Most architects tend to begin explaining their projects by pointing to the entrance. "You enter here," they usually say. As if nothing had happened or existed before entering. As if the user's life, or that of the building itself, began at that very threshold which many assume separates the exterior from the interior. A strange conception of time.

Enric Miralles made an interesting observation regarding this: it is not about entering, but about accessing—something that will also be marginalized later. We must assume that in architecture, accessing means "to enter a place or pass into it," as the dictionary explains. Yet we also find other, more compelling interpretations, such as "to gain access to a superior situation, condition, or degree; to attain it," which imbue the act of accessing with meaning and time.

In advance of the Scottish Independence vote next month, a group of Edinburgh-based architects led by Alasdair Stephen of Dualchas Architects will launch an "Architects for Yes" campaign in support of independence. The campaign, which currently has backing from over 50 architects, states these architects' belief that independence could be a way to "design a new, better Scotland." More about the campaign and the launch ceremony after the break.

With Astley Castle winning this year's Stirling Prize last week, Olly Wainwright investigates the fortunes of other Stirling Prize winners - finding that in many cases critical acclaim and awards do not necessarily translate to long term success. His study brings into question what qualities should be awarded, and seems to imply that there should be a greater focus on post-occupancy awards, such as the 10-year award started by the Council on Tall Buildings and Urban Habitat’s (CTBUH) this year, and another being considered by the RIBA. You can read Wainwright's full investigation here.

Ten years after its completion, the reputation of the Scottish Parliament Building is finally being redefined. Among architects and the academic elite, it has long been heralded as a masterpiece of abstract modernism and perhaps the finest work of Enric Miralles' all-too-short career. For the general public, however, it was initially known mainly in infamy for being overdue, over budget, and for having its commission awarded to a non-Scottish architect. Only now is it beginning to receive the public acceptance it deserves, as the genius of the architecture emerges from the shadow cast by its mired construction process.

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