Blur Building, Lake Neuchatel, Yverdon-les-Bains, Switzerland, 2002. Image Courtesy of Diller Scofidio + Renfro
Architecture is traditionally chronicled through the persistence of the solid. We define the discipline by the weight of the lintel, the mass of the pier, and the resistance of the wall. Even when lightness is invoked, it is usually understood as a subtractive act, the thinning of a section or the precarious reduction of a load. Yet there is a parallel history, less visible and harder to isolate, in which the primary material of construction is not what occupies space, but what moves through it.
To treat air as a medium is to move past the binary of the envelope. The boundary between the interior and the world ceases to be a line of absolute separation and becomes, instead, a site of filtration and pressure. We begin to see the building as a thermal valve, a series of gradients where moisture, velocity, and heat are not merely background "conditions" to be mitigated by mechanical systems, but are the very substances being shaped.
"The story of architecture is not wrong," argued Lesley Lokko in her introduction to the Venice Architecture Biennale 2023, "but it is incomplete." For most of the 20th century, architectural history spoke in one tongue: a singular, dominant narrative centered on a handful of movements, names, and cities, whose reach and influence appeared universal precisely because alternative voices were rendered inaudible. Design movements, however, rarely traveled intact across borders. They were frequently absorbed, resisted, reinterpreted, and transformed depending on geography, politics, economy, climate, and available materials. What arrived in one place as doctrine became, somewhere else, something entirely different.
This month, ArchDaily explores 20th Century Design in Flux: A Global Reinterpretation of Architectural History, a topic that traces the century's design languages not as a single canon but as a constellation of evolving, intersecting, and continually reinvented trajectories. The theme challenges the assumption that regional and non-Western architectures were merely derivative — positioning them instead as sites of active reinterpretation, where global ideas were filtered through local materials, climates, labor, and cultural practices to produce something entirely distinct.
Each year, the ArchDaily Next Practices Awards highlights emerging studios that are expanding the scope of architecture through new methods, materials, and ways of working. Selected from a global pool, these practices reflect a shift away from singular definitions of the discipline, engaging instead with broader questions of construction, environment, and social impact. Rather than operating within fixed categories, many of these studios position themselves across fields, combining design, research, and production to respond to contemporary conditions.
Named one of the winners of the 2025 edition, Hand Over is a Cairo-based practice operating across design, construction, and research. Founded by Radwa Rostom, a civil engineer with over fifteen years of experience in development and sustainability, the studio works through an integrated design-build model, engaging with earth construction, local materials, and community-based processes.
Henning Larsen, in collaboration with KHL Architects & Planners, Arup, and Flaviano Capriotti Architetti, has proposed the design for a 14-story residential building in Taipei for Continental Development Corporation. The project, titled Northern Lights, has a gross floor area of 3,464 square meters and is scheduled for completion in 2029. Situated adjacent to Daan Park, the development includes 46 residences and is positioned within a dense urban environment while maintaining proximity to one of the city's primary green spaces, which is described as a key contextual reference in the design.