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A floor that feels solid may still be moving. Vibrations travel through the ground and across buildings, often at levels too small for people to notice. Most have little effect on everyday activities, but in some research laboratories, instruments measuring matter at the nanoscale can register movements this small, and even traffic several miles away can interfere with an experiment.

Other experiments place different demands on the spaces around them. Equipment and the ducts and services above it often need more height than a conventional floor provides. Certain processes require continuous ventilation, while equipment generates heat that must be removed. The systems supporting this work occupy space of their own, and some of them produce the very vibrations that sensitive experiments need to avoid.

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Move a wall in Revit and every plan, section and schedule follows. Change a material, though, and the team is often back in specifications, spreadsheets and drawings, checking that they all describe the same choice. 

For Dave Lemont, who led Revit Technology before Autodesk acquired it, that gap is BIM's unfinished work. Now Executive Chairman of Acelab, he is focused on a Material Intelligence Model: one structured product record, connected to every document where that selection appears. It is also something architects can now try for themselves, since Acelab has opened Material Hub search to anyone, no account required.

This October, architecture across Latin America became a platform for exchange, bringing together discussions on inhabitation, cultural identity, emerging practices, and the relationship between the built environment and its wider context. From conversations on emerging architectural practices and material research at Design Week Mexico to new approaches to housing, landscape, and public space in Chile and Mexico, recent developments highlight how architecture responds to specific local conditions. Across the region, initiatives addressing climate adaptation and heritage recovery in the Dominican Republic and Colombia also bring attention to the changing responsibilities of cultural institutions and the built environment.

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Launched in 2017, The Architecture Drawing Prize is organized annually to celebrate and showcase the art of architectural drawing across multiple formats and techniques. Co-curated by Make Architects, Sir John Soane's Museum and the World Architecture Festival (WAF), and supported by Iris Ceramica Group with ArchDaily as media partner, the ninth edition has announced the 11 recipients. This year, the drawings were selected from 168 entries from around the world, with a special prize for hand-drawing. An overall recipient will be announced at Sir John Soane's Museum in London in early 2027, where The Architecture Drawing Prize exhibition will run from January 27 to February 28, 2027.

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The architecture biennial exhibition Time Space Existence returns for its 8th edition with more than 200 participants, from established global firms to emerging studios and academic institutions. Their work will be presented across three historic venues in Venice: Palazzo Mora, Palazzo Bembo and the Marinaressa Gardens. Many have already been confirmed, and the curatorial team is finalising the line-up.

Building on the previous edition's focus on Repair, Regenerate, and Reuse, the 2027 edition explores architecture as a practice that embraces change rather than resisting it. It lives in the space between what has been built, what is changing, and what remains to be understood.

What happens to a building after the architecture is finished? For buildings intended to serve the public, their continued life depends on more than the physical conditions of their construction. It involves the activities that take place within them, the relationships they allow to develop, the people who occupy and shape them, and the institutional structures responsible for their upkeep. Yet these conditions are not always secured through the act of building itself. They are continually negotiated, often through forms of work that remain outside the conventional understanding of architectural practice.

The Drill Hall in central Johannesburg offers a way of examining this unfinished work. Its history is marked by changes in use, occupation and institutional responsibility, but also by repeated attempts to imagine what the building could offer the city.

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