Until July 14, 2024, the pavilion ¡Qué faena(r)! ('What a Task!') by Óscar Cruz García and Pablo Paradinas Sastre will be installed at Puerta del Sol in Vigo, one of the two winning temporary pavilions of the third edition of TAC! Urban Architecture Festival. Reflecting on public spaces and the regeneration of urban centers as the main theme of this new edition, the proposal combines tradition and innovation, involving local producers and artisans during the process and simultaneously reusing materials considered waste, such as fishing nets, rusty 'bombos,' recovered wood from bateas, and granite blocks that gain a second life after fulfilling their mission in the sea.
Ladder Street Cultural Space. Image Courtesy of Francesco Rossini
As we near its 100th anniversary, expanded polystyrene (EPS) has become widely used in various industries and applications, especially in construction. Since 1970, EPS has been used in building construction due to its thermal insulation properties, lightweight closed-cell structure, durable strength, and long-term integrity. However, while these qualities make it highly useful and easy to recycle, they have also sparked debate due to recurring discussions about its degradation processes and environmental impact from various perspectives.
While the debate rages on, many improvements and alternative approaches have emerged around this material, highlighting that achieving sustainable construction involves using the right material for the right job from the outset. Thus, over time, innovations have brought new options for the recycling and use of EPS beyond traditional building applications such as infill blocks or partition panels. This demonstrates that rather than stigmatizing it as a problematic or “simple” material, it is essential to consider its qualities through design, technology, and developing methods for responsible and sustainable management.
https://www.archdaily.com/1018325/how-are-innovations-changing-expanded-polystyrene-epsEnrique Tovar
Although the sensory approach in the built environment is often based primarily on visual aspects, such as color and light, as we delve deeper into the relationship of architecture with the senses other essential elements emerge, such as aromas, textures, sounds, and even flavors. These components are fundamental to creating a profound experience between the user and the environment in which it takes place, demonstrating that design and sensory experience are intrinsically connected.
Thus, sensory design offers an immersive atmosphere for a full spectrum of senses where its perception extends beyond physical boundaries. An example of this is the Vertical Panorama Pavilion, located in a region of California (USA) with a strong identity linked to the wine tradition. This structure, with a glass canopy of Color PVB interlayers, serves as a shelter for hospitality. Inspired by nature, the pavilion’s canopy engages all the senses: from the texture of the gravel on the walking path to the wind currents in the area and the characteristic aromas of the region.
https://www.archdaily.com/1017382/a-multicolored-glass-canopy-for-senses-shelter-and-hospitality-the-vertical-panorama-pavilionEnrique Tovar
British-Nigerian multi-disciplinary artist and designer Yinka Ilori MBE has designed a pavilion as part of Haus der Kulturen der Welt’s (HKW) festival in Berlin. The festival, titled Ballet of the Masses - On Football and Catharsis, initiated an annual pavilion in 2023, and this year’s pavilion dresses intricate questions of coexistence through its materiality and form. Part of the Shaped to the Measure of the People’s Songs architectural series, Yinka Illori’s pavilion crafts a spatial proposition that explores complex themes of racism in sports and personal accountability.
Since its launch in 2000, the Serpentine Pavilion has been providing renowned and emerging architects with a platform for design experimentation, becoming an important display of contemporary architecture. Each year, the commissioned architects and designers envision a temporary structure that speaks not only to their roots as creators, but also brings into focus what they consider to be important themes in the architectural world, from the need to redefine spaces for contemplation or conviviality, to explorations into the potential of natural materials or vernacular building techniques. On the day of the public opening of the 2024 Serpentine Pavilion, the "Archipelagic Void" designed by Korean architect Minsuk Cho and his firm Mass Studies, we look back at the last eight editions of the famous annual structure.
Lebanese French architect Lina Ghotmeh, leading the Paris-based studio Lina Ghotmeh – Architecture, has revealed the first photographs of the National Pavilion of the Kingdom of Bahrain for the Expo Osaka 2025. The design draws inspiration from the traditional Bahraini dhow boats, employing the country's historical boat-building technologies to showcase Bahrain's craftsmanship and manufacturing heritage. The pavilion is also a nod to the hosts of the World Expo, drawing parallels with Japanese wood artistry. Commissioned and organized by the Bahrain Authority for Culture and Antiquities, this marks the country's fourth contribution to the World Expo. The pavilion is located in the "Empowering Lives" zone, spanning 995 square meters and inviting visitors to engage through a sensory exhibition experience.
As dwellers of big cities, we tend to be dragged into a very fast-paced lifestyle. Surrounded by monumental buildings and infrastructure, we can easily lose sight of key spaces that connect us with our neighborhood and provide us with rare moments of peace and enjoyment. Appropriation of the environment we inhabit becomes an uncommon circumstance.
When he was invited to design the 21st Serpentine Pavilion in London’s Kensington Gardens public park, Chicago-based artist Theaster Gates envisioned a calm space to offer respite and a subtle exploration into the power of sound and music in architecture. Created out of lightweight stained wood, the “Black Chapel” demonstrates more than just artistic and architectural sensibilities. In addition to the use of sustainable materials, the project also pays close attention to how the building materials are sourced, bringing visibility to the problem of modern slavery in the construction materials supply chain.
23rd Serpentine Pavilion by Mass Studies. Image Courtesy of Serpentine Gallery
Seoul-based Korean architect Minsuk Cho and his firm Mass Studies have been selected to design the 23rdSerpentine Pavilion, to open on June 5, 2024, in London’s Kensington Gardens. Titled “Archipelagic Void,” this iteration of the iconic commission will consist of five ‘islands’ displayed around an open space, breaking down the structure into a series of smaller elements intertwined with the park’s natural ecology. The pavilion will be open to the public from June 7, until October 27, 2024, with a press preview two days before the opening.
The Serbian Pavilion at Expo Osaka 2025 emerges as a compelling example of sustainable architecture infused with cultural storytelling, seamlessly integrating cutting-edge technology and emotional resonance. Designed by Aleatek Studio, the pavilion takes inspiration from Belgrade's protected Ratno Ostrvo (Great War Island) to realize the concept of a "Floating Forest." It stands out as the only Expo pavilion featuring a living façade, with over 95% of its materials recyclable and 80% intended for reuse in future construction. The design strategy also aligns with the theme "Play for humanity" of the upcoming Specialised Expo 2027 to be held in Belgrade.
The State of Kuwait has revealed the design of the upcoming Kuwait Pavilion to take shape at World Expo 2025 in Osaka. Designed by architectural firm LAVA (Laboratory for Visionary Architecture), the temporary structure is envisioned as a “Visionary Lighthouse” representing Kuwait’s embrace of Arab cultures, arts, and social works. The pavilion, developed with main partner and contractor NUSSLI, also offers a response to the exhibition’s overarching theme, "Designing Future Society for our Lives", striving to strengthen the relationship between Kuwait and Japan and foster conversations about visions of a sustainable future.
The Joslyn Art Museum in Nebraska announced that the restoration and expiation works led by Snøhetta and Alley Poyner Macchietto Architecture (APMA) are nearing completion, as the transformed institution is scheduled to reopen on September 10, 2024. The new 42,000-square-foot Rhonda & Howard Hawks Pavilion, designed by Snøhetta and APMA will add new gallery spaces to Nebraska’s largest art museum, becoming the centerpiece of the large-scale project for reimagining the visitor experience.
As this bloody year draws to a close, at a moment when the message “Peace on Earth” seems altogether mute, one might well ask: What power does architecture have? How can it address violence against innocent people, whose lives have been turned upside down? How does architecture respond to staggering cruelty? What can it say? Can it raise consciousness?
https://www.archdaily.com/1011673/in-warsaw-a-student-designed-architectural-response-to-dark-timesMichael J. Crosbie
Vitryak Visitor center / MAKHNO Studio. Image Courtesy of MAKHNO Studio
Whether temporary or permanent, pavilions and urban installations represent an opportunity for architects to experiment with different shapes, materials, and textures. The results are often theatrical, welcoming visitors to new types of spaces, and blending the exterior and the interior. Pavilions are often commissioned for events, exhibitions, or cultural programs, offering opportunities to explore innovative materials, construction techniques, and spatial concepts on a smaller scale. Some events, like the Serpentine in UK or the MPavilion in Australia, propose a yearly reimagining of their structures, offering opportunities for established and emerging architects to express themselves. Others, like the Venice Biennale, reuse the permanent garden pavilions, but invite curators to prepare exhibitions to reimagine them for every edition.
This week's curated selection of Best Unbuilt Architecture highlights projects submitted by the ArchDaily community showcasing pavilions and urban installations proposed in various environments, from urban plazas to agricultural fields or even airports. In Frankfurt, a translucent foliage-covered structure aims to honor the memory of a lost synagogue. in Ukraine, a visitor center reimagines an industrial landscape into an attractive meeting place, while a decentralized installation in the Netherlands hopes to bring communities together by collecting and sharing stories on scents. Whether temporary or permanent, these projects aim to provoke reflection and contemplation, while addressing larger themes of sustainability, resource availability, or the role of social spaces.
Courtesy of Architectural Dialogue | Elan - Meenakshi
Architecture competitions are platforms where innovation meets imagination, where the boundaries of what we know about design and architecture are relentlessly pushed. Serving as spaces for architects and designers to realize groundbreaking ideas, competitions challenge our conventions and shape our future environments. While countless creative concepts are proposed, only a handful are realized. In fact, these winning designs stand as a showcase for the creativity of architects, redefining our future built environments.
These winning projects demonstrate the global initiative to rethink the way we interact with spaces. HOKA fosters community interaction, while RITSO Resort merges tradition with modernity. Science Forest transforms museums into hubs for dialogue, and Elan-Meenakshi apartments in Hyderabad integrate urban living with green spaces. Ranging from Vietnam, Greece, Rome, to India, these examples showcase the transformative potential of architecture competition winners, reshaping our perception and interaction with the spaces we inhabit.
Music Festivals can provide artists, designers, and architects a platform to present their work to large crowds. The sheer scale of these installations, the space for artistic exploration, and the vast audience they reach can give designers the opportunity of a lifetime to showcase their ideas. Through scale, color, imagery, and lighting, these installations create lasting impressions on the people who attend these events and those who see them through news coverage or social media. Some themes explored this year included reframing familiar things in unfamiliar ways, large-scale abstract geometries at the intersection of technology and art, and the use of innovative new materials.
Sameer Makarius was born in Cairo in 1924. In 1933, he immigrated with his family to Berlin. At the age of ten, his father gifted him a camera, marking the beginning of his journey with photography. Following the outbreak of the Second World War, in 1940, they moved to Budapest, where he completed his secondary education, began his artistic training, and connected with the protagonists of the local avant-garde. In 1946, he embarked on his return to Egypt with a prior stop in Zurich. There, he organized an exhibition of Hungarian modern art with the support of Max Bill. Back in Cairo, he worked as a decorative artist for advertising and also for an architecture and construction studio.
His artistic work arrived in the Río de La Plata a few years before he did, through his partner Eva Reiner, who was already living in Argentina with her family. In 1948, she lent one of his works for the MADI art exhibition organized in the workshop of the German sculptor Martin Blaszko. After marrying Eva in Egypt in 1952, they traveled together to Paris, where they worked as pattern designers. They finally arrived in Buenos Aires in April 1953, a city that would become their permanent residence. His migratory journey was marked by the drama of war. At the same time, during these displacements, Makarius built a network of relationships around photography, visual arts, and architecture that allowed him to unfold his work in various territories and formats.
