Cultural diplomacy refers to the use of cultural expression and creative exchange to foster understanding and build relationships between nations. In this context, architecture has long played a distinctive role. Beyond its functional and aesthetic dimensions, it serves as a medium of communication, a language through which countries express identity, values, and ambition on the global stage.
Architecture operates as a form of soft power — persuasive rather than coercive — enabling nations to project influence through material presence. From modernist embassies in the post-war era to monumental pavilions at world expositions, governments and institutions have recognized the built environment's potential to shape perception. By commissioning prominent architects and adopting specific design languages, countries have used architecture to signal modernity, tradition, innovation, or stability.
Strada Brutalissima. Pavilion of the Republic of North Macedonia at the 19th Venice Architecture Biennale, 2025. Image Courtesy of Blagoja Bajkovski
The Republic of North MacedoniaPavilion at the 19th Venice Architecture Biennale is dedicated to the Brutalist architecture of its capital city, Skopje. This architectural movement has given the city a distinctive identity following the earthquake that struck in 1963. According to pavilion curator, architect Blagoja Bajkovski, in the aftermath of the disaster, Skopje embraced Brutalism from a variety of sources. One of the most prominent of these was Kenzo Tange's reconstruction plan, developed after an international competition organized by the United Nations in 1965. The exhibition, titled Strada Brutalissima, recounts this identity, the events that shaped it, and the buildings that continue to represent it through a series of architectural models. Inspired by the 1980 Venice Architecture Biennale's Strada Novissima, the project reinterprets the concept of a curated "street," this time centered on Skopje's Brutalist heritage.
In February 2023, the governor of Kagawa Prefecture, Japan, announced the planned demolition of the Kagawa Prefectural Gymnasium, designed by Pritzker Prize-winning architect Kenzo Tange. Discussion surrounding its fate dates back to its permanent closure in 2014, after a roof leak caused structural problems in the ceiling boards. Since then, several organizations have worked to save the building, including a petition by the World Monuments Fund and an effort by a promotional council to nominate it as a UNESCO World Cultural Heritage site in 2021. Despite these initiatives, on August 7, 2025, the Kagawa Prefectural Government officially announced a public competitive bidding process to select a contractor for the demolition, something the Former Kagawa Prefectural Gymnasium Regeneration Committee is determined to prevent.
The 2025 Osaka Expo has captured widespread attention—not only for its architectural ambition and spectacle, but also for breaking records and generating controversy. Its most iconic feature, a monumental timber ring designed by Sou Fujimoto, has already made headlines as a Guinness World Record-breaking wooden structure. Built on the reclaimed island of Yumeshima, the site has attracted praise and critique in equal measure. Beyond its awe-inspiring 2-kilometer circumference—parts of which extend dramatically over the water—the structure has also drawn concerns, including questions about health & safety, extreme heat, and swarms of insects that may affect the visitor experience.
This year also marks a significant anniversary: the 55th year since the 1970 Osaka Expo, held under drastically different socio-economic conditions. Comparing these two expos—both hosted in the same city—offers a rare opportunity to reflect on how the rhetoric, curatorial themes, and architectural ambitions of world expos have evolved over time. From "Progress and Harmony for Mankind" in 1970 to "Designing Future Society for Our Lives" in 2025, the shift in thematic focus reveals changing global priorities. Meanwhile, the scale and nature of architectural involvement have also transformed, from the futuristic visions of Japanese Metabolism to a more internationally dispersed group of designers concerned with sustainability, technology, and civic engagement.
Tokyo is never-ending. It is a city made up of many cities, where everything is superlative and encounters with overwhelming scale are constant. For those visiting for the first time, the cultural shock is striking. Everything is extremely clean despite the absence of public trash bins, there's a strong impression of zero violence, and society seems to follow strict disciplinary codes to the letter. There’s a sense that human relationships and individual feelings are set aside in favor of the collective, with all the benefits and drawbacks that this way of life may bring.
Architecture and its atmospheric qualities have long been a subject of discussion, yet reaching a consensus on the matter remains elusive. This is largely because spatial experience is deeply personal—rooted in emotions, sensory perceptions, and individual preferences that are difficult to articulate in words alone. The way one perceives, feels, and interacts with a space adds another layer of complexity, making it challenging to define and agree upon its atmospheric impact. Nevertheless, architects and designers continuously strive to shape environments that are not only functional and comfortable but also capable of evoking emotions and leaving a lasting impression on their occupants.
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 in architecture emerged at the beginning of the twentieth century, fueled by advancements in science and engineering and a deliberate departure from historical styles. It championed a focus on social equity, urban development, efficiency, and functional design, marking a significant shift in architectural philosophy. Originating primarily in Europe and the United States, modernism captivated the global imagination with its innovative redefinition of space and architecture. Its spread to Asia was facilitated by cross-cultural exchanges—East Asian architects who studied under prominent modernists and European architects working in East Asia through international collaborations or colonial-era influences.
Kenzo Tange's 1960 Tokyo Bay Plan reflected the zeitgeist of a society enamored by rapid technological advancement and post-war optimism. Buckminster Fuller's 1959 dome concept over Manhattan was developed on a belief in humanity's ability to shape its environment on an unprecedented scale. All throughout the mid-20th century, utopian urban planning ideas sprouted in various parts of the world, driven by a unique combination of societal factors and psychological motivations.
While these visions were often marked by hope and ambition, they also reflected the broader economic growth and technological innovation of the time—factors that contributed to the bold fantasies of architects and urban designers eager to transform the urban landscape. Many saw an opportunity to redesign cities from the ground up, often bypassing the complexities of existing urban fabrics in favor of futuristic ideals. However, while these visions provoked forward-thinking practices, they often surprised the public and seemed distant or unattainable. How might these concepts have evolved if shaped by today's participatory planning, which prioritizes public engagement and community input?
Rafael Viñoly Architects’ Tokyo International Forum has been honored with the prestigious AIA Twenty-five Year Award. Celebrating its “distinctive transparent character and capacity to engage with the public in the largest metropolitan area in the world.” Rafael Viñoly Architects was first selected to design the structure through Japan’s first international design competition facilitated by Kenzo Tange, the architect of Tokyo’s City Hall and the first Japanese laureate of the Pritzker Prize.
For cities, hosting an Olympic event represents both an honor, an important opportunity for growth, and a significant challenge. With over 200 nations taking part in the Games, the Olympics are the largest sporting competition in the world. Adapting the public and sporting infrastructure to accommodate this sudden influx of people and the scale of these events runs the risk of misunderstanding the cities’ needs after the closing ceremony, often producing “white elephants” that struggle to adapt to the rhythm and necessities of everyday urban life. Urban transformations are often cited as an advantage of hosting the Olympic Games, as cities are incentivized to invest in their traffic infrastructure, housing, and public spaces. One such example is the city of Paris, which introduced its first metro line on the occasion of hosting the second edition of the Olympic Games in 1900.
When it comes to the venues, however, the issue of adaptive reuse becomes a pressing one, as the architecture is challenged to find solutions to transform, accommodating thousands of people during the Olympics, then scaling down to become a financially sustainable part of a city’s sporting offering. Across the world, several Olympic venues have managed to extend their usability after the closing of the games, opening themselves to the local communities and welcoming a more diverse programming of sports and leisure events. While the high construction costs are often difficult to justify, these venues have become markers of local identity and attractive tourist attractions, extending their use decades after welcoming the Olympic crowds.
Last week, Japanese architect and social advocate Riken Yamamoto was announced as the 2024 Pritzker Architecture Prize Laureate, becoming the 9th Japanese architect honored with the profession's most prestigious award. Throughout the 45-year history of the Pritzker Prize, Japan stands out as the nation with the highest number of laureates. While geography is not a criterion in the selection of the laureates, Japanese architecture consistently impresses with its interplay of light and shadow, the careful composition of spaces, soft transitions between interior and exterior, and attention to detail and materiality. An ingrained culture of building also celebrates diverse designs and encourages global dialogue and the exchange of ideas and best practices. Read on to rediscover the 9 Japanese Pritzker laureates and glimpse into their body of work.
Contemporary Japanese interiors incorporate elements both of tradition and modernity to embody the country's innovative spirit while maintaining a profound respect for its history and cultural heritage. Though traditional materials like wood, paper, and bamboo continue to hold significance, modern Japanese interiors also often feature a fusion of glass, steel, concrete, and metals. The juxtaposition of smoother, sleeker textures and finishes with warmer and more organic ones reflects a dynamic synthesis of old and new, and results in visually striking and functional spaces that honor the essence of the country's design principles.
Image created using AI under the prompt: A sober and captivating visual representation of an urban environment that flawlessly captures the essence of anime and architecture. Image via DALL·E 2
World War II left a profound influence on the evolution of society, introducing significant changes in the fields of urban planning and architecture. During the 1930s, the Congrès Internationaux d'Architecture Moderne (CIAM) promoted modernism on an international scale. After the war, this architectural movement became firmly established as the dominant one, driven by the imperative of reconstruction and technological advancements. Influential figures like Le Corbusier and Alvar Aalto spearheaded this movement.
In 1959, the same year as the final CIAM meeting, Japanese architects like Kenzō Tange, Kishō Kurokawa —the designer of the Nakagin Capsule Tower—, and Kiyonori Kikutake began to explore new approaches to urban design and architecture, known as the Metabolist movement. This exploration was particularly significant in the context of Tokyo's rapid repopulation after the war and the scarcity of resources for reconstruction. Innovative concepts such as Marine City, The City in the Air, and the 1960 plan for Tokyo emerged, which proposed the city as a constantly evolving organism and emphasized the relationship between humans and their built environment. These ideas shaped the concept of "megacities" and reflected Japan's creative response to its challenging postwar situation.
https://www.archdaily.com/1007021/textures-skyscrapers-and-urban-landscapes-when-anime-meets-architectureEnrique Tovar
The concept of a city can be viewed as a constantly evolving system where both architects and users contribute to its design and redesign. While its framework may start with planners or designers, the character of the urban fabric is ultimately shaped by the societies and generations that inhabit it. The question of "city authorship" often arises in the context of masterplan design. Can architects and urban planners determine the extent to which a city will evolve through its initial design? The answer is no. User authorship then acknowledges that city planning should not be approached like building design, where designers attempt to predict every aspect of shape, pattern, behavior, and culture. Instead, it recognizes the role that people play in shaping the urban fabric through their personal taste in architecture, the development of neighborhood personality, and ongoing redesign that contributes to the story and spirit of a place. These factors should be considered in the initial design by engaging ideas related to future expansion, adaptable infrastructure, and empowering citizens to contribute to the city's architecture, thus making the city design democratic. This article explores conceptual radical cities where designers embrace the ideas of user authorship and the constant evolution of ephemeral architecture.
Local governor Toyohito Ikeda of Takamatsu, in Japan, announced that the famous Kagawa Gymnasium will be demolished. Built between 1961 and 1964 by the Pritzker Prize winnerKenzo Tange, the structure is a landmark of the modernist post-war era in Japan. This news has sparked the creation of a petition in an effort to save this 47-year-old monument.
The threat of climate change is looming before us. Sea level rise concerns over 410 million people at risk of losing their livelihoods. Coastal cities are choked with high-rise buildings and traffic-laden roads, consuming land insufficiently. Synthesizing these problems, architects across the world have proposed a potential answer - floating cities. A future of living on water seems like a radical shift from how people live, work, and play. Vernacular precedents prove otherwise, offering inspiration for what our cities could morph into. As world leaders discuss courses of action to tackle climate change at the COP27 climate summit in Egypt, ArchDaily dives into the concept of radical water-based settlements.
In the following interview with Paul Tange, the chairman and senior principal architect at Tange Associates in Tokyo, we discussed the relationship with his famous architect-father Kenzo Tange (1913-2005; the most influential architect in postwar Japan and the winner of the 1987 Pritzker Prize), the fate of the house Tange senior built for his first family, the decision of joining his father’s practice right after graduation from Harvard, sharing his father’s design principles, and the vision behind his first independent built work – a 50-story Mode Gakuen Cocoon Tower in Tokyo, a vertical campus that can accommodate up to 10,000 students; the project won an international competition, in which 50 international architects participated.
