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“A Field Guide to American Houses” at 40: Why This Classic Book Deserves a Place on Your Coffee Table

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After pitching this article to Architizer’s managing editor, I spent a long time wondering how to approach it — what the “angle” should be.

Finding reasons to praise A Field Guide to American Houses was of course not the problem. I have long known that Virginia Savage McElster’s book on vernacular American domestic architecture is as essential as air to anyone who loves historic homes. This is the book that taught me how to distinguish Georgian houses from Federal ones, and that Victorian is not a style of house but rather a period associated with a number of revival movements. (When people talk about “Victorian houses,” they are usually referring to the Queen Anne style).  The pictorial glossary is still useful to me when I need to look up an architectural term (most recently, the difference between mullions and muntins), with a preference for a source that is more authoritative than what Google can cook up.

And yet, as easy as it would be to list the uses of the Field Guide, that isn’t quite enough to justify an article. It also doesn’t seem adequate to the book, whose most important virtue is not usefulness. The book is great because it is captivating.

The Shiels House was built in 1906 and is an unusual hybrid of Queen Anne Victorian and Prairie School with some Craftsman details. It is located in Dallas, Texas, the beloved home city of Virginia Savage McAlester. Renelibrary, CC BY-SA 4.0, via Wikimedia Commons

The secret of this book’s long standing success, I think, is that it inspires readers to take an interest in their own communities. Readers learn to appreciate that every block, every house, every window in their neighborhood has a story to tell. Even more than this, these elements are connected to a history, a language, that they can learn to decipher for themselves. The Field Guide teaches you how to read your neighborhood, and how to see that even new construction is tied to history, as all buildings exist in dialogue with what came before. Famously, its publication in 1984 led to the founding of preservation societies across the country, as readers gained a newfound appreciation for the built environment of their communities.

The layout of the Field Guide is very straightforward. This is unapologetically a reference guide that seeks to inform rather than editorialize. And yet, the lovingly assembled encyclopedic array of American domestic architectural types ranging from the Native American wigwam to the Split Level cannot help but inspire one to go out and start categorizing the houses in their neighborhood. I compare the experience of reading this book to learning about birdwatching. For birders who learn how to become sensitive to birdsong, the world outside becomes suffused with meaning. Suddenly, there is more in the environment that one can choose to attend to.

The greatest virtue of this book might be its accessibility. Each chapter begins with identifying details and photographic examples of the style in question. In the last section of each chapter, titled simply “Comments,” McElster provides some insight into where the featured style came from and how it fits into the history of architecture. While McElster’s tone is always neutral, one can pick up on a point of view. She has a special affection for the more ornate styles, especially Queen Anne houses. “Queen Anne Houses are among the most complex in architectural history,” she writes, “ornamenting every surface in sight. Even door hinges were embossed.” Indeed, there is nothing quite like a well preserved Queen Anne House, and McElster’s Field Guide did much to encourage interest in the preservation of these American masterpieces.

Ashishboora15, CC BY-SA 4.0, via Wikimedia Commons

Virginia Savage McElster passed away in 2020. The most recent update of the Field Guide was published in 2010 and included 600 new photos and line drawings of house types from 1940 to 2010. These chapters are just as captivating as those that preceded it, proving that architectural history keeps moving — but not in a linear direction. The most recent house styles she identifies, New Traditional and American Vernacular, are eclectic styles, defined by the way they recombine elements from the past.

There is a lesson in this, I think. By looking at architecture form a pedestrian, street-level points of view, emphasizing the types of homes people are likely to live in, McElster breaks away from some of the thematic narratives that dominate architectural discourse. The homes we live in aren’t demonstrations of ideas, they are environments cobbled together from multiple influences in order to serve a human function. Similarly, the Field Guide isn’t a treatise like so many other famous books on architecture — it’s a tour. There is no book that is more essential to an architect’s private library.

Cover Image: American Craftsman-style home at 1723 NE Naomi Place in the Ravenna-Cowen North Historic District, Seattle, Washington. Guywelch2000, CC BY 4.0, via Wikimedia Commons

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The post “A Field Guide to American Houses” at 40: Why This Classic Book Deserves a Place on Your Coffee Table appeared first on Journal.

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The Nubian Vault: Applying Old Construction Techniques to Modern Building Problems

Have you completed a project that captures the essence of its locale while addressing global concerns? If so, Architizer's A+Awards is your platform. Enter now for a chance to have your work featured in print and online.

As far as architectural wonders go, the Pyramids, with their formidable forms, subterranean secrets and regal roots, have a tendency to steal the limelight when it comes to the architectural history of the African continent. Yet, if you head north along the ancient banks of the winding Nile to Nubia, otherwise known as Northern Sudan and Southern Egypt, you will find a legacy that, despite a distinct lack of pharaohs, is no less impressive.

In this sun-soaked land, with limited access to timber but more mud than you can shake a stick at, the Nubians mastered the art of building with the earth. Using techniques passed down through generations, the ancient people of Nubia crafted gently curving vaults that were so extraordinary and resilient to the sands of time that they have endured for millennia. Today, the style is known as a Nubian Vault (credit where credit is due) and for one reason and another, they are making a bit of a comeback.

Visual representation on y = a cosh(x/a). Diagram provided by author.

The Nubian vault employs what is known as the catenary curve, a term in physics and geometry that originates from the shape of a chain or flexible cord that hangs freely from two points. Defined by the equation y = a cosh(x/a), where ‘a’ determines the curve’s steepness, the catenary curve was calculated by a Swiss mathematician named Johann Bernoulli in the latter part of the 17th century. When inverted, this curve becomes the basis of a Nubian Vault.

As the Nubians discovered many thousands of years ago, this shape works perfectly with mudbricks, which have high compressive but low tensile strength. The catenary curve places the structural forces entirely in compression, which, amazingly, is where mud bricks perform at their best. Mud bricks can withstand weight pushing down on them but are significantly weaker against bending or pulling forces. The unique shape of a Nubian vault ensures that all the forces head downwards, compressing the bricks and actually making them stronger over time.

The pointed shape of a Nubian Vault also helps reduce what is called lateral thrust on the walls. The shape naturally directs the weight downwards to the base, meaning no need for buttressing. Finally, by overlapping or corbeling the bricks— w here each layer of bricks slightly overhangs the one below — the arch does not need centering or formwork. These mathematical and physical principles work together to form a structure that is not only strong and durable but keeps the need for additional resources to a minimum.

Sustainability, though perhaps anachronistic, has always been a key feature of the Nubian vault. By using sun-dried mud bricks to make the vaults, the Nubians relied entirely on materials that were local and easily accessible. This practice was unsurprisingly necessary due to the lack of transport options in 1276 BCE. Rather than relying on imported materials, the Nubians intuitively followed what we now call vernacular architecture. The mud bricks, made from the very soil beneath the builders feet, formed structures that were perfectly suited to their environment. This low-impact, low-energy method minimized any environmental disturbance and resulted in structures that were not just sustainable in material but also in their relationship to the locale. Nubian Vaults required no industrial processes, no transportation networks and no excess — all elements of design that architects today strive to achieve under the banner of sustainable design.

Part of that relationship with the surrounding land came from understanding climactic conditions. Nubia was an arid region as it remains today. Achieving stable temperatures was a priority for the sweltering days and cool evenings. Part of the brilliance of the Nubian vault lies in its natural response to the harsh desert climate. The thick mud-brick walls, with their high thermal mass, absorb the day’s heat and release it slowly at night, creating a steady, comfortable internal temperature. In addition, the catenary curve promotes natural airflow, and with cleverly positioned openings, cross-ventilation ensures a continuous cooling effect. In short, the vault not only withstands the elements — it thrives within them, using the climate to its advantage.

In recent years, architects have been fascinated by the Nubian vault, understanding that it is as useful now as it was in its inception. Organizations like the Nubian Vault Association have been at the forefront of this movement, reintroducing the technique to regions where deforestation, limited access to modern building materials and harsh climates present significant challenges. Countries such as Burkina Faso, Mali and Senegal are leading examples where this ancient construction method is being revived in an attempt to address modern housing needs. The vaults offer an affordable, climate-responsive solution. With their low-energy construction process and impressive thermal performance, they are highly effective in managing the region’s extreme temperature fluctuations.

One of the key drivers behind this uptick in Nubian Vault techniques being used in projects is the socioeconomic benefits. The revival of the Nubian vault technique is part of a broader movement of architectural reclamation that exists across the world. By local masons becoming trained in the technique, employment opportunities are created, and within communities, skills become much more advanced. Helping communities to become self-reliant and able to construct their own homes and public buildings. It is an empowering way for locals to master their heritage craft and break cycles of dependency on foreign aid or expensive, imported materials.

Nubian Vaults are embedded with centuries of accumulated knowledge about local materials and climate, which modern technology often overlooks. In regions facing housing shortages, deforestation, and the impacts of climate change, the Nubian Vault has proven itself as a holistic solution — one that combines the social, environmental and cultural aspects of sustainability.

Have you completed a project that captures the essence of its locale while addressing global concerns? If so, Architizer's A+Awards is your platform. Enter now for a chance to have your work featured in print and online.

The post The Nubian Vault: Applying Old Construction Techniques to Modern Building Problems appeared first on Journal.

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Biomimicry and Parametricism: A Design Legacy Spanning From Antoní Gaudí To Zaha Hadid

The Main Entry Deadline for Architizer's 13th A+Awards is Friday December 6th! This season we're spotlighting the talent of architects who expertly balance global challenges with local needs. Start your entry.

Antoni Gaudí and Zaha Hadid worked in distinct periods of architectural history, each leaving a lasting impact on the field. Despite their different eras, they shared a connection in their embrace of organic, fluid forms, challenging the rigidity and linearity of conventional architecture.

Gaudí, who worked during the late 19th and early 20th centuries, was influenced by nature’s geometries. He shaped his extraordinary buildings using catenary arches, hyperbolic paraboloids and fractal patterns. Constructions, such as La Sagrada Família and Casa Batlló, mimic natural forms, creating harmonious spaces that challenged the architectural norms of his time.

Zaha Hadid, a pioneering architect of the 21st century, also sought to break free from conventional architectural forms. Her use of parametric design tools allowed her to create dynamic structures that echo the fluidity and complexity of nature. Buildings like the Heydar Aliyev Center in Baku, Azerbaijan, demonstrate her ability to use parametric design to push the boundaries of architecture.

Gaudí used nature-inspired geometries and craftsmanship, while Hadid used advanced computational algorithms and AI-driven design methods. Their innovative approaches revolutionized how we understand form and space in architecture while showcasing the creative potential of the tools and techniques available in their respective times, inspiring generations of architects.

Challenging Norms

La Pedrera (also Casa Milà) rooftop

Rooftop of La Pedrera or Casa Milà (1906-1912) by Antoni Gaudí. Barcelona, Catalonia, Spain. | Photo by Photo by Mehmet Turgut Kirkgoz via Pexels.

Antoni Gaudí’s desire to find a different path in architecture was primarily encouraged by his vision of nature as the ultimate foundation for all creation coupled with his deep spirituality; secondly, his departure from conventional architectural norms was influenced by the evolving cultural landscape at the end of the 19th century and early 20th.

Gaudí was considered a prominent figure of Modernisme — the regional Catalan variant of Art Nouveau, not to be mistaken for Modernism, the broader international movement. Also, during Gaudí’s time, architectural trends such as Neoclassicism, Gothic Revival and Arts and Crafts dominated the cultural and aesthetic landscape. The Industrial Revolution also played a significant role, introducing new materials and building methods that influenced architecture. Gaudí, however, rejected the architectural norms that emphasized classical forms, symmetry and proportions. He viewed them as movements that lacked creativity and didn’t reflect the changing character of society and technological progress.

Unable to find inspiration and motivation in these movements, Gaudí turned to nature. His fascination with nature’s forms and structures, which he studied passionately, led him to develop biomimetic designs, which became his distinctive signature. His connection to nature, rejection of traditional styles and strong spiritual beliefs set him on a path that distinguished him from many of his contemporaries.

Similarly, Zaha Hadid rejected the rigid, orthogonal forms that shaped much of the 20th-century architectural landscape. She also challenged modernist functionalism and the “form follows function” principle, arguing that this design approach limited aesthetic freedom. Instead, she embraced dynamic and sinuous forms. Hadid demonstrated that architecture could be expressive and functional with her sculptural designs. Her iconic wavy and sharply angular forms are a beacon of creative freedom, challenging the conventions of how buildings can be seen and used.

Hadid has cited natural landscapes, such as rivers, dunes, and geological formations, as a major influence on her work. However, she also drew from avant-garde art movements like Russian Suprematism and Deconstructivism (as anyone familiar with her conceptual design for the Irish Prime Minister’s residence in Dublin can attest). The Vitra Fire Station exemplifies her interest in these movements, with abstract, irregular and fragmented geometries as key design elements showcasing her departure from conventional architecture.

Architectural Organicism: Gaudí and Hadid’s Biomimetic Design Approaches

La Pedrera

La Pedrera or Casa Milà by Antoni Gaudí. Barcelona, Catalonia, Spain. | Photo by Manuel Torres Garcia via Unsplash.

Gaudí and Hadid explored the creative possibilities of organic shapes and complex geometries through organicism, designing structures that seemingly grew with their environment and evoking organic forms.

Biomimicry or biomimetics, central to Gaudí’s aesthetic and deeply rooted in the natural world, served as both an aesthetic and structural guide. Gaudí saw the curves of plants, the branching of trees, the skeletal structures of animals and shells not just as beautiful but also structurally efficient.

He developed building technology for hyperboloid structures that curve as they extend upwards, mimicking trees or caves, structures that felt as if they had emerged organically from the earth. In the Sagrada Família, Gaudí incorporated tree-like columns and branching structures that reflected natural elements’ structural efficiency and aesthetic qualities. Buildings like Casa Batlló and La Pedrera— also known as Casa Milà — showcase his commitment to natural shapes, where fluid lines and textured surfaces evoke the forms of waves, plants and bones.

Changsha Meixihu International Culture & Arts Centre by Zaha Hadid Architects. Changsha, China. | Photo by Virgile Simon Bertrand via Architizer.

Hadid’s exploration of biomimicry and organicism differed from Gaudí’s in its reliance on AI-driven design tools, but it is precisely this technology that enabled her to refine her works. Even after her untimely death, the fluidity and dynamism of the architecture constructed by the firm she left behind is distinct; they often resemble natural topographies and flowing waters. Their buildings are deeply organic and at the same time, futuristic. For instance, the wavy forms of the Changsha Meixihu International Culture & Arts Centre, where fluidity is a defining design element, exemplify her commitment to nature-inspired architecture.

Organicism was, however, not the only focus of Hadid’s designs, but part of a broader architectural vision. Hadid also embraced parametricism to explore movement and dynamism, taking design to a more abstract level.

Organic Architecture: Gaudí’s Handcrafted Models vs. Hadid’s Digital Tools

Antoni Gaudí's plumb line model for La Sagrada Família

Antoni Gaudí’s plumb line model for La Sagrada Família. | Photo by Stuart Madeley via Flickr.

While Gaudí relied on manual methods and handcrafted models to explore nature’s organic geometries, Hadid used advanced computational tools to achieve similar results. They both created buildings that evoke a sense of movement and natural growth. Their work demonstrates how organicism and biomimicry can be adapted to different times and technologies, each using nature as a guide to optimize both beauty and functionality in architecture.

Gaudí did not rely exclusively on two-dimensional drafting unlike most of his contemporaries. He experimented with clay, rock, rope and paper to build hanging chain models. This technique allowed him to explore catenary curves to determine the most structurally efficient form without the benefit of digital computation. Through these manual processes, Gaudí created extraordinary structures and his pioneering use of materials like reinforced concrete and iron enabled him to produce structurally groundbreaking forms.

Zaha Hadid, by contrast, worked in the digital era, where she leveraged parametric design tools to infuse her architecture with a level of fluidity and dynamism unimaginable in Gaudí’s time. Her sculptural designs relied on optimization algorithms and 3D modeling software. Where Gaudí built physical models to experiment with complex geometries, Hadid used computational software like Rhino and Maya to simulate and iterate on fluid, organic shapes. Her exploration of parametricism, a design approach that allows for the manipulation of multiple variables to optimize form, enabled her to create sharply angular and wave-like structures that dynamically respond to their environment. Hadid’s digital optimization ensured that her forms were visually striking and structurally efficient, much like Gaudí’s gravity-driven catenary curves, but taken to a more abstract and technologically advanced level.

AI-driven Design Tools to Extend Gaudí and Hadid’s Legacies

Artist's illustration using AI.

Artist’s illustration using AI. | Image by Google DeepMind via Pexels.

Gaudí, who worked in the pre-digital age, used innovative approaches to geometry and physics that resonate with modern parametric design principles. His complex constructions were groundbreaking for their time. Hadid, on the other hand, used AI-driven design tools to explore and enhance organic principles. Her buildings, characterized by flowing surfaces, would most likely be impossible to create without parametric technology.

As AI continues to evolve, it has the potential to extend Gaudí and Hadid’s legacies, expanding architecture’s creative horizons. However, this raises questions about its broader impact on architectural practice: Will AI democratize design, breaking down barriers or will it reinforce disparities in the field? These disparities could arise from factors such as automation and job displacement, or the need for specialized training and tools that some firms may be unable to afford.

AI’s integration into architecture presents a unique opportunity to reflect on these challenges as we explore how the principles championed by Gaudí and Hadid can inspire future generations of architects.

The Main Entry Deadline for Architizer's 13th A+Awards is Friday December 6th! This season we're spotlighting the talent of architects who expertly balance global challenges with local needs. Start your entry.

Top image: Rooftop architecture by Antoni Gaudi at the famous La Pedrera (Casa Mila) in Barcelona, Spain via PickPik

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From Berlin to Brooklyn: A Tale of Two Adaptive Reuse Transformations

With a diverse jury of global experts and a global voting public, Architizer's A+Awards champions firms around the world. Get your work in front of the industry's best by starting your submission today. 

When you hear the phrase adaptive reuse, what comes to mind? Perhaps it’s the familiar image of a warehouse-turned-loft or an old factory-turned-art gallery — textbook cases of repurposing buildings where the structure remains largely intact. But adaptive reuse isn’t always so straightforward. It exists on a spectrum, with projects ranging from practical updates that subtly extend a building’s use to radical transformations that change its purpose entirely.

At its core, adaptive reuse is about more than just preserving what exists — it’s about reimagining what a space can become.

This idea was the focus of two talks at Future Fest 2024. Whereas MVRDV’s Atelier Gardens in Berlin is a playful redesign that turns an old campus into a lively community space, PAU’s The Refinery in Brooklyn is a bold project that preserves the industrial heritage of the Domino Sugar complex while taking an unexpected and radical approach to its transformation.

Inspired by the two talks, this article explores how these two projects take a different approach to adaptive reuse — one using lively updates to refresh a space, the other taking a radical path to reimagine a historic building from within — literally. Readers will also find opportunities to access the full recordings of the two Future Fest talks, 100% free.

MVRDV’s Take: A Creative Statement with a Purpose

“It always feels good to be recognized for something you’ve worked on for so long,” reflected Klaas Hofman, senior associate at MVRDV, during his talk at Future Fest, which focused on an A+Award-winning adaptive reuse project in Berlin. Hofman explained that although many of the firm’s projects gain global recognition, it’s usually the ones considered more ‘iconic.’

“And when we worked on this project, not many people — even in the office — knew about it. It’s a very sympathetic project, working with very small interventions. There are a lot of hidden qualities here that don’t scream out loud that this is award-winning architecture.”

Haus 1 – Atelier Gardens by MVRDV, Berlin, Germany

HAUS 1 is part of the Atelier Gardens project, transforming the BUFA film studios at Tempelhof Airport into a campus for activists, creatives and organizations focused on social and environmental change. MVRDV embraced a light-touch approach to adaptive reuse, focusing on keeping the building’s structure intact while upgrading its use and sustainability features.

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Inside, the redesign introduced adaptable workspaces, meeting rooms and a café, with new insulation, underfloor heating and energy-efficient lighting to improve the building’s environmental footprint. Water-saving systems using recycled rainwater were also installed, ensuring the building aligns with the campus’s sustainability goals.

Before and After / Haus 1 – Atelier Gardens by MVRDV, Berlin, Germany

Haus 1 – Atelier Gardens by MVRDV, Berlin, Germany

The decision to paint the entire building yellow gave it a new identity. Initially, only the new elements were going to be painted, but the client felt a stronger statement was needed. Yellow was chosen to contrast with the surrounding tones and reflect a sense of happiness, brightness and vibrancy.

The addition of the rooftop pavilion and staircase further redefined the building’s role. Originally, the roof was inaccessible, but the team saw an opportunity. “This is the highest building on site and we saw that it was a missed opportunity if we did not provide access to the rooftop somehow,” Hofman said. “We convinced the client to let the public enjoy this beautiful view. So we proposed this pavilion on top, sitting in the roof garden and added this staircase. This allowed for the rooftop to become a public destination without interfering with the internal logistics of the building.”

Haus 1 – Atelier Gardens by MVRDV, Berlin, Germany

Haus 1 – Atelier Gardens by MVRDV, Berlin, Germany

The zig-zagging staircase wrapping around the building became a key feature, serving both as a functional fire escape and a public gathering space. “The zig-zag stairs became quite an expressive element — something the client was looking for,” Hofman noted. Along the stairs, small chairs and tables encourage visitors to sit, meet and relax. Over time, as trees grow around it, the staircase will meander through greenery, offering a peaceful space for visitors to connect with nature.

The transformation of HAUS 1 shows how adaptive reuse doesn’t always need radical interventions to have radical impact. By working within the existing structure, MVRDV gave the building a completely new identity and purpose, using color as one of the mail tools to achieve impactful results.

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PAU’s Take: Radical Reuse and the Art of Layering History

At Future Fest 2024, Vishaan Chakrabarti, Founder and Creative Director of PAU, shared his perspective on adaptive reuse through what he describes as the “architecture of the palimpsest.” This concept reflects the idea that cities, buildings and communities are composed of many layers of history that should not be erased but carried forward. Chakrabarti emphasized that adaptive reuse applies not just to individual structures but to entire urban environments, allowing their historical narratives to evolve rather than be wiped clean.

“What this image conjures is this notion that when we think about progress, we don’t think about it as a blank slate, like they did in the 20th century, but as layers of history, like a palimpsest, where you pull the past forward with you into the future. And we try to do that with all our work,” he explained.

The Refinery at Domino by Practice for Architecture & Urbanism | PAU, Brooklyn, New York

This philosophy guided PAU’s transformation of the Domino Sugar Refinery, where the team inserted a new building within the historic structure, respecting the site’s industrial heritage while creating spaces fit for modern use.

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“We did this drawing to explain to the landmarks commission and the public what this building was. That it was an envelope for machinery. The fenestration, the façade, was largely fake — the windows didn’t correlate to specific levels, but to the machinery inside.”

Rather than trying to force modern functions into a structure not built for human use, PAU chose a bold approach: they would insert a brand-new building within the historic shell, leaving a 10-12 foot gap between the old masonry and the new interior. This design allowed them to create office floors with standardized heights, improving accessibility and functionality while celebrating the original architecture.

“The design process for the architecture of the palimpsest must begin by reading the layers of history before we lay in the contemporary. We began by reading the historic structure, specifically the masonry facade. A comprehensive masonry survey was conducted to ensure that what we were proposing was appropriate and would in no way compromise the building’s integrity,” Ruchika Modi, Principal at PAU explained.

The Refinery at Domino by Practice for Architecture & Urbanism | PAU, Brooklyn, New York

During their talk, Modi also went over structural and engineering details, offering deeper insights into how PAU brought this ambitious vision to life.

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The perimeter atrium between the old and new walls now serves as a light-filled space with hanging gardens, where visitors can appreciate both the historic brickwork and views of the East River and Manhattan through the original windows. The design preserves the industrial grit and patina of the old facade while providing modern comfort within.

At the top of the building, the new addition culminates in ‘The Vault,’ a glass barrel-vaulted penthouse with 360-degree views of the city. This rooftop event space draws inspiration from the original building’s American Round Arch style and allows visitors to interact with the iconic smokestack and neon sign.

The Refinery at Domino by Practice for Architecture & Urbanism | PAU, Brooklyn, New York

The Refinery at Domino by Practice for Architecture & Urbanism | PAU, Brooklyn, New York

PAU’s approach exemplifies how adaptive reuse can go beyond preservation by introducing entirely new functions while respecting the history embedded within a space. Their design not only revitalizes the Refinery but also connects it to the larger urban fabric, ensuring the building remains relevant and useful for generations to come.

Improvise, Adapt, Overcome

From Berlin’s Atelier Gardens, where small interventions breathe new life into a creative campus, to Brooklyn’s Domino Refinery, where an entirely new building emerges within historic walls, these projects showcase the spectrum of adaptive reuse. Whether through subtle updates or radical transformations, each project serves as a reminder that architecture evolves by building on the layers of the past, creating spaces that are relevant, functional and future-ready.

With a diverse jury of global experts and a global voting public, Architizer's A+Awards champions firms around the world. Get your work in front of the industry's best by starting your submission today. 

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Cultivating Connection: Mecanoo Is Architizer’s 2024 Firm of the Year

For centuries, the Netherlands has been a global design innovator; Dutch architects have long pushed the rest of the world to rethink what architecture can and should do. Holland’s contemporary building culture is no different, exemplified by the Delft-based design powerhouse Mecanoo. With its earliest projects focusing on social housing and urban renewal, the firm built its foundation with a strong user focus. They have made their name by designing buildings that are inextricable from their surroundings and demonstrating the power of design to open new possibilities for society. The key to Mecanoo’s change-making designs is a strong interdisciplinary approach — architecture, urban planning, landscape architecture and interior design — applied across typologies.

Founded in 1984, this year marked 40 change-making years for the firm. And now, with an impressive list of recently completed projects and construction underway on a bevy of ambitious new designs, Mecanoo has been named Architizer’s Firm of the Year for the 12th Annual A+Awards. The firm will officially receive its prestigious prize at Architizer’s A+Awards Gala in Chengdu this November. Stay tuned for more coverage!

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If Mecanoo’s work were encapsulated by a single word, it would be “connection.” Their structures are not only conceived to connect with a larger urban or environmental context, but they are also bridges from our contemporary moment to a better future; they also cultivate links between users and communities and the firm’s collaborative spirit — now across borders as they tackle global projects — connects cultures. Indeed, their projects are remarkable in how they distill the global nature of contemporary building culture down to a contextually local level, always bringing something new to the table.

In the following interview, we sat down with Nuno Fontarra, an Associate Partner who has been with Mecanoo for over twenty years, to reflect on the firm’s past, present and future achievements.

Tell us a little about your story — how did you get started? How did your firm grow?

It all started from Mecanoo’s journey started in 1984 with a group of passionate students driven by creativity and the ambition to make a difference. 40 years later, while the firm has evolved, its mission remains unwavering: to design inspiring spaces that connect communities, adapt to future needs and remain socially relevant. Guided by our core philosophy of People, Place, Purpose, and Poetry.

From the beginning, our focus has been on creating architecture that not only stands out for its beauty and functionality but also connects deeply with its surroundings and the communities it serves. This philosophy has guided us as we’ve continued to explore new ideas and embrace a multidisciplinary approach.

Over the years, our team has expanded to include talented professionals from over 25 different nationalities. This diversity has been at the core of our success, bringing a rich variety of perspectives to every project we undertake and allowing us to design with a global mindset. Today, Mecanoo has a strong global presence, working on projects that span continents, yet we remain true to our Dutch roots. Our ability to adapt, innovate and engage with the unique cultural and social contexts of each location has been central to our evolution. This blend of local insight and global perspective has transformed Mecanoo from a Dutch firm into an internationally recognized architectural practice.

National Kaohsiung Centre for the Arts (Wei-Wu-Ying) by Mecanoo, Kaohsiung, Taiwan

Looking back, which of your projects do you feel was the most significant to the firm’s development and why?

Looking back, I would say the Library Delft University of Technology, completed in 1998, stands out as one of the most significant projects in Mecanoo’s oeuvre. At the time, there wasn’t as much emphasis on sustainable architecture as there is today, but with this project, we were able to push boundaries and set a precedent for integrating sustainable design into large-scale public buildings.

The library’s green roof was truly innovative for its time. Back in the time, the concept of green integration wasn’t new, however, how we executed it with a fully accessible, sloping grass roof that not only insulated the building but also created a recreational space for students and the public was
unprecedented.

This combination of landscape, architecture and sustainability, all within an educational environment, was one of the first of its kind. The project also marked a shift for Mecanoo in terms of how we approached design. It wasn’t just about creating a building, but about merging the building with its environment and making sustainability a core element of the architecture.

The Library Delft University of Technology became the foundation for many of our later works, influencing how we think about sustainable design and the integration of green spaces into our buildings. Ultimately, the Library Delft University of Technology allowed Mecanoo to showcase our ability to innovate and think ahead, and it remains a milestone in our journey as a firm committed to creating spaces that are both visionary and sustainable.

Tainan Public Library by Mecanoo, Tainan, Taiwan

How do you feel your firm’s unique cultural and environmental context has shaped its evolution, particularly as it has expanded to design and build in countries outside of the Netherlands?

A significant part of our success today is undeniably tied to the diversity within our team. While our roots are Dutch, the broad range of cultures, experiences and perspectives from our diverse architects have shaped a unique company culture that drives our ability to expand globally. This variety of cultural backgrounds enables us to approach each project with insights that go beyond merely addressing the physical environment. It’s about truly engaging with the social fabric and communities we design for, ensuring that our work resonates on a local level.

This dynamic mix of global perspectives, combined with the Dutch spirit of innovation, allows us to create design solutions that are not only forward-thinking but also tailored to the specific needs and narratives of each location. It is this blend of local engagement and diverse viewpoints that has truly driven Mecanoo’s growth and evolution on the international stage.

Perth Museum by Mecanoo, Perth, United Kingdom 

What does winning Architizer’s Firm of the Year Award mean to you and the firm?

This recognition is a tremendous honour for all of us at Mecanoo. It is a celebration of our journey as a firm, as we have committed for over 40 years, from our early days in the Netherlands to becoming a truly global practice. This award acknowledges our years of dedication and inspires us to continue our mission of designing with purpose, always seeking to connect people, place, and culture through our work. It fuels our passion for innovation and reinforces our commitment to creating architecture that leaves a lasting, positive impact on the world.

If you had one piece of advice to offer the next generation of architects, what would it be?

At Mecanoo, one of our greatest strengths is the diversity within our team, and this has shaped the way we approach architecture. For the younger generation, I would encourage you to embrace your individuality and unique experiences. It’s easy to fall into the idea that there is a “normal” path to follow in design, but in reality, it’s the differences in who we are, where we come from, and how we see the world that add richness and depth to architecture. Every architect brings their own story, background, culture and personal experiences.

At Mecanoo, we’ve learned that it’s these personal nuances, these diverse perspectives, that create the poetry and soul in architecture. The beauty of architecture lies in its ability to be different, to reflect the people it serves and the context it belongs to. So, I would say to the next generation: find your voice, celebrate what makes you different, and apply that uniqueness in your designs. It’s those small, personal touches that make architecture not just functional, but truly meaningful and special.

Top image: Villa BW by Mecanoo, Schoorl, Netherlands

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The Role of Geometry: How Fashion and Architecture Share a Common Language

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.

Fashion and architecture may appear to belong to entirely different creative worlds, but beneath the surface, they share a deep connection rooted in geometry. Both disciplines rely on shapes, patterns and proportions to give form to their designs, creating structures — whether wearable or habitable — that are deeply informed by geometry. The language of geometry allows architects and fashion designers alike to explore space, materiality, and form in ways that transform their respective fields.

I wanted to write an article that could provide a unique perspective on a topic that people don’t often consider. Join me as I explore how geometry serves as a foundational element for both architecture and fashion, examine key examples from both worlds and analyze how these forms continue to influence and inspire creativity across both disciplines.

Geometry as a Universal Design Language

Geometry, by its very nature, is universal — it provides an essential framework through which designers can communicate form, structure and proportions. Whether it’s the shape of a building or the cut of a garment, geometry helps to establish order and balance in design. In both architecture and fashion, geometry is a tool for innovation, allowing designers to create objects that are visually compelling, functional and aesthetically aligned with mathematical principles.

In architecture, geometry helps shape entire buildings and their spatial layouts. Architects employ geometric principles to design everything from building façades to interior spaces. In classical architecture, symmetry and proportion were paramount, with designs often based on mathematical ratios like the Golden Ratio to ensure balance and harmony. In modern architecture, geometry continues to play a crucial role, with more experimental forms emerging through the use of complex shapes, tessellations and non-Euclidean geometry. Similarly, fashion designers use geometry to develop patterns, cuts and silhouettes, using shapes to enhance the movement, structure and visual impact of their garments.

Geometry in Fashion: From Silhouette to Structure

Issey Miyake Pleats Please, New York, NY, United States by Clouds Architecture Office

In fashion, geometry begins with pattern-making — the process of creating two-dimensional templates that are then sewn together to create three-dimensional garments. Every piece of clothing starts with basic geometric shapes — rectangles, circles, triangles or trapezoids — that are combined and manipulated to shape the human body. Designers use geometry to tailor garments to fit the body in specific ways, creating shapes that are both flattering and functional.

For instance, Japanese designer Issey Miyake is known for his revolutionary use of geometric shapes in fashion. His collections often include garments made from simple yet precise geometric forms that fold, pleat or expand to create intricate designs. Miyake’s use of geometry is not just about aesthetics; it’s about engineering movement and flexibility into the fabric, allowing the garments to transform as the wearer moves. His iconic “Pleats Please” collection, for example, uses geometric pleating to create garments that change in shape and volume, emphasizing the relationship between fabric, form and motion.

Another fashion house that has embraced geometry is Balenciaga. Known for its sculptural silhouettes, Balenciaga’s designs frequently feature bold, geometric shapes that exaggerate proportions — whether through boxy jackets, sharply angled shoulders or trapezoidal dresses. This architectural approach to fashion design illustrates how geometry can be used to create striking visual effects and push the boundaries of conventional garment construction.

Geometry in Architecture: From Façades to Spatial Layouts

Heydar Aliyev Centre Baku, Azerbaijan by Zaha Hadid Architects. Photo by firm Sharon Tzarfati Photography

In architecture, geometry is not just a tool for designing individual elements but for orchestrating the entire spatial experience of a building. From ancient pyramids and Gothic cathedrals to modern skyscrapers, geometry has always been integral to architectural form. Architects use geometric patterns to create rhythm and harmony in their designs, often drawing inspiration from natural forms or mathematical concepts like symmetry, tessellation, and fractals.

A powerful example of geometry in modern architecture is the work of Zaha Hadid. Known for her fluid, organic designs, Hadid frequently used non-Euclidean geometry to create futuristic buildings that challenge traditional architectural forms. Buildings like the Heydar Aliyev Center in Azerbaijan feature sweeping curves and complex geometries that seem to defy gravity, creating spaces that feel both otherworldly and deeply connected to natural forms. Hadid’s work illustrates how geometry can be used to push the boundaries of architectural form, creating spaces that are as visually dynamic as they are functional.

In contrast, architects like Tadao Ando and Mies van der Rohe have used more rectilinear, grid-based geometries to create clean, minimalist spaces. Ando’s use of simple geometric forms — squares, circles and triangles — helps create a sense of order and tranquility in his work, often enhancing the interaction between light and shadow. Mies van der Rohe, on the other hand, famously used the grid as a geometric organizing principle in his designs, creating buildings like the Barcelona Pavilion and the Farnsworth House that celebrate the purity of geometry through their clean lines and open, transparent spaces.

The Intersection of Geometry in Fashion and Architecture

BEYOND THE CATWALK, 2003

The relationship between fashion and architecture is perhaps most evident in the way both disciplines use geometry to explore the interplay between structure and fluidity. For both fashion designers and architects, geometry offers a way to break free from traditional forms and create something new — whether it’s a garment that transforms with movement or a building that challenges conventional ideas of space. One of the most striking intersections between fashion and architecture comes from collaborations between architects and fashion designers. Architect Hussein Chalayan, for instance, has seamlessly merged the two disciplines by creating fashion pieces that are both architectural and transformative. In his 2007 collection, Chalayan unveiled garments that could transform from one shape into another, using motors and mechanics to physically alter the structure of the clothing in real-time. This exploration of geometry and movement demonstrates how fashion can borrow from architecture’s principles of form and structure to create innovative designs.

Similarly, fashion designer Iris van Herpen is known for her architectural approach to fashion design. By incorporating 3D printing and laser cutting into her work, van Herpen creates garments that are not only sculptural but also deeply rooted in geometric principles. Her designs often feature intricate, repeating patterns reminiscent of architectural facades, illustrating how geometry can be used to blur the boundaries between the body and the environment.

Geometry’s Future in Fashion and Architecture

Iris van Herpen Transforming Fashion at the Dallas Museum (top), Iris van Herpen Haute Couture Spring Summer 2012 (bottom)

As technology advances, the use of geometry in both fashion and architecture is likely to become even more innovative. New tools like 3D printing, parametric design, and algorithmic modeling allow designers in both fields to explore complex geometries that were once impossible to achieve. These technologies open up new possibilities for creating structures—whether wearable or habitable—that are more responsive, adaptive, and sustainable.

In fashion, 3D printing has already begun to revolutionize how designers think about geometry and form. Designers can now create garments with intricate, customized geometric patterns that are printed directly onto the fabric, allowing for a level of precision and complexity that was previously unattainable. In architecture, parametric design allows architects to use algorithms to generate complex geometric forms that respond to environmental conditions, creating buildings that are not only aesthetically striking but also highly functional.

Fashion and Architecture, A Common Language

Issey Miyake LondonLondon, United Kingdom by TOKUJIN YOSHIOKA DESIGN

Issey Miyake London by TOKUJIN YOSHIOKA DESIGN, London, United Kingdom

In both fashion and architecture, geometry serves as a common language that allows designers to explore new forms, create structure, and push the boundaries of creativity. Whether through the precise tailoring of a garment or the innovative design of a building, geometry offers a way to blend aesthetics with functionality, creating designs that are as visually captivating as they are purposeful. As technology continues to evolve, the use of geometry in both fields will undoubtedly lead to even more exciting possibilities, allowing designers to create ever-more innovative and boundary-breaking designs.

The 13th A+Awards invites firms to submit a range of timely new categories, emphasizing architecture that balances local innovation with global vision. Your visionary projects deserve the spotlight, so start your submission today!

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What if Architects Could Replicate Historic Buildings?

Architizer's 13th A+Awards features a suite of sustainability-focused categories that recognizing designers that are building a green industry — and a better future. Start your entry to receive global recognition for your work!

Architectural heritage has always been romanticized. Large conservation sites, cultural landmarks and even smaller historic buildings offer a gateway to the past, which admittedly cannot be reproduced through contemporary architecture. Mass production, quick and cheap construction and the need to cope with urban expansion and population growth have removed one key ingredient that heritage structures have: craftsmanship. Handcrafted elements, the attention to detail, and the slow process of constructing these buildings and sites have almost entirely faded in today’s (on-demand) architectural practice.

Still, technological advancements such as 3d scanning and augmented reality, along with advanced 3d printing building techniques, make a different type of “promise” for the preservation of architectural heritage. They hold the capacity to replicate parts of historical structures with a level of precision that was previously unimaginable, with the most recent example being the Notre Dame de Paris restoration after the devastating fire in 2019.

The Press

The Press by Ehrlich Yanai Rhee Chaney Architects, Costa Mesa, California | Jury and Popular Choice Winner, Commercial Renovations & Additions, 12th Annual A+Awards

Amongst the architectural community, there have been countless discussions on heritage conservation. These technological advancements, however, also open up the question of heritage replication. What if these new recording and building practices could provide the blueprint for not only restoring but actually replicating the detail and craftsmanship of historic buildings? Could this technology (re)construct cities of the past and situate them in the present — literally? More importantly: What would the public perception of this be and would architects approve of such a gesture?

Let’s start with authenticity. The biggest challenge to technological replication lies in the question of the authentic. What is the significance of a replica when it is indistinguishable from the original? Often, the value of original work lies in its history, not just through its physical form but also because of events, people and cultures they are associated with. Replicating a building perfectly may copy its physical form, but it cannot replicate its history or spirit. Places “stuck in time” such as Edinburgh’s old town or Rome’s historic centre, maintain their romanticised charm due to their “cultural baggage”. If we were to replicate the Royal Mile for example, on an empty piece of land located somewhere in south America, would it hold the same allure to the original one?

This brings me to my next point: ethics. One significant concern is that of cultural appropriation. Advanced technology could enable nations or corporations to “copy” the heritage of other cultures without their consent or participation, bringing up issues of ownership, cultural respect, and historical context. Without careful consideration, this practice could strip heritage structures of their cultural significance and eventually commodify them.

In parallel, technological replication greatly diminishes the impact of traditional craftsmanship, which in turn greatly influences the buildings themselves. By using 3D printers and robotic arms instead of the skilled hands and knowledge tied to ancient building techniques, historic structures may lose their cultural value as well as the human ingenuity responsible for their creation, not to mention the traces of erosion through time that make each building unique.

In theory, the idea of living in historic structures seems like an alluring option. The UK is currently selling churches for the mere amount of 50,000 pounds, ready to become occupied. It would be quite breathtaking to live in a city, where for instance, each individual house has the same charm and spatial complexity of a church. On the other hand, recreating polished, physical copies — even if they are considered historically and culturally significant — is essentially a different way of using mass production to satisfy a reminiscence of past eras, romantic ways of living and worlds of heritage, that are ultimately stripped of their cultural gravitas.

Finally, what do architects have to say about replicating architectural heritage or more extensively creating cities made from history? The most conventional approach to architectural conservation, apart from restoring structures that serve as uninhabitable monuments, would be adaptive reuse, where old buildings are preserved, refurbished and updated to serve the needs of contemporary society, without however losing their character and historic charm. At the same time, some forward-thinking architects might embrace the possibilities of technology, seeing it as an opportunity to experiment with history, blending old and new elements that allow for creative reinterpretations that unlock new modes of making architectural heritage.

Ultimately, the desirability of using technology in this way depends on how we balance the desire to preserve the past with the need to respect its inherent value and history. For some, a perfect replica may be a triumph of human achievement and technology. For others, it could represent a loss of something irreplaceable. Nevertheless, it is important to start such conversations, raising complex questions about authenticity, cultural identity and ethics in relation to technological advancements, especially when these are capable of altering not only the digital but more importantly the physical world.

Architizer's 13th A+Awards features a suite of sustainability-focused categories that recognizing designers that are building a green industry — and a better future. Start your entry to receive global recognition for your work!

Featured Image: Taoxichuan Ceramic Culture Industrial Park by Beijing AN-Design Architects, Jingdezhen, China

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Ambient Architecture: Designing for Tranquility in a Over Stimulated World

Calling all architects, landscape architects and interior designers: Architizer's A+Awards allows firms of all sizes to showcase their practice and vie for the title of “World’s Best Architecture Firm.” Start an A+Firm Award Application today. 

Pop over to Spotify, or any other music streaming platform, and type the word “Ambient” into your search bar. What you’ll find is thousands of playlists, all containing ambient music tracks. One of the first to be listed, “Ambient Relaxation”, is 232 songs, eleven hours and has over 1.25 million saves (for context “This is Taylor Swift” has 6 million). Head on over to YouTube, and the story is much the same, “Ambient Study Music To Concentrate” by Quiet Quest has 475,000 subscribers and has been viewed 43 million times.

Ok, so it might not be Despacito at 8.48 billion, but with thousands upon thousands of these types of ambient videos, theres is definitely something going on. So, what is ambient music, and what does it have to do with architecture?

Compared to other music genres, ambient music is a bit of an outlier. That’s because, unlike almost all other types of music you can think of, we can trace ambient music to its origin — back to one individual, an artist named Brian Eno of Roxy Music fame. In the mid-1970s, after an accident left him bedridden, Eno experienced a moment that would change how he thought about music. A friend had gifted him a 17th-century harp record, but with one busted speaker, the volume too low, rain pattering outside, and no ability to move from the spot he was in, Eno discovered that the music blended with the ambient sounds of his environment. The delicate fusion of sound and silence sparked an idea, music that was “as ignorable as it was interesting.” With that, ambient music was born.

Ambient music is all about creating an aural landscape. It features gentle, evolving textures and seemingly random subtle layers of sound that ebb and flow without a dominant note, rhythm or melody. It’s designed to evoke a sense of calm and contemplation, allowing listeners to fully lose themselves in the moment, which goes a long way in explaining why it’s so popular as music to aid concentration. As fascinating as that is, you may be asking yourselves, again, what does that have to do with architecture?

Uniview Headquarters by GOA (Group of Architects), Zhejiang, China | Popular Choice Winner, Office – High Rise (16+ Floors), 12th Annual A+Awards |
Photograph by Rudy Ku

Well, you see, societal trends are more often than not reflected in our architecture, and over the last decade, overstimulation has become a serious problem. As our cities become denser, our urban landscapes have fast become sensory battlegrounds — bright lights, blaring sirens, buzzing smartphones and the never-ending barrage of data we are confronted with every day — all play a part in stretching-thin our shortening attention spans and negatively affecting our mental well being. It is true that people living in cities have a 40% higher risk of depression and a 20% increased risk of anxiety compared to those in rural areas. Burnout has become so prevalent that the World Health Organization now recognizes it as an occupational phenomenon, and the fact is, we need to do something about it. We need clarity and calm.

Like the Garden City movement that followed the poisonous polluting Industrial Revolution or the Modernism that brought structure and simplicity after the war, ambient architecture is a response to what is happening around us as architects and designers strive to create buildings that whisper instead of shout to bring much-needed tranquillity to our concrete jungles.

École de l’Étincelle (Lab-école) by BGLA architecture | urban design, Agence Spatiale inc., APPAREIL Architecture, Chicoutimi, Canada | Popular Choice Winner, Primary and High Schools, 12th Annual A+Awards | Photograph by Maxime Brouilette

Firstly, architects and designers are dialing back the visual chaos. While flamboyant façades and awe-inspiring angels are far from a thing of the past, there’s a noticeable shift towards simplicity and authenticity that favors cohesion, clean lines, and a sense of unclutteredness inside and out. Many of these ambient buildings blend in with their terrain, amplifying what already exists or integrating within the landscape instead of fighting for the front seat. By stripping away unnecessary ornamentation and focusing on essential forms that protect and preserve their surroundings, architects are creating buildings that give our eyes a much-needed break. Designing monuments that soothe rather than stimulate, allowing us to enjoy our towns and cities without relentless visual assault.

Novonesis Innovation Campus by Vilhelm Lauritzen Architects, Hørsholm, Denmark | Popular Choice Winner, Factories and Warehouses, 12th Annual A+Awards | Photograph by Rasmus Hjortshøj.

Similarly, there’s a renewed focus on materiality and tactile simplicity. By returning to natural materials — timber, stone, and earth — architects can appease our inherent need for nature and biophilic properties, counteracting the feelings of abnormality that arise when human beings are solely surrounded by glass and concrete. In other ways, architects are choosing to include variations of texture to evoke visual interest rather than a broad material pallet, simplifying their scheme without losing impact with techniques like stone carving, plaster moulding, and perforations. Ergonomic simplicity also plays a part here. Choosing products, fittings and furnishings that feel intuitive and comfortable to use, they are well designed, and engaging with them is subtly reassuring. Like Eno’s music, our surroundings become a background, not demanding our attention, simply there.

Bike Parking IJboulevard by VenhoevenCS architecture+urbanism, Amsterdam, Netherlands | Jury Winner, Transport Interiors, 12th Annual A+Awards | Photo by Ossip van Duivenbode.

Perhaps the most groundbreaking and necessary shift is towards cognitive simplicity. As cities and our lives grow more complex, so does our mental load. Architects are now designing spaces that can help alleviate cognitive strain by simplifying the way we engage with our environments. This can mean a few things. Firstly, designing layouts that are easy to navigate and prioritize the user over the perceived special value to reduce the mental effort needed to find our way. In the instance of urban planning, wayfinding becomes more natural and intuitive, with clear sightlines and logical progression from one place to another, returning to basic principles like hierarchies and module repetition. By minimizing decision fatigue and reducing environmental complexities, architects are designing spaces that don’t just look and feel simple but are actually simple to inhabit.

Cognitive simplicity doesn’t stop there, either. Despite technology being much of the problem with sensory overload, in the modern world, technology can be a force for good, not evil. Intuitive technology is a fancy but easy way to lighten our mental load. Adjustable lighting, automatic temperatures, and sound level alteration all exist and can be incorporated to create spaces and places that are comfortable without the user having to think about them. Smart systems make navigating streets and buildings intuitive. By allowing technology to work seamlessly in the background, we remove much of the everyday mundane thinking required by each individual, leaving space to think. Like ambient music, cognitive simplicity and ambient architecture aim to declutter the mind at every opportunity, creating buildings and even whole cities that one day will hopefully be “as ignorable as it was interesting.”

Calling all architects, landscape architects and interior designers: Architizer's A+Awards allows firms of all sizes to showcase their practice and vie for the title of “World’s Best Architecture Firm.” Start an A+Firm Award Application today. 

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“The World Sees the Architect’s Work Through the Eyes of the Photographer.”

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.  

At Future Fest 2024, renowned photographer Ema Peter and Deepak Gugarii of Studio VDGA shared their experiences working together on The House of Courtyards, a project that landed on the cover of the Architizer: The World’s Best Architecture book this year. Their collaboration exemplifies the importance of architects and photographers working closely together, ensuring that the heart of the design is captured and communicated.

In today’s world, where architecture is often first experienced through photography, how a building is portrayed has never been more important. So hearing directly from Ema on this was especially valuable for architects looking to tell their story through imagery. Throughout her talk, Ema drew on her many years of collaborating with architects, sharing insightful and elegant nuggets of wisdom that ask everyone in the industry to think a little deeper about the term ‘photograph’ — as a verb that can and should be a collaborative endeavor and as a noun, capable of communicating not only a constructed reality but also design philosophies, atmospheric power and more.

Without further ado, we want to share a few key lessons from Ema’s talk — (of course, you can watch the full talk too!).

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1. On ego and letting go:

BlackCliff House by Mcleod Bovell Modern Houses, West Vancouver, Canada | Photo by Ema Peter Photography

“What I learned recently is the moment you forget about your own ego, your own sense of rightfulness, you can really explore the world through the eyes of someone else. For many years I felt that my goal was to capture the light the way I see it, I thought I was always right in my approaches.

“But, in the last little while, I have learned that in my collaboration with architects, I can actually allow myself to see through other people’s eyes. I used to get quite frustrated when someone touched my camera and directed me. I would get really upset when someone touched my camera! Now, I’ve started welcoming it, which is a huge change.”

2. On the thought process of architectural photographers:

“ [When shooting] I want to tell the story but also I see the business side… what is the target market, what publications the project will eventually end up in, what is the best approach to tell the story, how to make impactful images, what can make a good cover.

But, the key is to create impactful image and, most importantly, images that can stop people for a second, because this is what we need at the moment in this visually changing environment where we are bored of the constant flow of images, almost desensitized.”

3. On famous architect-photographer duos:

Lucien Hervé / Le Corbusier, marked as public domain, on Wikimedia Commons.

“I often think about great love stories or collaborations between artists and writers. How much did Fitzgerald learn being around Gertrude Stein or through his close relationship with Hemingway? What was Rodin’s influence on Camille Claudel? How did the presence of Giulietta Masina, the muse of Fellini, change the way he saw the world?

The collaboration I would really want to talk about is Le Corbusier’s and his photographer Lucien Hervé. In 1949, the self-taught photographer went and did 650 photographs in Marseille at Unité d’Habitation, a housing complex by Corbusier and sent them to him. He said, ‘For 40 years I’ve been looking for a photographer able to express architecture.’ He had finally found him in Hervé. The two men worked together for the next 16 years — some of Le Corbusier’s most fruitful — until the architect’s death in 1965.”

4. On photography in the past and taking it slow:

“What I love about those days, when life moved so much slower, is that they couldn’t review the images immediately like we do today. Hervé did contact sheets, narrowed them down, put them in an album and then they sat down and reviewed the album together. It wasn’t just their collaboration and travels together that were interesting, but also their editorial choices.

How did they select an image? Why that image? It really reminded me of the times I had to go through Bresson’s contact sheets to see how he found the decisive moment. It is simple — it’s about choosing the moments in time that speak visually to both the architect and the photographer.”

5. On why architects need to be present during the shoot:

“A good friend and architect I’ve worked with for years, Michael Leckie, told me something that was very impactful for me. He said, ‘The world sees my work through your eyes.’ I want to repeat this because it has a big impact — the world sees the architect’s work through the eyes of the photographer.

This is why collaboration is so important and time has to be spent to understand the direction, the story, the concept and how to capture it in shots. So much of this is lost when we go and photograph on our own, sent by marketing teams, without the chance to communicate with the person who put their life and soul into the project.”

6. On building long-term partnerships:

“One of our most well-known Canadian architects, John Patkau, works with his photographer James Dow for 40 years. They sit and wait for the light together. He told me that sometimes they sit for hours to capture one shot… If you ask me, I would love to grow old with the people I work with and be able to understand their world so well that we do not need to talk. Just with one look, with one movement, we can achieve symbiosis and still find things to challenge each other.”

7. On creative differences and leaving the comfort zone:

“Some of the strongest collaborations I have had are with people that really push me, people that we do not see eye to eye with in the beginning… but they are the people that drive you forward. I feel these are the collaborations that give you knowledge you did not have.”

“Michael Leckie made me realize that I can absolutely photograph no matter how pouring rain it is. Prior to working with him, everyone I worked with in Canada wanted the perfect sky and sunny day, but that’s hardly achievable in Vancouver with 6 months of rain. I absolutely opposed it in the beginning… but the moment when you are driving towards a shoot and wondering, ‘What am I doing?’ is also a pivotal moment. It’s when you realize you have not reached even 1% of your creative potential.”

8. On how photography reveals a building’s true voice:

Shor House by Measured Architecture Inc., Mayne Island, Canada | Photo by Ema Peter Photography

“Recently, I was sitting on the terrace of this amazing project by Measured Architecture with one of their principals, Clinton Cuddington. We discussed photography, art, music and philosophy after a very long day of shooting.

I asked him about the importance of the collaboration between the photographer and the architect and he told me this: ‘If an architect can surrender to the photographer and allow her (he said her, just saying) to find the space through the lens, then an architect can learn how the building speaks without their voice present.”

9. On books about architectural photography:

“One book that he [Clinton Cuddington] recommended to me was Judith Turner’s Photographing Five Architects. She saw architecture in a completely different way. Her focus on details—shadow and light—makes you question: What is the reality of architecture? What dialogue happens between the observer and the subject? It’s art. I always try to capture reality, but there is room for both, though deadlines today leave less time for this artistic approach.”

10. On finding the key shots:

The House of Courtyards by VDGA – Varsha and Deepak Guggari Architects, Dubai, UAE | Photo by Ema Peter Photography

“At this stage of my career, I’ve gotten to the point where I can clearly see where the key shots of a project could be, and once you find those, it’s important to keep exploring them in different light. For me, architecture speaks in completely divergent ways depending on the light. These are the moments where you need to make sure the architect understands what you’re doing.”

11. On architects, photographers and the public’s eye:

“We create stories, and we follow the light. What people really want is to have the sensation of being there, to feel transported into the space and want to spend time there. This is often a challenge with architects, as they want to show their clean lines and specific architectural elements, but the way architecture speaks to the public is something very different.”

12. On the architect’s role in capturing the soul of their projects:

The House of Courtyards by VDGA – Varsha and Deepak Guggari Architects, Dubai, UAE | Photo by Ema Peter Photography

“Deepak had spent years studying the light and shapes of this house, so he found moments I couldn’t in the short three days I was there. This is, I feel, the level of engagement we need from architects or whoever is representing the team at the shoot — two sets of eyes, two people passionate about capturing the soul of the project in a series of moments. All these moments you see here, we experienced them together.”

13. On why collaboration matters so much:

“If there is anything that I want to take out of this talk, it is that we are all creatives and have our own visions, but we are happier as artists when we collaborate. The true freedom of expression comes from the curiosity of exploring other worlds, the fascinating worlds of our imagination.”

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.  

Top image: South Haven Centre for Remembrance by Group 2 Architecture Interior Design, Edmonton, Canada | Photo by Ema Peter Photography

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Nostalgia Now: Analogue Aesthetics Make a Major Comeback in Modern Interiors

For over a decade, Architizer’s A+Awards have been championing architectural excellence worldwide. This year, the program celebrates local innovation with global recognition. Start your entry today! 

There was a time, not so long ago, when a television wasn’t for streaming or gaming or playing in the background while we scrolled through our apps on another device. It was a physical piece of furniture, often clad in polished wood, and parked proudly in the center of the living room. Vinyl players were not just decorative objects that were subject to admiration simply because of their color and cladding. Objects that are only truly appreciated by those who have just discovered the wonders of Led Zeppelin. They were the heartbeat of every social gathering. These products, along with radios, typewriters and telephones, were function and fashion combined. The talisman of the trendy and totems of modernity. They played an important role in our social interaction as the ultimate facilitators of group entertainment.

Today, society has changed. Each of these devices has been concentrated into a single object. A solitary device that we each keep in our pocket, on our desk or, most likely, in our hand. We don’t need to meet up and hear new records together. The idea of waiting by the phone at a certain time to catch up with friends is utterly unimaginable to some of the next generation. Today, we have access to every form of entertainment we could want or need at any given moment — and we’re getting tired of it.

Upper Albert by ARRCC, Cape Town, South Africa | Photo by Adam Letch

While the digital revolution has given us unprecedented access to information and convenience, it’s also led to what many psychologists call “digital fatigue.” We’re hyper-connected, but we’re also exhausted — mentally and emotionally. The constant barrage of messages, comments, likes and memes is something we cannot keep up with. No matter how hard we try. As a result, many people are beginning to reject it. Opting to cut down and shut off from their online worlds more and more in the pursuit of authentic living. Unsurprisingly, designers being called upon to create interiors that find the balance between our digital needs and our analogue wants. Unsurprisingly, they are resoundingly responding, providing us with spaces that offer a much-needed reprieve from the constant digital bombardment.

You’ve probably heard of the slow food movement. It’s a way of living that emphasizes local, sustainable ingredients and, most importantly, the joy of savoring a meal rather than absent-mindedly eating in front of a screen. In a bid for greater fulfillment, it is a decision to be deliberate in ones’ actions and present in the moment. The reintroduction of vintage electronics aligns perfectly with this philosophy of slow living. Old-school electronics represent a return to objects that require patience and intention.

Take the experience of playing a vinyl record. Nothing about it is convenient — flipping a record after every few songs is hardly practical, and even choosing a record takes time and thought. But in the inconvenience lies the charm and allure. Without shuffling or an algorithm making choices for us, we are forced to slow down to make deliberate decisions, and in return, we are rewarded with a richer, more sensory and satisfying experience. The crackle of the needle, the slight imperfections in sound: all these details heighten our engagement with the music. It’s a tactile experience that can feel ritualistic. It’s an experience that stands in stark contrast to the sterile efficiency of digital streaming.

Kabuchin Penthouse by IDEE Architects, Hanoi, Vietnam | Photo by Tri?u Chi?n.

For the past decade, tech companies have relentlessly pursued the idea of seamless integration. Smart homes, smart furniture, smart everything. But, as is so often the case with convenience, we’ve paid a price. Our homes, our sanctuaries have become inundated with screens and sensors, trackers and data. Transforming them from places of rest into 24/7 control centers with metrics and goals. There’s irony in it. The more we delegate to technology, the more stressed and distracted we become. We’re drowning in a sea of notifications, and our spaces now demand that we constantly engage with them, monitoring and manipulating them — and to achieve what exactly? Certainly not an easier life. So, we’re looking to the past to reign us in, to recalibrate and recapture much of the valuable time we are losing to technology.

Of course, it’s not as simple as fully rejecting technology, most of us have jobs to do that require technology, and often advanced technology at that. However, designers are, as always, finding solutions. Through products and interior design choices, designers are increasingly blending vintage electronics with state-of-the-art technology or shifting away from technology-based devices at all. With consumers flooding to buy traditional alarm clocks, leaving them free to create distance from their phones that have negative effects on sleep. Introducing fire pits as spaces to engage without television. Or products like smart typewriters that feed information to your computer but are designed to relieve the inevitable eye strain of typing all day. Even the inclusion of musical instruments as design features and functional entertainment is becoming more prevalent. Simply having walls of books instead of screens is becoming increasingly popular. Ultimately these choices help interior designers create spaces that function in modern society yet recapture the emotional freedom and sensory richness of the past.

Casa Annunziata by Specht Novak, Sheffield, Massachusetts | Photo by Dror Baldinger

Equally, there are many design theorists who argue that the rise of “nostalgia design” in contemporary interiors is more valuable than just getting us off our phones. They claim there is a further emotional benefit. Imagine an old Braun radio sitting on the mantelpiece. It doesn’t work, but that isn’t the point. The radio anchors the space, providing a conversation piece that draws people in, prompting stories and memories of grandparents tuning into long-forgotten stations. It is as though the object itself has a certain gravitas, acting as a reminder of a shared past and encouraging connection. In art and design, nostalgia is a powerful tool and storytelling is more powerful still.

In the end, what we are witnessing is a return to human-centered design in spaces that prioritize not only efficiency but also experience. So, what does the future hold for interior design as vintage electronics continue to make their comeback? The answer likely lies in balance. We don’t need to reject technology wholesale, but we do need to find ways to humanize it, to integrate it into our spaces in a way that also respects our emotional and sensory needs and as we move forward, it’s worth remembering that sometimes, to make progress, we need to rewind.

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Featured image: D Residence by CREATIVE TERRITORIES, Bangkok, Thailand. Photograph by SPACESHIFT STUDIO.

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