Arch Daily |
- Gardening Shop Strubobuob / Innauer-Matt
- Zaans Medical Centre / Mecanoo
- Bergaliv Landscape Hotel / Hanna Michelson
- Brick House / Architecture Paradigm
- Martin Rein-Cano Explains the Importance of Dynamism in Landscape Architecture
- Spotlight: Robert Venturi and Denise Scott Brown
- 29th Street Residence / Schwartz and Architecture
- Spotlight: Álvaro Siza
- New Digital-Physical Building Block System Aims to Make 3D Modeling Accessible to Children
- Salesian Community House / MSMR Architects
- This Satisfying Algorithm Combines Japanese-Inspired Joints to Generate Any Form
- Spotlight: Antoni Gaudí
| Gardening Shop Strubobuob / Innauer-Matt Posted: 25 Jun 2017 10:00 PM PDT  Courtesy of Innauer-Matt Architekten
 Courtesy of Innauer-Matt Architekten From the architect. Strubobuob is a shop for all things nice and useful around house and garden, located in a former workshop for the reparation of watering cans and other metal ware in the village of Bezau. To bring the business's two shops, one for gardening and one for tableware, together from two different locations, we were commissioned with the planning of a Gartenwerkstatt (gardening workshop): an addition to the original, recently renovated main building.  Courtesy of Innauer-Matt Architekten The small extension building in the main house's former garden and the old building now form a shared front yard. From here, a covered entrance area with wide shop windows leads into the shop. Gardening tools and décor are sold on the ground floor while home- and tableware have found a new home in the attic. Two-storey gables on both long sides of the house, a reference to surrounding buildings in the village, create a functional and exciting cross-shaped layout on the inside and a distinctive character on the outside.  Courtesy of Innauer-Matt Architekten  Plans  Courtesy of Innauer-Matt Architekten The interior space of the new extension building is characterised by raw surfaces, an exposed solid wood construction and simple details showcasing the craftsmanship of its builders. The few selected fixtures and the central staircase are made in black steel and take a back seat to the goods on offer. A solid spruce façade and solid fir on the inside walls, polished concrete floors with integrated heating and floorboards in ash wood provide a simple, yet striking space and refer to the building's origins as a workshop.  Sections The same idea is represented in the building's supporting structure. The pre-fabricated timber-frame construction is complemented by non-bearing insulated, foil-free elements in solid wood. All exterior walls and the building's bearing construction are made from solid wood. In order to keep the disruption of the business in the shop as short as possible, the building was pre-fabricated in a nearby timber construction company. A high degree of prefabrication allows for high-quality constructions at rather short assembly periods in the usually quiet winter months. As the construction site was very close to the carpentry, the upper floor was prefabricated in its entirety and installed on-site with a mobile crane.  Courtesy of Innauer-Matt Architekten  This posting includes an audio/video/photo media file: Download Now |
| Zaans Medical Centre / Mecanoo Posted: 25 Jun 2017 08:00 PM PDT  Courtesy of Mecanoo
 Courtesy of Mecanoo From the architect. Zaans Medical Centre is the first lean hospital in the Netherlands. It is an efficient and compact building in which professional healthcare and a personal approach strengthen each other. Architecture, urbanism, landscape and interior are brought together in a coherent design. Clear routing, an abundance of daylight, and positive distractions contribute to an environment that does not feel like a hospital, but as a place that promotes wellbeing.  Courtesy of Mecanoo Lean and future-proof  Courtesy of Mecanoo  First Floor Plan  Courtesy of Mecanoo  Section Sketch Positive distractions  Courtesy of Mecanoo Health district  Courtesy of Mecanoo  This posting includes an audio/video/photo media file: Download Now |
| Bergaliv Landscape Hotel / Hanna Michelson Posted: 25 Jun 2017 07:00 PM PDT  Courtesy of Hanna Michelson
 Courtesy of Hanna Michelson From the architect. Bergaliv Landscape Hotel has completed the Loft house (Lofthuset), the first out of four planned getaways on the hillside of Åsberget mountain in the north of Sweden.  Courtesy of Hanna Michelson  Details Section  Courtesy of Hanna Michelson The 33 foot tall house is constructed in two stories, 14 sqm each. The lower, a sheltered room in close relation to the surrounding forrest. The upper: a roofed outdoor space stripped from walls allowing an uninterrupted view over the valley below. The dualism of the site with its closeness to nature combined with the expansive view has set the rules for the small house and is expressed in the two contrasting spaces sharing the purpose of providing a sanctuary and a peaceful vantage point for the visitors. In attempt not to disturb the surrounding forrest, the house is lifted from the ground by a timber framework; a structure that continues through the building revealing itself again up on the loft.  Courtesy of Hanna Michelson  Section B  Courtesy of Hanna Michelson The interior of the house is minimalistic and raw intending to clear the room from unnecessary noise and at the same time invite light and space. The sleeping accommodations are arranged on futon mattresses that can be hung on the wall in order to free the room for daily activities. A wooden bench by the window works as a place for rest and reflection as well as seatings during mealtime.  Courtesy of Hanna Michelson The materials are mainly pale wood where the interior carpentry in birch plywood and ash partially allows the timber framework to come forward describing the structure of the house. The walls are insulated with flax fibers according to old nordic building traditions. The exterior materials are heart pine and spruce wood.  Courtesy of Hanna Michelson  This posting includes an audio/video/photo media file: Download Now |
| Brick House / Architecture Paradigm Posted: 25 Jun 2017 01:00 PM PDT  © Anand Jaju
 © Anand Jaju From the architect. Located in Mysore city in a municipal layout the site measures50 X 80 feet with the shorter side facing the road along the southern edge.  © Anand Jaju An L shaped plan form helps us organize the diverse programmatic concerns of a house for a family of four which is amalgamation of function and desires; individual vs collective, public vs private, formal vs informal, immediacy vs slowness, largeness vs intimate, openness vs security etc. The shorter arm along the east west direction houses the public spaces whereas the longer arm along the north south direction over two levels houses the more private needs of the house .The L shaped plan also helped us appropriate the unbuilt into an identifiable private rear courtyard or the outdoor room and the transitional forecourt addressing the street. The private courtyard can be seen as an anchor around which the house works. These spaces extend out into the this outdoor room which is treated as a pleasure garden punctuated with water, trees and decks encouraging informal engagement with the natural. Open spaces along the west is integrated into the longer arm blurring the boundaries between inside and the outside.  © Anand Jaju This organizational relationship of the built with the open spaces signifies our design intent of outdoors forming a integral and a crucial part of the living experience. Open spaces become counterpoints to the serial nature of the urban subdivided neighborhood where open spaces are usually about residues as a result of byelaws and the land is treated as an commodity to be exploited.  Section A  Section B The house is designed to bring in a sense of intimacy and connection through subtle changes in the scales of the various spaces. We looked at the material of modernity, reinforced concrete forming the armature along with the traditional brick forming walls, floors , screens and vaults defining the spaces bringing in a sense of warmth. Privacy and security screens are made with brick and mild steel flats ,here the slenderness of the steel flat and its tendency to bend over long lengths is addressed with brick spacers which stiffens and integrates the individual flats to create unique textural surface. Fabricated steel stair over the skylight along the western wall leading to the terrace is detailed to enable maintenance of the skylight glass below it, Here the tread is detailed to incorporate a swiveling mechanism to allow for the access to the glass beneath it. All of this is complemented by harnessing natural light to create experiences and spaces the family can identify with and cherish.  © Anand Jaju  This posting includes an audio/video/photo media file: Download Now |
| Martin Rein-Cano Explains the Importance of Dynamism in Landscape Architecture Posted: 25 Jun 2017 09:00 AM PDT Now in its 20th year, Berlin-based firm TOPOTEK 1 has been an enterprising player in the field of landscape architecture and public design, with a portfolio of projects that emphasize the social and formal roles that landscape assumes within built work. Largely responsible for the firm's success this far is the man at the helm, Martin Rein-Cano, who has served as one of the founding partners since 1996.  © Hanns Joosten In an interview with ArchDaily, Buenos Aires native Rein-Cano touches on his journey and ideology, from the relatable predicament as a young student with an uncertain future, to his development as a leading practitioner amongst landscape architects today. With a strong artistic sensibility, he was set to follow a path in the fine arts, before pursuing art history and attending a seminar on gardens that pushed him into his current field:
 © Iwan Baan Rein-Cano's interest in landscape's sensory qualities and experiences have resulted in a number of successful projects, such as the Siemens Headquarters in Munich, Porte Jeune in Mukhouse, HQB Berlin and the Heerenschurli Sports Complex in Zurich. In 2011, TOPOTEK 1 also collaborated with BIG and Superflex on Superkilen, half a mile of public space in Copenhagen and the firm's most noteworthy project to date.  © Torben Eskerod These projects, in addition to the extensive list that TOPOTEK 1 has completed, are derived from what Rein-Cano considers to be one of the core characteristics of landscape: fluidity. Ever-changing relationships of stiffness are constantly at play between the site and its architecture, which continues to be a focal point of his work:
Check out the full interview with Martin Rein-Cano in the video above.
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| Spotlight: Robert Venturi and Denise Scott Brown Posted: 25 Jun 2017 07:00 AM PDT  Franklin Court, Philadelphia. Image © Mark Cohn Through their pioneering theory and provocative built work, husband and wife duo Robert Venturi (born June 25, 1925) and Denise Scott Brown (born October 3, 1931) were at the forefront of the postmodern movement, leading the charge in one of the most significant shifts in architecture of the 20th century by publishing seminal books such as Complexity and Contradiction in Architecture (authored by Robert Venturi alone) and Learning from Las Vegas (co-authored by Venturi, Scott Brown and Steven Izenour).  © Frank Hanswijk  Vanna Venturi House / Robert Venturi. Image © Maria Buszek Born in Philadelphia and Northern Rhodesia (modern day Zambia) respectively, Venturi and Scott Brown met while they were both teaching at the University of Pennsylvania in 1960. They married in 1967, and in 1969 Scott Brown joined Venturi's firm—then named Venturi and Raunch—as partner in charge of planning. The firm rebranded in 1980 to include Scott Brown's name, and then again in 1989 when partner John Rauch resigned, then forming Venturi, Scott Brown and Associates.  Chapel at the Episcopal Academy. Image <a href='https://commons.wikimedia.org/wiki/File:Espicopal_Acad_int.JPG'>via Wikimedia</a> (Image by Wikimedia user Smallbones in public domain)  Best Products Showroom, Langhorne, Pennsylvania. Image © Tom Bernard In their theoretical writings, Venturi and Scott Brown were critical of the Modernist doctrine that at the time dominated architecture. In his 1966 book Complexity and Contradiction, Venturi argued for a more eclectic architecture which used more historic references; often referred to as his "gentle manifesto," it formed a basis for postmodernism, and was then reinforced by Learning from Las Vegas.  Denise Scott Brown outside Las Vegas in 1966. Image from the Archives of Robert Venturi and Denise Scott Brown © Robert Venturi Their architecture reflected these demands—for example, the Vanna Venturi House, which Robert Venturi designed for his mother in the early 1960s, loosely references traditional houses in both its external appearance and internal layout, with a hearth at the center of the design. In 1991, Robert Venturi was awarded the Pritzker Prize—something which has raised contention in recent years, as many believe that Denise Scott Brown deserved to share the award. In 2013, following Scott Brown's appearance at the AJ's Women in Architecture event, a petition was started demanding that the Pritzker rectify what many saw to be sexist treatment.  Sainsbury Wing, National Gallery London / Venturi Scott Brown. Image © Valentino Danilo Matteis  Seattle Art Museum. Image © <a href='https://www.flickr.com/photos/dph1110/2671587271'>Flickr user dph1110</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> In 2012, Robert Venturi officially retired due to old age and, under the helm of Scott Brown, the firm is now known as VSBA. See Robert Venturi and Denise Scott Brown's work featured on ArchDaily via the thumbnails below, and more coverage of the duo at the links below those: Denise Scott Brown and Robert Venturi Win 2016 AIA Gold Medal Denise Scott Brown Wins 2017 Jane Drew Prize Denise Scott Brown On the Past, Present and Future of VSBA's Groundbreaking Theories The AR Celebrates 50 Years of Venturi's "Complexity and Contradiction in Architecture" GAA Foundation and PLANE-SITE Create Video Interviews with Architects for the Venice Biennale Interview: Robert Venturi & Denise Scott Brown, by Andrea Tamas Pritzker Rejects Petition for Denise Scott Brown's Retroactive Award Sin City Embellishment: Expressive or Kitsch?  This posting includes an audio/video/photo media file: Download Now |
| 29th Street Residence / Schwartz and Architecture Posted: 25 Jun 2017 06:00 AM PDT  © Bruce Damonte
 © Bruce Damonte From the architect. It is often difficult to create a sense of openness and continuity in multi-level urban homes. By allowing the staircases of this three-story structure the freedom to shift location on each level -- defining a continuous flow of space and movement -- we turn this challenge on its head, elevating the prosaic stairwell into the key architectural and unifying feature of the home.  © Bruce Damonte In this four-level project, a series of stairwells take you from the lower garden level to the uppermost roof deck, each treated as a sculptural object and with the interior stairs uniformly clad in rift-cut white oak. On each level we permitted the stair to find its own best location, open to the concept of a vertical path which meanders through the home in a way that is more landscape, less urban.  © Bruce Damonte Although the living spaces are often compressed by the tight urban site, this meandering stairwell unites the home functionally, visually, and spatially, making it feel much larger than it really is.  © Bruce Damonte  Section  © Bruce Damonte We lifted a diminutive, 850 square foot Queen Anne Victorian and inserted a new garage and ground floor underneath. But our solution was somewhat more radical; given the opportunities of our down-sloping site, we created a two-car garage on a very steep ramp in order to free up the new street-level area for much needed family living space. This logical yet idiosyncratic move set in motion a series of further architectural decisions that define the project.  © Bruce Damonte The hugely over-scaled stadium staircase in the living room actually hides the parking ramp below, creating additional social space for the long and narrow living room. For us, the over-scaled staircase is perhaps "odd" in a positive way; it is clear that there is likely some hidden reason for its being, yet totally unclear that that it results from the prosaic yearning for off-street parking. This stair then became a leitmotif for the entire project.  © Bruce Damonte San Francisco's dense urban neighborhoods are based on a grid of narrow 25' wide lots -- conducive to the small defined rooms of a traditional Victorian, but challenging for modern California living with its premium on connection to natural light and the outdoors. With the width of the lots often further reduced with required neighbor setbacks on either side, we understand the imperative to go vertical – here we meet the challenge with a concept that is unusual and ultimately elegant.  © Bruce Damonte  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Jun 2017 05:00 AM PDT  The Building on the Water. Image © Fernando Guerra | FG+SG One of the most highly regarded architects of his generation, Portugese architect Álvaro Siza (born 25 June 1933) is known for his sculptural works that have been described as "poetic modernism." When he was awarded the Pritzker Prize in 1992, Siza was credited as being a successor of early modernists: the jury citation describes how "his shapes, molded by light, have a deceptive simplicity about them; they are honest."  Courtesy of Alvaro Siza Born in Matosinhos near Porto, as a child Siza wanted to become a sculptor, a predilection that shows itself in his work to this day. However, a trip to Barcelona convinced him to become an architect when he experienced the work of Antoni Gaudí. This sculptural architecture he then knits into its context, connecting his buildings with the site and the culture masterfully.  Leça Swimming Pools. Image © <a href='https://commons.wikimedia.org/wiki/File:Swimming_Pool_Piscinas_de_Mar%C3%A9s_Le%C3%A7a_da_Palmeira_by_%C3%81lvaro_Siza_foto_Christian_G%C3%A4nshirt.jpg'>Wikimedia user Christian Gänshirt</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/4.0/deed.en'>CC BY-SA 4.0</a> A well-known quote by Siza asserts that "architects don't invent anything, they just transform reality," and this might explain the logic behind Siza's restrained style. His work builds on the established models of the Modernists who held sway at the start of his career—and even while the reputation of Modernism has risen and fallen in the years since, Siza has remained largely unaffected by the experimental and transitory movements of the period, instead preferring to subtly, gradually transform his style over the decades.  Expo'98 Portuguese National Pavilion. Image © Flickr user Pedro Moura Pinheiro Siza first gained recognition in the 1960s with his Leça Swimming Pools and his Boa Nova Tea House, and has remained hugely influential ever since: among his most respected works is his gravity-defying Portuguese National Pavilion for the 1998 Expo; his Fundação Iberê Camargo was a joint winner of the first ever Mies Crown Hall Americas Prize (MCHAP) in 2014; and at the 2012 Venice Biennale he both completed an exhibition pavilion and was awarded the Golden Lion for lifetime achievement.  Fundação Iberê Camargo. Image © Grazielle Bruscato See all of Álvaro Siza's Works featured on ArchDaily via the thumbnails below, and more coverage below those: Álvaro Siza wins Golden Lion for Lifetime Achievement Siza's Iberê Camargo Foundation and Herzog & de Meuron's 1111 Lincoln Road Win Inaugural MCHAP Award NEIGHBOURHOOD: Where Alvaro Meets Aldo / Inside Portugal's Pavilion at the 2016 Venice Biennale Interview with Álvaro Siza: "Beauty Is the Peak of Functionality!" AR Issues: Architects Don't Invent, They Transform Reflections On Álvaro Siza's Seminal Quinta da Malagueira Housing Scheme Alturas de Macchu Picchu: Martín Chambi - Álvaro Siza at work Travel Diary: Álvaro Siza and Carlos Castanheira by Fernando Guerra Portraits of Álvaro Siza by Fernando Guerra Video: The Obsolescence of a Building, an Interview with Álvaro Siza Video: Alvaro Siza Denounces Architecture's "Hyper-Specialization" Boa Nova Tea House by Alvaro Siza Through the Lens of Fernando Guerra Auditorium Theatre of Llinars del Valles Through the Lens of Fernando Guerra Nadir Afonso Contemporary Art Museum by Álvaro Siza Opened its Doors in Chaves, Portugal Video: Alvaro Siza sings The Beatles  This posting includes an audio/video/photo media file: Download Now |
| New Digital-Physical Building Block System Aims to Make 3D Modeling Accessible to Children Posted: 25 Jun 2017 02:30 AM PDT Modeling on the computer and physically building scale models are essential modes of iteration for the modern architecture studio. But what if this creative process of digital and physical ideation could be made accessible to everyone: children, hobbyists, and architects alike? That is the question I set out to answer by designing an entirely new snapping block system, from the ground up, for the aesthetic and experiential expectations of the 21st century. It's called Kible, and after putting architecture aside and developing it since November 2015, I've recently launched the product on Kickstarter.  Courtesy of Kible Kible allows anyone to easily design their block model ideas on a phone or tablet, share that idea, and then purchase the pieces to build their own creation or those of other users. Upon receiving the Kible pieces in the mail, the app then provides interactive instructions to build one's design. While Lego bricks laminate on top of each other, Kible pieces are unique in that they can snap in all six orthogonal directions, without the aid of magnets or other components. Similarly, pieces in the Kible app behave just the same, and can build out in any direction, providing an uninhibited modular building experience. As a certified Lego Master Builder and having studied at the Harvard Graduate School of Design, the idea and desire for a system such as Kible has been bouncing around in my head for some time. Almost all of the core curriculum projects at the GSD required us students to employ interlocking modules of some sort, and perhaps inadvertently Kible honors that pedagogical method.  Courtesy of Kible During my studies at Harvard, I got to thinking that despite all the sophistication of contemporary CAD software employed today by architects, there is a dearth of powerful yet accessible mobile modeling tools for non-professionals and children. Sandbox games like Minecraft arguably typify this niche, but there are differences, chiefly their prioritization of procedural adventure gameplay instead of architectural block play. Furthermore, there are no systems that integrate digital modeling with corresponding to-scale physical blocks. With Kible, we've achieved a new level of reciprocity between digital and physical design play. In a way, Kible is a pocket-sized design-build studio, reminding us how fun it is to simply come up with an idea, build it to specification, and then iterate all over again. More of a design platform than a toy, we believe Kible presents the argument that digital modeling is not just for architects and engineers, and also that snapping blocks are not just for children. Natively developed for mobile devices while also radically rethinking tactile block play, Kible is the snapping block for the 21st century. Ultimately our goal with Kible is to provide a totally flexible system for you to pursue any idea you choose, establish collaborative workflows with other users, and realize your model ideas with physically snapping pieces. You can back the project on Kickstarter here, or if you're a professional (architect or otherwise) who sees a unique or unconventional use for Kible, I would love to chat. Feel free to email me, Jason Brain direct at brainjr@kible.club. I look forward to hearing from you! Jason Brain is the founder and technical lead of Kible, was awarded the Lego Master Builder certificate at age 10, and later studied architecture at the Harvard Graduate School of Design.  This posting includes an audio/video/photo media file: Download Now |
| Salesian Community House / MSMR Architects Posted: 25 Jun 2017 02:00 AM PDT  © JZA Photography
 © JZA Photography From the architect. The Salesian house project was an exciting commission for us and a great opportunity to develop a close working relationship with an unusual and exemplary client.  © JZA Photography  © JZA Photography Our proposals had to be co-ordinated with the development of a new school on the adjacent land. This was a very rewarding process in which we worked in tandem with the wider professional team (led by AHMM) and the contractor (Lend Lease) to take account of the site-wide master plan. This culminated in a joint planning submission for the school and the community house.  Ground Floor Plan Working with the Salesians was a genuinely collaborative effort between client and architect. They had ideas about what might work for them but without any pre-conceived image in mind. They were receptive to our ideas and our interpretation of the brief and fully supported us in our determination to achieve a solution that is both pragmatic and aspirational.  © JZA Photography  Section  © Will Scott The geometry of the site was both a challenge and a 'driver' for the design and the complex duality of their needs required us to marry public uses with private spaces - arranging such a wide mix of uses within a relatively small building was not an easy task. Making sure the offices, bedrooms, communal living spaces, educational facilities, and the library would all be able to function properly, without compromising the pre-eminence of the chapel, was paramount.  © Will Scott The Salesian community was able to get the best out of us by knowing when to say 'we trust you' and when to challenge us to validate our ideas more thoroughly. Together we feel we have created a unique building which fully satisfies a singular brief.  © Will Scott  This posting includes an audio/video/photo media file: Download Now |
| This Satisfying Algorithm Combines Japanese-Inspired Joints to Generate Any Form Posted: 25 Jun 2017 01:00 AM PDT
Complex wood joineries have long been staples of Japanese architecture and construction, demonstrating an impressive and even artistic craft passed down through generations of Japanese carpenters and woodworkers. In recent times, with increasingly available resources and technology, these techniques have been further explored and made publicly accessible, be it through demonstrative gifs or downloadable fabricated joints. In relation to these resources, Aryan Shahabian, a researcher at the University of Applied Arts in Vienna has developed an algorithm that generates over a billion distinct combinations of interlocking 3D objects, inspired by Japanese joineries. Both single joints and free forms are smoothly handled by the software, combined with endless resultant forms.
This software is a step forward in the constantly evolving field of parametric design. With the aid of algorithms like these, new possibilities will be unlocked within the realm of construction and fabrication, used in combination with laser cutters, CNC machines, 3D printers and related technology. Whether the algorithm will be made publicly accessible is yet known, but in the meantime, check out the extremely satisfying connections at work in Shahabian's demo videos above. News via: Aryan Shahabian, University of Applied Arts Vienna.
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| Posted: 24 Jun 2017 11:00 PM PDT  La Sagrada Familia's passion facade. Image © Expiatory Temple of the Sagrada Família When Catalan architect Antoni Gaudí (25 June 1852 – 10 June 1926) graduated from the Barcelona Architecture School in 1878, the director of the school Elies Rogent reportedly declared: "Gentlemen, we are here today either in the presence of a genius or a madman!" [1] Well over a century later, this tension is still evident in Gaudí's work; though he is widely regarded as a genius architect, his distinctive style stands as a singularity in architectural history—simultaneously awe-inspiring and bizarre, never fitting into any stylistic movement, and never adapted or emulated, except by those still working to complete his magnum opus, Barcelona's famous Sagrada Família.  Gaudí in 1878. Public Domain image taken by Pau Audouard Born in the Catalan village of either Riudoms or Reus (the records conflict), from a young age Gaudí was fascinated by nature. Between 1875 and 1878, Gaudí was conscripted for compulsory military service, but due to ill health - which he struggled with all his life—he was able to spend much of his time studying at the Llotja School and the Barcelona Higher School of Architecture.  Casa Milà. Image © Samuel Ludwig Guadí's fantastical style was informed by a number of influences, and was very much a result of the context of late 19th century architecture, when the requirement to follow strict historical styles was beginning to fall out of favor. As such, Gaudí was able to take inspiration from Oriental styles, and was heavily influenced by the Revival Gothic architecture of the time, most notably encapsulated in the work of French architect Viollet-le-Duc. However, he believed that Gothic architecture was "imperfect," and began to infuse his work with a variety of motifs drawn from nature.  Casa Batlló. Image © <a href='https://www.flickr.com/photos/srboisvert/306517767'>Flickr user srboisvert</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> However, as much as his works of architectural decoration are striking, Gaudí is equally notable for his advanced understanding of structures. Having studied geometry in his youth, Gaudí followed advances in engineering and his work regularly features catenary curves, hyperbolic paraboloids, hyperboloids and helicoids, shapes which he used to create efficient (but more importantly dynamic and organic) structures.  La Sagrada Familia interior. Image © Renate Dodell Gaudí gained recognition very early in his career with designs such as the Casa Vicens, and in 1883, aged just 31, he was appointed to the Sagrada Família project. Over the following three decades, the work of Gaudí became almost synonymous with Barcelona, as he changed the face of the city and its surrounding regions with projects such as the Parc Güell, Colònia Güell and Casa Milà.  Colònia Güell. Image © Samuel Ludwig However, in 1915 Gaudí ceased all other projects in order to focus exclusively on the Sagrada Família. He worked on the building for the next 11 years, until he was hit by a tram and died in 1926. See all the works of Antoni Gaudí featured on ArchDaily via the thumbnails below, and further coverage below those: Video: What the Sagrada Familia Will Look Like in 2026 Video: The Six Towers that will Crown the Sagrada Família Gaudí's Sagrada Família to Become Tallest Church in Europe by 2026 Trouble Hits the Final Stages of Gaudí's La Sagrada Familia Never Built New York: Projects From Gaudí, Gehry and Wright that Didn't Make it in Manhattan Chile to (Finally) Build Gaudí's Only Project Outside of Spain Gaudí's First-Ever House to Open as a Museum Following Major Restoration References:
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