Stone: The Latest Architecture and News

As pillars of our cultural landscape, many masterpieces of the Modern Movement are often demolished, abandoned, or altered regardless of the context in which they are located. Preserving this architectural legacy highlights the role of architecture and design professionals in shaping built environments where continuity between the past and the present reinforces communities' sense of place. On Long Island, a coalition of advocates came together to save the A. Conger Goodyear House, which dates to 1938 and was designed by Edward Durell Stone. Considered one of the notable examples of the International Style in the United States, the house attracted significant attention throughout the 1940s, appearing in specialized journals, books, and popular publications.

Central America's nations occupy a narrow land bridge between Mexico and Colombia, but they were not born as separate countries. They emerged from a single entity: the Federal Republic of Central America in 1823. That federation collapsed, yet the ideal of a unified region never fully died. In 1951, the governments signed the Charter of San Salvador, creating ODECA, the Organization of Central American States. Four decades later, the 1991 Protocol of Tegucigalpa replaced it with SICA, the Central American Integration System, the framework guiding regional cooperation today. Within this integration process, the Central American Bank for Economic Integration (BCIE) was founded in 1960 by Guatemala, El Salvador, Honduras, and Nicaragua, establishing its headquarters in Tegucigalpa. On the surface, it is a conventional late-20th-century office complex, but look closer at its façade, and the building becomes an argument about identity. One written in pink quarry stone from the very hills that surround the Honduran capital.

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The Clark Art Institute, a prominent art institution located in the Berkshires of western Massachusetts, United States, has unveiled images of the design for the extension of its current facilities. The institution, opened in 1955, is both an art museum and a center for research, critical discussion, and higher education in the visual arts. The new wing, commissioned to Selldorf Architects in October 2024, will expand the current gallery and art storage space and connect the Museum Building and the Manton Research Center, previously renovated by the same firm. The new building will be complemented by a landscape design by Reed Hilderbrand, reinforcing the experience of the architecture, art, and surrounding Berkshire landscape.

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For some time now, it has become common to wonder where the things we consume come from. We check labels, seek out local producers, and investigate supply chains in an attempt to understand the impact of our habits, whether on our own health or on the planet.

In the field of architecture, however, this question remains relatively marginal. We often know who designed a building, its finishes, the manufacturer of its frames, the brand of its wall coverings, and even its energy performance, but we almost never ask where the tons of material that made its existence possible actually came from.

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Architecture begins as an encounter with gravity. It is the ancient act of placing weight upon the earth, of persuading matter to stand, hold, and shelter. Within this fundamental condition of heaviness, however, lies a quieter possibility: density itself can generate a sense of lightness—a perceptual condition in which the body, fully convinced of matter's weight, begins to experience space as suspension.

Much of contemporary architecture has pursued lightness through reduction: thinner structures, smoother surfaces, increasingly seamless transitions between interior and exterior. Here, lightness is equated with disappearance, as if gravity could be overcome by withdrawing material presence. Yet there exists another register in which lightness is not the result of absence, but of intensification. It emerges when material presence becomes so precise, so fully asserted, that it begins to alter perception itself—when mass remains heavy, but no longer behaves as simply inert.

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Located in Tomioka, Fukushima Prefecture, Sea of Time – TOHOKU is both an artwork by Tatsuo Miyajima and an architectural project commissioned by the artist. Designed by Japanese architect Tsuyoshi Tane of Atelier Tsuyoshi Tane Architects (ATTA), the project envisions a permanent museum to house Miyajima's artwork. Currently under development from 2024 to 2027, with an anticipated opening in spring 2028. Positioned on a cliff overlooking the Pacific Ocean, the proposal brings together architecture and installation within a site shaped by the memory of the 2011 Tōhoku earthquake and tsunami, framing both the landscape and its historical context as integral components of the design.

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Heritage restoration has always been an intricate process that requires delicate balancing between preserving the integrity of historic materials while integrating contemporary techniques that can enhance accuracy, efficiency, and resilience. With the restoration process of Parliament Hill in Ottawa, Canada's capital city, this intersection of tradition and technology is now on full display. The East Block, built in 1865, offers a compelling example of how digital tools can support the efforts of heritage restoration and contribute to a centuries-old craft such as stone carving.

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Caochan na Creige, designed by Izat Arundell, has been announced as the winner of the RIBA House of the Year 2025 award. The timber-framed, stone-clad self-build is located in Scotland's Outer Hebrides, occupying a compact rural plot defined by exposed weather conditions and a distinct geological setting. Built by and for its architect owners, the house was selected for its clear response to site constraints, its material strategy, and the consistency between design intent and construction.

Near the center of Helsinki, Finland, in the Töölö neighborhood, one can find the Temppeliaukio Church, an unusual-looking Lutheran church nestled between granite rocks. Approaching the square from Fredrikinkatu street, the church appears subtly, a flat dome barely rising above its surrounding landscape. An unassuming entrance, flanked by concrete walls, leads visitors through a dark hallway, and into the light-filled sanctuary carved directly into the bedrock. The exposed rock walls earned it the alternative name “The Church of the Rock.” To contrast the heaviness of the materials, skylights surrounding the dome create a play of light and shadows and a feeling of airiness.

The church is the result of an architectural competition won by the architect brothers Timo and Tuomo Suomalainen in 1961. Their original solution was recognized not only for its creativity but also for the respect it showed to the competition’s goal: “to include the organization plan for the whole Temppeliaukio Square, taking into attention that as great part as possible of the rock outcrop of the square to be preserved.” The winning proposal achieves this by embedding the church inside the rock and placing parish facilities on the edges of the hillock. This article explores the story behind the Temppeliaukio Church both narratively and visually, through the lens of Aleksandra Kostadinovska, a professional photographer from Skopje.

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As people take greater control over the rituals surrounding their deaths, cremation has become an increasingly popular option worldwide. This shift has prompted the thoughtful design of spaces that address the profound emotions tied to cremation, life and death, and stillness. Architects are increasingly grappling with the question of what role architecture plays in these rituals.

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Notre Dame Cathedral reopened on December 7th, 2024, welcoming visitors for the first time since the 2019 fire. The restoration of Notre Dame Cathedral was a massive undertaking, led by chief architect Philippe Villeneuve, assisted by Rémi Fromont and Pascal Prunet. The project involved approximately 2,000 craftspeople, 250 companies, and about $900 million, demonstrating the immense scale and complexity of the work on a tight deadline. Despite the major milestone of opening before the end of the year, the restoration works are not yet complete, as they are scheduled to continue through 2026.

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Travertine —known as lapis tiburtinus by the ancient Romans— has endured for centuries as one of the most iconic materials in Italian design heritage. This limestone has left a lasting mark on architectural history, from the monuments of the Roman Empire to contemporary works like the Church of 2000 and the Ara Pacis Museum. Over time, its aesthetic has evolved alongside art and design, adapting to technical advancements while preserving its essence and relevance in modern architecture.

Reflecting on the past is often viewed as nostalgia or, from a more critical standpoint, as a sign of regression. However, looking back can offer valuable insights into a society that sometimes appears overly focused—if not obsessed—with the future and technology. In architecture, this reflection allows us to reconnect with our roots and appreciate the knowledge accumulated over generations. It invites us to explore how our ancestors designed durable structures adapted to their environment. Refined through centuries of observation, experimentation, and likely even errors, these systems demonstrate a profound understanding of local materials and building techniques.

Landscape architecture has traditionally been associated with lush greenery, rooted in the historical development of gardens and parks as spaces that bring nature into urban areas. This connection to greenery is deeply ingrained in the origins of the field, where the creation of verdant retreats was seen as both aesthetically pleasing and beneficial to human well-being. However, in regions like the Middle East, where water scarcity and harsh climates are more prevalent, there is a growing trend toward using local materials such as sand, stone, minerals, and indigenous plants. This shift reflects a more sustainable approach, reimagining landscape architecture to align with the environmental and cultural contexts of the region.

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Throughout history, stone has been a vital building material because of its strength, beauty, and inherent appeal. Stone has been used to build long-lasting constructions for ages, from historic monuments to contemporary residences. Because of its resilience, it is suitable for both interior and exterior design projects, providing a diverse array of appearances. There are numerous varieties of stone, each with a distinct texture and color, including marble, granite, and limestone. Because of this diversity, stone may be creatively used by architects and builders to create accents or entire buildings. This curated selection of Unbuilt Architecture, submitted by the ArchDaily community, showcases how stone is still a dependable and adaptable building material that can combine old-world craftsmanship with contemporary style.

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Thermal mass is the ability of a material to absorb, store, and release heat. Used to moderate building temperatures by reducing fluctuations, the concept is crucial in improving energy efficiency. Materials with relatively high thermal mass, such as stone, concrete, rammed earth, and brick, can absorb significant heat during the day and release it slowly when temperatures drop at night, reducing the need for heating and cooling systems. Properties like heat capacity, thermal conductivity, and density are all considered when assessing the thermal mass property of a material.

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A Trombe wall is a passive solar building feature that enhances thermal efficiency. Positioned on the sun-facing side of a structure, it consists of a wall made from materials like brick, stone, or concrete, and a glass panel or polycarbonate sheet placed a few centimeters in front of it. Solar radiation penetrates the glass during daylight hours and heats the masonry wall. This wall then slowly releases the stored heat into the building during the cooler nighttime hours, maintaining a more consistent indoor temperature without the need for active heating systems.

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Organizing, shaping, stacking. Transforming raw materials from the soil into architecture. This is a challenge that many Latin American architects embrace, demonstrating that scarcity can be daunting but also a rich opportunity to unleash creativity.

The use of materials extracted from the local soil serves a dual purpose. In regions with limited industrialization, using locally sourced materials makes economic sense because industrial materials such as concrete and steel are expensive and often require long-distance transportation, adding to their cost. Environmentally, choosing locally sourced materials from the start of a project reduces transportation needs and carbon emissions, supporting sustainability efforts.

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