For monuments worthy of sustained admiration, conservation practices have been selectively mobilized to reinforce their prestige and secure their place at the center of heritage narratives. Structures whose vernacular ought to be passed down miss the discerning eye of the experts. Rowhouses, shopfronts, and neighborhood structures that form the fabric of our cities are often left to deteriorate beyond repair. Much more is lost, apart from aesthetics.
We Design Beirut returns for its second edition from October 22–26, 2025, reaffirming the city's role as a vital node in the global design conversation. Set against a backdrop of some of Lebanon's most historically significant sites the five-day design event weaves together architecture, craft, and culture to reflect on themes of legacy, revival, and continuity.
Anchored in empowerment, preservation, and sustainability, We Design Beirut fosters collaboration among designers, artisans, students, and architects — creating a vibrant platform for exchange, connection, and creative expression. It's a space for healing, innovation, and showcasing the region's growing design talent on an international stage.
A blast destroyed 40% of the city of Beirut on August 4, 2020. Five years after the port explosions, the UNESCO Director-General visited Lebanon to assess the institution's work in the capital city. UNESCO's efforts have been based on the recognition that the explosion destroyed numerous buildings and historic neighborhoods that were home to a community of cultural professionals, leaving a void in the city's cultural landscape and economy. The organization mobilized international efforts to restore, reactivate, and safeguard Beirut's heritage buildings, schools, museums, and cultural institutions, seeking to provide a comprehensive response to protect the city's cultural fabric. During the visit in September, new restoration and reconstruction programs were announced, including the rehabilitation of the Mar Mikhael train station and Beirut's Grand Theatre, as well as support for cultural industries in Tyre and Baalbek.
This week, architectural developments around the world highlighted the balance between continuity and change in the built environment. Conversations around sustainability, heritage, and resilience highlight how architecture adapts to shifting cultural, social, and environmental conditions, reimagining the role of design in shaping future communities. Across different contexts, projects, and initiatives, ongoing efforts to address environmental challenges, preserve cultural landmarks, and prepare new infrastructures reflecting the diverse scales and directions shaping architectural practice today.
Al-Saa'a Convent after restoration. Image Courtesy of UNESCO / Abdullah Rashid
From 2014 to 2019, Daesh (ISIS) occupied and controlled territory in Iraq and Syria, including the northern city of Mosul. UNESCO estimates that 80% of Mosul's historic town was destroyed during this period, which led to one of the most ambitious reconstruction campaigns in recent decades: "Revive the Spirit of Mosul." Since 2019, UNESCO has carried out large-scale efforts to rebuild the city's landscapes and monuments, reconstructing three religious and cultural landmarks and 124 heritage houses, along with other buildings located in the Old City. The program was structured around three pillars: restoring significant heritage, promoting the return of cultural life, and strengthening spaces for education. On September 1, 2025, Iraq's Prime Minister inaugurated three major landmarks: the Al-Nouri Mosque complex, Al-Saa'a Convent, and Al-Tahera Church, marking the completion of the restoration project.
The Mir-i-Arab Madrasa. Image Courtesy of Uzbekistan Art and Culture Development Foundation
The inaugural edition of the Bukhara Biennial opened on September 5, 2025, bringing over 70 site-specific commissions by more than 200 participants from 39 countries to the historic core of the Uzbek city. Commissioned by the UzbekistanArt and Culture Development Foundation (ACDF) and Commissioner Gayane Umerova, the Biennial is described as the largest and most diverse cultural event in Central Asia to date. Curated by Diana Campbell under the theme Recipes for Broken Hearts, the ten-week event is staged across a constellation of newly restored sites, including madrassas, caravanserais, and mosques, all part of Bukhara's UNESCOWorld Heritage listing. Beyond an exhibition platform, the biennial is framed as part of a broader master plan, positioning culture as a catalyst for urban transformation and heritage renewal.
Architects today work across many worlds: from designing furniture, landscapes, and urban blocks to creating film sets, photographs, and videos. They restore and retrofit old buildings rather than build anew, while also writing, researching, and publishing. Some design virtual spaces for video games or speculate on habitats in outer space and underwater. Others engage directly with society through politics, activism, or community projects. Many experiment with biology, test new materials, and step into the role of scientist. Architects are decolonizing old narratives and decarbonizing the construction industry, and by weaving together personal passions with pressing social and environmental challenges, they are pushing the limits of the profession and expanding its scope.
With so many changes in the profession, especially in recent years, one may ask: How is the role of the architect evolving in response to global crises and shifting societal needs? In what ways can interdisciplinarity expand the scope and impact of architectural practice? And what skills beyond traditional design are becoming essential for architects in today's world?
Italy's rich history, evident in its monuments and cities, has created a unique context for architectural renovation. Italian architects often embrace this heritage by engaging in a dialogue between old and new, rather than aiming for a complete transformation. This approach intentionally avoids an imitative style, instead using contemporary materials like steel, glass, and new wood to frame and highlight the existing historic stone and brickwork. This juxtaposition turns the original materials from simple structural elements into featured decorative and narrative ones. The result is a layered experience where the history of the space remains visible, ensuring it is preserved rather than erased by the renovation.
SPPARC architecture and design studio has revealed plans to renovate the former Ravenscourt Park Hospital in Hammersmith, London, which has stood vacant for two decades. The building, originally named the Royal Masonic Hospital and designed by Thomas S. Tait, is regarded as one of the first major modern buildings in the UK and was Europe's largest independent acute hospital when it was opened by King George V in 1933. Built to provide low-cost treatment for Freemasons and their families, the 260-bed facility operated until 1994, reopened as an NHS hospital in 2002, and was permanently closed in 2004. According to the recent announcement, the Grade II listed landmark, currently on Historic England's Heritage at Risk register, is intended to be repurposed as 140 new homes, a 65-bed care home, and spaces available for public hire.
Archinfo, the Information Centre for Finnish Architecture, has announced the theme, curator, and exhibition team for the Pavilion of Finland at the 19th International Architecture Exhibition of La Biennale di Venezia. The exhibition, titled "The Pavilion – Architecture of Stewardship", will focus on the diverse labor involved in constructing and maintaining architecture, from design contributions by architectural workers and engineers to the efforts of construction workers, restoration architects, maintenance staff, and cleaners, all of whom play vital roles in the creation and upkeep of the built environment. Curated by Ella Kaira and Matti Jänkälä from the Helsinki-based architecture practice Vokal, it will use Alvar and Elissa Aalto's Pavilion of Finland to explore architecture as a collaborative endeavor.
Following an extensive conservation process, the Eames House, Case Study House No. 8, has reopened to visitors after a five-month closure due to smoke damage from the Palisades Wildfire earlier this year. Although the iconic structure, designed by Charles and Ray Eames in 1949 as part of the Case Study House Program, was not directly damaged by flames, it required comprehensive cleaning and restoration to address the effects of smoke infiltration. As part of the reopening, the adjacent Eames Studio, previously closed to the public, will now be accessible for the first time. Designed and used by Charles and Ray as a working space, the studio will serve as a venue for rotating exhibitions, workshops, and public programs, offering an expanded architectural experience.
Rinshunkaku is a notable example of early Edo-period residential architecture. Originally built in the Wakayama Prefecture by the Kishu Tokugawa family, the villa was relocated to Sankeien, a traditional Japanese garden in the city of Yokohama, during the Taisho era (1912-1926). The garden was created in the early 20th century by businessman and art patron Sankei Hara and features a number of historic buildings relocated from Kyoto, Kamakura, and other areas of Japan. Rinshunkaku, one of the garden's gems, is a prime example of traditional Japanese architecture and wood construction. Its historical value motivated a large-scale restoration project in 2019, documented in the film Artisans of the Reiwa Era (Reiwa no Shokunin-tachi), filmed and edited by Katsumasa Tanaka and Hiroshi Fujiki. The documentary offers a close, detailed view of Japanese craftsmanship and wood expertise, highlighting rare traditional techniques and paying tribute to the artisans who preserve them.
Studio Libeskind has released new images of the design for the transformation of the Boerentoren tower, one of Europe's earliest skyscrapers, located in the heart of Antwerp, Belgium. Developed in collaboration with Belgian architecture firm ELD, the project reimagines the 1932 Art Deco landmark as a new public cultural hub that will house The Phoebus Foundation's art collection. The design includes the addition of exhibition spaces, a panoramic viewing platform, a rooftop sculpture garden, and new restaurants and bars. According to the architects, the original architectural features will be preserved while introducing a new architectural feature, which they are calling the "Reimagined Crown." Initially announced in 2022, the project has now received preliminary approval from the Flemish Heritage Agency and the City of Antwerp.
The Grand Palais in Paris has reopened to the public after the most comprehensive renovation in its 120-year history, led by Paris-based Chatillon Architectes. Originally built for the 1900 Universal Exhibition, the Grand Palais has long stood as a symbol of French cultural excellence, technical ingenuity, and architectural ambition. Following the reveal of the restored Nave for the 2024 Paris Olympics, the entire 77,000-square-meter building has now been renewed to enhance spatial clarity, restore original volumes, and transform the visitor experience. The project introduces expanded public access, new exhibition spaces, restaurants, and improved circulation, while remaining rooted in the building's architectural legacy.
What does a change in use and/or scale in buildings imply? How can a church or chapel be transformed into a home? While the architecture of many contemporary sacred spaces shows a remarkable capacity for adaptation and evolution, the creative boundaries of many professionals extend beyond their conception as structures of spirituality or worship. Globally, the conversion of large churches and small chapels into private residences reveals a wide field for intervention and exploration, one that can preserve, restore, adapt, and/or renew the character of spaces originally conceived for other uses and scales, which for various reasons have been abandoned, become obsolete, or now require transformation.
The residential project Villa San Luis, originally named Villa Compañero Ministro Carlos Cortés, was built between 1971 and 1972 on land that today lies in one of the highest-income areas of Santiago, Chile. Initially designed as an urban center for 60,000 middle-income residents, with staggered buildings and a civic center covering 3.4 of its 50 hectares, the project was redefined in the 1970s to accommodate the unhoused population in the eastern sector of the Chilean capital. The process was not without conflict. During the dictatorship, the new residents of the complex were evicted, and the land was acquired by the military. From then on, the complex entered a process of reappropriation and resignification that now appears to be reaching a new milestone: the conversion of one of its buildings into a memorial site and museum, through a project by UMWELT and Plan Común.
The main role of architecture is to create structures that protect us from the environment and create spaces that are safe and comfortable for all types of needs and activities. By providing shelter, architecture also shapes the way people interact with their surroundings. Building technologies of the past rarely managed, however, to create a complete separation between us and the outside world.
While impermeability was a desired outcome, the porous building materials available always allowed some water, wind, or outside particles to leak into the interior spaces. In contrast, modern technologies now allow for almost completely impermeable building envelopes, allowing for complete separation between indoors and outdoors, thus relying on engineered systems to regulate temperature, airflow, or humidity. This article explores the differences between these two contrasting approaches, exploring how building facades are equipped to regulate indoor comfort and its environmental impact.
