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Every year brings new ideas, projects, and shifts in architectural culture, but it also marks the loss of voices that have shaped the discipline across decades. Architecture moves forward, but it also advances through absence. When figures who helped articulate its language and its ambitions disappear, they leave behind more than completed works or influential texts. Their absence becomes a threshold, a moment in which the discipline pauses to understand what remains, what evolves, and what continues to guide us. These moments of loss remind us that architecture is a long, collective construction, carried not only by those shaping the present but also by those whose visions continue to orient how we think about cities and landscapes.

The architects and thinkers we lost in 2025 came from remarkably different worlds, yet the questions that shaped their work often intersected. Some approached the city through identity, symbolism, and historical continuity, seeking to ground the built environment in cultural memory. Others interpreted it through engineering precision, ecological systems, or radical experimentation, expanding what architecture could be and how it could be experienced. Their work spans contexts as diverse as postwar Britain, rapidly urbanizing China, Central European avant-gardes, and the evolving cultural institutions of Berlin and New York. Together, they form a spectrum of responses that defined, and continue to define, architectural culture over the last half-century, revealing the multiplicity of ways in which architecture can engage with society, technology, and the environment.

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Once confined to the aerospace and automotive industries, composite materials have taken on an increasingly central role in contemporary architecture. By combining two or more components, such as fibers and polymers, they offer lightness and strength, high durability, formal freedom, and enhanced environmental performance. Their incorporation into architectural practice marks a profound transformation in how we design, fabricate, and inhabit space.

As preparations advance for the Milano Cortina 2026 Olympic Winter Games, set to take place from February 6 to 22, 2026, this edition introduces one of the most geographically wide-ranging configurations ever implemented for the Winter Olympics. Extending across two cities, two regions, and two autonomous provinces, the competitions will be staged over more than 22,000 square kilometres of Northern Italy. Metropolitan venues in Milan are paired with longstanding Alpine centres in Cortina d'Ampezzo, Livigno, Bormio, Anterselva, and Val di Fiemme, creating a framework that bridges urban and mountain contexts. More than 90 per cent of the venues are existing or temporary facilities, reflecting a strategy centred on adaptive reuse, selective upgrades, and long-term integration into regional sport and cultural infrastructures. Nearly 2,900 athletes will compete in 116 events, including the debut of ski mountaineering and several new mixed-gender formats that signal evolving approaches to winter sports programming.

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Human Rights Day is observed annually on 10 December worldwide. It commemorates the anniversary of the Universal Declaration of Human Rights in 1948. Drafted by representatives with diverse legal and cultural backgrounds from all regions, the Declaration was proclaimed as a common standard of achievement for all peoples and all nations. For the first time, the document set out fundamental human rights to be universally protected and inalienable, entitling every human being to them regardless of race, colour, religion, sex, language, political or other opinion, national or social origin, property, birth, or any other status. Today, the Declaration serves as a global blueprint for international, national, and local laws and policies. Available in 577 languages, it is the most translated document in the world. The United Nations has set the theme for this year's observance as "Human Rights, Our Everyday Essentials," aiming to "reaffirm the values of human rights and show that they remain a winning proposition for humanity."

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The niche has been a space of visible intention throughout the history of architecture. In ancient Roman architecture, it served as a formal device carved into masonry to display statues, vases, or other objects. These recesses animated the walls of temples, bath complexes, and civic buildings, adding rhythm, depth, and focal points to otherwise massive structures. The interior spaces of the Pantheon framed statues of gods, and the Baths of Caracalla used similar voids to structure expansive halls. By the Renaissance, the niche evolved into a refined architectural frame. In Florence, the external cavities of Orsanmichele held guild-commissioned statues, while the Uffizi Palace's recesses displayed sculptural works. Whether filled or intentionally left empty, these openings articulated internal and external walls and facades, introduced hierarchy, and provided visual interest, serving as deliberate gestures meant to be seen.

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