This week's architectural developments highlighted how design operates as a form of social and culturalinfrastructure, linking care, community, and context across scales. From London's reinterpretation of the almshouse model to the transformation of urban gateways in Phnom Penh and Tirana, architecture reflected a shared interest in spaces that foster connection and adaptability. Parallel to these urban and infrastructural works, new cultural projects in Paris and Hanoi explored how museums and performance spaces can renew public institutions through material experimentation and spatial flexibility.
Oricon Tower project by Eduardo Souto de Moura and OODA. Exterior render. Image Courtesy of Plomp
Eduardo Souto de Moura and OODA have unveiled the design of the Oricon Tower, a 180-meter mixed-use skyscraper planned for Tirana, Albania. Located near OODA's recently completed Bond Tower, the project is part of the city's ongoing transformation under the Tirana 2030 Masterplan, which envisions a denser and more connected urban core. The tower will house offices, residences, retail areas, and a hotel, contributing to the city's evolving skyline and serving as a new urban gateway between Tirana's historic center and its expanding western districts.
Concrete is often seen as the material of modernity, defined by its structural strength, raw finish, and unmistakable gray tone. It became the default palette of 20th-century architecture, a symbol of functionality and permanence. Yet, concrete is not bound to this chromatic identity. Its color is a byproduct of the cement, aggregates, and chemical composition used in its mix, and it can be intentionally altered through pigmentation. Among the many hues explored, red stands out — not only for its visual intensity, but for its ability to root buildings in place, evoke cultural references, and imbue architecture with a material presence that feels both elemental and expressive.
Pigmenting concrete involves the addition of mineral-based colorants — usually iron oxides — during the mixing process. Unlike paints or coatings applied to the surface, these pigments are integrated directly into the concrete mass, ensuring the color permeates the material and remains stable over time. Red pigments in particular are often derived from iron oxide (Fe₂O₃), a naturally occurring compound found in clay, hematite, and other iron-rich minerals. Their deep, earthy hue connects contemporary construction with ancient techniques — from Roman pozzolana mortars to the red earth buildings of West Africa and South America.
The Japan Art Association has named Portuguese architect Eduardo Souto de Moura as the 2025 Praemium Imperiale Laureate for Architecture. Now in its 36th edition, the award honors artists for their lifetime achievements in the fields of Painting, Sculpture, Architecture, Music, and Theater/Film. The Praemium Imperiale was established in 1988 to recognize individuals whose work has contributed significantly to the enrichment of the global cultural landscape. Souto de Moura was recognized for producing architecture that thoughtfully engages with the present moment while maintaining a timeless quality.
The Pritzker Prize is the most important award in the field of architecture, awarded to a living architect whose built work "has produced consistent and significant contributions to humanity through the art of architecture." The Prize rewards individuals, not entire offices, as took place in 2000 (when the jury selected Rem Koolhaas instead of his firm OMA) or in 2016 (with Alejandro Aravena selected instead of Elemental); however, the prize can also be awarded to multiple individuals working together, as took place in 2001 (Herzog & de Meuron), 2010 (Kazuyo Sejima and Ryue Nishizawa of SANAA), and 2017 (Rafael Aranda, Carme Pigem, and Ramon Vilalta of RCR Arquitectes).
Modernism, a movement that sought to break away from traditional forms and embrace the future, laid the groundwork for many technological and digital advancements in contemporary architecture. As the Industrial Revolution brought about mass production, new materials, and technological innovation, architects like Le Corbusier, Walter Gropius, and Mies van der Rohe championed the ethos of "form follows function" and a rational approach to design. Their principles resonate in the digital age, where computational design and high-tech materials redefine form and construction.
The 20th century's modernist ideals — efficiency, simplicity, and functionality — created a foundation for architects to experiment with structural clarity and material honesty. High-tech architecture, which emerged in the late 20th century, evolved from these principles, merging modernism's clean lines with advanced engineering and technology. This paved the way for parametricism and algorithm-driven design processes, revolutionizing architecture and enabling complex forms previously thought impossible.
Porto, Portugal's second-largest city, is a captivating blend of historical charm and contemporary innovation. Perched along the Douro River, this UNESCO World Heritage site boasts a rich architectural tapestry that spans centuries. Porto's urban landscape is a testament to its evolving identity from its medieval Ribeira district with narrow cobblestone streets to the iconic Luís I Bridge. The city's skyline is punctuated by Baroque churches, neoclassical palaces, and modernist structures, creating a visually striking contrast that reflects its dynamic history.
Porto has undergone a remarkable architectural renaissance in recent years, becoming a magnet for local and international talent. The city has evolved into a dynamic canvas where bold contemporary designs seamlessly integrate with its rich historical fabric. The influence of renowned architects like Álvaro Siza Vieira and Eduardo Souto de Moura, both Pritzker Prize laureates and native to Porto, has solidified the city's status as a key player on the global architectural stage. Among the city's most striking contemporary landmarks is the Casa da Música, a futuristic, diamond-shaped cultural center designed by Dutch architect Rem Koolhaas, which stands as a testament to Porto's forward-thinking spirit. This sophisticated blend of tradition and modernity, coupled with a strong commitment to urban regeneration, has transformed Porto into a vibrant hub of architectural innovation, making it a must-visit destination for architecture enthusiasts and cultural explorers
Eduardo Souto de Moura. Image via CAU/BR, divulgação
The Portuguese architect Eduardo Souto de Moura will receive yet another international recognition for his career. On October 20th, the Circle of Fine Arts of Madrid or Círculo de Bellas Artes de Madrid (CBA) will award the architect the Gold Medal, its highest distinction. This tribute not only adds to Souto de Moura's extensive list of accolades, which includes the 2011 Pritzker Prize and the 2013 Wolf Prize, among others but also represents an expression of appreciation from the world of culture and the arts for a career and body of work that transcend architecture and "reach the dimension of poetry through the acceptance of the technical demands of buildings
Pedrógão Grande, a Portuguese municipality located approximately 55 kilometers from Coimbra, inaugurated the Memorial in Homage to the Victims of the 2017 Forest Fires last week. This tragic event resulted in the loss of 66 lives and left 253 injured. The monument was designed by architect Eduardo Souto de Moura, winner of the 2011 Pritzker Prize.
The work, initiated by Infraestruturas de Portugal (IP) two years ago, cost approximately 1.8 million Euros. According to IP, the monument features a framing lake spanning about 2,500 square meters in area. The lake is supplied by a 60-meter-long gargoyle and bordered by a strip of plants, including white water lilies, lilies, and ranunculus. Additionally, the project incorporates a wall with the name of each victim inscribed on it, according to IP.
Responsible use and consumption of natural resources and the impacts of the building industry have been ongoing concerns in the field of architecture and urban planning. In the past, concepts such as clean slates, mass demolitions, and building brand new structures were widely accepted and encouraged. Nowadays, a transformation seems to be taking place, calling for new approaches such as recycling, adaptive reuse, and renovations, taking advantage of what is already there. This article explores a selection of projects and provides a glimpse into interventions by renowned architects in pre-existing buildings.
Stefano Boeri Interiors has unveiled images of his latest circular wooden installation, in an open-air setting of contemporary art. Entitled TREE-ROOM, the project in which “humans and living nature come together, between meditation and contemplation”, is designed for Arte Sella and is located in the garden of Villa Strobele in Val di Sella, in Northern Italy.
Eduardo Souto de Moura (born 25 July 1952), the Portuguese architect that won the 2011 Pritzker Prize, is known for designs that are formally simple yet serious and at times, dramatic, created through his thoughtful use of colors and materials. His architecture is both versatile and consistent, contextual yet universal, and rarely affected by current trends or styles.
The architectural approach of 2011 Pritzker Prize-winner Eduardo Souto de Moura can be difficult to summarize. His convictions on matters of aesthetics and design are strongly held, but also highly individual and at times even unusual. In his work, this translates to buildings that are enigmatic, yet not flashy—in the words of the 2011 Pritzker Prize jury, “His buildings have a unique ability to convey seemingly conflicting characteristics—power and modesty, bravado and subtlety, bold public authority and sense of intimacy—at the same time.” In the latest interview from his “City of Ideas” series, Vladimir Belogolovsky speaks to Souto de Moura to probe his architectural mind and understand the thinking behind these powerful yet modest works.
A collection of stones piled one on top of the other, dry stone is an iconic building method found just nearly everywhere in the world. Relying solely on an age-old craft to create sturdy, reliable structures and characterised by its rustic, interlocking shapes, the technique has deep roots that stretch back even before the invention of the wheel. Its principles are simple: stack the stones to create a unified, load-bearing wall. But the efficient, long-lasting results, coupled with the technique’s cultural significance, have lead to continued use and updated interpretations all the way to contemporary architecture today.
Vatican City participated in the Venice Architecture Biennale for the first time this year, inviting the public to explore a sequence of unique chapels designed by renowned architects including Norman Foster and Eduardo Souto de Moura. Located in the woods that cover the island of San Giorgio Maggiore, the chapels offer interpretations of Gunnar Asplund’s 1920 chapel at Woodland Cemetery in Stockholm, a seminal example of modernist memorial architecture set in a similarly natural wooded context.
A new video produced by Spirit of Space offers a brief virtual tour of the structures that make up the Holy See’s pavilion, lingering on each just long enough to show different views and angles. As members of the public circulate through the chapels in each shot, the scenes give an impression of how each chapel guides circulation.
Eduardo Souto de Moura, in collaboration with META architectuurbureau, has released images of a proposed urban renewal project in the Belgian city of Bruges. The Beursplein & Congresgebouw consists of a new exhibition hall and covered public square on the site of a recently demolished trade fair complex.
The $46million (€40million) scheme seeks to act as a catalyst for urban renewal at the center of Bruges, with a dual role of exhibition hall and conference center capable of receiving business delegates on weekdays, and tourists on weekends.
With the opening of the 16th Venice Architecture Biennale comes a look at the first ever contribution by the Holy See, an exhibition that brings together architects to design chapels that, after the Biennale, can be relocated to sites around the globe.
Located in a wooded area on the Venetian island of San Giorgio Maggiore, 10 chapels by architects including Norman Foster, Eduardo Souto de Moura, and Smiljan Radic, are joined by the Asplund Chapel by MAP Architects. This 11th structure serves as a prelude to the other chapels, while reflecting on Gunnar Asplund's 1920 design for the Woodland Chapel.
In 2018 the Vatican will participate in the Venice Architecture Biennale for the first time. Ten international architects will construct 10 different chapels as part of the representation of the city-state in the Italian architecture event. The news was confirmed by Paraguayan media outlets ABC y Última Hora, who revealed that one of the participants was local architect Javier Corvalán.
The elite group of architects was selected by Francesco Dal Co, an Italian architecture historian and curator. The designers have been instructed that their chapels must be able to be relocated so that they can be deployed around the world, in places that are in need of these spaces of worship.
The architects who will build chapels in the 2018 Venice Architecture Biennale:
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