Landscape Architecture: The Latest Architecture and News

Pelli Clarke & Partners has completed the Lola Mora Cultural Center in San Salvador de Jujuy, Argentina, a new cultural institution dedicated to the life and work of Argentine sculptor Lola Mora (1866-1936). Located in the country's northwestern region, the project is the firm's first cultural building in South America and the final project led by its founder, the late César Pelli. Designed as a net-zero facility, the center brings together six of Mora's monumental marble sculptures for the first time in more than a century, providing a permanent home for works that were previously displayed outdoors in Jujuy.

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As part of the official programme for Barcelona as the UNESCO-UIA World Capital of Architecture, the Jardí Botànic de Barcelona is hosting "Parlour Gardens: Dreams from the Rooftop," a display of ceramic installations proposing a journey through landscape architecture. Curated by Marina Cervera (Barcelona International Landscape Biennial, CEO of NablaBCN), James Hayter (former president of IFLA, Oxigen), and José Luis Cortés (former president of the UIA), the exhibition marks a century since the 1926 invention of the jardinets de saló (living room or parlour gardens), miniature ceramic landscape worlds created originally by Nicolau M. Rubió i Tudurí, Llorenç Artigas, and Raoul Dufy. Installations by 14 global landscape architects will be scattered across the botanical grounds, grouped by homoclimatic zones to pair each design with fitting regional plant life, through 4 October 2026.

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The announcement of the winning proposal for Ecuador's new National Museum (MuNA) sparked one of the country's most significant architectural debates in recent years. The public response has since reshaped the competition itself while also raising broader questions about how a national museum gives architectural form to an interpretation of a nation. While the discussion began with a single design, it exposed a challenge that extends far beyond Ecuador.

National museums are not simply asked to represent a nation. They are asked to give it architectural form. Yet identity cannot be built directly. Before it becomes architecture, it must first be interpreted and translated through architectural decisions.

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The World Architecture Festival (WAF) has announced the shortlist for its 2026 Awards, recognizing completed buildings, future projects, interiors, and landscape works from around the world. The finalists, selected from hundreds of submissions, will compete at this year's festival, taking place at the Broward County Convention Center in Fort Lauderdale, Florida, from November 18–20, 2026. During the first two days of the event, shortlisted teams will present their projects live to international judging panels, with category winners advancing to the festival's Super Jury for the final awards.

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The Andes are often understood as a continuous mountain range, yet they encompass a wide range of climates and ecosystems. In Ecuador, Peru, Bolivia, Colombia, and Chile, páramos, dry highlands, temperate valleys, and snow-covered landscapes can exist within relatively short distances of one another. As elevation changes, so do temperature, solar radiation, humidity, wind, vegetation, and topography, producing environments that require different ways of building.

Unlike many mountain regions where cold is the defining environmental condition, high-altitude environments in the Andes combine several climatic conditions at once. As elevation increases, solar radiation becomes more intense. Some regions remain humid throughout the year, while others experience prolonged dry seasons. In many places, steep terrain, snow, and changing weather patterns become additional factors that influence how buildings are designed.

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While human life depends heavily on plants for the medicines, building materials, and fuel they provide, they also play a vital role in many ecological processes. From climate regulation through carbon dioxide absorption to soil fertility and the purification of air and water, plant diversity offers opportunities to address some of the most pressing challenges of this century, including food security, energy availability, climate change, and habitat degradation. In this context, botanical gardens act as living refuges that foster innovation, adaptation, and human resilience. But what can architectural practice learn from botany and its methods?

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Something has been happening in Tirana that the architectural world has not quite found the language for. In the space of a few years, a city of less than a million people in one of Europe's least-known countries has become the site of an extraordinary concentration of architectural ambition — a place where offices that rarely work in the same city, let alone the same decade, are building simultaneously, and where the questions that preoccupy contemporary architecture seem to arrive with an unusual urgency.

The second edition of the Bread & Heart Festival, held in Tirana from June 3 to 5, brought together more than two hundred architects, urban planners, developers, and professionals from across Europe, the Americas, Asia and beyond to discuss "Landscapes of Abundance", a theme organized around the curatorial premise of moving from portrait to landscape, from the individual building to the territory as a whole. The room it assembled would be difficult to replicate anywhere else in the architectural calendar: Francis Kéré, Jeanne Gang, Sumayya Vally, Pierre de Meuron, Bjarke Ingels, Reinier de Graaf, Stefano Boeri, Kersten Geers, Benedetta Tagliabue, Ma Yansong, among them.

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Coastal landscapes often determine far more than views. Steep slopes, fragmented rock formations, dense vegetation, hidden coves, and limited accessibility can shape how privacy, movement, and occupation unfold before architecture enters the site. Their proximity to water and climate make coastal territories highly desirable for habitation, yet their ecological sensitivity and limited geography often place pressure on how development takes shape. Unlike cities, where density can support walkability, infrastructure, and collective urban life, coastal territories operate through more fragile relationships between land, vegetation, and water.

Along many coastlines, development tends to prioritize visibility and proximity to the sea, organizing land through concentrated occupation and expanded circulation networks. Yet certain sites can guide another approach in which geography itself becomes the primary organizing force. How can architecture occupy a landscape without dissolving the qualities that make the site distinct? Located on a secluded peninsula along the Mediterranean coast of Turkey, Gokce Gemile Private Bay explores this question through a low-density architectural approach shaped by geography, controlled access, and spatial distance.

How can architectural design become an active tool for conservation? By considering nature as an inexhaustible source of inspiration, a harmonious connection with it frames the countless interrelationships that exist among humans, living organisms, and natural cycles. Designing with the landscape means learning to coexist with its temporal dynamics without controlling its processes. Traditions, ecology, and the past and present of a place all contribute to creating spaces that interpret their communities. Landscape architecture can draw inspiration from birds, plants, and other natural elements to shape the complex, dynamic network of ecosystems and human activities that make up the environment.

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Environmental justice confronts a simple but uncomfortable truth: the benefits and burdens of the environment are not shared equally. Marginalized communities bear a disproportionate share of polluted air, unsafe water, toxic land uses, extreme heat, and the accelerating risks of climate change in cities around the world. These are the consequential products of decades of policy decisions, investment patterns, exclusionary planning practices, and planning choices that have consistently favored certain communities over others.

In cities and landscapes alike, these injustices are written into the physical fabric of places, even revealing extreme differences in environmental conditions between neighborhoods and districts. Dense neighborhoods with little tree canopy, for example, absorb and hold heat, exposing residents to higher rates of heat-related illness. Highways, industrial corridors, ports, and waste facilities cluster near low-income neighborhoods and communities of color, shaping conditions of health, air and soil quality, and long-term safety.

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Most people rarely remember a passage. They remember the classroom, the apartment, the gallery, or the plaza at the end of it. Passages are usually designed to disappear into the background, guiding movement from one destination to the next. Yet some of architecture's most memorable experiences happen while moving through a place rather than arriving at it.

Circulation is often treated as one of architecture's most practical elements. Corridors connect rooms, galleries provide access, and walkways organize movement through a building. Their purpose seems straightforward: to help people get from one point to another. Because of this, circulation spaces have long been considered secondary to the programs they serve. Attention tends to focus on destinations, while the spaces in between remain largely unnoticed.

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A former industrial site along the Someș River in Cluj-Napoca, Romania, is being transformed into a large-scale mixed-use district that reconnects the city with its waterfront. Designed by UNStudio in collaboration with Felixx Landscape Architects and Planners for developers IULIUS and Atterbury Europe, the RIVUS project combines urban regeneration, adaptive reuse, landscape design, and new public infrastructure within a single framework. Developed through a public participation process involving local residents, the proposal will transform the former Carbochim industrial platform into a river-oriented district organized around public space, mobility, and everyday urban activity.

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Hudson Valley Shakespeare has opened the Samuel H. Scripps Theater Center in Garrison, New York, marking the completion of a six-year project that establishes the company's first permanent home. The new campus, designed by Studio Gang in collaboration with Nelson Byrd Woltz Landscape Architects, expands the organization's long-standing open-air performance model into a permanent cultural and educational facility integrated within the Hudson Valley landscape. Construction began in September 2024 following several years of planning and fundraising.

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On May 13, 2026, Parks Canada, the federal agency responsible for protecting and managing Canada's natural and cultural heritage, announced the winning design for a reimagined visitor centre and community space in Banff National Park. The competition was organized in partnership with the Royal Architectural Institute of Canada (RAIC) as part of the 200-Block Banff Avenue Redevelopment Project. The proposal by Paul Raff Studio and Kengo Kuma & Associates was selected from a shortlist of five pre-qualified teams that also included EVOQ + Ryder, KPMB Architects, Revery Architecture, and Stantec Architecture. An independent jury assembled by the RAIC selected the design for its approach to landscape, sustainability principles, and its balance between conservation, heritage, Indigenous perspectives, and visitor experience, among other considerations.

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Based in Mexico City, Estudio Ome, founded by Susana Rojas Saviñón and Hortense Blanchard, is an architectural and landscape practice working across forests, volcanic terrains, urban fragments, and former industrial sites. Winner of the ArchDaily 2025 Next Practices Awards, the studio develops projects through sustained observation of ecological and territorial conditions, where design decisions arise directly from the behavior of soil, water, vegetation, and ground.

Each project begins with repeated encounters. The terrain is first approached through walking and prolonged observation, letting drainage patterns, erosion, and seasonal shifts become legible before any formal measurement occurs. These visits form the basis for interpreting both visible and subterranean layers—hydrology and historical transformations that continue to exert force on the surface.

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Today, interdisciplinary learning and exchange are more important than ever in addressing increasingly complex environmental, social, and urban challenges.

Each summer, the University of California, Berkeley's College of Environmental Design (CED) becomes an intensive laboratory for architectural, landscape, and urban exploration. Through two complementary programs—Design + Innovation for Sustainable Cities (DISC) and the Summer Institutes—Berkeley offers an immersive curriculum grounded in disciplinary rigor, intentional exchange, and a shared institutional culture. Together, these programs reflect CED's long-standing multidisciplinary structure, with architecture, landscape architecture, city planning, and urban design thriving and collaborating under one roof.

The Brandywine Conservancy & Museum of Art, located near Philadelphia, is dedicated to promoting the natural and cultural connections between the region's landscape, historic sites, and artists. The Conservancy protects land and waterways throughout the Brandywine Valley and other priority conservation areas, while the Museum houses a collection of American art, with particular strengths in landscape and still life painting, portraiture, and illustration. On May 6, 2026, the institution announced a project to transform its 15-acre campus, including the renovation of the historic museum building, a new museum building by Kengo Kuma & Associates, and conservation and landscape interventions by Field Operations that will create a publicly accessible 325-acre reserve with ten miles of trails.

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Residential architecture continues to offer a productive ground for unbuilt exploration, revealing how architects respond to site, climate, and constraint at the scale of the domestic. In this Unbuilt edition, submitted by the ArchDaily community, the selected projects bring together a range of proposals that reconsider the house not as an isolated object, but as a spatial system shaped by its environment. These works position architecture as a framework that negotiates between ground, material, and inhabitation, often emerging directly from the conditions of the site.

Across varied geographies, from Kerala and Cartagena to Amman, Tromsø, and Zwolle, the projects demonstrate diverse responses to domestic architecture. They include compact urban dwellings organized through vertical layering, courtyard houses partially embedded within the ground, residences adapted to sloping terrains, and typological transformations shaped by regulatory constraints. Some projects explore linear spatial sequences rooted in traditional proportions, while others organize domestic life around atria or excavated voids that mediate light, ventilation, and privacy. Together, these proposals examine how the house can be structured through section, material, and environmental performance rather than formal expression.

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