The Sardarapat Memorial and the architect's original sketch. Image via risraelyan.com/en/, courtesy of Aram Ghanalanyan
In a time when much global architecture can feel disconnected from local identity, the work of Rafayel Israelyan stands out for being rooted in place, culture, and memory. Working in mid-20th-century Armenia, Israelyan created architecture that is more than functional or monumental; it is culturally resilient. His use of traditional Armenian motifs, materials, and symbolic forms gave his designs a second life after the fall of the Soviet Union, when many buildings across post-Soviet states were abandoned or demolished. Armenia, by contrast, preserved many of his works, likely because their design approach not only served a specific moment in time, but also told a larger story. Long before concepts like sustainability or critical regionalism became popular, Israelyan understood that buildings gain meaning and endurance when they reflect the specific identity and characteristics of their place.
The 2025 edition of the European Cultural Centre's (ECC) Time Space Existenceexhibition in Venice is guided by the mandate to "Repair, Regenerate, and Reuse." Aiming to move beyond surface-level solutions and overused terminology, the exhibition showcases a cohort of practitioners who interpret architecture as an active agent of repair. The most compelling works presented in Venice demonstrate that "repair" is a multifaceted practice, operating across material, social, and historical registers. The varied approaches showcase a shift in the role of the architect, from a master builder and designer of physical objects, to that of a mender, able to combine technology, community, and material intelligence to restore narratives and build stronger cultural systems.
The Benedictine Monastery of San Nicolò l’Arena in Catania, Sicily, holds within its stones the echoes of five centuries, shaped by time, varied uses, violent earthquakes, and the blazing force of Mount Etna. Its walls, silent witnesses to history, were molded both by the fire of nature and by human hands. Yet among all the transformations it underwent, none was as profound or poetic as the one led by Italian architect Giancarlo De Carlo, starting in 1980. After 30 years of dedicated work, time required to truly understand such a complex and awe-inspiring site, the former monastic residence was reborn as a university, not by force, but through revelation.
The circular economy, including the reuse of building materials, is fast becoming a key component in the fight against carbon emissions. This involves designing to minimize waste and utilize materials that can be reused at the end of the building's life. On the opposing side, the reuse of materials from partially or wholly demolished buildings can also reduce waste and carbon emissions that would have resulted from using virgin materials. Sustainability purposes aside, the reuse of building materials has a centuries-old history, both for symbolic reasons and simply out of necessity.
The theorist André Corboz, known for his contributions to the critical reading of territory, proposes that the cities should be understood as a palimpsest. That is, a surface continuously rewritten, where traces of previous layers remain visible even after successive interventions. For him, the city is not a static entity, but an organism in constant transformation, where historical, functional, and symbolic layers overlap. This is why working on restoration or rehabilitation projects for historical buildings is particularly complex, requiring careful thought about the approach to be taken: should extensions and renovations seek complete coherence with the original language, or assert themselves as architectural expressions of their own time?
Located on a farm in southern India, the Rice Museum occupies the upper floor of Syed Ghani's home, nestled in the verdant agricultural landscape of Mandya — a region shaped by brick structures, expansive greenery, and ancestral farming knowledge. Syed Ghani, a farmer, historian, and museologist, has dedicated himself to preserving indigenous rice varieties through seed conservation, proliferation, and educational initiatives. With the support of local farmers, he has helped recover more than 1,000 native paddy (rice) varieties, safeguarding an essential part of India's agricultural heritage.
Lithuanian Airports has announced Zaha Hadid Architects as the winner of the international competition to design the new arrivals terminal at Vilnius Airport. Conceived as an integral part of the airport's evolving infrastructure, the new terminal will complement the recently completed departure terminal, enabling Vilnius Airport to accommodate up to 10.6 million passengers annually. The project marks a significant step in the airport's long-term development strategy, addressing future growth in passenger demand while enhancing Lithuania's role as a key gateway in the Baltic region.
The Republic of Togo presents its first pavilion at the 19th International Architecture Exhibition – La Biennale di Venezia 2025 with a project titled Considering Togo's Architectural Heritage. The inaugural pavilion is curated by Studio NEiDA, an architecture and research practice co-founded by architect Jeanne Autran-Edorh and curator Fabiola Büchele. Based in Lomé and Berlin, the studio is dedicated to equitable design processes, applying an Afrocentric lens to contemporary architectural discourse. The exhibition, located at Venice's Squero Castello, explores Togo's architectural narratives from the early 20th century, focusing on themes of conservation and transformation.
Located in southern Spain, Seville unfolds as a layered city shaped by centuries of cultural intersections. As the former capital of Al-Andalus and a central port during the Spanish Empire's expansion, its built environment reflects a deep historical complexity. From Roman foundations to Islamic geometries, from Renaissance palaces to contemporary interventions, Seville presents a unique spatial narrative in which architecture directly reflects its political, religious, and social transformations.
The city's architectural heritage is inseparable from its climate and geography. Narrow shaded streets, inner courtyards, and water as spatial elements reveal a deep knowledge of environmental adaptation that still informs how public and private spaces are articulated today. While monumental landmarks such as the Alcázar, the Giralda, or the Cathedral preserve and reinterpret historic legacies, modern projects have begun introducing new materials, programs, and spatial typologies, challenging conventional forms and proposing alternative ways to inhabit the city.
A place of rebirth, the city of Muharraq in Bahrain has undergone a visionary cultural and urban transformation, emerging as a pioneering model for culturally-led regeneration in the Arab world, particularly in the Gulf region. Once the capital of the country's pearling industry, Muharraq has preserved, reinterpreted, and reintegrated its historical legacy into its evolving urban fabric.
Faced with the challenge of redefining its future—marked by an intact urban layout but deteriorating architectural structures—Muharraq envisioned a linear urban narrative, weaving together the memory of the industry through a sequence of key buildings. The city set out to connect the individual properties tied to its pearling past, such as homes of divers, boat captains, and pearl merchants.
At the 19th International Architecture Exhibition, La Biennale di Venezia, the Dicastery for Culture and Education presents "Opera Aperta", a project that positions architecture as a practice of collective care and responsibility. Curated by Marina Otero Verzier and Giovanna Zabotti, Opera Aperta is set within the Santa Maria Ausiliatrice Complex in Venice's Castello district. Designed by Tatiana Bilbao ESTUDIO and MAIO Architects, the project transforms the 500-square-meter site into a space for collaborative restoration and public engagement. Conceived as a work in progress rather than a finished installation, Opera Aperta functions as a platform for ongoing exchange, participation, and engagement rooted in the local context. This open and process-oriented approach was recognized during the opening events, where the Holy See Pavilion received the Golden Lion's Special Mention for National Participation.
As artificial intelligence (AI) becomes increasingly embedded in society, it's essential to pause and reflect on the foundations that sustain it—and the dimensions to which it extends. At the heart of AI's learning are datasets, whose structure and content shape how these systems interpret and respond to the world. This reliance creates a deep interdependence—one that not only informs AI's capabilities but also defines its potential blind spots. In light of this, we must ask: What forms of understanding might this process exclude, especially those not easily captured in digital form?
The twentieth century marked a definitive shift in the realm of architecture, as the Modernist movement broke from traditional building styles and encouraged experimentation and innovation. With the help of new materials and technologies, these times represent a crucial moment in the history of architecture as both cities and building styles evolved at an unprecedented rate. The structures that stand testament to this day are, however, nearing the age of a hundred years old. Their stark design features are not always embraced by the public, while the functionalist principles often hinder the adaptability of their interior spaces. Given that they also often occupy central positions within the city, there is increasing pressure to demolish these structures and redevelop the area in its entirety.
On April 23, 2025, a 6.2 magnitude earthquake in the Sea of Marmara struck Türkiye's largest city, Istanbul, causing widespread panic and injuring over 230 people, primarily due to falls and panic-induced accidents. Over the course of the day, at least 272 aftershocks were recorded, with the strongest reaching a magnitude of 5.9. According to an initial statement by Minister of the Interior Ali Yerlikaya, there was no major destruction apart from the collapse of a single abandoned building. However, the event has reignited public and professional discourse around the city's preparedness for a much larger seismic event, long anticipated by experts monitoring the North Anatolian Fault.
In recent decades, Santiago has evolved into a hub for contemporary architectural exploration, blending its historic charm with modern interventions. Projects such as Eisenman Architects' City of Culture reflect an ambitious dialogue between avant-garde design and Galicia's natural landscape. Complementing this are works by Álvaro Siza Vieira, Arata Isozaki, Francisco Mangado, and other renowned architects, who incorporate local materials and forms into forward-thinking designs. Together, these works position Santiago de Compostela as a dynamic architectural destination within Spain's broader cultural narrative.
Detail of the Garifuna Kiosk Network. Image Courtesy of 24 Grados Arquitectura
How can architecture restore relevance to forgotten places? What dialogues can emerge when buildings and landscapes are treated not as blank slates, but as layers of memory, identity, and potential? For the Honduran architecture firm 24 Grados, these questions shape an approach rooted in adaptation, reuse, and contextual design. Their projects range from the restoration of old Spanish plazas and cultural centers to interventions in natural parks and coastal villages in Honduras. Each one is grounded in the belief that design can reweave relationships between people, place, and heritage.
