Construction of Zaha Hadid Architects' Yidan Center in Shenzhen, China, has reached full height. The new landmark will serve as the headquarters of the Chen Yidan Foundation and the Yidan Prize, organizations dedicated to promoting lifelong learning and innovation in education. The center will host facilities for academic research, cultural events, and exhibitions, supporting the foundation's mission to advance global education. Located adjacent to the Qianhai Museum, the Yidan Center helps define a new cultural quarter in China's third-most-populous city.
Few commissions allow architects to focus on non-human users, and fewer still involve horses. While domestic pets like cats and dogs are common muses, the particular needs of horses present a unique challenge when designing stables. Since the horses, who are the stable's primary inhabitants, cannot articulate their needs, design relies on the rigorous requirements dictated by human caretakers, requiring a balance between streamlined human operations and maximized horse comfort and safety. Architects often seem to address this through three core principles: Equine Comfort & Well-being, Contextual Materiality, and Operational Efficiency. Thus, the resulting layouts are characterized by rigorous zoning that clearly separates the programs into residential (stalls), service (tack, storage, wash, feed), and training spaces (arenas, walkers). The designs also address visual well-being: Horses are social animals, so they strategically position stables to promote sightlines between animals and to the exterior, often employing louvered or open-frame systems. Furthermore, lighting is kept diffuse using materials such as translucent panels to prevent sharp, stress-inducing shadows in arenas. Similarly, circulation paths are designed for the safe, efficient movement of both people and animals.
In contemporary interior design, acoustics have evolved from an afterthought into a defining design language. Architects and specifiers are increasingly seeking materials that perform both visually and functionally – where surface texture, light interplay and sound absorption converge to shape human experience. As open-plan workspaces, hospitality interiors and education hubs embrace more tactile, sustainable finishes, the market for high-performance acoustic materials has surged. Within this landscape, Woven Image has emerged as a global leader, continually pushing the boundaries of what acoustic surfaces can achieve.
Foster + Partners has opened Civic Vision, the first comprehensive exhibition of the practice's work to be presented in Australia. On view until December 21, 2025, at Parkline Place, the firm's latest completed project in Sydney, developed by Investa on behalf of Oxford Properties Group and Mitsubishi Estate Asia, the exhibition offers an in-depth overview of Foster + Partners' global portfolio since its founding in 1967 by Norman Foster. It explores the evolution of the practice's design approach and its exploration of civic architecture across different contexts and scales.
Bauhaus Earth is a Berlin-based non-profit organization working toward a systemic transformation of the built environment. Its mission includes transitioning to bio- and geo-based materials, reusing existing buildings, and restoring ecosystems. Together with the Bamboo Village Trust, a philanthropic financial vehicle, and Kota Kita, a participatory urban design organization, Bauhaus Earth has developed BaleBio, a bamboo pavilion designed by Cave Urban and rising above Mertasari Beach in Denpasar, Bali. The pavilion transforms a disused car park into an open community meeting space, offering a counterpoint to the city's tourism-driven coastal development. Designed as a regenerative building, BaleBio stores carbon instead of emitting it, challenging the extractive construction model that is replacing traditional wood and bamboo craftsmanship with concrete structures across the island.
Infrastructure has long defined the backbone of cities by linking people, landscapes, and economies through systems that often go unnoticed until they fail. Today, as global challenges demand more adaptive and human-centered responses, architects are rethinking what infrastructure can be: not just a framework for movement and utility, but a catalyst for ecological restoration, cultural continuity, and civic imagination. The following unbuilt projects, submitted by the ArchDaily community, explore this expanded role of infrastructure, where airports, bridges, industrial parks, and pedestrian networks become architectural expressions of connection and care.
There is growing awareness around sustainability—and the environmental cost of prematurely demolishing safe, structurally sound buildings only to replace them with new construction. In the broader race to reduce carbon emissions, corporations and institutions are placing greater emphasis on ESG performance (environmental impact, social responsibility, and governance). Many now require carbon accounting, set "carbon-neutral" targets, or purchase carbon credits to offset footprints.
This shift, together with a wave of exemplary adaptive-reuse projects worldwide—Herzog & de Meuron's Tai Kwun in Hong Kong, Powerhouse Arts in Brooklyn, David Chipperfield's The Ned Doha, and Xu Tiantian's transformations of factories, quarries, and rammed-earth fortresses in China—has accelerated serious reconsideration of reuse as a primary development strategy. Yet despite its many benefits, adaptive reuse is still not as prevalent as it could be. Why and what might be the main obstacles and tensions?
RSHP has announced the completion of the Barangaroo South Masterplan in Sydney, marking the realization of a 15-year redevelopment that has reconnected the city's north-western harbour edge to its urban core. Once a disused container port, the 22-hectare site has been transformed into a mixed-use, carbon-neutral precinct, integrating commercial, residential, and public spaces along the waterfront. Developed in collaboration with Lendlease following an internationaldesign competition, the masterplan is organized into three zones: Barangaroo South, a high-density extension of the Central Business District; Barangaroo Reserve, a reconstructed natural headland that reintroduces native landscapes to the harbour; and Barangaroo Central, a low-density residential area linking the northern and southern ends of the development.
With just a few days left before the six-and-a-half-month 19th Venice Architecture Biennale comes to an end, it is possible to look back on some of the most notable contributions within its thematic framework. Marked by the largest call for participants to date, the Biennale's diversity of topics and the range of installations on display go beyond easy recapitulation. As part of that reflection, several initiatives can be highlighted as illustrative of the principles reflected in the curatorial theme, "Intelligens. Natural. Artificial. Collective." The concepts interwoven in Carlo Ratti's title form a call to address the urgent need for substantial solutions amid the accelerating climate crisis, positioning the Biennale as a platform for diverse design proposals and experiments organized around three forms of intelligence: natural, artificial, and collective. Beyond the national pavilions and numerous collateral events held throughout Venice over the past six months, among the more than 700 participants are projects that, through practice, embody four shared intentions: opening conversations about the future, proposing systemic responses to local realities, placing technology at the center of design innovation, and pursuing material research rooted in local sensitivity.
As the late urban planner Jaime Lerner once argued, the future of architecture lies not in building new cities but in updating those that already exist. In a world where resources are finite and urban space is increasingly saturated, his statement feels more urgent than ever. It calls for architects to look inward, to rethink what truly needs to be built, and to recognize the creative potential of what is already there. Within the constraints of existing structures lies an opportunity to design differently: to repair, adapt, and reuse. Or, as French poet Louis Aragon would have it, to reinvent the past to see the beauty of the future.
This month, ArchDaily exploresBuilding Less: Rethink, Reuse, Renovate, Repurpose, a theme that examines the growing shift in architecture toward working with what already exists. As urban spaces grow denser and land becomes scarce, architects are rethinking the impulse to build anew. Instead, they are extending the life of existing structures, embracing retrofit and adaptive reuse as strategies for sustainability and creativity. The question guiding this exploration is simple, yet urgent: How can architecture redefine urban futures by building less?
Architecture has entered a pivotal moment. As cities continue to grow under the weight of climatic and social pressures, the materials and systems that shape them are being redefined. Artificial intelligence and robotics, once used to accelerate construction processes, are now being rethought as tools for cultivation. Printed structures that grow, breathe, and decay. Cultivation, in this context, refers to designing with biological materials, where growth and decay are active parameters, merging digital precision with ecological intelligence. This evolution shows the shift from efficiency to empathy, where architecture becomes an agent of active repair. The introduction of mycelium and other natural materials into 3D printing presents a new paradigm in architecture: the logic of the living. A place where computation and fabrication meet biological adaptability.
AI and robotics, once associated with industrial efficiency, are now opening new ways of designing. Early examples, such as ICON's 3D-printed housing prototypes, focused on speed and automation but offered little response to their surroundings. Newer projects, such as the MycoMuseum at the 2025 Venice Architecture Biennale, reinterpret these tools through a biological lens. Instead of shaping concrete, they cultivate living materials, marking a shift from pure optimization toward regeneration.
Vernacular architecture is often referred to as harboring lessons for creating low-energy buildings and the fight against climate change. Yet, as weather patterns are changing, there are cases where traditional building techniques are themselves becoming at risk. As well as changes in temperature, different regions have faced becoming wetter or drier, experiencing increased risk of droughts, flooding, storms, and changes to local flora. The painted houses of Tiébélé in Burkina Faso, recognized as a UNESCO World Heritage Site, are one example.
Aristotle is credited with the proverb "One swallow does not make a summer." In nature, the arrival of these migratory birds often announces the change of seasons, a universal symbol of renewal and hope. Yet it is only when many take flight that the true warmth of summer begins. The same can happen in architecture: an isolated project, however exemplary, rarely changes a reality on its own. When, however, a work teaches, inspires, and can be replicated, it becomes the harbinger of something greater.
Initiatives that combine simple technologies, local materials, and participatory processes show how building can also be an act of learning. Structures and bricks shape places of mutual teaching, where architects and residents share knowledge and build together, multiplying skills and strengthening bonds. These projects point to the possibility of a collective summer, a future in which knowledge spreads as widely as the walls that shelter it.
In many parts of the world, remoteness is not only defined by distance. It may describe a mountain settlement far from infrastructure or an urban and suburban neighborhood on the margins of visibility and opportunity. Across these diverse contexts, the library has been one of the most vital typologies—a space where architecture embodies the modes of accessibility, inclusivity, and community care.
Concrete, steel, wood, glass. Every year, millions of tons of construction materials are discarded, piled up in landfills, and silenced beneath the weight of the next building. Entire structures disappear to make way for others, restarting a voracious cycle of resource extraction, material production, and replacement. Along with the debris that accumulates, something deeper is also lost: time, human labor, stories, and the collective memory embedded in matter. At a time when climate goals demand reducing emissions and extending the lifespan of what already exists, demolition is increasingly recognized as a form of urban amnesia, one that erases not only cultural continuity but also the embodied energy of buildings. And even though it is often said that the most sustainable building is the one that already exists, that principle rarely survives when other interests come into play.
The Sax residential towers by MVRDV. Render. Image Courtesy of MVRDV
The City of Rotterdam, developers BPD and Synchroon, and architecture firm MVRDV have officially begun construction on The Sax, a major residential project located on Rotterdam's Wilhelminapier. Designed to contribute to the city's ongoing densification efforts, the development will deliver 916 apartments within two interconnected towers. Once completed, The Sax will make Wilhelminapier the most densely populated area in the Netherlands, making the project an example of compact urban growth. The design comprises two towers, combining a wide mix of housing types and shared amenities with strong connections to public transport and sustainable mobility solutions, including parking for 1,800 bicycles and a fully automated car garage. With its silver façade and undulating balconies, the building's form echoes the shape of a saxophone, reflecting the character of Rotterdam.
Theaters serve as cultural and social institutions, shaping society by providing spaces where stories of identity, race, and justice are brought to life. These venues foster community through shared, live experiences, sparking conversations that resonate beyond the stage. Architecturally, theaters are more than performance spaces—they are landmarks that embody both the history and future of the arts. Their design often reflects the cultural importance of storytelling, while their refurbishments ensure they remain relevant in a modern context.
In this week's AD Interior Focus, ArchDaily explores how the refurbishment of iconic theaters like the Royal Opera House in London, United Kingdom, and Sydney Opera House in Australia goes beyond modernizing comfort and accessibility. It delves into how these projects preserve the architectural integrity of these historic landmarks, ensuring their design continues to serve as a backdrop for both artistic expression and social discourse.
Left to right, top to bottom: AAU Anastas, heneghan peng architects, Níall McLaughlin Architects, Studio Anne Holtrop, Tatiana Bilbao ESTUDIO, Toshiko Mori Architect, Trahan Architects. Image Courtesy of The teams and Malcolm Reading Consultants
Wine production has long been tied to place, climate, and culture, and in recent decades, architecture has become a central part of this relationship. Wineries are no longer understood only as functional facilities for fermentation, storage, and distribution, but also as spaces where landscape, materiality, and visitor experience intersect. From subterranean cellars hidden beneath fields to sculptural landmarks rising in rural territories, these buildings shape the identity of winemaking regions while offering visitors a carefully choreographed encounter with the process of production.
At the intersection of agriculture, tourism, and culture, wineries present architects with unique opportunities to merge technical requirements with a spatial narrative. They must respond to environmental conditions, manage temperature and humidity with precision, and integrate with delicate ecosystems, while also providing spaces for tasting, gathering, and celebration. As a result, the typology has given rise to a wide range of architectural solutions. Some are rooted in tradition and local craft, others are exploring advanced technologies and contemporary forms.
The event invited designers to reflect on one of architecture's oldest and most symbolic elements: the stair. Beyond its functional role as a connector of levels, the stair was positioned here as a medium of architectural storytelling—an invitation to explore ideas of procession, sequence, space, and form.
For this first edition, participants were asked to conceptualize a stair not as a technical solution but as an expressive artifact—an embodiment of their design sensibility and architectural values. There were no constraints on site, scale, material, or program. Instead, designers were challenged to reimagine the stair as a sculptural, poetic, and even philosophical construct—one that could provoke, question, or elevate our understanding of vertical space.
As the 19th Venice Architecture Biennale enters its concluding weeks, the global architecture scene continues to unveil significant projects and recognitions. This week's highlights include Studio Libeskind's residential complex in Prague; sauerbruch hutton's Panorama Constance exhibition building in Germany, and CRA–Carlo Ratti Associati's digitally fabricated bivouac for the upcoming Milano Cortina 2026 Winter Olympics. In New York, Venezuelan artist Miguel Braceli designed a major public artwork for the city's waterfront, addressing themes of migration, diversity, and the complexities of geopolitical identity. The week also brought recognition to sustainable and creative achievements, from the Holcim Foundation's regional awards for sustainable construction to the publication of Tadao Ando. Sketches, Drawings, and Architecture by Taschen, celebrating nearly five decades of the architect's design process.
Two views, by Marie-Louise Raue. Image Courtesy of The Architecture Drawing Prize
The eighth edition of The Architecture Drawing Prize has revealed its 15 winners, following a radical restructuring of its judging criteria to reflect the evolving landscape of architectural representation. For the first time, the competition assessed all entries together, rather than by category, embracing the growing influence of digital and AI-assisted tools in the creative process.
Launched in 2017 and co-curated by Make Architects, Sir John Soane's Museum, and the World Architecture Festival (WAF), the Prize celebrates the art and skill of architectural drawing across multiple modes of creation. Sponsored by Iris Ceramica Group and supported by ArchDaily as media partner, this year's edition attracted a record number of more than 200 submissions from around the world. Drawings were evaluated for their technical skill, originality, and capacity to convey architectural ideas through diverse techniques, ranging from traditional hand drawings to complex hybrid compositions.
