In the most fundamental sense, it can be said that architecture emerged due to the basic human need for shelter. The construction of the primitive hut was realized long before the conceptual Primitive Hut was described by Marc-Antonie Laugier and drawn by Charles Eisen in 1755. Laugier theorized that man wants nothing but shade from the sun and shelter from storms- the basic requirements of a human for protection from the elements. The pieces of wood that are raised perpendicularly give us the idea of columns, the horizontal pieces laid across them give us the idea of entablatures, and the branches that form a sloping incline are covered with leaves and give us the first roof. Although humans have been inhabiting the earth for millions of years, why was it only 265 years ago that Laugier’s theory was penned and made into an architectural cannon?

Until the recent outbreak of the COVID-19 pandemic, the climate crisis was perhaps the fundamental design problem of our Anthropocene era. The threat of climate change has forced us as designers to reevaluate how we realize designs at all scales. Eco-friendly interior finishes, net-zero energy skyscrapers, and strategies to prevent the rising sea levels from pushing residents in coastal cities more inland are just some of the innovative solutions that have come from the increased urgency to mitigate the effects of the climate on our world.

Many of us have already lived, or are currently living in, some sort of shared community housing. Whether it be from a college experience of living in a dormitory or a retirement community filled with other senior citizens, the loosely defined, yet increasingly popular concept of co-living has taken on many forms in society. The co-living market giants, including WeLive, Common, and Ollie, center themselves around participating in a shared economy, offering a financially sensible housing solution, and fostering meaningful social connections. As we continue to battle the COVID-19 pandemic and adapt to the enforcement of social distancing and stay-at-home mandates, co-living tenants have felt compelled to navigate the loopholes in the designs of their communities in order to discover new ways of living with others, while also mitigating health risks. In fact, co-living communities may be better positioned to handle a pandemic while balancing a sense of normalcy more so than traditional residential real estate offerings.

With the COVID-19 pandemic forcing many architecture firms to quickly transition into a work from home, designers are having to discover new ways to work without everyone being in the same room. The casual conversations, overheard ideas, and site visits that were once an integral part of our jobs have been put on pause, and have left some architects wondering how everyone else is continuing project work.

North Korea is a country known for it’s rising nuclear tensions, extreme militaristic showboating, and draconian views of human rights. As one of the few remaining places on earth that is almost entirely shut off from the rest of the world, little is known about day to day life in the communist state. But for a nation that is so heavily shrouded in mystery and uncertainty, the efforts of their architectural bravado provide some insight into how their regime operates.

Architects around the world are constantly striving to explore new ways of using materials that are both more environmentally friendly, and can create impactful designs that demonstrate new abilities of creativity. For 2020 Pritzker Prize winners Yvonne Farrell and Shelley McNamara of Grafton Architects, these ideas are at the forefront of every project they design, but became especially meaningful when they visited their completed “carved mountain” project, University Campus UTEC, in Lima, Peru for the first time.

While cemeteries have long served as a place in which we can honor and remember our loved ones, they are also often places that showcase architecture, and landscape design. In the late 19th century, cemeteries evolved from overcrowded and unsanitary urban spaces into rural, park-like social centers. In cities that lacked public parks, cemeteries became popular destinations for picnics, holidays, and other family gatherings.

It has been just over a week since the 7.0 magnitude earthquake destroyed 50,000 homes in North Lombok, a city just east of the island of Bali, Indonesia. Although much of the town is gone, the community has already rallied together to begin the long and arduous rebuilding process. With the rainy season approaching in less than two months, DOME Lombok is working to begin building earthbag domes and teaching their construction techniques to help the area rebuild.

The island nation of Taiwan is a country that boasts both a high population density and a wide range of ecosystems. However, a large issue that the country is currently facing involves the energy production and consumption, and the negative impact it has on the environment. With the largest power plant slated to be shut down by 2023, a team from Taiwan has devised an architectural proposal for how to construct a plant that both generates enough electricity to serve the metropolitan area and reduce its negative impact on the air quality and surrounding wetlands.

KILD has been announced as the first place winner for a design competition in Kaunas, Lithuania’s second largest city. The competition sought for innovative and eco-friendly proposals for a pedestrian and cycle bridge that would connect the downtown area to Science Island.

World Architecture Festival has announced the winner of its inaugural Water Research Prize. First place was awarded to a team of students from Pontificia Catholic University of Peru (PUCP) who designed a water management system that "captures, stores, and treats rainwater and inserts it into pre-existing water networks."

James Stirling (1926-1992) was a British architect who is considered by many as the premier architect of his generation and an innovator in postwar architecture. Some of his most famous projects include the Sackler Museum, No 1 Poultry, and the Neue Staatsgalerie. Through the influence of his teacher Colin Rowe, Stirling had a deep understanding of architectural history, yet never adopted a singular doctrine. His career began with designs that were more aligned with what would later be labeled as the high-tech style, but evolved into buildings that were a series of dynamic and often colorful arrangements. Stirling’s aesthetic tropes ultimately gave the final push that broke architecture free from the clutch of post-war European Modernism as he turned the Modernist canon of “form follows function” into a hyperbole by celebrating the expression of a building’s program with his over-the-top details. Stirling’s work is still largely influential, and the recursive wave of history has shown that the underlying implications of his oeuvre remains somewhere in all architectural practice of the present day.