Nairobi's architectural identity was transformed by Kenya's independence in 1963. As the new nation sought to define itself, the city became a testing ground for a modern architecture that could embody progress while responding to African culture, climate, and local conditions. This opened a period of architectural experimentation, with different approaches emerging to the relationship between modernity, identity, and place.

The Kenyatta International Convention Centre is perhaps the clearest expression of this moment. Its architecture brought together modernist principles with references to African forms, establishing a distinctive response to the ambitions of a newly independent nation. Around it, Kenyan and international architects developed other interpretations of modernism, from the sun-shading facades of Reinsurance Plaza to the sculptural silhouette of Nation Centre, alongside religious, educational, and civic projects that expanded the architectural vocabulary of the city.

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The Lucas Museum of Narrative Art has confirmed that it will open to the public on September 22, 2026, releasing new images of its completed building. The date aligns with the announcement made by the institution nearly a year ago. The museum is housed in a building with a sculptural, curved silhouette designed by Ma Yansong of MAD Architects, with landscape architecture by Mia Lehrer of Studio-MLA and Stantec serving as executive architect. The project was approved in 2017, with construction beginning the following year; the opening was originally planned for 2025. The museum sits within an 11-acre (4.5-hectare) site in Los Angeles's Exposition Park and comprises a 300,000-square-foot (27,900-square-meter) structure featuring galleries, two theaters, a retail store, a library, a café, a restaurant, and event spaces.

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An exhibition tracing the vision behind Herzog & de Meuron's ten selected projects in China will open on September 12, 2026, at the M+ Museum in Hong Kong. The exhibition marks the museum's fifth anniversary; since opening, M+ has built its collection around visual art, design and architecture, moving image, and Hong Kong visual culture from the twentieth and twenty-first centuries. The museum building, designed by Herzog & de Meuron between 2012 and 2021, is located in the city's West Kowloon Cultural District (WestK), a cultural hub spanning forty hectares alongside Victoria Harbour. "Herzog & de Meuron: In Focus" is curated by Ikko Yokoyama and Iris Ng and reviews projects dating from 2002 to 2021, including Tai Kwun in Hong Kong (2006–2018) and the National Stadium in Beijing (2002–2008).

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ZHA has been selected to design a new 198-hectare urban district in Baku, Azerbaijan. The project surrounds the existing Baku Expo Center events venue in a pine forest area that is planned to be preserved. The plan responds to the city's population growth over the past decade with a masterplan to organize the provision of a wide variety of residences. This is the firm's second project in Baku, after the Heydar Aliyev Center cultural venue, completed in 2013. On a different scale, the buildings in the new district appear to follow the geometric style inherited from Zaha Hadid, in a series of white buildings with rounded edges that convey an idea of fluid architecture.

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In 2021, a collaboration between the Italian architecture studio Mario Cucinella Architects and WASP, an Italian 3D-printing company, led to the development of TECLA: a house 3D-printed entirely from raw earth. Five years later, the technology behind it has grown, quietly spreading across several continents and design practices. By controlling the speed, angle, and path of the extruder nozzle, architects are able to create more than just walls. Throughout the years, they have been experimenting with how to shape the 3D-printed material into detailed surface motifs, reintroducing relief, texture, and intricate patterns directly into the structure. In this way, they are attempting to bridge earth-building traditions with digital computation, in an era where code is starting to influence form and material expression in architecture.

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The center of a plan is never simply empty space. Once rooms and routes begin to organize around it, the center starts to structure the entire plan. It may contain a courtyard, a stair, a garden, or a shared room. It can also preserve something already present on the site or support a process that architecture does not fully control. What occupies this position determines how the surrounding spaces are arranged, connected, and used.

In A Pattern Language, Christopher Alexander, Sara Ishikawa, and Murray Silverstein describe shared spaces as most effective when they sit at the center of gravity of everyday life and remain connected to the routes people use most. Their argument suggests that a center matters not because it occupies the geometric middle, but because the surrounding rooms, paths, and activities give it spatial weight. The projects included here extend that idea beyond communal space, showing how the center can organize circulation, collective use, environmental systems, and the relationship between architecture and what already exists on the site.

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The recently opened David Geffen Galleries at LACMA are the result of more than a decade of effort across many fronts: the city, the county, the public, the architect, the engineers, the general contractor, and the many builders involved in translating an ambitious and visionary design into built form. The project has also been subject to unusually intense scrutiny, with responses ranging from admiration for its meticulous construction and architectural ambition to criticism of its scale, cost, concrete mass, and engineering complexity in earthquake-prone Los Angeles. Whatever one's position, the building remains an exceptionally sophisticated case study in how architecture is negotiated through construction.

This conversation approaches the David Geffen Galleries from the perspective of Clark Construction, the general contractor responsible for helping bring Peter Zumthor's design to completion. Carlos Gonzalez, Group President at Clark Construction, oversaw the construction process and shared with ArchDaily some of the technical, material, and logistical challenges behind the building. These range from its monolithic concrete structure and extensive post-tensioning system to the 56 seismic isolators that allow the building to move during an earthquake; from unpredictable ground conditions near the La Brea Tar Pits to the fabrication of solid bronze mullions and the integration of mechanical systems within the building's double-deck concrete structure.

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Images of the benches at New York City's High Line Park spread around the world when the project opened in 2009. Emerging diagonally from the same material and modular pattern as the paving, they transition seamlessly from concrete to wood, evoking the railway tracks that once occupied the site. To withstand decades of exposure to the elements, the project required a wood species of exceptional durability, and ipe, harvested from the Brazilian Amazon, was selected. Its slow growth produces a dense, low-porosity hardwood that is naturally resistant to wear, moisture, and biological decay. The choice, however, sparked controversy at the time amid concerns over the certification of the timber's forest management. This broader view changes how we think about materials. Their origin still matters, but so does what happens after the building's life comes to an end.

This week belonged to the arts, with cultural architecture dominating headlines across the globe. Landmark buildings for major institutions advanced through important construction and design milestones, from the Shanghai Opera House to Abu Dhabi's new performing arts center, while two new museum commissions were announced following international competitions. Architecture also took centre stage as a subject of exhibition itself, with the Sharjah Architecture Triennial revealing its participant list and Austria unveiling its proposal for the 2027 Venice Architecture Biennale. Beyond these developments, this week's news compilation includes three upcoming urban design projects: in Seoul, South Korea, a new riverside neighbourhood in the Apgujeong district weaves residential towers around parkland connecting the city to the Han River; in Cardiff, Wales, a pedestrian and cycle bridge over the River Taff links waterfront neighbourhoods to new housing along the water's edge; and in Bengaluru, South India, the Museum of Art and Photography is expanding its public campus, adding new civic and cultural facilities alongside a major new sculpture park set within a UNESCO Biosphere Reserve in Tamil Nadu.

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The FIFA World Cup is one of the world's largest events, bringing together fans of all nationalities. Having previously been hosted across various continents, this year's tournament will take place in Qatar, a country on the Arabian Peninsula with a population of about 2.7 million people, the majority of whom are Muslim. Alongside the host nation, 31 other countries will compete for the title of world champion.

Beyond its status as a sporting event, the World Cup is also an opportunity to observe, learn about, and experience other cultures—especially for the host country. Divided into eight different groups, the first to play, from Groups A and B, will be Qatar, Ecuador, England, Iran, Senegal, the Netherlands, the United States, and Wales. Below, explore some examples of architecture from these countries. 

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The recent completion of the Perelman Performing Arts Center (PAC), a collaboration between REX, Davis Brody Bond, and the Rockwell Group, is a milestone in the cultural transformation of Lower Manhattan. The PAC site is part of the World Trade Center complex, owned by the Port Authority of NY and NJ, an autonomous agency responsible for managing bridges, ports, tunnels, and airports. Since the 2001 attacks, the site has undergone significant changes, including the construction of the four WTC complex towers and the Oculus. More than nine years passed between the launch of the PAC competition and the project's completion, and I participated in the last five years as an architect on the Davis Brody Bond team.

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Founded in 2006, Shanghai Hetai Architectural Decoration Co., Ltd. has spent the past 17 years specializing in the research and practice of fair-faced concrete restoration and long-term protection, as well as the creation of fair-faced concrete finishes (weather-resistant Portland cement and weather-resistant white cement finishes). Through rigorous product selection, performance testing, process exploration, project application, and technological innovation, the company has successfully completed the restoration and long-term protection of 36 fair-faced and conventional concrete buildings cast across various periods. Additionally, they have completed nine fair-faced concrete finish projects alongside ongoing weather-resistance and stability testing spanning 10 to 16 years.

From fire in prehistoric caves to public lighting in smart cities, illumination has constantly evolved alongside technological advancements. In recent years, however, it has begun to shift even more significantly in terms of design and functionality, driven by a growing awareness of its impact on the environment and human health.

From fire in prehistoric caves to street lighting in smart cities, lighting has evolved steadily alongside technological advancements. In recent years, however, it has begun to transform even more significantly in terms of design and functionality, driven by a growing awareness of its impact on the environment and human health.

With the rise of social media, we have entered an era of a multimedia "society of the spectacle," where the influence of images on the public grows year by year. Visually-driven media platforms are increasingly dominating the market, serving as an alternative form of travel that allows people to experience breathtaking scenes from around the world without leaving home. Dedicated to bringing design inspiration to the public, ArchDaily established its presence on Instagram years ago. In 2022, we expanded onto China’s Xiaohongshu (RED), hoping to share exceptional projects with a broader audience. As expected, the influence of star architects remains strong, while playfulness, aesthetics, and relevance emerge as key terms guiding reader interest. Here, we present the top 20 most-liked architectural projects of 2022 on ArchDaily’s official Xiaohongshu and Instagram accounts. Read on to discover the public's architectural preferences.