A perforated screen is often treated as an afterthought, something applied to soften light, to decorate a façade, or to add texture where a wall might otherwise feel flat. It is photographed as a surface, drawn as a pattern, and discussed as a craft. But in many buildings across the Indian subcontinent and the Islamic world, the screen was never an addition. It was the wall itself. Remove it, and the building does not simply change in appearance; it loses its ability to regulate heat, move air, and mediate between inside and outside.
This misreading reveals more about contemporary habits than about the screen itself. Architectural thinking has long separated structure from envelope, performance from expression. Within that framework, elements like the jaali or mashrabiya are easy to categorize as ornamental, visually rich but technically secondary. Yet these screens were conceived as integrated systems, where geometry, material, and climate operate together. Their intelligence lies in what they do.
Lilly Reich Grant for Equality in Architecture. Transnational Narratives documentary presentation at the Mies van der Rohe Pavilion in Barcelona, March 10th, 2026. Image
"Gender equity remains an ongoing problem in architecture. Women architects are roughly one-third of the profession or less worldwide." This is the opening statement of the documentary Transnational Narratives: A Documentary Celebrating South Asian Women in Architecture, a result of the 4th Lilly ReichGrant for Equality in Architecture. The grant, an initiative by the Fundació Mies van der Rohe, promotes equal access to opportunities in architectural practice and supports the study and dissemination of contributions to architecture that have been unfairly rendered invisible. Within this context, the documentary, created by Dr. Igea Troiani, Dr. Mamuna Iqbal, artist and researcher Paula Roush, and filmmaker Rime Tsujino, brings visibility to the experiences of six architects of South Asian origin: Sumita Singha, Chitra Vishwanath, Sara Khan, Fauzia Qureshi, Sajida Vandal, and Neelum Naz, whose professional careers span India, Pakistan, and the United Kingdom.
This week has been marked by the deliberate, rampant, and unjust destruction of war in Southeast Asia. As one of the most damaging manifestations of human abuse of power, we have witnessed the destruction of places that hold memories and sustain culture, as well as the loss and irreparable harm to the human lives that lend them their identity. With the expectation of offering brighter and more constructive scenarios in the future, we present, in contrast to this reality, a scenario of progress in the gender gap that characterizes architecture and its paths forward, a group of landmark projects of public and community interest moving forward from Türkiye to Mexico, and three major multimodal transport infrastructure projects improving the way we circulate and inhabit public space in Europe and the United States.
Indian modernism is often narrated through a narrow lens: a handful of iconic institutions, master architects, and formally radical experiments that came to symbolize the nation's post-Independence aspirations. Yet this version of history overlooks the far larger body of modernist architecture that quietly shaped everyday life across the country. Beyond celebrated campuses and canonical buildings exists a vast, dispersed landscape of housing blocks, offices, hostels, hospitals, markets, and townships — structures that were designed to function and endure.
Concrete towers dominate the skylines of Asian and African cities - looming edifices embodying development. With access to the tools and materials of industrial modernity, the Global South steps onto the world stage showcasing its bounty. Yet, at the depths of rising ambitions, the construction material speaks to colonial legacies and extractive economics that result in power imbalances in the geopolitical sphere. A climate crisis on the horizon only intensifies the complicated relationship between building materials, sustainability demands, and sovereignty of many countries.
When India gained independence in 1947, the nation faced a decision that would determine the course of its architectural future: brick or concrete. A seemingly mundane choice of material was rooted in a deeper philosophical divide between two potential outcomes for post-colonial India's built environment. Pioneering figures in India's struggle for independence held opposing views - Mahatma Gandhi advocated for traditional craftsmanship while Jawaharlal Nehru embraced modernism. The architecture one sees in the subcontinent today is a mosaic of both, begging the question: was modernism in India a foreign imposition or a celebrated import?
With millions of residents flocking to metropolitans each year, South Asia is witnessing staggering levels of urban development. Growth brings economic prosperity and ecological strain as concrete jungles replace natural habitats. The region, home to countries such as India, Pakistan, Bangladesh, Sri Lanka, Bhutan, the Maldives, and Nepal, is faced with addressing contextual challenges when it comes to balancing urbanization with environmental sustainability. These negotiations are fairly nuanced, with a need to understand the economic, social, and political scenarios systematically in each country.
In the mid-twentieth century, a set of South Asian countries collectively experienced a catharsis from colonizers' rule. The period that followed sparked an era of ideas and philosophies for a new future. During this time, architects were pivotal in creating modernist structures that defined the countries' post-colonial, post-partition and post-imperial identities. South Asian architects used design as an expression of hopeful societal visions, most of which have been actualized. With this success in nation-building, there has been a lack of accreditation for women architects in shaping South Asian histories.
South Asia has undergone notable transformations across economic, political, social, and various other spheres. Mirroring these patterns of societal change are the architectural practices across this region. The modern nation-states of South Asia – Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan, and Sri Lanka – share similar histories and a future characterized by rapid economic development and urbanization. However, each region exhibits distinct nuances concerning the present and potential state of architectural praxis, informed by their socio-cultural contexts and emerging political climates.
Bird-eye view of Dragon Tower. Image Courtesy of Dewan Architects + Engineers
The Dragon Tower in Hanoi by Dewan Architects + Engineers in collaboration with TTA, is the winner of the Global Design & Architecture Design Awards 2022 in the Mix-Used category; the tower is projected to transform Vietnam's landmark. Designed to be the longest building in the world, the 700.000 square meters complex will provide ministerial lobbies, meeting rooms, and public spaces, including a nursery, library, supermarket, restaurants, and a learning center. A water reservoir and green terraces are incorporated into the design to increase the building's efficiency and accessibility.
The Filipinos believe that man and woman first emerged from the nodes of a bamboo stalk. The Chinese view the caneas a symbol of their culture and values, reciting “there is no place to live without bamboo”. The plant is a symbol of prosperity in Japan and friendship in India. Along with myths and stories, strong structures made of bamboo flourished in pre-modernAsia. Built forms varied across the changing landscapes of Eastern countries, all sharing one aspect in common - a respect for natural ecosystems.
An ancient Indian folktale narrates the story of a demigod, Hiranyakashipu, who was granted a boon of indestructibility. He wished for his death to never be brought about by any weapon, human or animal, not at day or night, and neither inside nor outside his residence. To cease his wrathful ways, Lord Vishnu took the form of a half-human-half-animal to slay the demigod at twilight at the threshold of his house.
Threshold architectural spaces have always held deep cultural meaning to the people of India. In-between spaces are found in the midst of daily activities as courtyards, stairways, and verandas. The entrance to the house is revered by Indians of all social backgrounds. Throughout the country’s varied landscape, transitional entry spaces are flanked by distinctive front verandas that merge the street with the house.
The Museum of Modern Art - MoMA has announced the opening of an exhibition that explores the ways modern architecture in South Asia shaped up "idealistic societal visions and emancipatory politics" of the post-independence period. Titled The Project of Independence: Architectures of Decolonization in South Asia, 1947–1985, the exhibition includes over 200 works, ranging from sketches and drawings to photographs and architecture models sourced from prominent lenders and institutions in Bangladesh, India, Pakistan, and Sri Lanka.
Pakistani architecture is defined by multiplicity. Both following tradition and breaking from it, contemporary projects contend with multiple histories. Informed by the coexistence and juxtaposition of conditions like regulated development and informal settlements in Karachi and Islamabad, modern designs are being shaped by broader contexts. In turn, these public and private projects are exploring new spaces and forms.
