One of the main attractions of 2018’s Burning Man Festival was the ORB, designed by Bjarke Ingels, Iacob Lange & Laurent de Carniere. The inflated spherical mirror was created as a conceptual representation of Earth and human expression, leaving no trace after its deflation. The project consumed 30 tons of steel, 1,000 welding and sewing hours, and $300,000 of personal funds to make the ORB come to life.

As part of their mini-film series, creative duo another : have collaborated with music composer Yu Miyashita and released a short video that explores the process of creating the ORB in an otherworldly way.

Known for his daring neo-futurist sculptural buildings and over 50 bridges worldwide, Santiago Calatrava (born July 28, 1951) is one of the most celebrated and controversial architects working today. Trained as both an architect and structural engineer, Calatrava has been lauded throughout his career for his work that seems to defy physical laws and imbues a sense of motion into still objects.

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Open More Doors is a section by ArchDaily and the MINI Clubman that takes you behind the scenes of the world’s most innovative offices through exciting video interviews and an exclusive photo gallery featuring each studio’s workspace.

China seems to be at the peak of a refurbishment fever. Not only hutongs in historic downtowns, but abandoned industrial factories are becoming new tech or cultural hubs, and even buildings in the risk of collapse are refurbished to extend their lifespan. Why is this happening? Who is investing? How could this happen in a country where you cannot buy properties?

In this edition of Editor's Talk, our editors from ArchDaily China share their thoughts on how in a fast-paced development process, such as the one China is going through, there is a refurbishment fever in its biggest cities.

As founder of the “Do Tank” firm ELEMENTAL, Chilean architect Alejandro Aravena (born on June 22, 1967) is perhaps the most socially-engaged architect to receive the Pritzker Prize. Far from the usual aesthetically driven approach, Aravena explains that “We don’t think of ourselves as artists. Architects like to build things that are unique. But if something is unique it can’t be repeated, so in terms of it serving many people in many places, the value is close to zero.” [1] For Aravena, the architect’s primary goal is to improve people's way of life by assessing both social needs and human desires, as well as political, economic and environmental issues.

Mainly known outside of his home country for his design of the 2014 Serpentine Gallery Pavilion, architect Smiljan Radić (born June 21, 1965) is one of the most prominent figures in current Chilean architecture. With a distinctive approach to form, materials, and natural settings, Radić mostly builds small- to medium-sized projects that flirt with the notion of fragility.

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Japanese architect Junya Ishigami's 2019 Serpentine Pavilion is taking shape in London. A series of photographs by Laurian Ghinitoiu showcase the project and its flowing, free-form roof. Ishigami is the second-youngest designer of the pavilion, and his work is known for a light and ephemeral approach. The design for the 2019 pavilion takes the form of a slate sheet rising from the landscape of the park, held up by pilotis that form an interior field.

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Arguably the leading name of a generation of internationally high-profile British architects, Norman Foster (born 1 June 1935)—or to give him his full title Norman Robert Foster, Baron Foster of Thames Bank of Reddish, OM, HonFREng—gained recognition as early as the 1970s as a key architect in the high-tech movement, which continues to have a profound impact on architecture as we know it today.

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As we have seen throughout the history of architecture, ephemeral installations and pavilions are important tools for talking about specific moments in architecture in an almost immediate way. While it is true some pavilions have been so relevant that they broke with their ephemeral quality to become permanent, such as the German Pavilion in Barcelona, designed by Ludwig Mies van der Rohe and Lilly Reich, most are documented in photographs, plans and experiences to be rewritten in future projects.

Although ancient buildings carry compelling architectural presence, demolition or radical change is often their fate. While some architects prefer to introduce thoroughly new structures, others choose to honor the works of historic architects, who built the basis and foundations of structures that helped shape up cities today.

For the refurbishment of Paris’ Hotel Fouquet Barrière, located one block facing Avenue des Champs Elysées, Edouard François was selected to renovate the entire property, including offices, spa services, façade, and courtyards. François’ design strategy was rather unambiguous, using only two keywords as reference: “COPY-EDIT”; a reinterpretation of the “old” through contemporary technologies and modified material.

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