Articles by Jon Astbury

Moving calligraphic scrolls will continually plot the response of visitors to a series of questions about architecture’s intangible qualities at the Singapore’s Venice Architecture Biennale pavilion, which is unveiled exclusively here. Named When is Enough, Enough? The Performance of Measurement, the pavilion was designed by curators Melvin Tan, Adrian Lai and Wong Ker How and seeks

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Columns made from thick wooden logs fill this office in Nagoya City, Japan, created by local studio Tomoaki Uno Architects at the base of a former apartment block. Named Forest Office, the small workspace was commissioned by a client who simply requested that “something interesting” be created within half of his office space. It was Tomoaki

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Mirrored panels and Siberian larch cladding characterise Harwell Hide, a cluster of workspace pavilions designed by London studio Bell Phillips to blend into its surroundings in Oxfordshire. Located at the rural Harwell Science and Innovation Campus, the angular pavilions are constructed from cross-laminated timber (CLT) and set on tubular steel foundations to touch the landscape

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Visualization and technology have long gone hand in hand. It is, after all, a means of representing architecture that has relied on technological developments to keep up with the demands of a growing audience across multiple industries. But the fact that the two are inseparable does not mean that technology should dictate the way in which visualization is used. As technology advances, so too does its ability to become less obtrusive, allowing technological know-how to take a back seat in favor of the creative process and design exploration.