Architizer is seeking a talented Contributing Writer to lead our coverage of architectural technologies — someone who can critically engage with the tools architects use, analyze their cultural and workflow implications, and translate technical advancements into compelling editorial narratives.

This role goes beyond product announcements. We’re looking for someone who understands that software shapes design thinking, that hardware influences workflow, and that technological change carries aesthetic, economic and ethical consequences.

If you are fluent in platforms like Revit, Rhino, Enscape, Twinmotion, Grasshopper or emerging AI tools — and can write about them with clarity, wit and critical insight — we’d love to hear from you.

What You’ll Cover

This writer will focus on:

• Reviews and critical analyses of architectural software and design tools

• Coverage of major software and hardware releases

• Commentary on how emerging technologies are reshaping design culture

• Interviews with founders and technologists in the AEC space

• Thought pieces exploring AI, automation, digital fabrication and visualization

• Broader reflections on how technology influences authorship, practice and creativity

We’re not looking for technical documentation; we’re looking for smart, nuanced writing that connects tools to the lived reality of architects.

Job and Responsibilities

This is a flexible, remote, per-article freelance position.

We’re looking for a contributor who can write consistently and who can:

• Respond quickly to industry news

• Develop original pitches tied to emerging technological trends

• Conduct interviews with software developers and AEC innovators

• Offer informed, independent analysis

This role requires reliability, strong editorial instincts and an ability to balance accessibility with depth.

Ideal Attributes

• Deep familiarity with architectural design software and workflows

• Strong writing voice — confident, analytical and engaging

• Ability to translate technical complexity into readable insight

• Interest in the cultural and professional implications of design technology

• Experience writing for architecture, design, or technology publications preferred

• Meticulous fact-checking and adherence to editorial style

• Comfort working on a deadline

Architects, technologists, computational designers, BIM managers, visualization specialists and AEC researchers are all encouraged to apply.

To Apply

Please email the following to jobs@architizer.com with the subject line:

“Contributing Writer: Architectural Technology – [YOUR NAME]”

Include:

• Resume (PDF)

• Cover letter (PDF) explaining your perspective on architectural technology

• Links to relevant writing samples

Shortlisted applicants will be asked to complete a brief editorial test.

About Architizer

Architizer is the largest online network for architecture, with over 100,000 projects in our global database. Our Journal serves millions of design professionals annually and is dedicated to thoughtful, forward-looking coverage of architecture’s evolving landscape.

We are a team of architects, writers, technologists and creatives committed to elevating discourse around the built environment — from material craft to digital futures.

If you believe technology is not just a tool but a cultural force in architecture, we invite you to help us tell that story.

The post We’re Hiring: Architizer Is Seeking a Contributing Writer Specializing in Architectural Technology appeared first on Journal.

View A+Award Winners’ Gallery

Breathtakingly creative and technically astounding winning projects are found in all corners of the globe. Here’s a visual glimpse of some of this year’s winners, spanning a range of categories, geographies and specializations:

Kempegowda International Airport, Bengaluru — Terminal 2 by Skidmore, Owings & Merrill (SOM), Bengaluru, India | Photos by Ar. Ekansh Goel, Studio Recall | Jury Winner, Sustainable Transportation Project

Chengdu Museum of Contemporary Art, Tianfu Library of Humanity and Art by CSWADI, Chengdu, China | Jury Winner, Libraries

Tainan Public Library by Mecanoo, Delft, Netherlands | Photo by Ethan Lee | Popular Choice Winner, Libraries

In its 12th season, Architizer’s A+Awards spotlights the work of architects and designers who are not content with the status quo. This year’s program celebrates creative courage, highlighting the extraordinary ability of architects to respond to clients’ changing needs, our growing climate crisis, and the rapid evolution of technology.

Architizer received an unprecedented number of submissions this year, which were reviewed by the jury and the global public. The latest collection of winners reflects a collective desire to regenerate, reuse, rethink, reinvent or reimagine architecture and spaces, forming a positive precedent for the next generation. The winners will be featured in Architizer’s beloved hardbound compendium of The World’s Best Architecture, a design-forward atlas of contemporary design that is now available for pre-order.

Richard Gilder Center for Science, Education, and Innovation at the American Museum of Natural History by Studio Gang, New York City, New York | Photo by Iwan Baan | Jury Winner, Museum

Casa Lohr by Veinte Diezz Arquitectos, Mérida, Mexico | Photos by Manolo R. Solis | Jury and Popular Choice Winner, Residential Renovations and Additions

Komonokaen by Tatsuya Kawamoto + Associates, Nagoya, Japan | Photo by ToLoLo studio | Jury Winner, Retail

Some Firm of the Year Winners include:

• Alison Brooks Architects, Jury Winner, Best Medium Firm (16 – 40 employees)
• Bernardes Arquitetura, Jury Winner, Best Residential Firm
• Foster + Partners, Jury Winner, Best Large Firm (41+ employees)
• Neri&Hu Design and Research Office, Jury Winner, Best Adaptive Reuse and Renovation Firm
• Sanjay Puri Architects, Popular Choice, Best Commercial Firm

Select Project Winners include:

• Upper House by Koichi Takada Architects, Brisbane, Australia, Popular Choice Winner, Multi Unit Housing – High Rise (16+ Floors) & Architecture +Art
• The Ark – Shanghai Cement Factory Warehouse Renovation by MAD Architects, Shanghai, China, Jury Winner, Unbuilt Sustainable Non-Residential Project
• Google Borregas by MGA | Michael Green Architecture, Sunnyvale, California, Jury & Popular Choice Winner, Architecture +Workspace
• HAUS 1 by MVRDV, Berlin, Germany, Jury Winner, Architecture +Renovation
• Perelman Performing Arts Center by REX, New York City, NY, Popular Choice Winner, Hall / Theater

View Full A+Awards Winners’ Gallery

Maison Brummell Majorelle by Studio Bergendy Cooke, Marrakech, Morocco | Photos by Emily Andrews | Jury Winner, Hotels and Resorts

Skamlingsbanken Visitor Centre by CEBRA, Sjølund, Denmark | Photo by Adam Mørk | Popular Choice Winner, Cultural and Expo Centers

54 Social Housing – Mallorca by Joan | Fortuny Architects, Alventosa Morell , F-AM Arquitectes, Inca, Spain | Photos by José Hevia | Jury Winner, Sustainable Multi-Unit Residential Building

The judges were consistently awed by the new architectural directions signaled by the cohort of this year’s finalists, with many citing the renewed importance of contextualization, both with the immediate surroundings and with history, through an emphasis on regional materials, labor and techniques that respond to local conditions and heritage. The increasing prominence of landscape-driven design and building reuse across the globe was also remarkable.

All of these tendencies highlight the industry’s shift towards greener, more environmentally minded practices, proving that high-tech innovations are not the only way forward; low-tech innovations in passive heating and cooling, water reuse, and natural ventilation and illumination abound.

Pre-order World’s Best Architecture book

High Line – Moynihan Connector by Field Operations, New York City, New York | Photo by Lucas Blair Simpson, SOM | Popular Choice Winner, Architecture +Landscape

Taisugar Circular Village by Bio-architecture Formosana, Tainan, Taiwan | Photos by Studio Millspace | Popular Choice Winner, Sustainable Multi-Unit Residential Building

Loma Sagrada by SALAGNAC Arquitectos, Nosara, Costa Rica | Photo by Andres Garcia Lachner | Jury Winner, Private House (XL >6000 sq ft)

As Juror Jim Hanford, Principal, Building Performance and Sustainability Leader at The Miller Hull Partnership put it, “it is clear that we know how to design and build “high performing buildings” that reduce energy use, supply on site renewable energy, reuse water, etc. The projects that intrigued me were doing those things while innovating materially with new or old materials intended to be lower carbon ways of constructing.”

View A+Award Winners’ Gallery

Similarly, juror Erin McDade, Senior Program Director at Architecture 2030 noted, this year there were a “number of projects that specifically called out their embodied emissions interventions, as well as [an] increased prevalence of mass timber construction in diverse regions across the globe.”

The overall consensus is that environmental considerations are no longer an exceptional addition to beautiful designs; low-carbon building is has gone mainstream and contributions to making the industry more sustainable are now a baseline expectation for architects. Rather than being a limitation, many of the 12th Annual A+Awards winners prove that environmental and sustainability considerations are fertile ground for a more rooted, contextual and meaningful design culture.

Gratitude and Looking Forward

Architizer extends its heartfelt thanks to every architecture and design firm that participated in this season’s A+Awards. Your work culminates in architecture, interiors and landscapes that enrich the lives of communities around the world, and we are thrilled to showcase the industry’s standard setters on the global stage.

Interested in participating in the next A+Awards? Hit the blue button below to register for program updates and be the first to be notified when the 13th A+Awards season opens for entries!

Sign Up For Next Season

The post 12th Annual A+Awards: Winners Announced! appeared first on Journal.

Now, Architizer is taking our core mission of democratizing design one step further: For the first time ever, we are inviting our community to vote on the cover project for our enduringly popular and limited edition annual publication, “Architizer: The World’s Best Architecture.”

Vote on Cover Design Now

Your task is simple — help us choose this year’s cover design! The voting platform will be open for seven days, from Tuesday, June 20th until midnight PT Tuesday, June 27th. During this period, we invite you to each cast one vote per person on the project that you’d most like to see on the cover of our next book, with an anticipated publication date of October 2023.

With the expansive geographic, technical and aesthetic breadth of A+Awards winners, the task of choosing a single project to represent the entire collection bound within the book’s cover may seem daunting. With this in mind, we’ve narrowed down the selection to four amazing works that we believe encompass the overarching spirit of outstanding design showcased throughout the the book.

The shortlisted projects in the running for this year’s cover are as follows:

• The Valley by MVRDV, Jury Winner in the Architecture +Façades category (coupled with a dark blue spine); photo by Ossip van Duivenbode
• Lookout Tower by Robert Gutowski Architects, Jury Winner in the Architecture +Joy category (coupled with an orange spine); photo by Tamás Bujnovszky
• Cloudscape of Haikou by MAD Architects, Popular Choice Winner in the Architecture +Concrete category (couple with a sky blue spine); photo by ArchExist
• Orange County Museum of Art by Morphosis, Jury Winner in the Museum Category (coupled with a yellow spine); photo by Mike Kelley

Select Your Favorite Cover

In addition to these renowned studios, this year’s winners include many more signature firms, such as Zaha Hadid Architects, Adjaye Associates and Sordo Madeleno. Many smaller firms and up-and-coming studios also provided award-winning projects that captivated the illustrious jury and public alike. Now their work is published internationally among some of the biggest names in the industry, foreshadowing the next generation of impactful design.

This diverse range of A+Award-winning projects are honored within the hardbound covers of this illustrated compendium. Excitingly, there will be an all-new section in the book dedicated to the A+Sustainability Awards winners, a new suite of A+Award categories dedicated to projects that act as positive precedent for green building practices in specific regions and the wider world.

Half of the projects included in the book came out on top with the prestigious A+Awards jury, made up of more than 400 luminaries from fields as diverse as construction, fashion, publishing, product design, real-estate development and technology. The jury represents a sought-after segment of design-savvy professionals, and the Jury Winners therefore have a stamp of industry-wide approval.

Select Your Favorite Cover

The other half secured Popular Choice awards, having been voted the best according to hundreds of thousands of votes by a global, public audience. The resulting collection of projects is therefore a true and comprehensive reflection the world’s finest architecture, in the eyes of all that experience it. Whether a large commercial space or small pavilion, each winning project demonstrated architectural excellence through clever planning, brilliant teamwork and innovative uses of technology.

All in all, each year our stunning hardbound compendium of The World’s Best Architecture truly lives up to its title: it is an atlas of truly innovative contemporary designs found on all continents. We design our covers keeping in mind that these beautiful books are series to be collected, so side-by-side, the spines will complement each other on your bookshelf. If you haven’t already, snap up the latest limited-edition before it sells out, and preorder next year’s copy — whose cover will be determined by you!

Purchase Last Year’s Book        Preorder the Next Edition

The post Vote for the New Cover of “The World’s Best Architecture” Book! appeared first on Journal.

With two different awards categories for the Best Architectural VDrawing (Hand Drawn and Computer Aided), each recognizing a Studio Winner, an Individual (independent professional) Winner and a Student Winner, there are opportunities for all career levels to receive accolades from this accomplished panel. The Vision Awards Jury will also vote on the Architect Creator of the Year. (You can read more about the Vision Awards categories here.)

Receive Key Program Updates

While the Vision Awards’ jury comprises influential figures in the fields of architecture, design, technology, film, and beyond, this article highlights some of the drawing specialists whose expertise will play an important role in selecting the competition winners. The following individuals are amply qualified for the task. As you scroll and read their bios, you’ll see that Architizer has invited pioneering figures who continue redefining what it means to work in architectural drawing today.

Eric Reinholdt

Founder of 30X40 Design Workshop

Eric Reinholdt is the architect and founder of the residential architecture practice, 30X40 Design Workshop. He’s the author of Architect + Entrepreneur, an innovator of progressive practice models, and the creator of the YouTube channel, 30X40 Design Workshop. From his remote island studio he makes videos about architecture, designs simple, modern homes, and shares his process online.

Hamza Shaikh

Architect at Gensler

Hamza Shaikh is a London-based architect and artist. He is prominently known for his experimental architectural drawings on social media as well as his thought-leadership in the design industry. His recent book, ‘Drawing Attention – Architecture in the Age of Social Media’ was published by RIBA and Routledge and has been described as a crucial handbook for students and professionals worldwide.

He is also the host of the Two Worlds podcast series which aims to uncover the hidden potential of architecture by speaking with extraordinary practitioners on the fringe of architecture. In 2021, he was the recipient of the Individual of the Year award by the Thornton Education Trust for ‘inspiring future generations’ in architecture. Hamza has been described as a rising star and an influencer in the profession and is seen as a mentor to young professionals and students. He is also a visiting critic at the University for the Creative Arts and the University of Westminster.

Boryana Ilieva

Founder of Floor Plan Croissant

Boryana Ilieva (aka Floor Plan Croissant) is an architect who hunts film houses and paints their depths. She believes a film floor plan forms a ghost matrix where directors place hidden messages. In 2022 she participated in the Sketch Gallery Talk at the first-of-its-kind Gathering of film production designers from around the world in Greece. She guest lectured at the Royal College of Art (UK) and the University of Toronto (Canada). The Academy of Motion Picture Arts and Sciences digital magazine has featured her work. Recent contributor as an illustrator to the MUBI print magazine, Notebook.

Dan Hogman

Architect at SmithGroup

As an architect, artist and educator, Dan has developed the capacity to blend digital and traditional media in developing architectural concepts and has exhibited with the SFMOMA, the AIA, and numerous private galleries. Apart from his multidisciplinary design practice, Dan serves as faculty at the AAU San Francisco, where he teaches design and drawing studios.

Bless Yee

Architect at Snøhetta

Bless Yee was the Non-Student Grand Prize Winner of 2020’s One Drawing Challenge, and was one of the winners of Dezeen’s 2021 Redesign the World competition. She is an architect, artist, and educator based in New York City. Currently Bless is an Project Architect at Snøhetta and is an adjunct professor at the New York City College of Technology— she has also worked at Pei Cobb Freed & Partners and Handel Architects. In her personal work she is developing methods of layering hand drawing and physical models with digital tools to depict compelling narratives of social issues.

Sabina Blasiotti

Founder of Sabi Space

Sabina Blasiotti is a London-based architectural designer with roots in Pescara, Italy, where she grew up. Sabina’s passion for design led her to London, where she graduated from the University of Westminster (BA) and Bartlett UCL (MArch). Sabina gained valuable experience working at renowned architecture firms, including BIG in London and Kengo Kuma in Tokyo, Japan, before founding her own practice, Sabi Space.

Sabina’s work is a testament to her intuition, extensive research, and passion for taking on challenging projects. Her projects have garnered international recognition, including accolades from Azure Magazine, Architizer, and UCL, and have been exhibited in prestigious venues such as the Royal Academy, Sir John Soane’s Museum, and RIBA HQ. Sabina’s commitment to design and architecture goes beyond her professional work. She is currently continuing her studies and teaches as a guest critic and lecturer, taking on the responsibility of promoting progress within the field.

To have your work seen by these influential leaders in the field of architectural representation, and see your images published in print, enter your work for the Vision Awards before July 14th, 2023:

Enter the Vision Awards

Top image: “Together Alone” by Bless Yee, Winner of the 2020 One Drawing Challenge

The post Get Your Work In Front of the 6 Architectural Drawing Experts On the Vision Awards Jury appeared first on Journal.

We are looking for industry insiders to conduct interviews with designers and firms, to do research and commentaries on current architectural events, and to pen playful pieces about architecture in popular culture today.

Previous experience writing for online architectural publications is desirable, but talented new architecture graduates with the ability to learn and grow are also welcome!

Apply for This Position

Job and Responsibilities

We’re flexible — and we’re looking for writers who can be flexible too! Whether you’d like to contribute on a weekly or monthly basis, all we ask is that contributors be reliable and respect deadlines. The job is 100% remote work, and you will be compensated on a per-article basis.

Writers should be open to receiving weekly assignments and coming up with a creative, design-oriented spin on newsworthy events. They should also be able to form and articulate their opinions and commentaries on all things architecture. Enthusiasm to share knowledge about architectural software and design tools is a plus. In short, we are looking for contributors who can take an assignment and run with it and come up with creative pitches that are timely and relevant to our audience.

Ideal Attributes

• Knowledgeable about architecture, urban design, landscape architecture and art/design
• Pithy and articulate with a knack for crafting prose that is smart and punchy
• Self-motivated, diligent, responsible and resourceful
• Meticulous with fact checking and conforming to an editorial style
• Visually-oriented, with a great eye for striking images
• Confident in delivering clean, concise copy under tight deadlines
• Comfortable with a fast-paced publishing schedule

To apply, please email the following to jobs@architizer.com with the email subject line “Contributing Writer: [YOUR NAME]” and please include the following:

• An up-to-date resume (attached as a pdf).
• Cover letter (attached as a pdf). In the cover letter, tell us why you are the right person for this job. Please share relevant experience, insight, and motivation.
• Links to relevant content or writing you’ve created for yourself or other publications.

If your application is shortlisted, you will then be given an editorial test to complete in order to demonstrate your skills.

About Architizer

Architizer is the largest network for high-end residential, commercial and institutional architecture online, with more than 100,000 projects in our database. We’re currently the go-to site for the world’s leading architects and designers to showcase their work and have an aggressive strategy for continued innovation in online services related to the built environment.

We’re a team of thinkers, creatives, technologists, writers, architects and doers. In the spirit of the architecture field, we approach our objectives with equal parts analysis and creativity. We’re involved both online and offline with architecture and design and collaborate regularly with friends at respected cultural organizations both in New York and globally.

Apply for This Position

Featured image: Springdale Library & Komagata Maru Park by RDH Architects, Brampton, Canada | Jury Winner, 2021 A+Awards, Architecture +Community

The post We’re Hiring: Architizer Journal is Seeking Talented Contributing Writers! appeared first on Journal.

As it embarks on this new path forward, Architizer will remain grounded in the central values that it was founded upon. For this reason, we are using this momentous occasion to look back on the founding of the company. In this four-part series, we ask each of Architizer’s founders to reflect on foundational philosophies and to share stories about the early days of the platform.

In this interview, we sat down with Marc Kushner, the Founder and Principal of MAJOR Architecture, a full-service design firm that believes thoughtfully crafted spaces make for better interactions and better homes.

Left: Architizer’s logo built out of white lego blocks (Manhattan office). Right: Ben Prosky and Marc Kushner at one of Architizer’s A+Awards galas. 

Hannah Feniak: What was the original goal of Architizer?

Marc Kushner: Facebook, YouTube and Flickr were just taking off at that time. We saw all these things starting to light up for other uses and other constituencies and thought that architecture could potentially ride that wave. That there is power in numbers and by creating this resource — an agglomeration of architects showing their work not just to each other, but to the world — there would be a chance to get people seeing great architecture, talking about great architecture and engaging with great architecture.

Ultimately, what was really a driver at the time was for people to hire architects. There there was that famous or very popular image going around in 2008 of an architect at a farmer’s market with a sign that said $0.05 for architecture. It was a really, really dark time for architects. Really, the reason we could start Architizer was because I have gotten laid off from my job. I had partnered with Matthias to start HWKN, but we had no luck, we had no work, we didn’t have any, didn’t have anything to do. Nothing was going on. So, we had this opportunity to mess around online. And then Alex Diel sort of made the whole thing possible because, as architects, we didn’t really know how to do things online. So, the idea of raising the visibility of younger architects and bringing entrepreneurship to architecture was something that we thought was important.

What is a favorite memory that you have when you think back to the early days of Architizer when you guys were getting it up off the ground?

I think my favorite moment was we did a launch party at Storefront for Art and Architecture. Until then, we had really been working on this thing privately, on our own. Ben was the consummate architectural party thrower, but we had no idea if anyone would show up to Storefront. You know, it’s a really nice night, but for what? For some what network?

So, we printed out some flags with the logo. I distinctly remember us standing on what were basically soapboxes screaming a little speech — a launch speech — with like our fists up in the air saying something about power and numbers, together we can…The place was packed and we had replaced all the light bulbs in there with Architizer blue, which was our color at the time. It was really incredible, it felt very much like a revolution. It felt like fists up in the air — like we would do something collectively together. And that was not a feeling that I think pervades architecture, or pervaded architecture. Maybe it’s different now, but that felt pretty great.

 Who was the first advertiser on Architizer?

Okay, this is probably not the first one, but it’s probably the worst and worth mentioning. We had a friend Kenny, and Kenny’s bathroom was disgusting. Like, really vile. AFNY, maybe, which is a plumbing showroom in New York, paid for a competition called “Kenny’s Bathroom, Fix Kenny’s Bathroom, Kenny’s Shitty Bathroom” or something. We shot a really cute video and we basically offered people a chance to compete for a job to fix Kenny’s bathroom. So they paid for the campaign, but it didn’t work. They were very sweet about it. Turns out it’s really hard to fix a bathroom in New York, and boy, did we miss the boat. So, I think that was probably one of the first advertising that we did. Block has just raised $50 million to do the exact same thing to fix people’s bathrooms. We were ahead of our time. We tried to do a lot of things.

Ryan Quinlan on the left, Architizer’s first employee,  with Marc, Alex and Ben. The chair stacked chairs formed a make-shift sculpture of the Architizer logo. 

Did running Architizer inform your TED Talk?

In the really early days of Architizer, we were AB testing content on Facebook to see what drove the most traffic to our Architizer, and we quickly figured out was the images that architects were uploading. It was really fascinating to see which images people responded to and which images people just sort of passed through. Some of it was predictable: people really like infinity pools and cantilevers. You know all the negative things about social media — that it lends itself to a fast, surface appreciation of these images, and it doesn’t at all engage with a huge amount of thinking and complexity. But people were responding to these images. I really thought that that was an incredible thing. As I walk with friends, family members, I’m always amazed at how little they see in the built environment around them. They really don’t notice the buildings that are creating the spaces that they like or don’t like. It’s like they somehow aren’t trained to make that leap, to read architecture and to think about architecture and to think about those choices.

What I thought I saw — and what I still think I see — in the power of social media and the Internet, with architecture, is to make architecture legible to a really broad spectrum of people. That’s ultimately what I spoke about a TED. The call that I answered was to speak about 30 years of architectural history, which is impossible. So, I tried to do a quick survey, but what’s the hopeful end to that story? The hopeful end to that story is that Instagram will save us all. Obviously it won’t, but what I think is still a possibility is that it will train people’s eyes to look at buildings. That would be enough, that would be a huge win.

And it was really interesting to see the response from the critics at the time who were deeply troubled by this populism and, I guess to put it in a pithy, short way, I really like Brutalism, but I can’t expect anyone else to really like Brutalism. It’s not worth me worrying about people not worrying about Brutalism because people lack vocabulary to speak about buildings full stop. Forget about Brutalism. Forget about difficult buildings. They can’t even talk about buildings, so if we could just somehow bridge that divide… That’s what I thought I saw the opportunity for in architecture at that time and that’s what I spoke about in the TED Talk.

What are your thoughts on architecture becoming a part of the Material Bank family?

It’s really vindicating. It’s bittersweet as an entrepreneur. We couldn’t have ended up with a better acquirer because we tried this. Let’s say we had a successful publishing platform for architects. Architects were uploading their work. We were working hard to popularize it. We were charging manufacturers advertising to come look at it. And we weren’t satisfied or I wasn’t satisfied, as the CEO. What we saw was that architects were these unheralded, or let’s say, unrewarded shoppers…

What I realized is that architects basically have the cash in their wallet. They are the nation’s largest shoppers. I don’t remember any of the statistics that I used to know, but we control something like $500 billion worth of specifications every year, and we’re calling around like crazy people, scrambling, begging — we’re paying for samples! The whole thing was topsy turvy. I had to go to Chicago to a trade show to go find out what was happening. No one was serving me and I saw that. I mean, that was like a problem with the whole profession. Basically, we have this power and nobody was serving us. Just today we were talking about a paint sample, but it’s a paint sample for a 300 unit high rise. So, $100,000 worth of paint and we’re choosing off of a little chip and making a choice. These are big decisions and we should be wined and dined a little.

So, I really came at this as this populist: architects should be adored for what we do, and we should certainly be served by the people whose products we are shopping for. So, that was like the genesis of the idea of we should be making it easier for architects to find the products that they need, and that led us to Source, and we didn’t quite get there with Source, but what’s so amazing about Material Bank is that they got there and it’s the exact same story. Architects in my firm — without my prompting or anything — are using Material Bank because it makes their life easier. Because… it’s them being served in a way that is commensurate to the power that they actually control.

What are you up to today?

So, I’m back to practicing architecture and I’m working on multi-family housing. Right at the start of the pandemic, I decided that I was not really interested in chasing the high profile cultural or urban or speculative projects internationally. I was much more interested in America’s housing crisis and looking at the suburbs and overlooked cities. Places where I felt like the architecture that I had practiced, that I had been exposed to, had largely forsaken: stick builds, wood construction, four stories, buy a fire farm, pave over and put up 100 apartments, or looking at parking in downtown suburban areas. These are the not glamorous problems, but they’re the problems that will solve America’s housing crisis. I’ve come to believe that they’re more interesting than the big fancy buildings that we were that we were working on and that I have worked on in the past.

The short answer is that I’m working on multi-family housing. The big answer is that I think it’s a privilege to design places where people live, and I always enjoyed designing single family houses and apartments, but it’s a lot more enjoyable to design 300 apartments at the same time and figure out how do to create a community out of that place. Or, even harder, how do you deal with cars and not make it like living in a parking lot? These are these are challenging problems. Yes, I wish we use more trains in America and I wish we walked more and all those things. The reality is what the reality is, and architecture has a role in solving it. We’re working on finding that role.

And it’s actually a bit through education, so it’s really interesting. It’s now part of my job to go and present or give testimony to planning boards. It very much hearkens back to the social media days or the Facebook days of Architizer. You’re getting in front of, say, eight or ten, really concerned and engaged citizens who are really smart but aren’t necessarily tuned into your reading architecture, and you want to curate and show them that this will be good. There’s things that you recognize, there’s some surprising things in it, and crafting that brew, that stew, we could unlock a lot of potential by finding a way to communicate visually through the commission forms.

Congratulations also on taking that new step. What does the future have in store for you?

What’s in the future? No, everything’s great. I’ve got two kids. I live in Brooklyn with my husband and, you know, I’m excited to watch and be helpful to Architizer as it takes this next step and, yeah, nothing really in particular.

Top image by Lucy Wang.

The post Building Foundations: Cofounder Marc Kushner Reflects on Architizer’s History appeared first on Journal.

As it embarks on this new path forward, Architizer will remain grounded in the central values that it was founded upon. For this reason, we are using this momentous occasion to look back on the founding of the company. In this four-part series, we ask each of Architizer’s founders to reflect on foundational philosophies and to share stories about the early days of the platform.

In this interview, we sat down with Benjamin Prosky, Executive Director, American Institute of Architects New York | Center for Architecture. 

Ben with Winka Dubbeldam in front of the Architizer flag at at a launch event in the Bauer Hotel in Venice. 

Hannah Feniak: What was the original goal of Architizer when it was founded? What led you to join the founding team of Architizer?

Ben Prosky: Essentially it was 2008. I was working at Columbia. I was sort of big public outreach person for the School of Architecture, GSSAP. Then, of course, the economy crashed and there really wasn’t very much work for architects… Marc and Mattias, who had just founded their young firm amidst a recession, noticed that architects don’t have great websites and they don’t have a lot of money to found good websites.

Social and professional media were emerging at that time and weren’t visual enough. LinkedIn was already a thing, but it didn’t work well for architects because it is really about resumes. Meanwhile, architects want to be known through their work and beautiful visuals… Then, even if you did have a good website, who was finding it? How did would your website be discovered if you were not a big firm? Instagram wasn’t a thing yet. Facebook was more social and wasn’t as public then. So, as a young firm who didn’t have any work of their own, they asked: how do we get known? How do we help other people get known? How do we help?

Beyond that, how do we get recognition for work that we worked on? So maybe we interned at a firm or we worked as a junior person. Even though you don’t author of the whole building yourself, you have a right to say what you did on it. And that was also something that really never came through anywhere. There was never a spot for that. If you had a resume, you could list that there. The idea of Architizer was to create this social and professional networking site where the image was privileged. People would create profiles and firms would create profiles, but really it would become the largest database of images about architecture, and those images would be connected to people and their work. And that was the idea: to help people get known through their own work, their own authorship of the work, and the images they chose to represent the work.

So, how’d I get involved? Actually, Marc, Mattias and I all met at the same time. Jürgen Mayer is really the godfather of Architizer. He knew us all and linked us all together, even though Jürgen was in Berlin… And then Marc and Mattias did this BMW mini pop-up with Alex Diel, and he was really entrepreneurial and of course had this creative agency that could do all this digital stuff. That’s how the four of us came together. Alex could provide the actual technical background and create the whole thing. Marc and Mathias, being young architects, were the profile of the type of firm — the user case scenario — and could advise on the look and feel. My role was answering: how do we how do we position this? How do we get this out to the public? Who can we get signed up?

So, we did this whole countdown for when we went live, thinking that if certain people and profiles and firms had already uploaded, who could resist” My job was to put together a mega list of who could we get — everything from Liz Diller to Frank Gehry partners to Zaha Hadid to younger firms at the time like ANArchitects or Hower and Yewn. The goal was that we have a top 100 so that when we went live, there would already be a certain critical mass of images and influential firms there. So, the original idea was create profile, and why wouldn’t you create a profile if Gehry and Partners already had one?

Once it went live, we realized that websites are really hungry creatures. Originally, there was an idea that people are going to post, and every time you get Diller Scofidio to join, they’re going to post the picture that will be on it. But then we realized that you’ve got to write news. People were getting excited we realized we had to constantly provide content. I started this kind of curators pick corner with what’s going on in the world, which soon became impossible to keep up with because I had a full time job. So, Ryan Quinlan became our first intern, and I would write a weekly sort round up of like lectures and exhibitions that were going on and things like that.

We were coming out of an era where the architecture magazine and the monograph reigned supreme… People used to buy these magazines and monographs to get pictures, they’d have these libraries because they wanted ideas. Suddenly, the Internet was out there, but the collection of architectural images was not sufficient. Sure a magazine is hungry, but then it gets published and you have a whole month to get new content. A website is more of an every day thing where you won’t go back if there isn’t something new every day… So we quickly realized it had to be a publishing mechanism not only by people who are building sites but also offer news and so on. There was also this idea driving us that it would be a place that you go for inspiration and to find work that you wouldn’t find in the monographs and magazines. This was that intermediate era where there still were plenty of magazines out there.

What is like one of your favorite memories from the early days of architecture? We hear that there were really epic parties!

I think that my favorite early memory was when it started to have an identity. We were creating this thing and finally that little a logo came out — it was funny light, powder blue with chamfered edges. And then there was this countdown to when the site would live — as if there were all these people waiting in front of their monitors for it to go live. The daze — “Can we get can we get REM Koolhaas’ firm OMA on the site? Who can we get to upload photos? Oh my god, we got OMA on it!”

Before it ever went live, I remember this excitement of what it was going to be once it got out there. I remember checking in on the Live Day: How many people are visiting and are people uploading their own profiles and who are we hearing from? That was really exciting. And we had a little office and we were still a group. So, I think what it was to birth the website and what it actually meant: Would anybody be looking or would everybody be looking?

We quickly realized that websites also need connection to people, in real space, to be a thing. So, Architizer couldn’t just live online. You couldn’t just go to the website and have this experience; instead, come to an event. Architizer became this brand and we went crazy with these launch parties to connect people… If you come to a website that can draw a great crowd and be in a cool space, then that website is buzzed.

One or two that I have to say stand out? The one at the Venice Architecture Biennial, which we did with Felix Bircher, of Pin-Up a magazine and Winka Dubbeldam of Archi-Tectonics. We were these three entities like Winka and Pin-Up, and we managed to get the little nightclub at the Bauer Hotel. Our blue Architizer flags — which we’d carried in our own suitcases and put up ourselves — were on the outside of the Bower Hotel in Venice.

There are two that are epic in my mind. We did one at the Old Design Museum in London on the rooftop, right on the Thames. There was a terrace, and it happened to be a beautiful day. And then we got to do one in Tokyo…in the Mori Tower. We got an afterparty with the PechaKucha guys, they had a bar and it was sort of like crazy. The Architizer flags were in Tokyo, and there were all these Japanese architects, young Japanese architecture students who knew of us, knew of Architizer, and came out. It was at a scale where we could throw a party and people came, and that was really cool.

Also, the little first one here at the Storefront for Art and Architecture was the very, very first launch party. We worked with the head of Storefront, Joseph Grimm. They gave us a space. We had little boxes that we got up and said the Architizer manifesto as loud as we could. So yes, these parties were great…we would sort of get in touch with all the people and we were still smaller — we weren’t a big corporate thing.

The four founders — Marc Kushner, Ben Prosky, Matthias Hollwich and Alex Diehl — at the Architizer Launch Party in L.A. at what was formerly the L.A. Architecture Museum (it has since been demolished to make way for a metro entrance). The images on the wall are print-outs of firm profiles from Architizer.

How do you feel now that you’ve transitioned away from Architizer; have your experiences founding the company informed your work at the AIA?

Founding Architizer was really an important part of my professional development because it really diversified it. I have always worked for large institutions that are more on the curatorial or academic side, and when I co-founded Architizer, it was one of the most entrepreneurial things I’d done. There was no big institutional structure like Columbia or Harvard or the Canadian Center for Architecture to frame it… and so it presented this challenge. How do you do really proactive, brazen outreach? How do you just tap into your networks to get the word out and get known for an idea?

I think that energy is sometimes missing in these big, important institutions because they have these networks and ways of doing things. I was already known in the institutions I’d been at as someone who was convener — an inviter. To be known for co-creating something and getting it out there was a new thing. After I stepped away from the day to day of our Architizer, I became an Assistant Dean of the GSD. As an administrative dean, my departments were the communications and outreach…the magazine, the website, the events, the lecture series, the publications and the exhibitions. I know what attracted Harvard to me and me to Harvard was that I had had this institutional work background, but then I suddenly had this entrepreneurial experience.

Now I’m at the AIA where I’m the head of the New York chapter. We’re the largest and the oldest chapter with over 5000 members, but the members run from people who are right out of school to people who either have huge firms like SOM or are sole practitioners… At the AIA, we have firms that range in experience. It’s so important to understand how they’re received; how they get the word out, what they’re known for — and if they are known for the things they want to be known for, and understanding what it takes in the back end to kind of craft that narrative and how much control you may have or not have over it. I think the Architizer of our experience was just integral to that.

What are your thoughts on architecture becoming part of the Material Bank family?

I think it’s great that Material Bank has emerged doing something that everyone needed or needs but in a really efficient way. They’re reducing waste, creating efficiencies and re-using and recycling. Architizer always needed to figure out what its business model was and part of it came down right this — materials. We wanted to help connect people in their specs, but Material Bank really did a great job, they went above and beyond. The idea idea of the huge database we created being married with a company that really knows how to actually, physically reach people with design objects and specs and so on, makes a lot of sense. The story will still be about how powerful the images of designs are and how powerful a network of architects is — not only to suppliers but to each other. These are the things that I do think we really nurtured with Architizer and that will be of value as part of this bigger group.

What do you think the future holds for you or where you’d like to see yourself going?

Well, it’s a circular thing. I was trained in architectural history theory and then urban planning, and I always loved architecture and design. But, I remember that my professor in undergrad, who was an architectural historian, said to me: “You have to resolve your relationship with architecture.” He was right — either you’re going to create it or you’re going to be part of this machine that actually helps to put it out in the world and create value and understanding. Oftentimes, the people who do this are not actually trained as architects.

To circle way back, much of my work at the AIA really is that same marriage of helping a community of architects work out its issues while also considering how their work is presented in the world. How, when laws change, do we advocate for what architects can do in the realm of sustainability? How is the role of architects in resolving social issues defined? So, in many ways, this is always informed by that earlier outreach work.

The part of my work that I’m now most engaged with is really about public advocacy. I’ve gotten to sit on the commissions appointed by the mayor to advise on certain issues, and I do this on behalf of the community. I think that this is a newer aspect to my work: not just being known but being politically relevant and actually helping architects shape the kind of world that they want and that others would want. This not only includes sustainability laws, but also creating opportunities for people in architecture who have not previously had them, or who have not seen architecture as being something helpful to them. How do architects not simply design public housing, but also create avenues for them to deeply understand the needs of the communities in the public housing? That is to say, publicly working out why we need to actually advocate for more of it — not just because we want to design it, but because we want to be trusted by the people who need it.

People have to trust architects to create that world with them, and in order to do that, architects have to be really savvy at speaking with politicians and communities and all kinds of people. They can’t just come down and simply say “this is what I created for you all.” That’s where I hope the communication skills that I learned throughout my career and through Architizer are helping me articulate these values for the community.

Top image by Lucy Wang.

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As it embarks on this new path forward, Architizer will remain grounded in the central values that it was founded upon. For this reason, we are using this momentous occasion to look back on the founding of the company. In this four-part series, we ask each of Architizer’s founders to reflect on foundational philosophies and to share stories about the early days of the platform.

In this interview, we sat down with Matthias Hollwich, Founder and Principal of HWKN Architecture and Cofounder of FLX LWP.

David Weber: Where did the name Architizer come from?

We had a lot of fun and crazy names to begin with. I remember we talked about such titles as “The Pursuit of Beauty,” but I am glad we settled for Architizer, since the intention always was to energize the architectural community.

What was the original goal of Architizer?

Fifteen years ago social media was forming, and we saw that architects still had to go through “gate keepers” in the press to get professional recognition and attention for their work. We wanted to break down that barrier. We wanted to make architecture more popular in society so that architects would get more recognition and thus more freedom to carry out their designs.

What is your favorite memory of the early days of Architizer?

There are so many of them. It all started with sketching out ideas, including visualizations that were semi-erotic! We believed that people needed to fall in love with architecture (the ideal first date might be between a building and a person in a nearby pool!). During that time Architizer and my architectural firm HWKN were sitting in the same office…and the discussion between the architects and the media people created such amazing cross pollination — we were learning from each other.

We heard the parties were epic… what was the best Architizer party?

For me the best part was the launch party at the Storefront for Art and Architecture. We had no idea if anybody would show up, and the space was packed. I ran into architectural legends like Stan Allen, who I never dreamed of meeting.

Images from Architizer’s Storefront for Art and Architecture launch party. 

How did your work at Architizer influence your architecture practice?

I learned that, as architects, we have to go beyond theory and technology to reach people’s emotions. Sexy visuals are part of it, but there’s also the story around it and the experience that a building delivers. Through media we can ease people into innovative ideas, forms, and spaces, and when we do it, we can create more radical work.

What are you focused on at HWKN these days?

At HWKN we are focusing on innovation and defining ourselves a boutique innovation firm in architecture. We have twenty-four projects in the making including the first work resort, a 400,000 square foot building in London; a twelve-story, heavy timber apartment building in DC that is designed for a new, open way of living; prefabricated high-design office buildings in Aachen, Bochum, Leverkusen, Krefeld and Essen; and one of the largest master plans with 2,500,000 square feet of development opportunity. In addition we just secured our first commission to design a destination in the Metaverse.

What is FLX LWP?

FLX is the future of living; a new apartment brand that is focusing on intergenerationality, social connectivity, and sustainability. Having worked on multiple future-focused apartment typologies for brands like Ilive, Welive, and Gravity, I believe there is a gap in the market that urgently needs to be served. Creating places that empower people to live their lives, all life long. Our subtag is: Home of Pioneers.

What trends do you see emerging that will influence the future of architecture?

We are in the middle of seismic shifts. With the post-pandemic new reality, a war in Europe and global warming, nothing can stay the way it is… We need to come together and solve these issues with new Live Work apartment buildings that eliminate pollutants, new buildings like the Work Resort that attract employees to work from the office again, new experience-driven retail environments, with new ways of designing/redesigning our cities that put the 15 Minute City into reality with maximum mix of programs and unforgettable spatial attributes. This is the time when the architect has to be seen as a creative problem solver on a large scale. I hope everybody who joined Architizer in the last fifteen years will embrace this movement toward radical reinvention, and take it even further.

Top image by Michael Moran Photography.

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As it embarks on this new path forward, Architizer will remain grounded in the central values that it was founded upon. For this reason, we are using this momentous occasion to look back on the founding of the company. In this four-part series, we ask each of Architizer’s founders to reflect on foundational philosophies and to share stories about the early days of the platform.

In this interview, we sat down with Alex Diehl, Angel Investor, Design Entrepreneur and Senior Advisor to the Max-Planck-Institutes’ CyberValley in Tübingen/Stuttgart, Germany.

Alex on the steps of Neue Museum in Berlin  (by David Chipperfield) 2021

David Weber: What other projects were you working on when you co-founded Architizer?

Alex Diehl: At my digital design agency in Berlin, KKLD*, we were building some of the UX/UI for BMW’s innovative mobility services, DriveNow, the car sharing service and ChargeNow the electric vehicle charging app which both became very successful in Europe. We were also building innovative digital products for Bayer — an early generation of health apps.

What was the original goal of Architizer?

Matthias had seen some of the work we had done where we had built an online networking tool for clean energy mobility enthusiasts. Whilst we were working together on a different project he brought up the idea of building something that would enable the global community of architecture talent to connect and essentially associate themselves with the projects they are involved with. “Tag” talents to projects so to speak.

How did your work at KKLD inform your work on Architizer?

I had built my innovative design firm with Stephan Laemmermann, and from the beginning we were always focusing on building digital products and user experiences that would enable people to have “real” lives. Utility in digital products, simplicity and user engagement was something we really strove to constantly optimize in all of our work. We also had learned quite a bit about audience building around specific verticals. Social media had just entered hyper drive with Facebook and Twitter taking off massively. All these learnings and methods we applied to building Architizer as a product to empower architects and Architizer as an audience that grew fast.

What did you learn about architects in your first product interviews with architects?

We set up lead user interviews and a workshop with various architects from different firms — often friends of Matthias, Marc, Ben and my wife, Nora (also an architect), in Manhattan at Matthias’ place. We presented them with some of our mock-ups to gauge if this would provide any utility for them and quizzed them around their general needs in their professional daily lives. I learned that architects are a very analytical and creative audience, and while they were using many digital tools for their work, they had not really taken to the internet yet as architects, and there was no clear conception of how the internet could benefit their profession.”

What precedents did you look to when you were designing Architizer?

We had built a few topical communities at my design firm for sports, dating and mobility — thus many learnings came from work we had been doing over a few years. Also, you shouldn’t forget that earlier social successes such as Myspace and Friendster had established some web design standards around tagging interests etc.

What problems were you looking to solve with the first version of Architizer?

Essentially build the “Archigraph” — digitizing the real connections that all find confluence in a built project. From talent to material, location, culture, social discourse and commentary. Back then, we thought we could digitize all of the Archisphere at once… a bit of a lofty goal at the time I suppose. Plus, I wanted to do a project that my wife would be interested in 😉

What KPIs were you looking at when you were tracking the success of Architizer?

User growth, engagement of content, participation in competitions, quality of tagging re projects, products: we quickly learned that discourse between individual users would not be the main engagement driver. We learned the main engagement driver was architects self-publishing great displays of their work, and the audience seeking out, consuming and sharing that content for inspiration.

What early milestones were you most proud of?

I think when OMA, BIG, DS&R, ShoP came on the platform and others realized this was getting traction, and we saw the user growth accelerate a few weeks after soft launch — that was really exciting. And the fact that people would share and comment on quality content in an eager way.

Left: The four founders — Marc Kushner, Ben Prosky, Matthias Hollwich and Alex Diehl — at Architizer’s L.A. event. The images on the wall are firm profiles printed from Architizer. Right: The crowd waiting to get in at the Bauer Hotel in Venice for an Architizer event.

What is your favorite memory of the early days of Architizer?

Two favorite memories; the first is before and after the launch party at Storefront for Art and Architecture. Before, there was no one on the street, we were just a bunch of people who thought we had built something fun but no one would probably care about it. One hour later the street was filled with architects and design professionals senior to junior, famous to student, hanging out at our party and tweeting about it. That’s when I knew this could work.

The second was a product workshop at the hotel Bauer in Venice outside on the terrace with the Architizer design team to iterate the next releases. Don’t ask me why at that hotel (we weren’t staying there, we were a start up), but overall seeing at the leading architecture festival in this historical city that is so offline, discussing the future of architecture through digital, and the global Architecture community hanging out around town…that was quite special. And interesting juxtaposition. I also remember we all checked out Tadao Ando’s Punta Dogana renovation afterwards. Again an interesting juxtaposition.

With a decade of perspective how might you have designed Architizer differently originally?

Identify the core utility in a sharper way and then enable the audience to access it through every device for that utility. Grow the utility road map over time as the platform /audience relationship matures. Although, there is some elegance to the site just celebrating Architecture for Architecture.

What do you think of Architizer becoming part of the Material Bank family?

I think this is great — a perfect match for us, and I think Material Bank has cracked the model to provide very high utility to architects and manufacturers through an online/offline service in perfect convergence. Brilliant execution and laser focus on that core value prop. Plus a way to monetize as a win for all sides involved. Very well done.

What are you working on now at Cybervalley?

We have built the largest research ecosystem for AI and next generation robotics in Europe around the Max-Planck-Institues and the participating Universities in Germany. I am applying my learnings as a UX/UI and design entrepreneur and investor to foster the next generation of startups and spin offs out of this excellent deep tech cluster. At the core of my work it’s always about the interface / or better relationship between human beings and a machine (computer, tablet, robot, mobility device, house etc.). AI will make the interaction so much “smarter” and more fluid and the next generation of UX/UI’s will be so much more seamless than what we were building 10+ years ago. That’s exciting. Also, I really like to work with teams that try to bring real value rather than society getting lost in a virtual world completely.

Where do you think there is the most potential for future ventures in architecture and design?

Sustainability: buildings contain a lot energy being built and they consume a lot of energy running. This is well known but considering where we have to go as a society we’re really far off. The design and specification process in order to optimize for sustainability whilst not forgetting individualization — people like to live in and with their character.

Top image by of Poppin

The post Building Foundations: Cofounder Alex Diehl Reflects on Architizer’s Past appeared first on Journal.

Currently led by CEO David Weber, Architizer was founded in 2009 by Alex Diehl, Matthias Hollwich, Marc Kushner, and Ben Prosky with a mission to help architects build better buildings, better cities, and a better world. The platform has since established a strong global brand, an engaged community of more than 900,000 registered users, 335,000 architects and 25,000 firms, and an expansive database of more than 3 million architectural images from 86,000 inspirational projects, showcased alongside building products from 31,000 manufacturers. For the past decade, it has also hosted the prestigious A+Awards, the world’s largest architectural awards program that celebrates the best designed buildings from around the globe and spotlights the people, products, and technology that bring them to life.

Material Bank’s Founder and CEO, Adam I. Sandow, is committed to moving the architecture and design industry forward. “With an incredibly powerful database that provides seamless, curated access to building-product information, Architizer allows for creativity and meaningful connections,” said Sandow. “Architizer has built an extraordinary business with a team devoted to innovation in the architecture community — this acquisition will benefit both our users and Brand Partners and together we will build an even more comprehensive platform for the industry.”

Each project showcased on Architizer’s platform forms a valuable case-study for the real-world application of different products, materials, furniture, and lighting. This deeply contextual content provides a key foundation for informed decision-making when it comes to requesting samples and ultimately specifying materials and products. Architizer’s integration into Material Bank’s ecosystem is a natural one, creating much needed synergy between the research and action stages of the design process.

“It is a winning proposition to bring together Material Bank’s unparalleled database of design products with Architizer’s robust database of architectural projects,” said Weber. “We’re excited to combine our data and resources to build better tools that serve the global community of architects and designers.”

Architizer will continue to operate independently as a subsidiary of Material Bank led by David Weber.

About Material Bank

Material Bank is a marketplace for design professionals and brands in the architecture and design industry, providing the fastest and most sustainable way to search, sample, and specify materials. Named as one of Business Insider’s Hottest Proptech Startups and Forbes’ Best Startup Employers, the revolutionary platform powers complex searches across hundreds of brands in seconds. Samples ordered by midnight (ET) are delivered in a single box by 10:30 AM the next day. With a rapidly growing community of members, Material Bank has changed the way material manufacturers and brands connect with the architecture and design industry.

About Architizer

Home to the largest community of architects online, Architizer’s mission is to celebrate the world’s best architecture and the people that bring it to life. Powered by continually evolving technologies, Architizer serves architects with the inspiration and information they need to build better buildings, better cities, and a better world. Home to 335,000 architects from 25,000 different firms around the world, Architizer provides design professionals and building product manufacturers with a global platform to promote their work through awards, competitions, and engaging content.

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