Architecture has long been understood as a powerful tool for shaping the physical environment and social dynamics within it. However, its potential to foster social equity is often overlooked. Empathy-driven design invites architects to approach their work not only as creators of space but as facilitators of human connection and community well-being. This approach centers on understanding people's lived experiences, struggles, and aspirations — particularly marginalized communities — and responding to their needs through thoughtful, inclusive architecture. It goes beyond aesthetics and functionality, instead focusing on creating spaces fostering dignity, accessibility, and social equity. By prioritizing empathy, architects can design environments that uplift communities, address disparities, and create inclusive spaces that promote positive societal change in a tangible, human-centered way.

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This article was originally published on Common Edge.

About a decade ago, the term "resilience planning" became ubiquitous in climate circles. That shift, in the wake of increasingly unpredictable events, was shaped in part by the Rockefeller Foundation's 100 Resilient Cities program, a six-year, $160 million effort to establish chief resilience officers in cities all over the world. Out of that program, which ended in 2019, emerged its successor, Resilient Cities Catalyst (RCC), a New York–based nonprofit engaged in what it calls "capacity building" projects. For Climate Week, I talked to Sam Carter, one of RCC's founding principals, about his definition of resilience, the organization's planning and philanthropic method, and the challenge of scaling up climate efforts.

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A city that defies expectations, this is what many visitors often express about the Senegalese capital, Dakar. As Africa's most western port city, which gained independence from the French in 1960, Dakar is a regional hub for diversity and culture. While it's often described as an unexpectedly sleek and "modern" city, with its characteristic and sometimes colorful monolithic buildings, Dakar is in fact in constant development and each of its districts tends to reflect a different style and focus, depending on its inhabitants and the dominating functions.

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Dakar is a city of constant development. From colonial times, and on, the capital of Senegal has seen a lot of shifts in its societal definition which has, in turn, affected its architectural and urban fabric. Ever since the French mandate which somewhat forced a shift of local living traditions into a more 'European' lifestyle, the wheels of change have been set in motion. Afterward, a notable post-colonial attempt at re-defining Dakar was inevitable. It came about in many ways, still seen today, and it built a city of mixed architectural languages that defies most visitors' expectations.

Though the renowned African mid-century modernism was certainly present in the years after Senegal's independence in 1960, this was mostly due to its popularity with practicing architects in the region, not its relevance for the capital's rebuilding efforts. The modernist approach, which was mainly seen in the public, institutional, and cultural buildings, and which persists today in a more undefined contemporary style, was always aimed at showcasing Dakar to the world. It did not, however, reflect the reality of the city's development nor the way its dwellers live.

In an effort to refocus on Dakar, some of our more recent ArchDaily coverage has highlighted the many development and design efforts that look to provide a better means of living to inhabitants.

On the morning of September 11, 2001, two hijacked commercial jetliners struck the Twin Towers in Lower Manhattan, a third plane struck the Pentagon, and a fourth crashed in rural Pennsylvania. A total of 2.977 people were killed in the terrorist attacks. In the face of this unprecedented loss, the city of New York promised to rebuild Lower Manhattan as a lively neighborhood while honoring and maintaining the memory of this day. Thus began one of the largest reconstruction projects in New York City, a process that is still ongoing now, 23 years after the tragedy.

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Kazuyo Sejima and Ryue Nishizawa, founders of the renowned architecture firm SANAA, have been announced as the recipients of the 2025 Le Prix Charlotte Perriand by the Créateurs Design Awards. Announced today in Paris, France, the award honors exceptional contributions to modern architecture and design. Sejima and Nishizawa, known for their minimalist designs that integrate form, function, and the environment, continue to be recognized as innovators in the field, having been previously recognized with the prestigious Pritzker Architecture Prize in 2010. Sejima and Nishizawa will accept Le Prix Charlotte Perriand at the Créateurs Design Awards ceremony in Paris on January 18, 2025.

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As a result of the nation’s ardent aspirations for growth and development, the social, economic, and physical landscape of India has transformed. A significant portion of the region’s population is of working age and comprises a massive market size, making India a land of opportunity especially in the eyes of foreign investors.

Reflecting this context, multiple mega-cities and mega-projects characterize the built environment and push the nation toward superpower status. On the flip side of the coin, these visionary projects along with the trend of rapid urbanization also bring in a range of side effects - the spread of informal settlements and in turn, the challenges to equitable development.

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The Utzon Center in Denmark has announced the opening of “Primitive Future: Everything Is Circulating,” a solo exhibition dedicated to exploring the work of renowned Japanese architect Sou Fujimoto. Marking the first time his work is presented in Denmark, this exhibition offers a glimpse into Fujimoto’s vision, waving together the themes of nature and architecture. The exhibition's centerpiece is an expansive 500-meter-long steel wire installation that serves as a three-dimensional sketch, framing 12 of Fujimoto’s architectural projects.

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Located north of Dakar, near the city's airport, is an architectural composition of triangular volumes known as the International Trade Fair Centre, Dakar, Senegal. Also known as the Foire Internationale de Dakar or FIDAK, this structure is an iconic example of 60s modernism in West Africa. It synthesizes the complexity of simple forms within vernacular spatial patterns. Completed in 1974, it reflects the post-colonial ambition of the country and has grown as an adaptive spatial framework for major cultural events and exhibitions.

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There is a burgeoning, perhaps overdue, interest in mid-twentieth-century African architecture of the Modern Movement. This period saw independence movements and new self-ruling governments asserting their new nationhood with built projects, often in what was regarded as the International Style or Tropical Modernism, both offshoots of Modernism. These included monuments, convention centers, and hotels, with well-known examples such as the refined brutalism of the Kenyatta International Convention Center in Nairobi, Kenya, or the formal expressionism of the Dakar International Fair, Senegal.

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For decades, the construction industry followed a familiar rhythm: design came first, materials followed. The pressing need for sustainable buildings has shattered this routine. Material selection is no longer an afterthought, but a critical decision made at the outset, with the potential to dramatically reduce a project's environmental footprint. This shift is even more crucial given the construction industry's appetite for raw materials – a staggering 3 billion tons extracted annually. To navigate this new landscape, digital material libraries and data-driven evaluation are emerging as powerful tools, creating a culture where materiality takes center stage to shape a more sustainable built environment.

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The Mies Crown Hall Americas Prize (MCHAP) at the College of Architecture at Illinois Institute of Technology has announced the shortlist of 53 Outstanding projects. The 5th cycle of awards celebrates built works completed in North, Central, and South America in 2022 and 2023, striving to bring visibility to those projects that best address the demands of our time and work towards building resilient communities.

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For cities, hosting an Olympic event represents both an honor, an important opportunity for growth, and a significant challenge. With over 200 nations taking part in the Games, the Olympics are the largest sporting competition in the world. Adapting the public and sporting infrastructure to accommodate this sudden influx of people and the scale of these events runs the risk of misunderstanding the cities’ needs after the closing ceremony, often producing “white elephants” that struggle to adapt to the rhythm and necessities of everyday urban life. Urban transformations are often cited as an advantage of hosting the Olympic Games, as cities are incentivized to invest in their traffic infrastructure, housing, and public spaces. One such example is the city of Paris, which introduced its first metro line on the occasion of hosting the second edition of the Olympic Games in 1900.

When it comes to the venues, however, the issue of adaptive reuse becomes a pressing one, as the architecture is challenged to find solutions to transform, accommodating thousands of people during the Olympics, then scaling down to become a financially sustainable part of a city’s sporting offering. Across the world, several Olympic venues have managed to extend their usability after the closing of the games, opening themselves to the local communities and welcoming a more diverse programming of sports and leisure events. While the high construction costs are often difficult to justify, these venues have become markers of local identity and attractive tourist attractions, extending their use decades after welcoming the Olympic crowds.

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A holistic approach to design and architecture becomes apparent when we delve into the work of NO ARCHITECTURE, an architectural practice based in New York, founded by Andrew Heid in 2014. The firm's portfolio and research showcase an integrative way of building, with projects demonstrating a close connection between the built environment and their immediate surroundings, whether in natural landscapes or urban contexts. Their programs emphasize flexibility, possibilities, and inclusion, prioritizing human well-being above all.

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Founded by architects Felipe Mesa and Federico Mesa, the Plan:b arquitectos studio is located in the city of Medellín, Colombia, bringing together building design, participation in academic activities, and the construction of concepts capable of connecting architecture with the urgent realities of everyday life. Understanding the architectural project as a provisional pact, permeable configuration, and positive expression of eco-social constraints, they have constructed a large number of buildings of various scales and programs since 2000, ranging from public, educational, and sports spaces to housing, offices, hotels, and installations.