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Architects: Minax Architects
- Area: 17 m²
- Year: 2018
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Manufacturers: Pilkington, Opple, POWER DEKOR, SEENDA
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Uniting the material intelligence of vernacular crafts with the precision and flexibility provided by the new digital design and manufacturing technologies, the Robotic Fabrication LAB of The Faculty of Architecture of HKU has developed the CeramicINformation Pavilion, with the objective of finding suitable levels of automation to be used for emerging and transitioning economies.
Part of an evolving series, each of its 1,000 components is unique and relates specifically to its neighboring units. The elements are constructed through 3D printing and are made of terracotta brick, a material commonly used in modern Chinese construction.

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Art, in general, is made to be seen or experienced by another, an interlocutor, who, in turn, establishes various relationships with the art work. However, this is not the case of the Bataan Chapel, built by the Swiss artist Not Vital in the Philippines.
Ravaged by constant winds, the art work rises on a hill in rural Bagac, a town of just under 30,000 inhabitants located about 50 kilometers west of Manilla. The remote location of the building makes access difficult and the journey becomes a sort of pilgrimage — part of its grace lies precisely in its inaccessibility.

There's an old, weary tune that people sing to caution against being an architect: the long years of academic training, the studio work that takes away from sleep, and the small job market in which too many people are vying for the same positions. When you finally get going, the work is trying as well. Many spend months or even years working on the computer and doing models before seeing any of the designs become concrete. If you're talking about the grind, architects know this well enough from their training, and this time of ceaseless endeavor in the workplace only adds to that despair.
Which is why more and more architects are branching out. Better hours, more interesting opportunities, and a chance to do more than just build models. Furthermore, the skills you learn as an architect, such as being sensitive to space, and being able to grasp the cultural and societal demands of a place, can be put to use in rather interesting ways. Here, 3 editors at ArchDaily talk about being an architect, why they stopped designing buildings, and what they do in their work now.


ODA New York has released images of its proposed “Dragon Gate” pavilion for New York’s Chinatown, seeking to act as a symbolic gateway to the famous Manhattan neighborhood. Using modern materials and forms to invoke symbols of traditional Chinese culture, the scheme seeks to capture Chinatown’s remarkable duality: a community of tradition resistant to change, yet one regarded as a uniquely contemporary phenomenon showcasing New York’s inclusive diversity.
Situated on a triangular traffic island at the intersection of Canal, Baxter, and Walker Streets, ODA’s scheme seeks to activate a currently-underused pedestrian space. The Dragon Gate consists of a triangular form adhering to a three-dimensional, gridded structure formed from interwoven, tubular, bronze steel inspired by bamboo scaffolding. As the structure densifies, selected pieces will be painted red to create the illusion of a dragon in mid-flight.

Proyectos 9, a Monterrey real estate developer, announced Sordo Madaleno Arquitectos as the winners of the international architectural design competition for the construction of Constitución 999, a new mixed-use complex to be erected in the downtown area of Monterrey.

With the unconventional, undulating forms of his buildings—and the fact that his path to architectural success included a stint working for Zaha Hadid—Ma Yansong is often miscategorized as an architect of the latter generation of Deconstructivists, interested only in futuristic forms that push the boundaries of technology for the sake of innovation as an end in itself. But in fact Ma’s designs, especially those in his home country of China, are deeply rooted in nature and tradition, as he explains in the latest interview from Vladimir Belogolovsky’s “City of Ideas” series.

What if your apartment was more than just a place to live? What if it was a catalyst for social interactions? Or what if it removed the everyday tedious tasks of cleaning, paying bills, and buying furnishings? Co-living, a modern form of housing where residents share living spaces, is aiming to do just that.
Co-living is growing in popularity in major cities such as London and New York, where increasing housing prices are forcing residents to look at new and adaptive ways to rent in the city. When we discussed the ambitions and inspirations behind the co-living movement in 2016, it was still a concept that was in its relatively experimental stages. Today, co-living is more focused in its mission, and has found success by pushing people together through a collection of common themes: a yearning for social connection, participation in an increasingly shared economy, and the affordability of a convenient housing solution.

Recently, long-standing architecture critic for the LA Times Christopher Hawthorne announced that he was stepping down to take up the position of chief design officer for the City of Los Angeles in Mayor Eric Garcetti’s administration. According to Hawthorne, the role will involve raising “the quality of public architecture and urban design across the city — and the level of civic conversation about those subjects.” This dramatic shift from the question: what is the role of the critic and architecture criticism in shaping civic architecture?

As hundreds of refugees continue to arrive in Paris, France, the city faces an ongoing struggle to find safe and suitable housing for the influx of migrants. As a result, many end up sleeping in underused urban spaces or on the side of the road with almost no access to water, sanitation, and food.
In response, Paris- and Santiago-based firm 1week1project in collaboration with Sophie Picoty unveil their design for a speculative public park titled “Illuminate Paris!” beneath an elevated railway bridge to provide additional support for organizations handling the influx of refugees. This modular “field of experiences” features a series of lantern-like environments forming a canopy along the underside of the bridge that allows for much-need space for migrants who are currently forced to sleep in encampments under similar infrastructure and in parks.

The history of Mexican photography has contributed to highlighting Mexico's presence in the world. Photographers like Elsa Medina, Lola Álvarez Bravo, Graciela Iturbide, Maya Goded, and Juan Rulfo have masterfully portrayed the life of the buildings, houses and the streets of a rapidly built, nineteenth-century Mexico.
As a consequence, the contemporary scene of Mexican photography has become a fundamental tool for architecture and has contributed to a better visual understanding of the works that are erected every day.
Photography and architecture are two disciplines that go hand in hand and whose relationship has been reinforced thanks to the digital tools that we currently have. For that reason, we have compiled the work of contemporary Mexican photographers who record our walk through the world we live in and contribute to constructing the image of contemporary Mexico.