The California Science Center is a dynamic destination where visitors of all ages can explore the wonders of science through hands-on exhibits, live demonstrations, innovative programs, and large-format films. The Center and IMAX Theater are located in the historic Los Angeles Exposition Park, where an expansion has been under construction since June 2022. The new Samuel Oschin Air and Space Center, designed by ZGF Architects, is a 200,000-square-foot addition that will nearly double the Science Center's educational exhibit space. The building was completed on April 13, 2026. Its centerpiece is the retired NASA spacecraft Space Shuttle Endeavour, used for missions from 1992 until its 25th and final mission in 2011.
In 2012, Cities Without Ground: A Hong Kong Guidebook offered one of the clearest documentations of a condition that many residents experience intuitively but rarely name: Hong Kong's dependence on elevated, second-storey urbanism. Through drawings and careful mapping, the book captured how the city's pedestrian networks are routinely lifted above the street—separating people from traffic, extending commercial frontage beyond ground level, and negotiating a hilly topography where "flat" circulation is often an engineered achievement. Since its publication, these systems have only grown in prominence—not only for their sheer spatial complexity, but for the way they recast public space as something continuous yet selective, connective yet curated.
This fascination, however, has always carried a parallel unease. Elevated passages can be generous and effective, offering sheltered movement and reliable connectivity. Yet they also raise persistent questions: where do these routes lead, who gets to connect, and what kinds of programs are invited—or excluded—by this "privileged" level of circulation? The second-storey city does not simply bypass vehicles; it can also bypass the street as a civic stage. Over time, it risks shifting architectural attention away from ground-level public life, relieving designers from having to negotiate pedestrian scale, frontage, and the messy reciprocity of the street. In its worst moments, the result is a landscape of podium clusters and sealed megastructures—buildings that perform connectivity at Level 2 while remaining indifferent to the neighborhood at Level 0.
Three Brazilian projects have been chosen as the winners of the 2026 Obra do Ano Award by ArchDaily Brasil's readers. After three weeks of public voting, more than 700 projects were narrowed down to 15 finalists, concluding the process with three grand winners that represent the very best of Lusophone architecture.
https://www.archdaily.com/1054654/meet-the-winning-projects-of-archdaily-brasils-2026-building-of-the-year-awardArchDaily Team
Three projects have been chosen by the ArchDaily en Español community as the winners of the 2026 Obra del Año Award. Representing Peru and Ecuador, the winners were selected after three weeks of public voting from a pool of over 800 projects. The award recognizes the best of architecture in Latin America and Spain, as decided by its community.
https://www.archdaily.com/1054651/discover-the-winners-of-the-2026-archdaily-en-espanol-building-of-the-year-awardArchDaily Team
Pico House, part of Los Angeles Plaza Historic District. Image by Daniel L. Lu - Own work, CC BY-SA 4.0
Today, the urban form of Los Angeles is characterized by 20th-century sprawl and extensive automotive infrastructure. However, the physical reality of the city's original core reveals a more complex history that is deeply rooted in Hispanic heritage. In fact, Los Angeles did not originate from the standardized American land system that defines most of the United States' territory. Instead, it is a product of the Spanish urban tradition in the Americas, which followed a structure repeated across major cities on the continent. The intersection of these systems created a layered urban geometry and history that remains visible in the city's contemporary street patterns.
When Los Angeleswas founded in 1781 as a pueblo by Felipe de Neve, it was an outpost of the Viceroyalty of New Spain. Viceroyalties were political divisions of the Spanish territories in America, and by the late 18th century, New Spain was vast. It stretched from southern Costa Rica, all the way north to Alta California, bordering the east at the Mississippi River and the newly independent United States of America. At this time, Mexico City functioned as the primary administrative and economic hub, leaving frontier regions like Alta California to rely on a specific triad of settlements: missions (religious), presidios (military), and pueblos (civilian).
As major cultural events, institutional transformations, and new architectural commissions unfold across different geographies, this week's discourse highlights how architecture operates at the intersection of public life, creativity, and long-term adaptation. With Milan Design Week 2026 foregrounding process, experimentation, and citywide participation, the projects and initiatives emerging this week point to a broader shift toward openness, accessibility, and experiential engagement across disciplines and urban contexts. Ongoing investments in cultural infrastructure, from new museums to large-scale renovations and competition-winning proposals, further underscore how institutions continue to recalibrate their spatial and social roles in response to evolving environmental, technological, and cultural demands.
In February 2022, construction began on the Goethe-Institut in Dakar, designed by Kéré Architecture. Present in Senegal since 1978, the Goethe-Institut is reaching a milestone in strengthening cultural ties between Germany, Senegal, and West Africa with this new building. As the first purpose-built Goethe-Institut on the African continent, it embodies a long-term commitment to supporting the creative industries and fostering intellectual exchange. From April 16 to 18, 2026, the Goethe-Institut will host a series of events to mark the inauguration of its new headquarters.
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.
Qapital Tower Ecuador. Image Courtesy of Kengo Kuma and Associates(KKAA)
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 architectKengo 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.
Villa Pisani, labirinto. Image Cortesia de Martins Fontes
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.
Lineadacqua bathroom system by antoniolupi. Image Courtesy of antoniolupi
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.
Entrance to Palazzo Citterio, indicative render. Image Courtesy of ACDF and Bethan Laura Wood Studio
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.
Chilean Atacama Desert. Image by European Southern Observatory with known IDsCC-BY-4.0European Southern Observatory Images ESO files uploaded by OptimusPrimeBot licensed under the Creative Commons Attribution 4.0 International license
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).
https://www.archdaily.com/1054513/last-days-to-vote-in-the-archdaily-en-espanol-2026-building-of-the-year-awardArchDaily Team
