Most people probably have their own ritual when entering a swimming pool. Some dive in without hesitation, others start by dipping their toes, some swim for sport, and others immerse themselves simply for pleasure. Whether individual or shared, intense or contemplative, every experience with water takes place within an environment carefully designed to receive it.
Cultural centers continue to serve as a productive ground for unbuilt architectural exploration, reflecting how architects are rethinking the role of public institutions in relation to landscape, experience, and program hybridity. In this Unbuilt edition, submitted by the ArchDaily community, the selected projects bring together a range of proposals that expand the definition of the cultural center beyond a singular building. These works position architecture as a spatial framework that mediates between research, exhibition, retreat, and public life, often embedded within or distributed across natural and urban contexts.
Every architecture student knows what it's like to spend sleepless nights working away, rushing to finalize a project as a deadline looms ahead. Revising every detail, putting the finishing touches and hoping for the best. The pay-off? Seeing the finished project, talking about it with your classmates, and getting to dream about your perfect idea of what a space should look and feel like.
The 2026 Pritzker Price Award has been awarded this year to the Chilean architect of Croatian descent, Smiljan Radić Clarke. Born in Santiago, Chile, in 1965, his practice evokes a geography of extremes, shaped by the tectonic tension between the staggering weight of the Andes and the seismic instability of the territory. After graduating from the Pontifical Catholic University of Chile and pursuing further studies in aesthetics in Venice, Smiljan Radić Clarke established his base in Santiago. From there, he has developed one of the most singular visions in contemporary architecture. His work privileges the intensity of the moment through a fragile architecture. Within it, the building operates as a temporary and tactile refuge that places the spectator in a state of aesthetic uncertainty, oscillating between ancestral ruin and avant-garde artefact.
What if industrial leftovers weren't waste, but the start of architectural design? At Rieder's headquarters in Maishofen, Austria, over 1,300 cubic meters of timber, 180 ceiling elements, and hundreds of upcycled glassfiber-reinforced concrete fragments come together in a building shaped as much by reuse as by planning. The new production hall, designed by Kessler² Architecture, treats material leftovers as a design resource. Developed as part of a long-term investment in sustainable manufacturing, the timber-concrete hybrid building introduces a facade technique that inverts conventional architectural workflows: instead of designing first and producing components afterward, the building envelope is generated from the material remnants already available on site establishing a new language for industrial architecture.
On the southern edge of Vienna, a cluster of monumental terraces rises above the cityscape, their stepped balconies cascading with greenery and their rooftops crowned with swimming pools. This is the Wohnpark Alterlaa, one of the most ambitious social housing projects in postwar Europe. Designed by Austrian architect Harry Glück and built between 1973 and 1985, the complex was founded on a provocative principle: municipal housing should not only provide affordable shelter but also offer the pleasures and amenities usually reserved for the wealthy.
The Holy Redeemer Church and Community Centre of Las Chumberas by Fernando Menis in La Laguna, Spain has been declared the World Building of the Year at the 2025 World Architecture Festival (WAF).
The second round of award winners of the 2025 World Architecture Festival (WAF) has been announced, following Day Two of the world's largest international live-judged architectural event, held at the Miami Beach Convention Center in Florida.
When architects are still students, a moment often marks a turning point: their first encounter with software. It's not just about learning a tool but discovering a space where ideas transcend physical models, taking shape in a digital environment and beginning a relationship many will carry throughout their careers. What happens next? Software keeps evolving, and with it, the design experience. In recent years, this evolution has accelerated—machine learning, AI, prompts, and integrated workflows have moved from the periphery to the core of design practice, becoming part of the shared language between software and users. As these tools take hold, a key question emerges: How will this reshape our experience of designing architecture in the future?
Since its inauguration this spring, Expo 2025 Osaka has captured global attention from multiple perspectives, demonstrating how architecture can function as a laboratory for exploring solutions to pressing challenges. After 55 years, Osaka is once again hosting the World Expo, with each installation organized around the sub-themes Saving Lives, Empowering Lives, and Connecting Lives. These pavilions take forms that express the identity and values of their region through distinctive architectural languages, forming the central axis of their design. Building on this foundation, some installations serve as laboratories for the future society, utilizing technology to enhance experiences both inside and outside the spaces, transforming the visit through light, sound, visuals, and movement as part of the technological innovation showcased at the event.