Last year I saw Beatriz Colomina present Radical Pedagogies, a research project that she led together with PhD students at Princeton University School of Architecture. Radical Pedagogies focuses on schools and programs from around the world that emerged postwar, strongly tied to social changes of the time. The material produced over three years of seminars, interviews and archive digging shows a compelling story of the ways that "architectural pedagogy" have impacted today's architecture education.

Invited to the Monditalia section of the Venice Biennale, Radical Pedagogies paints a global picture while focusing on some of the strong Italian influences of these new movements—such as Lina Bo Bardi in Brazil and Aldo Rossi in Argentina—in an interactive exhibit that includes augmented reality content by dpr-barcelona.

The exhibition was awarded a Special Mention, cited by the jury for "highlight[ing] the emergence of new poles of architectural thinking in the current world and mak[ing] these accessible as a living archive. The research project is part of an ongoing global project that shows that knowledge is produced and develops in a networked way beyond national borders and national identities."

We wanted to show our readers more about this project, but focusing on the physical armature of the exhibit, a dimension that is often ignored from a technical point of view. That's why we asked Chilean practice Amunátegui Valdés Architects to share the architectural details of the Radical Pedagogies: Action - Reaction - Interaction exhibit and construction. Read more after the break.

Morocco was heavily influenced by European modernism due to its strategic position in Northern Africa. It was governed as a European protectorate for much of the 20th century, and it was in this region that the modern movement found a place for experimentation; a place where modernist ideals met such particular climate conditions that they evolved a unique regional expression.

The Morocco Pavilion for the 2014 Venice Biennale—their first presence at the event—acknowledges this particular expression aligned with the theme of Absorbing Modernity under the title of Fundamental(ism)s. Curator Tarik Oualalou erected it over a ground of desert sand to create a setting for Morocco’s architecture in the past, entitled Living in the City, and the future, Inhabiting the Desert.

Between 1931 and 1981, the Soviet Union exported a prefab concrete panel system for housing - whose development and exportation embodied the ideals of the modern movement - to countries around the world, creating more than 170 million apartments. In 1972, during the socialist government of Salvador Allende, the USSR donated a panel factory to Chile. The Chile KPD (an acronym derived from the Russian words for “large concrete panel”) produced a total of 153 buildings during its operation, before being shut down and forgotten during the military dictatorship.

The full story of the concrete panels produced in Chile had been buried in history, but research conducted by curators Pedro Alonso and Hugo Palmarola for the Chile Pavilion has resurfaced the political, ideological and aesthetic implications of the panel. Monolith Controversies not only shows the technical aspects of a fundamental element of a prefab building system, but also demonstrates how it was connected to an ideology. Upon entering the Chile pavilion, visitors find themselves in the recreation of an interior of one of the apartments. Next they enter the main space, in which one concrete panel found by the curators stands as the representation of how modernity was absorbed in Chile.

In the Absorbing Modernity section of the Biennale, Koolhaas asked curators from all over the world to bring to light the ways modernism developed in their countries. The work done by the Chilean curators in the Monolith Controversies exhibition is one of the best examples of this call, recognized by the jury with the Silver Lion. Read on for the curator’s statement.

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The 2014 Pritzker Prize Ceremony to honor laureate Shigeru Ban is taking place today in Amsterdam at 17:00 UCT.

Today, the Korean Peninsula provides a striking example of a post-war polarization: two opposite political and economical systems, constantly presented in contrast/conflict by the global media, that still maintain an intricate, complicated relationship. Architecture’s role in this polarization was instrumental. North Korea sought to represent the aspirations of a new communist nation within a context devastated after the war -- a tabula-rasa from which adaptations of modernism could appear. In South Korea, fast economic growth bred a form of modernization that represented the ideals of a globalized world.

These distinct absorptions of modernity, and the relation between the two neighboring nations, are represented in Korea’s Pavilion in an exhibition called Crow’s Eye View, winner of the Gold Lion at the Venice Biennale 2014. The dense exhibition, commissioned and curated by Minsuk Cho together with Hyungmin Pai and Changmo Ahn, used every corner of the pavilion to represent this subject. The curators invited a multidisciplinary group of architects, urbanists, poets, writers, artists, photographers, film-makers, curators and collectors to demonstrate (to best of their availability, since official cooperation with North Korean institutions proved impossible) the architectural intersections and divisions between North and South Korea.

Recognized by the judges as “research in action,” Crow’s Eye View provided an invaluable addition to a discourse which has been predominantly carried by Western-centric narratives. And it is precisely this that, according to rumors, made it Koolhaas’ favorite pavilion.

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Israel is a country that was built with modernism as its guide. It flourished in a particular way and resulted in a unique architectural landscape, not only in terms of singular buildings, but also in the way in which the territory itself was planned. Anti-urban in essence, the Sharon Plan from 1951 gave birth to more than 400 new towns scattered across the territory.

This new landscape -a tabula rasa- evolved into a variety of patterns and forms, a landscape that is neither Urban nor Suburban.

“Urburb” is the title of the Israeli exhibit at the 2014 Venice Biennale. Within the pavilion, a constant robotic performance traces the patterns that resulted from the Sharon plan in the sand, only to erase them after a few minutes and then draw them again. It is a performance that makes one think about the future of new settlements and the possibilities of robotic construction.

The exhibition is curated by Ori Scialom, Dr. Roy Brand, Keren Yeala Golan and Edith Kofsky.

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A few weeks ago Monditalia, one of the three main exhibits of the 14th Venice Architecture Biennale, tweeted a small infographic which showed the number of architects per country, unleashing an intense debate among architects around the world.

Today Monditalia revealed even more figures, provoking us to think not only about which markets are saturated, but also where opportunities and possibilities lie for our profession. Using data from the construction research center CRESME, the curators of Monditalia have graphed the potential in European markets for architects, in terms of thousands of euros per year.

A young, cooperative architecture practice based in Trondheim, Norway and founded in 2008 by Andreas G. Gjertsen and Yashar Hanstad, TYIN tegnestue has already built in Thailand, Myanmar, Haiti, Uganda and their native Norway. Though the partners are relatively young, the quality of their designs has earned them the important distinction of being recognized for The European Prize for Architecture (joining the ranks of GRAFT, BIG and Marco Casagrande). And their projects have been pretty popular with ArchDaily’s readers, too.

We were excited to have the chance to speak with DUST when we lectured at U of Arizona a few months ago. The project for a villa in Tucson that DUST shared with ArchDaily in 2009 gained a lot of attention before it was even built--particularly for its use of a traditional construction system (rammed earth) and a bold material palette. The large walls act as thermal masses but are, most importantly, part of a system that is deeply connected to the site.

Historically, large city-changing projects have depended on the personal interests of a powerful individual: someone able to swim across both political and financial waters. But recently, projects like the High Line have shown the power and potential of projects envisioned and led by local communities.

Back in 2011 we visted our friends at CASE in their West Village office and they introduced us to a small firm across the hall: Family. While the team was working hard on a model in the middle of their large table, partner Dong-Ping Wong showed us some of their recent projects. One of them immediately caught our attention. A floating pool for Manhattan. In the form of a cross, it would sit in the East River, filtering its waters into four pools. This amazing -- and seemingly crazy -- idea was tantalizing.

We caught up with Arthur Andersson of Andersson-Wise during last year’s AIA convention, where he received FAIA status. As the firm’s design director, Andersson shepherds their work through the various phases of the design process with a particular attention to the client’s role.

In Archaeology of the Periphery, a publication emerging out of the Moscow Urban Forum, a variety of specialists tackle the issue of a strategy for the development of Moscow's metropolitan area. As one of the best examples of urban concentric development, teams of engineers, architects, planners, economists and sociologists, studied the Russian metropolis with a pointed focus on the periphery—specifically the territory between the Third Ring Road and the Moscow Ring Road. Using an "archaeological" approach, the study reveals entrenched and hidden planning structures in order to increase the awareness and attractiveness of the periphery. Archaeology of the Periphery argues that examination of the city's fringe requires different methods of analysis than would be applied to traditional city centers.

"As the centre sets a certain quality of life and serves as a benchmark for the entire city, the high "gravitation" of the centre makes the signs of urban life invisible on the outskirts. Different optics are required in order to work with the non-central urban space. The tactic of "taking out" the centre and "sharpening the focus" on the peripheral territory will reveal what has been obscured and help identify the processes that take place, study potential, support or control the current forces at play.

The term "periphery," which is based on the opposition to a semantic centre is used in a wide range of scientific fields. The myriad of approaches underlines the ambiguity of the phenomenon and at the same time provides a base for an multidisciplinary research. This research was performed by experts in sociology (S), politics (P), architecture and urban planning (A), culture (C), economics (E) and big data (D). Methodology — SPACED — allows a broader view of the actual and potential intersections, going."

If you don’t know Jeanne Gang, here’s the short and impressive bio: she received her Bachelor of Science in Architecture from the University of Illinois and then went on to Harvard’s GSD for her masters degree. After working at OMA (where she participated in projects such as the Maison à Bordeaux), Jeanne founded Studio Gang in 1997. She has since become a MacArthur Fellow and was 2011's Fast Company Master of Design. So it was particularly exciting to sit down with Jeanne at the 2013 World Architecture Festival in Singapore.

Paris-based architect Brendan MacFarlane, of the firm Jakob + MacFarlane, spoke to us during our visit to the FRAC Centre in Orléans for the ArchiLab 2013 exhibition and conference. MacFarlane, who studied at Sci-Arc in the 80s and later received a degree from Harvard's GSD, successfully combines theory and form, placing him among the few architects that have been able to harmonize this balance.

At last week's Mextrópoli conference we spoke with Winka Dubbeldam about the challenges of architecture education. We also asked her to elaborate on why she thinks architecture should embrace industrial design tools. Watch the short clip to hear Winka's thoughts on making technology a more integral part of our built environment.