Biblioteca dos Saberes by Kéré Architecture. Aerial view. Render. Image Courtesy of Kéré Architecture
Amid ongoing global discussions on climate adaptation and resilient urban development brought into sharper focus by the outcomes of COP30, this week's architecture news illustrates how cities worldwide are rethinking their built environments. From Venice, where the 19th Architecture Biennale concluded with debates on material use and long-term cultural impact, to international awards foregrounding regenerative and socially responsive design, the conversation around architecture is increasingly intertwined with planetary priorities. Major urban interventions, from Thessaloniki's seafront redevelopment and Rio de Janeiro's new public library, to Abu Dhabi's Natural History Museum and a civic stadium in Birmingham, demonstrate how multiple cities are addressing mobility, heritage, density, and climate resilience. Additional plans, such as Mantua's ecological urban strategy, Utrecht's elevated landscape above transport networks, and Amsterdam Airport Schiphol's redesigned landside mobility system, further reflect a transition toward integrated, people-centred urban frameworks that prioritize environmental performance, public space, and long-term territorial stewardship.
Wang Shu and Lu Wenyu. Image Courtesy of Venice Architecture Biennale
La Biennale di Venezia has announced that architects Wang Shu and Lu Wenyu will curate the 20th International Architecture Exhibition, opening in May 2027. Founders of Amateur Architecture Studio and leading voices in contemporary practice, the duo is known for an approach rooted in craftsmanship, material reuse, and deep engagement with place. Their appointment brings renewed attention to vernacular knowledge, construction cultures, and the social realities shaping architecture today.
French-Lebanese architect Lina Ghotmehhas been recognized on the TIME100 Next 2025 list, an annual ranking of emerging leaders and innovators across disciplines. Known for her sensitive approach to context and materiality, Ghotmeh has built an international portfolio that bridges tradition and modernity. In her TIME profile, written by Danish architect Bjarke Ingels, Ghotmeh is praised for combining historical awareness with forward-looking experimentation. The acknowledgment positions her as the only architect on this year's list, highlighting the continued presence of design voices in a ranking that typically spans entertainment, politics, science, and business.
The 2025 edition of Milan Design Week took place from April 8 to April 13, 2025. During these five days, the city of Milan hosted special events, exhibitions, installations, and discussions centered on the creative disciplines, including the 63rd edition of the Salone del Mobile at Fiera Milano fairgrounds. Among the numerous activities, the event serves as an ideal opportunity to introduce the latest trends and showcase upcoming pieces from brands and designers worldwide. Among the new releases and product launches, the ArchDaily team identified a selection of products designed by architects, ranging from lighting and furniture systems to materials and small objects.
For nearly the past two decades, cities around the world embraced "starchitecture"—futuristic, eye-catching buildings designed by globally renowned architects. In China, this trend was particularly pronounced as rapid urbanization fueled the construction of iconic megastructures like Zaha Hadid's Galaxy SOHO, OMA's CCTV Headquarters, and Herzog & de Meuron's Bird's Nest Stadium in Beijing. At the time of their construction, these were all celebrated as symbols of progress and global ambition. However, architecture worldwide has begun shifting toward a more context-driven, human-centered approach, with China emerging as one of the key contributors to this transformation. This year, Liu Jia Kun's 2025 Pritzker Prize further underscores that shift.
The Pritzker Prize is the most important award in the field of architecture, awarded to a living architect whose built work "has produced consistent and significant contributions to humanity through the art of architecture." The Prize rewards individuals, not entire offices, as took place in 2000 (when the jury selected Rem Koolhaas instead of his firm OMA) or in 2016 (with Alejandro Aravena selected instead of Elemental); however, the prize can also be awarded to multiple individuals working together, as took place in 2001 (Herzog & de Meuron), 2010 (Kazuyo Sejima and Ryue Nishizawa of SANAA), and 2017 (Rafael Aranda, Carme Pigem, and Ramon Vilalta of RCR Arquitectes).
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.
The global pause of the COVID pandemic has provided an opportunity to assess present-day globalism and the architecture that has emerged alongside it. Stemming back to the broad expansion of free trade in the 90s at the end of the Cold War, globalism’s cultural promise was simple and aspirational: integrating markets globally would increase the interaction between and learning of different cultures. By normalizing such experiences in our daily lives, we would become global citizens liberated from our previous prejudices–all well-intentioned objectives.
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.
People are the purpose and scale of the city. What does a people-oriented city look like? On April 8, 2021, sponsored by "LIFE WEEK ", the first Sanlian “City for Humanity Award” Ceremony was held in Chengdu. It takes "Rebuilding Connections" as its first theme, and hopes to promote a discussion on social values and humanistic care in Chinese cities through a professional and communicative approach, such as awards at this special moment after the epidemic.
Amateur Architecture Studio, Ningbo History Museum, 2008. . Image Courtesy of Louisiana
Over the past two centuries, cities in China have multiplied and expanded on a large scale, under accelerated urbanization. Mass demolition of the old city fabric, occurring everywhere, is leaving industrial debris and fragmented cultural artifacts buried forever, under shiny new skyscrapers. As old Chinese cities are collapsing and new urban centers are outspreading, a part of the city was lost, the old demolished landscape. Wang Shu and Lu Wenyu, the first Chinese citizens to win the Pritzker Architecture Prize, responded to this past-present relation by working with recycled materials and traditional know-how. In the following, we explore some of this couple's renowned works such as Ningbo History Museum, Ningbo (2008), Xiangshan Campus of China Academy of Art, Hangzhou (2004), and Ningbo Contemporary Art Museum (2005), to examine his humanistic approach to the city.
New technological developments in construction have given architects great freedom when designing. Innovations in construction materials and their properties allow for the creation of increasingly original and surprising facades. The buildings constructed as a result can even inspire people to travel thousands of kilometers just to see these masterpieces. This week, we present 15 of most ground-breaking facades through photos by prominent photographers such as Paul Ott, Peter Bennetts and Laurian Ghinitoiu.
Wang Shu (born November 4, 1963) is a Hangzhou-based architect and dean at the China Academy of Art, known for his thoughtful resistance to what he considers “professionalized, soulless architecture.” His honoring of local tradition, environment, and craftsmanship saw him become the first Chinese citizen, and one of the youngest people overall, to receive the Pritzker Prize in 2012 for "an architecture that is timeless, deeply rooted in its context and yet universal.”
Architecture’s most prestigious award, the Pritzker Architecture Prize, has announced the appointment of two new jurors to their distinguished jury: architect Wang Shu and Brazilian ambassador and architectural critic André Aranha Corrêa do Lago.
The 8-strong group will be tasked with selecting the upcoming 2018 laureate, who will become the 40th winner in the prize’s history.
“As we approach the 40th anniversary of the Pritzker Prize, the addition of André Corrêa do Lago and Wang Shu continues to embody the international range reflected by both present and past Laureates and Jury,” commented Tom Pritzker, Chairman of Hyatt Foundation. “The contributions of both individuals to the field of architecture, from different vantage points, makes them ideal members of the jury.”
[Architecture can] change the life of people and give them a new one right away. This is not a job for normal people to do. This should be the work of God.
https://www.archdaily.com/867965/wang-shu-architecture-is-not-just-an-object-that-you-place-in-the-environmentAD Editorial Team
Until April 30th, the Louisiana Museum of Modern Art in Denmark is exhibiting the work of Wang Shu. The first in a new series of monographic exhibitions collectively titled "The Architect's Studio," this show of the work of the 2012 Pritzker Prize winner features an exhibition catalog that includes essays from Kenneth Frampton, Ole Bouman, Yiping Dong and Aric Chen. The following excerpt from the exhibition catalog, written by Kenneth Frampton, is republished here with the permission of the author and publisher.
The work of the Amateur Architecture Studio has come into being in categorical opposition to the recent, rapacious development that has engulfed large tracts of the Chinese continent, and which was first set in motion by Deng Xiaoping’s 1983 decision to open up the People’s Republic of China to foreign trade, first with special economic zones and later with regard to the entire country. Based in Hangzhou, Wang Shu and Lu Wenyu have witnessed firsthand the juggernaut of maximizing Chinese modernization from its impact on their own city. Three decades ago, Hangzhou had been expressly chosen by them as a desirable place in which to live and work, largely because of its venerable artistic traditions and its harmonious report with nature, symbolized for them by the virtually sacred West Lake, set in the very heart of the city and traversed, then as now, by the flat-bottomed boats plying across its surface. Wang Shu’s unique sensibility takes as its point of departure the equally panoramic tranquility of traditional Chinese painting. As Wang Shu has written:
“I am always amazed by these paintings when I see that the trees, the buildings and mountains are not just placed haphazardly... every building is laid out in a certain way in relation to the landscape and the trees, the direction it faces depending on the light and the features of the location, which make it suitable for human habitation.”
As part of the exhibition, filmmaker Moritz Dirks sat down with 16 of the top architects working in China today, including Wang Shu, Dang Qun of MAD Architects, and Zhu Pei of Studio Pei-Zhu, to discuss the challenges of creating cultural spaces that relate both to the global, digital, urban contexts of the contemporary world and to the strong heritage and identity of Chinese culture.
Wang Shu and Lu Wenyu of Amateur Architecture Studio are known for their distinctly contextual attitudes towards design which prize tradition and timelessness above anything else. In many cases, their use of materials is governed by local availability of salvaged building elements. Tiles, in particular, represent a material used repeatedly by Amateur Architecture studio and for Wang Shu, who won the 2012 Pritzker Prize, they offer a political as well as an architectural message.
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.jpg?1478078308 "Hangzhou Xiangshan Campus. Image © Iwan Baan")
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