W&Li Design took a different approach with the layout of Residence C.L., an apartment located in Taipei City, Taiwan. The original 1980s design left the rooms dark and uninviting resulting in the need for a new solution. To connect the spaces, they designed a floor plan with walls set to 45 degrees so the interior flowed, while delivering sufficient ventilation and natural light.
The new layout also made way for three independent bedrooms and a shared bathroom whose doors are disguised in blue. The blue switches to white in the living room where a wall of minimalist cabinets surround the television.
The interior combines black details with white and blue surfaces for a bold graphic design that keeps you visually invested.
The geometric tile in the kitchen and dining room brings all the colors together in an unexpected way.
The master bedroom benefits from a glass panel that separates it from the master bathroom. The bathroom flanks an exterior wall with a large window that lets lots of natural light into both spaces.
- Interiors Designers: Francesc Rifé Studio
- Location: Chang Ning Lu 42 Hao Lou, Jingan Qu, Shanghai Shi, China
- Architect In Charge: Francesc Rifé Studio
- Design Team: Francesc Rifé Studio
- Area: 198.0 m2
- Project Year: 2018
- Photographs: David Zarzoso
- Construction: DESFA Group
- Ash Raffles City Changning: 198 m2
- Ash Plaza 66: 140m2
Text description provided by the architects. Fashion and footwear brand ASH commissioned Francesc Rifé to create the new design concept for its stores around the world. While the new language sought to recall forms suggested by the architecture of contemporary cities, that the first two stores to debut with this image were located in Shanghai has served to use as inspiration a traditional construction technique in Asia: the bamboo scaffolding.© David Zarzoso Raffles city Store © David Zarzoso
Located in the mall centers Raffles City Changning, in the heart of the Zhongshan business district, and Plaza 66, one of the most important commercial spaces in China, the design of these two stores is marked by a structure that order the space, allow the products be displayed and through it the brand begins a new path to prêt-à-porter. These metal tubular frames, executed in sulfurized brass with a very dark finish, joined as if they were knotted together as bamboo scaffolding, resulting in a very clean and unique grip. Thus the end result was a mesh with great dynamism.© David Zarzoso
The hard lines of this brass spine is defined from one of the most important elements of the project: a golden partial ceiling, symbol of the personality of ASH. It is characterised for integrating multiple holes from which light is projected, following the needs of the space; while other orifices are prepared to add lamps and hanging shelves, at the same time that they allow to fix the main structures. The lighting of this area is defined by spots with a very small size, to illuminate the product properly, giving as a result a starry sky.© David Zarzoso
Another of the main materials of the new image is undoubtedly concrete, projected in both vertical walls, floors and ceilings, spreads each and every one of the elements of the set. A reference to the constructive phenomenon of the city that in turn gives the project a neutral base, and helps to the ceiling and structure come quickly into focus.
Following that same language, the furniture, such as display modules, seating areas and the sales counter, have been integrated as architectural elements.
At the same time, the waiting area is dressed by the Kong armchair by JMM, complemented by side pieces in green marble and natural wood. The vocabulary developed for the stores is completed with the fitting room area designed in aged mirror that adds an extra dimension to the experience of visitors.
Conceived to work in harmony with dynamic and challenging installations, the shop windows of both stores extend to the exterior the interior dialogue started with the brass, and incorporate a clean interpretation of the backlit ASH logo.
Lindsay Stead designs and makes contemporary quilts with bold, graphic patterns in her Toronto-based studio. With geometric designs and minimal colors, the handmade quilts become two-dimensional works of art that would work on a bed or on the wall. Stead brings her own modern aesthetic to the traditional art of quilt making, where you might even notice imperfect hand stitches that perfectly contrast her contemporary vision.
Lutron unveils Palladiom, the home automation specialist’s latest premier collection of modern exposed bracket roller shades, keypads, and thermostats designed to work seamlessly and quietly in service of privacy and maintaining a comfortable interior temperature.
Palladiom now sits a tier above the Lutron Serena and Caseta smart shade system, offering a higher grade of finishes, materials, and styles (while omitting the app controls element).
Like the Serena roller shades, the electronics/motors responsible for the rolling the shades up or down are housed and hidden within a bracket/bar structure; machined aluminum unibody brackets available in Satin Nickel, Black Anodized, or Clear Anodized finishes are intended to be installed as an exposed interior architectural element.
An array of matching wallstations, keypads, and digital thermostats round out the Palladiom system line. Once installed, each wallstation allows the control of lights, shades/drapes and HVAC wirelessly from anywhere in the house. Lutron has yet another feather in its home automation cap, the Palladiom arguably the company’s most handsome shading and control system yet. For more information, check out the Palladiom Shading System Brochure (PDF).
- Architects: Ney Lima
- Location: Brasília, Brazil
- Architect In Charge: Ney Lima
- Team: Studio Ney Lima
- Area: 696.5 m2
- Project Year: 2015
- Photographs: Edgard César
- Engineering : VSA Construtora
Text description provided by the architects. The VAP House project, located in a residential area of Brasilia, started from the identification of the client with the minimalist and authorial style of the architect Ney Lima.© Edgard César
Thus, the residence was idealized in straight lines and with details in apparent concrete. The house has 696.5sqm in a land of 800sqm with the work completed in 2015.© Edgard César
The differential in this project is in the volumetry of the house. The main facade is marked with an apparent reinforced concrete portal that defines the main access through an immense steel door cut 6m high that contrasts with the cobogos, allowing a set of lights and textures.Lower Floor
Another highlight in the work is the external staircase, located on the rear facade of the house, in reinforced concrete, which gives access to the gym on the upper deck. The living, dining and social areas are all integrated and have sliding glass doors, allowing the union with the balcony and gourmet kitchen, which in turn integrate with the kitchen and the external leisure area, with SPA, Deck and pool on the ground floor.© Edgard César
On the upper floor there are four suites, interconnected by a large gallery, which allows the privacy of the residents. This gallery gives access to a gym communicates with the leisure area and pool by the external staircase.© Edgard César
Since the concept of driverless cars first became a serious prospect, a lot of attention has been given to the possibility of their malfunction—if an autonomous vehicle damages property or even harms a human, who is at fault? And, given a worst-case scenario, how should a vehicle's software choose between whose lives it prioritizes, the passenger or the pedestrian? This last question even became the basis for the Moral Machine, an online platform created by the MIT Media Lab that essentially crowdsources public opinion on different variations of the classic trolley problem thought experiment.
However, all of these questions had been considered largely theoretical until last night when, as The New York Times reports, a woman was struck and killed by an autonomous vehicle in Tempe, Arizona.
In what is believed to be the first case of an autonomous vehicle killing a pedestrian, the vehicle—which is owned by Uber and was part of their test fleet operating in Tempe, Pittsburgh, San Francisco and Toronto—killed a woman who was crossing a street outside of a designated crosswalk. At the time, the vehicle was in autonomous mode, though it did have a human "safety driver" at the wheel.
According to The New York Times, Uber has stated that it is "fully cooperating" with the local authorities regarding the issue and has suspended testing of its self-driving cars in all four cities.
Update: As per a report by Slate, the woman killed in the accident was named as 49-year-old Elaine Herzberg. She was struck while crossing North Mill Avenue, an 8-lane road with only one crosswalk in almost 2 miles.
Skram founder and lead designer Jacob Marks found inspiration right on his desk when designing his latest project. The wall-mounted Torpedo Sconce references vintage torpedo levels with its elongated bronze form topped off with a gunmetal steel end cap and hang bar connected as if using traditional woodworking joinery.
The LED light glows from the front and side slots, as well as the diffused back which emits a soft light on the wall. The Torpedo Sconce comes in three finishes: Gunmetal Patinized, Dark Rubbed Bronze, and Natural Bronze.
Riken Yamamoto & Field Shop has released images of the proposed Taoyuan Museum of Art in Taiwan, having won an international competition for the scheme’s design in 2018. Acting as a symbolic gateway to the heart of the city, the architect’s vision was for a hub where every visit leads to new discoveries and experiences.
Named “The Hill,” the competition-winning scheme is defined by a sloping green roof, hosting artwork, pavilions, trees, and an outdoor theater. Beneath the roof, a structure named “The Cube” contains permanent exhibitions and collections, and establishes a link between the museum and Blue Pond Park beyond.Courtesy of Riken Yamamoto & Field Shop Courtesy of Riken Yamamoto & Field Shop
Protruding from the roof, multipurpose “box” structures offer commercial space for exhibiting and selling artwork, linked by a gentle ramp weaving across the hill. As the incline meets a public art plaza, embedded seating offers viewing positions for interested spectators.Courtesy of Riken Yamamoto & Field Shop Courtesy of Riken Yamamoto & Field Shop
In an urban context, the scheme seeks to create a hub connecting the city’s transportation and entertainment sectors. Anticipating a growth in demand for artists’ residences and shops following the museum’s completion, the scheme seeks to introduce an urban grid for future development.Courtesy of Riken Yamamoto & Field Shop
For the scheme’s design, Riken Yamamoto & Field Shop worked in collaboration with Joe Shih Architects, THR ARTECH, Ove Arum & Partners, Nagata Acoustics, and Izumi Okayasu Lightning Design.
News via: Riken Yamamoto & Field Shop
In 2016, Newcastle-based artist Jimmy Turrell spotted a job-lot of 1,000 books on eBay and bought them on a whim. They belonged to the late father of the person who was selling them, and he later found out that they were just a day away from being thrown into a skip.
“My girlfriend at the time wasn’t too impressed,” he jokes about the day the delivery van arrived with boxes and boxes of books. It took him over a year to sort through them and decide what to do with them – and he is no longer with the girlfriend in question.
Selecting the best of the books, which range from 1920s skiing manuals to vintage scrapbooks of the Norwegian royal family, the artist designed images and quotes to reference memory and rebirth and printed these over the books, combining what he printed and what he printed on fairly randomly.
The result is spectacular. Unforsaken Part 1 is the first exhibition of the work he has made from the books, and he describes it as very much a work in progress – hence ‘Part 1’.
The randomness of his process created some poignant results, such as the wartime image overprinted with the quote “The only real freedom is freedom from fear.”
The work was exhibited as part of Newcastle’s Design Event in an installation created by the artist using a similar approach of montage and overlaying images to create a backdrop for the artworks.
“It’s about finding beauty in discarded things,” he says. The next phase of the project will involve collaborating with other artists who will add to what he has started.
Jimmy Turrell is a graphic artist and video director, who studied at Central St Martins School of Art in London. He was creative director on the latest Beck album (above) and has worked for the New York Times, Guardian and Adidas.
- Architects: GDE Grupo Diseño y Espacios
- Location: Barranca del Muerto 561, Merced Gómez, 01600 Ciudad de México, CDMX, Mexico
- Architects In Charge: Rene Alberto Sinta Muñóz, Sebastian Sinta Silva
- Collaborators: Ana Paulina Roldán, Daniel A. Díaz Torres, Daniel Morales, David Balbuena, Erick F. García Sinta, Mariel Sinta Ramos, Melissa Gallegos, Miguel A. Vega Ruíz.
- Area: 1253.0 m2
- Project Year: 2018
- Photographs: Angelica Ibarra
Text description provided by the architects. The set was developed along the property in two independent units perpendicular to each other to achieve better privacy, lighting and sunlight of each space; achieving in turn, units of totally free surfaces under the structural design from the foundation, embedded slabs and apparent concrete cartels. With the integration of these elements, a set with apparent finishes in its entirety is proposed, linking in the same way with the exposed facilities.Lower Plan
The set is maintained with a homogeneous image both inside and outside. In the main facade, a brick curtain of special proportions is integrated for its operation, which is used throughout the whole, with a mobility that allows the control of the solar incidence.© Angelica Ibarra
In the free floor by department private spaces are distributed through glass screens and ironwork, carpentry elements, closets and bookshelves; thus allowing 100% living the surface that forms it, generating versatility to create a space of more personalized uses.© Angelica Ibarra Third Floor Plan © Angelica Ibarra
The image of the whole both inside and outside was conceptualized with a criterion that expressed simplicity and cleanliness in order to generate a friendly space, casual with the environment and that together with the diversity of the homes inside, denote a practical and simple housing to live.© Angelica Ibarra
London-based Rogers Stirk Harbour + Partners has released the first images of their 1.4-million-square-foot (130,000-square-meter) commercial tower for Toronto, Canada. Having won an international competition for the design of “The HUB” in 2017, the RSHP scheme has progressed with the potential to become a dominant fixture on the Toronto skyline.The exterior of 30 Bay Street is driven by structural steel, transparency, and connectivity. Image Courtesy of RSHP
30 Bay Street has a unique and innovative structure which allows the building to hover above the Toronto Harbour Commission Building, creating a unique and harmonious relationship between the two buildings, and bringing a lively diversity to the downtown area.
– Graham Stirk, Senior Partner, RSHP
Located at 30 Bay Street in Toronto’s South Core, “The HUB” will feature column-free office space and the potential for multi-story atria, with an exterior driven by structural steelwork, transparency, and connectivity to the existing urban fabric.
I am delighted to be working with Oxford Properties on our first Canadian high rise in Toronto. The 30 Bay Street site provides an excellent opportunity to continue strengthening the urban linkage and public realm between the downtown core and the waterfront.
– Richard Paul, Partner, RSHP
News via: Rogers Stirk Harbour + Partners
- Architects: ENORME Studio
- Location: Plaza de Santa Maria Soledad Torres Acosta, 28004 Madrid, Spain
- Project Year: 2018
- Photographs: Javier de Paz García, Luis Alda
- Collaborators: Construcción CARRSA / energía solar e interactividad CREÁTICA
- Gardening And Landscape: Greener and the Other Side
- Client: MINI España / MINI Hub
- Context: Madrid Design Festival
Text description provided by the architects. Every day we all become increasingly aware of the need to improve our habits and the collective awareness about our environment, although nonetheless our cities—gigantic and vast—are often far from reflecting this change of paradigm. It is urgent that, as citizens we contribute, along with different players like designers, public institutions, brands… and to start to collectively rethink new collective visions for our cities, which can regenerate the urban landscape in a way cohesive with people and their environment.© Luis Alda
For this reason, MINI and Enorme Studio, a young design firm specialising in the public space and participative dynamics is making an original proposal, with an installation situated in the mythical Plaza Santa María Soledad Torres Acosta in Madrid. This installation, in addition to being a meeting point for design and the city, will concern itself with the use of renewable energies. It will have USB charging points and reading points lit by solar energy, as well as the possibility to charge devices with the kinetic energy generated by movement. This new habitable and efficient equipment will try to work on the most pressing challenges of daily life.Scheme Scheme Scheme
For over a year MINI has been in the Malasaña neighbourhood with its space open to creativity, the MINI Hub, which is now opening up to the outside with this installation. The inside will be invaded by meetings between designers who are rethinking new ways of making a city: city furniture workshops entitled Bench a Day, which will develop new ideas for urban benches; talks on interactive urban stages; new public space laboratories; and talks-debates on how cities of the future will be. All these activities will handle urban design and the city as their main topic to work on in a collaborative, trans-disciplinary and intergenerational way.© Javier de Paz García
Montaña en la Luna represents an opportunity to experiment based on the idea of a designer office and portable architecture, on the street and close to users, with which any and all new proposals for cities of the future must be co-designed. This new endeavour by MINI is framed within its objective of improving urban life, contributing to a rational use of resources and maximising the motto ‘Creative Use of Space’ inherent to the brand’s DNA.© Javier de Paz García
- Architects: Poggione + Biondi Arquitectos
- Location: Cieneguilla, Peru
- Architects In Charge: René Poggione Gonzalez, Susel Biondi Antúnez de Mayolo
- Collaborators: Manuel Chau, Vincent Jullierat, Violeta Córdova
- Area: 339.0 m2
- Project Year: 2011
- Photography: Juan Solano Ojasi
- Constructor: Juan Díaz
- Woodwork: Maderable - Gustavo Troll
- Structure: Iván Izquierdo
- Sanitary Facilities: Roger Salazar
- Electrical Installations: Jaime Trujillo Vidal
Text description provided by the architects. This is a house where Miesian influence, a fascination for Richard Neutra’s Kaufmann House, and typical Peruvian as well as Argentinian country house style, are clearly recognizable. It is made up of a main gallery, a patio, living and social rooms and the bedrooms, all as open, side by side, unconnected spaces.© Juan Solano Ojasi
Finally, but at the beginning of everything, is the landscape -on which the house is poised like a butterfly in the fields- and which gives form to and mutually composes with the architecture of the house.© Juan Solano Ojasi General Plan © Juan Solano Ojasi
The house is made of steel and glass, as well as wide concrete walls reminiscent of tapia mud walls, which counterpoint the house without touching it. Its light roofing gives a frame for the distant mountain and tree views.© Juan Solano Ojasi
The lines created by the house, which resemble planting rows, generate different angled views and landscape vistas from every interior space.Main Elevation
Three intersecting areas make up the house. The first section contains the social area, which has a view out onto the main garden. The second section contains the main bedroom with views of a Japanese style garden, because the owner lived for many years in Japan; and the third section houses the secondary bedrooms and service areas, which look out onto a back garden.© Juan Solano Ojasi
There is a half-moon shaped building in addition to the main areas of the house. It is the security guard’s quarters and its western front is made of gabions which allow for the view, but shield the home from the sunset.© Juan Solano Ojasi
Visual and thermal protection was created with landscaping at the entry to the home, where medium and large trees were planted to the south side, so as to create natural shade and cover to the parking area.© Juan Solano Ojasi
There are different types of vegetation that provide cooling shade for the garden and living spaces, including jacaranda, olive, and Andean molle trees.© Juan Solano Ojasi
For some practitioners of architecture, the insatiable desire to draw everything, from the largest to the smallest to take full control of the project, echoes the famous phrase uttered by Mies Van Der Rohe: "God is in the details." Similarly, designing furniture provides another creative outlet for in-depth exploration of human-scale works of architecture.
Throughout the history of the Brazilian Architecture, and especially since the modernist movement, architects not only became known for their building designs, but also for their detailed chairs and tables. Several of these pieces of furniture were initially designed for a specific project and then went into mass production due to their popularity.
In this impressive list of works, chairs and armchairs stand out for their incorporation of structural and technical-constructive qualities, materiality, ergonomics, and aesthetic lightness. Other pieces featured show the re-tooling and re-thinking of bars, carts, sideboards, tables, and other objects.
Here are some of the most well-known and esteemed design objects created by Brazilian architects.
Poltrona DorivalPoltrona Dorival_Arthur Casas. Image © Fernando Laszlo via Dpot (Divulgação)
Aparador OndaAparador Onda_Arthur Casas. Image © Fernando Laszlo Cortesia Etel Interiores
Cadeira BrisaCadeira Brisa com braço_Carlos Motta. Image Cortesia de Dpot
FGMF + Estúdio Paulo Alves
Cadeira FarofaCadeira Farofa_FGMF + Estúdio Paulo Alves. Image © Lucas Rosin
Nóize ChairCadeira Nóize_Guto Requena. Image Cortesia de Guto Requena
Carrinho bar Totócarrinho Bar Totó_Isay Weinfeld © Fernando Laszlo. Image © Fernando Laszlo Cortesia Etel Interiores
Aparador IsayAparador Isay_Isay Weinfeld © Fernando Laszlo. Image © Fernando Laszlo Cortesia Etel Interiores
Carrinho de chá JZCarrinho de Chá_Jorge Zalszupin © Fernando Laszlo. Image © Fernando Laszlo Cortesia Etel Interiores
Poltrona DinamarquesaPoltrona Dinamarquesa_Jorge Zalszupin. Image © Fernando Laszlo Cortesia Etel Interiores
Mesa AndorinhaMesa Andorinha_Jorge Zalszupin. Image © Fernando Laszlo Cortesia Etel Interiores
Lina Bo Bardi
Cadeira GirafaCadeira Girafa_Lina Bo Bardi. Image © Nelson Kon
Cadeira Beira de estradaCadeira Beira de estrada_Lina Bo Bardi. Image © Nelson Kon
Cadeira Isa d’aprés sizaCadeira Isa d’aprés siza_Marcenaria Baraúna. Image Cortesia de Dpot
Cadeira FilóCadeira Filó com braço_Marcenaria Baraúna. Image Cortesia de Dpot
Oscar Niemeyer + Anna Maria Niemeyer
Chaise Longue RioChaise Longue Rio_Oscar Niemeyer. Image © about-furniture
Cadeira Oswaldo BratkeCadeira Oswaldo Bratke © Fernando Laszlo. Image © Fernando Laszlo Cortesia Etel Interiores
Paulo Mendes da Rocha
Poltrona PaulistanoPoltrona Paulistano_Paulo Mendes da Rocha. Image Cortesia de Dpot
Mobiliário Sesc 24 de Maio - Paulo Mendes da Rocha + MMBBMobiliário Sesc 24 de Maio_Paulo Mendes da Rocha. Image © FLAGRANTE
Mesa de centro ZuMesa de centro Zu_Ruy Ohtake. Image Cortesia de Dpot
Poltrona RampaPoltrona Rampa_Sérgio Bernardes. Image Cortesia de Dpot
Poltrona MolePoltrona Mole_Sérgio Rodrigues. Image Cortesia de Dpot
Coleção Próteses e EnxertosColeção Próteses e Enxertos_Studio MK27. Image © Reinaldo Coser
Cadeira PreguiçaPoltrona Preguiça_Vilanova Artigas. Image Cortesia de Acervo Família Artigas
Cadeira Zanine NCadeira Zanine N_Zanine Caldas. Image Cortesia de Dpot
Poltrona CucaPoltrona Cuca_Zanine Caldas. Image
After countless late nights designing in studio, facing the critics, laying out (and re-laying out) your portfolio, finally convincing someone to hire you, and working 50+ hour weeks... you’re still not an architect. Welcome to the examination portion of your professional journey, folks.
Beginning a multi-division examination with pass rates in the 50-60% range is a seriously daunting task. That’s without even mentioning the overwhelming amount of study materials and opinions floating around in cyberspace. Never fear, ArchDaily is here to help you navigate the tools and techniques available to you when cracking open the books and (hopefully) passing your first exam.
Timing: It’s Personal
While some think it’s best to start the Architect Registration Examination (ARE) immediately after graduation while still in “study mode,” others believe you need experience to pass. Ultimately, it’s personal. If you don’t want to study, you won't. There will always be an excuse not to take the tests, so find what motivates you. Maybe it’s the pay raise, the job security, the respect—maybe it’s simply peer pressure. Whatever your motivation, set your goal and make it happen. For me, there’s nothing more motivating to study than just scheduling a test and shelling out that $210 (soon to be $235) in advance.
NCARB Isn’t Keeping Any Secrets
If you want to know about a building, who is the best person to ask? The architect! With this logic, the National Council of Architectural Registration Boards (NCARB) should be your number one resource for all things ARE, as they are the “architects” of the exam. Their latest version of the test, ARE 5.0, includes 6 divisions:
- Practice Management
- Project Management
- Programming & Analysis
- Project Planning & Design
- Project Development & Documentation
- Construction & Evaluation
To find out more about each, you can go to the NCARB Website where they provide guidelines, test specifications, a handbook, video series, helpful blog posts, and even an ARE 5.0 Community with online discussions related to the exams. In their handbook, NCARB lists the specific materials they used to create the exam questions. However, reading each and every one of these recommended resources would be an inefficient way to study. And that’s where test prep publishers come in.
No Study Guide Is Perfect
Every test candidate, and test prep publisher, is different. There’s no “magic pill” for passing the AREs. Michael Riscica, author of Young Architect, and inventor of ARE Boot Camp, offers his ultimate list of study materials. Riscica’s advice?
To effectively prepare for the ARE, you really need to use multiple publishers and cross-train with study materials, that way all the gaps in your knowledge get filled in.
Stop Studying Like a Student and Start Studying Like an Architect
These tests are not about memorization and regurgitation, they are about learning how to deal with complex problems that will arise in the profession. Just as you need to be prepared for a wide variety of issues as a professional, you need to prepare for any question or case study to arise on the tests. Figure out your learning style. Some people are able to sit down, read a book, and absorb all of the information. Others may need to fail a practice exam (or two) in order to understand how the material will be put into a question. Or maybe you need a study group to discuss topics with out loud.
You’re Not Alone
Every year, thousands of designers take the ARE. Some of them are your coworkers and old classmates. Ask around for advice and share resources. AIA Kansas City provided me with study materials, mentorship and camaraderies through their ARE Success Team program. Visit your local AIA chapter to see what resources they have available.
Don’t Be Afraid to Fail
Did you see those pass rates? It’s normal to fail. Failing an exam gives you feedback on how to pass it next time. The sign of true failure is giving up. On his website, Riscica discusses what he learned from his own failures and the common reasons people don’t finish the process.
At the end of the day, licensed architects are responsible for the health, safety, and welfare of the public. We all benefit from architects passing a series of difficult tasks before taking on that kind of responsibility. Studying for the AREs helps you realize the weight of what it really means to be an architect and how much more there is to learn about the profession beyond what was taught at a graduate level. Pass or fail, by studying for these 6 divisions you will be one step closer to understanding the world of professional architecture.
Last week, ArchDaily covered a story about the gender pay gap at Foster + Partners. We thought such a story was "unsurprising" given that the gender pay gap is something that is widely reported on, and present in almost every industry, and we wanted to share a case of it happening in an architectural firm many of us are familiar with. What we did not expect was that readers would think it is a non-issue, or that such reporting was sensational. Is it possible for us to talk about gender in the workplace without being up in arms? Why does the gender pay gap issue make people uncomfortable?
Some of our editors discussed how gender plays into their workplace experiences as well as some hopeful recent signs that we are on a path to change.
Joanna Wong: I think it’s important to first outline that the gender gap at Foster + Partners is a result of having less female representation in senior or managerial levels, rather than having women paid less for equivalent jobs that men do.
Pola Mora: I believe there are more and more discussions related to equality in women’s work conditions in a way that has not happened before. These new demands make people uncomfortable. It's like, "It has always been happening, so just let it stay that way."
Eduardo Souza: Right. People do not accept that things change, and so when someone confronts the gender issue, it's natural that people react in a sensitive way.
Joanna Wong: We've also been hearing a lot from male readers who perhaps have a more advantageous position in the working world over their female counterparts. If they have not experienced the same obstacles that women face in this profession, it's easier for them to say that the gender pay gap is nonexistent.
Eduardo Souza: And going back to what Joanna said, it is important to ask: Why do women not ascend professionally as much as men? Perhaps because they adopt other roles in their lives as well?
Joanna Wong: Domestic roles for sure.
Eduardo Souza: The thing is, I do not know if they put these roles above their career, or if it is a role left over for them, and they have no choice but to pick up these responsibilities.
Pola Mora: Well, that's a matter of discussion only if we put maternity in the equation.
Eduardo Souza: I've never felt gender affect me in the jobs I've had, maybe because I'm a man, but I've definitely heard stories of women being fired after returning from parental leave.
Joanna Wong: Men also have domestic roles, many are proud fathers. But women, at some point in their career, will be confronted with the choice of having a child or not. Bearing a child would mean being inevitably absent from work for months. During this time they would have to give up their time, wages, and opportunities.
Pola Mora: Stepping out of the child-bearing argument, women – mothers or not – simply do not have the same pay conditions. Some people say, "Your payment doesn’t reflect your talent, but your capacity for negotiation.” I think: "Things shouldn’t be like that!" That’s why I think transparency is essential when we want to talk about salaries across genders.
Joanna Wong: (laughs) Pola, I was going to say that too! When people move on to senior positions, their pay is more of a combined result of their past merits and negotiation skills.
Pola Mora: And that's when women have to put their "male suit" to go and negotiate "as an equal" with a man. That's why having women in higher positions could balance this inequality.
Joanna Wong: If we delve deeper into the gender pay gap issue, I think we can also see that it stems from problems within the profession of architects: the long hours, sleepless nights before competitions, years of education, and not-so-well-paid salary compared to other professions that also take years to advance. When considering their domestic roles, perhaps these women would opt for a more rewarding alternative.
Pola Mora: Here’s another thing. It is not related to payment, but to how men react to women at work. I know couples that work together, and when the male partner cannot go to surpervise construction, the workers ask the female partner "Lady, where is the architect?" And we all know situations in meetings where the only woman present is expected to serve coffee!
Eduardo Souza: Yes, I totally agree, women on construction sites need to fight way more than their male counterparts to be seen, heard, respected by the workers there.
Pola Mora: And then these things like the perception of co-workers can affect women later when they negotiate their salaries as well.
Joanna Wong: Yes. To do better, we’ll need more transparency.
Pola Mora: I believe all the public attention this issue has been getting can help to empower women architects at work. If female students cannot see enough women winning the Pritzker, giving lectures, running offices as CEOs, that’s a problem. How are they going to feel the drive to fight for an equal salary if they don’t see a space for them in the field?
Eduardo Souza: As it is, we definitely need to improve on representativeness and transparency.
Pola Mora: So hopefully transparency reports like this article about Foster + Partners can help women to know how much their counterparts are earning, right?
Eduardo Souza: Yes. And it helps men too. I believe that having awareness is a first step.
Joanna Wong: Having female architects represented in the media is fundamental to raising awareness. In addition to that, people in teaching positions should make sure that examples by female architects are included in the course material. It's important to have examples of female pioneers from the past, like the Woman's Building at the Columbian Exposition in 1893 by Sophia Hayden Bennett, and not just recent works by Zaha Hadid or Sejima of SANAA from the 21st century. They are important too, but we need a wider scope.
Eduardo Souza: Yes. In Brazil, the interest in the work of Lina Bo Bardi has been increasing as well, which is awesome. Like Sophia Hayden Bennett, she did not have the recognition she deserved in her time.
Pola Mora: Fortunately at ArchDaily we have a lot of super-qualified women in leadership positions. It’s a great place for me to work. And as a media organization, I think we have a huge responsibility to highlight these women. In the end, the media seems to be doing a lot of work putting these issues up for public debate. Come to think of it, this year’s Venice Biennale, the most relevant event for architects in the world, will be held by two women – Yvonne Farrell and Shelley McNamara of Grafton Architects, and a lot of countries have also chosen women to curate their pavilions! So hopefully we will find the space to continue the discussion.
Joanna Wong: We're starting to see the changes.
Pola Mora: Our efforts are finally seeing the light!
About the editors
Pola Mora is Head of Content at ArchDaily en Español since september 2013. She is an architect with a Master in Cultural Management from Universidad de Chile. Last year, she was one of the curators of Chile Biennale of Architecture “Diálogos Impostergables.”
Joanna Wong is an editor at ArchDaily China. She is in charge of bringing news and projects in China to a global audience. Prior to joining ArchDaily in 2017, she completed a BA degree in Architectural Design and Art History at the University of Toronto.
Eduardo Souza (Dudu) is an architect and urbanist. He graduated from the Federal University of Santa Catarina (UFSC) with a Master in Urban Planning from the History and Architecture Program at UFSC. Has been collaborating in ArchDaily Brasil since 2012, and is currently Editor of Architecture Classics and Articles.
- Architects: Reiulf Ramstad Arkitekter
- Location: Mandal, Norway
- Architect In Charge: Reiulf Ramstad Arkitekter
- Area: 7900.0 m2
- Project Year: 2016
- Photographs: RRA
Text description provided by the architects. The “Slippen” housing complex is located in the district of Lower Malmø, at the exit of Mandalselva in the Mannefjord. The town of Mandal has some very special qualities with its location where the river meets the sea, and a stunningly beautiful timber architecture. Lower Malmø on the eastern side of the river has historically been an industrial area, but this is currently under development and will in future become a vital part of Mandal's vibrant city life. The project is iconic with its unique roof forms and minimal window details, while at the same time evoking the character of the local surroundings, taking its inspiration from the unique character of Mandal: the encounter between timber construction and the open sea. The architecture is steeped in local vernacular building traditions, but with a new and modern interpretation.© RRA
The project organizes four residential buildings around a common outdoor area. A longer building is located to the north along Ballastgata. Towards the riverfront, there are three smaller residential buildings. These are generously spaced apart; providing ample visibility from all the apartments towards the ocean, as well as letting plenty of sunlight into the common outdoor areas.Site Plan
This first phase of the development contains 46 apartments divided into 16 different types. The size of the apartments ranges from 65m2 up to 175m2. All apartments have balconies and some rooms are double height mezzanines. All the penthouse apartments have private roof terraces. The project is fully in accordance with Norwegian requirements for universal design.© RRA
The buildings have traditional pitched roofs inspired by the local building traditions of southern Norway. The facades and roofs are clad in untreated cedar with balconies facing southwest. Great emphasis has been placed on the relationship between the outdoor spaces and the shared building functions. All the apartment layouts are highly effective and well organized, placing great emphasis on the provision of daylight, open views and good flow between the indoor and outdoor facilities. All drainpipes, door and window frames and other exterior components have been carefully designed to be as discreet and delicate as possible, which has given the houses a clean and sharp design language.© RRA
- Architects: SUPERVOID
- Location: Via del Corso, 305, 00186 Roma RM, Italy
- Architects In Charge: Benjamin Gallegos Gabilondo, Marco Provinciali
- Area: 190.0 m2
- Project Year: 2017
- Photographs: Giorgio De Vecchi - Gerda Studio
Text description provided by the architects. Palazzo Doria Pamphilj as we know it today is the result of at least five diﬀerent construction phases spanning four centuries. Through a process of successive agglomeration, the monumental complex finally became a unitarian urban block. The construction on the site along Via Lata - now Via del Corso - started with Cardinal Fazio Santorio’s tribune, which forms the first nucleus of the entire complex, built around the bramatesque courtyard from 1505 to 1507. The porch, whose second order later became the Gallery, remembers closely Bramante’s design for Palazzo Riario. For this reason, it was wrongly attributed to the latter by many authors.Palazzo Doria Pamphilj, Worm’s Eye Axonometric © Giorgio De Vecchi - Gerda Studio Plan
The Palazzo, owned by the Della Rovere family throughout the XVI century, was then sold to Cardinal Pietro Aldobrandini in 1601 who supervised the second construction phase which lasted until 1647. He commissioned the expansion of the Palazzo towards the Collegio Romano and built the two wings enclosing the “Giardino dei Melangoli”, designed by Pietro Moraldi. These interventions, not extraordinary in themselves, provided the base for the subsequent expansions and modifications by Antonio del Grande, Valvassori, Ameli and finally Andrea Busiri Vici.© Giorgio De Vecchi - Gerda Studio
In 1644 Giovan Battista Pamphilj, whose family was linked to the Aldobrandini, became Pope Innocent X, bringing great fortune to the house. Innocent, whose famous portrait by Diego Velázquez still sits Palazzo Doria Pamphilj, First ﬂoor plan in the Gallery, gave Antonio del Grande the task of transforming what was the result of heterogenous additions into an organic and rational structure. This was achieved through the insertion of a monumental vestibule on Piazza del Collegio Romano, which links the Santorio courtyard to the newly built apartments through a monumental staircase.© Giorgio De Vecchi - Gerda Studio Section of A. Busiri Vici’s Staircase Leading to the Apartment © Giorgio De Vecchi - Gerda Studio
The Palazzo had by then acquired a conspicuous scale and was ready to be filled with one of the most important art collections of baroque Rome. Andrea Busiri Vici, supervisor of the building throughout the XIX century was the author of the last addition, the wing of the building along Via della Gatta, where is located the intervention. The urban block was then completed with the same attitude that had guided the architects who came before him: giving an organic and finite form to a complex that never had an overall plan.© Giorgio De Vecchi - Gerda Studio
The western wing of Palazzo Doria Pamphilj was built between XVIII and XIX century to house rental apartments, and this is still today its main function. The project aims to establish an articulated and meaningful spacial sequence between the monumental common spaces of the Palazzo – such as the spacious staircase leading to the apartment – and its interior. This is achieved through the creation of a vaulted space, which welcomes the guests and at the same time provides a soft diﬀused lighting.© Giorgio De Vecchi - Gerda Studio
The relationship between the baroque articulation of the palazzo and the project is merely spatial since the intervention is quite silent and stripped bare of any stylistic or trivial connotations. The suspended setting resulting from the combination of abstract white surfaces and a soft diﬀused lighting provides a silent background for the mise-en-scène of the client’s collection of objects and paintings. The space is further articulated through the use of mirrors which reﬂect the vaults and alter the perception of the masonry load-bearing walls. This introduces a tension within the regular and defined arrangement of the rooms around a light shaft.Model of the Interior Volumes
- Architects: AB CHVOYA
- Location: Vyborgsky District, Russia
- Area: 159.0 m2
- Project Year: 2018
- Photographs: Dmitry Tsyrencshikov
Text description provided by the architects. This is a house for the family of two artists in Roschino, sixty kilometers from Saint-Petersburg. The house is located on the edge of a settlement, just by the forest. The plot is a bit sloped, it is completely covered with conifer trees and has two anthills on it. The position and dimensions of the building are predefined by the environment. A long narrow volume of the house is placed in such a way that it preserves all the flora and fauna of the site.© Dmitry Tsyrencshikov
The house is 30 by 5.5 meters in size. It consists of a studio and a residential part separated by a transit porch. The residential part consists of an entrance area, a kitchen-living-dining area, two bedrooms for children and guests and a master bedroom. Sleeping places in small rooms are located on the mezzanine. Above the master bedroom, in an only protrusion, there is a space for yogic meditation.© Dmitry Tsyrencshikov Floor Plans © Dmitry Tsyrencshikov
Following the plot’s slope, the floor level rises from the workshop to the bedrooms, while the roof level is set constant. The roof slopes to the south, so as to provide northern exposure to mezzanines in the bedrooms and the studio. The exterior of the house is faced with carbonized wooden planks.© Dmitry Tsyrencshikov
- Architects: HII Architects
- Location: No. 420, Section 2, Shulin St, South District, Tainan City, Taiwan
- Executive Designers: Jing-Yuan Hu, Kao-Chun Huang, Bin-Chuan Lai, Chia-Hern Wei
- Lighting Designer: Bo-Kuan Wu
- Visual Design: block design Block.tw
- Area: 364.0 m2
- Project Year: 2016
- Photographs: MD Pursuit
Text description provided by the architects. This is the first project of HII Architects all the way from bran image concept, space design to physical service design. “Design is to create more chances for people to experience”, it is the start of our imagination to young and unknown backpacking travel. We try to create a field with local interaction, living experiences, through of essential life and skip from general model of temporary relationship among traveler, travel and hotel.© MD Pursuit
The original building of this project is a common 5-floor house of 60's in Taiwan. It was a traditional dental clinic at the beginning and became a cram school in past 2 decades. The business has been suspended over years. We found there are all kinds of cram school propaganda left on the wall and bold cross application of large snake pattern tile and white marble on floor usually seen at prosperous time of Tainan. There is fashion bank warehouse in front and large areas of old Tainan Judicial Dormitory in back (now the Blueprint Cultural & Creative Park), such unique special tempo encountered at urban environment has attracted us deeply from the very beginning.
Being the design party as well as an operator, the team is highly free to create overall design and therefore the considerations in all circles could be more complete.© MD Pursuit
The initial target was mainly focus on bold experiment to go deep into eating, clothing, living and transportation. The concept of “Hub” is adopted to connect art, culture, building and living, exploring local fun of living and creating diversified happy life experiences. These abstract thoughts were a start which we had never tried before. This concept is not only about life, the core concept is to proceed from oneself. As a “worker moving to south”, the aspect of life is not just simple living, the travel to and from Tainan and Taipei brings the imagination of space in the future.© MD Pursuit
In the design process, it launches from abstract eating, clothing, living and transportation and then extends to all details like space, materials, plants, lights and textiles. It is hoped that users may notice and fell the details distinguished from other hotels.Plan
From the extension of travel worker moving to south, we use middle floor as common working space to connect the leisure space upstairs and entertainment space on ground floor. We try to use large working table at relatively open space as much as possible to the hope that workers here may have connection with other travelers. The beautiful patio on second floor allows green environment extend across outdoor and indoor. It is good place for cowork, exhibition and lectures. 1F is designed as café and experimental kitchen. The rear lane is opened and connected directly with Judicial Dormitory Group in the back. It not only has good air and light circulation, but also extends the lines of urban city allowing people to get close with this space. 3-5 floors are centered on “simple travel life”. We pull the protruded balcony back and design for the lavatory and flowerbed in room. Imagine the comfortable sunshine in southern country brought in every morning. There is open hole on slope roof of top floor to get natural sunshine.© MD Pursuit
With limitation of narrow space in original building, we extend the light at space by using the features of glass brick. The space between staircase and room is not only extended via the transparent wall, but also further confuse the boundary between room and balcony to show the dramatic tension.© MD Pursuit
Just like “happy life and slow down”, the space atmosphere expected by the team, we use the most simple material to keep more imagination to the future. It is hoped that future travelers and the owner may invest and stimulate more vitality and imagination.© MD Pursuit