In recent decades, cities across the world have seen an increase in the demolition of elevated concrete freeways. Taipei, Seoul, Portland, and Boston, for example, have all seen the rise and fall of these infrastructures to give way to parks and new urban regeneration ideas. In other cases, like Montreal in Canada, some people opposed the freeways even before they were built, effectively rerouting viaducts, preserving heritage, and freeing waterfront views. For San Francisco, in the United States, the story of the Embarcadero Freeway is one of those narratives that serves as a case study of the city's mid-century infrastructural ambition, people's reaction to the project, and its eventual reversal in favor of urban connectivity.
Small Scale Category Winner + Student Winner: Architecture as Resilient Machine. Image Courtesy of Buildner
Buildner has launched the Unbuilt Award 2026, the third edition of its annual competition, offering a €100,000 prize fund. At the same time, the results of the Unbuilt Award 2025 have been announced, marking the second competition in a series that celebrates architectural designs that have yet to be realized. The initiative provides a global platform for architects and designers to showcase their most compelling unbuilt projects—whether conceptual, published, unpublished, or fully developed.
Photographer Paul Clemence documented the Gateway Centre in West Kowloon, a mixed-use development by Zaha Hadid Architects in Hong Kong, as it approaches completion. The photo series captures the project at a stage where its overall massing, facade systems, and spatial organization are largely realized, while final works continue across public and interior areas. Clemence's close-range views highlight the vertical shading pleats, the curvature of the glazed envelope, and the transitions between structural and environmental elements, underscoring how the building's formal language is resolved through construction.
Across Europe and North America, pedestrianisation is increasingly being deployed as a context-specific urban strategy shaped by distinct economic, social, and spatial pressures. As cities continue to reassess the role of streets in the wake of economic shifts, climate pressures, and changing mobility patterns, pedestrianisation is emerging as a tool in current urban transformation efforts. Across London, New York, Houston, and Stockholm, ongoing pedestrian-first projects are testing different pathways toward more resilient and walkable cities, ranging from statutory planning and capital construction to research-driven visioning. London's Oxford Street is advancing through consultation and governance reform to address retail decline; New York's Paseo Park is moving from a temporary pandemic intervention into permanent infrastructure; Houston is accelerating the pedestrianisation of its downtown core in preparation for a global sporting event; and Stockholm's Superline is using design research to rethink the future of an inner-city motorway. These initiatives reveal how pedestrianisation is being actively negotiated, designed, and built today, adapting to local motivations while converging on a shared objective of streets that perform as resilient public spaces rather than traffic conduits.
Studio NEiDA operates at the intersection of architectural practice, research, and curatorial work, with a consistent focus on how buildings emerge from the material and cultural conditions of a place. Rather than treating materiality as a finishing language, the studio frames it as the beginning of an architectural narrative—starting from what is locally available, they look at what craft knowledge exists on the ground, and how those resources and skills situate a project within an architectural lineage. This approach foregrounds limitations and possibilities as productive forces, and positions design as an iterative process of aligning spatial intent with the realities of construction culture and vernacular intelligence.
Across their work, NEiDA's interests extend beyond form toward the socio-political and climatic contexts that shape how architecture is made and inhabited. They emphasize learning from non-authored, vernacular, and informal building practices as a way of establishing a shared grammar for intervention, and they describe an indoor–outdoor continuity not as a stylistic preference but as a response to local life and ventilation logics—where outdoor rooms can be as spatially defined and programmatically central as interior ones. Collaboration, in this framework, is not auxiliary: the studio highlights on-site exchange with craftspeople and builders as a core methodology, where projects evolve through collective intelligence and adaptive communication.
Twenty meters tall and four thousand years old, the Western Deffufa towers over the adjacent date orchards and ancient city remains in the desert. It is a former religious and administrative building near the modern-day Sudanese town of Kerma. Its significance is not only in its age and size, but also in that it is one of the oldest mud brick buildings in the world. And as the nearby mud brick houses also attest, earth is a material of continuous use from ancient times to the present. Yet, conversations around contemporary building systems have largely ignored this essential material. Some architects on the continent of Africa, however, are changing that.
Aluminum Chain Facade Disney Glamour Store / SRA Architectes – Etienne Jacquin. Image Courtesy of Kriskadecor
In highly-curated environments such as Disneyland Paris, architecture operates under a different set of expectations. Buildings are not only required to perform, they must also communicate, often instantly. Within this context, the facade becomes a visual marker that can serve as a threshold, mediating light, air, and perception. One strategy that has gained traction in this setting is the use of semi-opaque envelope systems. Neither fully transparent nor entirely enclosed, these facade systems introduce depth and variability.
London's National Gallery has announced Kengo Kuma & Associates, in collaboration with BDP and MICA, as the winners of the international competition to design a new wing for the institution. Launched in September 2025, the competition attracted 65 submissions from international practices, from which six teams were shortlisted to develop proposals. The selection marks a key milestone in the institution's long-term development strategy, Project Domani, positioning the new addition as a central component in the reconfiguration of its architectural and curatorial framework. Conceived as the most significant transformation of the museum since its establishment in 1824, the project aims to expand both spatial capacity and curatorial scope, enabling the presentation of a continuous narrative of Western painting within a single setting.
