Project Positioning: Urban Renewal, Bay Area Cultural Landmark, Cultural Services for an Ancient Town's Historical Community
Nantou Ancient City is located in the rapidly developing Nanshan District of Shenzhen. Situated on the eastern bank of the Pearl River Estuary, its history dates back nearly 1,700 years to the establishment of Dongguan County in 331 AD (the sixth year of the Xianhe era in the Eastern Jin Dynasty) [1]. With Shenzhen’s reform and opening up, the area has not only preserved the spatial layout of its historical village settlement but has also integrated industrial development and high-density housing, evolving into Shenzhen’s most unique “urban village” (chengzhongcun). In 2019, with the official launch of the Nantou Ancient City Protection and Utilization Project, two core questions emerged: how to unearth Nantou's historical context, and how to address the contemporary challenges of urban renewal through innovative design? These questions became the starting point for our team, Diameter Narrative Design (DND), in curating and designing the visitor experience for the “Shared Origins Museum Group” (Tongyuan Guanqun). Nantou's history dates back to 110 BC, when the Han government established the Panyu salt office here to oversee salt production along the eastern shore of the Pearl River Estuary. During the Eastern Jin Dynasty, the seats of both Dongguan County and Bao'an County were set in the Nantou area, extending Dongguan's jurisdiction from the eastern bank of the estuary to what is now eastern Guangdong. Subsequently, successive imperial dynasties established political, economic, and military administrative organs in Nantou. Consequently, Nantou is not only a witness to the shared roots of Shenzhen and Hong Kong but has also directly experienced the historical evolution of the Greater Bay Area. From its inception, the Nantou project aimed to become a cultural landmark for the Greater Bay Area, with the “Shared Origins Museum Group” serving as both a physical manifestation of Nantou's historical value and a hub for community public cultural services.

Applying neuroscience to architecture, specifically within the realm of neurogastronomy, provides a unique understanding of the intersection between human sensory domains and the built environment. It seeks to understand brain function in relation to eating, which has traditionally been viewed as a process limited to the mouth and stomach. Ultimately, it is the brain that eats. Accordingly, this article aims to consolidate scientific concepts related to neurogastronomy applied to architecture, examining the dining experience and architectural spaces, with a particular focus on active aging.

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The city of São Paulo, characterized by its vastness and cultural diversity, is also frequently the stage for conflicts over the occupation of its urban space. Spanning more than four decades, the dispute over the plot adjacent to the Teatro Oficina, designed by Lina Bo Bardi in the Bixiga neighborhood, has finally culminated in the creation of a long-awaited public amenity: the Rio Bixiga Park. This milestone is not only a victory for the local and artistic community but also a remarkable achievement for the right to the city and public leisure in São Paulo, especially after years of confrontation with the Silvio Santos Group.

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One of the key themes of the past year was reclaiming the connection between humans and nature—or rather, recognizing that we are not separate from it. Strategies such as biophilia, biomimicry, and approaches drawing from vernacular and ancestral techniques show that incorporating natural elements into architecture is no longer just a compositional choice, but a practice that directly influences behavioral and health outcomes. Consequently, landscape design goes beyond mere aesthetics, turning yards, gardens, and outdoor spaces into functional and therapeutic extensions of the home.

I was intrigued to read on UOL that Silicon Valley billionaires plan to build a perfect city from scratch in California. But what, after all, actually makes a perfect city?

According to the article, the city would feature high-quality public services, walkability, lush greenery, and safety, along with housing at various price points and sizes, all integrated with shops, schools, and restaurants.

In addition, the city would offer high-paying jobs for its residents, while local schools would train people from the area to work in local businesses.

In Brazil, popular festivals share a deep spatial, historical, and symbolic connection with urban public spaces, providing a unique experience of collective occupation, appropriation, and reimagining of these sites during their occurrence. These events not only utilize urban spaces in ways that differ from their daily routines, but they also constitute the cultural and social landscape of cities, offering alternative ways of perceiving them. By appropriating the streets—in their full potential and broadest sense—these festivities imbue them with new uses, which often transcend and subvert their everyday functions.

A quick scan of Africa's 100 largest cities yields few surprises. Most are located in the continent's wealthiest nations. The majority serve as national or regional/state capitals. At least half feature river or sea ports. Many have had railway stations for decades and, more recently, airports and highway connections. A large number host universities. All have Wikipedia profiles, many of which span several pages.

Although people with disabilities represent nearly 15% of the global population, and more than half of them live in urban areas, our cities rarely meet their needs. Most are designed from the perspective of non-disabled people traveling by private transport (such as cars and motorcycles), rather than those who walk, cycle, or use public transportation. 

Weary of minimalist, cookie-cutter standards, people are increasingly seeking spaces with character, featuring pieces that reflect their own identity. At least, that is one interpretation when we consider that kitchens with "bold colors, clashing patterns, artwork, plants, and, of course, the mandatory refrigerator penguin" are trending in Pinterest for 2024. Fueled by the return of a kitsch aesthetic and these eclectic elements, we have selected several projects published on ArchDaily to inspire a transformation in this essential household space.

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PILLS is a multidisciplinary architecture studio based in Beijing and Shenzhen. Our practice spans speculative fields including architecture and interior design, installation and exhibition design, urban and landscape design, as well as cross-media production and cultural dissemination. Ranging from installations to public buildings, and from cultural projects to commercial developments, PILLS actively responds to diverse urban and architectural design needs while driving the production of contemporary architectural culture through various media.

The architectural, research, and art projects of PILLS are widely recognized within the industry. The studio's work has been showcased in major international exhibitions, including the Venice Architecture Biennale, the Lisbon Architecture Triennale, the Oslo Architecture Triennale, the Seoul Biennale of Architecture and Urbanism, Helsinki Design Week, the Bi-City Biennale of Urbanism\Architecture (UABB) of Shenzhen and Hong Kong, the Shanghai Urban Space Art Season (SUSAS), the Beijing Art Biennale, the National Exhibition of Fine Arts, the Power Station of Art (PSA) Emerging Curators Project in Shanghai, the Hyundai Motorstudio Beijing Youth Curator Program, Get It Louder, the "Nine-Tiered Pagoda" exhibition at Pingshan Art Museum in Shenzhen, and the "A New Generation of Working Methods" exhibition at Wind H Art Center. The studio's work has also received numerous awards, including the New York ADC Awards for Design Studio of the Year, Best of Discipline, and Gold Cube; the London Design Awards Platinum Winner (highest honor); the MUSE Design Awards Platinum Winner (highest honor); the Norman Foster Foundation "Kharkiv Housing Challenge" Second Prize; First Prize in the Fairy Tales Competition; First Prize in the Jacques Rougerie Foundation Competition; and the Organizing Committee Award and Academic Committee Award of the Bi-City Biennale of Urbanism\Architecture (UABB).

Wang Zigeng, founder and principal architect of PILLS, is an architect, artist, and curator. He is an Associate Professor and Deputy Head of the Department of Architecture at the School of Architecture, Central Academy of Fine Arts (CAFA). He holds a Master of Architecture from Princeton University. He served as the Chief Curator and Academic Committee Member of the 9th Bi-City Biennale of Urbanism\Architecture (UABB). He is also an Academic Committee Member of the Greater Bay Area Innovation Institute of the Guangzhou Academy of Fine Arts and the Benyuan Design and Research Center of Shenzhen University. Previously, he was a visiting professor at Syracuse University, a lecturer at the Fine Arts School of Beijing Film Academy, and an open studio instructor at the School of Architecture, Tsinghua University. His research fields include environmental technology, architectural exhibitions, and architectural media and narrative.

With an estimated population of over 3.7 million people, Addis Ababa, the capital of Ethiopia, is home to about a quarter of the country's urban population. The city generates more than 29% of Ethiopia's urban GDP and 20% of national urban employment. Over the last two decades, Addis Ababa has witnessed rapid socioeconomic changes and a drastic physical transformation, driven by a development-oriented government and the private sector.

When the first rays of sun strike the Swedish town of Jukkasjärvi, as winter gives way to spring, this ice hotel begins to melt. Five hundred tons of water flow toward the Torne River. What were once walls, floors, and ceilings are now drops of water seeking their natural course. In this scene, which has occurred every year since 1989, everything is a contradiction: the solidity and longevity of construction versus the ephemerality and transience of ice sculpture.

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The Oca da Saúde is one of the buildings that comprise the 4 Varas Integrated Mental Health Movement (MISMEC), located in Barra do Ceará, on the outskirts of Fortaleza. It serves as a healing space, offering free holistic care and experiences to the community. Built by traditional master builders alongside local residents, the structure features an Afro-Indigenous architectural typology rich in ancestral symbolism.

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“When I cannot build, I draw; when I cannot draw, I write; when I cannot write, I speak.” With this maxim, Le Corbusier leaves no doubt that, for him, the architect’s ultimate mission is construction. It is construction that underpins and fuels the technological and intellectual development surrounding the discipline of architecture: ways of building, creating space, and inhabiting. Yet, as he suggests, any linguistic resource—drawing, writing, or speech—can serve as a vehicle for construction.

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Located in the Bird Streets of Los Angeles, adjacent to Beverly Hills, the Blue Jay Way Residence occupies a prime, elevated site overlooking the Los Angeles and Hollywood skylines. The project’s open floor plan establishes a strong visual and experiential connection between the interior and the panoramic city views, complemented by staggered courtyards and warm white materials that invite a play of light and shadow into every corner of the building.

How can architecture and urbanism contribute once again to the debate and production of Social Interest Housing (HIS)? This was one of the central questions guiding the creation of the Social Interest Housing Guidelines Manual for Jardim Lapena, developed by the Tide Setubal Foundation and BlendLab for the East Zone of São Paulo. This manual gathered a set of guidelines on housing, management models, implementation, and integration with the urban environment, directing the proposals for the +Lapena Habitar Call for Projects held in late 2022.

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Hãhãwpuá is the name used by the Pataxó Indigenous people of Brazil to refer to the land, the soil, or, more precisely, the territory that after colonization became known as Brazil, though it has had—and still has—many other names. Amidst all these “Brazils,” Brazil as Indigenous land is the focus of the country's pavilion at the Venice Art Biennale 2024, which has consequently been renamed the Hãhãwpuá Pavilion.

Nearly ten years after the last major fire in Valparaíso, Chile's Fifth Region is once again facing this type of disaster, but on a much larger scale. The fires, which began on February 2, affected more than 10,000 hectares and 15,000 homes, along with the total loss of the Viña del Mar Botanical Garden, an iconic nature sanctuary in the city.

Consequently, the community and authorities must once again begin the process of rebuilding and restoring the affected areas. At this critical juncture, it is paramount to consider the factors that heightened the risk and spread of the fires, and to reevaluate urban planning regulations, land regularizations, and, above all, community risk-prevention education—especially since many of these homes were built informally and outside existing codes.

The images in this exhibition seek to create a space for reflection on a condition that can be extrapolated to the current state of the city of Concepción, Chile. They offer a simultaneous view of architectural works related by technique, scale, or construction period, capturing the distinctive identity that defined the city over the last 100 years—one that is currently threatened by an urban renewal process far removed from the motivations that gave rise to its heritage legacy.

As of this writing, the death toll exceeds 130, with over 15,000 homes affected by the megafires in Valparaíso, Viña del Mar, and Quilpué, which struck Chile in early February 2024. Above all, this tragedy forces us to once again confront the lack of urban planning and to continue improving prevention, evacuation, and warning systems. These events also demand—once again—that we outline a diagnosis and concrete courses of action toward necessary adaptation.

Founded in Shanghai in 2002 by a group of architects with academic backgrounds from China and abroad, Verse Design currently operates offices in Shanghai and Los Angeles. For over two decades, Verse Design has been deeply engaged in multi-scale practices across urban design, architectural design, community making, and residential product systems, developing a systematic and coherent design logic and methodology. From master planning and urban design to schematic design and detail control, a "craftsman's spirit" underpins every phase of their work.

Cultural and tourism resort towns, neighborhood communities, civic spaces, and community retail form the core of the firm's spatial typologies and research. Over the past decade, Verse Design has master-planned and fully designed a series of resort towns for the renowned lifestyle brand Aranya, including projects in Qinhuangdao, Jinshanling, Wuling Mountain, Sanya, and Jiulong Lake in Guangzhou. Additionally, the firm has been deeply involved in the master planning and architectural design of prominent projects such as Jiangshan Wanli, Prolo Utopia, and Shanghai Vanke's Ideal Land.

Verse Design maintains a boutique team size and a flat management structure, offering architects a highly autonomous working environment. Here, team members engage in multi-dimensional, full-phase projects ranging from early-stage programming and urban design to architectural design and detail execution. We welcome talented, like-minded architects to join us and grow alongside the firm. The office is located in a historic garden villa at the intersection of Zhaojiabang Road and Wulumuqi Road in Shanghai, just 50 meters from the Zhaojiabang Road Metro Station (Lines 7 and 9), offering easy accessibility and a comfortable working environment.

Conceived during the Fall Residency Program for Independent Projects at the IPA – Institute for Public Architecture, the project “The other of the other” (2023) was developed through visits to and research in a series of institutional sites and archives in New York City—resources that have influenced Talles Lopes's work since 2018. These primarily include spaces and archives related to the dissemination of Brazilian modernist architecture in the Global North from a New York perspective, specifically the MoMA archives in Manhattan.

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OUTIN.DESIGN was founded in 2014 by Chen Wang and Shajun Jiang. Based in China, it is an award-winning, multidisciplinary design firm with international recognition.

OUTIN.DESIGN's creative process begins with the observation of the self, daily life, nature, humanity, art, and the world itself. The studio seeks to gather and translate these impressions, reflecting ideas, objects, and moments through an experimental, functional, and forward-looking design language.

Our practice comprises four interdisciplinary design teams—R.E.C, WMT, SIBAN, and JEDI 404—which operate both independently and collaboratively across boundaries. Their exploration spans a comprehensive range of design scales, including architecture, community interaction, innovative retail spaces, exhibition design, co-working offices, boutique hotels, residential and lifestyle environments, interior styling and sourcing, as well as product design and prop development.

Each team brings a distinct design language and expertise to the table, enabling us to provide clients with comprehensive support across highly specialized, intersecting domains. This structure fosters diversity and pluralism within creative communities and technical innovation, while ensuring the streamlined operation of OUTIN.DESIGN as a cohesive, collective practice.

Some lessons, however simple, can resonate lastingly within our personal practice. This is the case with a specific memory from my undergraduate years in the Architecture and Urbanism program at Escola da Cidade, where, during a second-year technical drawing class, the professors suggested we retrace the floor plans of the Butantã House, designed by architect Paulo Mendes da Rocha. My recollection is that, immediately, some of the students found the activity uninspired or even irrelevant—which is understandable—while for others it was certainly enjoyable and fruitful, even if they might not recall this specific episode more than a decade later, as is the case here. The value of being exposed to different activities within a course—from the most to the least conventional, from the simplest to the most elaborate—is that each individual will utilize different tools and knowledge in unique ways. Hence the importance of a wide range of experiences, even within the seemingly rigid instruction of technical drawing. What is trivial for some can be instrumental for others, whether momentarily or over the long term.