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The Rigor of Making: Inside the Barcelona Studio of Flores & Prats Architects

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Imagine a table covered in large sheets of tracing and drafting paper. Pencils, markers and a set of rulers, of all shapes and sizes, are scattered along its surface. Vast amounts of masking tape hold in place overlapping drawings and images. An architect’s desk lamp illuminates the work surface, shedding light to the rubber crumbs, pencil shavings and smudges — unavoidable traces of hand drawing that reveal a different type of (architectural) practice, a practice of “making.”

Located in Barcelona’s historic center, the Flores & Prats Architects is not exactly a typical architectural workspace. It lacks the “cleanness” often found in contemporary firms, where open-plan spaces are inhabited with large tables, used for arranging iMacs in an orderly manner in addition to housing the occasional desk plant. Instead, this particular studio is split into a series of (domestic) rooms, where models are stuck on the walls and ceilings, drawings spill out of cupboards, and tables on wheels are always in a state of wonderfully curated mess.

Flores & Prats was founded in 1998 by Eva Prats and Ricardo Flores and combines design and constructive practice with academic activity. The studio looks at research as a driving tool for architecture, producing countless projects open to public interpretation and critical thinking. The practice is internationally recognized; it has been awarded countless prizes throughout the years and its work has been exhibited in monographic and collective exhibitions, while their first monograph book  Thought by Hand. The Architecture of Flores & Prats offers insights into their unique method of working.

Describing the Flores & Prats studio feels quite romantic in today’s context. It is reminiscent of an era where the architect was viewed less like a producer and more as a sceptic, with hand drawing being a tool for inquiry as well as communication. As a result, when considering the lack of technology in the studio’s process, my question is: How do they do it? How are they able to not only survive in such a fast paced world but actually thrive in it without taking advantage of technology’s “benefits”?

Eva Prats and Ricardo Flores are huge advocates of hand drawing and by extent model making. According to them, analogue practices are inherently slow, allowing room for imagination and uncertainty, crucial ingredients for making responsive architecture. By abandoning the immediate precision required when using today’s software, the hand is free to explore and flow through a range of ideas, rather than focus on resolving a single one. It becomes a way of thinking.

Still, the studio’s drawings are quite unique, deviating from the rules of technical drawing, and merging scales, mediums, views and most importantly intent in a single page. Heavily influenced by their time with Enric Miralles, both Eva Prats and Ricardo Flores incorporate multiple aspects of a project in a single drawing. Through a single blueprint (as they call it) they are able to observe and record a space through time, superimposing different surveys, which — especially in their older projects such as Sala Beckett and the Casal Balaguer — directly inform the design. Additionally, in their later work, collaborative projects such as Edificio 111, required a different type of superimposition, where the blueprint acted as a container and testing of ideas, incorporating diverse opinions and expertise, fitting every contribution onto the page.

Flores & Prats’ recent exhibition as part of La Biennale di Venezia 2023, titled Emotional Heritage and curated by Lesley Lokko, opens up discussions around unfinished drawings, models and films. The exhibition material was arranged on four tables: ‘The open condition of the ruin;’ ‘The right to inherit;’ ‘Drawing with time;’ and ‘The value of use,’ which look into memories, civil and moral values and stories that reside within abandoned buildings and reveal the invisible social relationships that operate within them. Once again, hand drawing is crucial in this process, recording the buildings’ temporal dimensions, the spatiality of ruins, the accumulation of cultural elements (doorframes, windows, tiles, scrapes of plaster) and, finally, the pressures of ownership.

I am aware that I have barely scratched the surface on the studio’s methods and processes. However, one thing is abundantly clear: it all starts with a table. For Flores & Prats, the table becomes a surface for interaction, collaboration and inquiry, where drawings that describe so much more than the form and the construction of a building can occur. A place, where time slows down and projects develop beyond the given timelines and demands of the assignment. Even though it is not easy to ignore the pressures and demands of the contemporary architectural field, the Flores & Prats studio has proven the benefits of testing out more and producing less for the built environment, taking the time to truly explore the makings of inhabited space.

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Featured Image: ARCH.architecture, FLORESPRATS-SALABECKETT-62408-PH 04 Old and new window connecting the Bar with the Vestibule photoAdriàGoula, CC BY-SA 4.0

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Beyond Landmarks: What Makes Architecture Truly Meaningful?

Architizer's 13th A+Awards features a suite of sustainability-focused categories that recognizing designers that are building a green industry — and a better future. Start your entry to receive global recognition for your work!

Architecture has always been a mirror of human ambition. History remembers the towering cathedrals, the lavish palaces, the monuments that push boundaries and define entire eras. These are the buildings that last, the ones we preserve, photograph and celebrate.

But for every grand architectural feat, countless other buildings fill our cities; buildings that are not necessarily in the spotlight yet remain essential to our daily lives. These quieter structures don’t compete for attention yet they are just as capable of standing out and making an impact. Perhaps this is where true architectural meaning lies: not in how much a building demands attention but in how it enriches the lives of those who use it.

Everyday buildings can and should be meaningful. A school that fosters learning and socializing, a hospital that promotes healing and well-being, an office that encourages collaboration — all of these are spaces that may not dominate skylines but quietly define our lives. While many architects might not get the chance to design a landmark in the traditional sense, they do hold the responsibility to try and make each space they create meaningful, whether that means creating harmony with a building’s surroundings or ensuring spaces prioritize the well-being of their users.

So, without further ado, let’s take a look at how some architects approach creating meaningful spaces and the results they bring to life.

Human-Centric Design: Creating Spaces That Serve People

Mayo Clinic’s Anna-Maria and Stephen Kellen Building by HDR, Rochester, Minnesota

The Pavilion at the Hospital of the University of Pennsylvania by HDR, Philadelphia, Pennsylvania

Meaning in architecture often starts with a focus on people — what architects today like to call “human-centric design.” This might sound like a buzzword, but it’s actually part of a really fascinating shift happening in the industry, especially after the COVID-19 pandemic redefined so many of our ideas around public and private spaces. Think about it: suddenly, spaces where we lived, worked, learned or even recovered took on this whole new importance. The emphasis shifted toward making these spaces not just functional but nurturing and actually meaningful for the people who use them.

So, what is “human-centric design,” exactly? At its core, it’s about prioritizing the needs, comfort and overall well-being of the people who use a space. This means more than just checking off boxes for functionality; it means creating environments where people feel genuinely cared for and supported. It’s a concept that’s grown alongside our evolving understanding of how physical spaces influence mood, productivity and even recovery in healthcare settings.

Knowing this, it’s clear that human-centric design isn’t just a trend but a genuine commitment to creating spaces that positively impact people’s lives. For architects, it’s a powerful way to ensure their work leaves a lasting, meaningful impression on those who experience it.

CNL New Builds by HDR, Chalk River, Canada | Popular Choice Winner, Architecture +Wood, 12th Annual A+Awards

At Future Fest 2024, this philosophy was particularly emphasized by HDR, a global design firm known for its people-focused approach in fields like healthcare, education and research. HDR shared how they see each project as an opportunity to make a tangible difference.

One standout example of their human-centric work is the Canadian Nuclear Laboratories (CNL) campus at Chalk River. This project showcases that architecture can be both technologically forward while remaining deeply human-centric. Set against the natural beauty of Ontario’s Ottawa River Valley, the CNL campus respects the environment and cultural history of its location. Using locally sourced mass timber, the campus combines durability with a warm, inviting atmosphere that speaks to the area’s lumber and Indigenous heritage.

See HDR’s Full Future Fest Talk

CNL New Builds by HDR, Chalk River, Canada

Beyond sustainability and reducing the building’s carbon footprint, the choice of timber also creates a warmth and connection to the surrounding landscape that concrete and steel just wouldn’t achieve. It’s a nod to the area’s culture and history, making the space feel like it belongs there. So, rather than feeling like a clinical lab, it feels grounded and almost inviting — something you don’t often associate with a research campus.

Inside, the spaces prioritize natural light and open layouts, making them feel uplifting rather than claustrophobic. Communal areas encourage interaction and collaboration, which fosters a real sense of community among researchers and staff. It’s a campus that values not only environmental sustainability but also the well-being and daily experience of its users.

Embedding Eco-Responsibility for a Lasting Impact

Marina Tower, Ellinikon by Foster + Partners, Athens, Greece

If creating a lasting impact is what makes architecture meaningful, then architecture must strive to be timeless. This isn’t just about appearances — it’s about designing spaces that can endure, adapt and respect the natural world. Meaningful architecture considers the needs of people today and anticipates those of future generations, finding ways to remain relevant without placing unnecessary demands on the planet. Knowing this, it’s not a surprise that at the heart of this approach lies sustainability.

Designing meaningfully is, by necessity, designing responsibly. It includes thoughtfully choosing materials, energy systems and building strategies that allow a structure to function well within its environment. When eco-responsibility is at the forefront, buildings acquire a lasting quality, requiring fewer alterations over time and settling naturally into their surroundings. This shift is gaining traction as architects consider their broader contributions to both communities and ecosystems.

Marina Tower, Ellinikon by Foster + Partners, Athens, Greece

It’s promising to see leading firms like Foster + Partners adopting this philosophy in their projects. In his Future Fest presentation, Nicola Scaranaro, Partner at Foster + Partners, discussed the firm’s urban architecture approach, highlighting how they integrate sustainability to create lasting impact. Foster + Partners’ recent projects, including the Marina Tower in Athens and the MOL Campus in Budapest, are prime examples of how eco-responsibility can anchor meaningful design.

Marina Tower is envisioned as Greece’s first “green” high-rise, incorporating features designed to harmonize with Athens’ climate and coastal environment. Foster + Partners designed the tower with natural airflow, daylight and shading elements that reduce the need for artificial cooling or heating, allowing the structure to stay comfortable while keeping energy demands low. By integrating a unique, climate-responsive façade, the building “breathes” with the surrounding air and light, a choice that exemplifies how sustainable design can reduce environmental impact over the long term.

MOL Headquarters by Foster + Partners, Budapest, Hungary

Meanwhile, the MOL Campus in Budapest—a corporate headquarters and one of the city’s tallest buildings—highlights the firm’s commitment to eco-responsibility in a bustling urban setting. The building features geothermal energy systems, native vegetation and passive cooling strategies, establishing a workspace that engages with the local environment rather than working against it. Foster + Partners designed the campus to foster energy efficiency and adaptability, ensuring the building will remain functional as climate conditions evolve.

See Foster + Partners’ Full Future Fest Talk

Designing with Cultural Continuity in Mind

If architecture is to be meaningful, it must consider the cultural identity of the communities it serves. Cultural continuity in architecture is about preserving and evolving the historical and social narratives that define a place, all while adapting to meet contemporary needs. When architecture respects and builds upon these foundations, it connects people to their heritage, fostering a sense of identity and belonging within the built environment. This approach creates spaces that are not only functional but deeply resonant, bridging the past with the present to enrich daily life.

Exeter College Cohen Quad by Alison Brooks Architects, Oxford, United Kingdom

This philosophy perfectly reflects the work of Alison Brooks Architects, who draw upon the heritage and essence of each site to create spaces that resonate with both history and community. Alison Brooks, speaking at Future Fest, described her practice as one that carefully respects and enriches civic identity. For Brooks, meaningful design emerges from a deep understanding of place — an architecture that brings continuity to modern design by recognizing the unique narratives embedded in each location.

A quite vivid example of this approach is the Cohen Quad at Exeter College, Oxford. The project reinterprets the traditional Oxford collegiate quadrangle, a form central to Oxford’s identity, by reshaping it to reflect modern academic and social needs. Instead of a conventional closed quadrangle, Brooks introduced an S-shaped layout that transforms the quad into a journey between two landscaped courtyards. This gentle curve honors the historical typology while adding a fresh perspective, creating spaces that invite exploration and interaction. Continuous pathways, cloisters and gardens weave through the design, reflecting Oxford’s long-standing ideals of community and academic exchange.

Exeter College Cohen Quad by Alison Brooks Architects, Oxford, United Kingdom

By integrating historical forms with new functions, Cohen Quad allows students and faculty to engage with the space in ways that echo Oxford’s enduring academic traditions while meeting today’s educational demands. In this way, Brooks’s design not only preserves but actively strengthens the spirit of Oxford, making it meaningful for generations to come.

See Alison Brooks’ Full Future Fest Talk

Finding Meaning In Every Building

Ultimately, meaningful architecture doesn’t just happen on the grand scale of historic landmarks or groundbreaking projects. It’s something that can (and should!) be woven into every space, from community centers to classrooms to the very offices where people spend their days. When architects take the time to consider the needs, histories and futures of the people and places they serve, they create buildings that are more than structures—but rather integral parts of daily life. And in the end, it’s this dedication to purpose and people that ensures architecture has a lasting, positive impact, no matter the project’s size or scale.

Architizer's 13th A+Awards features a suite of sustainability-focused categories that recognizing designers that are building a green industry — and a better future. Start your entry to receive global recognition for your work!

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From Landscapes to Landmarks: MUDA-Architects’ Practice Is a Breath of Fresh Air

Calling all architects, landscape architects and interior designers: Architizer's A+Awards allows firms of all sizes to showcase their practice and vie for the title of “World’s Best Architecture Firm.” Start an A+Firm Award Application today. 

Flipping through the portfolio of MUDA-Architects, a distinct feature stands out across the young firm’s projects. Networks of pathways literally connecting building to landscape; staircases and ramps bridging building with water; arcades and courtyards heightening atmospheric perception; and soaring ceilings responding to the sky above — all design features that don’t simply create a “seamless connection” to the outdoors, but rather create a dialogue between building and surroundings, inviting users to join the conversation. While many firms describe their work as being responsive to site or integrated with nature, the Chengdu-based firm makes this conceit literal in their work.

What makes this all the more remarkable is that MUDA-Architects have less than a decade of experience under their belts. The Chengdu-based studio has already completed numerous projects of substantial import and developed a distinct, relevant and mature architectural language in commissions ranking from public, cultural and commercial architecture, as well as urban, landscape and interior design. While remaining grounded in their local context, their buildings are expressive and imaginative in form, program and materiality, with a decidedly forward-looking stance (as the firm poetically put it, “adhering to the oriental spirits and future-oriented mindset”). For these reasons and more, Architizer has selected MUDA-Architects as the Emerging Firm of the Year for the 12th Annual A+Awards. The prize is even more fitting given that it will be awarded at Architizer’s A+Awards Gala in MUDA’s hometown, Chengdu, this November. Stay tuned for more coverage!

More About Architizer’s A+Awards

In the following interview, Architizer’s Managing Editor, Hannah Feniak, sits down with Lu Yun, Principal Architect and founder of MUDA-Architects, to get to know more about this impressive and promising young firm.

Hannah Feniak: Tell us a little about your story – how did you get started? How did your firm grow?

Lu Yun: In 2015, we founded our firm in Beijing and Boston, and in 2017 we began our architectural practice in a true sense in Chengdu. After we won the Xinglong Lake Bookstore project competition in 2018, as the increase of our market recognition and project influence expanded, our company mainly focused on commissioned projects. We’ve also been fortunate: over the past five years, several of our key projects have been successfully achieved.

Looking back, which of your projects do you feel was the most significant to the firm’s development and why?

On their first completed project, the CITIC Bookstore at Xinglong Lake, Chengdu:

This was MUDA-Architects’ most significant project in its early days. We won first place among 249 competition entries, and the project was successfully completed and remains open till now. The design was inspired by “a book falling from the sky,” emphasizing harmony between the building and the natural environment. The building’s form and curves echo with the lakeside landscape. This project not only marked MUDA’s beginning but also set the foundation for our core design philosophy: respecting nature and culture, emphasizing locality with contemporary design and the vision of park city development.

On their most recent project: Tianfu Museum of Traditional Chinese Medicine:

Located in Pengzhou, Chengdu, this project serves as a new urban landmark that highlights our traditional Chinese medicine (TCM) and the ecological values of a park city. Inspiration from the philosophy of TCM, the design emphasizes unity between humanity and nature, along with the balance of yin and yang. The building’s form reflects the dynamic balance of the Taiji symbol. This project represents MUDA’s ongoing exploration of merging Chinese cultural heritage with contemporary ecological architecture and marks us a step up from small and mid-scale projects to large-scale developments.

As a young firm with roots in Beijing and Boston and an impressive and influential body of recently built projects in Chengdu, how has your unique cultural and environmental context shaped your evolution?

As the founder of MUDA-Architects, my architectural education in China, along with my professional experience at an architectural firm of Germany, has given me a deep understanding of the importance of innovative design and functionalism. These experiences have profoundly shaped my perspective on architecture and my approach to design.

In MUDA’s practice, we uphold the core philosophy of an “Eastern spirit of locality and contemporary design for the future.” This concept stems from our respect for and understanding of traditional Chinese culture, while integrating it with contemporary architectural practices. We focus on expressing design diversity across various regional and cultural contexts, aiming for each project to resonate deeply with its local environment and cultural.

What does winning Architizer’s Emerging of the Year Award mean to you and the firm?

Receiving the Architizer A+Awards’ special honor, Emerging Firm of the Year, holds profound significance for both me and MUDA-Architects. It’s not only a recognition of our commitment to the design philosophy of “contemporary and locality,” but also strengthens our confidence to push boundaries, challenging ourselves to bring forward even more creative and socially impactful architecture in future projects.

We have always been dedicated to addressing the unique needs of nature, culture and the city through our designs. As a young architecture firm, this award opens new opportunities for us to connect with peers internationally and expands the horizon for MUDA’ s growth and impact.

If you had one piece of advice to offer to the next generation of young architects, what would it be?

Stay curious about the world, proactively respond to changes, keep learning, and never lose sight of the original passion for design.

Calling all architects, landscape architects and interior designers: Architizer's A+Awards allows firms of all sizes to showcase their practice and vie for the title of “World’s Best Architecture Firm.” Start an A+Firm Award Application today. 

Top image: Lujiatan Wetland Park Visitor Center by MUDA-Architects, Chengdu, China

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Leadership by Design: Dong Gong on Reimagining Contemporary Architecture in China and Beyond

Have you completed a project that captures the essence of its locale while addressing global concerns? If so, Architizer's A+Awards is your platform. Enter now for a chance to have your work featured in print and online.

Founded in 2008 in Beijing, Vector Architects has distinguished itself by embracing a philosophy of integrating architecture with its environment, prioritizing logic and restraint over grandiosity. Under Dong Gong’s visionary leadership, the firm has charted a course focused on uncovering subtle interrelationships between program and place, using spatial structure to enhance the perception of light, breeze, material and time. In an era of rapid development, their work evokes tranquility, creating spaces that invite users to connect with their surroundings and reflect on their place within the physical world. For their profound built and discursive contributions to architecture, Architizer is proud to honor Vector Architects with this year’s Leadership in Design Award.

Projects like the Seashore Chapel and the Jingyang Camphor Court showcase Vector Architects’ luminous yet grounded aesthetic. Taken as a whole, their oeuvre has defined a contemporary architectural language that honors local context and tradition in more subtle and poetic ways, encouraging users to be radically in tune with their present moment and inspiring other architects to revisit the fundamentals of architecture for the future. The firm also emphasizes the integral connection between architecture and construction. Setting an example by repositioning architecture’s relationship to its societal context, this belief informs every phase of their projects: from researching, experimenting and manufacturing materials to prototyping and refining joints and details and on-site supervision and coordination.

Dong’s contributions, however, extend beyond built work. Through speaking engagements and publications, he has become an influential voice, encouraging architects worldwide to reconsider architectures’ traditional boundaries. Likewise, Dong’s design philosophies are guiding the next generation of architects — through his teaching in China, at Tsinghua University and Central Academy of Fine Arts, and abroad, at the University of Illinois at Urbana-Champaign the Polytechnic University of Turin. This dedication to the craft and broader architectural discourse exemplifies the leadership and vision for which Vector Architects is being celebrated.

The following interview with Dong was conducted in honor of this prestigious award, which be presented at the A+Awards Gala in Chengdu this November. Musing on the firm’s architectural ethos, he elaborates on how Vector Architects approach their role as mediators between architecture and the site, balancing form with feeling and the practical with the poetic.

Seashore Chapel by Vector Architects, Qinhuangdao, China

Hannah Feniak: Tell us a little about your story — how did you get started? How did your firm grow?

Dong Gong: The core philosophy of Vector Architects is grounded in sincerity. We tackle architectural challenges by thoughtfully addressing social, environmental and cultural dimensions. Rather than relying on rigid or formulaic approaches, we embrace the transformative potential of space. Ultimately, I believe that solving architectural problems should evoke a meaningful emotional response in those who experience the design.

As the firm is centered around me, cultivating this philosophy within a team of 30 to 40 young architects from diverse backgrounds takes time. For instance, we place great importance on construction quality. We assign on-site architects to every project so they can gradually understand Vector Architects’ standards for precision and quality. This daily training helps them develop the resilience needed to navigate both creative challenges and intricate details.

The most significant change has been our growth in staff. When Vector Architects first started, it was just two or three of us working around a table in a residential building near Sanyuan Bridge. Now, we have nearly 30 architects and around 40 with interns. In the beginning, I attempted to apply management strategies from my experience in the U.S., but cultural and contextual differences led to frustration. In the U.S., detailed drawings are finalized before construction due to ample design time. In contrast, in China, design timelines are much shorter and changes often occur during construction. This realization prompted me to shift my focus from perfecting initial design drawings to refining project details through long-term tracking.

In recent years, we’ve also adapted to evolving environmental trends. The Seashore Library (2015) reflected the real estate and commercial dynamics of that time. However, as China has moved away from mass construction to focus on preserving historical sites and urban spaces, urban renewal projects have become increasingly common. Vector Architects has embraced this shift, respecting existing conditions while creating innovative ways to revitalize spaces, blending the old with the new to enhance the quality of life.

Seashore Library by Vector Architects, Qinhuangdao, China

Looking back, which of your projects do you feel was the most significant to the firm’s development and why? [You can pick more than one!]

For many years, Vector Architects has upheld the belief that architecture holds the power to reveal the hidden energy within a site. By strategically utilizing design elements such as space, materials, light and scale, we aim to bring the essence of the place to life, making it something people tangibly experience. The Seashore Library, Captain’s House and Yangshuo Sugarhouse Hotel represent key stages in our architectural journey, each attempting to uncover and highlight the unique characteristics of their respective locations. Through architecture, we sought to create a coherent and meaningful narrative.

At the Seashore Library, we envisioned the main reading space as a “grandstand” with gradually rising steps, allowing visitors to enjoy uninterrupted views of the sea from various levels. A large horizontal window frames the sea, making it the central focus of the space. So the sea becomes a dynamic stage, constantly shifting with the seasons and the passage of time, becoming an integral part of the library.

When the Seashore Library was completed in 2015, it was dubbed “China’s loneliest library,” and its influence has only grown. Over time, this building has transcended the traditional boundaries of architecture, generating an even greater impact. The library has evolved into a spatial phenomenon, which was not easily replicable. Fueled by societal progress, material accumulation and a collective yearning for deeper meaning, it emerged as a powerful experience rooted in a particular time. From a communicative perspective, the name “Lonely Library” and the solitude it evokes struck a deep chord, penetrating through the layers of societal noise and resonating with the emotional state of the era.

The Captain’s House, located in a small coastal village in Fujian, holds a unique position due to its setting. Although the renovation was initially commissioned by a TV show, the project integrated the real-life needs of the family, which gave it deeper significance for me. In today’s real estate market, communication between users and designers is often fragmented, as market pressures make it difficult to foster meaningful connections. However, when designing a residence, it is essential for architects to engage with the people who will live there, understand their needs, and reflect those insights in every space.

The Yangshuo Sugarhouse Hotel was once an old sugar mill, already a local landmark before its renovation. The site itself has a strong, inherent energy. Nestled in a valley by the Li River, surrounded by the striking karst mountains, the site includes the 1960s sugar mill and the industrial trusses used to transport sugarcane. In the past, sugarcane was brought in by boat along the river, processed at the mill and transported out by land.

In terms of layout, the new buildings are positioned on either side of the old sugar mill, keeping the mill and trusses as the focal point of the complex, emphasizing their memorial-like quality. The new structures are simple and restrained, designed to avoid overpowering the original architecture. Their abstract geometric forms, combined with perforated masonry walls, create a dialogue with the surrounding natural landscape.

On my first visit to the site, I was deeply moved by the contrast: the distant mountains of the Li River, with a massive industrial truss suddenly appearing in the foreground. Weathered by decades, the once-rough truss now seemed like a natural relic. In some buildings, the most valuable element is the passage of time and the history it imparts. Our interventions here were minimal—we simply added a swimming pool and made subtle adjustments to preserve the most evocative aspects of the site. Seven years later, the Sugarhouse Hotel has become a seamless part of its environment. The weathered concrete blocks, now intertwined with climbing plants, have softened over time, blending seamlessly with and enriching the landscape of the old sugar mill and its surroundings.

Your work has been hailed as a hallmark of a new school of contemporary Chinese architecture. How do you feel your firm’s unique cultural and environmental context has shaped its evolution?

Architecture is a discipline rooted in practice, where architects need to prove themselves through their work. The era of rapid urban development in the West has come to an end, and their current construction output pales in comparison to that of China. While there is increasing interest in Chinese architectural design in the West, a significant gap in understanding remains. The energy and potential within China’s architectural landscape far exceed what the West has observed or grasped.

There is a “time lag” between China and the West in addressing current challenges facing the architectural industry. We have our own urgent issues to solve, and it requires both responsibility and courage to tackle them — often in ways that are not immediately obvious. We must confront the relationship between architecture and society, be it technical or emotional. While this path may be longer, it is a deeply meaningful pursuit.

In every project, our team and I focus on striking the right balance in design, aiming for quality that is sincere, unpretentious and modest. This is a vital quality for any architect. If we think of architecture as a reflection of character, buildings should possess virtues such as humility, politeness and restraint in how they coexist with their surroundings. Just as individuals can possess deep thoughts and talents, so can architecture. Both in China and around the world, there is a growing appreciation for buildings that, instead of being overly extravagant, resonate with people through their spatial quality and integrity. Over the past decade, architectural design has witnessed a significant shift in these values.

What does winning Architizer’s Leadership in Design Award mean to you and the firm?

As China’s urbanization evolves, architecture is gradually adapting to these changes. We believe the role of architecture is shifting from being merely a symbol of power and a landmark to serving as a mediator and coordinator that engages in the collaborative development of urban and rural areas. This transition does not signify a compromise in construction quality; rather, it embodies a more humble and thoughtful approach. It allows architecture to coexist harmoniously with the social, historical and natural contexts upon which we depend, thereby fostering a more vibrant vitality.

In our seventeen years of practice at Vector Architects, we have evolved from early projects like the Shoreside Library — often described as “viral” and a “landmark” — to our recently completed Jin’yang Camphor Court in Jingdezhen. In these projects, we have made significant efforts to preserve each original tree while nurturing spaces where the old and new coexist harmoniously. We have come to realize that architecture should not impose itself forcefully or stand in opposition to its surroundings. Instead, we are exploring how architecture can sensitively and authentically respond to the site’s characteristics, becoming a more site-specific entity that resonates with its environment.

Looking ahead, we will continue to serve as mediators between architecture and the site. We aspire for architecture to restore and reinforce the “ordinary” elements of life with a benevolent approach. This does not mean that architecture relies on the site; rather, through re-delineation, negotiation and revelation, both architecture and the site evolves together to achieve a new balance. In this process, architecture actively participates in the site’s reconstruction, coexisting and iterating with the surrounding environment, reviving the essence of the “ordinary” and allowing it to shine.

This award encourages us as we hope our practices will positively influence the future trajectory of architecture.

This award reflects your powerful leadership not only in your built work, but also through speaking and teaching. If you had one piece of advice to offer the next generation of architects — specifically Chinese, or global — what would it be?

It’s about passion. Architecture is a field that demands time, experience and growth; it doesn’t change overnight like some industries. There are no shortcuts to becoming a great architect; it requires patience and continuous practice. Without passion, this journey can feel arduous and the sense of achievement may come slowly. However, if you love what you do, there’s no need to hesitate. The rewards of architecture are unique: from developing design concepts to seeing the physical structure come to life and witnessing how people interact with the spaces you’ve created — this sense of accomplishment is unparalleled.

Architects don’t just design buildings; they actively engage with society on multiple levels. From boardroom meetings with stakeholders to hands-on work at construction sites, the shift between roles is challenging, yet deeply rewarding. When your design is realized and appreciated by the people who use it, you’ll understand how profoundly impactful and distinctive the role of an architect is.

Have you completed a project that captures the essence of its locale while addressing global concerns? If so, Architizer's A+Awards is your platform. Enter now for a chance to have your work featured in print and online.

The post Leadership by Design: Dong Gong on Reimagining Contemporary Architecture in China and Beyond appeared first on Journal.

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Designing with Purpose: The Art of Understanding Clients in Architecture

Ema is a trained architect, writer and photographer who works as a Junior Architect at REX in NYC. Inspired by her global experiences, she shares captivating insights into the world’s most extraordinary cities and buildings and provides travel tips on her blog, The Travel Album.

In architecture, the client-architect relationship is the cornerstone of meaningful design. At its best, this relationship allows architecture to transcend mere function and aesthetics, producing spaces that reflect the unique identity, desires and aspirations of the people who use them. While technical expertise and creative vision are essential, understanding the client on a deeper level transforms a project from a standard commission into a personal and powerful architectural statement. The client-architect relationship is pivotal, and architects should master the art of understanding their clients – how empathy, communication and collaboration shape exceptional design outcomes.

The Client as a Co-Creator in the Design Process

Image generated by Architizer via Midjourney

In contemporary architectural practice, clients are not just patrons funding a project; they are co-creators whose involvement enriches the design process. Their needs, preferences and personal stories are invaluable inputs and an architect’s task is to not merely interpret a brief but to uncover layers of meaning behind the client’s words — often translating abstract desires into tangible spaces. Understanding a client’s lifestyle, cultural background and future aspirations provides a design foundation that is as functional as it is emotionally resonant.

Architect Louis Kahn once said, “A building is like a child; it needs a mother.” In this analogy, the architect provides form and structure, but the client nurtures the intent, making the design process a truly collaborative journey.

Building Empathy: Listening Beyond the Brief

One of the most critical skills for an architect is the ability to listen. While initial client meetings typically revolve around practical requirements — budget, square footage, materials — successful projects are born from architects’ ability to read between the lines. Active listening reveals insights beyond what is explicitly stated, capturing unarticulated preferences and emotional responses. For example, a client might request “open, airy spaces,” but what they may truly be seeking is a sense of freedom or tranquility. An architect’s role involves probing deeper with thoughtful questions and interpreting these desires into design elements like spatial openness, natural light or material warmth.

Leon Liao from Barcelona, España, Paimio Sanatorium3, CC BY 2.0

Case Study: Alvar Aalto’s Paimio Sanatorium – A Client-Centered Approach

Alvar Aalto’s Paimio Sanatorium is an excellent example of architecture designed with an extraordinary understanding of its users. Built for tuberculosis patients in the 1930s, Aalto tailored every detail to their comfort and healing. The building’s orientation maximizes sunlight and fresh air circulation, while specially designed chairs allow patients to breathe more easily. This project exemplifies how thoughtful design, rooted in empathy for end users, can profoundly impact the lives of its occupants.

Striking the Balance: Vision vs. Client Expectations

One of the greatest challenges architects face is balancing their creative vision with client expectations. You’ll frequently work with an architect who becomes highly frustrated when a client’s vision doesn’t align with their own professional judgment on what’s best. While clients seek innovative design, they may also hold preconceived notions that constrain the architect’s freedom. The best way to navigate this tension is usually by guiding clients through a design process that educates, inspires and reassures. Tools such as mood boards, sketches, physical models, past project precedents or virtual reality walkthroughs can bridge the gap between the architect’s vision and the client’s imagination.

I could imagine that an architect like Zaha Hadid’s, with her bold, futuristic designs  likely initially encounter resistance.  but her ability to convey her vision through models and presentations gradually won clients over. The resulting projects became icons of architectural innovation, demonstrating how strong client relationships can unlock daring design. Naturally, designs don’t have to be overly complex or bold to encounter skeptical or resistant clients — I’ve experienced this even with the simplest concepts. Each project is unique, and every client has distinct expectations and preferences.

Communication: The Key to Trust and Collaboration

Image generated by Architizer via Midjourney

Clear and consistent communication is essential throughout the architectural process. Initial meetings set the tone for trust and regular updates ensure transparency, preventing misunderstandings and delays. Architects who involve clients at every step — whether through informal check-ins or collaborative workshops — build confidence and foster a sense of shared ownership over the final design. Design charrettes are a particularly effective way of involving clients in the creative process (I believe this approach should be implemented more frequently). These collaborative sessions could invite clients to participate in brainstorming and problem-solving alongside the architect, enhancing the design with diverse perspectives. While this doesn’t always happen, the design process typically involves architects developing and presenting multiple design iterations, allowing the client to review and gradually gravitate toward one option over the others.

Collaborating closely with the client and consistently understanding their vision and preferences helps guide the design as it evolves. Sometimes, clients’ needs can evolve over the course of a project (this is acceptable within reason and depending on the project’s stage of development), and architects must remain agile enough to adapt without compromising design integrity. A successful architect-client relationship requires a flexible mindset, where changes are seen not as disruptions but as opportunities for refinement.

The Long-Term Impact: Architecture as a Personal Legacy

Buildings are more than just physical structures; they often become integral to both the client’s and the architect’s legacy. A private home designed for a client can encapsulate deeply personal stories, reflecting intimate memories and individual lifestyles, while a business or institutional building embodies brand values, mission, or even the aspirations of a broader community. Each space is a carefully crafted environment that goes beyond mere function; it becomes a vessel for identity, a place where stories unfold. A well-designed space resonates emotionally with its users, influencing their experience and interactions, while standing as a lasting testament to the architect’s creative expertise and the client’s vision.

Consider one of my favorite examples, the Fallingwater house by Frank Lloyd Wright, where the Kaufmann family’s desire for a retreat immersed in nature resulted in one of the most iconic homes in modern architecture. Wright’s understanding of his client’s deep connection with the landscape enabled him to create a masterpiece that continues to inspire generations of architects and nature lovers alike.

Designing for People, Not Just Spaces

Image generated by Architizer via Midjourney

At its heart, architecture is about designing for people. Buildings may be celebrated for their beauty or technical brilliance, but the most enduring designs are those that respond thoughtfully to the needs and aspirations of their users. The art of understanding clients is not a soft skill — it is a fundamental part of architectural practice, requiring empathy, active listening and the ability to translate human desires into built form.

Ultimately, architecture is a dialogue between the architect’s vision and the client’s identity. By embracing this relationship as a collaborative partnership, architects can create spaces that are not only functional and beautiful but also meaningful and deeply personal. Designing with purpose means designing with people in mind, ensuring that every project, no matter the scale, is a reflection of both the architect’s creativity and the client’s story.

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Designing for Airbnb: Crafting Spaces That Adapt and Endure

The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available. Order your copy today.  

In the not-too-distant past, homes were our sanctum — static spaces that were ours and ours alone. Spare rooms were reserved for friends, family members, untouched gym equipment and once-worn clothes. Fast forward, and today, the idea of a home as a purely personal space is almost quaint. The side hustle era, like its adopters, is showing no signs of slowing down, and owning a property is one of the most popular income generators in this evolving economy.

Despite some recent criticism and regulatory crackdowns in certain cities, the short-term rental platforms continue to grow, supported by a demand for flexible, temporary accommodation and an understanding that short-term rentals, while potentially problematic in cities, are a lifeblood to smaller communities that rely on tourism to boost economic growth. The Airbnb effect, if we can call it that, has been seismic. In 2024 alone, the platform boasts 7.7 million active listings globally, with hosts earning over $9.9 billion in revenue in 2023 — a 19.2% increase from the previous year. In 2023, Airbnb saw 448 million bookings worldwide, up 13.9% from the year before. Although often the case, this success is not entirely about homeowners looking to make a little extra income. The way we work and live is changing, with many workers and, therefore, homeowners opting into a nomadic lifestyle, working from their devices while moving from place to place.

According to a 2022 survey, 45% of new home buyers in cities like London and New York are factoring potential Airbnb rental revenue into their buying decisions. That’s nearly half of all new buyers purchasing their homes with an imaginary revolving door of guests in mind. As a result, architects and designers are faced with new challenges when thinking about how these properties should look and function. How do you create spaces that work just as well for a family of four as they do for a group of travelers who booked a spare room after one too many beers and missed their flight home? Well, that’s where things get interesting. Designing a home for potential short-term rental means factoring in a whole new set of requirements: adaptability, durability and the ability to disguise the fact that you’ve hosted fifty people in the past six months while somehow maintaining a feeling of “home” when you return.

Kalrav Villa Design by VPA Architects, Ahmedabad, India | Photos by Inclined Studio 

Possibly one of the most vital things to think about when designing a home that will be used for short-term rental is materiality. Not all spaces are treated equally, and unfortunately, how a person treats a home that is not their own is often significantly different from how they treat a space they rent. According to a 2023 survey by AirDNA, guests in short-term rentals are, on average, 30% less likely to take care of property maintenance issues compared to long-term tenants, and that translates directly into the wear and tear a home will experience. Durability is a friend here. Laminates are prone to damage from standing water and spills, an inevitable outcome in any sort of rental. While an owner might be meticulous at wiping up, a guests probably won’t be. Using materials that are easier to maintain or repair is a good idea. Solid wood is great but often expensive. Timber veneers offer a resilient compromise. They can be repaired, stripped and restained, providing much-needed longevity to furniture. Again, a solid surface like marble is excellent for high-interaction areas due to its strength and heat resistance, but it can stain if not sealed properly — especially when exposed to wine, coffee or acidic substances. A granite or manufactured solid surface can often be the smarter choice.

Similarly, flooring takes a heavy beating in short-term rentals, especially from suitcases, spills and high heels. Once more, laminates and softwoods are not the best options unless the plan is to replace them frequently. Instead, engineered hardwood, which offers the look of solid wood with more resilience to scratches and moisture, is a more durable option. For even more durability, tile or luxury vinyl tile (LVT) flooring is a top choice. Both are waterproof, scratch-resistant and becoming more budget-friendly by the day.

Sydney Harbour Apartment by Brooke Aitken Design, Sydney, Australia | Photos by Prue Ruscoe

While picking the right materials is essential, one thing that can really help keep a rental looking fresh is including patterns. Busy surfaces, like terrazzo or speckled granite, can cleverly hide stains and minor scratches, making them perfect for high-traffic kitchens and bathrooms. Carpets and fabrics that have a lot going on will hide a multitude of sins. A hair iron burn on a busy carpet is a lot less obvious than on solid cream.

Now, here’s where things get intriguing. Designing a home for an individual is one thing, but designing a home for everyone and anyone — well, that’s a whole new ball game. Short-term rentals mean different people with different needs coming and going, so adaptability is the name of the game.

To get the most out of a rental space, it should be able to shift between being a cozy family haven one week to a buzzing party pad the next. Movable partitions, fold-out beds, or multifunctional furniture like storage ottomans and expanding tables are all practical solutions. The furniture should work harder than normal, opting for pieces that can transform a single space into multiple configurations, a bedroom into an office, or a dining room into a playroom. This way, a listing will appeal to a much broader audience.

Apartment in Prague by ATELIER 111 architekti s.r.o., Prague, Czechia | Photo by Veronika Raffajová

However, adaptability shouldn’t mean moving things around all the time. It should also consider where things go when not in use. That’s where storage and, even better, hidden storage becomes essential. Not only is it comforting for an owner to know their personal belongings can be hidden away safely, but having dedicated places for things keeps the mess at bay — a place for everything leaves no ambiguity for where something should go. Built-in storage solutions like floor-to-ceiling cabinets, false-backed wardrobes, pull-out shelves and even under-bed storage are lifesavers in spaces that need to accommodate a steady flow of people. When not in use, these features virtually disappear, keeping the home sleek and tidy.

Finally, when seeking out a property with the idea of turning it into a short-term rental, considering what the building itself brings to the table can lead to offering something special. Properties that come with built-in character add intrigue without additional “stuff”. Exposed beams, decorative cornices, or feature doorways do a lot of heavy lifting in terms of visual appeal. These features create focal points and add texture to a room without the need for excessive décor. Don’t underestimate the power of decorative tiles. Whether it’s in the kitchen or bathroom, tiles with intricate patterns or bold colors can give a property personality. In older properties, keeping or restoring original tilework can add a sense of history and craftsmanship that’s difficult to replicate.

By focusing on the structural features of a building — things that are part of its very fabric — not only is value added to the property, but also a lot of headaches can be avoided. Decorative items become targets for wear and tear, or worse, they mysteriously disappear into the luggage of a departing guest. So, by leaning on the structure to be the decoration, the chances of issues arising become much less. The not-so-honest guest would find it significantly more difficult to pop a 100-year-old oak door in their suitcase than a hand-woven throw. The fewer personal items or accessories, the less likely things are to be damaged or stolen. Meaning guests get to enjoy a space that feels thoughtfully curated, and owners have the peace of mind knowing they don’t need to constantly replace decorations or worry about clutter.

The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available. Order your copy today.  

Title image: Meditation Duplex by Sim-Plex Design Studio, Hong Kong. Photograph by Patrick Lam | The projects in this article, although not expressly designed to function as both homes and AirBnbs, offer vivid examples of the concepts discussed in this article.  

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“Our Regionalism Is Portable”: Antoine Predock Architects on Designing Contextually Across the Globe

For over a decade, Architizer’s A+Awards have been championing architectural excellence worldwide. This year, the program celebrates local innovation with global recognition. Click to enter before the Main Entry Deadline on Friday December 6th. 

Although the sheer size of Chengdu’s 38 million-person population conjures images of highly urban topography, in reality, the nickname of Sichuan’s capital city is revealing: “The Garden City at the Foot of the Snow Mountains.” Bordered by the Longmen Mountains in the northwest and the Qionglai Mountains due directly west, the city bursts with bamboo-laden green spaces and set in a region smattered with lakes. These geographic features have played a decisive role in the city’s architectural growth, as exemplified in the iconic warm, red geological profile of the stunning building that will host Architizer’s 2024 A+Awards Gala on November 21st, 2024.

Designed by Antoine Predock Architects, LUXELAKES · The Water Theater stands out for its mix of iconic red bush hammered concrete, all-glass structural glazing system, and regionally sourced granite and bronze cladding. Taken together with its highly complex massing — the building varies from one floor to nine — the design appears like a geological formation rising alongside the lake and merging with the hillside. Drawing from Chinese culture, Sichuan’s landscape, the site’s agricultural history and the demands of a new city, the building could not be a more fitting venue for this year’s gala, hosted in partnership with LUXELAKES · A8 Design Center.

The building perfectly encapsulates the theme of the 13th Annual A+Awards: celebrating architecture that balances local innovation with global vision. The current A+Awards program is inviting entries through December 6th, 2024, with global recognition and international publication on offer for the winners. Get your entry started here:

Start Submission

Architizer’s Managing Editor Hannah Feniak sat down with Antoine Predock Architects’ Executive Senior Associate, Paul Fehlau, to discuss the process for designing a contextual masterpiece in a country and culture on the other side of the world. Introducing the concept of “portable regionalism,” he reflected on the legacy of the firm’s founder and the LUXELAKES · The Water Theater in Chengdu.

Hannah Feniak: Architizer’s A+Awards gala will take place at LUXELAKES · The Water Theater on November 21st, 2024, just one decade after work on the project began. Reflecting back, how do you feel about the project, and where does it sit for you in the context of your firm’s wider work?

Paul Fehlau: The project holds a very special place in our firm’s history. It was our first completed project in China and a very special design for a very special and engaged client. The client wanted to set the tone for their Luxe Lakes development with the Gateway Arts Center and they allowed us broad design latitude to engage the site entry and waterfront. The clients also supported the design with high quality materials and construction. The building achieved a sense of timelessness and we continue to be proud of the enduring beauty of the project.

Models from the project’s design process reveal how the building was, from the beginning, conceived as part of the hilly topography surrounding the lake. The design also draws from Chinese culture, Sichuan’s landscape and the site’s agricultural history. As an American firm, what were the challenges of designing a highly contextual project from halfway around the world?

As Antoine always said, our regionalism is portable. He began his design practice here in the High Desert of New Mexico. It is a harsh climate with a deep natural and cultural history. It is not possible to work here successfully without taking these aspects in to account. Antoine built his practice on the principal of listening — that is listening to the land, to geologic and cultural history, to the dreams and desires of his clients, to the climate and any significant aspects of a project and site.

We carefully consider and catalog all of these understandings before launching any design process. This practice allows us to design structures that resonate with landforms and people far from our home. Our design practice was built on a place, a region, but the they way of interfacing with a people and a place are applicable to a wide variety of projects. Therefore — portable regionalism. Antoine’s desire to have a very specific understanding of each client, place and project explains the reason that no two Predock designs look the same.

The building is massive, enclosing a total of 250,000 square feet, with volumes ranging from one floor to nine floors, with highly accessible roofs with pathways, plazas and areas of greenery open to the public. What were the challenges of taking such a complex design from concept to reality?

The program for the new structure was more of a joy than a challenge. The client’s encompassing vision for the new building gave us as designers so much to work with — it was an embarrassment of riches from a designer’s point to view. As you may know, the initial design for the program and building was quite a bit bigger than the building you see today. One big challenge was a change to the infrastructure in the luxe lake region during the early construction process. The design had to be adapted to these new constraints during construction. Thanks to the efforts of the client, contractor and local team one is unable to see that the building was significantly changed at this late stage.

 In addition to its uniquely varied massing, the building’s warm materiality stands out. Which materials and building products are central to the project, and why were they chosen?

The key material for the project is the bush hammered concrete. The color is derived directly from soil on the site. The hand bush hammering technique resulted in a beautifully variegated surface recalling natural sandstone formations around Luxe Lakes. Other important materials include the green roofs which blend the building into adjacent landforms. The cast bronze panels on the tower with their deep cultural resonance. And the polished stainless steel knife edges that soften the leading edge of the building and bring reflections of water and light into the structure.

Which details in LUXELAKES The Water Theatre are you particularly proud of and why?

The way the building embraces the lake and gently and informally terraces down to the water, creating pockets where guests can gather to chat, eat and experience the waterfront. The waterfront experience was always an important part of the design. But the actual experience is better than we could have imagined.

What has the public reaction to the project been like?

We have gotten a lot of very positive feedback from clients and visitors. I often get emails and texts from other designers who are visiting Chengdu and come across the building. It is a building that photographs well, but the photographs do not do the building justice. You really need to experience the space to get the full impact. And I often hear that people have been blown away by a visit to the center.

In the ten years since you took on this project, Chengdu has grown and changed as a city (as has the contemporary design landscape in China more broadly). How do you view this evolution in relation to your work on LUXELAKES · The Water Theater?

I haven’t been back to Chengdu in a few years but the last time I was at Luxe Lakes it was very rewarding to see the way the city had reached out to Luxe Lakes in the intervening years. It was also rewarding to see the way that Luxe Lakes has evolved and thrived with so many new and innovative structures on the waterfront. Chengdu, from my first visit, was an amazingly beautiful and engaging place and it’s been very rewarding to play a small part in the evolution of this important city.

Finally, the theme of the 13th Annual A+Awards celebrates the way that architects are mediating between the industry’s global reach while responding to projects highly local needs. The landscape of New Mexico famously inspired the late Antoine Predock, but projects such as LUXELAKES The Water Theatre demonstrate his sensitivity to local context on a global scale. As your firm looks ahead, how do you plan to carry his legacy forward?

During his lifetime, Antoine design process considered land, climate, energy, culture and time within architecture. He never intended that his process would create a static results but instead would inspire design experimentation rooted in site, climate and humanity. Antoine was always carful to acknowledge that we has humans only have a limited time and experience in the small band between earth and sky and that we need to use our time to make people’s lives richer. In honoring Antoine’s legacy we continue his experimental design practice focused on site and culturally specific design.

For over a decade, Architizer’s A+Awards have been championing architectural excellence worldwide. This year, the program celebrates local innovation with global recognition. Click to enter before the Main Entry Deadline on Friday December 6th. 

The post “Our Regionalism Is Portable”: Antoine Predock Architects on Designing Contextually Across the Globe appeared first on Journal.

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Structures Sculpted by Snow: Nature’s Seasonal Dance With Architecture

Ema is a trained architect, writer and photographer who works as a Junior Architect at REX in NYC. Inspired by her global experiences, she shares captivating insights into the world’s most extraordinary cities and buildings and provides travel tips on her blog, The Travel Album.

Architecture, by its nature, is in constant conversation with the environment. While buildings are often designed with longevity and permanence in mind, they interact with changing seasons in profound ways. Winter, with its snow, ice and frozen landscapes, temporarily alters not only the physical appearance of structures but also how we experience them. Snow-covered façades and ice-dappled surfaces add new dimensions to architecture, highlighting elements that may otherwise go unnoticed and creating ephemeral beauty that transforms landmarks.

With the winter season quickly approaching, I want to explore and highlight how seasonal elements like snow and ice reshape the perception and experience of iconic architectural works, from urban landmarks to remote structures. Perhaps the next time you’re walking through snow and ice, you might find yourself noticing something new about the architecture around you — details that might have gone unnoticed in any other season.

Snow as a Visual Cloak: Shifting Perception of Forms

Yabuli Entrepreneurs' Congress Center, Shangzhi, Harbin, China by MAD Architects

We’ve all had those winter moments when, looking into the distance, we catch only the faint outline of a building, softened by a blanket of snow. Snow transforms the appearance of architectural structures, softening edges, blurring lines and muting colors. Façades that appear sharp and rigid throughout the year take on new qualities as snow settles into grooves, ledges and roofs. This shift creates an ephemeral beauty that emphasizes forms and textures that might otherwise go unnoticed. In architectural terms, snow functions as an overlay — a temporary material that interacts with existing forms, revealing how buildings respond to their environment. Architectural lines become more fluid and patterns of accumulation highlight surfaces in new ways. This visual shift draws attention to subtleties like eaves, ledges and cornices, which might seem less significant during other seasons.

Additionally, winter’s muted color palette — dominated by whites, grays and soft blues — heightens our awareness of form and structure. Buildings set against a snowy backdrop appear isolated and sculptural, allowing their forms to stand in stark relief. The minimalism of a snow-covered landscape amplifies architecture’s presence, making even the most familiar buildings feel new and distinct.

Reflections in Frozen Landscapes and the Role of Light

Winter introduces unique lighting conditions that change how we perceive architectural landmarks. The low angle of the sun in winter casts long shadows and creates dramatic contrasts, enhancing textures and surfaces. Snow and ice further amplify this effect by reflecting natural light, creating a glow that brightens even the darkest days. Snow also introduces a reflective element to the landscape, mirroring architectural forms on frozen surfaces like lakes, ponds and plazas. These reflections create a sense of symmetry and depth, enhancing the spatial experience of buildings. The interplay between light, shadow and reflection transforms architecture into something more dynamic, shifting throughout the day and season.

One of my favorite examples of an iconic landmark that both captivates and shifts perception (in all seasons, especially the winter season) is the Norwegian National Opera and Ballet. The building itself evokes the image of an iceberg, with its base seamlessly blending into the adjacent water. When the water freezes, it appears as if the structure extends directly into the ice. The opera house’s white façade, when covered in snow, softens its sharp geometric edges, creating a striking contrast that makes the expansive blue glass surfaces stand out even more vividly against the surrounding whiteness. Interior spaces also benefit from these seasonal lighting effects. Large windows or glass façades allow diffused winter light to enter, creating soft, ambient lighting that enhances the atmosphere within. This interaction between light and architecture adds warmth to spaces, inviting people to linger indoors and engage with their surroundings.

Architectural Challenges: Snow Loads and Structural Stress

X HOUSE, Queenstown, New Zealand by Monk Mackenzie

X HOUSE by Monk Mackenzie, Queenstown, New Zealand

While snow and ice introduce aesthetic transformations, they also impose significant structural challenges. Architects and engineers must carefully consider snow loads and the impact of freezing temperatures on materials during the design process. Heavy snowfall can accumulate on roofs, creating stress that requires specific engineering solutions to ensure safety and stability.

Buildings in regions prone to harsh winters are designed to shed snow efficiently through sloped roofs, drainage systems and heat-tracing cables. Flat roofs, common in urban environments, must be reinforced to handle the added weight of snow. Snow loads can also affect façades, requiring durable materials that withstand the freeze-thaw cycle to prevent cracking or deterioration. This aspect of architectural design highlights the importance of adaptability. Successful winter architecture balances aesthetics with function, ensuring that buildings remain both visually appealing and structurally sound during seasonal changes.

Sensory Experience: How Winter Changes the Way We Engage With Space

Fleinvær Refugium Gildeskål Municipality, Nordland, Norway by Rintala Eggertsson Architects

Winter doesn’t just transform architecture visually; it also alters how we experience and interact with spaces. Snow muffles sound, creating a sense of quiet and calm that changes the ambiance of public spaces and plazas. The absence of bustling noise can make even the busiest urban areas feel more serene, allowing people to experience architecture in a more reflective and intimate way. The tactile qualities of winter — like the crunch of snow underfoot or the cold touch of metal surfaces — also influence how we move through spaces. People tend to slow down, tread carefully and seek out warm, sheltered areas. This shift in movement encourages a different kind of engagement with architecture, as we become more aware of our surroundings and how we interact with them.

Winter architecture often carries a deeper emotional significance, providing spaces of refuge and warmth during cold and dark months. Well-designed winter architecture fosters a sense of coziness and connection, encouraging people to gather indoors and engage with their environments more intentionally. The sense of warmth plays a crucial role in this experience. Fireplaces, radiant heating and warm materials such as wood and textiles become central features of winter spaces, transforming interiors into sanctuaries from the cold. This interplay between indoor and outdoor environments enhances the sensory experience of architecture, encouraging people to explore how design responds to seasonal needs. Winter architecture becomes a tool for creating spaces that nurture the soul, offering both physical warmth and psychological comfort.

The Ephemeral Beauty of Temporary Structures

In the winter, architecture takes on an ephemeral quality, embracing the fleeting nature of the season. Temporary structures like ice hotels, snow pavilions and seasonal markets highlight the impermanence of winter architecture. These spaces are designed to exist only for a short period, relying on snow and ice as primary materials, which naturally dissolve with the changing seasons. These temporary structures challenge conventional ideas of architecture as a permanent fixture. They invite us to experience space in new ways, emphasizing the relationship between design, nature and time. The very act of constructing and dismantling these spaces mirrors the rhythm of the seasons, offering a unique perspective on how architecture can respond to environmental cycles.

The Seasonal Dance Between Snow and Structure

Winter transforms architecture in ways that go beyond aesthetics, reshaping how we perceive, experience and engage with the built environment. Snow and ice alter the visual character of structures, creating new opportunities for reflection and discovery. Seasonal lighting and sensory changes influence how we move through and interact with spaces, inviting us to explore architecture in a more deliberate and thoughtful way. While winter introduces challenges such as snow loads and material stress, it also inspires innovation and adaptability in architectural design. Temporary structures made of snow and ice celebrate the impermanence of the season, reminding us that architecture, like nature, is in constant flux.

Ultimately, the interaction between snow and structure offers a profound lesson: architecture is not static but dynamic, shaped by the rhythms of the environment. As we experience the fleeting beauty of winter, we are reminded of the importance of creating spaces that respond to seasonal change — places that not only shelter us but also inspire us throughout the year.

Architizer's 13th A+Awards features a suite of sustainability-focused categories that recognizing designers that are building a green industry — and a better future. Start your entry to receive global recognition for your work!

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Access to Nature Is a Human Right — and It Should Be an Architectural Priority

Architizer's 13th A+Awards features a suite of sustainability-focused categories that recognizing designers that are building a green industry — and a better future. Start your entry to receive global recognition for your work!

In his 2019 article for Children & Nature Network, Richard Louv makes us pause for thought in the first paragraph. He tells the story of pediatrician and clinical scientist Nooshin Razani, who treated a four-year-old girl suffering from anxiety after fleeing war-torn Yemen for San Francisco. Instead of prescriptions or therapy, the doctor offered the child a chance to visit a local park.

Razani is founder of the Center for Nature and Health, America’s first nature-based clinic linked to a major healthcare provider, which leads on the Stay Healthy In Nature Everyday (SHINE) program. As it sounds, the scheme is about encouraging people to get out into green and blue spaces to improve wellbeing, mental and physical health. Patients and physicians participate, the latter looking to avoid the burnout that can so easily come with the intensity of their job.

Further evidence of just how beneficial nature is to humans isn’t hard to come by. Just Google it. But, according to the Office for National Statistics, 1.1million fewer people in the UK gained health benefits from nature in 2022 than they did during the Covid-19 pandemic. Data analysis puts this at an estimated loss of £390 million, when additional treatment, days off work and illness are factored into the equation. It’s a shocking claim, not least because it lays bare just how quickly we can forget about the great green cure-all.

It’s a phenomenon architects have historically been guilty of. In Seoul, South Korea, The H Garden is a prime example of just how overlooked nature, and opportunities for nature, can be in urban development. Situated at the foot of a monolithic apartment complex comprising 6,700 units, the Hyundai Engineering & Construction project landscaped and greened an unused plot of land in a bid to bring nature closer to residents and encourage people to see nature at a more human level. A contrast to the overwhelming scene of endless skyscrapers and treetops that often defines South Korea’s capital when seen from anywhere but the first few floors of a tower. 

The design and implementation are commendable, but the fact this development was only introduced in 2023, long after the homes were built, betrays a shameful oversight when ground was originally broken. Green space should have been included in the masterplan. Interventions like this are incredibly common, of course. In our Sustainable Practice series we previously featured One Green Mile in Mumbai, a vibrant public space complete with plants and trees in what had formerly been a roadside dead zone.

Again, the results are fantastic, but the question really needs to be ‘why did this not happen before?’ And when we ask that, Blue Temple’s exceptional efforts to transform a neglected piece of land in Myanmar into the community pocket park Plot ABC then springs to mind (pictured below). Another example of greenery being introduced well after the fact, when it could and should have been part of the original area blueprint.

Bringing this full circle, Louv’s article calls for recognition of access to nature as a human right, and refers directly to the UN Convention on the Rights of the Child. This far-reaching framework recognizes a number of things which should be fundamental to the experience of all young people. One of these is “growing up in a healthy environment and connecting children with nature.”

No such protections exist in any other human rights convention, presenting an uncomfortable truth. There’s a stark difference between our expectations as a child, of what childhood should mean, and what constitutes the best setting for human development, and our priorities as adults.

Plot ABC by Blue Temple, Yangon, Myanmar (Burma)

Quite why there should be a difference between the two is well beyond the remit of this article, but what’s clear is that somewhere along the line we have collectively forgotten why we felt the need to ratify access to nature and greenery as a basic human right for young people. As self-appointed world-builders, this needs to urgently improve, and architects stand as agents of that change.

Large parks create landmarks from natural assets, and understandably usually open with a fanfare after huge investment and lengthy build times. Writing this from Manchester, a city that has historically undervalued nature to such an extent it built over its own rivers, Mayfield immediately springs to mind. Completed in 2022 at a cost of £1.4billion, the space boasts wildflower gardens, riverside walkways and the kind of kids playground adults want to try out.

The fact it was the first park built in town for more than a century speaks volumes about how difficult we’ve made it to secure the land and money to realize green spaces, and shows relying on major projects is unlikely to bridge the gap between nature needs and wants of the majority. High quality, smaller scale interventions seem to be a much more effective way of bringing greenery to more people. It’s just a shame we still don’t seem to be dedicating enough time to identifying and unlocking suitable locations and seizing opportunities they present. If we did, chances are more people would be enjoying those nature benefits, not less.

Architizer's 13th A+Awards features a suite of sustainability-focused categories that recognizing designers that are building a green industry — and a better future. Start your entry to receive global recognition for your work!

The post Access to Nature Is a Human Right — and It Should Be an Architectural Priority appeared first on Journal.

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A Machine for Performing: The Perelman Arts Center Marks a New Era in Performance Architecture

The Main Entry Deadline for Architizer's 13th A+Awards is Friday December 6th! This season we're spotlighting the talent of architects who expertly balance global challenges with local needs. Start your entry.

I’m going to take a leap of faith and say that everyone who’s had a chance to visit the Perelman Performing Arts Center has walked away at least a little impressed. After all, it’s not every day you encounter a building that adapts so naturally to the needs of every performance and audience, making each visit feel fresh and unexpected.

Designed by REX Architecture, PAC is the final piece of the World Trade Center master plan, where a site once defined by loss has been reimagined through architecture, community and culture. First recognized with the A+Award for Unbuilt Cultural Project in 2019 and later awarded the Built Cultural Hall/Theatre prize after completion, PAC reflects REX’s deep expertise in shaping the future of performance spaces.

At Future Fest 2024, Joshua Ramus, the firm’s founding principal, discussed PAC alongside other key projects like the Lindemann Performing Arts Center at Brown University and the Wyly Theatre in Dallas, exploring how each project builds on their vision for adaptable, forward-thinking design. And while these ideas resonate across their work, PAC offers a particularly striking example — one that invites us to consider what lies ahead for performance architecture.

So, what does the future hold? How will PAC’s design influence the next generation of cultural spaces? And how does its presence help reshape the identity of Lower Manhattan? These are just a few of the questions that arise as we dive into the story behind this extraordinary project.

Complexity, Function, Form

Perelman Performing Arts Center at the World Trade Center by REX, New York City, New York

Perelman Performing Arts Center at the World Trade Center by REX, New York City, New York

When you hear the term performance architecture, you’re probably imagining something bold — large, eccentric and designed with the goal to stand out. For years, theaters leaned into spectacle, focusing on form to make a statement. But that’s not the direction REX took with the Perelman Performing Arts Center (PAC). Instead, PAC embraces a different philosophy, one rooted in simplicity on the surface, with complexity revealed over time.

“Some architects want to create complex buildings that reveal themselves to the user over time. We wanted to create the inverse — a building that seems incredibly simple, yet, every time you visit, you have a radically different experience and the more you engage with it, the harder it becomes to understand how all these experiences are contained within one seemingly small, simple structure,” explains Ramus.

PAC’s design shifts focus away from architecture as spectacle, directing attention instead toward the experiences it enables. With its understated marble-wrapped cube, the building achieves complexity through the performances it supports, rather than through form alone.

Perelman Performing Arts Center: Diagram of the façade materials

The façade is constructed from ½-inch-thick translucent Portuguese marble, laminated with glass to prevent water infiltration and manage thermal expansion. During the day, the marble panels give the structure a grounded, stone-like presence. At night, light from within passes through the marble, causing the building to glow softly, hinting at the creative energy inside. Each panel’s veining is carefully arranged through book-matching to create symmetrical patterns on all sides, adding a subtle layer of precision beneath the simplicity.

Radical Flexibility: Adaptive Performance in Action

Perelman Performing Arts Center: Floor plan / Section of the three theaters

Perelman Performing Arts Center: Mechanical infrastructure beneath the stage

Building on this idea that the space is tailored towards the function it serves, PAC functions as an adaptable system that evolves with each performance. Three reconfigurable theaters — the Zuccotti, Nichols and Duke — are at the heart of this system. Rather than operating as independent spaces, these theaters work together to offer ten distinct layouts, with configurations ranging from intimate setups to expansive formats.

As Ramus put it, “The idea was for the building to react to the art, not the art to the building.” This philosophy is reflected in the mechanics behind PAC’s design. Modular floor systems, moving balconies and adjustable seating arrangements — adapted from container-moving technology — allow for 62 possible stage-audience configurations. These tools offer not just variety but efficiency, minimizing the resources needed for reconfiguration.

Perelman Performing Arts Center: Modular configurations of the theaters in various layouts

The flexibility extends beyond the stage. Public and backstage areas can shift depending on the performance, with spaces transforming fluidly between front-of-house and back-of-house roles. Audience arrangements are equally versatile, with patrons positioned along the theater’s perimeter, clustered at the center, or even surrounding the performers. This approach gives each visit a sense of discovery—as if every performance unlocks a new possibility within the same structure.

Perelman Performing Arts Center at the World Trade Center by REX, New York City, New York

This design philosophy culminates in what REX refers to as a “mystery box” — a building that offers something new and unexpected each time. By striking a careful balance between mechanized and manual systems, PAC allows for quick reconfigurations without overwhelming complexity. The result is a performance space that adapts effortlessly, giving both artists and audiences the freedom to explore and innovate in ways not typically possible in traditional venues.

Sound as Architecture

PAC’s acoustic design aligns with the building’s core philosophy: “adaptability without compromise.” More often than not, multi-use venues try to perform well across various formats, but as a result they excel at none. PAC avoids this by treating sound as a malleable tool, shaped to fit the unique needs of each performance. But how? Two main aspects stand out.

1. The Acoustics of a Forest Clearing

Perelman Performing Arts Center at the World Trade Center by REX, New York City, New York

Rather than locking in one acoustic identity, the building allows sound to shift and adjust with each performance.

Ramus recalls what Carl Giegold from Threshold Acoustics told him: “We need to create a forest clearing,” Carl told me. “Why? It’s a boundaryless space. And that doesn’t mean the sound goes out and never comes back—the sound goes out and it will eventually hit something—leaves, branches, trees—and it will always come back. So this holds the energy, but you just don’t know the acoustic signature of the space. In this space, we could then create different acoustic signatures depending on the performance.”

To replicate this effect, PAC uses walnut planks with scoops cut by crown molding knives. Each plank has one, two, or three scoops, ensuring varied reflections. Arranged in 258 possible combinations, the planks scatter sound unpredictably, similar to how leaves and branches diffuse sound in a forest. This setup prevents sound waves from following set paths, creating an acoustic environment that holds energy while remaining adaptable to different performances. Variable acoustic banners within the catwalks allow fine adjustments, letting sound engineers shape reverberation and reflection to fit the needs of each show.

2. The Box-in-a-Box: Keeping the World Out

Perelman Performing Arts Center: Cutaway view showcasing the modular, box-in-a-box theater design

PAC’s theaters not only shape sound internally but also block external noise; this feature is critical given the building’s location above train lines, highways and high-security infrastructure. Each theater operates as a box-in-a-box, meaning it is an independent structure within the larger building. This design isolates the theaters from vibrations and noise generated by the bustling infrastructure below.

These internal boxes sit on high-density rubber pads, which absorb vibrations and prevent sound transfer between theaters. This ensures that multiple performances can run simultaneously without interference. The layers of the structure, along with the rubber isolation, create a controlled acoustic environment free from external disruption.

The Future is Flexible

With all of this in mind, one thing is certain: the PAC sets a new standard for performance spaces, one that prioritizes adaptability, function and creative freedom over spectacle.

REX’s approach shows that the future of performance architecture lies in spaces that are not only beautiful but agile, built to change with the needs of each production. The Perelman Performing Arts Center, with its “mystery box” design and creative use of materials, marks a beginning of a new era — one where architecture no longer dictates the experience, but supports it, giving art and performance the freedom to take center stage.

Register to view the recording of Joshua Ramus’ 2024 Future Fest presentation, in which he presents the genius of the Perelman Performing Arts Center’s flexible design in detail:

Watch Full Presentation 

The Main Entry Deadline for Architizer's 13th A+Awards is Friday December 6th! This season we're spotlighting the talent of architects who expertly balance global challenges with local needs. Start your entry.

The post A Machine for Performing: The Perelman Arts Center Marks a New Era in Performance Architecture appeared first on Journal.

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