Pezo von Ellrichshausen's wooden construction of four enclosed spiral staircases leading to a platform up among the mouldings and plasterwork of the ceiling is beautiful. There is also a ramp where the interplay of light and shadow is dramatic.
Diebedo Francis Kere's structure of plastic honeycombs is a delight. Thousands of long plastic straws are available for visitors to make into objects which are then installed into the structure. It was a joy to see the very young and the very old, and all ages in between, playing with brightly coloured plastic.
Eduardo Souto de Moura's elegant arches made from reinforced concrete and steel have a classical beauty that is hard to find in much modern architecture. And to touch the installations was a revelation - surprisingly smooth and silky.
Kengo Kuma's installations were fine bamboos rising from the ground and joined together to create an open enclosure, with uplights illuminating the structures. One of the rooms had a strong scent of hinoki, Japanese cypress, while the other smelt of tatami matting. Very peaceful and calm.
Li Xiaodong's work, corridors of vertical hazel branches with an underlit acrylic floor, was beautiful. The corridors are quite narrow, tall and enclosed, leading to a zen garden, where visitors could walk on the gravel but not touch it.
There were two works by Grafton Architects. One was bright and airy, almost pushing light into the room, whilst the other was heavier, sombre and even oppressive. But I found the latter much more interesting with the interplay of light shadow and line.
It was great that visitors could touch the exhibits (apart from Kengo Kuma's) and interact with them. And being able to take photographs was an unexpected bonus. Here are a few to sample the exhibition.