Architectural landmarks often cluster together. In Tokyo, the iconic Omotesando is a well-known stretch where global "starchitects" built flagship luxury retail spaces in the 2000s. Hong Kong has a lesser-known but equally powerful architectural agglomeration along Queensway—though historically more corporate and less publicly engaging. Beginning in the 1980s, this corridor became home to a series of landmark buildings by some of the world's most prominent architects: Norman Foster's HSBC Headquarters, I.M. Pei's Bank of China Tower, Paul Rudolph's Lippo Centre, and the nearby Murray Building by Ron Phillips—now revitalized as a hotel by Foster + Partners. The area is further enriched later on by Heatherwick Studio's renovation of Pacific Place and Tod Williams Billie Tsien Architects' Asia Society Hong Kong Center.
Architecture competitions have long been a means for nations to shape their identity, cultural landscapes, and built environment. They provide a platform for international architects to contribute to national projects, often reflecting broader ambitions of modernization and global recognition. In 1976, Bahrain launched potentially the first major architectural competition—a call for designs for a National Cultural Centre, bringing some of the world's leading architects into the Gulf's emerging architectural discourse. Though the winning design by Timo Penttilä was never built, the competition remains a key moment in Bahrain's history, illustrating the challenges of translating external visions into local realities.
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.
ane Drew and Maxwell Fry with a model of one of their many buildings for the Gold Coast, 1945. / Tropical Modernism - Architecture and Independence at the V&A South Kensington . Image Courtesy of RIBA
Reflecting on 2024, numerous architectural exhibitions have opened worldwide, addressing various themes, exhibition formats, and featured architects. Architectural design and architecture practice influence our daily lives in subtle and often unnoticed ways, where the end-users embrace built environments as they are. This reaction may arise from a combination of factors, such as a sense of powerlessness to enact significant change after a building is constructed or the experience of growing up in environments over which individuals had little or no agency in shaping. For these reasons, architectural exhibitions serve an essential purpose, offering society a chance to pause, reflect, and critically examine the myriad issues that surface during designing and building. These issues are often overlooked or need to be acknowledged, as practitioners may prioritize delivering projects within strict timelines over exploring more profound reflections.
In 2024, museums, galleries, and curators responded to the evolving challenges within the built environment with various approaches. Some exhibitions questioned the ethics of building materials and the practices behind supply chains, drawing attention to the broader implications of material choices. Others focused on documenting architectural movements worldwide, emphasizing their cultural and historical significance and the urgent need to preserve and adapt rather than replace them with entirely new builds. These efforts highlight the role of exhibitions in raising awareness about pressing issues while fostering a more critical dialogue about the architectural discipline.
Student housing has undergone a remarkable transformation over the last century. Once seen as a utilitarian necessity, providing shelter and basic amenities for students, this architectural typology has evolved to address increasingly complex societal, cultural, and urban demands. Starting with Le Corbusier's modernist approach at the Cité Universitaire in Paris, student housing has reflected broader trends in architecture, urbanism, and social change.
Today, these buildings must cater to a highly diverse and transient population, navigating the pressures of affordability, density, and the evolving living standards of young adults. With rapid urbanization and increasing student mobility, universities now face the challenge of designing housing that is not only functional but also adaptable to different cultural and social contexts. This has led to more flexible, innovative solutions that promote both privacy and community living.
Courtesy of Safdie Architects | Marina Bay Islands
Nestled in the heart of Southeast Asia, Singapore stands as a beacon of sustainable urbanization. According to the 2016 Green City Index, the city-state of Singapore was the greenest city in Asia at one point. Renowned as the "City in a Garden," Singapore has intertwined lush greenery, verdant parks, and new environmental policies into its urban fabric/ After gaining independence in 1965, the city-state stands as a testament to how urban life can integrate with nature.
Perspective drawing of the Lower Manhattan Expressway / City Corridor project (unbuilt), New York ca. 1967–72. The Museum of Modern Art, New York, Gift of the Howard Gilman Foundation (1290.2000). Image Courtesy of The Met
The Metropolitan Museum of Art has opened a major exhibition focused on the diverse and innovative career of Paul Rudolph, a second-generation Modernist architect whose work stands alongside luminaries such as Eero Saarinen and I.M. Pei. Titled "Materialized Space: The Architecture of Paul Rudolph," the exhibition is on display from September 30, 2024, to March 16, 2025, covering a wide spectrum of Rudolph's architectural contributions, from his experimental houses in Florida, through civic projects, to visionary urban megastructures and mixed-use skyscrapers.
Sanderling Beach Club, Photograph by Francis Dzikowski, Archives of the Paul Rudolph Heritage Foundation.. Image via the Paul Rudolph Institute of Modern Architecture, under policy of fair use
The Massachusetts administration, under Governor Maura Healey, has unveiled a new housing-centric proposal for the controversial Boston Government Service Center designed by Paul Rudolph and opened in 1971. Previously proposed to be redeveloped by the architecture office NBBJ with offices and commercial spaces, the updated vision aims to transform the Erich Lindemann and Charles F. Hurley buildings into housing facilities as part of the state’s goal to address the housing crisis while allowing for the historic preservation of the Brutalist structure.
The Commonwealth of Massachusetts has announced that Boston’s iconic concrete Government Center, the Hurley Building, will be getting a complete renovation by architecture firm NBBJ. Originally designed by Paul Rudolph, the brutalist building and its site were listed for sale in 2019. The new mixed-use development will "catalyze substantial economic development on the underutilized and uninviting site with a new life-sciences building, renovated state offices, ground-floor retail, improved public open space, and 200 units of mixed-income housing as part of a dynamic mixed-use development which will enliven and reactivate 5 acres in Downtown Boston".
Boston City Hall . Image Courtesy of Utile and Reed Hilderbrand
"Demolition is a waste of many things – a waste of energy, a waste of material, and a waste of history,"says Pritzker-winning architect Anne Lacaton. In recent years, refurbishment and adaptive reuse have become ubiquitous within the architectural discourse, as the profession is becoming more aware of issues such as waste, use of resources and embedded carbon emissions. However, the practice of updating the existing building stock lacks consistency, especially when it comes to Brutalist heritage. The following explores the challenges and opportunities of refurbishment and adaptive reuse of post-war architecture, highlighting how these strategies can play a significant role in addressing the climate crisis and translating the net-zero emissions goal into reality while also giving new life to existing spaces.
Phillips Exeter Academy Library by Louis I. Kahn (1972). Published in Manual of Section by Paul Lewis, Marc Tsurumaki, and David J. Lewis published by Princeton Architectural Press (2016). Image Courtesy of LTL Architects
For Paul Lewis, Marc Tsurumaki and David J. Lewis, the section “is often understood as a reductive drawing type, produced at the end of the design process to depict structural and material conditions in service of the construction contract.” A definition that will be familiar to most of those who have studied or worked in architecture at some point. We often think primarily of the plan, for it allows us to embrace the programmatic expectations of a project and provide a summary of the various functions required. In the modern age, digital modelling software programs offer ever more possibilities when it comes to creating complex three dimensional objects, making the section even more of an afterthought.
With theirManual of Section(2016), the three founding partners of LTL architects engage with section as an essential tool of architectural design, and let’s admit it, this reading might change your mind on the topic. For the co-authors, “thinking and designing through section requires the building of a discourse about section, recognizing it as a site of intervention.” Perhaps, indeed, we need to understand the capabilities of section drawings both to use them more efficiently and to enjoy doing so.
UPDATE: In honor of the 100th anniversary of the Bauhaus, we’re re-publishing this popular infographic, which was originally published April 16th, 2012.
From the “starchitect” to “architecture for the 99%,” we are witnessing a shift of focus in the field of architecture. However, it’s in the education system where these ideas really take root and grow. This sea change inspired us to explore past movements, influenced by economic shifts, war and the introduction of new technologies, and take a closer look at the bauhaus movement.
Often associated with being anti-industrial, the Arts and Crafts Movement had dominated the field before the start of the Bauhaus in 1919. The Bauhaus’ focus was to merge design with industry, providing well-designed products for the many.
The Bauhaus not only impacted design and architecture on an international level, but also revolutionized the way design schools conceptualize education as a means of imparting an integrated design approach where form follows function.
There are at least as many definitions of architecture as there are architects or people who comment on the practice of it. While some embrace it as art, others defend architecture’s seminal social responsibility as its most definitive attribute. To begin a sentence with “Architecture is” is a bold step into treacherous territory. And yet, many of us have uttered — or at least thought— “Architecture is…” while we’ve toiled away on an important project, or reflected on why we’ve chosen this professional path.
Most days, architecture is a tough practice; on others, it is wonderfully satisfying. Perhaps, though, most importantly, architecture is accommodating and inherently open to possibility.
This collection of statements illustrates the changing breadth of architecture’s significance; we may define it differently when talking among peers, or adjust our statements for outsiders.
It’s easy to feel jaded about modernism. What started as a radically rational and analytical approach to design - one not beholden to the architectural traditions of place or history - has become a smokescreen behind which designers and developers alike can hide. The language of logic (genuine or not) is a shield against criticism and satisfies questions about the bottom line. The border between minimalism and a value-engineered bare minimum has been blurred to the point of invisibility.
https://www.archdaily.com/904726/this-week-in-architecture-what-does-modernism-mean-todayKatherine Allen
Plaza by the Williamsburg bridge. Image Courtesy of Lasse Lyhne-Hansen
Paul Rudolph, despite vaulting to international success in the early 1940s and 50s for his Brutalist structures, saw an abrupt end to the popularity of his signature style as postmodernism gained prominence. As tastes shifted to different fare, so too did Rudolph's approach - leaving a number of his unbuilt proposals to gather dust.
