details: Zaha Hadid Architects’ Beijing Daxing International Airport appeared first on Journal.

Architects, interior designers, rendering artists, landscape architects, engineers, photographers and real estate developers are invited to submit their firm for the inaugural A+Firm Awards, celebrating the talented teams behind the world’s best architecture. Register today.

Looking to transform one of the world’s most iconic structures, architect Daniel Gillen has submitted an ambitious proposal to the Van Alen Institute’s Reimagining Brooklyn Bridge Competition. Titled the “Brooklyn Bluff”, the project envisions a new borough floating above the East River.

The project’s organic form was inspired by natural landform features found at water body edges. The design seeks to enhance public connection to nature and foster a new perspective on adaptive reuse projects. 

“Brooklyn Bluff” was developed to provide an ongoing flexibility and functionality to both it and the bridge as a whole. This “living infrastructure” contains housing and a hotel, as well as cultural, retail and public programming functions.

According to the project description, “Through economizing the structure with an inhabitable program, a symbiotic relationship between revenue income and bridge maintenance costs are achieved, ensuring longevity in functionality for the future.”

In order to respect the original structure, the proposed architectural addition creates a clear and legible distinction between contemporary and historic. As a result, the strength and utility of the Brooklyn Bridge is preserved and balanced with a progressive approach to architecture.

“Brooklyn Bluff” evaluates a multitude of factors, including social conditions, fiscal longevity and safety. A large public park in the development will balance the private economic incentives for the site.

As stated by project designer, Daniel Gillen: “The topic of sustainability cannot be limited to environmental and social considerations alone, but could aim to recalibrate private profits towards the financial sustainability of public systems.” 

“Brooklyn Bluff” aims to encourage the public to acknowledge that the future is both literally and figuratively “supported” by the past. It seeks to be as bold and ambitious as the original Brooklyn Bridge in order to compliment New York City and Brooklyn. The project leverages the original structure by embracing the pier, while the cable structure supports the cantilevered span. One element is thus grounded in history while the other is reaching towards the future.

“Humanity is clearly needing more from our cities and public spaces. An equitable system that prioritizes the needs of the many over the few. Architecture has a responsibility to facilitate this action,” said Daniel Gillen.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

All images via DGillenDesign

The post Architect Daniel Gillen Reimagines Brooklyn Bridge as “Living Infrastructure” appeared first on Journal.

Architects, interior designers, rendering artists, landscape architects, engineers, photographers and real estate developers are invited to submit their firm for the inaugural A+Firm Awards, celebrating the talented teams behind the world’s best architecture. Register today.

As the world’s largest Spanish-speaking city and the largest metropolitan area in North America, Mexico City is defined by scale. Located in a large valley built atop Lake Texcoco, The City of Hope has no natural drainage outlets and has been slowing sinking for decades. Combine that with an ever-expansive landscape, and the city must constantly redefine its urban fabric.

From the famous Zócalo and Catedral Metropolitana to modern day chinampas, or “floating gardens,” the city’s architecture reflects this geographic diversity. With over 100 art galleries, 30 concert halls and the most museums in the world, Mexico City is home to a broad range of cultural projects.

We’ve rounded up the following collection of contemporary architecture to showcase some of Mexico City’s contemporary public works. From the incredible sweeping form of the Soumaya Museum to the elegant, sinuous theater by Rojkind, each project reinterprets historic building methods to represent modern life. While the projects are programmatically and spatially diverse, they all explore Mexican culture through dramatic forms and modern ideas on space and scale.

Soumaya Museum by FR-EE/Fernando Romero Enterprise

FR-EE’s Soumaya Museum was designed as a new cultural institution for the public and the city. Housing 70,000 works and the world’s largest private collection of Auguste Rodin sculptures, the museum rises over 150 feet in Plaza Carso. The rotated rhomboid form is clad with 16,000 hexagonal mirrored-steel tiles.

Elena Garro Cultural Centre by Fernanda Canales and arquitectura 911sc

Created as a new open space and cultural center, this project includes classrooms, offices, administration areas and an auditorium. Built around a preexisting 20th-century house, the design was formed around three principal blocks with multiple levels.

Plaza Mariana by FR-EE/Fernando Romero Enterprise

The Plaza Mariana project was designed as a development that revitalizes the area around the Basilica of Guadalupe. The building is divided into four main functions connected through a cross-shaped corridor with skylights. The plaza connects the original Basilica with the facilities at Plaza Mariana.

The City of the Books by Taller 6A

Revitalizing the original La Ciudadela project, the City of the Books was formed around the first library building in Mexico. Restructuring the existing spaces to meet the needs of modern life, the project restores the original pathways and patios while eliminating steps and non-accessible level changes in the common areas.

Fatherland Service Square by La Metropolitana

The Fatherland Service Square was created as a metallic cenotaph with a waterfall that flows to the monument’s base. Built around the Armed Forces Memorial, the surrounding spaces include a cultural center, outdoor sculpture project and open-air theater.

San Josemaría Escrivá Church by Sordo Madaleno Arquitectos

Formed on a reclaimed urban site, this church and community center in Santa Fe was inspired by the traditional Ichthus symbol and light. Made with seven golden rectangles and two curved lines, the curving geometry is clad with zinc panels and strips of wood over a stone plinth.

QMM Pavilionby MATERIA

MATERIA’s QMM Pavilion is located in Merida. The structure was made with 36 slim columns that support a thin canopy above a promenade. Designed as a roof that frames the sky, the open design features prefabricated white concrete made with local stone and aggregates.

Centro Cultural Roberto Cantoralby Broissin Architects

Conceptually, the Roberto Cantoral Cultural Center was inspired by the movement of a conductor’s baton. Made with five concrete roofs, the project embraces the surrounding landscape with a concert hall and surrounding square that invite reflection on the relationships between harmony and music.

Telcel Theater by Ensamble Studio

Ensamble’s Telcel Theater was largely formed underground. A metallic structure dubbed Dovela marks the spaces below, with excavated terraces and public spaces that are open to the sky. A figurative design was chosen to evoke diversity and reflect the surrounding world of Mexico City.

Cineteca Nacional Siglo XXI by Rojkind Arquitectos

Rojkind’s Cineteca Nacional is located in a development-dense area of Xoco. As an expansion and renovation, the design includes four additional screening rooms, as well as both vault and public space. Connected to Real Mayorazgo and Av. México-Coyoacán, the project embraces pedestrian access to promote social and cultural exchange.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter

The post 10 Reasons Mexico City is a Modern Mecca for Architects appeared first on Journal.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

Zaha Hadid Architects has partnered with International engineering consultant AKT II and Hilson Moran Partnership to develop a modular housing project for the Caribbean island of Roatán, off the coast of Honduras. Called Roatán Próspera Residences, the project takes an innovative and sustainable approach to home development.

Zaha Hadid Architects’ Computational and Design Group has created a digital architecture platform that allows residents to customize the size, arrangement and furnishings of their prospective homes. After a floor plan is finalized, the structure will be algorithmically generated according to parcel size.

Each home can range in size from one to five “voxels”, which is the name for a cubic area of 376 square feet that’s 13 feet tall. This will allow for 15,000 unique home arrangements, with each sharing common design elements and similar service locations to make installation easier.

“This digital platform adapts varying configurations of standardized parts to create individual residences that suit each homeowner,” said the firm. One of the key aspects of the Roatán Próspera Residences is its close connection with the surrounding ecological and social context. The design team, partnered by developer Honduras Próspera LLC, are heavily prioritizing the project’s sustainability.

Residences will be composed of locally sourced timber, harvested from sustainably managed forests on the mainland. It will then be processed, transported and assembled off-site to cut down on embodied energy in the construction process without disturbing the local environment. In doing so, Zaha Hadid Architects aims to establish a localized supply chain in order to make the project more eco-friendly.

A number of passive strategies developed with Hilson Moran are also intended to reduce the project’s energy consumption. This includes a dehumidifying system that collects water vapor and filters it for use in the residences along with shading canopies with solar panels. Additionally, each module will be shaded and oriented towards the water to encourage passive ventilation.

Roatán Próspera Residences will also offer a great degree of flexibility. The timber supports will be able to be taken down and reconfigured if more or less space is required. This also includes communal modules, including play areas and shaded structures, each inspired by palapas. 

Zaha Hadid Architects’ latest project aims to take a comprehensive, sustainable approach to construction. It is designed to provide homeowners with a new sense of agency, placing them in close proximity to the local community. The design process for the complex seeks to minimize waste, placing less stress on the surrounding environment. Whether or not the project is successful in achieving these goals will become clear in the months and years after its completion.

Roatán Próspera Residences is set to break ground later this year.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

All images via Zaha Hadid Architects

The post Zaha Hadid Architects Designs “Fully-Customizable” Housing System for Honduras appeared first on Journal.

Architects, interior designers, rendering artists, landscape architects, engineers, photographers and real estate developers are invited to submit their firm for the inaugural A+Firm Awards, celebrating the talented teams behind the world’s best architecture. Register today.

An end of an era came in December 2012 when Oscar Niemeyer passed away. For many, Niemeyer’s name was synonymous with modernism in Brazil, or even in Latin America. In his 104 years he managed completed dozens of iconic projects, gaining global recognition.

However, Niemeyer was not the only modernist architect working in Brazil, which is full of elegant, imaginative buildings from other home-grown masters. Following our recent dig into Mexican modernism, we now turn to look at Niemeyer’s work, as well as some of Brazil’s lesser-known modernists.

Oscar Niemeyer – a name that is synonymous with Brazilian modernism. Top: Church of Saint Francis of Assisi in Pampulha, Belo Horizonte. Bottom: Mac de Niteroi Museum in Rio de Janeiro. Photos: Via + Wikimedia

Oscar Niemeyer

Niemeyer was born and raised in Rio de Janeiro along with his five siblings. His father was a graphic designers who recognized his son’s visual talent early on. The young Oscar was sent to study at the National School of Fine Arts, where he was trained as an architect. Fortunately for him, the school’s dean, architect Lucio Costa, noticed him. Costa “adopted” Niemeyer and included him in a team of designers who worked on the Ministry of Education and Health in Rio (a project for which Le Corbusier was a consultant). Funnily enough, the building today is associated with Niemeyer more than with any other architect.

Though the two collaborated again later, Neimeyer soon outgrew his mentor. Through the 1940s and 50s, he shaped his free-form modernist language, a language so strong and communicative it soon became synonymous with Brazil’s modernity and Latin America’s advancement.

Niemeyer belonged to the far-left parties in Brazil and for most of his adult life was associated with Brazilian communism. His most well-known project is in Brasilia, where in 1956 he designed a series of governmental buildings. Niemeyer was active in other parts of the world, too; he participated in the planning of the UN Headquarters in New York, planned a desert-city and a university tower in Israel, and much more. Like Le Corbusier, he was one of the first “global” architects. In 1988, he was awarded the Pritzker Prize. Later in 2003, he designed the summer pavilion for London’s Serpentine Gallery. His buildings are instantly recognizable: They exhibit an outstanding continuity of design in colors, daring geometry, and extravagant simplicity.

Niemeyer’s designs in Brasilia, 1956: an architectural project of international importance. Lucio Costa was in charge of the project’s master plan, yet his name is hardly as commonly associated with it as is Niemeyer’s. Photo via

Niemeyer’s pavilion for the Serpentine Gallery in London, 2003. Continuity in design. Photo via

A view of the UN Headquarters on the East River bank in Manhattan—a project designed by Niemeyer with Le Corbusier, Harrison and Abramovitz and others in 1952. Photo via

Lucio Costa

Architect and urban planner Lucio Costa was director of Niemeyer’s university, the National School of Fine Arts in Rio De Janeiro, from 1930 on. This was the beginning of a complex, lengthy professional relationship between the two. After hiring Niemeyer for the planning of the Ministry of Education and Health, a massive modernist project in the heart of Rio, Costa and Niemeyer collaborated again on the project of Brasilia, for which Costa was the master-planner and Niemeyer a central designer.

Another mutual project was their Brazil Pavilion at the New York City World’s Fair, 1939. With his political connections, Costa pushed for the modernization of Brazilian architecture his whole life, and is responsible for the approval and execution of many of the country’s modern assets.

Interior lobby, ground-floor colonnade, and garden-terrace of Rio’s Ministry of Education and Health, designed by Lucio Costa and his (then) ambitious intern Oscar Niemeyer. The garden terrace was designed in collaboration with landscape architect Roberto Burle Marx (see below). Photos via and via flickr

Brazil’s Pavilion at the World’s Fair in New York City, 1939, by Costa and Niemeyer. Already a distinct modernist language. Photo via

Costa’s plan for Brasilia: A modern utopia. Image via

Joao Batista Vilanova Artigas

Artigas was a prominent figure as a practicing architect and educator in Brazil. Born in Curitiba, he studied at the Polytechnic School of the Sao Paulo University, where he later taught. In the 1940s, he was among a group of professors that pushed to establish the university’s architecture faculty. The faculty’s building was designed by him with Carlos Cascaldi in 1960. Other notable projects of his include his own home in Sao Paulo, the Itanhaém School, the Guarulhos Building-blocks, and the Santapaula Marina.

Top: Edificio FAU-USP (Architecture Faculty at the University of Sao Paulo) by Artigas and Carlos Cascaldi. Photo via. Bottom: Artigas’s own residence in Sao Paulo. Photo via

Paulo Mendes Da Rocha

Though not nearly as famous as Niemeyer, Paulo Mendes Da Rocha (born 1928) is one of Brazil’s better-known architects, receiving the Mies Van Der Rohe Prize in 2000 and the Pritzker Prize in 2006. Mendes Da Rocha practiced “Brazilian Brutalism” — a method of concrete usage to produce casts inexpensively and quickly. His most striking projects include Cais das Artes in Vitoria and the Gerassi House, the Saint Peter Chapel, and the Pinacotheca, all in Sao Paulo.

The “Cais Des Artes” by Mendes Da Rocha and architecture office METRO. Photo via

A brutalist detail of one of Mendes Da Rocha’s early works, the Gymnasium in the Paulistano Athletics Club of Sao Paulo. Photo via

Chapel of Saint Peter, Campos de Jordão, São Paulo, Brazil, 1987 by Mendes Da Rocha. Photo via

The Brazilian Museum of Sculpture, São Paulo, Brazil, 1988. Photo via

José Augusto Belluci

A distant relative of Felix Candela in style, Jose Augusto Belluci is a Brazilian modernist with few still-existing works. His cathedral of Maringa, however, is one of the country’s mid-century icons.

The Cathedral of Maringa by Belluci (1959-1972). A strange, but loved, piece of mid-century modernism. Photo via

Roberto Burle Marx

Burle Marx, born 1909, was perhaps Brazil’s most notable landscape architect and artist in the 20th century. His vision was clear: He took Brazil’s tropical fauna and gave it grammar and discipline. Burle Marx collaborated with Niemeyer and Costa on Rio’s Ministry of Education and Health, designing the building’s gardens.

His additions to the project were so noticeable, so modern and striking, that his name became as known as those of the architects. Burle Marx was also a painting and a jewelry designer. An exhibition marking his 100th birthday was exhibited in Rio De Janeiro and Sao Paulo in 2009.

House: Niemeyer. Landscape: Burle Marx. A private residence in Petropolis, Brazil.

Another collaboration with Niemeyer, this time in the Ministry of Foreign Affairs, Brasilia.

The Copacabana boardwalk by Burle Marx, later copied in different places around the world. All photos via

Museum visitors viewing paintings by the multitalented Burle Marx. Photos via

Affonso Eduardo Reidy

Though his career was brief, Affonso Eduardo Reidy was a strong force within Brazil’s push for modernism. As a teacher in the National School of Fine Arts, he worked alongside Lucio Costa to develop a distinct architectural school of Rio De Janeiro. His boldest project was the Museum of Modern Art of Rio, a rib-shape building made of exposed concrete.

A sensual housing block (“Conjunto Residencial Prefeito Mendes de Moraes”) in Rio, designed by Reidy in 1947. Photo via

The Museum of Modern Art in Rio (facade and staircase detail). Photos via flickr and via

Rino Levi

Born in Sao Paulo, Rino Levi was a Brazilian of Italian descent. In 1926, he graduated from the Superior School of Architecture in Rome, where he studied after a brief period in the architecture department of the Brera Academy in Milan. Once returning to Brazil, Levi started working in different firms and later established his own practice. Influenced by Italian modernism, Levi’s designs are colorful and simple, less extravagant than his contemporaries.

One of Levi’s iconic designs is this residence, designed for Olivo Gomes. Photos via

Intricate facade compositions in Rino Levi’s skyscraper – Banco Sudamericano de Brasil – in Sao Paulo. Photo via

Lina Bo Bardi

Lina Bo Bardi, born in Italy, was one of Brazil’s most prolific modernist architects. Before moving to Brazil, she was active as an architect, writer, and illustrator, and even ran Domus magazine in Milan for a few years. After her arrival in Rio De Janeiro, 1946, Bo Bardi established her own practice.

She developed a large body of work and a distinct language, using exposed concrete in sculptural ways and contrasting it with bright, warm colors. Bo Bardi’s work was shown at the Venice Architecture Biennale and the British Council in London; she was also was the focus of an exhibition curated by Hans Ulrich Obrist (in two buildings she herself designed).

Lina Bo Bardi’s masterpiece, the SESC Pompéia Building, photographed by Pedro Kok. Photo via

The Museum of Art of Sao Paulo, designed as a lifted rectangular mass with a red constructive frame. Photo via

Bo Bardi’s Glass House (her own residence) in Mata Atlantica (near Sao Paulo). Photo via

Sergio Bernardes

Originally a pilot, Sergio Wladimir Bernardes graduated from the faculty of architecture at the National University of Brazil in 1948. Even as a student, Bernardes caught the attention of the public when a theoretical project of his was published in the French magazine L’Architecture D’Ajourdhui.

Later, as a young architect in Rio, he worked with Niemeyer and Costa and by 1951 had already built his first commission, a private home. Of his most eccentric designs are the utopian Hotel Tropical Tambau, as well as a stadium, an airport and some case-study-style houses.

Hotel Tropical Tambau by Sergio Bernardes. A utopian design of socialism and leisure. Photo via

Drawings and a facade of the Lota de Macedo Soares house, designed by Bernardes in Petropolis, Brazil. Drawing via, photo via

Icaro de Castro Mello

Icaro de Castro Mello was not only an architect; he was also an award-winning athlete. After studying architecture, he founded the Castro Mello firm (still practicing), devoted to the design of sports facilities. Specializing in this area, Castro Mello was able to execute numerous stadiums and other arenas in Brazil, including the national stadium in Brasilia.

Top: The Stadium of the University of Sao Paulo. Bottom: The National Stadium in Brasilia. Photo via and via

Osvaldo Bratke

Mainly active in the residential-project sphere, Bratke was in charge of building a viaduct in Sao Paulo followed by private residences around the city. His most central project was the house of Oscar Americano, completed in 1953.

Inside and out at the residence of Oscar Americano. Photos via

Deccio Tozzi

Though much younger than most of the honorary members above, Deccio Tozzi (born 1936) was already active in the 1960s and continued the modern movement into the 21st century. His 2002 project, the Veneza Farm Chapel, could have easily been built 50 years before.

Deccio Tozzi’s school “Jardim Ipê”, 1965. Photo via

The Veneza Farm Chapel by Tozzi. Photo via

Recommended books on Brazilian Modernism: Brazil’s Modern Architecture by Elisabetta Andreoli / Phaidon Press, When Brazil Was Modern by Lauro Cavalcanti / Princeton Architectural Press, and Oscar Niemeyer and Brazilian Free-Form Modernism by David Underwood.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

The post Niemeyer and Beyond: A Guide to Modernist Brazilian Architecture appeared first on Journal.

Former OMA and BIG employee Bennett Oh is the creator of Archi Hacks, a platform dedicated to architecture visualization, portfolio, and design tips and tricks for students and professionals.

Organizations host architectural competitions to find the best designs for their projects. You may be wondering, “why would anyone put in the time and effort to work on something that may never be awarded or realized?” However, there are a number of reasons why competitions can be beneficial for you even if you don’t win. So we put together a list of reasons why you should consider entering competitions.

1. They offer you the freedom to design your dreams.

Competitions often stand on a hypothetical premise. Organizers are hoping to gather the widest breadth of ideas for the given site. In other words, they are not looking for the most ordinary proposal. As long as you are fulfilling the baseline functional requirements, the rest is up to you! Design your heart out, and who knows, perhaps your entry will be the chosen one.

2. They provide the opportunity to experiment and improve.

Oftentimes at work or school, there is little next to no leeway to experiment with unconventional ideas and representation methods. The risk of investing time and effort, only to get unwanted results is sometimes too high for formal projects. Competitions might be the perfect test rat for your radical concepts and visualization techniques. Many architectural innovations occurred during competitions due to the special nature of this format.

3. They offer opportunities for international recognition and validation.

Competitions tend to draw attention from the public media. Depending on the prestige of the competition, the winning architect can become an instant world star. For most competitions, the bottom line covers exposure to potential future clients, and establishing your presence in the industry. As Phineas T. Barnum once said, “There’s no such thing as bad publicity.” and competitions can certainly place you on either side of history.

4. They provide extra motivation to produce excellent work.

Knowing that there are others competing for the same prize is a great motivation to work hard, and produce excellent work. As a result, you may achieve quality of work you may not have achieved had you worked on your own.

5. They’re fun!

Last but not least, enter architecture competitions for the joy of sports. There is something motivating about competition for the first place with talents around the world. When the competition is over, you can marvel at other entrants’ creativity.

Feel like entering some competitions? Check out this video for our favorite websites!

In our future articles, we’ll discuss:

• Where to discover competitions and which ones to enter
• How to find the time and energy to pursue one
• Maximizing your chance to win that competition

If you found this guide helpful, make sure to check out the ArchiHacks’ YouTube and Instagram for tips and tricks for young architects!

Check out every amazing winner and commended entry in the inaugural One Drawing Challenge here. Interested in participating this year? Register for the 2020 edition of the competition now:

Enter the 2020 One Drawing Challenge

The post Young Architect Guide: 5 Reasons to Enter Design Competitions appeared first on Journal.

Architects, interior designers, rendering artists, landscape architects, engineers, photographers and real estate developers are invited to submit their firm for the inaugural A+Firm Awards, celebrating the talented teams behind the world’s best architecture. Register today.

The New Yorker recently published an interesting piece by Kyle Chayka titled ‘The North American Maximalism of Gigi Hadid’s and Drake’s Home Design.’ Chayka states approvingly that, in 2020, “a new North American maximalism” is getting “revenge” on minimalism, which has been trying to “vanquish” purely ornamental detailing for over 100 years.

As evidence, he points to two celebrity homes that have recently been covered in the architecture press: model Gigi Hadid’s eclectic Manhattan apartment and Drake’s extravagant Art Deco mansion in Toronto.  Both of these projects were overseen by architects and designers (Gordon Kahn in Hadid’s case, Ferris Rafauli in Drake’s) but with significant input from the famous homeowners, who hoped to create “dream homes” that reflected their personal taste.

Gigi Hadid’s apartment, designed with architect Gordon Kahn, mixes colors, patterns and textures in a way that screamed “maximalism” to the New Yorker. Image via Hello Magazine.

Drake’s Art Deco-inspired Toronto mansion, designed with Ferris Rafauli, represents a monumental form of maximalism. Photo by Jason Schmidt via Architectural Digest.

What stands out about this piece isn’t the observation that some celebrities are drawn to ornate decor — as Chayka points out, “maximalism… never really goes away” — but rather the author’s treatment of the subject of minimalism. By presenting Hadid’s and Drake’s homes as daring outliers, Chayka implies that minimalism is still the hegemonic aesthetic of our time.

More than 60 years after Mies van der Rohe said “less is more,” it seems that ornament still carries a hint of taboo. Include enough of it, and you are making a statement, even a provocation. As a reader, I wondered why this is. Does modernism, with all its utopianism and its prohibitions, still have a grip on contemporary design?

Ornament and Crime

Chayka’s article opens with a summary of one of minimalism’s canonical early texts, Adolf Loos’ 1908 lecture ‘Ornament and Crime.’ As a way to set the stage for a defense of maximalism, this was a canny choice, as the lecture is one of the least convincing architectural treatises ever written. It is also one of the most racist.

Walking The Walk: Adolf Loos built the minimalist Looshuis, in Vienna, in 1909. Hostile critics at the time called it “the house without eyebrows,” noting Loos’ pointed decision not to include detailing around the windows. It was said that the Emperor Franz Joseph avoided passing by Looshuis for the rest of his life. Photo by Thomas Ledl, via Wikipedia. 

In ‘Ornament and Crime,’ Loos argues that ornamentation is uncivilized, reflecting a lack of moral restraint characteristic of children, criminals, and certain people from non-Western societies. As evidence of the “degeneracy” of ornamentation, Loos points out that criminals often decorate their body with tattoos, a tendency they share with “the Papuan” — Loos’ stereotypical stand-in for various indigenous groups — who also “kills his enemies and eats them.”  Like the Papuan, tattooed men are murderous. “If someone who is tattooed dies in freedom, he does so a few years before he would have committed murder,” Loos theorizes.

It follows that architects of the ornate Art Nouveau style (which Loos disliked) are similarly inclined toward violence — or at least more so than the modernist architect, who has evolved beyond the need for ornamentation and is able to find pleasure in the sheer rationality of his living space. Essentially, Loos posits a continuum between the amoral realm of nature and the moral fortitude of modern man, and he places himself and his preferred style of architecture at the advanced end of moral development.

Le Corbusier’s ‘Plan Voisin,’ a never-realized scheme to tear up central Paris and replace it with a series of minimalist concrete towers. Image via Business Insider. 

Loos, I would say, is a less than ideal ambassador for minimalism. But the core ideas buried underneath his strange examples are pretty representative of how modernist architects thought about the subject. The titans of what was called the “modern movement” — Mies, Le Corbusier and Gropius — were less colorful writers than Loos, but they basically agreed with him that modern architecture would liberate mankind by stripping away the oppressive decorative trappings of past centuries.

Mies famously said that “architecture is the will of an epoch, translated into space,” echoing Loos’ idea that minimalism wasn’t just a stylistic preference, but embodied the very essence of modernity. And one glance at Plan Voison, Le Corbusier’s never-realized scheme to remake central Paris, illustrates that Corbu cared little for local details, and would have happily sacrificed the visual identity of Europe’s most iconic city on the altar of functionalism.

Populist Revolts

Most people find Plan Voison horrifying. And indeed, the zeal of 20^th century modernists helped create a rift between architects and the public that still exists today, even as the profession has become far less evangelizing and doctrinaire than it was in modernism’s heyday. Populist denunciations of architecture are still written all the time by both left- and right-wing critics, who generally paint the profession with a broad and reductive brush.

In 2017, left-wing writers Nathan J. Robinson and Brianna Rennix wrote one of these polemics for Robinson’s popular socialist journal, Current Affairs. The piece is titled ‘Why You Hate Contemporary Architecture’ and the complaints are extremely familiar: once “beautiful” cities have been blighted with “ugly,” “cheerless” and “grim” modern buildings. The authors accuse architects of harboring a “paranoid revulsion to classical aesthetics” and condemn both the icy minimalism of modernism and the “irritating attempts” of postmodernists to “parody” the architecture of the past.

Peter Eisenman is no minimalist, but his deconstructive architecture has been criticized on similar grounds, as it is said to deny people simple aesthetic pleasures. His City of Culture of Galicia is among his most divisive buildings. Image via Current Affairs.

For Robinson and Rennix, all the “isms” of contemporary architecture are irrelevant. Each one of them shares the same problem: the architect’s stubborn insistence on denying the public what it wants, which are buildings that are comfortable, familiar and — yes — even nostalgic. They identify the deconstructive architect Peter Eisenman as a modern-day Loos, an ideologue and a moralizer who relishes the fact that his buildings lack popular appeal. This quote of Eisenman’s, taken from a 1982 debate with fellow architect Christopher Alexander, is presented as evidence for the charge: “If we make people so comfortable in these nice little structures, we might lull them into thinking everything’s all right, Jack, which it isn’t.”

Minimalism Today

The idea of the grim and fanatical architect standing between the common man and the charming, sensible buildings he craves is extremely common — as a trope if not a reality. In Chayka’s piece, it factors in almost as a truism, and the invocation of Loos and his treatise gives it a sense of solidity. Good for Drake and Hadid, the piece argues, for standing up to the austere and self-denying dictates of minimalism!

This interior is minimalist, sure, but it is hardly cold and imposing. Minimalism today is often lyrical, and adapted for a more human scale. Image: Zhuyeqing Green Tea Flagship Store, X+Living Architectual Design Co. 2020 A+Award winner for Commercial-Retail Spaces.

Yet a glance through recent winners of the A+Awards reveals that architecture, today, is a diverse, global field, and it is no longer dominated by these factional debates between modernism, postmodernism, deconstructivism, and the rest. Architects all over the world are working to create buildings that meet the needs of local communities, often paying careful attention to issues like sustainability. And while they don’t always get it right, one thing you don’t usually see are self-righteous condemnations of things like “ornament” attached to the projects.

If the best contemporary architecture often features clean lines and an emphasis on raw materials, this is not usually due to an ideological commitment for function over form, but a reflection of a real aesthetic preference. (Cost concerns, too, play a role). Architects like Eisenman, who relish aesthetic difficulty, are in fact a rarity in the profession. (Nathan J. Robinson and Brianna Rennix don’t want you to know this, but there is beauty in clean lines too).

There is real beauty in clean lines and unadorned surfaces. When these elements are favored, it is not necessarily for arid ideological reasons. Image: La Point by L’Abri, 2020 A+Award winner for Concepts-Living Small. 

When minimalism is proposed as an ethos, today, it usually has a much more personal character than that seen in Loos’ essay. For instance, the tidying guru Marie Kondo sees minimalism as a way to make your living space more personal and intimate. Her view of the good life is not one in which everything is fully optimized, but in which people are surrounded only by objects that “spark joy.” In this, her philosophy is exactly same as noted “maximalist” Gigi Hadid, who wrote on Instagram about “enjoying all the little corners” of her carefully curated space.

Zombie Modernism

There is one way, however, that minimalism continues to oppress people in the 21st century, but it is connected to mass production, not architectural theory. The most revealing part of Chayka’s article comes toward the end, when he complains of “the bland start-up minimalism of Article couches, Casper mattresses, and knockoff  Eames chairs from Amazon.”

These products, Chayka explains, might seem modern or tasteful on first glance, but what they really represent is a “lowest-common-denominator style” that “has had its shortcomings exposed during these endless months of quarantine — there’s little pleasure in staring at a set of Floyd table legs strapped to plywood all day.”

The New Yorker’s Kyle Chayka says he has spent too much of lis life staring at tables that look like this. Image via Architectural Digest.

Years after its heyday, modernist design is popular once again, but in a zombielike form. Stripped of its utopian dimension, wherein it held the promise of a better and more orderly world, this type of decor is now just another readymade style. Chayka is right that there is no more individualism in this stuff than there is in the forced eclecticism advertised by an outlet like Pottery Barn. There is also nothing wrong with it, per se, but its omnipresence has made it feel monotonous and derivative.

However, if you find mass-market minimalism uninspiring, the solution isn’t necessarily “maximalism.” It is cultivating a space with pieces that have personal significance, which, again, is what many of today’s minimalists are already advising. The minimalist/maximalist divide Chayka lays out really belongs to another era.

The Loosian minimalist ethos lives on in the popular imagination far more vividly than it does within the architectural profession. To borrow an idea from Sigmund Freud, Loos’ contemporary in Vienna, minimalism has been widely internalized as a harsh dictum of the superego, which is why certain people feel compelled to argue forcefully against it. Even devoted maximalists and classicists, it seems, are tormented by a voice in the back of their head saying that form should follow function. This suggests that — for all its supposed unpopularity — modernism still has a hold on public taste after all.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter

The post The Long Shadow of Minimalism appeared first on Journal.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

Design firm Carlo Ratti Associati, in collaboration with consultancy firm Ernst & Young, has unveiled a master plan for an extension of the Brazilian capital of Brasilia. Called BIOTIC, it is a 10-million square foot technology and innovation district immersed in nature and will altogether reinterpret the acclaimed modernist city.

The new master plan promotes public space through the implementation of climate bioremediation along with the introduction of residences, offices, plazas and parks. The project is being developed for Terracap, Brasilia’s primary real estate company.

BIOTIC is located on the hinge point between Lúcio Costa and Oscar Niemeyer’s UNESCO World Heritage “Plana Piloto” and the Brasilia National Park. Inspired by Brasilia’s UNESCO World Heritage masterplan, the project seeks to create “a new hybrid environment aimed towards both social and environmental sustainability.” 

For BIOTIC, the four urban scales defined by Lúcio Costa in “Plano Piloto” – the residential, the monumental, the gregarious and the bucolic – are redefined in a human way. As said by Carlo Ratti, “The first time I visited Brasilia, a friend and long-time city resident told me a long-standing joke: ‘You know what the problem of Brasilia is? The district of cafés is far away from the district of sugar.’ In short, a key issue lies with the lack of mixed-use and with the strictly functional subdivision of the city according to modernist principles – which we are aiming to overcome with our plan.” 

Drawing inspiration from Barcelona, the project looks to take Brasilia’s iconic Superquadra or superblock modules and subdivide them into pedestrian blocks with street fronts. As a result, internal neighborhoods will be protected from traffic and pollution, along with the strengthening of pedestrian spaces for social cohesion.

This plan allows for new streets and vibrant plazas open to social activities. In addition, the natural element is highlighted through a green corridor that connects the nearby Cerrado, a tropical savanna ecoregion of Brazil, to the BIOTIC site. 

Given Brasilia’s year-round mild climate, the project envisions the possibility of an outdoor office environment. Through the use of digital technologies to manage sunlight, wind and temperature, individuals will be able to work in close contact with nature. Everything from plazas, pedestrian areas, gardens, laboratories and retail facilities will be readily accessible and seamlessly open to the surrounding environment.

Carlo Ratti Associati’s plan also focuses on innovative mobility. BIOTIC’s internal streets and roads will be accessible exclusively to self-driving and shared vehicles, which could yield positive results, such as improved traffic, lower carbon footprint and new business opportunities. 

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

All images via Carlo Ratti Associati

The post Carlo Ratti Proposes a 10-Million Square Foot Extension To Brasilia’s Iconic Master Plan appeared first on Journal.

Architects, interior designers, rendering artists, landscape architects, engineers, photographers and real estate developers are invited to submit their firm for the inaugural A+Firm Awards, celebrating the talented teams behind the world’s best architecture. Register today.

The best architecture is rarely the loudest. For Santa Monica-based Koning Eizenberg, the practice has built a portfolio of award-winning designs that advocate environmental sustainability with a humanist approach. The result is a body of work that sparks joy, a series of contextual projects that trade immediacy and pomp for poise and wit. The firm recently scooped a 2020 A+Awards Special Honoree Award for its MuseumLab project in Pittsburgh. The adaptive reuse now combines experimental art and technology programs for youth, a middle school, and space for community events.

Rethinking housing, community and educational settings, Koning Eizenberg transformed the historic Carnegie library, one of the first free public libraries in the United States. Architizer spoke with Founding Principal Julie Eizenberg about the project and the future of adaptive reuse, as well as how it feels to have been named a Special Honoree this year.

Eric Baldwin: Koning Eizenberg’s portfolio is defined by influential projects that marry great design with social impact. For MuseumLab, how did you approach the adaptive reuse of the Carnegie library to design for its new programming?

Julie Eizenberg: All projects, social impact included, begin in the same place, asking: How do we make everyone feel welcome and at ease? In this case, our core users are teens, and the task was to craft an experience that was non-institutional and would appeal to a growing sense of independence. The building’s historic legacy was inspiring and loved by the community at large, and it ended up as the vehicle to achieve that goal.

Even though the radically inclusive Carnegie agenda of “free access to books for all” was inspiring, the building we found was depressing. Successive remodels obscured the original interior and, judging by the photos, the original was dour and formal. Then we saw the state of the original interior, and that further complicated things.

The program around access to technology and experimentation channeled the Carnegie legacy, but I have to admit, working out how to extract a free spirited setting to suit a contemporary teen audience was not immediately apparent.

None of this could have materialized without the kind of client that we had here, who were willing to challenge and explore. The process enlarged our knowledge about what is possible in education.

What were a few of the major goals for the MuseumLab project, and how were these realized?

A little background — The MuseumLab was developed by the neighboring Children’s Museum of Pittsburgh. We had worked together on the adaptive reuse of the Children’s Museum and knew each other well.

This is the third piece of abandoned real estate our client had brought back to life in the dis-invested Northside neighborhood. Each project started by meeting with the community as part of research into needs and interests in advance of the project. This time was no exception.

Over four years, the Museum had met with the community and other stakeholders relative to the value of bringing the historic building back to active life and the potential of the teen program. Those sessions certainly validated the need for a focus on teens, a program around technology and art, and it also revealed a desire for community event space.

The Museum saw an opportunity to expand the potential of the program by partnering with a public Middle School, and Manchester Academic Charter school came on board. Their inclusion optimized use of resources and allowed for exploration of the intersection of two worlds of learning – the classroom and the informal Museum setting.

Achieving the right character for the setting was the foremost goal but could not be addressed without first providing universal access and a sense of continuity in a very fragmented building. It sounds prosaic, but once the new elevator was positioned so it could reach all levels, the rest of the plan fell into place. And of course flexibility and environmental responsiveness were a given.

Daylight was key to capitalizing on the beauty of the reveal. We reinstated boarded up windows and created a sky-lit second floor gathering space: light spills into program spaces to each side and filters through the floor to the Grable Gallery below. Below it illuminates Freeland Buck’s ceiling installation that evokes the long gone Tiffany glass ceiling.

Your team had to work with a series of existing interior alterations from the 1970s. How do you decide which pieces of an existing structure to take away, and what to preserve?

To make a long story short, we removed all of the alterations we could — there was nothing about them that helped honor the historic legacy or convey program goals to encourage curiosity and experimentation.

Budget in this case propelled invention, as it often does. Straight up restoration was not economic and the alteration held no value, and eventually, an unexpected but more poetic and resonant solution emerged.

All of the A+Award-winning projects from this year contain elements that address some of today’s most pressing issues, from climate change to rapid urbanization. What does winning this Special Honoree mean to the practice and your work?

Given the times, I would be surprised if awards did not also highlight the issues of the day.

It is really gratifying that this particular project was recognized — it was truly a team effort that relied on a lot of trust on all sides to rethink the norms for preservation and educational settings. The good work that programs like the MuseumLab do is so valuable and yet so vulnerable as the pandemic is teaching us.

It was a thrill to see how the teens engaged with the setting and it is equally wonderful to be acknowledged by peers for work we love to do. I can’t want to see where the MuseumLab team take education.

Looking to the future, how do you think architects and designers can rethink adaptive reuse to address broader issues of our time?

There is certainly a need to expand the way we think about adaptive reuse – particularly of historic buildings. In this case, we had some latitude on how to tell the story, but much of the regulatory preservation framework is way too rigid. At a time when we are learning that history means very different things to different people, the uniformity of acceptable approaches to honoring the past makes increasingly less sense.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter

The post Blending Old and New: Julie Eizenberg on the Subtle Brilliance of MuseumLab appeared first on Journal.

Architizer Journal is reader-supported. When you buy through links on our site, we may earn an affiliate commission. Learn more

Elementary education in the United States is usually focused on a few core competencies: reading, writing, basic math and general knowledge in history and the sciences. While these things are essential, parents who want to expose their children to cultural subjects like architecture usually need to look beyond the basic school curriculum.

Luckily, the folks at Princeton Architectural Press never fail to produce culturally enriching content for all ages. The publisher has released two picture books written and illustrated by the French designer Didier Cornille: Who Built That? Modern Houses and Who Built That? Skyscrapers. These books provide young readers with breezy, illustrated vignettes about some of the most iconic buildings of the modern era. What’s more, they do so in an engaging, accessible way that is sure to hold a child’s interest.

A few runs through these books at bedtime and your child will be able to talk about Le Corbusier, Wright and Gehry as effortlessly as if they were Pokémon.

Cornille’s simple illustrations allow children to appreciate the sinuous contours of Gehry’s buildings.

“Architecture may seem complex and difficult to understand, but it’s also quite fascinating,” reads the introduction to the Modern Houses volume. “This book teaches you, as simply as possible, about a variety of houses designed by great modern architects.”

Frank Lloyd Wright’s Fallingwater (1939)

Both books move chronologically, focusing on one architect at a time and highlighting a significant building they created. The charming illustrations — which include section views as well as exterior and interior sketches — are paired with text that explains exactly why the buildings are special. Cornille clearly has a knack for making the nuances of modern architecture accessible to young readers with little to no background knowledge.

The Skyscrapers volume spans the period between the construction of the Eiffel Tower (1889) to Burj Khalifa (2010); image via Tumblr.

Cornille’s illustrations are minimal felt-tip affairs carried out with a restrained color palette. This helps young readers recognize and appreciate the design features of the buildings, which might be harder to pick out in more detailed photographs or renderings. In addition to buildings, Cornille’s scenes are populated by smiling figures as well as cats, dogs and even cars and bicycles. Like all great picture books, these pages seem to reveal new surprises with each reading.

The Modern Houses volume includes discussions of furniture design when appropriate, such as in this chapter on the Eameses. All in all it presents a fairly rounded survey of the development of residential architecture and design over the course of the 20th century.

The Skyscrapers book is oriented vertically, while the Modern Houses book is oriented horizontally, following the designs of the featured buildings. This is just one of many details that speaks to the care and attention that went into the creation of these slim but intricate volumes. Indeed, one doesn’t need to have children to appreciate these books: The copies I bought are just for me.

Details of the Eames House by Charles and Ray Eames (1949)

You can pick up the two books here.

Cover image via Blogspot; all other images via Avery and Augustine unless otherwise noted

The post Want Your Child to Become an Architect? Gift Them These Books appeared first on Journal.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

MAD Architects has released its design for a beautifully curved, concrete library in Haikou, Hainan Province in China. Called the “Wormhole Library”, the structure sits along the coast and will serve as a getaway for those wishing to temporarily remove themselves from the hustle and bustle of everyday life.

Image by SAN

As stated by MAD Architects, “The sensuously curved pavilion appears to be a ‘wormhole’ that transcends time and space.” The library will serve as a multi-functional building, allowing visitors to read, enjoy views of the sea and attend outdoor performances. “Wormhole Library” forms a part of the Haikou Bay rejuvenation plan, which is an initiative that was launched in 2019 by the local government to enhance the use of public spaces along the Haikou coastline. A series of pavilions by both domestic and international architects is being planned, with “Wormhole Library” set to be the first one completed. 

Image by SAN

The structure is composed of white concrete. The curved concrete walls connect the ceiling, the ground and the walls together, allowing the library’s façade to be read as a continuous surface. In order to ensure accuracy and seamlessness across the curved surfaces, the structure is being cast using both a CNC and 3D printed model. In addition, all mechanical, electrical and plumbing components have been hidden within the concrete cavity to allow for visual consistency. 

Image by SAN

Holes of varying sizes puncture through the building allowing the architecture to breathe, while letting natural light flood the interior. Exterior corridors provide shaded areas for visitors to stop and rest. 

Image by SAN

The library is composed of two parts: A 7,430-square-foot reading space that can store approximately 10,000 books, a café and a terrace, and a 3,230-square-foot public rest area that contains a bicycle parking system, public bathrooms and shower areas. 

Image by SAN

Curved sliding doors and retractable glass curtain walls provide expansive views of the sea and also serve to enhance overall airflow and ventilation. In response to local weather conditions, the roof on the sunny side of the library is cantilevered to achieve comfortable temperatures, making it a more sustainable and energy-saving building. 

Image by SAN

The Wormhole Library is currently under construction and is scheduled for completion in 2021.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

The post MAD Architects’ Sculptural “Wormhole Library” Is Under Construction in China appeared first on Journal.

In transport architecture, projects are designed at a wide variety of scales, each with varying degrees of complexity in terms of planning, design development and construction. Then there are projects like Beijing Daxing International Airport, in which the complexity for all three is taken to a new level entirely. At this scale, the challenge of marrying program, form and detail is as vast as the project itself, and takes an experienced, highly competent firm to deliver it.

It’s no surprise, then, that Zaha Hadid Architects was called upon in Beijing, and the result is characteristically striking: A starfish-shaped terminal, the world’s largest, provides efficient routes for thousands of travelers to and from every departure gate, as well as forming an instant icon when viewed from airplanes overhead. The savvy design and construction of Beijing Daxing International Airport has earned it the title of 2020 A+Awards Special Honoree, as well as winning both the Jury and Popular Choice A+Awards in the Transportation Infrastructure category.

Architizer’s Content Director Paul Keskeys sat down for a virtual chat with Schumacher to discuss the project, as well as speculating about the future of transportation in a post-pandemic world.

Paul Keskeys: Congratulations on your A+Awards, especially the Special Honoree Award for Beijing Daxing International Airport! What does winning this award mean to you and the firm?

Patrik Schumacher: Winning awards remains a thrill, and is never taken for granted. Market success is not enough. We are ambitious about and care about our standing as innovators within our discipline. Awards imply peer recognition.

Winning awards is therefore are highly motivational. To receive recognition for projects like airports and office towers is especially satisfying. It means that all project categories can be the occasion for great architecture. That’s what we believe.

The project’s huge terminal has been nicknamed by some the “starfish” thanks to its distinctive form. What concepts drove the generation of this form for the main structure?

The global configuration is the result of our prerogative to reach a maximum number of contact stands with a minimum of walking distance from the entrance, as well as in the case of transfers. The form that is arrived from this configuration makes this configuration legible, both from outside and from within. Clear orientation and effortless navigation are important.

This concern also motivates the roof form and structure. The location of roof lights and the channeling of daylight are utilized to accentuate the navigation paths. The overall figure and its spatial articulation is dominated by the big, domed central orientation space. We were keen to avoid columns and instead opted for big vaulted spans.

The structure consists of six major petal-shaped vaults that exploit efficient shell action and together hold up the big glass roof over the central orientation space. The petals fold down to support themselves in a movement that creates a beautiful light well. These light wells are secondary iconic features that also serve as secondary navigation landmarks within the building.

ZHA is renowned for its pioneering work in generative and parametric design. Were these processes involved in the planning of the airport? What software does ZHA primarily use for a project of this scale and complexity?

In this project, like in most of our large and complex projects, we brought our whole panoply of tools to bear. Starting with Maya to sculpt the initial complex form, we moved to Rhino and grasshopper for increased precision and for structurally informed form finding as well as parametric control. We then moved on to Catia as well as Revit in the later stages.

We have built up an efficient and sophisticated work flow within and between software platforms, supported by our own algorithms to ease the transitions between software platforms and to augment platforms like Revit with enhanced geometric capacities.

With new vehicular technologies like drones, the hyperloop and even private spacecraft emerging, how do you see transport infrastructure changing in the future?

I think after many decades of stable standards and only incremental improvements in transport we are now on the cusp of revolutionary changes via autonomous vehicles of many kinds. Self-driving cars will conquer our roads, streets and cities, as well as drones. The hyperloop will connect between cities.

However, it is as yet far from clear which particular forms these new systems will take and what this will mean for urban development. It is the task for entrepreneurs to be creative and venturesome and to use the market as discovery procedure. A period of search is inevitable if we are to find new compelling solutions. I only hope that politicians are open minded enough to let this discovery process unfold.

Do you think the pandemic will change how we travel? How might this impact architecture?

The pandemic has already changed the way we travel, namely we travel much less. We all discovered that much of the business as well as academic communication that used to engender travel can be shifted into telecommunication instead, without much loss of information. Tele-conferencing tools will receive a big investment boost and will improve rapidly. This will inevitably leave a permanent mark, even if the pandemic subsides without trace. Remote working will impact the city going forward but it is as yet unclear in which ways.

Physical co-location still has many advantages. Central locations will still remain attractive but less dominant. Remote locations become viable options even for highly networked professionals and firms. Residential spaces will increase in size and complexity as they absorb an increasing part of our working lives. Again, these changes throw up interesting challenges and opportunities for urban entrepreneurs. Planning regulations should be relaxed to allow the necessary use conversions and adaptations to take place.

Looking ahead to next year’s A+Awards, what kinds of architecture would you like to see being developed?

I very much hope that the advantages of parametricism, both in terms of optimizing technological sophistication and in terms of adaptive social functionality and versatility, will become more evident in the coming period of revolutionary transformations. New challenges need new solutions and the larger the degree of freedom — and therefore the search space within which solutions can be chased and secured — the better.

Parametricism is our discipline’s computationally empowered and creatively unleashed answer to our computationally empowered and unleashed civilization. Creativity must flourish within a broader rational envelope, albeit without irrational arbitrariness.

The post A Soaring Success: Patrik Schumacher on Zaha Hadid Architects’ Beijing Daxing International Airport appeared first on Journal.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

Architecture and planning firms BIG, Hijjas and Ramboll have been selected as winners of an international competition to design a masterplan for Penang South Islands in Malaysia. The proposal, titled “BiodiverCity”, will generate 2.9 miles of public beaches, 600 acres of parks and a 16 miles waterfront. The project is conceived as an urban mosaic of three diverse islands with a clear focus on livability, social and economic inclusivity and environmental sustainability. 

In January 2020, the Malaysia’s Penang State Government launched an international design competition to transform the Penang South Islands into a sustainable, global destination. It supports the Penang 2030 vision, which is an initiative centered around enhancing the quality of life, upgrading the economy, strengthening civic participation and investing in the built environment of the state of Penang. 

BIG, Hijjas and Ramboll’s winning proposal “BiodiverCity” will be located at the south end of Penang island. It consists of three islands, measuring a total of 4,500 acres in total land size and will include mixed-use districts for 15,000 to 18,000 residents. They will span 50 to 500 acres and a continuous 50 to 100 meter buffer will surround each district. This will establish habitat connectivity and support edge ecologies in reserves, parks, corridors and urban plazas. 

The masterplan supports a water, air and land-based autonomous public transportation network, aiming for a car free environment that prioritizes bikers and pedestrians. The buildings in “BiodiverCity” will be designed to perform efficiently and will be mainly constructed by low-carbon materials, such as bamboo, Malaysian timber and green concrete. 

According to Bjark Ingels, founder and creative director of BIG, “BiodiverCity will have an integrated system of localized water resources, renewable energy and waste management, tied altogether in a human-made ecosystem. Rather than design a city for cars, we designed BiodiverCity for waterways, rail and different kinds of personal mobility, forming a multi-modal environment of movement. The resultant urban landscape will be a celebration of Penang’s position as a truly global crossroads of the world – economically, ecologically and socially.”

The three islands that compose “BiodiverCity” are called “The Channels”, “The Mangroves” and “The Laguna”. The first includes a 500 acre digital park with spaces for research, development and local business opportunities. It will be constructed in three complementary phases. In Phase 1, active destinations include a wave pool and technology park. In Phase 2, a  civic heart establishes governance and research institutions in the area. In Phase 3, a cultural coast builds upon the heritage and vibrant creative energy of Penang’s George Town to create a regional and international draw. 

The second, central island, named “The Mangroves”, is dedicated to businesses. It’s composed around urban wetlands, creating a suitable environment for Mangrove forests. At the heart of the island lies “The Bamboo Beacon”, which hosts meetings, conferences and major events. 

Finally, “The Laguna”, the westernmost island in the masterplan, offers an oasis for ecological living, organized around a central marina. Eight smaller islands form a miniature archipelago, where floating, stilted and terraced housing takes advantage of the natural setting.

Additionally, a network of ecological corridors will connect forest reserves to coastal beaches, while also supporting habitats and communities across the islands. Animals will be given safe passage through the continuous canopy and waterways, and, within natural habitats, people will be able to safely access elevated boardwalks. 

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

All images via BIG

The post BIG, Hijjas and Ramboll’s “BiodiverCity” Selected as New Malaysia Masterplan appeared first on Journal.