Oak Grove / Justin Mallia


© Shannon McGrath

© Shannon McGrath


© Shannon McGrath


© Shannon McGrath


© Prue McMillan


© Shannon McGrath

  • Building Surveyor: BSGM Pty Ltd
  • Structural Consultant: Beauchamp Hogg Spano
  • Landscape Consultant: Urban Initiatives
  • Hydraulic Consultant: CR Knight & Associates
  • Land Surveyor: Terrain Consulting Group
  • Planning Consultant: Nicholson Planning and Development
  • Builder: Ducon Pty Ltd

© Shannon McGrath

© Shannon McGrath

From the architect. Oak Grove is a development driven venture.  Between a detailed client brief laden with ideas about visual style, and the site located in an eclectic Australian suburban context, the architecture negotiates a meaningful contemporary response within highly saturated physical and conceptual parameters.


© Shannon McGrath

© Shannon McGrath

For cost efficiency the project involves two identical rectangular houses placed at ninety degrees to one another creating a garden setting that brings the feeling of the large street trees into the site.  Each house has the same folded front façade derived from the site’s slightly angular orientation to north, with different alternate facets protruding, openable, glazed or solid, giving all habitable spaces flexible cross ventilation, north orientation and connection to outside.  With each façade designed to be suitable at two different orientations, the resulting appearance from the street is a series of differently folded shifting patchwork elevations rather than two identical buildings alongside one another.


© Prue McMillan

© Prue McMillan

Lower Plan

Lower Plan

© Shannon McGrath

© Shannon McGrath

The project procures a sense of value through the expression of inexpensive materials according to their attributes and the amplification of the detail and craftsmanship inherent in the use of these materials which are usually ignored or concealed.  Both inside and out, the entirely timber framed structure is also exposed in places, enrichening the multilayered architectural textures, rhythms and scales of the buildings.  These patchwork assemblages are accordingly integral to the building fabric, with interior compositions tailored to the immediate purpose of the interfaces to each space.


Upper Plan

Upper Plan

Almost all surfaces of the project are coloured white.  This combines them with a sense of unity in themselves and identity in an overwhelming context of different influences, while the sensitive consideration of the transparency, gloss levels and weathering of coatings, accentuates the subtly rich façade composition, heightens the perception of the careful detailing and enables a delightful engagement with the filtering light and shadows of the trees.


© Shannon McGrath

© Shannon McGrath

With the uncertainty of how a development project will be occupied, this scheme is an environmentally sensitive, flexible and tactile background for living that unashamedly but humbly fits in with and shares the aspirations of its client and context.


© Shannon McGrath

© Shannon McGrath

Product Description.  A major principle of the project is the expression of everyday construction methods in a manner that exposes and expresses the inherent craftsmanship within them that is usually concealed or ignored.  Two different variations of ”Shadowclad” exterior plywood cladding are used in combination with different arrangements and rhythms of battening that are actually an amplification of the use of straight forward coverstraps at joints.  This exposes the normally ignored craftsmanship of standard timber panel construction methods to give an impression of customised detail and quality.  Integrated within the same overall patchwork facade appearance, exterior plywood is designed into sliding and shifting insulated panels that form the flexible, folded sections of the custom designed façade system.

The natural wool light fittings are hand crocheted by my mother.  In a project that is coloured almost entirely white, these soft, natural fittings filter light and are tactile objects in themselves.  They continue the white colour of the project and contribute to the multilayered variances in rhythm, texture and material that is achieved through the patchwork surfaces of the building.


© Shannon McGrath

© Shannon McGrath

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SANAA’s Zollverein School of Management and Design Photographed by Laurian Ghinitoiu


© Laurian Ghinitoiu

© Laurian Ghinitoiu

SANAA’s Zollverein School of Management and Design in Essen, Germany, is a perfect 35 meter-cube. The building’s dominant presence, which is particularly striking amid its suburban context, extends to the interior spaces. The architects felt “that exceptional ceiling heights were appropriate for the educational spaces, particularly for the studio level that occupies an entire slab of the structure.” Indeed, this production floor is “an unusually lofty and fully flexible space,” enclosed only by the external structural walls. Photographer Laurian Ghinitoiu has visited the building, which was completed in 2010, to capture a fresh view on this seminal project.


© Laurian Ghinitoiu


© Laurian Ghinitoiu


© Laurian Ghinitoiu


© Laurian Ghinitoiu


© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

© Laurian Ghinitoiu

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Showroom Riccó Façade / SuperLimão Studio


© Maíra Acayaba

© Maíra Acayaba


© Maíra Acayaba


© Maíra Acayaba


© Maíra Acayaba


© Maíra Acayaba

  • Architects: SuperLimão Studio
  • Location: Av. Brasil, 1300 – Jardim America, São Paulo, Brazil
  • Project Team: Lula Gouveia, Thiago Rodrigues, Antonio Carlos Figueira de Mello, André Sauaia, Ana Carolina Bryn
  • Execution Mangment: ANF Engenharia
  • Aluminium Plates: Riccó
  • Project Year: 2016
  • Photographs: Maíra Acayaba

© Maíra Acayaba

© Maíra Acayaba

SuperLimão Studio was invited by Riccó to develop a design to their new space facade in São Paulo (Brazil). With the aim to provide more visibility and convey attributes linked to a century corporate furnitures brazilian brand, the big challenge was to build a new facade to a preexisting building located in one of the most important avenue in the city. 


© Maíra Acayaba

© Maíra Acayaba

Riccó is located in an important corner of Avenida Brasil. The new store position helped to establish some of the most important concepts of the brand, such as tradition and precision of its production. After several materials, composition and volume studies, SuperLimão chose a metallic wrap element.  The metallic wrap referes to the tradicional Origamis and was mainly inspired by the Miura-Ori model, created by the Japanese astrophysicist Koryo Miura. The project used approximately 600 pieces in composite aluminum plates, developed inside Riccó industrial structure.  


© Maíra Acayaba

© Maíra Acayaba

SuperLimão designed a base structuring grid that was repeated sequentially covering the all surface. In the entire facade – 33 meters length in front side – only two forms were used, lozenges and triangles. Also, some different colors and textures were used, gray or withe, perforated or plain. 


Section

Section

Façade

Façade

The opening have the depth of 70 cm and permeates two still faces in both corners. The store entrance links this two windows and turning the facade in to one peace. This space fills the function of exposing various lines of securities of Riccó.


© Maíra Acayaba

© Maíra Acayaba

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15 Finalists Selected for the 2016 Art of Building Photographer of the Year Award


"The Hive". Image © Marco Grassi

"The Hive". Image © Marco Grassi

Fifteen stunning images from top photographers around the world have been selected as finalists of Chartered Institute of Building’s (CIOB) 2016 Art of Building Photographer of the Year competition.

With subjects ranging from the windswept wonderland of an empty New York City to a rapidly changing Tibetan hillside village to a dreamy shot of Foster + Partners’ Swiss Re Headquarters ( a.k.a. “The Gherkin”) this year’s entries constitute a “cornucopia of styles and stories,” says CIOB spokesman Saul Townsend.

Selected by a panel of judges that included professional photographers, editors and communicators, the fifteen finalists will now compete for the grand prize, which will be selected by reader vote on CIOB’s Art of Building website. Check out the photographs below and remember to vote before January 23, 2017. The winner will be announced on February 7.


"Overlook". Image © Jonathan Walland

"Overlook". Image © Jonathan Walland

Photograph title: Overlook
Photographer: Jonathan Walland
Photo was taken: London, UK
Camera used: Nikon D7100
Photographer’s description: This is part of a series of photographs demonstrating how the absence of light can be used to divert the attention of the observer towards what the photographer intended to highlight.


"Coast Minimalism". Image © Senad Tahmaz

"Coast Minimalism". Image © Senad Tahmaz

Photograph title: Coast minimalism
Photographer: Senad Tahmaz
Photo was taken: Supetar, Croatia
Camera used: Nikon D90
Photographer’s description: Unusual, minimalistic view of the architecture detail.


"Control". Image © Roman Robroek

"Control". Image © Roman Robroek

Photograph title: Control
Photographer: Roman Robroek
Photo was taken: Hungary
Camera used: Canon EOS650D
Description: This beautiful control room is one of a kind and built in a beautiful art-deco style.


"Flatiron Building in a Snowstorm". Image © Michelle Palazzo

"Flatiron Building in a Snowstorm". Image © Michelle Palazzo

Photograph title: Flatiron building in a snowstorm
Photographer: Michelle Palazzo
Photo was taken: New York, USA
Camera used: Ricoh GR
Description: New York City’s iconic Flatiron building emerges from the blizzard like the bow of a giant ship plowing through the wind and the snow. Taken during the historic coastal storm “Jonas” on January 23rd, 2016 the photograph went viral during the aftermath of the storm.


"The Turbo Dandelion Wind Farm". Image © Derek Snee

"The Turbo Dandelion Wind Farm". Image © Derek Snee

Photograph title: The Turbo Dandelion Wind Farm
Photographer: Derek Snee
Photo was taken: Northumberland, UK
Camera used: Fuji X-T1
Description: Imagine if we could use plants to harvest wind! Well now we can. Ladies and gentlemen, girls and boys, I give you ‘The Turbo Dandelion Wind Farm’!


"People's Friendship Arch". Image © Oleksandr Nesterovskyi

"People's Friendship Arch". Image © Oleksandr Nesterovskyi

Photograph title: People’s Friendship Arch
Photographer: Oleksandr Nesterovskyi
Photo was taken: Kiev, Ukraine
Camera used: Canon 450D
Description: The photo shows the combination of nature and architecture, the harmony in combination of titanium arch height of 30 meters and a tree.


"He and the Bridge". Image © Oleg Dashkov

"He and the Bridge". Image © Oleg Dashkov

Photograph title: He and the bridge
Photographer: Oleg Dashkov
Photo was taken: Riga, Latvia
Camera used: Canon EOS 60D
Description: ‘Riga’s Tower Counter’ keeps his records during any season rain or shine, wet or fine. Is he distracted by the beauty of the cable bridge I wonder?


"Changing Landscape". Image © Barbara Rossi

"Changing Landscape". Image © Barbara Rossi

Photograph title: Changing Landscape 1
Photographer: Barbara Rossi
Photo was taken: Sokhna, Egypt
Camera used: Nikon D810
Description: I took this photo in deconstruction, it shows transformation, action and beauty.


"Sancaklar Mosque 2". Image © Bulent Suberk

"Sancaklar Mosque 2". Image © Bulent Suberk

Photograph title: Sancaklar Mosque 2
Photographer: Bulent Suberk
Photo was taken: Istanbul, Turkey
Camera used: Nikon D700
Description: Modern architecture as a non-traditional mosque.


"Purelife". Image © Shibasish Saha

"Purelife". Image © Shibasish Saha

Photograph title: Purelife
Photographer: Shibasish Saha
Photo was taken: West Bengal, India
Camera used: Nikon D3300
Description: In this frame men as well as women are working very hard to feed their individual families. Women forget their pain and work alongside the men in a brick field.


"The Hive". Image © Marco Grassi

"The Hive". Image © Marco Grassi

Photograph title: The Hive
Photographer: Marco Grassi
Photo was taken: Larung Gar, Tibet
Camera used: Canon 5D Mark III
Description: Since June 2016, everything has changed in Larung Gar, but almost nobody knows about that. What before was the largest Buddhist settlement in the world and a remote place out of the modern society where nuns and monks led a passive life, is now being demolished by Chinese authorities.


"The Gherkin". Image © James Tarry

"The Gherkin". Image © James Tarry

Photograph title: The Gherkin
Photographer: James Tarry
Photo was taken: London, UK
Camera used: Sinar 4X5
Description: This series is about looking past imperfections and ‘incorrect’ architectural photography techniques. They are created using a 4×5 technical film camera by forcing the perspective and focus. The expired Kodak Ektachrome is then developed in the ‘wrong’ chemicals to produce these big slabs of often other worldly colour. These are flawed and hopefully challenging, just like some of the buildings themselves.


"Peacock". Image © Gina Soden

"Peacock". Image © Gina Soden

Photograph title: Peacock
Photographer: Gina Soden
Photo was taken: Italy
Camera used: Nikon D800
Description: A fine example of Moorish architecture – but in a castle in Italy. These rooms were all hand designed and painted by one man who had a vision to build this beautiful castle and open it as a hotel.


"Elevation". Image © Naf Selmani

"Elevation". Image © Naf Selmani

Photograph title: Elevation
Photographer: Naf Selmani
Photo was taken: London, UK
Camera used: Fujifilm X-T10
Description: The Hive – Kew Gardens’ spectacular new bee-inspired sculpture seen from below as one of the visitor lays on the top glass floor to pose for pictures. This multi-sensory experience integrates art, science and landscape architecture.


"Jeporeka". Image © Enrique Gimenez-Velilla

"Jeporeka". Image © Enrique Gimenez-Velilla

Photograph title: Jeporeka
Photographer: Enrique Gimenez-Velilla
Photo was taken: Asunción, Paraguay
Camera used: Nikon D5100
Description: This photo seeks to pay homage to all the clever unknown workers that still build and maintain built infrastructure in the developing world. “Jeporeka” is a Paraguayan Guarani word that roughly translates into “make do”.

For more details on the competition and to vote, visit http://ift.tt/1G9yhkz.

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The Dream Factory / Studio Roosegaarde


© Willem de Kam

© Willem de Kam


© Willem de Kam


© Willem de Kam


© Willem de Kam


© Willem de Kam

  • Architects: Studio Roosegaarde
  • Location: Rotterdam, The Netherlands
  • Architect In Charge: Daan Roosegaarde
  • Area: 1000.0 m2
  • Project Year: 2016
  • Photographs: Willem de Kam

© Willem de Kam

© Willem de Kam

Dating from 1937, the derelict building, a former glass factory located near the Rotterdam harbour and 10 minutes from the Erasmusbrug, was about to be demolished until it caught Roosegaarde’s eye. 


© Willem de Kam

© Willem de Kam

Floor Plan

Floor Plan

© Willem de Kam

© Willem de Kam

The building of more than 1000m2 was renovated over the last year by Roosegaarde and his team of designers and engineers. Inspired by Roosegaarde’s fascination for the Dutch skies, its new design opens up the space to Dutch light to fully soak into its magic, transforming it into the dream lab of the 21st century. The main artery of the building is used for the building of prototypes and visible from the above offices and balconies at any time of the day.


© Willem de Kam

© Willem de Kam

The building’s main centre stage is malleable to its dream functions such as open lab sessions and educational activities. Special features include the dream library which houses an extended collection of antique and new books. Wall divisions in the space are made of glass enabling new ideas to be drawn on the walls directly as an open sketchbook inviting team members to contribute and develop concepts together. A unique laboratory is housed on ground floor, in the former garage, to cultivate live bio organisms in the dark. The furniture such as the team desks are directly inspired by large boats and float as islands into space. From the top floor the studio offices offer stunning views over the harbour and river as windows to the world.


© Willem de Kam

© Willem de Kam

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Plans Revealed to Transform Pier 26 into New Park along the Hudson River in New York


Rendering by OLIN Studio, via Tribeca Citizen. ImagePier 26

Rendering by OLIN Studio, via Tribeca Citizen. ImagePier 26

The Hudson River Park Trust has revealed plans to transform the 800-foot-long Pier 26, located on the Hudson River in the New York neighborhood of TriBeCa. Currently vacant, the pier is set to receive a new park designed by landscape architects OLIN Studio and a maritime education center designed by Rafael Viñoly Architects.

As shown in renderings published by Tribeca Citizen, the new park will include multiple landscaped areas interspersed with more actively programmed areas featuring playgrounds, forum seating and what appears to be a giant hammock for relaxing over the water. Not shown in the renderings is Viñoly’s design for the estuarium at the park, which will likely be located at the beginning on the pier along the West side highway. The total project is estimated to cost $30 million.

Check out plans and additional renderings for the project at Tribeca Citizen, here.

News via Tribeca Citizen. H/T NY Yimby.

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El Chalet / ISA


© Sam Oberter

© Sam Oberter


© Sam Oberter


© Sam Oberter


© Sam Oberter


© Sam Oberter

  • Architects: ISA
  • Location: Philadelphia, PA, United States
  • Architect In Charge: Brian Phillips, AIA, LEED AP
  • Area: 6500.0 ft2
  • Project Year: 2016
  • Photographs: Sam Oberter
  • Client: Crawford Group

© Sam Oberter

© Sam Oberter

As marginalized urban areas transition into desirable neighborhoods, seemingly problematic contextual elements like adjacent vacant land and elevated railroads can be treated as productive design constraints. Historically a divider, the elevated train line running along Front Street in Philadelphia’s Kensington neighborhood is becoming an attractor for new retail and nightlife.


© Sam Oberter

© Sam Oberter

This 6-unit apartment building shifts program to the long edge of a narrow site along the busy Frankford-Market elevated Blue Line in East Kensington, creating an interior façade facing an adjacent vacant parcel. A ground floor commercial space faces Front Street, activating the urban edge under the El.


Section

Section

As a reaction to the owner’s concern about living directly adjacent to the elevated train, the project emphasized an intimacy with the railroad that looked to turn a liability into a surprisingly novel asset.


© Sam Oberter

© Sam Oberter

Floor Plans

Floor Plans

© Sam Oberter

© Sam Oberter

With a roofline that connects the dots of a quirky zoning envelope, the elevation juxtaposes housing above with a storefront tucked underneath the elevated train line. The north-facing blank property line facade creates an opportunity for art and signage oriented toward viewers riding south on the train.


Detail

Detail

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Utrecht Central Station / Benthem Crouwel Architects


© Jannes Linders

© Jannes Linders


© Jannes Linders


© Jannes Linders


© Your Captain Luchtfotografie


© Jannes Linders


© Jannes Linders

© Jannes Linders

From the architect. The largest and busiest train station in the Netherlands is officially open. Utrecht Central Station was once built for approximately 35 million passengers per year. Currently 88 million people use the station annually. This number is constantly increasing and is expected to reach one hundred million passengers in 2030. Benthem Crouwel Architects has been involved in the development of the train station since 2003. Thirteen years later, the new public transport terminal that will house train, bus and tram platforms under one undulating roof, has opened.


© Jannes Linders

© Jannes Linders

One Integral Station Complex

Over the next two decades, the number of travellers to Utrecht Central Station year will grow to about a hundred million per year. Since the previous building could not handle the increasing amounts of passengers, Utrecht Central Station has been rebuilt – three times its original size – to one new integrated station complex, which regulates the transport of train, tram and bus. The station has become an autonomous building with two new city squares on both entrances, the side of the Jaarbeurs (convention center) and the city side. Next year, under the square on the city side, the largest bicycle parking facility in the world will be finished, accommodating 12,500 bicycles.


© Your Captain Luchtfotografie

© Your Captain Luchtfotografie

Undulation

During the design phase Jan Benthem and Mels Crouwel had the idea to design the original flat roof of Utrecht Central Station as a wave that radiates a dynamic movement and also functions as a natural way finder. Transverse to the tracks, in the longitudinal direction of the hall, the wave refers to the entrances and exits. The wave has three ‘undulations’: the highest above the train station, the lower ones on each side contain the tram and bus stations. The waves also represent the logical distribution of functions in the station. To receive more natural daylight in the terminal, glass skylights were designed, which also function as smoke hatches. The undulating movement is emphasized by the continuous LED lights on the ceiling. Thanks to the significant wavy shape of the steel roof – and a relative low-rise building (18 meters high) – the station is clearly recognizable among the neighbouring buildings and offices.


© Jannes Linders

© Jannes Linders

Model

Model

© Jannes Linders

© Jannes Linders

Lively Station

Located on one side of the station, there is a station promenade, a public street, which crosses the railroad tracks. Now a passer-by is able to move from west to east without having to use a ‘chip card’. Restaurants, shops, and a possible market gives this promenade the atmosphere of a real city street. Through large glass walls, serving as curtains hanging from the roof of 235 by 85 meters, the stations offers all kinds of stunning lookouts, to trains, tracks and expansive views of the city. The interior has a reserved allure and modest charm: it is the people, signage, vehicles and other typical additions that make the station alive and vibrant, and give colour and ambiance.


© Jannes Linders

© Jannes Linders

Cathedrals of a New Era

In a very short time, Dutch rail travel and train station surroundings have had an intensive makeover. Six central stations – Utrecht, The Hague, Rotterdam, Arnhem, Breda and Amsterdam South – are called the New Key Projects since 1997: projects where not only the train station is transformed (for the arrival of the high speed line, amongst others), but also the connecting surroundings around the station. This integrated approach to station and station environment reinforces the identity and vitality of the city. These new train stations are also referred to as ‘cathedrals of a new era’: public transport terminals that provide travellers and city dwellers with various comforts and functionalities in the area. The past few years, one after the other station has opened, manifesting themselves as ‘city buildings’ in five major city centers. The station is part of the urban fabric, with logical walkways and a better connection between different city districts. Utrecht Central Station is the penultimate station that is completed of the New Key Projects; after this Amsterdam South remains. Benthem Crouwel Architects is the architect of three out of the six New Key Projects: Rotterdam Central Station, The Hague Central Station and now… Utrecht Central Station.


Model

Model

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This Time Lapse Perfectly Captures the Days Leading Up to Your Final Review

Pablo Pinares has created a video with which all past and current architecture students can identify: a time lapse of the final hours before a studio review. Whether your architecture school days are behind you or you still have juries to look forward to, read on to revel in your school experiences with us.

1 – Finishing your model as the sun comes up
Not pictured: X-Acto knife injuries, running out of coffee, fires in the laser cutter.

//giphy.com/embed/9gLE8ngatuhri

via GIPHY

2 – Transporting your model to the studio space
The upside of camping out in the studio all night is an easy commute.

//giphy.com/embed/IxS9DH91VL0dy

via GIPHY

3 – Pinning up your work on the wall and preparing your presentation
Hope you’re assigned to the soft walls.

//giphy.com/embed/13qTf1E9DLAL0k

via GIPHY

4 – The review
After an intense semester of back and forth with your tutor, ideally, you’ll get some constructive feedback from a fresh pair of eyes. And if you’re like most nervous public speakers, this will be the most awake you’ve felt in days.

//giphy.com/embed/pFwO1YTCTNYWs

via GIPHY

5 – Recovery
You made it! Take a shower, pop some bottles, tell someone you love them. You deserve it.

//giphy.com/embed/NZCnnWbbXwZwY

via GIPHY

Producer: Pablo Pinares 
Protagonist: Andrés Chavez 
Model: Josseline Troncoso 
Collaborators: Eduardo Lagos, René Guarache, Rubén Vélez
Title of the Project: Centro intercultural Mapuche 
Tudor: Jaime García Molina 

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16 Materials Every Architect Needs to Know (And Where to Learn About Them)





A building’s materiality is what our bodies make direct contact with; the cold metal handle, the warm wooden wall, and the hard glass window would all create an entirely different atmosphere if they were, say, a hard glass handle, a cold metal wall and a warm wooden window (which with KTH’s new translucent wood, is not as absurd as it might sound). Materiality is of just as much importance as form, function and location–or rather, inseparable from all three.

Here we’ve compiled a selection of 16 materials that should be part of the design vocabulary of all architects, ranging from the very familiar (such as concrete and steel) to materials which may be unknown for some of our readers, as well as links to comprehensive resources to learn more about many of them.


© Kyoungtae Kim

© Kyoungtae Kim

1. Concrete

Concrete is the most widely used building material in the world, making it a good starting material to get to know. However it also has significant environmental impacts, including a carbon footprint of up to 5% of worldwide emissions. To get to know all about designing with concrete, the Concrete Center has a collection of useful reports, many of which are free with registration.


© Peter Larsson/KTH

© Peter Larsson/KTH

2. Wood

One of the oldest, most traditional building materials around the world is of course timber. The material is beginning to take on new forms thanks to engineered wood products, and with high-rise buildings and even translucent properties, this diverse material is being taken to new heights. reThink Wood has a great collection of resources to learn about, and help architects design with, wood.


© David de Jong

© David de Jong

3. Steel

The city skylines as we know them exploded out of our discovery of steel, commonly used for reinforcement but serving as a beautiful skin in several examples. The wiki SteelConstruction.info offers everything you could possibly need to know about designing with steel.


© Terreform ONE

© Terreform ONE

4. Plastic

Although this may seem like a cheap, unsustainable material to some, one should not be so quick to judge the possibilities that plastic holds. We produce so much of it; why not recycle it in the form of architecture or bioplastics? What about the whole new world that comes with 3D printing? The American Chemistry Council has a great overview of plastics as a material, as well as a rundown of their major uses in architecture, with links to further resources for each.


© Agnese Sanvito

© Agnese Sanvito

5. Stone

Another material used over generations in certain geographical locations around the world, stone has a wide diversity of textures, colours and strengths. Despite its heavy, solid materiality, one can still work with it to achieve diverse forms. The Building Stone Institute has a variety of resources including fact sheets and specification sheets for many of the most common types of stone used in construction.


Courtesy of Orkidstudio

Courtesy of Orkidstudio

6. Textiles

Textiles have been explored most commonly using tensile structures, however there’s a whole range of opportunities using this material: load-bearing chairs, inflatable spaces, fabric casting and wooden fabrics amongst others. Fabric Architecture Magazine has a collection of technical articles for architects, while their resource guide provides a comprehensive overview of the products on the market in this category.


© Maxin Schulz

© Maxin Schulz

7. Glass

Our most used material to achieve transparency and light is without a doubt glass, one of the most commonly used façade elements in contemporary architecture. Some are taking it a step further, attempting to extend its properties to create “intelligent” responsive glass. The PPG Glass Education Center is a great place to learn more.


Courtesy of ADAPt

Courtesy of ADAPt

8. Brick

Despite its rigid, rectangular shape made to fit in your hand, brick architecture has been shown to create beautiful structures with the right craftsmanship. Innovative thinkers are also finding new ways to incorporate active sustainability into the small building elements. The Brick Development Association has a collection of resources for learning more about brick.


via DuPont.com

via DuPont.com

9. Kevlar

A material stronger than metal body armor, with awesome tensile strength, Kevlar is certainly an asset when building large structures. With a less rigid composition than steel however, it could reform the way we think of large load-bearing structures. As a still-relatively-new material, there are few comprehensive information sources on Kevlar’s architectural applications, but this article and this snippet of the book Material Architecture by John Fernandez are good places to start.


Courtesy of PT Bambu

Courtesy of PT Bambu

10. Bamboo

Bamboo usage is generally dictated by the geographical location of the architectural project. In locations where bamboo makes sense, it is an incredibly flexible, strong, sustainable material that can be useful in many ways.


© Monica Nouwens

© Monica Nouwens

11. Carbon Fiber

Reflecting everything about our new material endeavors is carbon fiber: “five times stronger than steel, twice as stiff, weighing significantly less.” The composition of carbon fibre makes it flexible to work with, allowing it to take shapes from surfaces to rods, depending on your requirements.


via Inhabitat

via Inhabitat

12. Photovoltaic cells

With all the high-rises soaring high above the earth, it’s a wonder photovoltaic facades haven’t become a norm. Due to the evolution of photovoltaic technology, cells may no longer have to be locked in place on the roof. The International Energy Agency’s design handbook for photovoltaics in buildings is available for free online.


© Mahsa Masoudi

© Mahsa Masoudi

13. Earth

Earth is among the oldest building materials we can think of due to its almost universal accessibility and relative ease of use at small scales. It’s capable of being compressed into modules, as well as creating freeform surfaces, all of which can eventually return to the earth with ease.


via Al Jazeera English

via Al Jazeera English

14. Waste

We produce a huge amount of waste covering a huge range of materials, but getting to know your waste is an excellent idea for future architects. Whether it’s converting cigarette butts into building material or plastic bottles to earthquake resistant walls, recycling is something to be admired.


Courtesy of Karli Luik

Courtesy of Karli Luik

15. Straw

Creating a passive thermal environment, shielding from rain and blending into similar natural surroundings are just a few things that straw is good at. It’s no wonder thatched roofs were so popular in the past.


Courtesy of The Mediated Matter Group

Courtesy of The Mediated Matter Group

16. Organic materials

With the massive loss of habitats happening around the world, getting to know organic structures created by animals is something that’s best to do sooner rather than later. Not only can we learn from their use of materials, it also opens up opportunities for us to coexist through incorporating their organic materials into our architecture.

As with all materials, accessibility and cost plays a huge role. There are sure to be materials not on the list that would be the obvious option in certain parts of the world, so be sure to get to know the materials around you in addition to these and you’ll be sure to have a complete resource.

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