The exhibition "Ma Yansong: Architecture and Emotion," presenting the work of Chinese architect Ma Yansong and his globally recognized practice MAD Architects, has opened at the Nieuwe Instituut in Rotterdam, the Netherlands' national museum for architecture, design, and digital culture. Featuring a selection of projects from MAD's international portfolio, the exhibition explores how the studio challenges conventional architectural paradigms through forms influenced by nature and guided by sensorial experience. The exhibition will be on view until 12 October, and on Thursday 26 June, Ma Yansong will be the guest of honour at the Nieuwe Instituut for "An Evening With...", a public program where he will discuss his design philosophy with Aric Chen.
Rebirth Brick. Image Courtesy of Jiakun Architects
The world watches China's development with a mix of admiration, curiosity, and apprehension. From massive infrastructure projects—such as hydroelectric plants and a modern high-speed rail network—to the emergence of entire cities built from scratch, the country showcases an ambitious growth strategy and an impressive capacity for execution. However, this rapid progress also brings significant challenges and stark contrasts. On one hand, modernity asserts itself in futuristic skyscrapers and cutting-edge technology; on the other, there remains a pressing need to preserve the country's rich cultural and historical heritage, reflected in ancient temples, imperial palaces, and historic cities.
Rapid urban growth has also introduced issues such as overcrowding, environmental pollution, increasing social inequality, and the loss of agricultural land. Large-scale urbanization has led to the disappearance of traditional villages, environmental degradation, and the homogenization of architecture and lifestyles in many Chinese cities. It is within this context that Liu Jiakun, awarded the 2025 Pritzker Prize, stands out for his subtle yet profoundly transformative architectural approach. His work responds to these and other challenges of Chinese society while valuing traditional materials and techniques, as well as the creation of communal spaces.
Chinese architect and educator Liu Jiakun has been announced as the laureate of the 2025 Pritzker Architecture Prize, the highest honor in the architecture field. This prestigious award recognizes Jiakun, founder of Jiakun Architects (established 1999), for his ability to blend traditional Chinese elements with contemporary design and for his commitment to social equity in the built environment. Born in Chengdu, China, where he continues to live and work, he becomes the second Chinese architect to receive the accolade, following Wang Shu (2012). Jiakun joins a distinguished list of previous laureates including Riken Yamamoto in 2024, David Chipperfield in 2023, and Francis Kéré in 2022. The award ceremony will be held this spring at the Jean Nouvel-designed Louvre Abu Dhabi, with a global video release of the presentation this fall, followed by the 2025 Laureates' Lecture and Symposium in May.
Courtyards have long been a fundamental aspect of traditional Chinese architecture, serving as central spaces around which domestic life is organized. These spaces play a vital role in creating a harmonious living environment, offering benefits that range from regulating indoor temperatures to enhancing social interactions and fostering a close connection with nature.
Over the last eight years, I have interviewed Beijing-based architect and educator Zhu Pei several times. His persistent quest to combine traditional planning and construction principles with innovative formal and spatial sensibilities intrigues me. His latest projects, including Zijing International Conference Camp (2022) and Jingdezhen Imperial Kiln Museum (2020), are widely published and represent his most mature works. Yet, he is convinced that his best building is in the making. "This is going to be amazing! I feel so excited!" the architect told me, referring to his now under-construction Majiayao Ruins Museum and Observatory in Gansu province in Northwestern China. "I hate column-beam solutions. I want column-free spaces for the public building," he continued. Our conversation took place earlier this year on a video call, complete with dozens of relevant illustrations.
Oct Art Center, Photo by Xia Zhi. Image Courtesy of Zhu Pei Studio
“This is going to be amazing! I feel so excited,” says Zhu Pei about his now under-construction Majiayao Ruins Museum and Observatory in Lintao, Gansu province. The Beijing-based architect designed his building like a deeply embedded cavernous space evoking a giant fragment of ancient pottery, resembling an archaeological site from the Neolithic Age discovered here a century ago. The building is so unusual that it cannot be described in common architectural terms. For example, a vast cast-in-place concrete hyperbolic shell lies prone on the ground, blocking the cold wind from the northwest in winter. The architect used the sand and gravel from the local Tao River to produce a special rough concrete with horizontal scratches on the surface, symbolizing the traces of thousands of years of erosion. All of Zhu’s buildings are quite remarkable. Yet, despite their novelties, they are rooted in culture, nature, and climate. They are designed based on his architectural philosophy, Architecture of Nature, articulated in five fundamental points: incomplete integrity, sponge architecture, cave and nest, sitting posture, and structure and form.
I first went to China in 2002, a year after the International Olympic Committee awarded the 2008 Summer Games to Beijing. That initial trip was about exploring nature, cuisine, ancient temples, archeological sites, and, in general, experiencing lifestyles in China, mainly outside of its major cities. I was motivated by the pure curiosity of a Western tourist driven to an Eastern country in search of the old world, the exotic, hoping to catch a glimpse of a rich traditional culture on the cusp of its inevitable radical transformation. At the time, there was no modern, or rather contemporary, architecture in China to speak of. There were only the promising first hints of the development of a potentially new architectural language being undertaken by just a handful of independent architects almost entirely under the radar.
As we successfully launched our 13th Building of the Year Awards earlier this year, we want to thank you for being part of our community for over 10 years. Together we have been growing and contributing to the architectural scene, aiming for a better world. Now, we are proud to announce the 6th edition of The ArchDaily Building of the Year China, celebrating the best architecture in China, as chosen by you, the reader.
By nominating and voting, you form part of an interdependent, impartial, distributed network of jurors and peers that has consistently helped us celebrate architecture of every scale, purpose, and condition, and architects of all profiles. Over the coming weeks, your votes will result in 700 Chinese projects filtered down to just 10 best projects in China.
Longnan Garden Social Housing Estate / Atelier GOM. Image Courtesy of Atelier GOM
Saskia Sassen, the Robert S. Lynd Professor of Sociology at Columbia University, predicts in her co-authored book “The Quito Papers and the New Urban Agenda” that, in the future cities will become our crucial battlefield as we continue to fight against gentrification and growing degree of isolation in our communities. Sassen argues that, “Cities should be an inclusive space for both the affluent and the poor. Nevertheless, in reality our cities never achieved equality for all, because our cities were never designed that way. Still cities ought not to be a place that tolerates inequality or injustice”.
The Xiangshan campus of China Academy of Art was designed by the recipient of the 2012 Pritzker Architecture Prize, Shu Wang and Wenyu Lu from Amateur Architecture Studio. The studio was responsible for the overall project completion from master planning to architectural design and landscape design. On the north side of Xiangshan is the first phase of the campus. It was designed in 2001 and completed in 2004. It is a complex of ten buildings and two bridges, with a construction area of about 70,000 square meters. The second phase of the campus is located on the south side of Xiangshan, and it was designed in 2004 and completed in 2007. It consists of ten large buildings and two small buildings with a construction area of nearly 80,000 square meters.
The construction period of the two phases was 14 months each. A large number of craftmanship during the construction has produced many problems that could only be solved on-site, therefore the site was repeatedly touched and shaped by countless hands. In 2007, the photographer Iwan Baan recorded the campus after completion. In 2021, photographer Sai Zhao used the lens of original focal length to take pictures of the campus at the same location. Over the course of more than ten years, green plants have covered and sheltered the structure, and the building now has its own life.
ACF has released a new series of images demonstrating the recently completed TAG Art Museum, designed by Ateliers Jean Nouvel, as part of the Artists’ Garden project collaborated with Shandong International Coastal Cultural Industry. The museum is located in the West Sea Bay in Qingdao, China. Strung along a covered promenade that weaves through planted gardens and woodland, running along the coastline towards a new marina, the structures consist of 12 interconnected exhibition halls.
Both tea and alcohol in traditional China were similarly aestheticized, and both influenced the language of literature and art. People used to exchange alcohol as a gift in a way that they later would with tea. Today, more and more cities in China have embraced this drinking culture that passed down from generation to generation, and reinterpreted with a new contemporary fashion, which is constantly evolving in the urban cafes and bars.
Archdaily had the chance to speak to SOM regarding the Transit-oriented development (TOD) projects. SOM has extensive engagement in planning, design and engineering on various means of conveyance, and TOD is definitely one of the speciality the SOM team has to offer. Through the interview, we will walk through the design strategies and their changes over the years of TOD Development, the challenges and new area of focus of TOD development, and most importantly, the interview will focus on the design strategy in developing TOD in China, where SOM has participated in many TOD projects, including the South Gateway of Guangzhou Central Axis, Guangzhou Nansha Pearl Bay and Xiong'an District Planing.
NanShan B&B Hotel / Priestman Architects. Image Courtesy of Luyi Photograph
A border city can be classified as an urban agglomeration close to the boundary of two countries, states, or regions. Nowadays, as our cities are rapidly expanding and our transportation modes continually upgrading, the boundary between cities and rural areas has been constantly pushed and redefined.
Bruce Jilk in his essay ‘Place Making and Change in learning environments” showcases a radical view of contemporary education which, he argues, is outdated and does not meet the needs of the modern world. Instead of providing for a world of individuals operating within a wider urban environment, schools have become internalized ghettos of childhood, cutting off from communities they are supposed to serve, centrally administered in a “one size fits all” ethos. Designers and architects around the world have always been seeking a more flexible architectural model which will allow much more creativity within the learning process and the environments which serve it.
Robot-Printed 'Cloud Village' / Philip Feng Yuan's Team. Image Courtesy of Philip Feng Yuan
3D printing (as known as three-dimensional printing) is a type of rapid prototyping technology. It is a technology that uses powdered metal or plastic and other bondable materials to construct objects by printing layer by layer based on digital model files.
Ever since the period of the Renaissance in Europe, the indivisible relationship between art and architecture has long been heatedly discussed and vividly reflected in numerous classical books and buildings. With the deep connection that unites art and architecture together, designers, artists, and architects have been actively collaborating and came up with solutions on how we can house and exhibit art in the form of changing spaces.
When we are discussing the definition of “structure”, the term varies within different disciplines. In the context of the built environment, "structure" refers to anything that is constructed or built from different interrelated parts with a fixed location on the ground.
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