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.

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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.

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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.

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Gaetano Pesce

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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.

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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

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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.

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Bryan Cantley

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“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.

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Perry Kulper

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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.

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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.

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.

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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.

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.

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.

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.

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.

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.

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.

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.

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.

When it comes to travel, food often takes center stage. We see countless travel blogs and guides centered around culinary exploration — sampling street food in Bangkok, indulging in croissants in Paris, or seeking out the best gelato in Rome. While there is no denying the appeal of experiencing a region’s gastronomy, I would argue that architecture offers an equally, if not more, compelling reason to travel. Architecture is the silent storyteller of a place, reflecting its culture, history, and aspirations in a way that food alone cannot. Let’s take a moment to consider why we should travel for architecture, not just for food.

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Architecture: The Universal Language of Travel

One of the most fascinating aspects of architecture is its ability to communicate without the need for translation. Where food might require an understanding of local ingredients, methods, and sometimes even cultural customs, architecture transcends these boundaries. A building or structure can evoke emotion, inspire awe, and reveal the ingenuity of its creators without requiring prior knowledge of its origin.

Take for example the inspiring Gothic cathedrals of Europe or the sleek, modernist lines of Frank Gehry’s designs. These structures are instantly recognizable and leave an impression that speaks to people from all walks of life. Architecture, much like art, is a universal language that invites exploration and interpretation regardless of where you’re from or what you know about a particular culture. You don’t need to be able to grasp the intricacies of construction to appreciate the sheer grandeur of iconic buildings or to stand in awe of their innovative designs. In this way, architecture offers a truly universal experience that crosses borders, much like a shared language.

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Architecture: A Feast for the Eyes and Soul

While food offers an ephemeral pleasure, architecture provides a lasting experience one that engages the senses over time. A meal can be delicious, even memorable, but it is fleeting. Architecture, on the other hand, remains as a lasting imprint of a city’s character and history, withstanding the test of time.

Consider the Colosseum in Rome. As a structure that has withstood nearly two millennia, its impact is far more enduring than even the most revered Italian cuisine (in my opinion). The experience of standing before this ancient amphitheater, imagining the history that unfolded within its walls, offers an emotional depth that far surpasses any plate of pasta. Architecture allows us to connect not just with a place in the present, but with its past, its evolution over centuries, and its role in shaping the lives of those who came before us. It is a way of engaging with history in three dimensions.

The Guggenheim Museum in Bilbao, for example, stands as a testament to how architecture can reshape entire cities. Frank Gehry’s design is not only an extraordinary piece of architecture but also a transformative project that revitalized a city. The structure itself is more than a venue for art exhibitions; it is an artwork that elevates the urban experience. Visitors from around the world are drawn to witness how it embodies the intersection of art, architecture and urban renewal. The success of the Guggenheim Museum in Bilbao has stimulated local economy and inspired other cities to invest in architectural projects as catalysts for urban renewal and economic growth. This case underlines the unique power of architecture to not only serve functional or aesthetic purposes but also to foster socio-economic development and cultural renaissance in urban settings. The experience of walking around and within such a structure feeds not just the eyes but also the soul. This lasting impact is something that architecture uniquely provides.

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Architectural Destinations Over Culinary Hotspots

While many travel destinations are celebrated for their food scenes, I would argue that their architecture is the true highlight. Whereas meals are transient, the experience of architecture is lasting. The spaces and buildings we explore continue to resonate with us long after we return home. They provide a place for us to gather, explore and experience either in groups or alone, and each person individually perceives and interprets these buildings and spaces uniquely. The grandeur of a city’s skyline or the quiet dignity of a well-designed public park influences our perceptions of a place and our memories of it. These architectural experiences shape our narratives of travel and become landmarks in our personal and shared histories.

Take Paris, for instance. While food enthusiasts may seek out the best patisseries, it is the Eiffel Tower, the Louvre, and the intricate beauty of Haussmannian buildings that truly define the city. Paris is remembered as much for its architectural splendor as for its culinary delights. Similarly, consider Chicago. Famous for its deep-dish pizza, yes, but even more so for the architecture that makes it unique. From the soaring Willis Tower to the elegant lines of Mies van der Rohe’s modernist buildings and the playful reflective curves of The Bean, Chicago’s architectural heritage defines the city far more profoundly than its local dishes. Architecture becomes the enduring hallmark of these cities — the signature feature that remains long after the memory of a meal has faded.

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Architecture is Global, Food is Local

Another compelling argument in favor of architecture as the true focus of travel is its global nature. While culinary traditions are often limited to specific regions — such as authentic Neapolitan pizza in Italy or traditional sushi in Japan — architecture has a far-reaching, global presence. Roman aqueducts, for instance, can be found throughout Europe and the Mediterranean, a testament to the widespread influence of Roman engineering.

This brings me to another key point: traveling for architecture offers significant educational benefits. It exposes us to different architectural movements, design philosophies and engineering feats. This exposure is not just academic; it informs our understanding of space and functionality, influencing everything from our aesthetic preferences to our ideas about living environments. For those interested in design, urban planning or art, the educational benefits of architectural travel are immense. Architecture allows travelers to witness how ideas, styles and innovations transcend borders. It reveals the interconnections between cultures and provides a broader understanding of global history, politics and economics, much more so than food, which remains tightly tied to its local roots.

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Architecture Offers Adventure and Engagement

While culinary travel may lead us to vibrant markets or celebrated restaurants, it is often a more passive experience. Architecture, on the other hand, offers adventure and engagement. Choosing architecture as the focus of our travels encourages us to look up and beyond the immediate gratifications of sensory experiences. It invites us to engage with our surroundings more thoughtfully and to appreciate the interplay of light, space, and material that only architecture can offer. As travelers, if we shift our gaze from the dining tables to the cityscapes, we might discover not just new sights but new ways of seeing.

Take the winding streets of Venice, where every turn offers a new discovery of Gothic, Renaissance and Baroque buildings. Walking through Venice is an immersive experience, where architecture becomes an adventure in itself, pulling you deeper into the city’s history and culture. Or consider Machu Picchu, where the architecture is not just something to admire but something to physically engage with — climbing the terraces, moving through the ruins, and immersing yourself in the landscape. In my opinion, architecture is often overlooked and taken for granted because it’s a constant presence in our lives. But I strongly believe that it encourages travelers to look deeper, to explore more fully, and to engage with their surroundings in a way that food simply cannot.

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A Lasting Impression

While the delights of global cuisine are undeniable, the benefits of traveling for architecture provide a more profound, enduring and enriching experience. It is an invitation to engage with the world on a deeper level, offering insights not just into how people live, but how they aspire to live. For those seeking a truly transformative travel experience, architecture offers a path that is as intellectually rewarding as it is visually spectacular.

While food offers a sensory pleasure, it is temporary. Architecture, however, leaves a lasting impression. It defines cities, tells the story of cultures, and offers us a glimpse into the minds and hands that shaped the world. The next time you plan a trip, rather than searching for the best restaurants or street food stalls, consider focusing on the architecture.. or at least both. It will leave you with a deeper understanding of the place, its people, and its history. Architecture, after all, is the true feast — one that nourishes the soul and continues to inspire long after the journey has ended.

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

The post “We Should Travel for Architecture, Not Food. Change My Mind.” appeared first on Journal.

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

Unity — it’s something many of us feel we need more of right now. Each day, the world seems to become more connected yet ever more fragmented. From the beginning, architecture has been used as a way to express identity and cultural values, with many genres over the centuries being embedded with symbolism and societal significance. Today, amongst architects and enthusiasts alike, there is a growing appreciation for architectural elements that honor heritage and are rooted in authenticity. Such features allow architects to bridge the divide between local and global communities, helping unify us through a deeper understanding of other societies and building appreciation of our shared histories.

The mashrabiya, a hallmark of Islamic architecture, is one such element — a time-honored feature that speaks to the ingenuity of our ancestors, is full of symbolism, and continues to have a functionality that is as relevant and useful in the modern world as it was in ancient times.

The origins of mashrabiya might just be as varied as the patterns they are made of. Emerging from the Islamic world’s golden age (somewhere between the 8th and 14th centuries), this innovative architectural element has traveled across time and continents. Having left its mark on buildings from Marrakesh to Baghdad, from the palatial homes of Ottoman Istanbul to the wind-swept streets of Al-Andalus. It is since then, in these varied locations, that the mashrabiya has been adopted and adapted by many different regions and cultures.

The term “mashrabiya” is derived from the Arabic word “mashrafa,” which means a place of drinking or refreshment. Initially, it referred to an area where water jars were placed to cool, benefiting from the breeze that would pass through the detailed latticework. Over time, mashrabiya evolved into the name for an intricate wooden screen that adorned the windows and balconies of not only this space but all windows in the home.

It’s easy to be captivated by the intricate wooden lattices of mashrabiyas. They typically have delicate patterns that cast dappled light onto floors and walls. Many would think they are merely decorative elements, embellishments to simple stone buildings. However, these lattices are an ingenious blend of form and function and were some of the earliest methods for controlling solar gain in regions with high solar irradiance.

Mashrabiyas shield interiors from the harsh glare of the sun, channeling cooling breezes into rooms and offering privacy without severing the connection to the world outside. The latticework allows for diffused light to enter a room, reducing glare and minimizing the harshness of direct sunlight. This diffusion of light protects interiors from overheating and minimizes the need for artificial lighting, ultimately conserving energy. Studies in passive cooling techniques have demonstrated that these kinds of traditional methods can reduce indoor temperatures by as much as 50 to 60 degrees Fahrenheit (10 to 15 degrees Celsius), creating more comfortable living conditions without reliance on modern HVAC systems.

Equally, mashrabiyas are designed to improve and facilitate natural ventilation. The small apertures in the lattice create a stack effect, where cooler air from the exterior is drawn in while warmer air is expelled through other openings, which creates a natural cooling breeze within the space without the need for excessive energy use.In recent years, with many towns and cities facing an increase in overall temperature and a desire to adopt energy-conscious architectural systems, mashrabiyas are experiencing a revival. As architects and designers search for ways to infuse contemporary buildings with local character and sustainable design principles, the centuries-old mashrabiya is regarded as an obvious solution. It is being reinterpreted and reimagined, not only in the Middle East but in cities around the globe.

While installing a mashrabiya is a fantastic technical solution for climate issues, there is an additional benefit to adopting such historically and culturally significant design styles. These styles have the potential to bridge divides — not just between interior and exterior spaces but also between cultures, eras and even ideologies.

The patterns of the mashrabiya are not arbitrary. They often follow complex geometric principles that are found in various forms of Islamic art. In Islamic culture, geometric patterns are used to represent the infinite nature of creation and the togetherness of the cosmos. The repetition of geometric shapes symbolizes the infinite nature of Allah, a theme that is incredibly meaningful within Islamic spiritual thought. With that in mind, this same symbolism is a useful tool for architects who wish to convey unity with their designs.

Additionally, the mashrabiya is an excellent example of commonly explored architectural philosophy, the reconciliation of opposites, or juxtapositions. Mashrabiya can balance light and shade, control visibility and privacy, and today blend tradition and innovation. This duality is a direct reflection of the rich culture that defines Islamic architecture and one that resonates powerfully across the wider architecture community.

In multicultural urban centers, mashrabiya-inspired designs can be used as a visual and conceptual link for unity. They can honor local heritage while implementing highly modern architectural techniques, creating buildings that are both a celebration of culture and forward-thinking architecture. Whether in the context of a modern skyscraper or a restored historic building, the mashrabiya is a feature that highlights how architecture has the potential to be more than just a building.

In the end, the mashrabiya, an amazing, functional architectural element, can also be seen as an opportunity to navigate the complexities of the modern world. It shows us that true innovation often lies in the reimagining of tradition and that in finding new ways to balance the needs of the individual with those of the community, the local with the global, we might look to symbolism for answers. As we continue to search for solutions to the challenges of our time, the mashrabiya offers a model of how architecture can contribute to a more harmonious, interconnected world. And in its delicate latticework, we might just find the key to unlocking a future that is as cohesive as it is diverse.

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The post Cultural Lattices: The Architectural Evolution of the Modern Mashrabiya appeared first on Journal.