“Good Architectural Design” super-category

︳The A’ International Architecture, Building and Structure Design Awards; A’ Good Architectural Design: 20 Exemplary Winners From the 2022-2023 Cycle

︳Good architectural design can encompass a myriad of aspects, but can be generally regarded as buildings/constructions that are planned, designed and devised to be functional, aesthetic and durable. They can often be timeless designs, made for the benefit of the people who will inhabit them, and demonstrate a multi-disciplinary approach to space and interaction design. This is the spirit of the A’ Design Award and their “Good Architectural Design” super-category, which seeks to reward the best in architecture and design around the world.

︳As one of the world’s leading international annual juried competitions for design, the A’ Design Award & Competition highlights creative fields from all countries and disciplines, including categories such as Furniture, Decorative Items and Homeware Design, Lighting Products and Projects Design, Architecture, Building and Structure Design, and many more. Entries to the competition are peer-reviewed and anonymously judged by a jury panel of experienced academics, press members and established professionals.

︳For the A’ International Architecture, Building and Structure Design Awards, entries are open for architects, architecture offices, real estate developers, civil engineers and construction companies, and can include designs from the last 10 years. For more information on how to register and participate, visit the official website.

︳To inspire prospective contestants, we have selected 20 winning works from the “Good Architectural Design” super-category. To see more award-winning designs, visit the dedicated Design Magazine.

MCC Shengshi International Plaza Multifunctional Building by Aedas

The Circle Xinqiao Expatriate Children School by Coast Palisade Consulting Group Ltd.

Shenzhen Financial Culture Center Public Building by Xiaolin Ji

House in Yamate Residential House by Tatsuhiro Nishimoto

Szhk Science and Technology Project High Rise Office by Aedas

Cascading Terraces Residential Apartments by Potiropoulos and Partners

RB23 Boutique Residence Single Family House by Pawel Lis

Guangzhou Julong Bay Exhibition Center by Ann Yu

We Transforming Circular Economy Exhibition by Daisuke Nagatomo and Minnie Jan

Envisioning Beyond Legacy Exhibition by Oval Design Ltd.

Square Hsg Learning Center by Evolution Design

The Beijing Parade Restaurant by Ao Han

The Future Preface Exhibition Center by Robin Wang

Vicutu Concept Flagship Store by Antistatics Architecture

K11 Art Mall Retail by Carrie Ho

Moli Landscape Restaurant by Bo Zhou

Poly City Gather Sales Center by Melody Lau

Deji Cultural Complex Museum by Masato Kure and Masashi Ota

Square, Hsg Learning Center, Evolution Design.

Om onvervangbaar te zijn, moet je altijd anders zijn.
Er zijn fascinerende beelden hier, en de fascinerende dag van samen! xo
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Per essere insostituibili bisogna sempre essere diverso.
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architectural_design, building, Good_Architectural_Design, International, Structure_Design

In ‘Which World’

17/10/2023

Pat Perry Frames the Earnest and Eerie Moments of Midwestern Life in ‘Which World’ ︳In Which World, Detroit-based artist Pat Perry (previously) conjures

苗栗客家文學園遊客中心將自然、與文化環境融合

22/09/2025

該項目旨在將自然環境與文化環境融合，由當地客家聚落和礦業遺產共同塑造出苗栗客家文學園遊客中心使其成為觀景的媒介，並將遊客融入當地活動。遊客中心位於苗栗縣公館鎮客家文學園內，該地塊由當地客家聚落和礦業遺產共同塑造。中心坐落在後壟溪谷，視野開闊，設有一條通往群山的櫻花步道，並可直接眺望河對岸歷史悠久的礦坑。該項目旨在將自然環境與文化環境融合。建築盡量減少空間體量，強調週邊環境，使其成為觀景的媒介，並將遊客融入當地活動。設計摒棄了對客家文化的傳統解讀，而是從更廣闊的尺度分析場地，並以兩條主軸線為主導，分別面向景觀和文化肌理。一條軸線與山巒和山谷平行，延伸至福德村，為遊客提供開闊的視野，同時巧妙地將他們引向聚落。另一條軸線沿著夏至的太陽路徑，連接歷史礦區與西北方向的未來文學博物館，成為地面層的主要交通流線。建築由一個大屋頂和多個較小的幾何體量構成，強化了視線和動線的軸向聯繫，同時滿足了功能需求。其形態呼應了廣闊的自然和歷史文脈，並利用結構的方向性，謙遜地展現苗栗的自然之美。建築軸線透過景觀步道、連接室內空間的半室外走廊以及延伸回室外的過渡通道連接起來，使空氣、光線、風和現有生態環境自由流通。建築中心的屋頂下方是一個大跨距的半室外廣場，為公共活動和自發性活動創造了一個開放的聚集空間。橫跨廣場的三角桁架系統不僅體現了軸線的幾何關係，也克服了大跨距帶來的結構挑戰。材料性巧妙地詮釋了客家文化。板狀混凝土令人聯想到堆疊石牆的堅固，而懸掛的陶土磚影壁則喚起了傳統客家民宅的觸覺記憶。影壁上的穿孔過濾著沿著軸線移動的陽光，強調了自然的作用，並展現了源自場地自身文化、景觀和日常活動的美感。

Lakota與西方藝術史在Dyani White Hawk充滿活力的作品中交融

13/10/2025

縱觀歷史，那些掌握最大權力或資源的人的故事通常被載入教科書，代代相傳，並銘刻在我們的集體意識中。如果不刻意去努力，我們很難聽到不只一個故事，在藝術史上，現實也大致如此。但那些長期以來被忽視的、極其廣泛的藝術形式——尤其是原住民藝術形式——又該如何看待呢？縱觀歷史，那些掌握最大權力或資源的人的故事通常被載入教科書，代代相傳，並銘刻在我們的集體意識中。如果不刻意去努力，我們很難聽到不只一個故事。在藝術史上，現實也大體如此。從米開朗基羅這樣的文藝復興巨匠，到傑克遜波洛克這樣不羈的美國現代主義藝術家，白人男性藝術家始終享有特權。例如，19世紀美國風景畫的根基與「昭昭天命」的信仰密不可分，當時美國政府正大力向西擴張。西方繪畫和雕塑在歷史上一直佔據著畫廊和拍賣行等市場主導地位。但那些長期以來被忽視的、極其廣泛的藝術形式——尤其是原住民藝術形式——又該如何看待呢？對西恰日烏拉科塔族藝術家戴亞妮·懷特霍克（Dyani White Hawk）而言，美國藝術史的建構是她跨領域實踐的核心。「她揭露了長期以來支配文化合法性、權威性、價值和可見性的排他性等級制度，」亞歷山大·格雷聯合公司（Alexander Gray Associates）和博克利畫廊（Bockley Gallery）的一份聯合聲明中寫道。 “從這個角度來看，懷特霍克將原住民藝術和西方抽象藝術重新定義為不可分割的實踐——它們通過共同的歷史聯繫在一起，而主流敘事卻竭力將其割裂和模糊。” 巴勃羅·畢卡索有句名言：「好的藝術家抄襲，偉大的藝術家竊取。」如果不是他對非洲面具的痴迷，像《亞維農少女》以及其他創作於20世紀初的開創性畫作就不會存在。懷特霍克將20世紀的色域藝術與極簡主義運動進行了類似的對比，以強調美洲原住民藝術形式在這些風格演變中的影響。她引導觀眾思考這些觀念如何塑造我們的美感感知和判斷，同時也思考文化記憶和社群的角色。懷特霍克的作品涵蓋繪畫、雕塑、攝影、表演和裝置藝術。除了油畫和壓克力顏料外，她還運用了拉科塔藝術形式中常用的材料，例如珠子、豪豬刺和鹿皮。「我致力於創作誠實、包容的作品，汲取我豐富的人生經歷，」懷特霍克在一份聲明中說道，融合了原住民和非原住民、城市、學術和文化教育體系的影響。她繼續說： “這讓我能夠從中心出發，加深對自我與文化的複雜性、個人歷史與國家歷史之間的關聯，以及原住民藝術史與主流藝術史之間的理解。” 從精心串珠的服飾到抽象的鹿皮畫，白鷹畫廊 (White Hawk)