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Zhu Pei is a Chinese architect born in 1962 in Beijing. He studied at Tsinghua University and UC Berkeley, and founded Studio Zhu Pei in 2005. The studio's experimental work and research focus on contemporary architecture, art, and cultural projects. With an artistic and exploratory approach, it investigates the relationship between the roots that anchor architecture in specific natural and cultural contexts and the innovation that drives architecture as a form of artistic revolution. In his interview with Louisiana Channel, Zhu Pei describes architecture as an artistic discipline that, like poetry, relies on openness, imagination, and the creation of new experiences. He argues that great architecture goes beyond functional problem-solving by generating a sense of wonder through its ability to "invent" and "create some new thing, new experience," positioning architectural practice as cultural and sensory exploration rather than purely technical production.

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Historic center renewal has become a recurring strategy in Central American cities seeking to reassert the symbolic, economic, and functional relevance of their traditional cores. These processes often combine physical rehabilitation, institutional investment, and stricter control over public space. San Salvador offers a recent and instructive case, which allows for understanding of how interventions in inherited civic spaces balance infrastructure improvement with heritage conservation and social regulation. It also enables the assessment of how these choices resonate within broader debates on urban transformation in the region.

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By shifting rotation away from traditional hinges and distributing weight vertically, pivot doors were developed to address a specific architectural challenge: how to move large, heavy door panels with precision, durability, and minimal visual interference. These systems allow doors to grow significantly in scale, weight, and material ambition, often blurring the line between door, wall, and architectural surface. Over time, this technical innovation has expanded the role of doors in architecture, allowing them to operate not only as points of access, but also as spatial thresholds, compositional devices, and expressive elements within the building envelope.

Highlighting this evolution, FritsJurgens established the Best Pivot Door Contest to showcase projects where engineering precision and architectural intent converge. Founded in the Netherlands, the company is internationally recognized for its concealed pivot systems capable of supporting exceptionally large and heavy doors. These systems give architects greater freedom in scale and materiality while maintaining precision, reliability, and architectural clarity.

In the translation of three-dimensional reality onto a two-dimensional plane, axonometry stands as one of the graphic systems of representation that form the foundation of the language used by architecture and design professionals. Alongside plans, sections, and elevations, its exploded views often stand out for their ability to study the multiple layers that compose a project. Although axonometry is also employed in other disciplines such as engineering and urban planning, it consistently proves its capacity to function as more than a mere representational tool, strengthening the understanding not only of a project's construction processes, materials, and structural systems but also expanding the communication of the ideas and design processes that shape a project.

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From building codes to mobility restrictions and new diplomatic roles within city governments, climate policy is increasingly being shaped at the local level through a widening range of legislative and institutional tools. Cities as varied as Sydney, Boston, New York, Paris, Miami, and dozens across Latin America are adopting targeted strategies that reflect their distinct environmental pressures and governance structures. These initiatives range from all-electric and net-zero construction requirements, to traffic-control measures designed to curb the social costs of private vehicle use, to emerging forms of urban diplomacy that coordinate responses to rising temperatures and biodiversity loss. Together, these approaches illustrate how territorial management is evolving in response to the accelerating climate crisis, and how local governments are experimenting with regulation and collaboration to confront challenges that are at once global and deeply place-specific.

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How did a material conceived for bridges, factories, and large-scale structures make its way to the living room bench, the apartment bookshelf, the café table? For centuries, metal was associated with labor, machinery, and monumentality—from the exposed structures of 19th-century World’s Fairs to the productive logic of modern industry. Its presence in domestic interiors is not self-evident but rather a cultural achievement: the transformation of an industrial material into an element of everyday, intimate use, in close proximity to the body.

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The Nobel Foundation has revealed the first design proposal for the new Nobel Center, a public cultural and educational institution dedicated to science, literature, and peace. Designed by David Chipperfield Architects Berlin, the project will be constructed along Stadsgårdskajen at Slussen in Stockholm, with construction scheduled to begin in 2027 and completion planned for 2031. Conceived as a permanent home for the activities surrounding the Nobel Prize, the building aims to make the work of Nobel Prize laureates accessible to a broad public through exhibitions, public programs, and interdisciplinary exchange, positioning the center as both a civic landmark and an international point of reference.

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The Louisiana Museum of Modern Art will inaugurate, on January 22, 2026, the second exhibition in its Architecture Connecting series, focusing on the discipline's relationship with science and research across a wide range of fields, including biology, neuroscience, and anthropology. The first exhibition in the series, Living Structures (2024–2025), featured ecoLogicStudio, Atelier LUMA, and Jenny Sabin Studio, highlighting their work at the intersection of algorithms and nature and their development of methods that re-evaluate sustainable architecture and climate considerations. This second exhibition, titled Memoryscapes, explores the memories, stories, and traditions informing the working methodologies of Xu Tiantian's DnA_Design and Architecture (Beijing) and ATTA – Atelier Tsuyoshi Tane Architects (Paris).

Leisure spaces are often where different generations cross paths. Without formal programs or assigned roles, they allow people to move, pause, and remain together, each engaging space in their own way. In a built environment increasingly shaped by specialization and separation, these shared spatial grounds have become less common, giving leisure-oriented architecture a renewed relevance.

Discussions around public space have repeatedly pointed to the value of openness and flexibility in supporting collective life. As architect Herman Hertzberger has noted, "the more a space can be interpreted in different ways, the more people it can accommodate." Rather than attempting to create interaction, architecture shapes the conditions that make togetherness possible.

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Across cities worldwide, architecture unfolds continuously at the scale of people and community—not only through new buildings, renovations, or monumental works. "Third spaces" are especially revealing. Consider the street-side culinary realm: how seating, serving, and lingering occupy the edge of the street often discloses a city's cultural codes and spatial habits. What forms of dining and inhabitation have emerged in response to local climate, regulation, and social custom—and how have they evolved over time?

In parts of Europe, for instance, al fresco in Italy and en terrasse in France name culturally specific ways of dining in public, drawing the meal into the urban field—attuned to weather, air, and the passive sociability of people-watching. Since COVID-19, New York City has similarly expanded outdoor dining, reflecting a community-driven desire to engage the streetscape while eating—an everyday, street-level "third place" within a dense metropolis.

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Beneath the visible surface of cities lies an invisible architecture. Subways, tunnels, water systems, data cables, and bunkers form a dense network that sustains urban life while remaining largely unseen. The ground beneath our feet is not a void but a complex territory that holds the infrastructures, memories, and anxieties of our age. In recent years, as land becomes scarce and climate pressures intensify, architects and urbanists have turned their gaze downward, rediscovering the subterranean as both a physical and conceptual frontier. To design underground is to engage with the unseen mechanisms that shape the world above.

The subterranean has long been a site where architecture intersects with politics, technology, and belief. From the catacombs of Rome to the industrial subways of modernity, descent has symbolized both protection and exposure. Twentieth-century urbanism transformed this gesture into a system: metros, shelters, and utilities redefined the city section as an instrument of governance. Beneath the promise of efficiency and progress, the underground absorbed the anxieties of an era of war, surveillance, and collapse. Its evolution reveals not only how societies build, but also how they fear.

Today, the ground has become the new frontier of urban expansion and ecological adaptation. As digital infrastructures, energy systems, and climatic buffers migrate below grade, architecture confronts a space both technical and metaphysical — essential yet marginal, invisible yet decisive. To think in sections rather than in plan is to recognise that contemporary cities no longer exist solely in their skylines but also in their depths. The challenge for architecture is not only to occupy that space, but to render it legible, to turn the unseen into knowledge, and the hidden into a new terrain of design.

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Founded in 2020 by Masato Igarashi, IGArchitects is an architectural practice based in Tokyo and Saitama, Japan. The studio, one of the winners of the ArchDaily 2025 Next Practices Awards, explores enduring architecture through a careful yet assertive treatment of structure, scale, and materiality. Prior to establishing his own practice, Igarashi worked at the large-scale firm Shimizu Sekkei as well as the Suppose Design Office, gaining experience across projects ranging from major developments to smaller, concept-driven works. This breadth of experience continues to inform IGArchitects' current focus on residential and commercial architecture across Japan.

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The International Union of Architects (UIA), in partnership with UN-Habitat, has released the Stage 1 results of the third cycle of the UIA 2030 Award, identifying the projects selected as Regional Finalists. The shortlisted entries were drawn from submissions across the UIA's five global regions and will advance to the second stage of evaluation. Established in alignment with the UN 2030 Agenda for Sustainable Development, the award framework positions the built environment within broader discussions on sustainable urban development and global policy objectives.

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The New Museum is the only museum in New York City dedicated exclusively to contemporary art. From its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding building on the Bowery, designed by SANAA in 2007, it has evolved into a center for exhibitions, research, and documentation on international living artists. In 2017, Shohei Shigematsu and Rem Koolhaas of OMA were selected to design the New Museum's expansion. The first design images were released in 2019. On January 13, the Museum announced that its 60,000-square-foot expansion, designed in collaboration with Cooper Robertson, will open on March 21, 2026, with an exhibition exploring the very definition of humanity.

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Architecture is most often represented as a stable object: a building captured at a moment of visual clarity, isolated from surrounding contingencies. Plans, sections, and photographs promise legibility by suspending time. Yet many of the world's most enduring public environments resist this mode of representation altogether. They are not designed to be read instantaneously, nor do they reveal their logic through form alone. Their spatial intelligence emerges gradually, through repetition, occupation, and duration.

The bazaar belongs firmly within this category. It cannot be understood through a single drawing or a finished elevation. Its organization is not fixed but rehearsed. What sustains it is not purely architectural composition, but shared timing, collective memory, and long-standing patterns of use. Togetherness in the bazaar does not arise from formal design decisions; it is produced through repeated encounters, negotiated proximities, and social familiarity accumulated over time.

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Spanning multiple geographies and scales, this week's architecture news reflects ongoing discussions around long-term planning, institutional frameworks, and the public role of architecture. National-scale urban initiatives and large civic developments point to how planning and infrastructure are being used to reorganize cities and territorial systems, while parallel attention to stadiums, cultural facilities, and mixed-use projects highlights the expanding civic ambitions of large-scale architecture. Alongside these, interviews and heritage-focused projects foreground participatory practices and the careful reuse of existing structures, highlighting architecture's capacity to operate within complex social and political conditions. Recognition platforms and professional programs further situate these practices within a broader architectural discourse, offering insight into how contemporary work is evaluated and shared across regions.

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Videos

Construction has begun on the new Bishoftu International Airport (BIA), designed by Zaha Hadid Architects for Ethiopian Airlines Group. Ethiopia's Prime Minister, Abiy Ahmed Ali, laid the cornerstone at the airport's groundbreaking ceremony on Saturday, January 10, 2026. The new airport will be located approximately 40 kilometers south of the Ethiopian capital, Addis Ababa, and is planned to become Africa's largest airport. Phase One of the project is designed to serve 60 million passengers per year. Subsequent phases are expected to increase capacity to up to 110 million passengers annually, supported by four runways and parking for 270 aircraft, more than four times the capacity of Ethiopia's current main airport, according to statements by the Prime Minister.

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Breakfast nooks emerged in the early twentieth century in response to increasing domestic density and shifting ideas about everyday life. Rooted in the American Arts and Crafts movement and popularized through bungalow housing of the 1910s and 1920s, they evolved from the more formal Victorian breakfast room into compact, built-in spaces embedded within the kitchen. As houses grew smaller and more economical, architects and millwork companies used fixed benches and tables to occupy corners, alcoves, and bay windows that might otherwise be inefficient. These light-filled enclosures provided an affordable means of concentrating daily activities while preserving comfort and spatial clarity.

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The pursuit of stronger, lighter, and more durable materials has guided architecture long before polymers or carbon fibers existed. One of the earliest large-scale examples of composite materials can be found in the Great Wall of China, where stone, clay bricks, and organic fibers such as reeds and willow branches were blended to create a resilient and lasting structure. These early techniques reveal a timeless intuition: distinct materials, when combined thoughtfully, produce properties unattainable by any single element. As the construction sector faces urgent ecological pressures, this intuition is being revisited through the lens of sustainability, with architects and engineers exploring bio-based, recycled, and hybrid composites designed not only for performance but also for circularity and environmental responsibility.

Snøhetta, in collaboration with the Beijing Institute of Architectural Design (BIAD), has won the international competition to design the Beijing Art Museum in Tongzhou District, Beijing. The project officially broke ground on December 31, 2025, with completion and public opening anticipated in 2029. Conceived as a new landmark for the eastern part of the city, the museum will form part of Tongzhou's cultural and civic development strategy as Beijing's sub-center. The commission marks Snøhetta's second major cultural project in the Chinese capital, following the Beijing Library, which opened to the public in 2023 and has since become a key reference for contemporary civic architecture in the city.

A new museum dedicated to the science of carbon fiber opened in Fiorenzuola d'Arda, Italy, on December 17, 2025. The project dates back to 2021 and was designed by CRA–Carlo Ratti Associati in collaboration with the late Italian architect Italo Rota. Commissioned by MAE, a manufacturer of equipment for carbon fiber production, the project transforms one of the world's largest archives on carbon fiber into a dynamic museum, uniting research with archival preservation and turning the archive into a space for interactive exploration. The project is described by its designers as a "living museum," a place to read, inquire, and connect ideas.

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The architectural history of North American cities in the 20th century is often characterized by the pursuit of urban renewal. In the United States, Boston, Portland, and San Francisco are just some examples of when municipal governments prioritized high-speed vehicular infrastructure over the existing urban fabric. In Canada, Montreal would have followed this trajectory if not for the intervention of several figures throughout its history, most notably Blanche Lemco van Ginkel (1923–2022). A Harvard-trained planner and architect who, along with her husband Sandy Van Ginkel, advocated for the preservation of urban heritage while applying the principles of modernist infrastructure.

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Having explored adaptability at the city scale, we are now zooming in on the building itself—and, crucially, on practice. How can architects, developers, and consultants embed adaptability as a measurable, mainstream outcome? This question will be on the agenda at the Adaptable Building Conference (ABC) on January 22 at the Nieuwe Instituut in Rotterdam, where architects, engineers, policymakers, and industry leaders will explore the potential of adaptable buildings—and how to deliver them at scale.