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.
Architecture has historically produced many iconic buildings shaped by singular visions—often designed unilaterally for users, communities, and cities. While this top-down approach has enabled strong formal coherence and conceptual clarity, it has also prioritized authorship over engagement. The result: projects that may be celebrated as visionary, yet often feel disconnected from the everyday realities of those who inhabit them.
Designing for others is inherently complex. As architects, we are frequently tasked with creating environments for communities with whom we may have no personal or cultural familiarity. This distance, however, can offer valuable objectivity. It allows us to engage diverse perspectives with fresh eyes, critically analyzing the needs and constraints of multiple stakeholders. Through this process, the discipline of architecture has advanced—pushing boundaries in spatial thinking, material innovation, and structural experimentation.
In much of China, concrete remains the dominant construction material. Despite growing concerns over its environmental impact, concrete continues to align with the priorities of many developers and clients—it is fast, cost-effective, and highly durable. As a result, most building types in China still rely heavily on concrete. This reliance is further reinforced by China's position as the world's largest producer of Portland cement. A deeply entrenched supply chain, rooted in raw material manufacturing and economic infrastructure, ensures that concrete remains the default choice in the construction industry.
Yet historically, Chinese architecture was built upon a rich tradition of timber construction. The Forbidden City is a prime example: not only is it emblematic of China's architectural heritage, but it also remains one of the largest and best-preserved collections of ancient wooden structures in the world. This legacy prompts an important question: does timber construction have a meaningful future in China's contemporary building industry?
As the city continues to evolve and transform, dead edges in the cityscape begin to emerge, subsequently reducing the level of activity in our built environment. These 'dead edges' refer to the areas that lack active engagement, they remain empty and deprived of people, since they no longer present themselves as useful or appealing. As the Covid-19 pandemic draws to an ultimate close, the first issue we may face post-pandemic is to revive our urban environment. A kiss of life into a tired and outdated cityscape...
The focal element in creating an active and healthy urban environment is by increasing vitality through placemaking. Creating diverse and interesting places to reside, thrive, and work. Here are five regenerative strategies that animate the cityscape and ultimately produce resilient, attractive, and flexible environments.
Buildings around the world are getting taller. Since the year 2000, global skyscraper construction has increased by 402%. Cities like Dubai are home to nearly 1000 high-rise buildings, and New York’s vibrant luxury real estate market has shown no signs of slowing down, with more high-rise additions slated to be added to its already towering skyline. There’s good in this – high-rises create much-needed space in already dense cities and can reduce urban sprawl in city centres, allowing for better preservation of natural areas.
There are two main reasons why boat windows are round. They are easier to seal and, above all, more resistant to the high pressure that water exerts on them. This is because living corners are places where tensions are naturally concentrated, weakening the structure as a whole. This is also why aircraft windows are small and round; high pressures are better distributed in curved shapes, reducing the likelihood of cracks or breaks.
In architecture, circular openings are quite old. The Oculus, a type of circular window, has been a feature of classical architecture since the 16th century. Also known by the French expression oeil de boeuf (bull's eye), circular or semi-circular openings are formed from the construction of masonry arches, which allow for the creation of openings only by locking the constitutive pieces. Over time and following the incorporation of new technologies and development of construction knowledge, creating rectangular openings in buildings has become easier, more efficient, and cheaper than creating round ones. However, these circular windows still continue to figure in a multitude of projects.
In the introduction of Cities for People, Jan Gehl stated clearly that most cities have neglected the human aspect when planning the built space. While technologies have allowed us to build large, our focus shifted from creating architecture for humans to erecting structures that look like they are meant for a different kind of species. Top-down urban planning decisions have ignored scales adapted to the senses and organic growth, and new ideologies prioritized speed, functionality, and profitability.
Dictating our city experience, scale, this major spatial component related to the human dimension, stimulates our senses, and influences our well-being. In this article, we lay down historical changes and underline scientific facts to highlight how scale can impact our daily city life, guided by Eden of the Orient, a series of photos by Belgian photographer Kris Provoost, portraying a battle of scale in Hong Kong.
Taiwan's One More residential tower by Spatial Practice has been captured through a series of new photographs by Kris Provoost. The 100 meter tall concrete tower is composed of 53 two-bedroom units with open kitchen and living room views toward the nearby park. The design was made to break from the monotony of the neighboring typical residential typology with simple bands that vary in height.
Photographer Kris Provoost has captured new images of Herzog & de Meuron's M+ Museum in Hong Kong. Focusing on 20th and 21st century art, design, architecture and moving image, M+ will be the centerpiece of the West Kowloon Cultural District, and a key venue in creating interdisciplinary exchange between the visual arts and the performing arts in Asia.
