German filmmaker Wim Wenders is set to present "From Inside Out – The Architecture of Peter Zumthor," a new documentary examining the work and architectural approach of Pritzker Prize-winning architectPeter Zumthor. Running for 114 minutes, the film uses 3D cinematography to document Zumthor's buildings through the perspectives of visitors, users, inhabitants, and craftspeople. The documentary will have its world premiere in September 2026 as part of the Venice International Film Festival's Venice Open – Out of Competition program.
On Monday, 10 August 2026, a magnitude 7.4 earthquake struck Colombia's Pacific and Caribbean coasts. While the seismic event lightly affected the southern border of Panama and the northern border of Ecuador, Colombia has declared a national state of emergency. The earthquake has caused 111 deaths according to official reports, with the toll expected to rise as search and rescue efforts continue. According to the Servicio Geológico Colombiano (SGC), the epicentre was located 96 kilometres beneath the surface near San José del Palmar, a rural area in the northwest of the Chocó province. Infrastructure damage extends to densely populated cities including Cali, Pereira, Manizales, and Armenia, affecting an area with a population of about 3.5 million people. This seismic event follows four others that occurred less than two months ago in Japan, the United States, and Venezuela, adding to reconstruction efforts already underway worldwide.
In 2021, a collaboration between the Italian architecture studio Mario Cucinella Architects and WASP, an Italian 3D-printing company, led to the development of TECLA: a house 3D-printed entirely from raw earth. Five years later, the technology behind it has grown, quietly spreading across several continents and design practices. By controlling the speed, angle, and path of the extruder nozzle, architects are able to create more than just walls. Throughout the years, they have been experimenting with how to shape the 3D-printed material into detailed surface motifs, reintroducing relief, texture, and intricate patterns directly into the structure. In this way, they are attempting to bridge earth-building traditions with digital computation, in an era where code is starting to influence form and material expression in architecture.
The TürkiyePavilion has announced "Spolia Futures" as its official exhibition for the 20th International Architecture Exhibition of La Biennale di Venezia, which will take place from May 8 to November 21, 2027. Commissioned by the Istanbul Foundation for Culture and Arts (İKSV), the exhibition will be curated by ba-be commons, a research collective composed of Başak Eren, Asya Ece Uzmay, Beril Sarısakal Erkent, and Ece Yetim. The proposal was selected through an open call and two-stage evaluation process to represent Türkiye at the 2027 edition of the Venice Architecture Biennale. The proposal examines spolia, traditionally understood as the reuse of architectural elements, as an evolving architectural method rather than solely a historical practice.
Every year on August 9, and since 1994, UNESCO has commemorated the International Day of the World's Indigenous Peoples. The United Nations has not yet adopted an official definition for the term 'Indigenous peoples,' but considers, for social recognition, self-identified non-dominant groups of society, with distinct language, culture, and beliefs, organized in separate social, economic, and political systems. From a territorial perspective, the UN understands the term through historical continuity with pre-colonial or pre-settler societies, and the group's strong links to territories and surrounding natural resources. The persistence in maintaining and reproducing ancestral environments and systems is also recognized as an element of identity, encompassing other designations such as first peoples/nations, aboriginals, or ethnic groups. Following the occasion's aim to raise awareness, in this article we present contemporary reflections, regional cases, and interviews about ancestral constructive knowledge and how it can build the future.
Architecture has long been understood as a discipline created by humans and for humans. But in We the Bacteria: Notes Toward Biotic Architecture, Beatriz Colomina and Mark Wigley challenge that assumption, arguing that "microbes invented architecture." From this premise unfolds an alternative history of architecture that shifts the focus away from human exceptionalism and toward the microorganisms that have shaped life, environments, and the built world for billions of years.
The book explores the idea that architecture cannot be understood separately from the microbial worlds that shape it, suggesting that "architecture inhabits humans just as much as humans inhabit architecture." Rather than inert objects, buildings emerge as dynamic ecosystems that Colomina and Wigley go as far as describing as "an expanded gut shared with others," where microbes, materials, people, and countless other forms of life continuously coexist, exchange, and evolve.
With over 80% of its population living in urban centers and a national density exceeding 500 people per square kilometer — soaring to over 15,000 in Seoul — South Korea faces intense competition for usable land. In response, contemporary Korean architecture offers compelling examples of mixed-use interventions that negotiate tight urban lots to blend public engagement with high-efficiency utility. By vertically stacking distinct programs, integrating public art centers, corporate headquarters, and commercial hubs alongside residential and other functions, these multi-layered developments transform spatial constraints into dynamic urban interfaces.
The Canadian Centre for Architecture (CCA) is presenting "The fortune of the city is that it has never been perfect," an exhibition dedicated to the urban work of Portuguese architect Álvaro Siza. On view in the institution's Main Galleries from May 21, 2026, to January 10, 2027, the exhibition examines Siza's approach to city-making through a selection of projects that engage with the historical, social, and physical conditions of existing urban environments.
Curated by Giovanna Borasi with Laura Aparicio Llorente as curatorial assistant, the exhibition explores how Siza's architectural practice extends beyond the design of individual buildings to encompass neighborhoods, public spaces, and broader urban structures. Rather than presenting the city as a fixed or idealized condition, the exhibition focuses on Siza's method of working with existing contexts, considering history, topography, infrastructure, and everyday life as fundamental components of the design process. Through this perspective, the exhibition reflects on questions surrounding urban transformation, the continuity of the built environment, and the relationship between architecture and planning.
UNESCO-UIA World Capital of Architecture is a title created jointly by UNESCO and the International Union of Architects (UIA). On 5 August 2026, Beijing was named World Capital of Architecture for 2029, a title awarded every three years to a city that hosts a year of architecture-focused programming timed to coincide with the UIA World Congress of Architects. The designation was made upon the recommendation of the Joint Committee for the World Capital of Architecture, chaired by architect Dominique Perrault. It follows the recent conclusion of the UIA World Congress of Architects 2026 in Barcelona, current World Capital of Architecture, and builds on the experience of Rio de Janeiro and Copenhagen.
The architecture of Birmingham reflects the city's history as one of the first industrial centers of England. The wealth generated in the city and the surrounding region led to the grandeur of the Victorian era in the nineteenth century. Heavy bombardment during the Second World War caused widespread destruction. This was followed by rapid reconstruction in the 1950s-70s, introducing rational modernism and brutalist ambition, which characterizes large parts of the city center today. A few decades later, erasure returned to Birmingham, with reconsideration of some of the decisions of the mid-twentieth century. Famously, the Bullring Centre and the Birmingham Library were torn down to make way for twenty-first-century redevelopments, adding new layers of richness to the city's built environment.
Sliding doors are often discussed through efficiency. They save the swing radius of a conventional door, allow compact rooms to function more easily, and help small apartments borrow a few extra centimeters of usable space. Yet in many interiors, their more interesting role is not only spatial economy. Sliding partitions transform the reading of the room itself. A bedroom, study, guest room, dining area, or workspace can appear when a panel is closed, disappear when it is opened, and remain ambiguous when the boundary is translucent or partial.
This makes the sliding partition especially useful in domestic contexts shaped by density, changing family structures, hybrid work, and climatic negotiation typical of regions like East and Southeast Asia. It allows privacy without permanence, enclosure without full separation, and openness without the loss of control. Unlike the fixed wall, it does not insist that a room has only one identity. Instead, it allows domestic space to respond to time: day and night, guests and family, work and rest, exposure and retreat.
This week, architecture's relationship with culture took center stage through exhibitions, public projects, and new cultural infrastructure that extend architectural discourse beyond the building itself. While major exhibitions from Australia, Shanghai, Barcelona, and Copenhagen examined themes of housing, landscape, and place through research and design, newly unveiled projects in China and Italy demonstrate how museums, performance venues, and mixed-use projects are increasingly conceived as open public landscapes rather than isolated institutions, while new exhibitions and construction milestones reflect ongoing experimentation in adaptive reuse, context-responsive design, and flexible urban environments.
The Grand Paris Express project consists of 200 kilometers of new, fully automated metro lines, 68 new stations, and four new orbital lines (15, 16, 17, and 18), in addition to the extension of Line 14. The network is being delivered in phases between 2024 and 2031: Line 14's 8 stations are fully operational following its 2024 extension, Line 18 is the most advanced of the new lines, with testing underway ahead of its first opening, and civil engineering is largely complete on many sections, with tracks, systems, architectural fit-out, and testing now progressing station by station. Each of the 68 stations is assigned to a specific architect or architectural team, sometimes in collaboration with landscape architects for above-ground elements.
In 1968, the furniture designer and RCA professor David Pye published The Nature and Art of Workmanship, a book built around a distinction between "workmanship of risk" and the "workmanship of certainty." Pye was not writing about architecture, and despite how the phrase gets used today, he was not really writing about hands versus machines either. He pointed out that a printing press, entirely mechanical, still depends on someone judging the ink and the register, while a woodturner working a lathe by hand can follow a template closely enough that almost nothing is left to chance.
Workmanship of risk, in Pye's definition, is any process where the outcome is not fixed in advance but depends on the judgment, dexterity, and attention the maker exercises while the work is still underway. Workmanship of certainty is the opposite condition, as the result is settled before production begins, locked into a jig, a mold, or a program, so that everything downstream is execution. Pye was careful to note that neither mode is inherently superior and that a numerically controlled machine, calibrated to leave room for drift, can sit closer to risk than a hand tool run to a fixed template.
As pillars of our cultural landscape, many masterpieces of the Modern Movement are often demolished, abandoned, or altered regardless of the context in which they are located. Preserving this architectural legacy highlights the role of architecture and design professionals in shaping built environments where continuity between the past and the present reinforces communities' sense of place. On Long Island, a coalition of advocates came together to save the A. Conger Goodyear House, which dates to 1938 and was designed by Edward Durell Stone. Considered one of the notable examples of the International Style in the United States, the house attracted significant attention throughout the 1940s, appearing in specialized journals, books, and popular publications.
MVRDV Bihailou Art Village. Image Courtesy of MVRDV
Designed by MVRDV, Bihailou Art Village is a mixed-use cultural and commercial centre currently under construction in Shenzhen, China. Located in the Shatoujiao neighborhood near the Hong Kong border, the mixed-use project combines cultural, commercial, and public programs within a vertically stacked composition derived from the firm's "Vertical Village" concept. Designed to accommodate independently operating venues while maintaining publicly accessible circulation, the development reinterprets the scale and spatial character of the surrounding urban fabric through a series of distinct volumes.
