Architecture Models: The Latest Architecture and News

Historically, the way we design has been closely linked to the way we build. Architecture moved through physical testing, trial and error, projection drawings, mock-ups, and physical models: each introducing a new layer of abstraction, but still remaining tied to material, scale, and construction. The introduction of CAD significantly changed this dynamic. At first, it was largely understood as the computerization of precise geometry for construction. Over time, however, digital tools moved earlier into the design process, replacing sketching, physical trial and error, model-making, and other forms of thinking that had once kept scale and material close at hand.

The lineage of architectural design can therefore be understood, in part, as an evolution of abstractions. Some have been extraordinarily productive. Plans and sections, for example, isolate particular dimensions of architecture while still allowing the mind to reconstruct the whole. They flatten, cut, and reduce, but they do not abandon the building. Through the combination of drawings, one can understand rooms, circulation, structure, openings, and spatial relationships without becoming lost in the complexity of the project. Their abstraction is disciplined because it remains tied to an architectural reality that must eventually be measured, built, and inhabited.

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"Architecture of Possibility: Zaha Hadid Architects" at the Museum of Contemporary Art and Urban Planning (MOCAUP) in Shenzhen, China, presents a comprehensive overview of the evolution of Zaha Hadid Architects' work over recent decades. On view until April 10, 2026, the exhibition is structured through chronological and thematic narratives that highlight the studio's multidisciplinary research and design methodologies. The exhibition, now open to the public, showcases the office's work in the Shenzhen area and its involvement with new Artificial Intelligence technologies. Particular emphasis is placed on the integration of artificial intelligence (AI), immersive and interactive design tools, and virtual environments, which together form an expanding digital design ecosystem.

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Architecture's design process has always been shaped by the tools at hand. We once drew with pen and ink on fragile sheets, copied by blueprint and guarded against smudges and tears; then Mylar arrived, making revisions and preservation easier and nudging drawings toward a leaner, more deliberate economy of lines. Computer-aided drafting followed, speeding coordination and changing how we think about scale and precision. Today, AI adds another layer—gathering information in seconds and spinning images on command—promising new efficiencies while raising fresh questions about authorship and craft. What we make, and how we make it, has evolved with each tool; the history of our methods is the history of our ideas.

Beginning in the post-war era, Mylar (developed in the 1950s) eased drawing reproduction and hastened the shift from blueprint to whiteprint processes. Before Mylar, simply preserving drawings—keeping an idea intact, legible, and undamaged—was a significant task. Post-war design priorities often leaned toward efficiency, simplicity, and an industrial minimalism aligned with reconstruction needs. The tools reinforced this: architectural work remained predominantly hand-drawn, where every line took time to lay down and even more time to erase. That labour sharpened the economy of drawing; each stroke had to earn its place.

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The Republic of North Macedonia Pavilion at the 19th Venice Architecture Biennale is dedicated to the Brutalist architecture of its capital city, Skopje. This architectural movement has given the city a distinctive identity following the earthquake that struck in 1963. According to pavilion curator, architect Blagoja Bajkovski, in the aftermath of the disaster, Skopje embraced Brutalism from a variety of sources. One of the most prominent of these was Kenzo Tange's reconstruction plan, developed after an international competition organized by the United Nations in 1965. The exhibition, titled Strada Brutalissima, recounts this identity, the events that shaped it, and the buildings that continue to represent it through a series of architectural models. Inspired by the 1980 Venice Architecture Biennale's Strada Novissima, the project reinterprets the concept of a curated "street," this time centered on Skopje's Brutalist heritage.

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When we speak of intelligence at the 2025 Venice Biennale, the main exhibition broadly categorizes it into three domains: natural, artificial, and collective. While much attention has been drawn to robotic performances, future-forward material experiments—such as Boonserm Premthada's elephant dung bricks, or Canada's display of mesmerizing picoplankton, one often overlooked yet critical form of collective intelligence lies in the act of archiving.

Several national pavilions showcase this collective intelligence through beautifully curated exhibitions—the Spanish Pavilion's witty play on scale, for instance, features meticulously crafted models that invite close reading and delight. These curated collections offer a snapshot of the present, and in some cases, gestures toward the future. But without critically engaging with the past, without documenting and making sense of our shared spatial and architectural knowledge, the potential of collective intelligence remains incomplete. Archiving is not simply an act of preservation; it is a generative tool for projecting new futures.

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For centuries, models have been central to architectural design, providing architects with a tangible way to explore ideas, test concepts, and communicate their vision. From the Renaissance to Modernism, models have been instrumental in the construction and reflection processes, offering insights into form, proportion, and spatial relationships. However, in today's digital age, where 3D models and Virtual Reality (VR) have become powerful and efficient tools, the question arises: Are physical models still relevant in contemporary architecture?

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It is fascinating to delve into the practice of Iván Bravo, firstly because the path taken towards his architectural work immerses us in a vast creative universe through the architect's interest and curiosity in various tangential disciplines directly reflected in his built work. A constant reflection on the methodology of the making, the processes, the pieces, the design, and the materiality converges into a noble and honest architecture.

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This article was originally published on Common Edge.

The rise of generative AI has given every design educator sufficient reason to reconsider both what to teach and how to teach it. Training an architect is a long process, and mapping it onto an uncertain future is a daunting task. Researchers at OpenAI, DeepMind, Meta, and similar companies seem constantly surprised by the rapid development and sometimes unforeseen capabilities of their AI creations. If even the creators don’t know how fast the future will arrive, it would be hubristic for any of us to claim that AI will do X or AI won’t be able to do Y in the next decade, which is about how long it takes to really train an architect.

Ambitious and diverse, models are representative tools non-exclusive to architects. Peculiar fascination with miniatures – and what they tell us about our larger world- extends to all ages, cultures, and purposes. From scaled temples of clay from 200 B.C. found in Mexico, ceramic models carried during medieval Islamic journeys, Victorian doll houses, and LEGOS, models are more than baby buildings. Miniatures unveil the essentials, explain much larger concepts, contain intimate and historical data, and invite us to challenge our known selves and perspective.

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In an age where we have been going from hyperrealistic renders to digital models to the realm of the metaverse, physical architectural models have almost become a thing of the past. Nonetheless, whether it's to showcase the final project or to be used as a tool to explore different solutions to the same problem during the design phase, some architects still consider physical models part of their design process.

With the end of 2022 just around the corner, we have decided to look back at all the architectural models from the projects published this year on ArchDaily. The following selection, grouped into section models, abstract models, intricate models, interactive models, and models that use unconventional materials, lists the best of this year's physical models by our community.

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This article was originally published on Common Edge.

In this week's reprint, author Mark Alan Hewitt talks about models and their importance. "For those of us lucky enough to have grown up during the 1950s and ’60s, models were hot stuff—and not just the kind that statement may bring to mind", he states. Going back to the realistic models of the 70s, similar to today's virtual renderings, this essay retraces their history and the artists that produced them.

2020 and the Covid-19 pandemic forced architectural students around the world to go virtual with their classes and coursework, transforming the way architecture was both taught and learned. Once based primarily on in-class participation, and collaboration, architectural workshops had to take on whole new methods of instruction. Conversations and debates between students and their instructors, a key element of architectural education were relegated to phone and video calls as well as written documents, making digital formatting an essential tool for students to share their ideas and receive feedback on their work.

Design projects rely heavily on visual tools that illustrate the project's features and overall atmosphere, and whether you are an architect, interior designer, furniture designer, or engineer, the term 'mood board' has definitely come up at some point during the early stages of the design process. Generally speaking, images have immense powers of influencing and inspiring their viewers, so putting together a powerful mood board can be a game changer for the architect, the visual artist, and the clients, and can amplify the project's story telling process. So what is a mood board and how can you create one?

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The Fundació Enric Miralles has launched MIRALLES, a series of exhibitions and events celebrating the work of the influential Catalan architect, whose passing marked twenty years in 2020. Curated by Benedetta Tagliabue and Joan Roig i Duran, the program will unfold over the course of this year in different emblematic venues in Barcelona. The first three exhibitions of the circuit inaugurated this month showcase the multiple facets of Enric Miralles through archival materials ranging from drawings and collages to photography and models, exploring his legacy in architecture and artistic creation.

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Videos

Everyone loves models, but not everyone loves making them. For some, models bring up memories of fingers full of dry glue, cuts from sharp pieces, wasted materials, and large doses of frustration. For others, with the unique ability to physicalize drawings easily and beautifully, making small-scale models can even be fun. But, of course, on the internet, there will always be someone who can take any activity to unbelievable levels of achievement. In model building, the OUROBOROS ARQ YouTube channel takes this role. With almost 2 million subscribers, and videos with over 50 million views, the channel documents the construction processes of highly complex miniature buildings.

Videos

As lockdown provided architects with the opportunity to reflect on their design processes, it prompted Morris + Company founder, Joe Morris, to create On reflection, a series of short films discussing the fundamentals of the practice, centring the conversation around model making as a critical element of design thinking and a wide-ranging architectural tool.

There’s a lot of buzz going on in terms of technology-driven innovation in the AEC industry. Especially the increasing use of 3D renderings and virtual reality for architectural projects is hitting every architect’s newsfeed. Photorealistic images and virtual reality walk-throughs seem to be turning into the new industry standard. That being said, for many architectural firms it seems to be hard to keep up with quickly developing new tech and thereby find ways to differentiate themselves from the competition.

In many ways, architectural models are strange objects. On one hand, like drawings, models are a representation of something else—a building—that might exist already but in most cases is so far only hypothetical. On the other hand, they are miniature constructions in themselves, which can be appreciated for their craftsmanship and intricacy. Perhaps this is why architects find models so fascinating; they can be simultaneously admired as an object in themselves and as a vision of something greater.

Earlier this year, we asked our readers to send us images of their most impressive models, and the response clearly showed this fascination. We received photographs of a wide variety of models, from sensible and meticulously constructed miniatures to jaw-dropping expressive outbursts. From over 300 entries, we've narrowed down our readers' submissions to just 21 of the most awe-inspiring examples, splitting them into 5 categories to reflect the incredible range of ways that people have made their models worth looking at.

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