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In 2025, the architectural field has been marked by a dense calendar of exhibitions, a measured slowdown in construction across multiple regions, and a period of reflection that scrutinizes the impact of intelligence (artificial and natural)—both on professional practice and workplace culture, as well as its use as a pedagogical tool. Over this calendar year, ArchDaily has published more than 30 interviews in a range of formats—Q&As, in-person conversations, video features, and more. These exchanges have engaged themes of sustainability and nature, housing and urban development, AI and intelligence, adaptive reuse and public life, and have closely followed major exhibition platforms including the Venice Biennale, Expo 2025 Osaka, Milan Design Week, Concéntrico, and others.

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Born in 1963 in Urumqi, Xinjiang, China, architect Wang Shu has dedicated his career to defining a contemporary approach to building that is deeply rooted in China's cultural and material history. In 2012, he was recognized with the Pritzker Prize, becoming the first Chinese citizen to receive the distinction. The award jury acknowledged his body of work "for the exceptional nature and quality of his executed work, and also for his ongoing commitment to pursuing an uncompromising, responsible architecture arising from a sense of specific culture and place." In 2027, along with his wife Lu Wenyu, Wang Shu will be a curator for the Venice Architecture Biennale.

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As 2025 concludes, we look ahead to 2026, a year scheduled to deliver a diverse range of significant architectural projects across the world. The year is particularly notable for the completion of new infrastructure and cultural buildings, including long-term projects. Europe will be in the spotlight of the new year with the Milano Cortina 2026 Winter Olympics. This event will feature projects such as the Olympic Village by SOM and the Winter Olympics Arena by David Chipperfield Architects. Also in Milan, BIG is set to complete construction of the City Wave project as part of a new business district in the city. At the same time, after more than 140 years of its establishment, the architects around the world will also be watching for the long-awaited completion of Antoni Gaudí's La Sagrada Familia in Barcelona, announced for 2026.

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Recent federal discussions in the United States regarding the reclassification of architecture as a degree that no longer carries professional standing have intensified the need to articulate the purpose and structure of accredited programs. These political conditions have produced a moment in which the internal coherence of architectural curricula intersects with broader questions on public welfare, technical accountability, and the ethical responsibilities that define professional expertise. Architectural education in the United States requires an examination that acknowledges its internal pedagogical logic and the external pressures that shape its contemporary reception.

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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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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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Architecture has always played a key role in providing shelter and protection for human beings. In prehistoric times, we sought refuge in caves, taking advantage of rock structures for protection against the natural elements and predators. Over time, shelters began to be made from materials found in nature, such as branches, leaves, and animal skins, evolving into more permanent and complex homes, with walls made of stone, bricks or wood, roofs to protect against rain and sun, and doors to control access. As we developed more advanced building skills, we used materials such as wood, stone, and clay and architecture evolved significantly, with the construction of temples, palaces, and fortifications that provided not only shelter but also symbolized power, status, and cultural identity. Even so, our buildings can continue to be seen as shells that protect us from the outside world. 

From the massive stones of Greek temples to glazed skyscrapers, we work with a range of possibilities and thicknesses to separate what we consider internal and external. This article seeks to explore this diversity of thicknesses in architecture, from simple materials to complex construction techniques, highlighting how this variation not only provides protection but also influences our perception and interaction with the built environment.

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What does optimism feel like in cities that can no longer rely on perfection as their ultimate ambition? Across the world, urban environments bear the weight of overlapping pressures: climate volatility, spatial inequality, political fragmentation, public distrust, and chronic infrastructural disinvestment. These realities render the idea of an ideal city increasingly detached from lived experience. Yet the hope for building better systems persists. While utopian visions may seem like an escape from the growing complexities of the modern world, the greater challenge for contemporary city-making is to confront those complexities rather than avoid them.

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Stretching along the Atlantic coast at the southern tip of Florida, Miami is often introduced through postcard views of beaches, palm trees, and glass towers facing the water. Yet, behind this familiar image lies a city shaped by migration, tourism, and real estate cycles, where architecture has repeatedly been used to project new identities and reinvent the urban landscape. From early resort hotels and the Art Deco façades of South Beach to experimental high-rises and cultural institutions on the bay, the built environment offers a way to read how Miami negotiates climate, economy, and everyday life.

Over the past century, the city has grown through successive layers of development that remain visible in its streets and skylines. The streamlined geometry and pastel colors of the historic Art Deco District coexist with the exuberant forms of Miami Modern (MiMo) motels and postwar infrastructure along Biscayne Boulevard. Downtown and Brickell have transformed from low-rise business districts into dense clusters of residential and office towers, many designed by international firms working alongside local practices. At the same time, neighborhoods such as Little Havana, Allapattah, and Wynwood reveal how diasporic communities, industrial heritage, and creative industries occupy and adapt existing fabrics, often in contrast with the image-driven waterfront.

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In a world facing ecological exhaustion and spatial saturation, the act of building has come to represent both creation and consumption. For decades, architectural progress was measured by the new: new materials, new technologies, new monuments of ambition. Yet today, the discipline is increasingly shaped by another form of intelligence, one that values what already exists. Architects are learning that doing less can mean designing more, and this shift marks the emergence of what might be called an architecture of restraint: a practice defined by care, maintenance, and the deliberate choice not to build.

The principle recognizes that the most sustainable building is often the one that already stands, and that transformation can occur through preservation, repair, or even absence. Choosing not to build becomes a political and creative act, a response to the material limits of the planet and to the ethical limits of endless growth. That Architecture moves beyond the production of new forms to embrace continuity, extending the life of structures, materials, and memories that already inhabit the world.

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Adaptive reuse allows architects to conserve resources, reduce waste, and extend the life of existing structures. By working with what already exists, architects lessen the need for new materials, lower energy consumption, and limit demolition debris. This approach protects natural habitats and green spaces by reducing the demand for new land development. Through reuse, cities become more sustainable and less carbon-intensive while preserving the material and cultural value of the built environment.

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Historically, architecture and the built environment have insisted on creating flat, hard surfaces. In earlier eras, walking without paved ground meant mud-caked shoes, uneven footing, tripping hazards, standing water after rain, and high maintenance. Hence, as we shaped cities, we prioritized a smooth, continuous, solid horizontal datum. The benefits are real: easier walking, simpler cleaning, and straightforward programming—furniture, equipment, and partitions all prefer a level base. This universal preference for building on flat ground remains the norm and, for many practical reasons, will likely continue to be.

What's less recognized is that making a truly flat surface is surprisingly difficult—and many well-executed "flat" floors aren't perfectly flat at all. They are often gently sloped, calibrated to precise gradients for drainage. While interior spaces do not always require this, many ground floors and wet areas do incorporate subtle inclines as a safeguard—whether for minor flooding or to manage water that overflows from the street or plumbing when one of the discharge systems is malfunctioning.

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Architecture has never been confined to the act of building. It constantly negotiates between material practice and intellectual reflection, yet throughout the twentieth and twenty-first centuries, many architects felt that the built project alone was insufficient to address the full range of questions facing the discipline. Economic pressures, political contexts, and programmatic demands often narrowed the scope of practice.

Exhibitions and curatorial platforms, by contrast, created spaces of experimentation and critique, opening arenas where architecture could interrogate itself, where its past could be reinterpreted, its present challenged, and its future projected. In this tension, the figure of the architect-curator emerged, treating curating itself as a form of design — not of walls or facades, but of discourse, narratives, and frameworks of meaning.

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This week in architecture, global recognitions and new unveilings underscored the field's growing commitment to climate awareness, cultural continuity, and adaptive reuse. From Expo 2025 Osaka's closing ceremonies to international award announcements, the focus turned to architects and designers redefining the relationship between place, material, and community. Alongside these recognitions, major new projects, from Dubai to California, illustrated how design continues to evolve across scales: shaping cities, preserving heritage, and addressing urgent global challenges through context-driven architecture.

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The habit of sitting at the table and sharing a specific moment with other people has been present for centuries in the most diverse cultures. The Greek Symposium, Roman Convivium, Medieval Feasts and Banquets, and Parisian Salons are just a few examples of how this custom was historically built and has been relevant in social and political negotiations, intellectual discussions, and philosophical debates.

Commensality often serves as a ritual for bonding, negotiation, and celebrating important events. In many Spanish-speaking cultures, the stretch of time after the meal when the entire family stays seated and talks is so present that there is a word for it: sobremesa — literally translated as "upon the table" (though in Spanish it more accurately means "dessert" or "after-meal conversation"). But, despite often being associated with sharing a meal, the table can be considered a flexible platform open to many possibilities for appropriation and interaction.

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