Architecture is shaped not only by buildings, but by the ideas that make them possible. Before the constraints of capital, regulation, and procurement, there is a moment when architecture is allowed to think aloud. The first confrontation with this fertile moment usually takes place in academia, in the thesis. It is not merely a requirement for graduation, but a space of speculative freedom where architecture formulates hypotheses, builds arguments, and tests positions.
For many, it is also the first opportunity to think beyond the structure of academic programs — a first chance to explore something more personal, unresolved, or even unreasonable. While often seen as an endpoint, the thesis is better understood as a beginning: the first engagement with architecture as a form of reasoning, where the project is not yet a response, but a question.
Architecture has always been more than bricks and mortar. It is equally constructed through words, ideas, and narratives. From ancient treatises to radical manifestos, from technical manuals to poetic essays, the written word has served as a spatial, pedagogical, and political tool within the field. Writing shapes how architecture is conceptualized, communicated, and critiqued — often long before, or even in the absence of, physical construction.
Historically, figures such as Vitruvius, Alberti, and Palladio employed writing to codify principles, project ideals, and legitimize architecture as a discipline. In the modern era, Le Corbusier, Adolf Loos, and Lina Bo Bardi wrote prolifically to expand the scope of architecture beyond form and function, often using publications as tools for persuasion and experimentation. The postwar period gave rise to new editorial strategies, as evident in the manifestos of Archizoom and Superstudio, and the polemical publications of Delirious New York and Oppositions, where writing served as both critique and project.
The 24th International Exhibition of Triennale Milano opened to the public on May 13, 2025, at the historic Palazzo dell'Arte. Running until November 9, this edition explores the theme of "Inequalities", continuing Triennale Milano's tradition of addressing urgent global issues through the lenses of art, architecture, and design. The exhibition is formed by two main sections: one that presents a curated selection of exhibitions and installations by individual artists and teams, and another that features international participations, including national pavilions and their contributions. At the opening ceremony on May 12th, the Bee Awards were presented to recognize selected contributions across the exhibition. From both the exhibitions and the international participations, the jury awarded one winner and one honorable mention each.
The Biennale promises to be a dynamic platform uniting over 750 participants from diverse backgrounds, including architects, engineers, mathematicians, climate scientists, and artists. Such a broad coalition of over 280 projects underlines the Exhibition's focus on inclusivity and interdisciplinary collaboration, an essential aspect for adaptation. The selection process proposed a bottom-up, open call approach through the Space for Ideas initiative, which ran between May and June 2024. It encouraged participation from global teams, from Pritzker Prize winners and Nobel laureates to emerging architects and scientists.
The intersection of architecture and medicine profoundly shaped modernist design, where transparency, light, and air became essential tools in the pursuit of health. Emerging from the tuberculosis crisis of the late 19th and early 20th centuries, the sanatorium evolved beyond a medical facility into a testing ground for architectural innovation. The necessity of fresh air, sunlight, and sterility transformed these spaces into prototypes for modernist principles, influencing spatial organization, material choices, and design philosophies that extended far beyond healthcare.
More than sites of treatment, sanatoriums embodied contemporary medical theories in built form. At a time when tuberculosis — often called the white plague — devastated populations worldwide, medical professionals prescribed environmental exposure as the primary therapy. Architecture adapted accordingly, producing buildings with expansive terraces, large windows, and streamlined interiors designed to optimize ventilation and maximize natural light.
Architecture has long been framed as the work of singular visionaries, yet Beatriz Colomina, a leading theorist, historian, and curator, challenges this notion, arguing that architecture is inherently a collaborative endeavor. She critically examines how the myth of the lone genius—almost always depicted as male—has erased the contributions of countless women and entire teams involved in the design process. For Colomina, rethinking architecture means recognizing the complexities of collective work and dismantling the historical biases that have shaped the discipline's narratives.
Playtime movie (Jaques Tati 1967) . Image via screenshot
Architecture criticism and journalism are often expected to announce "the good, the bad, and the ugly" in architecture and the built environment. Its purposes go however further than that. As Michael Sorkin put it, "seeing beyond the glittering novelty of form, it is criticism's role to assess and promote the positive effects architecture can bring to society and the wider world". In other words, by telling us what they are seeing, critics are also showing us where to look in order to identify and address the issues plaguing our built environment.
The field of architecture journalism has been led by female writers even in times when the pursuit of a career in architecture was discouraged and inaccessible for women. Ada Louise Huxtable established the profession of architecture journalism by holding the first full-time position of architecture critic at a general-interest American newspaper. In 1970, she also received the first-ever Pulitzer Prize for criticism. Esther McCoy started her career as a draughtswoman at an architecture office, yet, because of her gender, she was discouraged from training as a professional architect despite her ambitions to study the field. Through her writings, she managed to bring attention to the overlooked architectural scene of the American West Coast and advocate for the values of regional Modernism.
The Graham Foundation has announced 56 new grants to individuals, selected from nearly 600 submissions. Centered on publications, research, exhibitions, films, site-specific installations, and digital initiatives, the funded projects "expand contemporary architecture ideas through innovative rigorous interdisciplinary work on the design and the built environment." The projects are led by 84 individuals, including established and emerging architects, artists, curators, designers, filmmakers, historians, and writers.
Architecture has deep wells of research, thought, and theory that are unseen on the surface of a structure. For practitioners, citizens interested, and students alike, books on architecture offer invaluable context to the profession, be it practical, inspirational, academic, or otherwise. So, for those of you looking to expand your bookshelf (or confirm your own tastes), ArchDaily has gathered a broad list of architectural books that we consider of interest to those in the field.
In compiling this list, we sought out titles from different backgrounds with the aim of revealing divergent cultural contexts. From essays to monographs, urban theory to graphic novels, each of the following either engage directly with or flirt on the edges of architecture.
The books on this list were chosen by our editors, and are categorized loosely by type. Read on to see the books we consider valuable to anyone interested in architecture.
https://www.archdaily.com/901525/116-best-architecture-books-for-architects-and-studentsArchDaily Team
As we explore social practices that challenge the dominant model in architecture, we have come to recognize the significance of addressing issues related to identity, gender, race, and sexual orientation within the realm of spatial design. By considering these dimensions, we aim to highlight how the built environment can foster new ways of envisioning society and shaping our relationship with the world around us. To provide valuable insights, we have curated a bibliography that showcases the perspectives and experiences of individuals who defy the norms dictated by a universalizing approach. This collection of 20 books offers diverse narratives that invite us to perceive, imagine, and experience space through an LGBTQIA+ lens.
Discussions of architectural form demonstrate how disability is negatively imprinted into the field of architecture. In architectural theory and the history of architecture, “form” typically refers to the physical essence and shape of a work of architecture. In the modern idea of form, it is a quality that arises from the activity of design and in ways that can be transmitted into the perceptions of a beholder of architecture. Form provides a link between an architect’s physical creations and the aesthetic reception of these works. It occupies a central place within a general understanding of architecture: the idea of the architect as “form-giver,” among many other turns of phrase, conveys the sense of some fundamental activity and aesthetic role of form within architecture, what architects create, and how people perceive works of architecture.
On August 27th, 1883, the volcano of Krakatoa in the Indonesian islands erupted. Ashes and rocks flew miles high. Barometers wobbled three and a half times as they recorded the atmospheric pressure wave circumnavigating the globe. The noise was heard across the Indian Ocean and Australia. And for years, small ash particles floated in the atmosphere, diffusing the sun’s light and scattering colors around the world.
Exterior view of l’Eau Vive hospital, Soisy-sur-Seine, France, 1960s. Image Courtesy of Archives of Nicole Sonolet, collection of Christine de Bremond d’Ars
What would it mean to design buildings that exceed the economic accountings of liberal biopolitics, that instead offer an entirely different rationale for supporting health? In the years that Michel Foucault conceptualized the term biopolitics, he was part of a constellation of researchers and architects who developed care praxes that defined the value of life and its maintenance through a desire-based calculus. The welfare state institutions of architect Nicole Sonolet in particular—mental hospitals, public housing complexes, and new village typologies built mainly in postwar France and postcolonialAlgeria from the 1950s to the 1980s—were designed not only to support but to center the needs of people often excluded from design processes. Sonolet’s mental health centers for residents of Paris’s 13th arrondissement, in particular, were key projects for discovering a design practice tied to the provision of care for its own sake.
“Sick Architecture” opened on May 5th at CIVA in Brussels. Co-curated by Beatriz Colomina, the exhibition investigates the intrinsic relation between architecture and sickness. The architectural discourse always weaves itself through theories of body and brain, constructing the architect as a kind of doctor and the client as the patient. Architecture has been portrayed as a form of prevention and cure for thousands of years. Yet architecture is also often the cause of illness, from the institution of hospitals to toxic building materials and sick building syndrome. The outbreak of the COVID-19 pandemic further highlighted this topic.
The Royal Institute of British Architects (RIBA) and the Jencks Foundation announced renowned Indian architect Anupama Kundoo as the winner of this year's RIBA Charles Jencks Award. The accolade given in recognition of significant contributions to the theory and practice of architecture acknowledges Kundoo's holistic practice that marries theoretical investigations, material research and sustainable building methods.
In order to inspire our audience, generate critical debates, and develop ideas, ArchDaily has been continuously questioning architects about the future of architecture. To define emerging trends that will shape the upcoming cities, examining “What will be the future of architecture?” became an essential inquiry. More relevant during these ever-changing moments, discover 10 interviews from ArchDaily’s archived YouTube playlists that will highlight diverse visions from 10 different pioneers of the architecture field.
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Architecture theorist, historian, and curator Beatriz Colomina has been awarded the 2020 Ada Louise Huxtable Prize for Contribution to Architecture from the W Awards. As the Howard Crosby Butler Professor of the History of Architecture and co-director of the Program in Media and Modernity at Princeton, Colomina is an internationally renowned architectural historian and theorist who has written extensively on questions of architecture, art, technology, sexuality and media.
Architecture theorist, historian, and curator Beatriz Colomina talks about our discipline and its difficulty to accept the work as the result of a collaborative effort. When asked about sexism and gender issues within architecture, Colomina broadens the discussion and tackles the historical myth of architecture as the product of one single, brilliant - and always masculine - mind. A fiction that has obscured the role of a number of women, and whole teams, committed to the design process.
