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There are strange elements of connection within this phenomenon of social distancing: not only is the whole world experiencing it simultaneously, but we also seem to share a global momentum of awareness that something unique is taking place, which demands to be documented and gradually understood.

Moved by that impulse and under the guidance of professor Erieta Attali, 16 students from The Cooper Union, explored, through photography, their everyday life now ruled by isolation and social distancing. And they did so, not from a single city, but from 10 different places, as they returned to their home countries amidst the crisis.

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Moving away from its early exclusive focus on natural disasters, resilient architecture and design tackles the much tougher challenge of helping ecosystems regenerate.

Thirty years ago, as a high school student at the Cranbrook boarding school in suburban Detroit, I wrote a research-based investigative report on the environmental crisis for the student newspaper. I had been encouraged to do so by a faculty adviser, David Watson, who lived a double life as a radical environmentalist writing under the pseudonym George Bradford for the anarchist tabloid Fifth Estate. His diatribe How Deep Is Deep Ecology? questioned a recurring bit of cant from the radical environmental movement: Leaders of groups like Earth First! frequently disparaged the value of human life in favor of protecting nature.

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The largest pilgrimage church in Sicily, The Sanctuary Basilica of Our Lady of Tears in Syracuse was built to commemorate the 1953 miraculous tearing of a plaster effigy representing the Virgin Mary. The ever-growing number of religious devotees prompted the construction of a dedicated church of an appropriate scale. In 1957, an architecture competition was organized for the design of the new church, where 100 architects from 17 countries participated. The winners were Michel Andrault and Piere Parat, and their sculptural design became not only a landmark for the region but a trailblazer for religious architecture at the time.

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Overall, when designing exhibition spaces, certain aspects contribute to an effective display of the pieces: diffuse lighting, spatial distribution, and high ceilings are some of them. The combination of these features with rooms that are able to transform themselves (using elements that can be perforated, repainted, and adapted according to each exhibition), is common in many art galleries, expressing the dialogue between art and architecture.

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