Heritage, in interiors, is increasingly rarer to be only a matter of preservation alone. More often it arrives as friction: the encounter between what a building already is—its plan logic, its scars, its structural inconsistencies—and what contemporary life demands of it.
Some of the most convincing projects today are not those that "restore" an interior back to a single moment, nor those that erase the past under a seamless new skin. They are the ones that stage a relationship between old and new—allowing contrast to do more than tell a story, and letting the clash become a pragmatic tool for construction, budget, and speed.
Vana Vasa Resort by MJ Kanny Architect, Steel Architectural Awards ASEAN 2024 Winner. Image Courtesy of NS BlueScope
The Steel Architectural Awards ASEAN 2026 is a regional architectural awards program presented by NS BlueScope to recognize built projects that demonstrate architectural excellence through the use of coated steel solutions. Under the theme Shaping Resilient Futures: Timeless Design with Coated Steel, the program highlights projects across Indonesia, Malaysia, Thailand, and Vietnam, progressing from the Country Awards to ASEAN-level recognition. This article explains how the two-stage pathway works, what categories are included, and how projects are assessed through Design Excellence, Innovation, and Sustainability.
"I want to start by thanking architecture itself." With these words, Chilean architect Smiljan Radić, the 55th laureate of the Pritzker Architecture Prize, opened his acceptance speech in Mexico City. Reflecting on what he calls "distractions," he thanked the many encounters that have accompanied him throughout his life and practice: from art, cities, materials, structures, and compositions to landscapes, poetry, nature, forms, stories, and memories. He spoke about what, within them, provoked him and the marks they left on his architectural imagination.
From the black light in Chandigarh and the interior of San Salvatore in Rialto, to the heaps of stone on the Croatian island of Brač; from the fallen columns of the Temple of Poseidon and the abandoned shires scattered across Chile, to People Meet in Architecture, Kazuyo Sejima's 2010 Venice Architecture Biennale, the traveling Chilean circus, and the silence of the water within the cisterns of Hagia Sophia, his speech unfolded as a tribute to moments, encounters, and distractions. A collage of memories and impressions that, together, shaped the architect he became.
San Diego, California. Photo by Samuel Ramos on Unsplash
Very close to the Mexican border, in the southwest corner of the United States, lies the city of San Diego. Its urban history began in 1769 with the arrival of a Spanish military expedition commanded by Gaspar de Portola, which marked the first permanent settlement in the territory that was known as Alta California. However, unlike the more formally urbanized administrative capitals and towns of Mexico and Central America, San Diego was conceived as a frontier outpost. Today, it has become the second-largest city in California, just after Los Angeles, and its urban grid tells a story about the Hispanic heritage that is intertwined with the contemporary cultural environment of the United States.
What defines the atmosphere of a home? Beyond material palettes and natural light, sound plays a defining role in how spaces are perceived and inhabited. The reverberation of footsteps across stone, the muted calm of a textile-lined room, or the way music carries through an open-plan interior all shape the sensory identity of domestic space. Architecture is experienced not only visually, but acoustically.
The concept of the "soundscape" describes this relationship between people, sound, and the built environment. In residential architecture, sound is more than background noise or technical performance; it influences privacy, concentration, rest, and emotional comfort. Geometry and materiality act as the primary acoustic conductors: while concrete, glass, and stone reflect and amplify, timber and upholstery soften and absorb. Ceiling heights, circulation paths, and room proportions further shape how sound travels and settles across a space.
Architectural visualization has long played a key role in communicating and shaping design ideas. Today, that role is expanding. With the rise of artificial intelligence, visualization is becoming more deeply embedded throughout the entire design workflow, supporting faster iteration and more informed decision making.
Public space is often designed around a narrow idea of how people move, interact, and respond to their surroundings. ParkTEA starts from a different position. The city can also make room for those who experience space through different sensory and social conditions.
Developed by Ignacio Martínez Pardo at the Escuela Técnica Superior de Arquitectura de Madrid (ETSAM), the project was conceived within the Master's thesis (Graduate-MHab) program during the 2024 to 2025 academic year, under the guidance of Héctor Fernández Elorza, Jesús Aparicio, Carlos García Fernández, and Jaime Daroca Guerrero. Recognized as one of the winners of the first edition of the ArchDaily Student Project Awards, ParkTEA engages the theme of coexistence through a proposal that brings together care, infrastructure, and urban life.
Waterway bathroom concept by Haihua Zhang and the bathroom collection AXOR Archivio by Barber Osgerby. Image Courtesy of AXOR
Water has always occupied a unique position in architecture: elemental yet elusive, functional yet symbolic. It is both a material and a medium that shapes cities, structures rituals, and influences how space is perceived. Across cultures, water is understood not only as a source of life but as a carrier of meaning, associated with purification, renewal, and continuity. Its presence in the built environment often extends beyond utility, becoming a device through which architecture engages the senses and constructs atmosphere.
In 2026, Apple marked fifty years since its founding. Over the past two decades, Apple has developed a consistent architectural language that extends its brand into the built environment, transforming stores, workplaces, and public-facing spaces into active components of its identity. These environments guide movement, frame interaction, and condition the ways in which users encounter both products and the company itself.
From the handheld device to the urban interior, Apple has sought to maintain a high degree of control over form, material, and experience. Architecture becomes part of this system when the company begins to define how it is perceived and engaged with in physical space. Research on retail environments has shown how spatial layout, visibility, and circulation patterns can shape behavior and interaction, turning architecture into an interface between brand and user.
Walking into an electrical store can be intimidating. At first glance, all the lights are on, and the thousands of chandeliers and lamps are blinding. When you walk toward the shelves, you see dozens of options, shapes, colors, prices, and uses. On each package, informational tables display numbers that can seem confusing at first. Lumens, color temperature, wattage—there are many unfamiliar terms. Before defaulting to the cheapest option, only to find that it creates an uncomfortable or poorly balanced atmosphere, understanding a few key concepts can make a significant difference.
Lighting design plays a fundamental role in shaping how spaces are perceived and used, influencing comfort, atmosphere, and even productivity. Poorly designed lighting, on the other hand, can compromise these qualities. Rather than approaching lighting as a purely technical decision, it can be understood as an integral part of architectural design. To help clarify these choices, the following overview introduces the most common types of light sources and key concepts associated with them.
Artificial intelligence has made its way into almost every corner of professional workflows, prompting the architectural industry to rethink how it works. To adapt to this shift, firms are now facing the limits of a model that has changed very little over the past few decades.
What has shifted, and noticeably so, is the pressure on productivity. Today's studios are expected to deliver more work faster and with greater accuracy, while managing tighter budgets, complex regulations, and rising client expectations. In practice, this translates into compressed timelines and a constant demand for precision that leaves little room for error. Often, much of this pressure falls on a small group of individuals who hold critical project knowledge.
Modernism is often encountered through built form, photographed facades, canonical plans, concrete manifestos. For most people, its first encounter was far more immediate. It was a chair in an office, a shelf in a living room, a compact unit that reorganized how one sat, stored, or slept. Long before modern architecture could be widely commissioned, it was furniture that entered everyday space, carrying with it a new logic of living. Modernism's promise of transforming life was often delivered through these smaller, repeatable objects.
To understand this shift, furniture has to be read as a condensed form of architecture rather than decoration. Early twentieth-century designers treated it precisely this way. Le Corbusier described furniture as équipement de l'habitation (equipment of living), placing it within the operational system of the building rather than outside it. Similarly, the Bauhaus approached chairs and tables as industrial prototypes, embedding principles of standardization, efficiency, and mass production into their design. As architectural historian Beatriz Colomina has argued, modern architecture did not circulate only through buildings, but through media and objects that translated its ideas into everyday life. Furniture became architecture in miniature: portable, reproducible, and capable of reorganizing space without reconstructing it.
Today, interdisciplinary learning and exchange are more important than ever in addressing increasingly complex environmental, social, and urban challenges.
Each summer, the University of California, Berkeley's College of Environmental Design (CED) becomes an intensive laboratory for architectural, landscape, and urban exploration. Through two complementary programs—Design + Innovation for Sustainable Cities (DISC) and the Summer Institutes—Berkeley offers an immersive curriculum grounded in disciplinary rigor, intentional exchange, and a shared institutional culture. Together, these programs reflect CED's long-standing multidisciplinary structure, with architecture, landscape architecture, city planning, and urban design thriving and collaborating under one roof.
In Latin America, the ground is rarely just a surface to build on. It can be a river edge, a steep slope, a humid forest floor, a floodable landscape, or a territory under ecological pressure, and in many cases, it carries a history of communities that already knew how to respond to it, building on stilts, on platforms, over water, long before contemporary architecture asked the same questions.
These projects continue that conversation. They engage with conditions that move, absorb, erode, and grow, rather than treating the ground as something to level or control. Elevation allows architecture to adapt without fully taking over: water can pass below, vegetation can remain, and slopes can keep their original condition. In each case, the decision to rise is tied to something specific: water, humidity, topography, vegetation, or ecological recovery, and the knowledge of how to build within it and not against it.
"My only concern is that my work must have a positive impact on the communities in which it is embedded," states Francis Kéré in his book Francis Kéré: Building Stories. His own life story, the context in which he was raised, and the experiences he has lived through all shape his approach to architecture. It is a commitment that extends to people and the places they call home—one that values materiality, collective learning, and the exchange of knowledge. Discovering the stories behind projects such as Primary School in Gando and Naaba Belem Goumma Secondary School inspires reflection on how to design spaces that truly serve humanity.
Francis Kéré's story begins in a village in sub-Saharan Africa and extends across many places. Gando was the setting of his first education, where he absorbed the essence and principles that later shaped the core values of his career alongside influences from other cultures. The structure of Gando is formed by different families who organize themselves, according to established customs, within courtyards scattered across the savanna. Growing up in this remote village in the Burkina Faso savanna fosters a strong sense of community, made tangible by the understanding that each resident of every courtyard is part of the life of the whole.
Contemporary Japanese architecture continues to demonstrate how to adapt the evolving needs of modern residents to a rich building tradition and artisanal legacy. Wood has always been the soul of Japanese architecture. In many recent residential projects, this material transcends its structural role to become the primary finish for various surfaces — ranging from floors and ceilings to furniture and architectural elements. These environments strike a delicate balance between elegance and coziness.
The use of natural, unpainted finishes highlights the material's inherent honesty while also celebrating the unique character of each piece, its natural grain, and the diversity of the overall composition. While some houses feature sober, dark-stained timbers to create a grounded atmosphere, others utilize lighter woods like pine to foster a bright, airy, and ethereal feel. This versatility proves that wood can adapt to any aesthetic, from the rustic to the ultra-minimalist.
When Mexico City hosted the Olympics in 1968, it was the first time the Games had been awarded to a Latin American country as well as the first time for a Spanish-speaking nation to host them. This made the games a good opportunity to project Mexico and its culture internationally, thus prompting the government to constitute an organizing committee with prominent local talent. They appointed Pedro Ramírez Vázquez as its president, a Mexican architect who held significant influence over the state's mid-century building program. His approach was explicit: architecture as a synthesis of international modernist technique with Pre-Columbian references and local material culture. Under his direction, the committee would oversee the construction and adaptation of venues distributed across the southern districts of Mexico City, nearly all designed and built by local architects, engineers, and technicians.
