Work is no longer confined to a single place. It moves. It changes. It adapts. Today, it can begin in an office, continue in an acoustic booth, pass through a shared space, and end at home. In this transition, the laptop has become a constant fixture. As work becomes increasingly mobile, spatial needs change as well.
What do lightweight materials bring to public space with an ethical, ecological, and non-extractive design principle? Various textile textures offer a point of entry, being closer to the body than heavy conventional structural materials. Through its flexibility and responsiveness, it enables a form of soft enclosure rather than a fixed boundary in architectural space. Responding to minimal environmental stimuli, the fabric brings continuous movements into space. When layered or assembled, it produces gradations of density, depth, and enclosure, while recent innovative fabrication technologies extend the possibilities of its form and structural durability.
Semi-transparent materials further mediate the conditions of visual permeability and bodily experience of the space. By transmitting and filtering light, they blur clear separations between interior and exterior, solid and void, creating thresholds that are neither fully open nor fully enclosed, but constantly in negotiation. Reinterpreting structure in urban space through lightweight, translucency, and softness opens up alternative modes of spatial perception and bodily engagement.
Work no longer happens in a single place; it is fluid, fragmented, and adaptable. It might begin in an office, move to an acoustic pod, transition to a shared space, and end at home. Throughout this journey, the laptop remains a constant fixture. As work becomes increasingly mobile, spatial configurations must adapt to support this fluidity.
Another year, another successful ArchDaily China Building of the Year Awards! Once more, the award has proved to be the largest architecture prize centered around people's opinion. Crowdsourced, the most relevant projects of the year were nominated and selected by our readers.
The 2026 China Building of the Year Awards is brought to you thanks to Dornbracht, renowned for leading designs for architecture, which can be found internationally in bathrooms and kitchens.
Kengo Kuma & Associates has unveiled plans for Qapital, a 32-story mixed-use tower set to rise in Quito, Ecuador, in collaboration with local developer Uribe Schwarzkopf. Scheduled for completion in 2029, the project marks Japanese architect Kengo Kuma's first work in the country, extending the studio's international portfolio into the South American context. Located opposite La Carolina Park in Quito's central business district, the 125.8-meter tower introduces a vertically organized program that brings together residential, commercial, and shared amenities.
V&A East Museum, designed by architects O'Donnell + Tuomey, will open to the public on 18 April 2026. Assigned to the firm in 2015, the new building is located in the Queen Elizabeth Olympic Park, near its recently opened sister facility, the V&A East Storehouse, designed by Diller Scofidio + Renfro. Located in East London, the UK's newest cultural quarter supported by the Mayor of London, the two-building complex aims to "spotlight the many ways global artists, designers, and makers use creativity to shape the world." Dedicated to creative opportunity and its power to bring change, the museum's five public levels contain two permanent galleries, a 900 sqm temporary exhibition gallery, a top-floor project and event space, learning facilities, and a café.
Architecture has long been drawn to the idea of lightness. From early modernist experiments that sought to preserve landscapes, elevating buildings has been understood as a way to preserve the ground while maintaining continuity across the terrain. Volumes are lifted on columns, infrastructures detach circulation from the surface, and entire programs are suspended above the ground.
This was formalised in the early twentieth century through Le Corbusier's concept of the pilotis, which proposed the liberation of the ground floor from enclosure. By raising buildings on columns, architects sought to maintain continuity with the terrain, allowing movement, vegetation, and collective use to unfold beneath constructed volumes. The building would occupy the air, while the ground would remain open, accessible, and shared.
Architecture is typically understood through principles such as order, clarity, and functionality. In O Livro dos Labirintos, Francesco Perrotta-Bosch proposes another entry point: thinking about the discipline through the labyrinth—a structure that, since its mythical origins, has operated through detours, ambiguity, and disorientation.
Drawing on the Labyrinth of Crete, attributed to Daedalus in Greek mythology, the author shifts the discussion on the origins of architecture to a realm less associated with constructive rationality and closer to spatial experience. The book's guiding question is direct: why would architecture have begun with a form that subverts linearity and legibility?
Ecuador's territory embraces a remarkable diversity of landscapes, ranging from the Pacific Coast to the peaks of the Andes, the vast expanse of the Amazon rainforest, and the volcanic Galápagos Islands. Each region of the country presents its own distinctive characteristics, reflected in its varied environmental, cultural, and social contexts. While Latin American architecture is rooted in rich ancestral traditions, native construction techniques, and local materials, contemporary Ecuadorian architecture expresses an evolving identity that blends these elements with actual demands. Tradition and innovation, local resources and modern techniques, along with social responsibility and aesthetics, interact with the natural environment, urban conditions, and social contexts.
What if the most advanced elements in a bathroom were the ones you could barely see? In spaces where walls, ceilings, and floors form uninterrupted surfaces, fixtures retreat, and water itself becomes the primary material shaping experience. The careful placement of fixtures in bathrooms, such as sinks, taps, showerheads, and shower drains, each asserting their presence as both an object and a function. But what happens when these elements begin to disappear?
Instead of adding mounted elements to a bathroom's design, some approaches work through subtraction. The bathroom is no longer composed of visible objects, but understood as a continuous surface. Fixtures recede into walls and ceilings, allowing water, light, and atmosphere to take precedence. What takes shape is a form of minimalism and something more: an architecture that absorbs its technical systems entirely, allowing fixtures to disappear, leaving only their effects. The experience itself becomes the protagonist, no longer mediated by visible objects, but shaped directly through water, light, and space.
From April 20 to 26, Milan Design Week 2026 returns as a citywide platform where design operates as both a cultural practice and a form of exploration. Framed by the Fuorisalone theme "Be the Project," this year's edition shifts the focus from outcome to process, positioning design as a dynamic, human-centered act shaped by intuition, responsibility, and transformation. Installations and exhibitions across the city foreground making as an open-ended condition, one that embraces error, temporality, and experimentation as integral to creative production. Within this context, design becomes a space of exchange between disciplines, materials, and intelligences, reflecting broader conversations around sustainability, emerging technologies, and the evolving relationship between the physical and the digital.
The 25th edition of the Coachella Valley Music and Arts Festival returns to the Empire Polo Club in Indio, California, from April 10 to 12 and April 17 to 19, 2026, bringing together more than 130 acts alongside an ambitious program of large-scale art installations. Presented by Public Art Company (PAC) and curated by founder Raffi Lehrer in collaboration with Goldenvoice Art Director Paul Clemente, this year's selection explores monumentality through luminance, transparency, and lightness of form. Set within Coachella's desert oasis, the installations invite visitors to engage physically and sensorially, responding to shifting daylight and the evolving atmosphere from sunrise to nightfall.
The world of architecture is evolving rapidly. Faced with technological transformation, environmental urgency, and growing cultural complexity, architects must combine creativity with technical expertise, cultural sensitivity, analytical skills, and the ability to work across multiple disciplines. The Master's Degree in Architecture at CEU Cardenal Herrera University responds to these demands through a transformative academic experience.
Architecture can no longer be thought of as an isolated object, detached from the technical networks that sustain contemporary life—a scenario that demands different readings and approaches. Against this backdrop, in March, ArchDaily's monthly topic focused on The Technosphere: Architecture at the Intersection of Technology, Ecology, and Planetary Systems, a broad and inevitably complex topic. Stemming from the concept of the technosphere, coined by geologist Peter Haff to describe the collective artifacts produced by humanity, a panorama emerges in which contemporary life is deeply intertwined with machines, data, and energy grids.
There are only two days left to vote for the winners of ArchDaily en Español's 2026 Obra del Año Award. The three winners will be announced on April 16, following three weeks of public voting. The 15 finalists chosen by the public showcase the breadth of recent Ibero-American architectural production, spanning Argentina, Chile, Colombia, Cuba, Ecuador, Spain, Mexico, Peru, and Uruguay.
Discover the 15 finalists and help choose the three most significant projects of the past year in Spanish-speaking countries. In this final stage, users can vote for one project per day until April 15 at 6:00 PM (GMT-4).
How does an architectural installation express the identity of a region? How can a building material connect with the essence of a nation? Throughout its history, Spain has been shaped by a wide range of cultures and civilizations, including Muslim, Phoenician, Roman, Greek, Carthaginian, and Visigothic influences. From flamenco to ceramic tiles adorning façades and historic monuments, each region of Spain embraces its own customs and traditions, reflected in its architecture, history, art, and design. During Milan Design Week 2026, Tile of Spain presents Spanish Design as a Souvenir at the Fuorisalone—an installation that transforms ceramic tile into a narrative medium through a series of sculptural objects reinterpreting everyday icons of Spanish life.
The Getty Center has announced a comprehensive modernization program marking its most significant transformation since its opening in 1997. Located within the Santa Monica Mountains and overlooking Los Angeles, the campus will temporarily close to the public from March 15, 2027, through spring 2028 to accommodate the planned works. The initiative focuses on enhancing visitor experience, improving accessibility, and advancing energy resilience, while supporting the long-term stewardship of the institution. Before the closure begins, the Getty Center will continue its program of exhibitions and events through early 2027.
The announcement of the 2026 Obra do Ano Award is drawing near, with only two days left until the close of the final selection stage. The three winners will be announced on April 16, following three weeks of public voting. The 15 finalists paint a portrait of the current state of architecture according to the public, who have been voting for their favorite projects.
View the 15 finalists and join an unbiased network of jurors responsible for choosing the most relevant projects built in Portuguese-speaking countries over the past year. In this final stage, each person can vote for one project per day until April 15 at 7:00 PM (Brasília time).
Rinshunkaku is a notable example of early Edo-period residential architecture. Originally built in the Wakayama Prefecture by the Kishu Tokugawa family, the villa was relocated to Sankeien, a traditional Japanese garden in the city of Yokohama, during the Taisho era (1912-1926). The garden was created in the early 20th century by businessman and art patron Sankei Hara and features a number of historic buildings relocated from Kyoto, Kamakura, and other areas of Japan. Rinshunkaku, one of the garden's gems, is a prime example of traditional Japanese architecture and wood construction. Its historical value motivated a large-scale restoration project in 2019, documented in the film Artisans of the Reiwa Era (Reiwa no Shokunin-tachi), filmed and edited by Katsumasa Tanaka and Hiroshi Fujiki. The documentary offers a close, detailed view of Japanese craftsmanship and wood expertise, highlighting rare traditional techniques and paying tribute to the artisans who preserve them.
Set within the mountainous landscape of Zabbougha, Lebanon, Capsule Retreat by EAST Architecture Studio is shaped through the process of its making. The project unfolds through material decisions, on-site adjustments, and evolving conditions, allowing construction itself to guide its spatial logic.
The construction process played a central role in defining the project. Built during a period marked by economic collapse, material shortages, and ongoing disruption in Lebanon, the house developed through continuous adaptation. With no general contractor, the architects took on an expanded role, coordinating craftsmen, testing ideas directly on site, and responding to changing constraints. In this context, sociopolitical conditions became not only a challenge but a catalyst for rethinking design. "We were constantly testing ideas on site", say the architects and founders of EAST Architecture Studio, Charles Kettaneh and Nicolas Fayad, "tailoring these decisions economically while exploring what local craft could offer."
Twenty meters tall and four thousand years old, the Western Deffufa towers over the adjacent date orchards and ancient city remains in the desert. It is a former religious and administrative building near the modern-day Sudanese town of Kerma. Its significance is not only in its age and size, but also in that it is one of the oldest mud brick buildings in the world. And as the nearby mud brick houses also attest, earth is a material of continuous use from ancient times to the present. Yet, conversations around contemporary building systems have largely ignored this essential material. Some architects on the continent of Africa, however, are changing that.
The flood does not arrive as a surprise. It returns, following the same swollen rivers and monsoon skies, loosening the ground and entering homes that were never meant to resist it. Walls are untied before they are lost, materials are gathered before they drift, and structures are rebuilt with a familiarity that suggests this is not destruction, but sequence. In landscapes where water returns each year, survival is defined by the ability to begin again.
Across the floodplains of Bangladesh, the Brahmaputra basin, and the Mekong Delta, inundation is a seasonal certainty. Reports by institutions such as the World Bank and the Intergovernmental Panel on Climate Change often frame floods through exposure and damage, measuring success through resistance and durability. Yet in territories that are submerged annually, such metrics only partially describe the problem. The ground itself oscillates between solid and liquid states. To build as if it were fixed is to design against the very condition that defines it.
In recent decades, cities across the world have seen an increase in the demolition of elevated concrete freeways. Taipei, Seoul, Portland, and Boston, for example, have all seen the rise and fall of these infrastructures to give way to parks and new urban regeneration ideas. In other cases, like Montreal in Canada, some people opposed the freeways even before they were built, effectively rerouting viaducts, preserving heritage, and freeing waterfront views. For San Francisco, in the United States, the story of the Embarcadero Freeway is one of those narratives that serves as a case study of the city's mid-century infrastructural ambition, people's reaction to the project, and its eventual reversal in favor of urban connectivity.
Buildner has launched the Unbuilt Award 2026, the third edition of its annual competition, offering a €100,000 prize fund. At the same time, the results of the Unbuilt Award 2025 have been announced, marking the second competition in a series that celebrates architectural designs that have yet to be realized. The initiative provides a global platform for architects and designers to showcase their most compelling unbuilt projects—whether conceptual, published, unpublished, or fully developed.
