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Meeting House Square, Temple Bar. Image Courtesy of Sean Harrington Architects
The veteran Irish architecture critic Shane O'Toole once remarked that when traveling in Europe in the 1970s, "The universal comment was is there modern architecture in Ireland? Now, in less than 50 years, we've gone to a Pritzker Prize and two RIBA Royal Gold Medallists in five years." He attributes this change in perception to a design competition that launched the careers of several of Ireland's award-winning architects of today. This was the Temple Bar Framework Plan competition of 1991 in the center of Dublin, the capital of Ireland, which was won by a group of architects still in their 30s, running under the name of Group 91.
"Steven Holl – Drawing as Thought," an extensive exhibition of the American architect's original watercolors, is now on view at the Tchoban Foundation Museum for Architectural Drawing in Berlin. It reveals insights behind some of Holl's key projects and design methodology. The selected drawings range from early unbuilt winning competition entries to some of the latest visions now under construction in Europe and the United States. Occupying the museum's two levels, the show opened on February 6 with a conversation between Holl and the museum's founder and architect Sergei Tchoban, as well as addresses by Kristin Feireiss, the exhibition's curator and founding director of the next-door Aedes Architecture Forum, and Diana Carta, an architect and scholar from Rome. The show, which can be visited until May 4th, is accompanied by a catalog that states, "The work of internationally renowned US architect Steven Holl is distinguished not only by his extraordinary buildings, with a focus on cultural and public structures such as museums, art centers, concert halls, libraries and universities worldwide, but also by his artistic oeuvre, which today comprises more than 50,000 sketches, black-and-white drawings, and watercolors. […] While exhibition visitors will only encounter a small portion of his extensive body of work, each drawing should be explored and studied individually, in keeping with Holl's intent."
A previous exploration of cultural landmarks in the Middle East designed by international architects highlighted recurring themes such as architecture as an extension of the landscape, climate-responsive design, and abstraction of traditional forms. These projects often introduced high-tech environmental solutions, used monumental forms to reinterpret local identity, or positioned themselves as landmarks within the broader urban or desert landscape. While these approaches have defined many of the region's most recognizable cultural institutions, they represent just one side of the architectural discourse. An equally significant yet distinct trajectory emerges from local architects, who work within existing structures, historical contexts, and lived environments to create institutions that feel deeply embedded in their surroundings. This approach prioritizes continuity, transformation, and accessibility, ensuring that architecture remains an evolving part of the cultural fabric rather than a self-contained object.
Creating an atmosphere that enhances exhibitions and enriches the visitor and user experience requires a thoughtful balance between preserving a space's unique character and adapting it to meet the needs of artistic and cultural production. The challenge lies in maintaining a building's industrial atmosphere while accommodating the specific requirements of exhibition design or the various uses the new building will require. This delicate task involves careful consideration of spatial layout, material choices, and lighting solutions, all of which play a significant role in shaping the new environment.
Many major cities in the United States are grappling with large industrial buildings that have fallen into disuse. These buildings hold historical and architectural significance and are often protected from demolition. Consequently, architects face the challenge and responsibility of adapting these buildings to contemporary functionalities. Opting against demolition reflects a sustainable construction approach and highlights the importance of honoring the built heritage.
Sustainability in architecture is often framed as a universal challenge, leading to standardized solutions that prioritize efficiency over context. However, architecture is inherently tied to its environment — buildings interact with climate, topography, and cultural history in ways that demand specificity. Instead of relying on standardized sustainability checklists, how can architecture embrace site-specific solutions? This conversation is deeply connected to the concept of Genius Loci, or the spirit of a place, introduced by Christian Norberg-Schulz and embraced by architects advocating for designs that resonate with their surroundings. It suggests that architecture should not be imposed upon a site but rather emerge from it, informed by its materials, climate, and cultural significance. This philosophy challenges the widespread application of generic sustainable technologies, instead proposing that sustainability must be inherently tied to the location in which it operates.
The 2025 Pritzker Prize has been awarded this year to Chinese Architect Liu Jiakun. Born in Chengdu in 1956, he grew up in the densifying city, before attending and graduating from the Chongqing Architecture and Engineering College (Chongqing University) in 1982 with a Bachelor of Engineering degree in Architecture, and becoming one of the first college graduates to be tasked with rebuilding the country during the Chinese transition period. However, it wasn't until many years later that the architect understood that "the built environment could be used as a medium for personal expression". It was then that his endeavors and career took off, with Liu Jiakun starting his practice in 1999, and participating in more collaborative works across China and Europe. Based on his experiences, his works are anchored in his understanding of reality and a respect towards China's multi-traditional history and internal diversity; all while achieving a seamless balance between architecture and nature, tradition and modernity.
These concepts do not obstruct his consciousness of human needs and the importance of community spaces. Through his projects, Liu Jiakun proves that spaces can affect human behavior and become positively evocative. A public space such as those he's created can be conducive to a benevolent atmosphere that provides rest and collaboration. "such as my pursuit of narrative and poetry in design." The comprehensiveness of Liu Jiakun's works makes it easy not to be constrained by stylistic or aesthetic limitations or requirements. He just follows what the site, natural landscape, pre-existing urban frame, and citizen needs might require. The physical result is a mix of all of these with the predominant vernacular traditions.
In my 2008 interview with Kengo Kuma in Manhattan—the Tokyo-based architect was in town for a lecture at Cooper Union and to oversee the construction of a house renovation in nearby Connecticut— he summarized the intention of his work for me, "The closest image to the kind of architecture I try to achieve is a rainbow." The architect designs his buildings as a chef would prepare a salad or a florist arrange a bouquet of flowers—by carefully selecting ingredients according to their size, shape, and texture. He then tests whether they should touch, overlap, or keep a distance to let the airflow pass through. The process is closer to a trial-and-error scientific experiment rather than an artistic exercise in projecting visionary forms and images. Although his buildings surely look strikingly artistic and utterly breathtaking. They are both precise and loose, primitive and refined, material and transient. The architect's fascination with materiality is startling, and despite having completed many dozens of buildings all over the world over the course of his distinctive career, in our conversation last month over Zoom, Kuma told me, "I stand at the beginning of a long process of material exploration."
After two weeks of open voting in the16th edition of the Building of the Year Awards, our readers have meticulously narrowed down a pool of almost 4,000 projects to a select group of 75 finalists spanning 15 categories. This year's awards honor the pinnacle of design, innovation, and sustainability on a global scale, showcasing an exceptional range of projects within the shortlist. As a crowdsourced award, we take pride in affirming that your selections authentically mirror the current state of architecture, and the caliber of this year's finalists further underscores the excellence and diversity prevalent in the field.
In October 2025, the Fernando Romero Foundation will officially open the doors of La Cuadra San Cristóbal, one of the late projects of Mexican architect and Pritzker Prize winnerLuis Barragán. The goal is to transform the architectural complex into a cultural campus open to the public, with a curatorial program focused on exploring the dynamic interaction between architecture and art.
The project, known as Cuadra San Cristóbal, was built between 1966 and 1968 and includes a house, a stables building, and auxiliary facilities such as the Fuente de los Amantes (Fountain of the Lovers). The complex showcases characteristic elements of Barragán's Latin American modernism, including his use of color and the integration of shadows, textures, and sounds into the experience of space.
The architecture of Studio Muoto is one that encompasses endless definitions of what architecture should be, but most importantly, of what architecture can become. The scope of work of the Paris-based practice founded in 2003 by Gilles Delalex and Yves Moreau includes projects in the fields of architecture, exhibition design, urban planning, teaching, and research. All of this has led to an architecture of minimal structures that age gracefully, an architecture that evolves and adapts with time, and that is sustainable economically and environmentally.
Ancient Indian civilizations once thrived along the banks of the country's many rivers, solidifying a connection between water and culture that endures to the present. Rivers have been integral to India's diverse communities, serving as essential resources for daily life and spiritual practice. Historically, these water bodies experienced an entrenched sense of custodianship; being cared for collectively by the communities that depended on them. Today, responsibility for the rivers shifts between the hands of multiple stakeholders, calling for a joint endeavor that acknowledges their cultural significance.
Recognized for completing 36 distinct yet cohesive public projects across Mexico in just 36 months, Colectivo C733 showcases the impact of collaborative design on public spaces and communities. The 36 projects were part of a national effort to revitalize vulnerable urban and rural areas in Mexico, earning them the 2024 Obel Award focused on the theme of "Architectures With". The team behind the designs, Colectivo C733, is a collaborative group formed by the joint offices of architects Gabriela Carrillo (Taller Gabriela Carrillo), Carlos Facio, and José Amozurrutia (TO), along with Eric Valdez (Labg), and Israel Espin. In a recent conversation with ArchDaily's Editor-in-Chief, Christele Harrouk, the collective discussed their approach to public architecture, the process of integrating diverse voices, and remaining flexible to the challenges of local conditions.
WXCA Architectural Design Studio has unveiled its design for a new museum aiming to honor the 1918-1919 patriotic uprising and victory of the people of Greater Poland. Situated near the historic St. Adalbert's Hill, home to an 800-year-old church, the museum is set to become a significant cultural and historical site. In addition to its preservation of history, the museum aims to offer the people of Poznań a contemporary public space to highlight this collective heritage. WXCA architects won the 2019 competition for the museum design and urban concept. The project began construction in early 2024 and is expected to open to the public in 2026.
The relationship between art and humanity dates back to the origins of civilization. Museums have become spaces where vast collections of art and artifacts narrate the history of time, humankind, cities, and countless stories about cultures and societies. Over the years, the museum's role has evolved, taking on different forms and scales, including the modern-day art gallery. The importance of art and culture in contemporary cities and neighborhoods is undeniable. However, galleries serve multiple roles in integrating art and culture into daily life. Why are these spaces valuable to communities? How do they support emerging artists? How can galleries revitalize neighborhoods?
Standing out among the array of cultural programs, the opera and theater typology is often understood as encompassing the luxurious and elitist spirit of a bourgeois society focused on entertainment. Across the Soviet Union, this represented the opposite of the principles to be promoted. However, despite the opposition of the political class, the program remained widely popular. As the historical structures, symbols of the previous regime could no longer be promoted, the search began for a new image of the Opera House, one aligned with Socialist ideals and the concept of "art belonging to the masses."
This is the case of Soviet Lithuania, which, in the 1940s, began the process of developing a new Opera and Ballet Theater in Vilnius to replace the theatre in Pohulianka. The process resulted in an unusual commission, as young architect Elena Nijolė Bučiūtė won the 1960s competition for architectural design, turning the initial socialist realist proposals into a welcoming and expressive design, blending elements of early and late modernism. This also represents a surprising accomplishment for a young architect who was a woman and not a member of the Communist Party. Open House Vilnius featured the project in its program for several editions.
From 1977 to 1983, the National Theatre in Prague underwent a major transformation with the opening of Nová Scéna, a modern counterpart to the traditional Neo-Renaissance theatre. For many years, Nová Scéna hosted the renowned Laterna Magika, the world’s first multimedia theatre. This groundbreaking performance style combined classical theatre with computer-generated visual effects, creating a unique dramatic experience. The striking glass building, a symbol of the communist era, became an iconic representation of the political power of the time. In recognition of its significance, this building was part of the Open House Prague festival in 2024—an annual event that invites the public to explore and appreciate the value of architecture.
The city of Barcelona and the region are preparing to host Manifesta, the European nomadic biennial of art, architecture, and urbanism, which will celebrate its 15th edition on September 8, 2024. The event will take place in twelve cities over twelve weeks, where an extensive list of participants will materialize projects aimed at reimagining the future through art and architecture.
The first edition of Manifesta took place in Rotterdam in 1996. Over its 14 previous editions across 25 years, it has visited various European cities such as Luxembourg, Ljubljana, Frankfurt, San Sebastián, Trentino-South Tyrol, Murcia, Genk, Saint Petersburg, Zurich, Palermo, Marseille, and Pristina. One of the main pillars of Manifesta is based on critical urban research, promoting the construction of communities and cultural programs with a local identity that act as agents of change. While the nomadic character is a hallmark of the event, each city works with local artistic communities, citizens, and organizations to carry out projects that address issues inherent to the location.
