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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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When approaching the design of cultural spaces such as museums, performance venues, or places of research and study, architecture and design professionals often have to assemble pieces of a uniquely challenging puzzle in order to make the structure resonate with a variety of visitors and occupants. Hitting the right chord can be difficult, especially when trying to combine forms into a whole that pays respect to a building's intended use while being timeless in its universality.

One way of making sure a sense of culture is omnipresent: adaptive reuse. The practice of breathing life into historic structures has been on the rise in recent years and is particularly well-suited to creating spaces that address and embody contemporary issues while connecting their inhabitants to the past. But it's not just a sense of updated heritage that makes them stand out; adaptive reuse buildings can fight urban sprawl and unsustainable building practices simply by way of existing.

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"Dance, dance… otherwise we are lost." This oft-cited phrase by Pina Bausch encapsulates not only the urgency of movement, but its capacity to reveal space itself. In her choreographies, space is never a neutral backdrop, it becomes a partner, an obstacle, a memory. Floors tilt, chairs accumulate, walls oppress or liberate. These are architectural conditions, staged and contested through the body. What Bausch exposes — and what architecture often forgets — is that space is not simply built, it is performed. Her work invites architects to think not only in terms of materials and forms, but of gestures, relations, and rhythms. It suggests that architecture, like dance, is ultimately about how we inhabit, structure, and emotionally charge the spaces we move through.

Historically, architecture and dance have operated in parallel, shaping human experience through the body's orientation in space and time. From the choreographed rituals of classical temples to the axial logics of Baroque palaces, built space has always implied movement. The Bauhaus took this further, as Oskar Schlemmer's Triadic Ballet visualized space as a geometric extension of the body. This was not scenery, but spatial thinking made kinetic. In the 20th century, choreographers like William Forsythe and Anne Teresa De Keersmaeker integrated architectural constraints into their scores, while architects such as Steven Holl, Diller Scofidio + Renfro, and Toyo Ito designed buildings that unfold as spatial sequences, inviting movement, drift, and delay.

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The European Commission and the Fundació Mies van der Rohe have announced the 2024 European Union Prize for Contemporary Architecture / Mies van der Rohe Awards (EUmies Awards) nominees. A total of 362 works of architecture realized over 38 different European countries have been selected, marking the first stage of the EUmies Awards’ 18th cycle. In the next stage, the jury will choose 40 outstanding projects, followed by visits to the finalists and interviews with the architects, their teams, and the project clients.

The 2024 EUmies Awards aims to recognize the best-built works in Europe completed between April 2021 and May 2023. The selection of projects reflects the current changes within the European context, with increasing attention given to environmental, social, and economic awareness expressed through architecture, landscape architecture, urban planning, and design. This year’s jury is chaired by Frédéric Druot (Paris/Bordeaux), who will be accompanied by Martin Braathen (Oslo), Pippo Ciorra (Rome), Tinatin Gurgenidze (Tbilisi/Berlin), Adriana Krnáčová (Prague), Sala Makumbundu (Luxembourg), and Hrvoje Njiric (Zagreb).

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