In case you haven't checked out Archinect's Pinterest boards in a while, we have compiled ten recently pinned images from outstanding projects on various Archinect Firm and People profiles.Today's top images (in no particular order) are from the board Glass. Tip: Use the handy FOLLOW feature to easily keep up-to-date with all your favorite Archinect profiles. ↑ Glorya Kaufman Performing Arts Center in Los Angeles, CA by AUX Architecture; Photo: Nic Lehoux ↑ Raffles City Beijing in Beijing, China by CLOU architects ↑ Amirá in Querétaro, Mexico by Archetonic; Photo: Rafael Gamo ↑ Ishida Tokyo Regional Headquarters in Tokyo, Japan by NIKKEN SEKKEI; Photo: Ken’ichi Suzuki ↑ Poetry Anthology of Light in Guangzhou, China by PMA STUDIO; Photo: Jason Xie ↑ RLJ Chapel in San Juan Cosalá, Mexico by Ricardo Yslas Gámez Arquitectos; Photo: Jaime Navarro Soto ↑ Mountain Villa in Huizhou, China by BDSD Boundless Design; Photo: Hanmo Vision Yi Gao ↑ PLP City Range mixed-use in Bangkok, Thailand by...

Gironda Residence | © Simone Bossi Located just steps from Piazza del Popolo in Ravenna, the Renaissance-era Casa Guaccimanni holds centuries of architectural and historical weight. Constructed in the fifteenth century for the Venetian podestà Nicolò Giustinian, the building evolved through noble ownership and later became home to Vittorio and Alessandro Guaccimanni, sons of Risorgimento figure Luigi Guaccimanni. Architecturally, the structure is characterized by a tripartite plan with a central corridor flanked by large rooms, an interior courtyard with a double loggia, and decorative elements spanning Renaissance to Neoclassical periods. Once concealed beneath plaster, its frescoed veranda and exposed wooden ceilings speak to a layered history of intervention, concealment, and rediscovery. Gironda Residence in Casa Guaccimanni Technical Information Architects1-13: Giovanni Mecozzi Architetti Location: Casa Guaccimanni, Via Armando Diaz, Ravenna, Italy Client: Emanuela Docimo Project Years: 2022 – 2024 Original Structure: 15th Century Photographs: © Andrea Sestito, © Simone Bossi, © Omar Sartor The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension. – Giovanni Mecozzi Gironda Residence in Casa Guaccimanni Photographs © Omar Sartor © Andrea Sestito © Andrea Sestito © Andrea Sestito © Omar Sartor © Simone Bossi © Simone Bossi © Simone Bossi © Omar Sartor © Omar Sartor © Omar Sartor © Andrea Sestito © Omar Sartor Design Intent: Reversibility and Temporal Tension The recent architectural project by Giovanni Mecozzi Architetti centers on the noble floor of the palazzo, reinterpreted as a contemporary residence named Gironda. Rather than imposing a new visual regime onto the historic shell, the intervention operates with restraint, foregrounding the building’s original character while establishing new spatial and material conditions. At the core of the project lies a design philosophy rooted in reversibility. Mecozzi’s intervention resists permanence. The furnishings and spatial devices introduced into the historic rooms are self-supporting and detached from the structure. No new element makes physical contact with the floors, ceilings, or walls, preserving the integrity of the original surfaces. This strategy avoids irreversible alterations and allows the architecture to remain temporally flexible. Architect Giovanni Mecozzi articulates this approach succinctly: “The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension.” This spatial tension is not decorative but conceptual, prompting occupants to consider the relationship between historical continuity and contemporary transformation. The design does not attempt to erase time but rather exposes its layers through careful juxtaposition. The project draws conceptual and chromatic inspiration from Ravenna’s early Christian and Byzantine mosaics. Rather than replicate ornamental motifs, Mecozzi extracts abstract qualities such as color, luminosity, and surface texture, integrating them as subtle spatial references throughout the residence. Gironda Residence Material Strategy Access to the residence is organized through a longitudinal hallway that bisects the plan, connecting a balcony on the north façade with a loggia overlooking the garden to the south. This corridor becomes a spine for circulation and orientation, punctuated by entries into five main rooms: the kitchen, veranda, and three independent suites. Each suite functions as a self-contained spatial environment. The original large rooms have been reimagined with integrated volumes housing diverse domestic functions: bathrooms, saunas, walk-in closets, reading nooks, and home cinemas. These new programmatic layers are embedded within freestanding furniture structures, which operate more as inhabitable objects than architectural partitions. Color becomes an operative tool for spatial differentiation. The three principal suites, the Gold Room, the Blue Room, and the Green Room, are introduced chromatically through thresholds that face the main corridor. This prelude of color sets the tone for each room’s unique interior experience. Within, glossy glass tiles, gilded surfaces, and a reduced palette of materials establish a scenographic yet restrained environment. The flooring, a Venetian terrazzo installed during earlier restoration work in the 2000s, has been retained. Its beveled borders and rounded corners respond to the proportions of each room, reinforcing a visual continuity that binds the new interventions with the inherited context. In contrast to the historical envelope, the furniture and spatial devices employ a language of monochromatic forms and minimal detailing, occasionally verging on neoplastic abstraction. This tension between old ornament and new abstraction is one of the project’s defining features. Furnishings curated by Atelier Biagetti, known for their theatrical and ironic sensibility, further enrich the atmosphere. These pieces do not mimic the historical setting but create moments of visual friction and playful ambiguity, enhancing the multi-temporal character of the interiors. Architectural Significance and Cultural Dialogue The Gironda residence exemplifies a growing discourse in contemporary architecture around adaptive reuse that neither mimics nor erases the past. Rather than treating heritage as a constraint or an aesthetic to be curated, Mecozzi engages it as an active agent in spatial transformation. The project is a case study in reversible architecture, where temporality is embedded in the design, not just its historical references. This intervention prompts broader questions about the role of preservation in contemporary practice. Can architectural interventions occupy historic contexts without becoming parasitic or nostalgic? Mecozzi’s project suggests that they can adopt a posture of critical distance and conceptual clarity. Gironda does not attempt to restore Casa Guaccimanni to a previous state or impose a singular vision of modernity. Instead, it crafts a dialogue between past and present, structured through spatial strategies, material choices, and chromatic cues. In doing so, it opens a new chapter in the building’s ongoing life, one that is fully contemporary yet deeply rooted in architectural memory. Gironda Residence in Casa Guaccimanni Plans Floor Plan | © Giovanni Mecozzi Architetti Golden Room Layout | © Giovanni Mecozzi Architetti Door Detail | © Giovanni Mecozzi Architetti Gironda Residence in Casa Guaccimanni Image Gallery About Giovanni Mecozzi Giovanni Mecozzi is an Italian architect based in Ravenna, Italy, and the founder of Giovanni Mecozzi Architetti (GMA), a multidisciplinary studio specializing in architecture, interior design, and landscape projects. After graduating from the University of Ferrara with an architecture degree, Mecozzi gained international experience working in Spain, including collaborating with Mendaro Arquitectos in Madrid. Upon returning to Italy, he co-founded GMA, focusing on projects emphasizing the relationship between architecture, the client, and the context, with a particular interest in renovating and transforming historical buildings.  Credits and Additional Notes Design Team: Giovanni Mecozzi, Cecilia Verdini, Filippo Minghetti Construction: Edilcostruzioni (Leoni Andrea) Electrical Systems: Elektra Service (Andrea Baiardi) Mechanical and Hydraulic Systems: Nuova OLP Structural Alterations: Not applicable (intervention is fully reversible) Custom Furniture: Idea Legno (Paolo Berdondini) Curtains and Fabrics: Selezione Arredamenti, Ravenna Lighting: Viabizzuno (via Tutto Luce, Cesena) Resin Coatings and Flooring: Kerakoll Rugs and Carpeting: Centro Moquette, Rimini Bathroom Furnishings: Salaroli, Ravenna Furniture, Artwork, and Design Objects Selected by: Atelier Biagetti (Milan) Furniture Designers: Alberto Biagetti and Laura Baldassarri

In case you haven't checked out Archinect's Pinterest boards in a while, we have compiled ten recently pinned images from outstanding projects on various Archinect Firm and People profiles. Today's top images (in no particular order) are from the board Houses. Tip: Use the handy FOLLOW feature to easily keep up-to-date with all your favorite Archinect profiles. ↑ San Angel House in Querétaro, Mexico by Miguel Concha Arquitectura ↑ Sylvan Lake House in Alberta, Canada by Actual Architecture Co.; Photo: Bruce Damonte ↑ Trancas House 2.0 in Malibu, CA by Lorcan O'Herlihy Architects [LOHA]; Photo: Paul Vu ↑ Poplar Grove in Washington, DC by BLDUS; Photo: Ty Cole ↑ Black Fox Ranch in Jackson, WY by CLB Architects; Photo: Matthew Millman, Kevin Scott ↑ Casa Patios in Mexico City, Mexico by Ricardo Yslas Gámez Arquitectos; Photo: Jaime Navarro ↑ Anna Maria House in Anna Maria, FL by Halflants + Pichette; Photo: Bill Speer Photography ↑ Jardim do Sol House in Porto Alegre, Brazil by Hype St...

Submitted by WA Contents Three circular volumes create Villa Noon in Sotogrande designed by Fran Silvestre Arquitectos Spain Architecture News - May 30, 2025 - 12:29   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Valencia-based architecture practice Fran Silvestre Arquitectos has revealed design for a house composed of three circular volumes in Sotogrande, Spain.Named Villa Noon, the house is thoughtfully incorporated into a topographically defined setting, utilizing the slope of the ground to open each volume onto a distinct horizon. In order to achieve visual harmony with the natural environment without leaving an unwelcome footprint on the landscape, the house's layout, which is divided into five circular sections, was designed to seamlessly blend with the surroundings.Every one of these pieces has a rear patio that offers protection from the strongest winds and a front terrace that shields from the sun. In addition to optimizing orientation, this circular geometry reduces the volumetric impact, enabling the building to interact with the landscape in a controlled and deliberate manner. The outside materiality gradually integrates into its surroundings because it was constructed from indigenous Sierra Elvira stone, which has white veins and grey tones. This organic texture will eventually blend in as though it were a natural feature of the relief of the ground.A spacious, open vestibule that serves as a threshold between the outside and the inside of the villa is the entryway. It is surrounded by a curved wall. Visitors are introduced to a series of chambers that adjust to the various terrain levels in this transitional area. While the day area unfolds on a lower platform, open to the landscape and directly connected to the outdoors, the night area is located on a higher level, apart from the other functions.The well-being areas, like the gym, are located on the same floor and provide both practical and visual connections to the separate visitor area. Each zone's privacy is protected by this tiered arrangement, which also keeps the composition's overall spatial continuity flexible. By combining geothermal and aerothermal technologies, the house produces an excess of electricity and becomes energy self-sufficient. A mechanism for atmospheric water condensation is also included, which draws moisture from the air for household usage.Techniques including choosing native plant species based on their water requirements, utilizing natural mulch to prevent evaporation, and installing a drip irrigation system that only turns on when required are used to cut down on water usage in the garden. While infiltration trenches, also known as swales, filter and direct rainfall, green roofs enhance insulation and collect rainfall. This system is completed by permeable surfaces and cisterns, which enable the collected water to be stored and used again.By taking these steps, the house also becomes self-sufficient in water, which is a very reasonable objective in this region of Spain, which is the wettest in the nation due to the Sierra de Grazalema."We have always been fascinated by how the Namib Desert beetle collects water: in an extremely arid environment, this insect tilts its body into the wind to condense fog on its shell, whose surface combines areas that attract water and others that repel it, allowing the droplets to slide directly into its mouth," said Fran Silvestre Arquitectos."A natural lesson in efficiency that inspires and reinforces the logic of this system," the firm added.The idea is reminiscent of architectural works like Kazuyo Sejima's Villa in the Forest and Arne Jacobsen's Leo Henriksen House, whose circular shapes and attention to the environment served as inspiration. In contrast to radiocentric solutions, this proposal chooses what we refer to as "the squaring of the circle": service areas are included into irregularly shaped zones, while residential spaces are resolved through an orthogonal floor plan. In the end, we anticipate that this architecture will blend in with its surroundings over time, appearing to be a component of a karstic relief.SketchRoof level planFirst floor planGround floor planBasement floor planSectionRecently, Fran Silvestre Arquitectos unveiled design for a winery with curvacious form adressing winemaking process in Zayas de Báscones, Soria, Spain. In addition, the firm completed a house featuring irregularly shifted volumes on an irregularly shaped plot within Altos de Valderrama, in Sotogrande, Spain.Project factsProject name: Villa NoonArchitects: Fran Silvestre ArquitectosLocation: Sotogrande, Spain.Developer: Cork Oak MansionAll renderings & drawings courtesy of Fran Silvestre Arquitectos.> via Fran Silvestre Arquitectos

Architect: PPAALocation: Santiago de Querétaro, MexicoCompletion Date:2024Sometimes all it takes to deliver a successful project is a client who is willing to take a chance. When a past residential customer approached Pablo Pérez Palacios, principal of his eponymous firm, Pérez Palacios Arquitectos Asociados (PPAA), about an expansion of an office for the premium dairy company Lyncott in Santiago de Querétaro, Mexico, the architect suggested something unusual: a modular structure made entirely of cross-laminated timber (CLT). In Mexico, as Pérez Palacios explained to AN, concrete is considered the de facto building material. In fact, when the client asked for examples of similar wood construction in Mexico, there simply weren’t any. Adding to the complexity, the architect advocated to use a polycarbonate system by the manufacturer Danpal as the facade. Essentially, Pérez Palacios was proposing a never-used (in Mexico) structure clad in a translucent envelope that would obscure most views from the interior offices. In theory, it sounded crazy. The building’s exterior is clad entirely in Danpal, a polycarbonate system, and connected to a cross-laminated timber frame. (Fabian Martínez) Fortunately, the client, who had recently risen to the top spot in the family-owned company, engaged with Pérez Palacios. At first, the executive told him, “I’m sure you won’t take this project, because it’s in an industrial park with zero budget,” recalled the architect, a past AN Interior Top 50 honoree. “I told him I’d take the project, without telling him that in the back of my mind, I knew I was going to do it out of wood.” Pérez Palacios had to overcome two hurdles from the outset: how to keep costs down despite CLT being a more expensive material than concrete and finding workers who could deliver on the construction. Fortunately, Vigalam, a company that manufactures prefabricated wood structures was located in the same office park as Lyncott, virtually eliminating shipping costs and simplifying the contracting. The team enlisted representatives from Danpal to install the facade system. The company sent a team to place and attach the panels, an exacting process that involves a clip to which a frame is attached and which then receives the polycarbonate pieces. Inside, the framing systems of the CLT and Danpal meet. (Fabian Martínez) Pérez Palacios is either a sly salesman or an eccentric designer—or both—but he managed to pull off one of Mexico’s first all-CLT projects and one of the most striking industrial buildings in recent memory. PPAA connected the thin 10,900-square-foot office expansion to an existing structure. Here the light, efficient addition contrasts the heavy, inefficient existing conditions; Pérez Palacios explained that the original steel and concrete building operates 24 hours a day to support the dairy plant and relies on artificial light. As PPAA captioned an Instagram post about the project, “This new intervention addresses the challenge of balancing the industrial character of the context with a serene and conscious environment focused on connecting with nature.” The translucent facade allows light into the offices and exposes the wood frame from the exterior. (Fabian Martínez) One of the most intriguing aspects of the facade is its lack of transparent glass, though Pérez Palacios noted that there are windows along the side of the building facing the dairy plant. “When you’re in an office, you’re not looking at the view. You are looking at a screen,” he said. “To create an atmosphere with natural light, it’s super nice if you’re going to be sitting at a computer for eight hours a day.” Besides, he added: “There’s nothing to see outside. It’s an industrial park.” The offices are bathed in light via the translucent facade. (Fabian Martínez) PPAA has completed two translucent projects previously: a now-finished office building in China that employed fabric and a housing prototype for a 2022 exhibition at Crystal Bridges Museum in Arkansas. “It was our interpretation of an affordable housing project—and we used Danpal!” Pérez Palacios exclaimed. Still, the dairy building project is the first time he put his theories about Danpal into practice. “We created this translucent envelope that allows people to work in natural light all day long,” Pérez Palacios explained. “It has solar capacities; it blocks the sun rays. It requires zero maintenance and protects the interior structure.” PPAA used wood for the entire structure, including beams, columns, and ceilings. (Fabian Martínez) Efficiency was part of the selling point to Lyncott, whose leader worried about the building’s lightness. “I had to tell him, ‘Don’t worry, it won’t blow away,’” Pérez Palacios recalled with a laugh. He went on to connect the agricultural aspects of the client’s business to the sustainability of building with these methods. The wood reduces the structure’s carbon footprint, and an all-glass facade would have run up the air-conditioning bills. Instead, Lyncott’s new building redirects the sun, part of the reason it has become something of an attraction in Mexico. Pérez Palacios foresees bringing students for site visits, and Danpal has shown the site to potential clients. PPAA has even sold the idea of mass timber construction to a skeptical audience: Now the firm has two more wood projects in the pipeline. Project Specifications Architect: PPAA Structural engineering: Vigalam Electrical engineering: ROA Civil engineering: Consulta Urbana Lighting design: PPAA Facade system: Danpal Glass: Consulta Urbana Roofing: Aircrete Interior finishes: Alfombras de Mexico Fixtures: Biticino Lighting: Magg Furniture: PM Steele, Vipp

Building with Communities: Rural Schools That Integrate Local Techniques and Materials in Latin AmericaSave this picture!Jerusalén de Miñaro Primary School / Semillas. Image © Eleazar CuadrosIn an effort to foster a sense of belonging among its inhabitants, to value ancestral cultures, and to preserve identity, the Latin American region embraces an architecture rich in nuances and regional characteristics. The use of local materials and construction techniques, or the dialogue between modular and vernacular approaches, among other aspects, reflect the intention to promote the involvement of native communities, students and their families, Iindigenous peoples, and local builders in the design and construction processes of a wide variety of rural schools throughout Latin America.According to the World Bank report, "Indigenous Latin America in the Twenty-First Century", it is estimated that around 42 million people belonging to indigenous communities live in Latin America. Mexico, Guatemala, Peru, and Bolivia are among the countries with the largest Indigenous populations, together accounting for over 80% of the regional total. From an architectural perspective, maintaining a dialogue that understands and respects the cultural and spiritual particularities of Indigenous peoples enables projects that preserve their identity and reflect their cultural heritage. La Piedra School by Correa 3 Arquitectos in Chile, for example, is designed for the Mapuche community of Galvarino, incorporating elements such as the circle, the cardinal points, and orthogonality, along with the integration of the sun, moon, and earth, and a space dedicated to ceremonies with the sacred Canelo tree. Beyond fulfilling educational needs, the aim is to promote equality and a connection with nature and spirituality, reflected in the circular arrangement of the classrooms and the admission of the first ray of sunlight. In this way, the fundamental elements of their worldview are embedded in the project's conception. Save this picture!Continuing within the educational context, practices such as the Semillas association in the Peruvian jungle combine community engagement and participation with the implementation of bioclimatic strategies and the use of local resources, aiming to create an architecture that is connected to its natural environment and cultural history. Understanding the role of educational infrastructure as more than just school buildings, but as versatile and multifunctional spaces with a meaningful impact on community learning and development, collective collaboration practices seek to transmit concepts and knowledge about vernacular architecture while also meeting essential needs. The use of earth, wood, bamboo, brick, caña brava, and other materials reflects the diversity of construction methods and local identities found throughout Latin America’s varied geographies. Related Article Inhabited Landscapes: 20 Cultural and Community Centers in Rural Areas Save this picture!Below, discover a selection of six rural schools located in Mexico, Peru, and Brazil that have developed initiatives to involve local communities, along with their students and families, at different stages of the design and construction process. Lightweight structures, sloped roofs, flexible enclosures, and open-plan layouts are common elements shared among these six case studies, which demonstrate a broad range of community-driven responses and interventions suited to different conditions and environments. In fact, the use of wood and bamboo stands out in both interior and exterior spaces for its application in structures, furnishings, and finishes.Rural School in Oaxaca / Territorio EstudioSan Andrés Huayapam, MexicoSave this picture!After reflecting on the nature of contemporary educational spaces, the Rural School in Oaxaca uses recycled construction materials or materials sourced from within the local community in an effort to strengthen the bond between students, their environment, and the surrounding landscape. Additionally, the program becomes entirely educational by involving students in the regenerative processes taking place in the school’s open areas, such as a wetland for water treatment, a community garden, composting, and enclosures for sheep and chickens, all of which are part of the educational approach. In this way, the mostly local teaching staff aims to promote a closer social relationship between the local population and the school space.Save this picture!El Huabo Primary and Secondary School / SemillasPeruSave this picture!In the jungle of northern Peru, the primary and secondary school for the village of El Huabo was developed through a participatory design and construction process involving the community and students. Through a carpentry workshop, students built school furniture during “Education for Work” classes (a course in the national curriculum), while landscaping workshops were held to improve the school gardens in cooperation with the La Agencia Agraria de San Ignacio. Moreover, an educational coffee farm was established thanks to collaboration with the company Volcafe. All these actions enabled multiple educational projects to run in parallel with the school’s construction, resulting in what the project team calls a “living school,” where the beneficiaries are also the creators.Save this picture!Ecoara Waldorf School / Shieh Arquitetos AssociadosValinhos, BrazilSave this picture!The Waldorf Ecoara School is an associative school where parents play an active role. As a result, a construction activity was created to foster a sense of belonging within the group. The walls were built using the traditional taipa de mão technique, which involves weaving vertical and horizontal wooden slats into the main structure to form large panels that are then filled with compacted clay. This activity, carried out by both parents and children, was both playful and symbolic. In addition, specialists in rammed earth provided hands-on training for the Ecoara community and construction workers. The idea was to promote the use of this technique, largely forgotten in its traditional form and still rarely used in its modern variant, while incorporating appropriate technological controls for the material mix.Save this picture!Jerusalén de Miñaro Primary School / SemillasSan Martín de Pangoa, PeruSave this picture!In the district of Pangoa, the project proposes an integrated work methodology involving cooperation among various national and international institutions and the community’s participation in every phase. During the diagnostic and design stages, workshops were held with students, parents, and teachers to identify the community’s needs, daily dynamics, and aspirations for the future school. Construction was guided by master builders and local workers, enabling the transfer of knowledge through on-site experience as well as training workshops throughout the process. In this way, the project initiates processes that foster knowledge exchange, revalue local material and human resources, and promote flexible spaces aligned with new educational approaches.Save this picture!Grow your School / Lucila Aguilar ArquitectosTuzantán, Chiapas, MexicoSave this picture!Aiming to improve the conditions of a school in the Unión Mexicana community in Tuzantán, Chiapas, the project combined pre-existing elements with new additions. Community volunteer participation was fundamental, as many of the construction tasks were carried out by locals. Children also took part in the rehabilitation activities by painting a mural on one of the facades. The goal was to nurture the children’s potential while fostering a sense of unity among community members, who were actively involved from the planning phase through to construction.Save this picture!Children Village / Rosenbaum + Aleph ZeroFormoso do Araguaia, BrazilSave this picture!The Children Village project advances efforts toward transformation, cultural preservation, the promotion of local building techniques, Indigenous beauty and knowledge, and the construction of a sense of belonging, vital for the development of the children at the Canuanã School. Interactive spaces such as a TV room, reading areas, balconies, patios, and hammocks make up the complementary facilities co-designed with the students to enhance quality of life and strengthen their connection to the school. In addition to housing more children, the new “villages” aim to boost the children’s self-esteem through the use of local techniques, building a bridge between vernacular methods and a new model of sustainable living.Save this picture! This article is part of an ArchDaily curated series that focuses on built projects from our database grouped under specific themes related to cities, typologies, materials, or programs. Every month, we will highlight a collection of structures that find a common thread between previously uncommon contexts, unpacking the depths of influence on our built environments. As always, at ArchDaily, we highly appreciate the input of our readers. If you think we should mention specific ideas, please submit your suggestions. Image gallerySee allShow less About this authorAgustina IñiguezAuthor••• Cite: Iñiguez, Agustina. "Building with Communities: Rural Schools That Integrate Local Techniques and Materials in Latin America" [Construir con las comunidades: escuelas rurales que integran técnicas y materiales locales en Latinoamérica] 24 May 2025. ArchDaily. (Trans. Piñeiro, Antonia ) Accessed . <https://www.archdaily.com/1030260/building-with-communities-rural-schools-that-integrate-local-techniques-and-materials-in-latin-america&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream