From January 24 to May 11, 2025, the Danish Architecture Center (DAC) will host an exhibition dedicated to the work of designer Nanna Ditzel. Crowned "The Grand Dame of Danish Design," Ditzel remains a significant figure in the field, known for her iconic creations such as the Hanging Egg Chair, Hallingdal Fabric, and the Trinidad Chair. Born in 1923, she established herself as a pioneer in furniture design, experimenting with unconventional materials, including the then-untested foam rubber, polyester, and fiberglass. She also transformed traditional materials such as wicker, laminated wood, and silver into innovative furniture and jewelry pieces that became icons of modern design, many of which will be showcased in this retrospective exhibition.
In a recent interview with Louisiana Channel,ecoLogic Studio discusses a new approach to architecture that explores the relationship between nature and urban design. Claudia Pasquero and Marco Poletto, the studio's lead architects, explain that modern architecture should be rethought to adapt to the changing environment and to serve as a connection between urban life and natural systems. The architects compare the current transformation in the field to the period of the Renaissance, when architecture evolved in response to the needs of society. Today, they argue, there is an opportunity for architects to learn from nature and design urban spaces that are both sustainable and functional.
As people take greater control over the rituals surrounding their deaths, cremation has become an increasingly popular option worldwide. This shift has prompted the thoughtful design of spaces that address the profound emotions tied to cremation, life and death, and stillness. Architects are increasingly grappling with the question of what role architecture plays in these rituals.
When discussing modernist living, several iconic private residential projects may first come to mind—Le Corbusier's Villa Savoye, the Case Study Houses, most notably by Richard Neutra, Pierre Koenig, and Charles and Ray Eames, as well as the glass houses by Mies van der Rohe and Philip Johnson. Most of these projects exemplified an idealized vision of modern living, set in picturesque landscapes and characterized by experimentation with new construction methods, materials, and spatial concepts. Their designs embraced openness, blurring the boundaries between private and public spaces, largely unburdened by constraints such as density, efficiency, accessibility, public transit integration, or communal considerations.
While these modern homes remain influential in contemporary residential design, they also—perhaps unexpectedly—laid the groundwork for high-density housing principles. Concepts such as the interplay between public and private space, modular construction, and prefabrication, initially explored in these private residences, have been adapted to the vastly different constraints of social housing.
Educational architecture globally is undergoing a significant transformation, moving away from static, rigid designs toward more dynamic, interactive, and nature-driven environments. As cities become denser and land availability diminishes, architects are reimagining schools not just as places for learning but as ecosystems where children can grow holistically. A key element in this shift is the integration of landscape and topographical design, which allows schools to transcend traditional boundaries, combining education with play, exploration, and connection to nature. These designs aim to create engaging spaces that challenge children to interact with their environment physically and emotionally, fostering creativity, independence, and well-being. By layering natural elements such as mounds, gardens, terraces, and play structures into architectural plans, educational spaces are being reshaped into vibrant, multi-dimensional landscapes that encourage movement, imagination, and discovery.
On a slope, along the banks of a river, among trees, or on an expansive hillside, each territory serves as a living testament to its local traditions. Through its architecture, the experimentation, appreciation, and use of certain materials, construction techniques, local crafts, and site-specific tools aim to preserve stories and pass on the discoveries and learnings that have shaped many of the practices still used in construction today. In Chile, the language of wooden shingles evokes a reflection rooted in history and an understanding of relationships, timelines, and life networks.
At the intersection of the inevitable influence of the international modern movement and Argentinian architectural tradition, the Grupo Austral emerges as a collective of architects proposing a reinterpretation of Le Corbusier's rationalism, adapting it to the particularities of the local context. In this framework, we can speak of an international architecture that is not merely incorporated but can be considered "appropriated" architecture, meaning it is rooted in Argentina's climatic conditions, lifestyles, and local materials. This leads us to question: How does European architecture correspond with the local? Is it the product of similar situations or a process of transferring architectural images, as has happened throughout history? Is it a mix of both factors? Can we talk about appropriated architecture?
The design incorporates a specific type of low-carbon concrete, which aims to emit 30% less CO₂ than standard concrete. The prototype will be featured in the Time Space Existence exhibition, organized by the European Cultural Centre.The goal of the project is to test the sustainability of a housing prototype in response to the ongoing climate and humanitarian crises.
The National Pavilion UAE has opened at the 19th International Architecture Exhibition - La Biennale di Venezia with the exhibition titled Pressure Cooker. Curated by Emirati architect Azza Aboualam, assistant Professor at Zayed University and Co-founder of Holesum Studio, the exhibition explores the evolving relationship between architecture and food production in the UAE, proposing innovative solutions for sustainable and self-sufficient food systems. Positioning the built environment as a catalyst for ecological resilience, it asks: In the face of climate and resource challenges, how can design shape more secure and sustainable food systems?
Modernism emerged in the early 20th century as a revolutionary movement that rejected historical styles, prioritizing functionality, innovation, and rationality. Grounded in the promise of industrial progress, architects like Walter Gropius, Le Corbusier, and Ludwig Mies van der Rohe championed using new materials and construction methods, striving for a universal architectural language. Their work introduced radical ideas: open floor plans, expansive glazing for natural light, and pilotis that elevated structures, symbolizing a new architectural era. However, alongside its groundbreaking ideas, modernism's relationship with sustainability has sparked ongoing debates.
While modernist architects sought to address social and economic challenges through affordable housing and efficient design, their reliance on energy-intensive materials like concrete and steel created unintended environmental consequences. The large-scale industrialization celebrated by modernists often disregarded local climates and ecological systems, leading to inefficiencies. Yet, the principles of functionality and adaptability embedded in modernist architecture laid the groundwork for what we now recognize as sustainable practices. From Le Corbusier's rooftop gardens to Frank Lloyd Wright's integration of nature, the seeds of environmentally conscious design were undeniably present, albeit limited in their execution.
On the shores of serene lakes, where water reflects the harmony between architecture and nature, homes emerge as true retreats. Designed to offer comfort and a deep connection with the surroundings, these residences stand out worldwide for their diverse materials and scales, adapting to different landscapes and lifestyles. From remote woodencabins to sophisticated concrete and glass mansions in urban areas, each project takes advantage of natural resources and the unique characteristics of its setting.
Winston Churchill once wisely stated, "We shape our buildings, and in turn, our buildings shape us," a reflection that highlights how architecture, in its dynamic nature, responds to functional needs and molds the experiences of its users. Workplaces have been no exception, evolving with the social and technological changes that have redefined our understanding of organizational interactions. Almost in the blink of an eye, the once-restrictive cubicles and closed offices have made way for open layouts, while hybrid models have transformed offices into destination spaces. Furniture elements like office pods are at the forefront of this change—balancing collaboration and privacy. Designed to adapt, they have continually evolved alongside the shifting demands of modern workspaces and their inhabitants.
https://www.archdaily.com/1025776/an-eden-within-the-workplace-flexible-pods-with-biophilic-and-human-centered-designEnrique Tovar
What defines good housing and a good living environment? What political framework is needed to create them? How can we design socially equitable, affordable housing? And what strategies lead to the best results? These are the questions guiding Lorenzo Romito, Sabine Pollak, and Michael Obrist's proposal for the Austrian Pavilion at the Venice Architecture Biennale 2025. The building, designed by Josef Hoffmann and inaugurated in 1934, will become an interactive space with the opening of the "Agency for Better Living", an exhibition dedicated to exploring the new political dimension of the fundamental right to housing. The proposal takes as its starting point a comparison of social housing models in Vienna and Rome, creating a space for sharing ideas on better living for all.
French President Emmanuel Macron has announced a significant renovation plan for the Louvre, following concerns from the museum's director about the building's deteriorating condition. The project includes the creation of a new grand entrance and broader refurbishments across the historic site.
The renovation comes after a letter from Louvre director Laurence des Cars to the French Cultural Ministry highlighted serious maintenance issues affecting both visitors and staff. According to the letter, first published in Le Parisien, conditions inside the museum have become increasingly difficult, with visitors lacking space to rest, insufficient food and restroom facilities, and outdated signage in need of a complete redesign. The letter also pointed to climate control issues, describing a greenhouse effect inside the 36-year-old glass Pyramid designed by I.M. Pei, as well as hazardous temperature fluctuations and leaks in other parts of the building.
In 1975, Honduras was under a military regime that had been in power for over a decade, led at the time by General Juan Alberto Melgar Castro. During this period, Tegucigalpa underwent several big and unprecedented changes. The influx of people from various parts of the country due to rural migration transformed the city from a compact urban area into an expanding metropolis. This unexpected growth prompted the government to implement a municipal development and planning scheme, a project that would define the city's future and the evolution of its old town. This article was developed with the collaboration of the Honduran architect Lisandro Calderón, who specializes in Urban Planning and is currently a professor at the Central American Technological University (UNITEC), located in Tegucigalpa, Honduras.
Polyurethane (PU) started as a solution to a 1930s shortage, but today it's a key material in industries from insulation to cushioning. Invented in 1937 by Otto Bayer and his team in Germany, PU was originally designed as a cheap, versatile alternative to rubber. It quickly became popular in coatings and adhesives for its strong bonding and protective properties. PU is made by reacting polyols and isocyanates, which generates heat and, in the presence of expansion agents such as water or gases, creates bubbles that cause the material to expand, resulting in a foam with adjustable density and structure. Its flexibility allowed PU to revolutionize industries with products like insulation and padding. However, its durability and non-biodegradability have raised environmental concerns. To address this, companies like Purman are leading the charge in recycling PU waste, helping to reduce its environmental impact while promoting more sustainable alternatives.
The AlUla Arts Festival, running from January 16th to February 22nd, 2025, features a significant exhibition of works by renowned Light and Space artist James Turrell. Presented by Wadi AlFann, the exhibition, curated by Michael Govan of LACMA, offers a unique preview of Turrell's upcoming monumental commission for Wadi AlFann, a sprawling contemporary art destination in the AlUla region of north-west Saudi Arabia. The exhibition, located in AlJadidah Arts District within AlUla's historic old town, provides context for Turrell's ambitious project, which will involve the creation of a series of chambers within the canyon floor, designed to create a sensory experience of light, color, and perception.
The Hungarian Pavilion at Expo 2025 in Osaka is designed to reflect the event's central theme, "Designing Future Society for Our Lives." It explores the relationship between humans and nature, emphasizing cultural heritage and sustainability through its architecture and exhibition. The pavilion will offer an immersive experience centered around music, heritage, and the connection between people and their environment.
Welcome to the ArchDaily Building of the Year Awards! Now in its 16th edition, this award continues to be the most democratic recognition in architecture, celebrating excellence and innovation across the built environment. With over 4,000 projects participating annually, it has become a global benchmark, powered by the voices of our passionate readers.
Each year, your votes shape the future of architecture, highlighting the most outstanding projects that push boundaries and redefine possibilities. As we embark on this journey once again, we invite you to be part of this collective celebration—honoring diversity, creativity, and ingenuity in architecture and design. Together, let's recognize and elevate the projects that inspire, challenge, and shape our world. Cast your vote and help define the architecture of today and tomorrow!
Prompt: An image that embodies the essence of social media: a giant screen displaying photographs of architectural and interior projects, with a person at the center, standing with their back turned, absorbing the scene. Image Courtesy of Enrique Tovar using DaVinci AI
I saw it on Instagram! It's a phrase we often hear in various contexts, from the latest restaurant recommendations to the trendiest hotel in town. The window to observe and expose ourselves to the outside world now sits in our smartphones. This doesn't necessarily mean it's all doom and gloom. Still, it reflects that we're constantly flooded with data and information segmented by algorithms, all in a super easy-to-consume format. In today's world, it takes only a few seconds to form a lasting impression of a building and its atmosphere—and those first impressions matter more than we often realize.
https://www.archdaily.com/1025972/social-media-friendly-design-is-architecture-adapting-to-viral-trends-and-algorithmsEnrique Tovar
In the world of architecture, competitions often serve as platforms for creativity, experimentation, and problem-solving. For Daniel Rojas, Founding Partner of Wandrian Studios, winning the 2023-2024 MICROHOME competition, sponsored by Buildner and Kingspan, was a transformative moment. His project, Urban Residential Pods, addresses the global housing crisis by reimagining vacant office spaces as compact, sustainable homes.
Rojas' design strikes a balance between innovation, functionality, and sustainability, offering a glimpse into how architecture can address some of today's most pressing challenges. As the next edition of the competition approaches, Rojas shares insights into his winning project and offers advice to future participants.
Visit the MICROHOME competition site for details in the open 2025 edition and to register before the deadline on February 13.
British architect Asif Khan has just unveiled the transformation of a Soviet-era cinema in Almaty, Kazakhstan, into the Tselinny Center of Contemporary Culture, a multifunctional venue designed to support the growth of Kazakh and Central Asian creatives. The project, which began in 2018, is set to open in April and will feature spaces for art exhibitions, performances, film screenings, workshops, and more. Once complete, the Tselinny Center will mark Kazakhstan's first independent cultural institution.
When India gained independence in 1947, the nation faced a decision that would determine the course of its architectural future: brick or concrete. A seemingly mundane choice of material was rooted in a deeper philosophical divide between two potential outcomes for post-colonial India's built environment. Pioneering figures in India's struggle for independence held opposing views - Mahatma Gandhi advocated for traditional craftsmanship while Jawaharlal Nehru embraced modernism. The architecture one sees in the subcontinent today is a mosaic of both, begging the question: was modernism in India a foreign imposition or a celebrated import?
