China seems to be at the peak of a refurbishment fever. Not only hutongs in historic downtowns, but abandoned industrial factories are becoming new tech or cultural hubs, and even buildings in the risk of collapse are refurbished to extend their lifespan. Why is this happening? Who is investing? How could this happen in a country where you cannot buy properties?

In this edition of Editor's Talk, our editors from ArchDaily China share their thoughts on how in a fast-paced development process, such as the one China is going through, there is a refurbishment fever in its biggest cities.

As founder of the “Do Tank” firm ELEMENTAL, Chilean architect Alejandro Aravena (born on June 22, 1967) is perhaps the most socially-engaged architect to receive the Pritzker Prize. Far from the usual aesthetically driven approach, Aravena explains that “We don’t think of ourselves as artists. Architects like to build things that are unique. But if something is unique it can’t be repeated, so in terms of it serving many people in many places, the value is close to zero.” [1] For Aravena, the architect’s primary goal is to improve people's way of life by assessing both social needs and human desires, as well as political, economic and environmental issues.

Mainly known outside of his home country for his design of the 2014 Serpentine Gallery Pavilion, architect Smiljan Radić (born June 21, 1965) is one of the most prominent figures in current Chilean architecture. With a distinctive approach to form, materials, and natural settings, Radić mostly builds small- to medium-sized projects that flirt with the notion of fragility.

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Japanese architect Junya Ishigami's 2019 Serpentine Pavilion is taking shape in London. A series of photographs by Laurian Ghinitoiu showcase the project and its flowing, free-form roof. Ishigami is the second-youngest designer of the pavilion, and his work is known for a light and ephemeral approach. The design for the 2019 pavilion takes the form of a slate sheet rising from the landscape of the park, held up by pilotis that form an interior field.

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• Architects

  Sidell Pakravan Architects

• Location

  Potrero Hill, San Francisco, CA, United States

• Category

  Apartments

• Area

  3000.0 ft2

• Project Year

  2018

• Photographs

  Laurian Ghinitoiu

Arguably the leading name of a generation of internationally high-profile British architects, Norman Foster (born 1 June 1935)—or to give him his full title Norman Robert Foster, Baron Foster of Thames Bank of Reddish, OM, HonFREng—gained recognition as early as the 1970s as a key architect in the high-tech movement, which continues to have a profound impact on architecture as we know it today.

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As we have seen throughout the history of architecture, ephemeral installations and pavilions are important tools for talking about specific moments in architecture in an almost immediate way. While it is true some pavilions have been so relevant that they broke with their ephemeral quality to become permanent, such as the German Pavilion in Barcelona, designed by Ludwig Mies van der Rohe and Lilly Reich, most are documented in photographs, plans and experiences to be rewritten in future projects.

Ada Louise Huxtable once described him as “a poet who happens to be an architect.” Italian architect Aldo Rossi (3 May 1931 – 4 September 1997) was known for his drawings, urban theory, and for winning the Pritzker Prize in 1990. Rossi also directed the Venice Biennale in 1985 and 1986—one of only two people to have served as director twice.

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Although ancient buildings carry compelling architectural presence, demolition or radical change is often their fate. While some architects prefer to introduce thoroughly new structures, others choose to honor the works of historic architects, who built the basis and foundations of structures that helped shape up cities today.

For the refurbishment of Paris’ Hotel Fouquet Barrière, located one block facing Avenue des Champs Elysées, Edouard François was selected to renovate the entire property, including offices, spa services, façade, and courtyards. François’ design strategy was rather unambiguous, using only two keywords as reference: “COPY-EDIT”; a reinterpretation of the “old” through contemporary technologies and modified material.

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