Ambulance for Monuments is a first-aid initiative dedicated to safeguarding Romania's endangered built heritage, operating in a race against time to prevent collapse and irreversible loss. The project responds to the growing vulnerability of historic structures, from Saxon fortified churches and manor houses to wooden churches and rural landmarks, many of which no longer benefit from the community networks that once sustained them. In a country deeply affected by emigration since 1990, where nearly half the population still lives in rural areas, entire villages have lost the people, skills, and everyday care that once kept these monuments standing.
Built around a mobile intervention unit, an "Ambulance" equipped with tools, scaffolding, and on-site equipment, the initiative delivers urgent stabilization works that buy time for endangered buildings. Rather than replacing full restoration, these strategic interventions preserve historic fabric, ensure structural safety, and keep long-term conservation and adaptive reuse possible.
Symbols of technological development and urban density, tall buildings as we know them today emerged in the late nineteenth century, particularly in the United States, as a response to the rapid expansion of urban commerce and the need to grow cities without occupying additional land. The term skyscraper, for instance, was coined in the 1880s and originally referred to buildings with around 10 to 20 stories—an impressive height for the time.
However, the idea of building vertically is much older than the steel-and-glass skyscrapers of modern cities might suggest. Long before the Industrial Revolution, some societies were already experimenting with forms of vertical urbanization as a response to limited space, territorial defense, or environmental adaptation.
In January 2026, the World Monuments Fund/Knoll Modernism Prize was awarded to Australian firm Architectus for their conservation of the Africa Hall in Addis Ababa, Ethiopia. The award recognizes that Modernist buildings, once seen as a vanguard of architecture, are falling into disrepair and are underappreciated by the public. The situation in Africa is typical of this global sentiment, and this was the first time a building on the continent was graced with this award. The prize also spotlights Ethiopia's rich Modernist inventory, which marks its continental role in the mid and late twentieth century.
In most cases, the power of decision lies with specialized professionals—historians, museologists, architects, geographers. But on what basis are these decisions made? Can the complexity of history be reduced to a checklist? Or, more fundamentally, which version of history underlies these choices?
Hospitality-driven programs, specifically coffee shops and social hubs, are partly defined by their role as "third places": social anchors that bridge the gap between private and public life. Unlike residential or commercial office programs that require rigid partitioning for privacy and utility, they rely on expansive, open-plan environments. This allows for an architectural strategy of minimal intervention, allowing the structural envelope to remain intact. By avoiding the subdivision of space, architects maintain uninterrupted sightlines to original masonry, timber frames, or decorative ceilings, ensuring the building's historical narrative remains the protagonist. Simultaneously, the commercial activity provides the necessary maintenance and public engagement to ensure the site's continued existence.
The role of heritage rehabilitation in the contemporary architectural landscape is shaped by a wide range of research, beliefs, memories, and efforts aimed at redefining and strengthening our built environment. When undertaking a transformation, renovation, or preservation project, architects can employ diverse strategies and tools to encourage a meaningful coexistence between what already exists and what is newly introduced. Together with three Madrid-based architecture practices—SOLAR, Pachón-Paredes, and BA-RRO—we set out to engage in conversation and explore their creative processes and ideals, recognizing the complexity and value of historic buildings as repositories of materials, structures, and construction techniques from other eras.
The Southbank Centre is a cultural complex in London built between 1963 and 1968 and widely regarded as a representative example of British Brutalism. Today, the site hosts a wide range of events, including visual arts, theatre, dance, classical and contemporary music, literature, poetry, and debate. The building was designed by a team from the Architects' Department of the London County Council, led by architect Norman Engleback. It became a controversial example of modern architecture following its opening in October 1967, when engineers voted Queen Elizabeth Hall "the supreme ugly" in a poll of new buildings, and the Daily Mail referred to it as "Britain's ugliest building." Fifty-nine years later, on February 10, 2026, the complex was granted Grade II listed status by the UK government's Department for Culture, Media and Sport (DCMS), following a 35-year campaign advocating for its protection as modern architectural heritage.
A building still being adjusted, repaired, and debated is declared World Heritage. Another, equally influential, must survive five centuries before anyone considers protecting it. This is not an anomaly in the heritage system; it is the system. Across the world, architecture does not age at the same pace because time itself is not neutral. It is cultural, political, and deeply uneven. What we call "heritage" is not simply old architecture; it is architecture that has reached the right moment in a particular place.
World Monuments Fund (WMF) is an independent organization dedicated to safeguarding treasured places around the world that enrich lives and foster mutual understanding across cultures and communities. On February 10, WMF announced a $7 million commitment to support 21 heritage preservation projects launching in 2026. These investments advance work at sites included on the 2025 World Monuments Watch, WMF's nomination-based advocacy program, while also supporting new phases of conservation, planning, and training at additional heritage sites across five continents. The selected sites reflect a wide chronological and geographic range, from ancient cultural landscapes to modern architectural landmarks. The projects highlight the diversity of global heritage, spanning Mughal gardens and Ottoman religious complexes to modernist cinemas, industrial mining landscapes, Indigenous cultural routes, and sacred shrines, and point to the long-term cultural knowledge embedded in its preservation.
Preserving historic buildings requires simultaneously addressing technical, environmental, and regulatory demands while maintaining the material, cultural, and symbolic continuity of what already exists. As the understanding consolidates that the most sustainable building is the one that is already standing, and that preservation also involves construction knowledge, material traditions, and the social fabrics from which they emerged, these same buildings are increasingly confronted with more rigorous contemporary parameters. Energy efficiency, safety, carbon emission reduction, and regulatory compliance have become unavoidable references, placing architecture before a central tension: how to update what already exists without breaking the continuity that sustains its heritage value.
Architectural heritage is often described as what survives time. Yet survival does not explain why certain buildings are preserved while others disappear. Many works now protected as cultural heritage were once criticized, contested, or openly rejected; they were accused of being socially misguided, materially flawed, or symbolically excessive. Over time, however, these same shortcomings have become central to their meaning as heritage emerges as a slow and unstable process of interpretation.
Contemporary architecture operates under intense scrutiny, pressured by environmental responsibility, social equity, economic volatility, and accelerated technological change. Buildings are expected to perform ethically, efficiently, and symbolically, often simultaneously. As a result, architectural failure is no longer an exception but an increasingly common condition. Projects age faster, materials reveal limitations sooner, and urban strategies quickly fall out of sync with shifting political, social, and environmental realities.
Archaeological excavations in Fano, Italy, have revealed the basilica described by Vitruvius in De Architectura, a finding of major architectural significance, as it represents the only structure that can be attributed with certainty to the Roman architect. Identified during redevelopment works in Piazza Andrea Costa, the discovery provides rare physical evidence of Vitruvian theory translated into built form and offers new insights into Roman architectural design, proportions, and construction practices. The announcement was made during a press conference at the Montanari Media Library, attended by representatives of local, regional, and national institutions, including Italy's Minister of Culture Alessandro Giuli.
World Monuments Fund (WMF) is an independent organization dedicated to safeguarding significant places that enrich people's lives and foster mutual understanding across cultures and communities. Since 2008, the World Monuments Fund/Knoll Modernism Prize has been a biennial award recognizing outstanding achievements in the conservation of buildings emblematic of the modernist architectural movement. The prize honors individuals and organizations that revitalize modern built heritage through innovative and sensitive architectural interventions.
On January 22, 2026, WMF and Knoll announced the Australia-based architecture firm Architectus as the recipient of the 2026 World Monuments Fund/Knoll Modernism Prize for its conservation of the United Nations' Historic Africa Hall in Addis Ababa, Ethiopia. The jury recognized the project for reestablishing a significant work of African modernism as an active venue for diplomacy and cultural exchange. In addition to the main prize, the jury also awarded Paul Rudolph's Umbrella House in Sarasota, Florida, United States, with the Stewardship Award for Modernist Homes.
Historic center renewal has become a recurring strategy in Central American cities seeking to reassert the symbolic, economic, and functional relevance of their traditional cores. These processes often combine physical rehabilitation, institutional investment, and stricter control over public space. San Salvador offers a recent and instructive case, which allows for understanding of how interventions in inherited civic spaces balance infrastructure improvement with heritage conservation and social regulation. It also enables the assessment of how these choices resonate within broader debates on urban transformation in the region.
The architectural history of North American cities in the 20th century is often characterized by the pursuit of urban renewal. In the United States, Boston, Portland, and San Francisco are just some examples of when municipal governments prioritized high-speed vehicular infrastructure over the existing urban fabric. In Canada, Montreal would have followed this trajectory if not for the intervention of several figures throughout its history, most notably Blanche Lemco van Ginkel (1923–2022). A Harvard-trained planner and architect who, along with her husband Sandy Van Ginkel, advocated for the preservation of urban heritage while applying the principles of modernist infrastructure.
Qalandiya Rendering. Image Courtesy of RIWAQ – Centre for Architectural Conservation
Qalandiya: the Green Historic Maze, developed by RIWAQ – Centre for Architectural Conservation, has been awarded the Grand Prize at the Holcim Foundation Awards 2025, recognizing its sensitive and deeply contextual approach to heritage conservation in Palestine, selected among the 20 winners of this year's edition. Located in Qalandiya, north of Jerusalem, the project reactivates a historic village center long affected by political fragmentation, neglect, and spatial disconnection. Through an incremental rehabilitation strategy, the project restores deteriorated structures using traditional knowledge, local stone masonry, and native materials, transforming abandoned fabric into active public spaces while reinforcing environmental resilience through passive climate strategies and landscape-based infrastructure.
The Egg is a performing arts centre located in Albany, within New York's Empire State Plaza, designed by the North American firm Harrison & Abramovitz. Construction began in 1966 and was completed twelve years later, in 1978, with the aim of hosting a broad range of cultural events and performances for New York State residents. Drawing inspiration from Brazilian modernism, the domed, egg-like concrete structure stands out as a striking counterpoint within an otherwise rational urban ensemble. Surrounded by state government towers set in an open plaza and clad in stone, the building's exposed concrete, its seemingly suspended form, and pronounced curved geometry position it as a late example of modernist Brutalism. The venue is currently undergoing restoration and, after six months of renovations, is set to reopen on January 8, 2026, in what has been described as a "refreshed and reimagined" space.
