Text description provided by the architects. As a designer, it was an absolute delight to bring Mr. and Mrs. Malpani’s vision of a sustainable farm abode to life. Our clients, who have long been our neighbors and cherished family friends, approached us with a unique dream. After enduring the confinement of their apartment during the challenging months of the pandemic, they realized the importance of reconnecting with nature and cultivating their own vegetables. They set their sights on a farm located on the outskirts of the city, envisioning a small yet inviting home that would serve as their sanctuary and a gathering place for family and friends.
Drawing inspiration from their desires, we conceptualized Stone House—a modern home that combines the rustic charm of repurposed stone with eco-friendly finishes and seamless integration of indoor and outdoor spaces. The walls, both inside and outside, were treated with meticulous attention to detail. We opted for a clay paint finish on the interior walls, ensuring a toxin-free and organic environment. On the exterior, we adorned the stone walls with stunning mud and lime plaster, paying homage to traditional building techniques while infusing a touch of rustic elegance. One of the highlights of Stone House is the roof, which showcases the innovative filler slab technique. This remarkable construction method, popularly used and promoted by Architect Laurie Baker, involves strategically placing pots within the roof structure to create an alluring and random pattern. Not only does this technique enhance the structural integrity of the roof, but it also adds a unique visual element that captivates the eye and celebrates the beauty of nature’s randomness.
In line with our commitment to sustainability, we made a conscious choice to minimize the use of conventional paints. Aware of the harmful fumes emitted by such products, we sought an eco-friendly alternative. The walls of Stone House were treated with lime plaster and adorned with clay paint, ensuring a healthy living space free from harmful chemicals. This decision not only benefits the occupants’ well-being but also contributes to the preservation of the environment. To create an atmosphere of refined elegance, we carefully selected Indian white marble for the beds and flooring. Sourced from the renowned town of Makrana in Rajasthan, this exquisite material not only exudes timeless beauty but also supports local artisans and preserves the rich heritage of craftsmanship. The Indian marble floors add a touch of luxury to the farmhouse, complementing the rustic elements with a touch of sophistication.
As we embarked on the design journey, we realized the importance of capturing the breathtaking views surrounding Stone House. To achieve this, we strategically incorporated bay windows at key locations throughout the abode. These windows not only frame the picturesque vistas of the farm and the majestic Aravali hills but also create a seamless connection between the interior and the awe-inspiring natural landscape. They serve as portals that invite the beauty of the outside world to become an integral part of the living experience within the home. The layout of Stone House was planned to promote a sense of openness and connectivity. The living room, kitchen, and dining spaces flow harmoniously within a single grand hall accentuated by arches. These arches not only provide architectural support but also serve as captivating features that elevate the overall design. The intentional placement of windows and larger openings facing north ensures ample natural light while mitigating the harshness of the sun, creating a comfortable and inviting atmosphere for all who enter.
A highlight of Stone House is the spill-out veranda, thoughtfully positioned next to the entry door. This outdoor seating area serves as a gateway to the lush lawns and flourishing kitchen garden, providing an idyllic space for relaxation and connection with nature. To enhance accessibility and elevate the experience, we designed a comfortable spiral staircase that seamlessly connects the veranda to the roof. This architectural feature not only adds a touch of elegance but also offers a panoramic view of the farm, providing a serene escape for the occupants and their guests. Stone House stands as a testament to our commitment as designers to create sustainable, aesthetically pleasing, and functionally efficient spaces. It embodies a fusion of modern aesthetics and the vibrant colors of Rajasthan, celebrating the harmonious coexistence of two distinct worlds. As designers, we take immense pride in having brought Mr. and Mrs. Malpani’s dream to life—a dream that embraces sustainability, reconnects with nature, and provides a haven of tranquility amidst the beauty of a farm setting. Stone House is a testament to the power of design to transform dreams into reality and create a lasting legacy of architectural excellence.
Text description provided by the architects. Located in the heart of Viet Tri City, Phu Tho, Viet Tri House occupies a land area of 97.5m2, with a width of 5m and a length of 19.5m. I.HOUSE was assigned to renovate and expand the living space while establishing a seamless and amicable connection with the homeowner’s existing residence.
The pre-renovation house, like many narrow urban homes, suffered from a cramped layout. A cumbersome, prominent staircase hindered movement and obstructed views; the bedrooms were too tight and dimly lit, coupled with a disorganized arrangement of functional spaces, added complexity to daily family life. A significant challenge was the building’s west-facing aspect, leading to intense heat from direct sunlight, especially during the height of summer. I.HOUSE’s visit on a scorching afternoon underscored this critical issue. Additionally, its location on a busy street exposes it to noise and dust pollution. Despite these drawbacks, the house has potential benefits from its surrounding open spaces and greenery, yet these were not being utilized.
I.HOUSE’s core idea for the renovation project is the concept of crafting interconnected hanging gardens on the facade. This design choice not only counteracts the heat from the western sun but also relocates key areas to the rear for enhanced privacy and reduced thermal discomfort. The new design connects fluidly with the existing structure through pathways, a compact garden, and interspersed green spaces. The original structure retains the living room, kitchen, dining area, and garage, while the renovated space was left open for innovative design. We reconfigured the house’s layout, moving the staircase and entrance to the front, resolving traffic issues and promoting air circulation.
Adopting the “less is more” approach, I.HOUSE incorporated minimalist natural materials and architectural forms. The installation of expansive glass doors at both ends capitalizes on the surrounding verdure and sunlight, ensuring a vibrant visual experience in every room, regardless of weather or time. This approach also maximizes natural lighting, aiding energy efficiency – a crucial factor in Northern Vietnam’s climate.
For materials, a consistent use of basalt and polished concrete for the house strikes a balance between aesthetic appeal and long-term durability. The entrance’s basalt wall acts as a shield against sunlight and external noise, ensuring a tranquil interior environment. This wall, while private, still permits ample natural light on the ground floor and changes hue with the weather, offering a constantly evolving visual delight.
Viet Tri House not only brings residents closer to nature but also cultivates a peaceful and pleasant living environment that embodies a lifestyle eagerly sought by many urban dwellers, representing a prominent trend in contemporary urban townhouse architectural design.
Although they are an integral and necessary space in residential architecture, the wide variety of design opportunities for bathrooms has often remained overlooked in favor of practicality. Historically programmed for privacy, the contemporary bathroom has been reimagined for a greater sense of openness and comfort – finding a delicate balance between privacy and exposure is facilitated by design objects such as the tub.
As the lifestyles of many evolved to an increasingly fast pace, and living spaces grew smaller and more practical, the shower -utilitarian and spatially savvy – became the more popular choice in the design of bathrooms. With less demand, the tub began to fall into obsolescence and remained an additional luxury for those with extra money and space.
In today’s climate, with an increased desire for modularity and a heightened interest in cultivating wellness, the tub has made a return to contemporary bathroom interiors. Offering more privacy and comfort than shower stalls, the tub is just one element in an assemblage that provides an open and meditative quality to the bathroom.
Below are examples of 5 different bathtub typologies and their possible applications in contemporary bathroom spaces:
Alcove Tubs
These classic bathtubs are ubiquitous for a reason, as their space-saving design makes them suitable for a wide variety of applications. “Alcove” refers to the bathtub being installed into a recess in the bathroom, which means quite commonly these tubs are installed with three joining walls or within a pocket alcove. Some more contemporary designs only have two walls or a large window to remove the confined nature of this installation method. Alcove tubs are positioned within three walls, so only one side needs to be finished.
Corner Tubs
These tubs, much like alcove tubs, are popular for their ability to fit into otherwise purposeless corners and free up essential space. In contemporary design, corner tubs are an easy way to fully exploit the corners of the bathroom and create a feeling of openness that allows the bathroom to flow seamlessly. These types of tubs are also quite suitable to accommodate children and elderly people.
Freestanding Tubs
Freestanding tubs are the most sought-after in contemporary bathroom interiors and are ideal for a large bathroom layout where they can serve as a stylish design focal point. More traditional models rest on claw feet while contemporary styles sit on a block base or have a sleek line with no base.
Drop-in Tubs
Drop-in bathtubs are unfinished tubs that can be dropped into a frame or surrounded with a rim and outward structure that can be finished in any material. Unlike an alcove bathtub, drop-in tubs offer the flexibility of placement in the bathroom as well as more soaking depth. Drop-in tubs are installed in a custom-built enclosure and include a ledge around the tub that produces a style that is unique to every individual application.
Undermount Tubs
Perhaps the most versatile, an under-mount tub is installed beneath a rim, meaning that the surrounding deck or area is covered so that the bathtub itself is supported by the floor structure underneath. Undermount tubs are enclosed in a casing that can be the same material as the stone or tiles used in the flooring – blending seamlessly. They can be positioned anywhere in a room and the wide rim is ideal for storage.
Click here to see more examples of how these five distinctive tub typologies are being used in contemporary applications.
The unique language employed by each architect serves as the foundation for analyzing their work. Over time, this distinctive style becomes more evident, allowing for the identification of past influences and references. Simultaneously, it showcases a continuous evolution of this language, manifesting as a formal progression that aligns with the contemporary context. The projects by Studio Guilherme Torres serve as exemplary instances of this developmental journey, spanning from its inception to the present day.
Examining recent projects alongside older ones reveals the trajectory of a steadfast and distinct design approach. Founded by Guilherme Torres, the studio originated in Londrina in 2001 and has been based in São Paulo since 2010. A defining characteristic of their projects is a deliberate constraint—not in a limiting sense, but in an essential one. The limited palette of materials accentuates the lighting of spaces, establishing a connection with the occupants that evolves: day, season, and climate, according to Torres.
A more ‘uniform’ foundation does not equate to monotony. Objects and furniture consistently feature unique and eye-catching details. Torres is also involved in product design, a practice that emerged partly out of necessity. In some projects, the architect found a lack of available market options for certain objects, prompting him to create them to enhance the overall environment. As the office’s website outlines, the blend of austere architecture with playful interiors is a defining characteristic of projects bearing his signature. This diversity extends across exhibition projects, residential and commercial architecture, interiors, and editorial design.
The influence of the early 2000s is evident in the initial projects, reflecting an amalgamation of high-tech and modern design as the world transitioned into the new millennium. For two decades, it becomes apparent that the design language has continuously evolved, staying current while retaining its distinctive personality. A sense of provocative, sober maximalism prevails, manifesting in an extensive use of consistent materials, the juxtaposition of playful furniture with classic pieces, and even in the graphic representation of their projects. The latter is characterized by an abundance of illustrative elements that weave the studio’s projects into alternative narratives, open to interpretation by the observer.
Consistent and reflective practice has earned the office well-deserved recognition. It received the Architecture MasterPrize in 2019 and multiple accolades from the A’Design Award & Competition in 2015, 2017, and 2018. Anticipating the forthcoming decades, it remains intriguing to witness how the design language will evolve and how the distinctive personality of the projects will adapt, all while staying true to the essence of Studio Guilherme Torres.
How AI Will Make Everyone a Better Designer: For Better or Worse
The Museum of Temporal Delight. This image was created, in Midjourney, using 5 language prompts and a few small refinements. Image Courtesy of John Marx/ Form4 Architecture
This article is the seventh in a series focusing on the Architecture of the Metaverse. ArchDaily has collaborated with John Marx, AIA, the founding design principal and Chief Artistic Officer of Form4 Architecture, to bring you monthly articles that seek to define the Metaverse, convey the potential of this new realm as well as understand its constraints.
In so many ways the introduction of AI software has created a sense that we live in a world predicted by science fiction novels. We commonly have rested on the assumption that computers will never be capable of designing. That time has now arrived, and with it comes an opportunity to confront the positives and negatives these new technologies offer.
AI-based design software has the potential to dramatically increase design quality produced by the profession of architecture, it will be especially effective in elevating the average design firm’s quality due to three trends that have evolved in the way we design over the past 60 years.
First, we have deepened our reliance on and confidence in language-based conceptualization in design. Second, we have, as a profession, moved with great effort towards collaborative design practice models. Third, there is a greater demand for design that responds to human needs for emotional resonance. Currently available AI software is particularly strong in supporting these trends in design, and we can reasonably expect future software to be an even more powerful accessory.
What remains to be seen is if this is ultimately a good or a bad thing. There will be significant tradeoffs. How we, as a profession, prioritize or even define “design quality”, the role of the human touch, or the importance of vision, will very much be central to an analysis of how we use these tools, and how we want to evolve further as a profession in the service of humanity, and perhaps in the service of all living things and systems. This applies to both the tools and the trends.
1- Language-Based Design
There was a time when the balance between concept and form favored the subjective. Architects saw themselves as artists or as an applied art. Modernism fundamentally challenged this by placing a much-needed emphasis on concept and “the big idea”.
Venturi criticized “picturesque” designs in Complexity and Contradiction in Architecture as superficial. We raised the priority of problem-solving. In this sense, we might see the first hundred years of modernism as moving towards an architecture of abstraction and ideas. This rebalancing vastly improved the profession’s ability to deliver practical and useful buildings. But along the way, we moved towards a language-based design process, and away from a form-based visual process. We now rally around “Giving form to ideas”. This shift has also resulted in a greater emphasis on objective analysis and values while downplaying if not being deeply suspicious of subjective values. The verbal is a natural format for AI-based design.
We have also shifted our design process from a handmade analog one utilizing sketching, physical models, and perspectives towards a nearly digital one embracing 3D modeling (e.g., FormZ/Revit) and rendering (e.g., Lumion/V-Ray). In all of these a human still crafts form. Recently Generative Design software (e.g., grasshopper) allowed for equation-based form-making, which initiated a curation-based process. This has now evolved into Ai (e.g., Midjourney) sketching, where Ai crafts the form, based on natural language prompts. One can see a future coming very soon where Ai crafts form in a 3D model format and the design team’s role is primarily one of curation.
Currently, there is a wide disconnect between the words we conceptualize and the forms we create. An AI-based design process will challenge us to ensure a greater “fit” between these two, as we will be able to immediately see the results when we change or refine the words we use to prompt a design outcome. In an AI-driven process, we will only be as good as the words we use to dream, and the resulting forms we curate. Words and concepts are much easier to collaborate on than the subjective aspects of form.
2- Collaborative Models
For the last many centuries architecture has largely followed a “Heroic” model, of the sole visionary, most often male, who creates inspiring forms without the help of others. In truth it has never been this simple, considering the legions of people required to design and construct buildings and cities. Over the last 60 years, we have philosophically shifted towards collaborative models.
I sense that we are in the middle phase of understanding the potential of collaborative models. There is still much work to do. Ultimately, we may want to explore the efficacy of embracing Vision + Collaboration, through understanding the value and constraints of each approach. In a horizontal collaborative model, everyone wants to participate, and anyone can be a designer. There are limitations to this goal, but AI may be able to provide significant assistance here.
One of AI’s great strengths is that it can function as “A pencil without an agenda”. Even within a highly collaborative setting, “The person who holds the pencil, or the mouse, controls the design”. When a human holds this agency there is an implied or implicit agenda. There is no personality conflict with an Ai pencil, an Ai pencil does not have a dominant or submissive personality. AI functions to provide as many options as requested, and it has proven to be able to do this at rates that far exceed those of a human. In highly collaborative settings, generating multiple options quickly and cost-effectively is critical to getting appropriate feedback from the group. In an analog setting, one might expect 1-3 ideas to be explored over 1-2 weeks, depending on team size.
An AI-based design process can generate 20-30+ options in that same time frame. This allows a wider range of voices and ideas to be considered, and with greater detail, before the design window closes. This will reinforce a culture of curation, which is already a fundamental aspect of a collaborative process. At the same time, this will create a significantly wider gap between “human” vision and the form-making abilities of the machine. It will call into question what is “Original Content”, but in a collaborative setting, that concept is inherently set aside. We will need to judge whether building as a machine concept, rather than the quirky eccentricities of human touch, is a good or bad thing.
3- Emotional resonance
AI can help raise the quality of the average architect’s ability to be an effective designer.
AI draws on a wider database and can be programmed to value and prioritize specific cultures and their formal references. It can “pander” or be more disciplined, depending on the words that are input.
AI synthesizes form based on the library of images that are provided to it. It currently does not make qualitative judgments, but rather the quality is affected by the level of curation given by the people who assemble the database.
AI draws primarily on these references. Imagine a deep rich library of design references that include items you have never seen but are of a very high quality. AI can draw on those references and create what is unexpected to you and perhaps the whole team.
The downside is AI currently does not “innovate” in the same way humans do. Many people have challenged whether Ai can create “original” content. It does however create odd and eccentric combinations that in some ways mimic human design patterns. My experience with AI-driven content is that it can be consistently “lovable” to the general public, it generally creates emotionally resonant designs. Often in ways that an average designer might not think of. Most of the 50s and 60s-based futuristic designs I have seen from programs like Midjourney are quite compelling and are intensely popular on social media. This will allow us a better set of tools with which to design towards the public’s interest.
4- The Human Touch
This discussion about AI provokes many additional questions of profound importance. Perhaps, relative to the design of architecture, one of the most salient is the issue of “Vision”. Currently “vision” is often seen as the quirky and uniquely human synthesis of form and ideas that are unusual and unexpected, they create innovation (something not seen before) or the brilliant harmonizing of disparate things compellingly (things combined in a way not done before).
I tend, as an artist, to look at Art as the act of sharing your humanity through an expressive medium. Others might take the view that Art is the experience of content in an expressive medium. Most critically, the viewer is important to both statements. This is a variation of a time-honored philosophical paradox: “If the viewer cannot tell the difference, does it matter how the design was created, or which one is more valid?”
On a deeply personal level, it still matters to me. I still crave the human touch. I am still inspired by the visionary, by the unexpected, and value the poetry of the human condition, in all of its compromised glories. It is in how we navigate and respond to the human condition, where the sweet spot happens, where memorable art and architecture are created. In most things that get built, we don’t allow ourselves the indulgence, to express this in architecture. Until we are willing to return to that, perhaps AI can help.
How Ai Will Make Everyone a Better Designer: For Better or Worse is written by architectJohn Marx, AIA, the founding design principal and Chief Artistic Officer of Form4 Architecture, an award-winning San Francisco-based firm that designs prominent buildings, campuses, and interiors for Bay Area tech companies such as Google and Facebook, laboratories for life-science clients, and workplaces for numerous other companies. In 2000-2007, Marx taught a course on the topic of placemaking in cyberspace at the University of California, Berkley, and in 2020 he designed his first project in the Metaverse for Burning Man: The Museum of No Spectators. The following year, John Marx led a design team charged with creating a $500B portal to the Metaverse
Major Architectural firms like Zaha Hadid Architects have been making headlines, claiming to switch to an “Employee Ownership” model known as an Employee Stock Option Plan or ESOP. The ESOP model (or EBT in the UK), gaining popularity in the architecture and engineering professions, involves employees owning company shares through an ownership trust. These are often used as a viable way to transition firms with retiring leadership for owners who want to give the firm ownership back to itself and its employees.
While ESOPs represent a good step toward employee ownership, they fall short in giving employees more authority in the firm’s management. ESOPs work similarly to a retirement plan. While the employee might have ownership over a share, the firm’s partners or board of trustees make the decisions leading the firm. This limitation was evident in the unionization efforts at SHoP Architects, where employees faced challenges despite being under an ESOP structure during the COVID-19 pandemic.
A business model that gives workers both ownership and a say is the worker cooperative. In these, worker members actively participate in the enterprise’s profits, oversight, and management using democratic practices. Members elect a board of directors to represent them, adhering to the principle of one person, one vote. This member-elected board then makes decisions regarding spending, wages, hiring, and profit sharing. Worker COOPs are much less common in the US, with only over 900 operating cooperatives, but they have been gaining traction in the past few years.
Firms like LACOL in Spain have shown that architectural cooperatives can be successful. Composed of thirteen partners, LACOL was established in 2008. Their practice draws heavily on the tradition of working-class collectives in Barcelona, Spain. It focuses on designing cooperatively owned and operated buildings and helping local groups develop their housing, workplaces, and cultural spaces.
For Architecture Lobby, a grassroots organization representing architectural workers, COOP support networks become crucial. These networks would provide access to resources larger firms enjoy, enabling small businesses to compete effectively. A 2020 AIA survey revealed that although the US architecture profession is comprised primarily of small firms, those with 50+ employees generate half the revenue. Through COOP networks, small businesses could be more competitive with larger enterprises, undertake more substantial projects, and negotiate higher fees by sharing expertise, software labor, and operational efforts within collaborative networks.
The imperative for change in the architectural profession extends beyond meeting the bare minimum for workers. It involves establishing democratic business enterprises where employees have the agency to contribute to meaningful architecture. Restructuring architectural practices then becomes essential for the thriving of good design, as individuals must have a voice to shape the future of the profession.
As we begin 2024, European cities present various urban development markers that are setting the path for the new year. Under themes of urban mobility in Brussels, sustainability in Valencia, Smart Cities in Rotterdam, and urban cooling in Paris, each city is making noteworthy progress on the road to 2030. In these diverse urban fabrics, European cities are demonstrating a commitment to defining challenges and working towards shaping a climate-conscious future.
Valencia, Spain, has received the title of European Green Capital 2024. Located on the southeastern coast of Spain, the city celebrates the prestigious recognition with 400 activities centering around pollution, biodiversity loss, and climate change awareness. Achieved by the city due to its significant emphasis on citizen involvement, the award commends Valencia’s cooperation between local government and citizens. To accomplish environmental and climatic neutrality targets by 2030, Valencia’s tagline is “On a Mission Together.” Finally, the city’s efforts are further bolstered by the EU Mission Label accreditation, positioning it as an example for other European towns shifting to sustainable alternatives.
Text description provided by the architects. Ratchaphruek Hospital’s journey began in 1994 as a registered 50-bed facility, earning the trust of the local community for its quality service. As demand grew, the hospital’s executive board embarked on an ambitious project to construct the new Ratchaphruek Hospital, located just one kilometer away from the original site, spanning approximately 4 acres. This expansion led to the new 220-bed hospital that prioritizes creating an environment that calms and heals all its patients and users.
The hospital design was inspired by the question, “What is the hospital of your dreams?” People from diverse backgrounds and professions shared a common vision- a hospital should not be chaotic but rather resemble a comforting home. It should offer green spaces, communal areas for activities, inspiring symbols, clear zoning, and pathways. The goal was to transform a potentially fearful environment into a familiar home, a “HOuSePITAL” embracing natural therapy and friendship therapy; according to the saying by Somdet Phra Buddhaghosacariya P.A. Payutto, “Though the body is unwell, the heart still stays strong.” Moreover, the design aimed to reflect the traditional context of vernacular architectural wisdom within the northeastern part of Thailand to create a home-like feeling for all Khon Kaen people. Creating a sense of awareness of their original roots and shining light on their architectural wisdom.
Managing the scale of the project was a primary challenge. To soften the presence of 40,000 square meters of space spread over 14 floors to convey a house-like atmosphere, the design incorporates a two-story structure around a central court, which immediately conveys a welcoming, house-like atmosphere. The welcoming court acts as a navigation pillar for all visitors that provide them with information for clear and coherent circulation around the hospital to reduce confusion and stress for patients and visitors. Additionally, to address these issues, the architects used northeastern local wisdom, The design incorporated northeastern architectural elements, such as gable roofs, terraces, and long eaves. They ensured spacious waiting areas, taking into consideration the average big families and relatives in northeaster culture. The simple internal circulation lessens the confusion and stress created by hospitals and creates a sense of familiarity.
Construction and materials embraced northeastern culture with gable roofs, sun-like gables, and wood finishings. The design introduced a stacked roof style at the top and podium levels to reduce the perceived massiveness of the building. Long overhanging eaves were employed to shield the structure from intense sunlight and heavy rainfall to address the challenges posed by Thailand’s rapidly changing climate. The hospital incorporates an ancient “Chaleo” pattern into its design, derived from the ancient ritual usually embroidered on medical pots serving as a symbolic shield against misfortune, and is used on the façade on the third and twelfth floors.
The hospital’s infrastructure and layout ensured ease of access and circulation through two primary entrances. The main entrance, located on the second floor, leads directly to the Welcome Court, enveloped by a natural green area. A secondary entrance on the first floor provides access to the parking lot, which also connects to the Welcome Court on the second floor. A critical feature of the hospital’s design is the central court on the second floor, regarded as the heart of the project. This central court determines the direction of access to outpatient departments, such as the medical clinic, pediatric clinic, eye and E.N.T. clinic, obstetrics and gynecologist clinic, finance, and dispensing with distinct separation for all departments. Additionally, it offers seamless access to the elevator hall, ensuring ease of movement throughout the facility.
The hospital’s spatial configuration aimed to nurture the psychological well-being of patients and visitors. The design embraced natural therapy principles, incorporating green spaces, water features, and natural ventilation. The center court, the heart of the project, serves as the outpatient zone and reception area on the second floor. The hospital also designed a rooftop garden on the fifth floor to provide in-patients with a soothing and natural environment. To ensure the circulation areas offer a refreshing and pleasant experience, air vents have been thoughtfully placed at every floor level for ventilation. Additionally, various floors feature overflowing ponds and green spaces, promoting a sense of calm and connectedness with nature and providing community space for staff, patients, and their families.
Who’s on Top in Design Innovation? Explore the World Design Rankings (WDR) Over the Last Decade
PONE Transparent Shell Exhibition Space by Golden Ho. Image Courtesy of A’ Design Award & Competition
Published on January 08, 2024
Created to offer insights into the state of the design industry, World Design Rankings (WDR) serves as a valuable resource by highlighting the creative strengths, weaknesses, and opportunities of different countries. Its methodology is based on classifying all countries according to the number of designers who have received the A’ Design Award between the years 2010 and 2024.
Including the 2022-2023 period, China secured the top position among 114 countries, boasting an impressive tally of 110 Platinum Design Awards globally. This announcement underscores China’s enduring influence and excellence in the world of design. The top positions were also claimed by the USA, Japan, Italy, Hong Kong, Great Britain, Taiwan, Turkey, Germany, and Portugal.
The “Design Business Insights” section, available on the official World Design Rankings website, offers a nuanced view of countries’ success in various design sectors, such as industrial design, interiors, and fashion. This section allows media and design enthusiasts to delve deeper into specific areas and provides more detailed information, helping policymakers identify potential areas for government support or subsidies.
Let’s review some featured projects from the top designers worldwide according to this global ranking, focusing specifically on the Architecture and Interior Design categories.
For a complete list of countries and detailed information on the design industry, interested parties can visit the official WDR website. Additionally, those interested in specific designers can explore the “Design Classifications” platform, where designers, artists, and architects are classified into various creative fields and design categories.
Archello has selected its Houses of the Month for December 2023. This list showcases the 20 most outstanding projects for private houses added to Archello’s project library during the past month, chosen from hundreds received. To be selected, the project must have been completed in the last two years and must include both photos and drawings to provide a full picture of its design. The houses listed here are located in 15 countries including China, France, Italy, Spain and the UK.
ARCHIABYSSNIYA 