 |
|
|
|||||
Like many industries, architecture has jumped on the artificial intelligence bandwagon. AI tools are becoming everyday parts of the practice of architecture, from iterating design concepts to optimizing floor plans to accelerating the creation of construction documents. Some architecture firms are even branding themselves as “AI-driven.” AI’s infusion into architecture is well underway, but it’s also an ongoing process. Firms are finding new ways of making these emerging tools work for the way they design buildings, while also grappling with what AI could do to a profession so dependent on actual human intelligence. Fast Company asked architects from some of the top firms working in the U.S. and around the world how AI is making its way into their work and business, and what we might expect to see in the next year as AI adoption continues. Here’s the question we put to a panel of designers and leaders in architecture: How do you see AI changing architecture in 2026? Fluid movement AI is moving from experimentation to expectation, particularly in early-stage exploration. Its real value isn’t replacing creativity but removing friction from the design process and making it easier for architects to express intent and quickly see viable options. Were moving toward a world where teams can load contextual project data and project outcomes and immediately explore design solutions, without getting bogged down in manual setup or repetitive tasks. With AI that supports seamless collaboration and iteration in context, architects will be able to collaborate freely with stakeholders and move fluidly between ideas, levels of details, and outcomes. The architects who succeed will be those who use AI to expand their creative range and sharpen decision-making, not replace it. – Amy Bunszel, EVP of architecture, engineering and construction solutions, Autodesk More rigorous and transparent design process In 2026, the question will no longer be whether firms use AI, but how responsibly and intentionally they do so. At WXY, we see AI as a way to make design processes more rigorous and transparent, not faster for the sake of efficiency alone. Used well, AI can strengthen analysis, clarify tradeoffs, and support more informed decision-making. Used poorly, it risks flattening complexity and distancing designers from accountability. The fundamental shift that AI will spur at WXY will be cultural, honing our understanding of judgment, authorship, and ethical use rather than the firm’s technical capability. – Claire Weisz, founding principal, WXY architecture + urban design Option curation, not object generation AI will continue to be less about sexy imagery, and more about rapid test-fitting. We’ve already created tools that incorporate climate analysis and evaluate massing iterations to maximize value for our clients. We will continue to develop systems with AI that enable option curation versus object generation, to assist more with early feasibility and storytelling. – Trent Tesch, principal, KPF Exploring, but safely AI is rapidly changing design practice, in everything from the legal review of contracts to building code reviews of design solutions to how we generate design visualization. Its greatest impact to date has been in areas of practice that have large data sets, or that focus on repetitive and easily automated tasks. When it comes to creative exploration, the tools are changing so rapidly that designers are working hard to keep up with everything from protecting our intellectual property to communicating, disseminating, and training applications across the firm. We are already sandboxing AI to help us explore different creative tools safely. – David Polzin, executive director of Design, CannonDesign Power of persuasion AI represents incremental (yet meaningful) gains in nearly every aspect of what we do as designers. From ideation and image generation to geometric optimizations and environmental analysis, AI is helping both architects and engineers move more quickly, be more creative, and communicate more persuasively. – Colin Koop, partner, SOM Augmented, not artificial, intelligence There is an amazing opportunity to test ideas; the challenge is people see it as an opportunity to speed up the process, but that will not happen. It is far more nuanced. We expect to see different types of people come into the professioncoders, data analystswhich will provide an opportunity to analyze how we work and craft a relevant tool to support the design solution. The emergence of AI has sparked debates about the future of design professions, particularly in the built environment sector. However, rather than threatening to replace architects, urban planners, and landscape designers, AI can reshape their role and amplify their capabilities. The design profession of the built environment stands at a crucial intersection where human creativity meets technological advancement, where spatial understanding meets digital simulation, and where physical materiality meets virtual modeling. Rather than being replaced by AI, design professionals’ roles aren;t diminishing but are evolving, becoming more vital than ever in our increasingly complex urban world. In a pervasive AI world, design and artificial intelligence should complement one another. Perhaps if we replace “artificial” with “augmented” we can get a better understanding how to use this powerful tool. While AI can process patterns and performance data, it cannot comprehend the subtle cultural tones, and community needs that inform great architecture and urban spaces. Designers bring this crucial layer of human insight, ensuring the built environment is not just technically efficient but culturally meaningful and socially sustainable. The future of architectural and urban design isn’t about choosing between human creativity and artificial intelligence it’s about leveraging both to create spaces that are more sustainable, livable, and impactful than ever before. – Nick Leahy, co-CEO and executive director, Perkins Eastman Human-AI collaboration In 2026, the biggest challenge is not simply AI itself, but how humans and AI systems collaborate effectively – new workflows, authorship, copyright, ethical frameworks, responsibility of charge, and decision-making approaches to leverage collaborative intelligence rather than treating AI as a standalone tool. We hav incorporated and will extend the use in 2026, of an AI “embedded partner”an always-on reasoning layer that synthesizes emails, text, images, slides, presentations, calculation, drawings, data, and real-time context to support architects and engineers across ideation, analysis, images, coordination, presentations, and decision-making, rather than replacing human authorship. By seamlessly integrating multimodal understanding, rapid scenario evaluation, cross-domain knowledge retrieval, and natural-language collaboration, this cognitive partner enables designers to think faster, test deeper, and act with greater confidence while keeping creative and ethical control firmly human-led. AI-enabled tools will accelerate early-stage design through rapid scenario testing, optimizing massing, structure, energy, carbon, daylight, and indoor air quality simultaneously, allowing teams to explore orders of magnitude more options while focusing human effort on judgment, synthesis, and design intent. Also, this process will be informed by past and present project data. – Luke Leung, sustainable engineering studio leader, SOM
Category:
E-Commerce
A great, fictional man once declared: “I believe virtually everything I read.” David St. Hubbins, lead singer and guitarist of Spinal Tap, mocked the earnest confidence of rock stars in the same way AI futurists are now mocking critical thinking itself. Right now, most of the tech industry has adopted St. Hubbins’ line without the irony. Google is embedding AI into Chrome. Tech leaders are declaring the end of websites. Hundreds of links will collapse into single answers, traffic will disappear, the open web gets hollowed out. The future belongs to whoever wins inclusion in the AI’s response, not whoever builds the best site. Sigh. We spent the last decade learning that you can’t believe everything on Facebook. Now we’re about to make the same mistake with ChatGPT, Claude, and Gemini. Clean story. Wrong conclusion. It assumes people will stop thinking critically about information just because it arrives in a prettier package. Same Problem, New Wrapper The fake news crisis taught us something: Polished presentation doesn’t equal reliable information. Nice formatting, confident tone, and shareable graphics do not come with a guarantee of truth. We had to relearn basic media literacy. Check the source. Understand methodology. Look for bias. Read multiple perspectives. Think critically. Now answer engines arrive with a seductive promise: “Don’t worry about all that. Just trust what we tell you. This is fake news 2.0. The Work Slop Warning Harvard Business Review documented what happens when people stop interrogating AI outputs. They call it “workslop, content that looks professional but lacks substance. Polished slides, structured reports, articulate summaries that are incomplete, missing context, and often wrong. Employees now spend two hours on average cleaning up each instance. One described it as “creating a mentally lazy, slow-thinking society.” Another said: “I had to waste time checking it with my own research, then waste more time redoing the work myself.” This is what happens when we outsource critical thinking. The polish looks good. The substance isn’t there. Someone downstream pays the price. If AI can’t reliably produce good work internally, where context and accountability exist, why would we blindly trust it externally, where neither exists? High Stakes Require Verification Imagine your doctor uses an AI summary for your diagnosis. Your lawyer relies on ChatGPT for contract advice. Your financial advisor trusts Gemini’s recommendations without checking. You’d demand they verify, right? Check sources. Show methodology. Prove they’re not just accepting whatever the algorithm says. Medical decisions, legal issues, financial choices, and safety concerns all require source transparency. You need to see the work. You need context. You need to verify. A chat interface doesn’t change that fundamental need. It just makes it easier to skip those steps. The existence of these facts points to a clear, yet countercultural conclusion. Websites Aren’t Going Anywhere Yes, discovery patterns are changing. Yes, traffic shifts. Yes, AI surfaces some content while burying others. That doesn’t make websites obsolete. It makes them more important. The sites that die will deserve it: SEO farms gaming algorithms, content mills producing garbage. The sites that survive will offer what compressed answers can’t: verifiable sources, transparent methodologies, deep context that can’t be summarized without losing meaning. When fake news dominated social media, the solution wasn’t “stop using sources.” It was “get better at evaluating them.” Same thing here. Answer engines are a new entry point, not a replacement for verification. The smart response to an AI answer isn’t “thanks, I believe you.” It’s “interesting, now let me dig deeper.” We’re Not That Lazy The “websites are dead” thesis assumes something bleak: that humans will stop being curious, critical, and careful about information that matters. That we’ll just accept whatever Google tells us. People want to understand things deeply, not just know the answer. They want to form opinions, not inherit them from algorithms. They want to verify claims when stakes are high. That requires going to sources. Comparing perspectives. Thinking critically instead of letting technology think for you. You can’t do all of that in a chat window. The Bar Just Got Higher AI answer engines aren’t killing websites. They’re exposing which ones were never worth visiting. The question isn’t whether websites survive. It’s whether your website offers something an algorithm can’t: real expertise, transparent sources, and content valuable enough that people want the full story, not just the summary. We learned this with fake news. Now we’re learning it again with answer engines. Trust, but verify. Always verify.
Category:
E-Commerce
A self-described rat pack of five food-loving journalists just bought the trademark to the defunct food magazine Gourmet, updated it for the modern reader, and brought it back as an online newsletterall without consulting the magazines former publisher, Condé Nast. And if you didn’t know that already, you might’ve been able to guess it from the publication’s new wordmark. The logo looks nothing like what you’d expect from the magazine that shuttered in 2009. Instead of a crisp, delicate script, this wordmark is unapologetically blocky, chunky, and weird. It’s more reminiscent of forgotten sheet pan drippings: certainly not pretty too look at, but more delicious than you’d expect. Introducing the modern Gourmet: Its pithy, recipe-obsessed, and designed for the home chef whos sick of brightly lit photos of one-pan dinners. Gourmet on the newstand, ca. 2009. [Photo: Mario Tama/Getty Images] A new, Substack-era food mag with no interest in being a crowd-pleaser The idea to bring back the magazine began when former Los Angeles Times writer and Gourmet cofounder Sam Dean noticed something strange. He called me and was like, Dude, I think I just figured something out,'” says graphic designer Alex Tatusian, another of the brands cofounders. “‘I’m on the U.S. Trademark Office site, and I’m pretty sure that Condé forgot to renew the trademark for Gourmet. Tatusian and Dean found three other collaborators, formed an LLC, and bought the trademark for a few thousand dollars. The creatives behind Gourmet follow in the footsteps of several other journalists and writers who have recently departed the endlessly beleaguered realm of traditional media in favor of their own self-published ventures. These include worker-owned shops like Hell Gate, Defector, and 404 Media, as well as food-based titles like Vittles and Best Food Blog, and even individual food creators like Molly Baz and Claire Saffitz. In the Gourmet founders’ opening salvo to readers, they propose that legacy brands largely botched the transition from print to digital, and diluted their missions in the process. I think what Ive seen in food media are these dual forces: The recipes have become more relatable or lowest common denominator, but its being put in these very shiny packages,” says cofounder Nozlee Samadzadeh. [Image: Gourmet] So in lieu of clicky 10 minute recipes with flash photography, Gourmets founders want to make work for an audience that really, really enjoys food: long, reported features on Gavin Newsoms Napa wine empire; odes to baked rice pudding; and manifestos for people who are sick of easy dinners. (And it wont appeal to everyone.) Tatusian calls todays Gourmet, which is available on the open source platform Ghost with a $7 monthly subscription, a transmogrified version of the original. Given its limited resources, its embracing an unapologetically craft-focused, funky, punk-rock approach designed for the modern newsletter resurgence. In short, its a wholesale rejection of the highly produced, SEO-optimized content thats come to dominate the modern food media space. Gourmet’s ‘shit-stirring energy’ takes aim at expected design taste Looking through Gourmets new site feels a bit like being bombarded with a series of ingredients that dont entirely go together. And for the publication’s general premise, that makes an odd kind of sense: Its a group of young people, reviving a magazine that was once mainly for the wealthy elite, in an accessible format and on a shoestring budget. You look at old Gourmet and there’s black letter Gothic text, and script, and cursive, and, God, they want you to be rich, you know what I mean? Tatusian says. It has such a classist energy. I think there’s something about that that we both want to celebrate, because it is beautiful and it is the history of this publication going way back, but we also need to lightly lampoon. With the whole crew, theres a bit of a shit-stirring energy. [Image: Gourmet] That spirit is embodied by the new em>Gourmet logo, which is perhaps the furthest image one could image from the publications buttoned-up, cursive font. The design was created by trombonist Zekkereya El-magharbel, who Tatusian discovered after noticing his charmingly off-kilter posters for jazz events in L.A. Each letterform looks almost like it was cut haphazardly from a piece of cardstock, with unexpected bumps, sharp angles, and wonky curves throughout. The process, Tatusian says, was a mix of El-magharbel responding to the prompt and picking up on “the energy of the magazine that we were going formaking something punk and unusual. [Image: Gourmet] The publication’s illustration style, which mimics 19th century motifs, also pokes some lighthearted fun at what Tatusian calls the “hilarious formality of older cooking and food magazines. In one key image at the top of the page, a real vintage line drawing is paired with a slapdash digital rendering of a red soda can. And, as a cheeky so what? to the broader food media landscape, the entire Gourmet site is rendered in what would traditionally be considered an off-putting brown. Its a little bit of a visual joke, in that people in food media are often telling you to put color in a dish when youre styling something or in a photoshoot or on the page, because brown food is unappetizing, its disgusting, blah, blah, blah, Tatusian says. Actually, its not! We eat so much good brown and beige food. [Image: Gourmet] Samadzadeh and Tatusian say they plan on running some image-centric stories in the future, but they dont have a specific aesthetic vision in mind for the publications photographyinstead, theyd rather let contributors bring their own styles to the work. For now, they’re more focused on creating the kind of food content that they’d like to read. We do want them to be beautiful, Tatusian says. It’s not that we want them to be disgusting, but I also think that we’re also interested in how people spend time together around food, and not as much about making an Instagramable product out of all the art that we produce.
Category:
E-Commerce
All news |
||||||||||||||||||
|
||||||||||||||||||