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From Displacement to Dignity: Rethinking the Architecture of Shelter as Essential Homes

The jury and the public have had their say — feast your eyes on the winners of Architizer's 12th Annual A+Awards. Subscribe to our Awards Newsletter to receive future program updates.

What are your property priorities? Which non-negotiables guide you when designing homes? What do we actually need in a house?

For 1.6 billion people worldwide, the answer is startlingly simple — better shelter than the inadequate accommodation they currently have. Not least the 103 million globally displaced through war, famine, natural disasters and economic crises living in makeshift homes, from run-down British hotels to frontline refugee camps. A figure that’s growing by the day as humanitarian flashpoints from Afghanistan to South Sudan, Palestine to Ukraine, Venezuela to Rakhine continue to force innocent civilians to abandon all they know and move in the hope of finding safety.

Architects have long been trying to develop alternatives to the temporary accommodation solutions that define refugee camps. Many of these settlements surpass their limited intended shelf life, with the United Nations High Commissioner for Refugees [UNHCR] reporting on generations being born into hastily erected villages, which quickly swell into towns. Countless adults have now spent decades without a permanent place to call their own. Kutupalong, Bangladesh, currently the world’s largest refugee camp, is now home to over 785,000 people.

Entrance to the prototype for Essential Homes by Norman Foster Foundation and Holcim

The Jury Winner in Architecture + Innovation at the 2024 Architizer A+ Awards, the Norman Foster Foundation and Holcim‘s Essential Homes research project is the latest blueprint hoping to change conditions for the better. Presented for the first time at least year’s Venice Architecture Biennale as a full-scale prototype, each 580 square feet (54-square meter) home costs €20,000 to complete, can be adapted to suit a variety of situations, and is created from lightweight, low-cost materials that are easy to produce and transport, and are easy on the environment.

Low-carbon, rollable concrete sheets serve as the external shell, providing robust protection from the elements outside. Modular in design, the concept can be adapted and expanded in response to a multitude of changing needs, with foundations made from recycled construction aggregate materials. A combination of used and decommissioned bits from other projects, putting circularity front-and-centre — a major win given waste from camps is an ecological disaster in itself.

The social and humanitarian impact of the Essential Homes research project is undoubtedly impressive, as are the eco top lines. Each structure will produce 5.9 tonnes of CO2 emissions, a significant reduction — no less than 70% — on the 19.9 tonnes created from an average brick-and-mortar home. Insulation adds to the efficiency rating, with boards and low-carbon aerated concrete foam helping bring down noise pollution and manage interior climate, particularly thermal retention.

But ultimately, where Essential Homes really shine is in their less tangible properties. The zeitgeist of what makes a house a home, and a shelter something more personal. These rightly award-winning designs call to mind numerous iterations of the tiny home, many of which were not conceived to answer demand for emergency refuge following devastating events.

When erected en masse, Essential Homes masterplans begin to look like more familiar suburban residential neighborhoods, permeable pathways connecting each individual residence. Their light-absorbing properties emitting natural luminosity at night, another aspect bringing energy consumption down while contributing towards camp safety after dark — sadly a major issue in many of these self-contained diaspora societies.

Prototype of Essential Homes in a suburban setting with external greening and permeable pathways by Norman Foster Foundation and Holcim

The concept has already evolved from a single occupancy iteration to row house version, proving it could be appropriated for both urgent response needs and the more malignant slow creep of low cost housing shortages evident everywhere from Europe to the Far East, US to sub-Saharan Africa. And it won’t be long until we begin to see what the impact looks like at scale.

Less than two years after its debut in Venice, and following this summer’s working prototype at the Royal Academy of Arts Summer Exhibition in London, Essential Homes are now about to be used in practice. A roll out is planned for South America in 2025, bringing with it an opportunity to turn the dream of a more sustainable, durable and — crucially — dignified place to live for hundreds of thousands of the world’s most vulnerable people into a reality. Perhaps not a cause for celebration — we are still failing to address the root causes catalysing this design — nevertheless this is a shining example of architecture focused on the good of humanity.

The jury and the public have had their say — feast your eyes on the winners of Architizer's 12th Annual A+Awards. Subscribe to our Awards Newsletter to receive future program updates.

The post From Displacement to Dignity: Rethinking the Architecture of Shelter as Essential Homes appeared first on Journal.

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Tirana’s Radical Transformation: How Albania’s Capital is Defying Tradition and Rewriting Its Future

The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available. Order your copy today.  

I’ve only visited Albania once, around 2006 or so, on a family vacation. Having been just a kid, only two things left a lasting impression on me: the beautiful seaside and the sheer number of bunkers scattered everywhere. At the time, it was just an odd observation, but looking back now, it speaks to the country’s lingering signs of its difficult past (it’s safe to say that my conclusion as a kid wasn’t this poetic).

Now, as both an adult and an architect, it’s fascinating to witness Tirana’s fast urban growth and the fact that it’s drawing in renowned architects and firms to create new landmarks. For anyone coming from the Balkans, this kind of rapid transformation feels almost surreal. The region saw significant setbacks in the 1990s, with political instability and economic struggles following the transition from communism. Yet, Tirana is now defying these challenges, leading a new wave of urban development that is rewriting its future.

So, how did this come about? After the fall of Enver Hoxha’s regime in the early 1990s, Albania began to slowly open up to the world, but progress remained gradual. It wasn’t until when the economy started to grow in the 2000s that Tirana’s leadership made urban development a key priority. The focus shifted toward improving the city’s infrastructure, modernizing public spaces and rethinking its layout to meet the needs of a growing population.

This article will take a closer look at the projects and landmarks that aim to redefine Tirana’s skyline and turn it into a modern city on the rise.

Tirana 2030 Master Plan

By Stefano Boeri Architects, Tirana, Albania

First things first — urban planning! Stefano Boeri’s Tirana 2030 Master Plan aims to transform the city with a focus on sustainability and urban greenery. The plan calls for tripling green spaces by planting two million trees in an orbital forest around Tirana, along with new parks, ecological corridors and nature reserves. The idea is to promote vertical growth to free up public spaces in the dense urban center while integrating green areas into the city’s layout.

Boeri’s plan also emphasizes improved public transport, introducing a congestion charge and expanding bus networks to connect key city areas. Additionally, it envisions the creation of new schools and the Park of the World, a square that will host global embassies, reinforcing Tirana’s growing international importance.

Mount Tirana

By CEBRA, Tirana, Albania

Mount Tirana will be the tallest building in Albania at 185 meters, drawing inspiration from the country’s mountainous landscape. Located in central Tirana near the National Historical Museum, the project reflects Albania’s cultural heritage and natural surroundings. The tower will feature housing, commercial spaces, a boutique hotel, offices and restaurants. Its design incorporates terraces with local plants to reduce the need for cooling, while the use of locally sourced materials, like natural stone, minimizes the building’s carbon footprint.

With its mountain-like silhouette, Mount Tirana is envisioned to stand as a symbolic landmark in the city, offering a lively public space at street level that connects with the surrounding park.

The Pyramid of Tirana

By MVRDV, Tirana, Albania

Once a monument built to honor dictator Enver Hoxha, The Pyramid of Tirana has been dramatically transformed by MVRDV into a vibrant cultural hub. Originally a brutalist museum, the deteriorating structure has been repurposed into a space that serves Albania’s youth and cultural life.

The renovation maintains the concrete shell, adding green spaces and a new network of cafes, studios, workshops and classrooms. Half of the spaces will be used by TUMO Tirana, offering free tech education to young Albanians, while the rest will house cafes, studios and other public functions.

Visitors can now climb the Pyramid’s sloping sides or take a lift to the top, while large glass flaps replace old glazing, allowing light and air to flow through the structure. The reborn Pyramid serves as a symbol of Tirana’s transformation, shifting from a relic of dictatorship to a center for creativity and learning.

Multifunctional Tower Tirana

By CHYBIK + KRISTOF, Tirana, Albania

This 272-foot (83-meter) multifunctional complex is set to become a prominent feature of Tirana’s skyline, situated in the heart of the city’s developing Cultural District. This tower, part of the New Boulevard masterplan, is primarily residential, with the lower floors offering office and retail spaces.

Its cascading design, wrapped in red concrete, connects key cultural buildings in the district, including the opera house, art gallery and cultural center. Positioned near River Park, the tower links the urban environment with nearby green spaces. The design emphasizes sustainability with green roof terraces and shaded loggias in the apartments, offering natural solutions for Tirana’s climate. This project is a collaboration between private investors and the city of Tirana, representing a significant step in the city’s continued development.

ODA Tirana

By CHYBIK + KRISTOF, Tirana, Albania


ODA Tirana is yet another project by CHYBIK + KRISTOF, bringing together residential, commercial and public spaces in the heart of Tirana. The development features three towers — two residential and one for offices and a hotel— surrounding a flexible exhibition center. The red concrete façade reflects Albania’s architectural heritage, while green terraces and shaded loggias address the Mediterranean climate.

Positioned between the New Boulevard and Central Park, the design encourages public engagement with a central piazza offering cafés and social spaces. ODA Tirana is a key addition to Tirana’s rapidly evolving skyline.

Hora Vertikale

By OODA Architecture, Tirana, Albania

Hora Vertikale is a new residential project in Tirana that reimagines urban living through a vertical settlement inspired by the ancient Albanian “Hora.” The development features a series of towers designed as a vertical village, set amidst a green park. Sustainability is at the core of the project, with locally sourced materials used to minimize the carbon footprint and support the local economy.

The design consists of seven different types of cubes, each with seven stories, creating a dynamic profile that integrates urban and rural elements. The project prioritizes community engagement, providing amenities for residents and visitors alike. With its unique form and emphasis on sustainability, Hora Vertikale is set to become an iconic addition to Tirana’s skyline.

MET Tirana Residential Building

By Mario Cucinella Architects, Tirana, Albania

A finalist at the WAF Awards 2019 in the Future Projects Residential Category, MET Tirana is a 12-story residential and mixed-use building in the center of Tirana. At 160 feet (49 meters) tall, the project contributes to the city’s urban redevelopment plans, with a focus on maximizing pedestrian access at the ground level.

The tower features a spiraling exterior design with green terraces that provide outdoor spaces for each apartment. The façade, with a mix of transparent and opaque sections, allows for optimal natural light while reducing solar heat. The ground floor opens up to commercial, public and sports facilities, creating a lively public space that connects with the surrounding area.

A City in Transition: From Vision to Reality

The vision for Tirana and all of these bold projects is certainly ambitious, but will they actually come to life?

While some, like Stefano Boeri’s Tirana 2030 Master Plan and the Pyramid of Tirana by MVRDV, are already making progress, others, such as Mount Tirana and ODA Tirana, remain in the design phase. Yet the fact that these plans are in motion is a clear signal: Tirana has caught the attention of renowned architects and design firms worldwide.

The interest from firms like Steven Holl Architects, whose EXPO Albania project recently won an international competition, demonstrates how Tirana is becoming a focal point for bold and innovative architecture. The expo center, with its ecological focus and artistic collaboration, shows how art and sustainability are driving this new wave of urban development.

So while some projects are still on the horizon, the involvement of world-class architects signals that Tirana is no longer a city on the periphery but a key player in the architectural and cultural scene of the Balkans. The Albanian capital is definitely rewriting its future, one landmark at a time.

The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available. Order your copy today.  

The post Tirana’s Radical Transformation: How Albania’s Capital is Defying Tradition and Rewriting Its Future appeared first on Journal.

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The Art of Allure: How Luxury Stores Use Façades to Conceal and Entice

Ema is a trained architect, writer and photographer who works as a Junior Architect at REX in NYC. Inspired by her global experiences, she shares captivating insights into the world’s most extraordinary cities and buildings and provides travel tips on her blog, The Travel Album.

In the competitive world of luxury retail, a store’s façade serves as a silent yet powerful communication tool. More than just a barrier between the outside world and the opulent interiors, the façade is a critical element that defines a brand’s identity and allure. Luxury brands have perfected the art of using façades not only to attract attention but also to craft a narrative of exclusivity and sophistication. This article explores luxury stores’ architectural strategies to conceal and entice, transforming their façades into compelling visual statements that hide and reveal.

The Façade as a Storyteller

Louis Vuitton Ginza Namiki, Tokyo, Japan by AS Co., Peter Marino Architect

Louis Vuitton Ginza Namiki, Tokyo, Japan by AS Co., Peter Marino Architect

Louis Vuitton Ginza Namiki by AS Co., Peter Marino Architect, Tokyo, Japan | Glass by ShenZhen ShenNanYi Glass Product

Every building is designed with a specific purpose in mind, with the contents or products offered inside often changing over time. For instance, clothing stores continuously introduce new collections and products, leading to a constant rotation of items on display. The same is true for car dealerships and jewelry stores, where the merchandise frequently evolves. While the goods inside these stores may change regularly, the building itself remains constant, designed to serve its original purpose year after year. This is why buildings should be designed with a timeless quality, enhancing the brand’s allure rather than detracting from it.

In luxury retail, the façade is the first point of contact between the brand and the consumer. It acts as a storyteller, conveying messages of opulence, craftsmanship and exclusivity. Unlike typical retail spaces, where functionality may overshadow form, luxury stores typically invest significantly in the aesthetics of their exteriors. These façades are not merely entrances; they are architectural expressions that embody the brand’s essence and invite potential customers to explore further.

One of my favorite examples is the Louis Vuitton Flagship Ginza Store in Tokyo, characterized by its translucent glass façade, which mirrors the surrounding cityscape during the day and emits a soft glow at night. The use of glass creates an intriguing sense of mystery, as little can be seen from the outside. Only the corner of the building is open, inviting people to come in and discover what lies within and to experience the interior for themselves. The building’s unique modern design embodies the essence of water with its smooth, undulating surfaces, naturally drawing people’s attention. The shimmering façade draws the eye, captivating passersby with its sparkle and reflections. The glass façade appears to dance with shifting colors, creating a sense of fluidity that is echoed inside with a feature staircase and fixtures, evoking the playfulness and rhythm of water.

Concealment: The Power of Mystery

Dior Miami Façade Miami, FL, United States by BarbaritoBancel Architectes

Have you ever noticed that when you pass by a luxury store, you often can’t see everything inside? Instead, you catch glimpses through carefully curated openings, doorways or windows. The façade may vary, being fully transparent in some sections while opaque in others, enticing you to enter and explore what’s hidden inside. Luxury brands often use the strategy of concealment to create an aura of mystery and exclusivity. By limiting the visibility of the store’s interior, these façades (that are often intriguing and beautiful themselves) generate intrigue, compelling passersby to step inside and discover what lies beyond. This approach capitalizes on the allure of the unknown, making the act of entering the store feel like a privileged experience.

A great example is Dior Miami’s façade, which is composed of sleek, overlapping white panels that resemble the delicate folds of fabric — a subtle nod to the brand’s couture heritage. These panels are arranged in a way that allows for narrow, vertical openings to offer brief glimpses into the store’s luxurious interior. A few large panels on the ground floor, and even fewer on the upper levels are left open to offer glimpses inside the store, hinting at what lies inside. This design choice offers tantalizing glimpses of the interior, sparking curiosity and engagement while maintaining an air of exclusivity unique to the Dior brand and its building.

Enticement: The Play of Transparency

Miu Miu Aoyama, Tokyo, Japan by Herzog & de Meuron

In contrast to the strategy of concealment, some luxury brands use transparency to offer tantalizing glimpses of their interiors. This technique strikes a delicate balance, providing just enough visual access to pique curiosity without revealing everything. Glass, and the way the glass is used creatively, is frequently the material of choice, allowing for a visual connection between the inside and the outside.

This brings me to addressing an architectural detail: mastering light and shadow. A key feature of luxury façades is their intricate manipulation of light and shadow, which creates a dynamic visual experience that evolves throughout the day. By harnessing natural light, designers can help brands craft façades that are visually engaging and sometimes even ever-changing.

The Miu Miu Aoyama store in Tokyo uses an opaque metal façade, giving the building a more intimate quality. The building resembles a partially opened gift box, perfectly suited to conceal the brand’s products while hinting at the excitement of unveiling its contents. The façade serves as a sun-shading device that controls light and shadow, while also providing an engaging visual experience without being over powering. It plays with perspective, revealing and concealing the interior as one moves around the building. Unlike the other examples in this article, the entire ground floor of this building is open, yet maintains a sense of concealment, offering just enough visibility at street level to intrigue pedestrians and entice them to enter. The rounded copper panels on the inside of the building’s façade add warmth and texture, contrasting with the sleek, sharp silver steel corners that appear lifted, as if the edges of the façade have been cut and raised.

The Façade as a Branding Tool

A well-designed façade is an extension of a brand’s identity. Luxury brands use architectural elements to differentiate themselves from competitors and to reinforce their unique brand image. Signature design motifs, colors, and materials become visual shorthand for the brand’s values and aesthetic.

Chanel, for instance, a brand most of us know so well is instantly recognizable by its use of black, white and beige — a color palette that reflects the brand’s commitment to timeless elegance. The clean lines and minimalist aesthetic go beyond Chanel’s branding; they are reflected in Chanel’s façades, which emphasize the brand’s commitment to modernity and simplicity. These design choices ensure that each Chanel store is a distinctive embodiment of the brand’s ethos.

Materials Matter: Conveying Luxury Through Choice

The selection of materials is paramount in the design of any façade. High-end brands choose materials that embody luxury and exclusivity, such as marble, bronze, exotic woods, and occasionally even gold leaf. These materials are chosen not only for their visual impact but also for their tactile qualities, which can evoke an emotional response from customers.

For example, Fendi’s headquarters in Rome is a stunning example of how a luxury brand can blend historical elegance with modern sophistication. Although it is not a retail store, Fendi HQ is an excellent example of how a luxury brand uses architecture and façade design to create a sense of mystery, allure, and enticement. Located in the Palazzo della Civiltà Italiana, also known as the “Square Colosseum,” this iconic building serves as both a cultural landmark and a representation of Fendi’s commitment to preserving and reinterpreting heritage. The building’s façade is characterized by its series of symmetrical arches, a nod to classical Roman architecture, which lends the structure a sense of timelessness and grandeur.

The glass elements provide transparency, offering glimpses into the interior while reflecting the surrounding cityscape, thus creating a dialogue between the past and present. Inside, Fendi has seamlessly integrated luxurious, modern interiors with the building’s historical context. The use of marble, wood, and other high-end materials reflects the brand’s dedication to craftsmanship and luxury, while the open spaces and strategic lighting emphasize the building’s architectural beauty. By combining classical architectural forms with modern design techniques, Fendi HQ encapsulates the essence of the brand—respect for tradition, a passion for innovation, and an unwavering commitment to luxury. This harmonious blend of old and new not only preserves the building’s historical significance but also propels it into the contemporary luxury market, making it a fitting home for one of fashion’s most revered brands.

The jury and the public have had their say — feast your eyes on the winners of Architizer's 12th Annual A+Awards. Subscribe to our Awards Newsletter to receive future program updates.

The post The Art of Allure: How Luxury Stores Use Façades to Conceal and Entice appeared first on Journal.

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Should AI Become a Mandatory Part of the Architecture School Curriculum?

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletters.

Since the bloom of artificial intelligence (AI), countless articles have been written on how AI tools are utilized throughout the architectural industry. From architects showcasing their new visuals and drawings using platforms such as Dall-e and Midjourney to firms that collect all sorts of data and create computational AI models that allow them to tackle large-scale projects, it is evident that AI is aggressively shifting the playbook of architectural practice.

On the other hand, AI technology has been a lot quieter on the educational front, with universities gradually introducing it to their curriculum primarily through seminars, workshops and, perhaps less so, through fully evolved courses. In parallel, some academics (and architects in general) fear AI overshadowing the architectural design process, leading to hollow and surface-level designs that impress merely through stunning imagery. So, the question arises: Should universities introduce AI into the architecture school curriculum, and if so, how should it become integrated?

Should it be treated merely as another visualization tool?

Should it become part of the design course?

Should students learn how to use it as a tool for architectural technology?

The following examples outline four different university programs that recently introduced AI into their curricula — some in the most unexpected ways possible.

The University of Edinburgh | ESALA

In the autumn term of 2023, Mark Dorrian and Maria Mitsoula, ran a third year design studio titled AI + Explorations. The unit brief states “We were interested in working inventively with generative image and text interfaces, developing lines of inquiry that didn’t simply cede creative agency to the machine, turning the user into a consumer of what it returned. Instead, we sought to explore approaches that found critical ways of ‘talking to’ the digital apparatus, fastening upon unexpected outcomes and moments of incoherence that opened possibilities for architectural speculation in otherwise apparently seamless images.”

The students had to choose from a list of architecturally “famous” modern houses (Casa Malaparte, Eames House, Villa Tungendhat etc.) and use AI platforms to enact a series of transformations to the original source. Arguably, this process puts a new spin to a precedent study and design research in general by encouraging the “unknown”. Similarly to how experimentation with analogue materials may lead to unprecedented design directions, the unit explored how AI can be used as a research design tool rather than a visualization machine, thus transforming canonic-iconic buildings into irregular spatial conditions — for example an Eames House in which Dostoyevsky resides or Villa Malaparte becoming a prison.

The University of Bath | Department of Architecture and Civil Engineering

In October 2024 the course Artificial Intelligence for Engineering and Design MSc will run for the first time at the University of Bath. It is characterized as a course that is first-of-its-kind, teaching generative design and optioneering skills and delving into the more technical aspects of AI technology. They will explore automation and manufacturing processes as well as the roles of big data, digital twins and the Internet of Things and investigate how they can contribute to the creation of multidisciplinary and sustainable solutions to complex urban and construction problems.

Florida Atlantic University | School of Architecture

FAU School of Architecture is one of the first departments in the US to have integrated AI learning through its five-year BArch program at an advanced level. The first three years focus on the relationship between analogue and digital practices, in order to instill the students an understanding and appreciation for both. The aim is to train them to think about how to make the rules that will lead them to design, rather than the medium through which they will do it. In the final two years of the course, students are introduced to advanced AI technologies such as algorithms, 3D data sets as well as self-organization mapping and are encouraged to design beyond buildings, and instead create processes, systems and workflows to deliver certain results.

School director Joseph Choma states: ‘I’m interested in how the normative starts to embed more innovative research, and how the projective starts to be grounded in more normative constraints.’ In other words, the school takes advantage of the rapid data processing speed AI technology has to offer to not only teach students how to design buildings (i.e. products) but also develop processes and systems through which they design (i.e. research methods).

Institute for Advanced Architecture of Catalonia

Finally, starting in IAAC in the Academic Year 2024/25, the Master in AI for Architecture & the Built Environment is a unique program focusing on environmental sustainability and decarbonizing human activities in the architectural and construction industry. The course is based on real-world applications of AI, encouraging students to collaborate with an array of industries and delve into regenerative design, smart construction, natural ecosystems, carbon neutrality and co-design processes.

Apparently, there is no precedent on how to integrate AI in architecture schools. These four courses tackle AI technology in their own innovative way, from focusing on its technical advantages to using it as a design research tool, all however, proving how imperative it is to start incorporating Artificial Intelligence into architectural education. Still, its most positive aspect lies in the fact that all these universities view AI as an opportunity to enforce research more “aggressively” to the architecture students’ curriculum, a practice which, if implemented correctly, will have a great impact to the future of the architectural industry.

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletters.

Featured Image: Created by Architizer using Midjourney AI

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What if the World Built All the Paper Architecture Proposals?

The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available. Order your copy today.  

Floating structures, plug-in cities, human pods, flying machines and buildings with walking tentacles. These are only a few of the speculative designs architects throughout the years have developed in an attempt to push the boundaries of the discipline forward and respond to the many challenges the global built environment is facing. From early drawings such as Giovanni Battista Piranesi’s Imaginary Prisons and Jean-Jacque Lecque’s Gate of a Hunting-Ground, speculative or “paper” architecture has been a subject of great experimental “release” since the 18th century.

Even though they stay only on paper, these designs hold such enticing qualities not only due to the impeccable drawings that represent them but also for the fictional stories they tell. Through them, design and construction methods are questioned, and real-world problems are solved, thus becoming a source of inspiration for architects throughout the world. Especially during the 1960s-1970s, avant-garde architects spawned some of the most influential architectural movements of that time.

Lequeu_Gate of a hunting-ground. Project.

Jean-Jacques Lequeu creator QS:P170,Q1684923, Lequeu Tor eines Jagdgelaendes Projekt, marked as public domain, more details on Wikimedia Commons

Archigram

Possibly the most well-known group of speculative architects, Archigram’s unbuilt projects were developed after WWII, in an attempt to reevaluate the way in which people lived in urban centers. Plug-in City and Walking City were some of their most provocative projects, utilizing hypothetical technology to create energy efficient structures that introduced concepts such as movable cities, modular architecture and even nomadic living.

Lebbeus Woods

Geomagnetic Flying Machines. © Estate of Lebbeus Woods

During his career Lebbeus Woods focused on architectural theory and experimentation and co-founded the Research Institute for Experimental Architecture. Although his designs were unshackled by the constraints of the real world, i.e. finance, build-ability and technology, his work deals greatly with existing issues such as rebuilding post-war cities and architecture as a defense mechanism towards political upheavals. The Sarajevo Window for example, is a proposal for a wall and window repair after the Bosnian capital underwent terrorist attacks in the 1990s.

Gaetano Pesce

The Italian architect and designer and his project the Church of Solitude addressed immigration issues and a corporate way of living. When experiencing New York in the 1970s, he witnessed large groups of people living together in ‘helter-skelter’ conditions and thus developed the concept of an underground church fit for introspection, contemplation and a retreat from the city’s institutional culture. Pesce’s excavated landscape became a refuge underneath the imposing, capitalist Manhattan skyscrapers.

We are now a couple of decades later and still; paper architecture hasn’t lost its allure for architects. There have been countless speculative proposals, breathtaking drawings and models as well as an abundance of theoretical and contextual writings that reveal that intent behind these designs.

CJ Lim

Food City is CJ Lim’s most recent project, in which he positions food in the core of national and local governance and influence the way in which a city is both spatially and functionally organized. The architect creates a hypothetical case study showcasing how a secondary environmental/food infrastructure can operate as a sustainable stratum over the city of London.

Bryan Cantley

“Machno-morphic” is one of the characterizations that vividly describes Bryan Cantley’s work, which is comprised of speculative drawings that reflect upon the remains of mechanical realities within the landscapes of Southern California. He delves into the region’s folklore, which mixes dreams of a suburban peace with Spanish Colonialism and mountainous landscapes, proposing future mechanical forms (instruments) that investigate, critique and oftentimes compliment the western industrial setting.

Perry Kulper

Perry Kulper’s proposals reach ‘implausible dimensions’. His drawing practices explore new ways of immersive design, investigating how architecture interacts with its cultural environment. Beyond inventing new modes of architectural representation, Kulper’ work looks at real places, landscapes and contexts and composes an array of possible and unexpected interactions between them.

After exploring examples of paper architecture drawn in the past 50 years, it is safe to say that all these projects, albeit speculative, contain more than a dash of realism in them. They are practical interventions, situated in cities that face real-world challenges and propose solutions that tackle climate change, social housing, immigration, experiential design, food production, industrial production and so much more.

At this point I want to borrow Lebbeus Wood’s quote stating that ‘architecture is always constrained by the reality of technology.’ In other words, building all these paper architecture proposals is not impossible; it is merely a matter of whether technology can keep up with human imagination. The optimist in me believes that if we were to implement these designs with the same liberal manner in which they were conceived, i.e. breaking free from ulterior political and economic motives, architecture would truly and holistically impact our cities, our natural landscape, our resources and even reevaluate the (currently concrete) norms through which humans inhabit the planet.

The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available. Order your copy today.  

Featured image: Giovanni Battista Piranesi artist QS:P170,Q316307, Piranesi01, marked as public domain, more details on Wikimedia Commons

The post What if the World Built All the Paper Architecture Proposals? appeared first on Journal.

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Urban Canyons: Designing with Narrow Alleyways and Confined Spaces

Ema is a trained architect, writer and photographer who works as a Junior Architect at REX in NYC. Inspired by her global experiences, she shares captivating insights into the world’s most extraordinary cities and buildings and provides travel tips on her blog, The Travel Album.

As urban landscapes evolve and cities grow denser, architects face the unique challenge of designing within the constraints of narrow alleyways and confined spaces, often referred to as “urban canyons.” These areas, characterized by their limited width and high surrounding buildings, present significant design challenges but offer unique opportunities for creative and impactful architectural solutions. Buildings of this nature are particularly intriguing because they diverge from traditional structures that typically feature ample surrounding space. They prompt a deeper consideration of their design and construction, as well as how people navigate and interact within such confined environments. This article will dive into the complexities of designing in these constrained environments and explore innovative strategies that turn limitations into assets, transforming urban canyons into vibrant, functional spaces.

The Challenges of Urban Canyons

skinnySCAR, Rotterdam, Netherlands by Gwendolyn Huisman & Marijn Boterman

Urban canyons often present several intrinsic challenges that architects must navigate. One of the primary difficulties is the scarcity of natural light. The towering walls of adjacent buildings can severely limit daylight penetration, resulting in dimly lit and uninviting spaces. This lack of natural light can make narrow alleys feel claustrophobic and less appealing, impacting both aesthetic quality and the psychological comfort of occupants. Light plays a crucial role in architectural design, influencing mood, functionality and the overall atmosphere of a space.

Another significant challenge is restricted access and circulation. The narrow dimensions of these urban canyons can complicate pedestrian movement and vehicle access. When spaces are confined, movement becomes less fluid, and there may be less room for people to pass each other comfortably. The same issues apply to vehicles. This can lead to congested areas, especially in high-traffic zones, and may hinder the efficient flow of people and goods. The confined nature of these spaces often means that traditional design approaches must be rethought to accommodate both functionality and accessibility.

Furthermore, the small footprint of urban canyons limits the range of possible uses and design interventions. Architects must work within these constraints to optimize the available space, ensuring that it meets the needs of various functions while maintaining a cohesive and practical design. This requires a careful balance of creativity and functionality, pushing the boundaries of conventional design solutions.

Innovative Design Solutions

1. Maximizing Light and Ventilation

House and Garden, Tokyo, Japan by Ryue Nishizawa

To counteract the challenge of limited natural light, architects have developed several innovative strategies. One effective solution is the use of light wells and skylights. Light wells are vertical shafts that allow daylight to penetrate deeper into the building, brightening otherwise shadowed spaces. For example, The House and Garden by Ryue Nishizawa incorporates a series of light wells and vertical gardens that not only bring natural light into the depths of the building but also introduce greenery, enhancing both light and environmental quality. Skylights, which are installed in roofs or upper walls, can similarly flood lower levels with daylight, making spaces feel more open and connected to the outdoors. The integrated garden spaces and terraces that extend the living areas outside, blurs the boundary between indoor and outdoor environments. This allows natural light to be more effectively used and provides additional visual and spatial relief, enhancing the overall livability of the narrow space.

2. Optimizing Space Utilization

The Stack, New York, NY, United States by GLUCK+

The Stack, New York, NY, United States by GLUCK+

The Stack by GLUCK+, New York City, New York

Given the limitations of narrow spaces, architects often turn to vertical design strategies to maximize utility. Multi-level structures and mezzanines effectively expand the functional area within a confined footprint. Urban canyons are not limited to narrow homes squeezed between two buildings; they also encompass larger housing complexes where in cities like New York, space is at a premium. While designing slim homes that utilize vertical space can yield unique and efficient living solutions, this approach is also applicable to multi-unit buildings such as condominiums. In these larger projects, the design often incorporates multiple floors and innovative spatial configurations to maximize the use of a narrow site. This vertical integration enhances both the functionality and livability of the building, demonstrating how thoughtful design can optimize space even in constrained urban environments.

Modular and flexible design solutions also play a crucial role in optimizing space. Modular furniture and movable partitions allow for adaptable use of space, accommodating various functions and activities. A great example of this, is The Stack by GLUCK+. The building illustrates this concept by maximizing the available footprint while maintaining functionality. It incorporates modular elements that turn a narrow plot into a versatile, multi-use space, utilizing innovative spatial configurations like open-plan layouts and integrated storage solutions to maximize functionality within the confined area. These design strategies enable the space to be reconfigured according to changing needs, making it versatile and adaptable.

3. Enhancing Accessibility and Connectivity

High Line New York, NY, United States by Field Operations and Diller Scofidio + Renfro

High Line New York, NY, United States by Field Operations and Diller Scofidio + Renfro

High Line by Field Operations and Diller Scofidio + Renfro, New York City, New York 

Improving accessibility and connectivity is essential for making narrow spaces more functional and user-friendly. Designing pedestrian-friendly pathways involves integrating features such as seating, lighting, and landscaping to create inviting environments. A prime example of successful architectural integration is New York City’s High Line, which transforms a narrow, elevated railway track into a vibrant, green corridor, revitalizing the urban area. I wanted to include this example because it offers a fresh perspective on what an architectural urban canyon can be. Unlike the typical image of buildings squeezed into narrow spaces, this example demonstrates how such environments can be reimagined in innovative ways.

This project not only enhances accessibility but also creates a unique public space that fosters community interaction and engagement. It is integrated into the city’s grid, connecting various neighborhoods and landmarks. The uninterrupted pedestrian path above street level, enhances connectivity by linking previously isolated areas and creating a continuous, accessible route through Manhattan. Maximizing the use of limited space, it successfully enhances functionality by creating an elevated, accessible pathway through a densely built urban environment. Its design functions as both a recreational space and a practical city route. By incorporating ramps, elevators and multiple access points, it ensures user-friendliness and accessibility for everyone, including those with disabilities. This thoughtful design not only enhances the overall user experience but also promotes inclusivity. Additionally, by connecting various parts of the city, the High Line demonstrates how improving accessibility can enhance urban connectivity, linking different neighborhoods and points of interest to create a more cohesive and navigable urban environment.

Creating Aesthetic Appeal

Starbucks Coffee at Dazaifutenmangu Omotesando Dazaifu, Japan by Kengo Kuma and Associates

Addressing the aesthetic quality of narrow spaces is crucial for making them appealing and engaging. I want to highlight one of my favorite examples by Kengo Kuma: an exceptionally unique Starbucks building in Japan. This design beautifully illustrates how focusing on the aesthetic quality of narrow spaces can make them both captivating and engaging. The design utilizes a distinctive façade of wooden slats that wrap around the interior of the narrow building. This not only provides visual interest but also creates a sense of warmth and texture. The natural wood contrasts with the surrounding urban environment, allowing the building to stand out while still skillfully complementing its context.

The building’s design incorporates both vertical and horizontal elements to break up the narrow space visually. The wooden slats are arranged in a way that adds depth and dimension, creating a dynamic interplay of light, shadow and various textures. This technique helps to mitigate the sense of constriction often associated with narrow spaces. The use of natural materials and the building’s subtle yet striking design contribute to its visual appeal, making it a standout feature in a densely built environment. By addressing the aesthetic quality through innovative material use, light integration, and thoughtful design elements, the Starbucks Coffee at Dazaifutenmangu Omotesando transforms a narrow space into a visually compelling and engaging environment within its dense urban context.

Designing in narrow alleyways and confined urban spaces presents distinct challenges that demand innovative and thoughtful solutions. This article aimed to redefine the concept of an urban canyon by showcasing diverse and unique examples and by addressing critical issues such as light, space utilization, accessibility, and aesthetics. Architects can transform these constrained spaces into vibrant and functional environments by utilizing the strategies discussed to demonstrate that even the most constrained spaces can be reimagined to enhance urban livability and contribute to the overall character of the city. Embracing these design opportunities not only addresses the challenges of confined spaces but also enriches the urban experience, turning limitations into assets and creating dynamic, engaging environments.

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Material Matters: LUO Studio’s Outside-the-Box Approach to Modern Craftsmanship

The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available. Order your copy today.  

In the last few decades, there’s been a growing disconnect between what architects design and what people actually want (or need). The shiny, statement-making buildings that once dominated skylines are starting to feel out of touch. But maybe it’s on us as architects to bridge that gap. After all, our work should serve people, not just make a statement. Still, it’s easy to feel limited by what’s realistic. We can’t just start building everything out of cardboard to be more sustainable, right?

Well, this firm begs to differ.

Meet LUO Studio. The Beijing-based firm, led by Luo Yujie, is quietly but confidently redefining what architecture can be. Their projects don’t scream for attention with flashy designs or towering glass façades. Instead, they focus on sustainability, cultural preservation and real community impact while also pushing the boundaries of creativity and functionality. Whether it’s reimagining traditional techniques or experimenting with unconventional materials, LUO Studio is challenging the status quo by asking a simple question: How can architecture do better?

The answer, it seems, lies in embracing context, connecting buildings with their history and recognizing that using local materials and techniques is more important than ever.

So, what exactly are they doing to shake things up? Let’s take a closer look.

Innovating with Tradition: The Fusion of Past and Present

Prepared Rehmannia Root Crafts Exhibition Hall by LUO studio, Xiuwu County, Jiaozuo, China | Jury Winner, Cultural & Expo Centers, 12th Annual A+Awards

Prepared Rehmannia Root Crafts Exhibition Hall by LUO studio, Xiuwu County, Jiaozuo, China | Jury Winner, Cultural & Expo Centers, 12th Annual A+Awards

In an era where technology often overshadows tradition, LUO Studio takes a different approach. They believe history isn’t just something to remember but a foundation to build on. This philosophy shines through in one of their latest A+Award-winning projects — the Prepared Rehmannia Root Crafts Exhibition Hall in Xiuwu County.

Once an herb-processing factory, the space has been transformed into an exhibition hall that celebrates the region’s rich history and craftsmanship. The design draws inspiration from traditional Rehmannia root preparation methods, particularly the ancient practice of “nine steaming and nine sun-drying,” which emphasized the importance of sunlight. LUO Studio incorporated this concept by creating a circular layout that optimizes natural light, allowing it to play a central role in the building’s atmosphere. The structure itself uses local materials like red brick and timber with modern construction techniques, honoring the area’s cultural heritage while addressing contemporary needs.

Timber Bridge in Gulou Waterfront by LUO studio, Jiangmen, China | Jury Winner, Architecture +Wood, 10th Annual A+Awards

Timber Bridge in Gulou Waterfront by LUO studio, Jiangmen, China| Jury Winner, Architecture +Wood, 10th Annual A+Awards

Another project that exemplifies their commitment to innovation rooted in tradition is the Timber Bridge in Gulou Waterfront. Constructed from natural pine wood using time-honored Chinese arched techniques, the bridge is designed with three large curved beams, assembled on-site using a combination of traditional joinery and modern steel-strengthened bolts. This method, rooted in historical practices, provides both strength and flexibility, essential for accommodating varying boat sizes beneath.

A key feature of the bridge is its covered corridor, a nod to ancient Chinese bridge designs. Traditionally used to protect wooden structures from the elements, this corridor not only shields the bridge from heavy rainfall but also enhances the experience for visitors. The careful spacing of smaller wooden components creates a stable framework, while gaps between the layers allow natural light to filter through, offering glimpses of the water below.

Beyond Conventional Materials: Designing With Cardboard

Corrugated Cardboard-Formed Exhibition Space by LUO studio, Shanghai, China | Popular Choice Winner, Sustainable Interior Project, 12th Annual A+Awards 

Learning from the past and using traditional materials might be essential, but a few of LUO Studio’s projects that really stand out are not made from traditional, but rather unconventional materials.

The studio created a series of cardboard-formed exhibition spaces, taking a highly creative approach to a material often overlooked in architecture and transforming it into something both impressive and surprisingly functional.

Beginning with Version 1.0 for the “Back to the Future: Breaking the Time Barrier” exhibition in 2021, LUO Studio took on the challenge of using corrugated cardboard as the primary material for an entire exhibition space. This initial experiment was more than just a test of material — it was a statement about sustainability and creativity in architecture.

Cardboard-formed Exhibition Space 2.0 – Xinyang Book Market: Books ‘N Tea by LUO studio, Xinyang, China

Building on the success of their first attempt, Version 2.0 emerged in 2023 at the Xinyang Book Market. Here, they refined their approach, creating a space that was not only structurally sound but also visually engaging. The project demonstrated that cardboard, when used thoughtfully, can be both functional and aesthetically pleasing.

Two Paper Houses by LUO studio, Zhengzhou, China | Popular Choice Winner, Sustainable Interior Project, 12th Annual A+Awards 

The latest evolution, Version 3.0, saw LUO Studio taking this concept even further with the creation of two “paper houses” for the Båt Odes to the Land exhibition in Zhengzhou. These structures were designed to be stable and durable despite the inherent challenges of using cardboard. The circular design of the spaces, combined with careful engineering, ensured that the buildings were not only practical but also conveyed a sense of ritual and purpose.

The result across all three versions is a series of spaces that defy expectations, showing that even a material as humble as cardboard can be transformed into a viable, sustainable option for architectural design.

Community-Centric and Adaptive Design: Building with a Purpose

Jiulongfeng Children Learning Center for Conservation by LUO studio, Huangshan City, China | Popular Choice Winner, Architecture +Joy, 12th Annual A+Awards

From reviving ancient techniques to pushing the limits of material use, LUO Studio’s approach is both innovative and grounded. But their work doesn’t stop there. The studio is also deeply committed to building with a purpose, ensuring that their designs make a meaningful difference in the communities they serve.

A perfect example of this commitment is the Jiulongfeng Children’s Learning Center for Conservation, this year’s A+Awards Popular Choice winner in the Architecture +Joy category. The project goes beyond preserving traditional Huizhou carpentry techniques; it focuses on empowering the local community. Located in the heart of Shangling Village, the renovation was a collective effort, bringing together villagers, master carpenters and LUO Studio’s team. Community involvement was central to the project’s success, with residents participating in every stage, from site clearance to construction.

The outcome is more than just a learning center, but a space that reflects the community’s spirit, offering a welcoming environment where children can play and learn. The unique, cabin-like structure serves as a place for education and a source of pride and cultural identity for the village. By prioritizing community engagement, LUO Studio has created a project that not only meets functional needs but also reinforces the social fabric and collective ownership of the space.

Redefining the Role of the Architect

Jiulongfeng Children Learning Center for Conservation by LUO studio, Huangshan City, China | Popular Choice Winner, Architecture +Joy, 12th Annual A+Awards

LUO Studio’s work is a reminder that architecture can — and should — be more than just eye-catching structures. Their projects encapsulate a commitment to tradition, material innovation, sustainability and, perhaps most importantly, community engagement. By merging historical craftsmanship with modern needs, experimenting with unconventional materials like cardboard and centering their designs around the people they serve, LUO Studio is setting a new standard for what architecture can achieve.

At the heart of their work is a holistic approach that refuses to separate design from purpose. Whether it’s reviving ancient carpentry techniques or rethinking what’s possible with recyclable materials, LUO Studio consistently demonstrates that meaningful architecture is not about following trends but about understanding and responding to context — cultural, environmental and social. Their projects are as much about the process as the finished product, engaging communities and fostering a sense of shared ownership and pride.

Looking forward, LUO Studio’s approach offers a compelling model for the future of architecture. As the industry grapples with the challenges of sustainability, cultural preservation and social responsibility, their work provides a blueprint for how architects can create designs that are not only innovative but also deeply rooted in the communities they serve. In doing so, LUO Studio is redefining what it means to be an architect in the 21st century — one who listens, learns and builds with purpose.

The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available. Order your copy today.  

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Wild and Free: Why The Revolutionary Design Collective Memphis Milano Still Matters

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletters.

There is a place online that I do not recommend visiting unless you have a lot of free time. It is called the Consumer Aesthetics Research Institute, and it is as compulsively browsable as Wikipedia once was, before the novelty wore off and it became a utility, inconspicuous yet essential, like water from the tap. 

The Consumer Aesthetics Research Institute is an archive of commercial art styles, or “consumer aesthetics,” that appeared in various forms of media from the 1960s to the present. Each entry includes both visual examples of the style in action and a brief description of when the aesthetic appeared and what it represents. 

Reading this site greatly expands your vocabulary for kitsch design. You learn to say, for instance, that your mom’s “It’s Wine O’Clock Somewhere” wall sign features the Live, Laugh, Love font instead of merely calling it cringe. You also discover new forms of nostalgic longing. I never realized there was such a thing as The Global Village Coffeehouse aesthetic before, much less that I missed it. 

One thing you might notice is that all of these styles seem super dated. This is true even — especially? — of the most contemporary looks like Corporate Memphis, an instantly recognizable and widely hated visual language that just might be the hegemonic consumer aesthetic of our time. 

Very few people will admit to liking Corporate Memphis graphic design. Luckily, it has little in common with the original work of the Memphis Group. Katharina Brenner, Corporate Memphis (2019), CC BY 4.0

The Institute describes Corporate Memphis as “The Generic 10s ‘Friendly’ Corporate Aesthetic, neo-Memphis, pastel colors, Mondrian influence, corporate appropriation of Vaporwave motifs, geometric sans typefaces, Monstera plants, exposed plywood, white walls, Matisse-influenced graphics.” For some reason, this style often features oddly proportioned human figures with wobbly arms and legs. Outwardly approachable yet ultimately distant, the style is like an affable boss who says they want to destigmatize talking about mental health  — but then balks when you ask to take a personal day. 

The only truly offensive aspect of Corporate Memphis, however, is its name. The “Memphis” part is a reference to Memphis Milano, or the Memphis Group, a revolutionary design collective that was founded in Milan in 1980 by the architect and industrial designer Ettore Sottsass. The name speaks to the bright, almost fauvist color palette of Corporate Memphis as well as its emphasis on flat geometric patterns. These were certainly features of the original Memphis group’s work, but the similarities end there. 

While Corporate Memphis is bland and conformist, the work of the Memphis group was radical and anarchistic, a deliberate challenge not only to Modernism, but to the very notion of good taste. These were designers who knew that to create a new visual language, one must be willing to create objects that are ugly. And to be sure, much of what this group created was brilliantly ugly. 

Memphis Milano furniture and design objects displayed in an apartment. Check out the birdlike objects displayed on the mantle. Dennis Zanone, Memphis-Milano Design Collection, CC BY-SA 3.0

Memphis Milano was not just a consumer aesthetic, but an attempt to overcome the dialectic between modernism and traditionalism that characterized design thinking in the latter half of the 20th century and still hinders designers today. Like other postmodern tendencies in architecture and design, Memphis was a response to this crisis. What was unique about Memphis was its utter lack of self-seriousness. This sense of play is the secret to its mischievous vitality. It is why David Bowie owned over 100 Memphis objects, and why architects and designers should look to the movement for inspiration today. 

As the story goes, the group took its name from Bob Dylan’s song “Stuck Inside of Mobile With the Memphis Blues Again,” which they played on repeat on the meeting when they first joined together and resolved to create a new visual language. This song has always been one of my favorites by Dylan. Using mythic and hallucinatory imagery, Dylan describes a nightmare of stasis, or what Nietzsche called “eternal return.” This is precisely what the designers, who came from different generations and nations, wanted to escape via clashing neon colors. 

Memphis artists designed furniture, lighting, fabrics, carpets, ceramics, glass and metal objects. Their designs often incorporated plastic laminate and terrazzo, consciously eschewing the fetish for raw materials that is still characteristic of Modernism. To the contemporary eye, Memphis objects are reminiscent of Nickelodeon sets from the 1990s —  which were inspired by Memphis — but when these objects were first exhibited they seemed simply crazy. An assault on good taste — but a good natured one. 

Sottsass’s famous “Carlton” room divider, an object that violates every Modernist notion of unity, proportion, and good taste. Sailko, Ettore sottsass per memphis srl., libreria carlton, milano 1981, CC BY 3.0

Sottsass, who died in 2007 at the age of 90, was an entertaining speaker who maintained a paradigmatically postmodern outlook on the world. That is, he had what Lyotard called an “incredulity toward metanarratives” and believed that the only possible knowledge of the world was partial or fragmentary. 

In a 2001 interview with the art critic Hans Ulrich Obrist, Sottsass opines that “Existence is fragmentary, because we no longer accept the logic that we hoped would tie up everything. Even that great scientist strapped to a wheelchair, Hawking, said this: ‘If we could find a formula that holds together the universe, I’d know what to think of God.’ The fact remains that this formula can’t be found! It doesn’t exist!” He continues, “At any rate, the same problem exists in everyday life. When I read a newspaper, for example, I can’t grasp the dimensions of what’s happening between here and, say, the Middle East, between here and New York.” 

Like Derrida, Barthes, and other thinkers commonly labeled “postmodern,” Sottsass believed that recognizing the limits of one’s knowledge was liberating. It frees one of the pressure to define a unified picture of the world. Fragments of knowledge, of beauty, can be appreciated for what they are, and not subordinated to a larger system. This was Sottsass’s picture of the world, and he believed that one’s ideas influenced everything one creates. 

Martine Bedin was the youngest member of the Memphis Group. She described her “Super Lamp” as “like a small dog I could carry with me.” This was the Memphis Group’s most profitable object. You can still buy them online. Caffe_Paradiso, Memphis Super Lamps by Martine Bedin, CC BY 2.0

“It’s clear that if I’m designing architecture, I need to know things that are not the same as what I have to know to design a glass vase, and to design a glass vase you need to know things that are not the same as what you need to take a photograph,” he said in the same 2001 interview. “But apart from these technical differences — which are certainly important because they have an effect on what I can design and condition — there still remains, deep down, what I think of life, why I do things, what I imagine happens when I design something.” 

What Sottsass and his allies in the Memphis Group believed in was restoring joy and fun to architecture and design. They did not seek a unified aesthetic with a single message, but rather a style that embraced the wild diversity of life. The closest musical analogy to the visual language of the Memphis Group is jazz. 

There is a lightness to Memphis — a real lightness — that should not be confused with the forced and inauthentic cheerfulness of Corporate Memphis. While Thomas Heatherwick does not name the Memphis Group in his book Humanize, a polemic against the drabness of much contemporary architecture, I believe that they were responding to the same issue he lays out, a problem that is still relevant today. Heatherwick complains that architects today are afraid of playing with ornamentation and other design quirks that don’t fit within their overarching vision or theory of design. For Sottsass and his allies in the Memphis Group, there didn’t need to be a theory. A building or lamp could be adorned with any color or pattern — just because.

While you might find the first wave of Memphis designs garish, several alumni of this group such as Nathalie du Pasquier have gone on to incorporate Memphis motifs in textiles, paintings, and other designs that can honestly be described as beautiful. This, to me, is a sign of Memphis’s triumph in paving the way for new forms of thinking.

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletters.


Cover Image: Created by DALL-E. Prompt: “Memphis Milano Style Building.” 

The post Wild and Free: Why The Revolutionary Design Collective Memphis Milano Still Matters appeared first on Journal.

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Francisco Tirado: An Architect Who Found His Calling Behind the Camera

The architectural visualization field is rapidly growing, transforming how architects, designers and clients experience projects — both built and unbuilt. As architecture continues evolving in complexity, so does the importance of creating the right visuals. Architectural visualization is a growing field and an alluring career path for those passionate about design and storytelling.

Such is the case with Francisco Tirado. Currently working as a Photography Lead at Cobe, Francisco has spent over a decade perfecting his craft, capturing the essence of architecture through stunning imagery. With experience spanning roles from design architect to freelance visual artist, he’s captured over 350 projects and has been featured in 60+ media outlets worldwide. Notably, he was voted Architectural Photographer of the Year at Architizer’s 2023 Vision Awards.

This October, Francisco will be a keynote speaker at the World Visualization Festival (WVF) in Warsaw. The WVF invites architectural visualization professionals to engage in workshops, presentations and networking sessions. With a focus on entrepreneurship, new industry standards and technology integration, the festival provides a platform for professionals to learn from leaders in the field and connect with peers from renowned firms like Henning Larsen, MVRDV and DBOX.

We sat down with Francisco to discuss his journey from architecture to photography, his role at Cobe and the insights he plans to share at the WVF this October.

Learn More About WVF

Kalina Prelikj: You’re a trained architect and have been working in the industry for some time. What led you to shift your focus from designing buildings to capturing them through photography and visualization?

Francisco Tirado: In 2013 I graduated as a licensed architect and like many of us “sons of the financial crisis,” I had to find my way in the industry to make a living. I worked as a traditional architect for two years before graduating, combining it with working as an English teacher, computer repair specialist, operator in a call center and construction builder. Basically, I took any available job that I could do. Those from countries hit hardest by the crises will completely understand this, as millions of people went through the same. The need to reinvent yourself to survive was essential at the time.

The thing is, during those years, I didn’t even realize I could make a living creating images. I did, of course, do all the visuals for my own projects and helped other colleagues and everyone loved it, but at the time, I didn’t think much of it. Don’t get me wrong — when I look back at those images now, I think, “Oh boy, this looks horrible,” but to be honest, I feel that way almost every time I look at my old work.

While searching for jobs as an architect, someone saw my portfolio and visuals and offered me a role as an external image supplier instead of a traditional architect, focusing solely on creating images for them. That’s when I discovered that some companies and professionals did this full-time. I remember visiting studio websites, watching tutorials and having a revelation — something I was doing naturally and for fun could actually pay my bills!

I had no idea about freelancing, costs or how much to charge. By the way, this is another reason to attend the WVF: if you’re a freelancer or want to become one, you can learn how to do so properly from professionals. I can’t stress enough how important this is early in your career. But then I did my first visual project for an architecture studio. It was a competition and they won it. This created a snowball effect: more and more projects kept coming and I haven’t stopped doing architectural imagery ever since.

What happened after that day has been a crazy journey that took me around four countries, collaborating and doing all sorts of visual work for more than 300 projects. Finding myself on a plane doing aerial professional photography in Denmark was something I never saw coming when I was an architecture student. And to think that it all started in a little room, in a village in the south of Spain, surrounded by orange trees and very hot summers, while working on a laptop with severe overheating problems.

The Redmolen / Tip of Nordø by Cobe + Vilhelm Lauritzen Architects, Nordhavnen, Copenhagen, Denmark | Photo by Francisco Tirado

KP: You mentioned the importance of learning the ropes of freelancing early in your career and how the WVF is a great place to learn more about that. As a featured speaker this year, could you tell us more about what you’ll be covering in your talk and how it could benefit attendees?

FT: For architects, visualization artists and photographers (or actually, for anyone who can frame and sell their work), going freelance either full-time or part-time is likely going to happen at one point in their career.

When you know how to build something that can be sold easily, at some point you’ll get the question: “Hey, I need this. How much would you charge me for it?” You need to be ready for that question because it will come. How you answer it can make all the difference. It could lead to more work and more commissions or it could lead to failure, burnout and earning very little.

Nowadays, there is a lot of information out there, but events like the WVF will help you find people who have already done it and already failed before you, meaning that you can learn from their mistakes. Don’t get me wrong, you will make mistakes, a lot of them, but you will gain more knowledge on how to deal with them. For newcomers to the business or for those who never freelanced before, it is priceless to listen to the experience of professionals who’ve already done it.

A model of Espoo House by Cobe, Espoo, Finland | Photo by Francisco Tirado

I was a freelancer for around three years before joining Cobe. Maybe I was lucky since I had good friends and connections. I made so many mistakes that I can’t even remember, but in the end, I survived.

So for my WVF talk, I’m going to share how I did it and why I made certain choices, the mistakes I made and the lessons I had to learn along the way, from a humble and honest perspective. I will not be talking about the artistic side, 3D skills or tricks for creating more realistic images, but rather the practical aspects like making annual calculations, budgeting and developing the right mindset.

Being on my most honest humble side, I am going to talk about how I did it and why I did it, what mistakes I made and what I had to learn at the time. Things that are not art, not the 3D qualities, not tricks to do more realistic images, but other things such as making annual calculations, budgeting and mindset.

And this brings me to something else I want to mention.

I believe it’s important to try working on your own, even if just for a little while. Don’t take it too seriously or see it as a final destination, but give it a shot. Doing so will help you understand the value of your work, how to deal with clients, what the market looks like, how to manage your time and how to build your resources. This experience will prepare you incredibly well for the industry because even if you decide to join a company later, you’ll be in a much stronger position than if you were just entering with artistic skills alone.

That’s what I did and that’s how and why I joined Cobe later in 2018. So for me, it was a great learning experience that led me to a place I thought I could never reach.

Portable Solar Distiller by Henry Glogau, Chile | Photo by Francisco Tirado

KP: Not many firms have in-house photographers. What does your role as the in-house Photography Lead at Cobe involve and do you still engage in any design work? What are the advantages of working so closely with the design team?

FT: Cobe has something you can feel the moment you walk into the office — an atmosphere that’s hard to put into words. I’m sure many architecture offices might have it too, but at Cobe, it’s like the space itself has an aura. You see it in the people, the working models, the drawings, the pin-ups — it’s something you can almost touch and breathe in. It just influences your vision and taste of the design, it shapes you. I am not making this up. Spend a couple of days there and you’ll understand what I’m talking about. It’s like learning a new language — Cobe’s aesthetic language.

While I was working there, focusing on architectural visualization, I specialized in creating images in any form that spoke Cobe’s language. Combining this with photography and eventually leaning more toward it, felt like a natural progression for both me and Cobe. I don’t see myself as just an architectural visualization specialist, illustrator or photographer — I consider myself a specialist in architectural imagery, of any kind, that aligns with our aesthetic. That’s what I’ve been doing for a long time and it’s what I continue to do.

When I participate in doing images for ongoing projects, there is a big advantage to working closely with the design team. Having collaborated with them hundreds of times, you kind of know what they need, so then you just go and do it. And it clicks. When you work for a long time replicating a certain line of work it becomes almost an instinct. It is all about how the project feels right away. Do you get that immediate “oh yes” feeling when you first see the image? If you do, it means we’ve done our work right.

Is this part of the design process? I absolutely think so. Those images help modify and shape the project, fine-tuning it to look its best. So, yes, I do believe that, in many cases, I’m actively participating in the design process.

The Opera Park by Cobe, Copenhagen, Denmark | Photo by Francisco Tirado | Jury Winner, 12th Annual A+Awards, Public Parks & Green Spaces

KP: How does your background in architecture influence your approach to photography? Conversely, has your experience in photography and visualization influenced your understanding of design?

FT: Since I started studying architecture, I have no idea how many photos of buildings I’ve seen — just like any other architect. And if seeing images in books and magazines wasn’t enough, now with social media we have them in our hands and we’re bombarded with them all the time. In the beginning, I was using all that visual memory purely for design. But all the time I spent looking at architectural images for design references ended up working the other way around too.

When I was working as an architect 15 years ago, I started a habit that I still maintain today. I created a folder of my favorite architectural photos and I keep it running as a random background on all my computers. I store the folder in the cloud, so it’s always updated on every device I use.

Every time I sit at my desk or open my laptop at home, a different building photo appears as my background. I take a couple of minutes to appreciate it, thinking, “Wow, look at those lines,” and then I get back to work. Occasionally, I go back to the folder, review all the images, delete the ones I don’t like anymore and add new ones that match my current taste. When you do this hundreds of times, you end up with an amazingly curated folder of inspirational images. I originally started it to focus on design, but now I keep it going to focus on the aesthetics of buildings. The process remains the same.

I believe when you specialize in architectural photography or architectural visualization, a funny process happens. So, yes, I would say your understanding of the design changes.

When I was working as an architect, I naturally paid a lot more attention to details and the small things — after all, the building has to function properly, right? But when you’re creating images, unless you’re focusing on details specifically, you tend to concentrate more on the big picture. It’s like looking at a building with blurry eyes; you filter out the small noise and focus only on the key elements. I got so used to viewing buildings this way that now, sometimes, it’s hard for me to go back and look into the details that amaze other designers.

The Opera Park by Cobe, Copenhagen, Denmark | Photo by Francisco Tirado | Jury Winner, 12th Annual A+Awards, Public Parks & Green Spaces

KP: Do you have a signature style or approach that people tend to recognize in your work?

FT: I don’t know. I do not have an A B C “filter” that makes my work look a certain way. I actually tried to do it, because I thought that if I wanted to industrialize my process so I could produce more I’ll need to have a standard creative process. But this didn’t work for me.

Instead, I created a personal framework — a solid bracket within which I can experiment and find what works best for each project. I apply all my energy to it, but only within that bracket. You might wonder, what does that framework look like? For example, the way I organize my time and files is very structured. I know exactly how many hours I’ll spend on a particular task, the order in which I’ll work, the references I’ll use and when I finish, I archive everything properly. That way, if I need to revisit a project later, I can get back to work in just a couple of minutes.

This might look like nothing to do with style but it does to me, because it organizes my working day, so I can spend more time at home with my loved ones with whom I recharge my batteries. I won’t be able to produce any images if I don’t spend time with them.

So when I do images, I do know what images I like and how they should look so that they fit Cobe’s universe. But this is a work in progress and the looks of my images change over time while I learn new techniques and get software or hardware improvements.

The Redmolen / Tip of Nordø by Cobe + Vilhelm Lauritzen Architects, Nordhavnen, Copenhagen, Denmark | Photo by Francisco Tirado

KP: Could you share any specific techniques or tools, whether it’s software, camera equipment or post-production processes, that are crucial to your work and to achieving the desired aesthetic?

FT: I do not use a tripod 99% of the time, because it slows down my work a lot. Of course, I use it if it is strictly needed — for instance, when shooting long exposure images or shooting at night or tricky interiors. But the rest of the time I go handheld.

My images aren’t perfect — the sharpness isn’t always 100%, but that’s okay. Most people view images on their phones these days, so ultra-sharpness doesn’t make a big difference.

However, you can’t achieve this with just any camera. My camera has excellent in-body stabilization and I use lenses with built-in stabilization as well. With these two levels of stabilization, combined with holding super still while shooting, it does the trick.

When I visit a location, I normally work from early morning to the evening on the project, following the sun, resulting in me walking a lot. It is like trekking — I carry a couple of sandwiches and water with me (it is very important to be hydrated). My camera bag can get pretty heavy, so what I do is take long walks on random days during my free time, carrying all my gear. This helps my back, legs and shoulders get used to the weight, preparing me for any shoot. It’s like doing a workout in preparation for shooting days.

Regarding post-production, I do not use tilt-shift lenses, I do use very wide-angle lenses on a very high-resolution sensor that allows me to straighten, cut and zoom on the images as much as I want, all done digitally in post-production.

AAU Innovate by Cobe, Aalborg, Denmark | Photo by Francisco Tirado

KP: Back to the World Visualization Festival again! Can you comment on the importance of gathering visualizers to foster discussion at this particular moment, especially in the context of the industry’s rapid evolution and the rise of new technologies like AI in recent years?

FT: I am very happy to be a speaker at the WVF. It was a big surprise for me and I am ecstatic to be able to meet lots of people whose work I admire. Now, I have the chance to see them all in person, all at once, in one place.

I want to add, I do not mean to try to convince anybody to come to the WVF, but you should do it if you work in the industry. The reason is simple: the amount of industry knowledge that’s going to be packed into those three days is equivalent to months and months of individual research — something that, in my opinion, is a waste of time.

When I was starting out, I made the mistake of not staying connected with the community, which led to a lot of misunderstandings about techniques and the business side of things. To be honest, it also cost me a lot of money because I just didn’t know any better.

For everyone who is just starting out and even for those who are more advanced, this event could be a big boost in how they approach their work. It’s also crucial for staying up to date with new technologies like AI and understanding how other professionals — with lots of experience and, importantly, high-profile clients —are already incorporating these tools into their workflows. And I want to emphasize this — important clients — because, at the end of the day, we all do  this to make a living.

Coming to the WVF and learning from the best in the industry is worth every second spent there.

If you want to hear more about Francisco’s experiences and insights and learn from other leading experts in the field, be sure to catch his full presentation at the World Visualization Festival in Warsaw this October.

The post Francisco Tirado: An Architect Who Found His Calling Behind the Camera appeared first on Journal.

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The Galicia Project: David Chipperfield and Fundación RIA

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It was a late summer evening on top of a roof terrace in downtown Athens, where a group of architects, artists and political scientists were discussing David Chipperfield’s new extension proposal for the National Archeological Museum, selected by the municipality a year prior, in 2023. Since then, the renowned architect has become a well-known name in the Athenian community, with his other projects, such as the Neues Museum in Berlin and the Procuratie Vecchie restoration in Venice, becoming examples of his architectural sensitivity towards cultural landmarks. Through the conversation, one thing was clear:

“We need a starchitect that understands and respects culture.”

Even though the term “starchitect” is problematic, the reasoning behind this particular phrase is quite strategic. David Chipperfield is a figure who convinces the never-changing, mistrusting Greeks that a piece of their cultural heritage lies in good hands, ready to undergo a makeover that will not only impact the museum itself but, more importantly, the immediate urban fabric that has been gradually deteriorating since the 2008 financial crisis.

Left: Fac?ade of Casa RIA, the new RIA headquarters in the historical centre of Santiago de Compostela | Right: A Cantina is the gastronomic space that supports the public programme of Casa RIA | Photos by Adrián Capelo?

The Casa RIA exhibition space hosts temporary exhibitions aligned with RIA’s research areas | Photo by Adrián Capelo?

It is not by chance that associating Chipperfield’s name with the particular project exuded a sense of confidence and relief. His optimistic approach is that architects need to become reengaged with society, environment and culture, tackling larger, more strategic and impactful projects and stop being mere ‘architectural decorators;’ a philosophy that led to his own research project situated in Galicia, Spain.

David Chipperfield’s relationship with the place started in 1990, when he built a holiday house. After almost two decades, the president of Galicia, Alberto Núñez Feijóo asked him whether he could help improve the region’s planning, stating that “the nature is spectacular and the towns are amazing in their essence, but they mess them up. They are modernized in the most horrible, brutal manner.”

As a result, the architect set up a research group named Fundación RIA in Santiago de Compostela, which acts as a non-profit independent agency that studies and develops territorial strategies for Galicia to preserve its natural and cultural heritage. The rest of the article presents two research projects and two reflection pieces written by David Chipperfield himself, discussing the area’s abundance in opportunity, where its natural landscape, culture and traditions hold the key to rediscovering and reappropriating the Galician local identity.

Urban sprawl in the surroundings of Vigo, the most populated city of Galicia | Photo by Adrián Capelo?

Revitalization plan for the model village of Muimenta, in collaboration with the regional government | Courtesy of Fundación RIA

1. Model villages

One initiative is the regeneration plans for the pilot model villages of muimenta and trascastro, which become architectural instruments that deal with the degradation of the productive, rural force of Galicia, due to population losses and the abandonment of land. Consequently, these model villages rehabilitate the buildings and public spaces, with the aim to attract new residences and reactivate the region’s productive force.

Layout for the future headquarters of the Marine Research Institute (CSIC) in Vigo | Courtesy of Fundación RIA

2. CISC marine research institute

This project develops the masterplan for the relocation of the Spanish institution of marine research center (IMM) to the former ETEA in Vigo, a marine research pole. The new location allows the IMM to grow to an impressive number of 350 employees as well as come in contact with other educational institutions such as the University of Vigo. This urban gesture essentially transforms the wider area into an international reference for marine research, promoting scientific progress and drawing up a planning proposal that integrates new buildings within the existing context, while responding at the same time to the programmatic needs of the IMM.

In addition to hosting multidisciplinary and participative processes, ‘Towards a territorial agenda for Galicia,” RIA hosts student workshops to engage young minds in hands-in learning and problem-solving | Photo by Adrián Capelo?

The local newspaper La Voz de Galicia (the voice of Galicia) has been a crucial tool throughout the community’s redevelopment. Over time, David Chipperfield reflected upon a series of opinion articles presented through the paper that discuss the many issues Galicia — and by extent Fundación RIA — have to resolve.

3. Vamos a la calle

A fundamental challenge that had to be addressed was controlling the irregular planning and prioritization of cars and convenience over local heritage. Throughout the years streets were converted from social spaces into traffic highways, eradicating any sense of communal, public space. David Chipperfield writes ‘Over the last 40 years, Galician towns and cities have suffered a loss of identity as a result of poorly controlled development and the indiscriminate demolition of old buildings.’ He places great emphasis on the ‘public floor’, i.e. pavements and surfaces that create a sense of consideration and importance to the people that experience them.

Furthermore, Chipperfield praises the project of Porto do Son, completed in 2022 by CREUSeCARRASCO Arquitectos and rvr arquitectos, which not only regains the port’s public space but manages to do so through a series of collaborating efforts and the dissolution of frequently clashing interests amongst its residents and political parties.

The foundation addresses sustainable land management, and Barbanza Ecosocial Lab is an action research project promoting sustainable local initiatives | Photo by Adrián Capelo?

4. Galicia, land of opportunity

Finally, the architect reflects upon an opinion article that discusses concerns on global warming and how it greatly affects communities as well as the overall quality of life. Through his writing, he characterizes Galicia as a region that is more prepared to deal with climate change than other Spanish areas. Nature is embedded in the area’s way of life, through their traditional farming systems, and extended natural resource. It holds the infrastructure necessary, in which humans can work together with nature and explore ways of production and distribution that has no environmental impact.

David Chipperfield in Galicia, with views of the Ría de Arousa | Photo by Adrián Capelo?

Observing both the founder’s as well as the foundation’s research and actions, one notices that their ideas are intertwined. In both their work (written and visual) architecture — in its traditional sense — is given a backseat. Conversations on form, geometry, materials and spatial organization are replaced (in the case of the Galicia project) with discussions on management, marine biology and relocation of institutions and governing bodies, while inter-disciplinary studies, strategic decisions and a deep understanding of culture and local community are also the bread and butter in Chipperfield’s overall work.

Returning to the small community of Exarcheia in downtown Athens, where the National History Museum is located, it is not surprising that David Chipperfield has been such a “reassuring” choice for the wider architectural community: he is an architect who looks beyond aesthetics and is perfectly in tune with the context in which he designs. The Galicia project is an experiment not just for Chipperfield but for the global architectural community; fortunately, it seems to be succeeding and perhaps will pave the way for other architects to follow in its footsteps.

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Top image: View of the Ría de Arousa, Galicia | Photo by Adrián Capelo?

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