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21st Europe, a Copenhagen-based think tank founded by former SPACE10 creative director Kaave Pour, has introduced its second major blueprint, Continent of Play. Developed in collaboration with design and architecture studio Spacon, the proposal reimagines playgrounds as vital civic infrastructure, positioning them alongside museums, transport hubs, and energy grids as defining spaces for Europe's future.

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Today, September 2, the seven winners of the 16th Cycle (2023–2025) of the Aga Khan Award for Architecture were announced, following on-site reviews of the 19 shortlisted projects revealed in June. Established in 1977, the Award seeks to identify and encourage building concepts that respond to the physical, social, and economic needs of communities with a significant Muslim presence, while also addressing their cultural aspirations. To understand the vision behind this cycle's winners, ArchDaily's Editor-in-Chief, Christele Harrouk, spoke with Farrokh Derakhshani, who has been with the award for over four decades. He described the initiative as "a curated message to the world," a message that evolves with the times.

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The independent Master Jury of the 16th Award Cycle (2023–2025) of the Aga Khan Award for Architecture has announced seven winners, selected following on-site reviews of projects shortlisted earlier in June. Collectively, the awarded works demonstrate architecture's potential to act as a catalyst for pluralism, community resilience, social transformation, cultural dialogue, and climate-responsive design. Two projects from Iran, and one each from Bangladesh, China, Egypt, Pakistan, and Palestine, will share a prize of $1 million, among the most significant awards in the field of architecture.

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Work and learning environments have undergone profound transformations in recent decades. In offices, cubicles and compartmentalized rooms have given way to open, collaborative layouts. In schools and universities, traditional classrooms with rigid layouts, blackboards, and rows of desks have been replaced by more dynamic, flexible, and interactive spaces. In both contexts, the goal was to encourage integration, creativity, and constant exchange. But this openness has also introduced new challenges: increased distractions, sensory overload, and the difficulty of finding moments of focus or introspection. The more we remove barriers in favor of fluidity and collaboration, the more essential it becomes to provide moments of quiet, intimacy, and sensory balance for those who need to self-regulate. The challenge is both spatial and psychological, raising a fundamental question for architecture: how can we support connection and withdrawal, activity and silence, at the same time?

Amid the traffic-clogged arteries of Los Angeles, where cars have long ruled the streets, the future of urban mobility is being questioned. The reorientation focuses not on simply removing cars or introducing new technology, but on envisioning the city as an integrated system in which people, places, and vehicles coexist in balance. Automobiles are no longer the unquestioned centerpiece of urban life; instead, they are treated as one component of a broader, multimodal transportation network. Design now seeks to prioritize human needs and experiences over vehicular dominance.

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Telosa is a conceptual proposal designed by Bjarke Ingels Group BIG in collaboration with entrepreneur Marc Lore, first announced in 2021. Planned to accommodate five million residents by 2050, the project sets out to establish a framework for sustainable and equitable urban living. Its initial phase, projected for 2030, is expected to house 50,000 people. Positioned as a purpose-built city, Telosa presents a long-term vision that combines ecological resilience, technological systems, and an alternative governance model as a possible prototype for future urban development.

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The Italian Pavilion at the 19th International Architecture Exhibition – La Biennale di Venezia is situated in the Tese delle Vergini of the Arsenale and is promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture. This year, the Pavilion hosts architectural, scientific, and cultural reflections on the Mediterranean Sea and its neighboring oceans, in an exhibition titled "Terrae Aquae. Italy and the Intelligence of the Sea", curated by Architect and Professor Guendalina Salimei. The exhibition brings together projects from diverse actors in Italian society through an open call, whose objective was to rethink the boundary between land and water as an integrated system of architecture, infrastructure, and landscape. In response to the Biennale's central theme, the exhibition aims to stimulate the awakening of a collective intelligence capable of triggering a renewal in that relationship, starting from the Italian coast and expanding globally.

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Overprovision can be seen as an architecture strategy through the lens of resilience—making spaces adaptable to changes, reinterpretations, and future needs. However, could overprovision also offer a productive lens for rethinking spatial design? Are there parallels in architectural theory or practice that align with this concept, as explored by notable figures in the discourse on space?

This question becomes particularly relevant in residential design, especially in regions like Hong Kong or Tokyo, where the demand to maximize space is a cultural and practical norm. Designers are frequently tasked with "making use of every inch" for storage or function, reflecting a tendency among residents to accumulate belongings disproportionate to their living spaces. 

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The term vault in architecture refers to a self-supporting arched structure that forms a ceiling or roof, which can effectively create a wide, column-free space. While traditional masonry vaults transfer loads to walls and buttresses, contemporary versions are more broadly defined as any ceiling that follows the roofline, creating a high, curved interior. These modern ceilings are typically framed using materials like concrete, timber, or steel, which provide the structural flexibility to create the dramatic effect of a vault without its historical constraints. The round arch vault, in particular, seems to have been a recently favored form for its simple, elegant geometry and its ability to adapt to a variety of modern residential styles.

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In preserving architecture, there are many possible approaches—ranging from treating a building as a static monument, meticulously restoring it in situ to the point of limiting public access, to more adaptive strategies that reprogram and modify interior spaces while retaining key architectural elements such as materiality and structural form. Yet one method stands apart, both in ambition and in controversy: to deliberately dismantle a building—brick by brick—meticulously label and document each part, and store it until a new site, purpose, or narrative emerges. Then, to reassemble it anew, possibly for an entirely different use. Though the original context is lost, this strategy aims to preserve cultural significance through transformation rather than stasis. This is the story of Murray House in Stanley, Hong Kong.

Originally constructed in 1846 as officers' quarters for the British military in Central, Murray House was one of the earliest examples of neoclassical architecture in Hong Kong—a unique and enduring trace of the city's colonial past. Its robust granite colonnades and symmetrical façade stood as a symbol of classical permanence. During the Japanese occupation of Hong Kong in 1941, the building's function was repurposed as the command center for the Japanese military police. It survived the war and continued to house various government departments throughout the postwar decades.

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What if the best kind of play isn't the safest? For decades, cities have built playgrounds to be clean, colorful, and easy to supervise. Yet these spaces—designed more for adult peace of mind than for children's curiosity—often strip away what makes play truly transformative: risk, unpredictability, and self-direction. Rising safety standards, shrinking public space, and the commercialization of play equipment have only further narrowed the possibilities for children's independent exploration. From a junkyard in 1940s Copenhagen to the concrete landscapes of postwar Amsterdam, a handful of architects, planners, and activists have challenged the idea that play must be neat and controlled. Their unconventional playgrounds—made of loose parts, raw materials, and abstract forms—gave children the freedom to build, demolish, explore, and get dirty.

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Two students sit one desk apart. One excels in science. The other struggles. One receives praise, the other criticism. One gains confidence, the other slowly loses it. It's easy to assume the difference comes down to effort, parenting, or natural ability. But what if the real factor was the classroom itself? Imagine the student who fell behind sat at a desk flooded with glare from poorly placed windows every single day. With fixed homeroom seating, they couldn't move. Over time, that small but constant distraction turned into disengagement, and disengagement eroded their confidence. A chain reaction triggered not by effort, but by design.

Snøhetta has unveiled plans for Jesselton Docklands, a tropical waterfront master plan in Kota Kinabalu, Malaysia, on the island of Borneo. The development reimagines the city's former port as a civic and cultural hub, strengthening its connection to the waterfront and positioning it as a new gateway to Sabah and the wider Southeast Asian region. Situated near Kota Kinabalu International Airport, the development includes a new ferry and cruise terminal, integrating infrastructure with the island's ecological and cultural context to position the city as a key point of connection within the region.

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MVRDV revealed the design of rock-like tourist facilities and infrastructure for the Taiwanese coastal area of Jialeshui, a scenic destination in the southernmost part of Taiwan. The Pingtung County Government recently selected the design proposal submitted by MVRDV in collaboration with HWC Architects for the transformation of an area known for its rock formations shaped by wind and water, including a series of structures inspired by these natural forms. The project, a masterplan titled Nature Rocks, introduces a network of new pathways and public spaces and adds small-scale buildings, including a central visitor centre and three lookout points, within the existing built footprint.

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In contemporary architecture, hotel design is no longer defined solely by luxury and accommodation. Instead, it is becoming a platform to explore questions of identity, ecology, and cultural meaning. Beyond providing rooms and amenities, hotels today aim to create immersive experiences that connect travelers to local traditions, landscapes, and communities. In this curated selection of unbuilt hospitality projects, submitted by the ArchDaily community, speculative and competition-winning proposals offer a glimpse into the future of hospitality, where sustainability and storytelling are as central as comfort and style.

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Kindergarten architecture has long stood apart as a realm where design and imagination converge. Unlike most building typologies, these spaces are conceived not only to shelter and function but to shape the earliest experiences of curiosity, play, and social interaction. Throughout history, the design of kindergartens has evolved alongside pedagogical shifts, moving from modest, utilitarian beginnings to highly intentional environments that stimulate both learning and wonder. In this context, architecture becomes more than a backdrop — it becomes a silent educator, capable of nurturing emotional, cognitive, and physical development.

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Italy is preparing to host its third Olympic Winter Games as Milan and Cortina d'Ampezzo welcome Milano Cortina 2026, seventy years after Cortina staged the 1956 edition and two decades after Torino 2006. The Games will take place from February 6 to 22, 2026, marking the first time the Winter Olympics are organized across two cities, two regions, Lombardy and Veneto, and two autonomous provinces, Trento and Bolzano. Covering a territory of 22,000 square kilometers, Milano Cortina 2026 will become the most geographically extensive Winter Games to date, with over 90% of venues already existing or designed as temporary facilities.

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The Uzbekistan Art and Culture Development Foundation (ACDF) has announced the groundbreaking of the National Museum of Uzbekistan, designed by Japanese architect Tadao Ando. Marking Ando's first major project in Central Asia, the museum is envisioned as both an architectural and cultural landmark in Tashkent. Planned to open in March 2028, the building reflects Ando's minimalist architectural language, integrating references to Uzbekistan's heritage with his characteristic use of geometry, natural light, and spatial clarity.

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Children encounter space differently from adults. For them, the world is not yet rationalized into function and circulation but is experienced through emotion and curiosity. Where adults may navigate rooms through habit, children inhabit them through immediacy. A patch of sunlight becomes an event. The curve of a hallway invites wandering. The sound of footsteps on wood or the softness of fabric beneath fingertips is not background but information. What adults may dismiss as peripheral moments quietly mediates their sense of safety, autonomy, belonging, and possibility. Architecture is an opportunity for pedagogy to become physical.

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Susanna Moreira's path into architecture was shaped early by her involvement in architectural theory and research during her undergraduate studies. Born in Salvador, Brazil, she has also lived and studied in Milan and São Paulo—experiences that have enriched her understanding of the dynamic intersections between art, architecture, and urban environments. These interdisciplinary interests continue to inform her curatorial approach and editorial work.

As ArchDaily's Project Curator for Portuguese-speaking countries, Susanna seeks out projects that offer meaningful contributions to architectural discourse. She values originality, quality, and relevance, always questioning what lessons a project might offer in terms of innovative materials, construction techniques, or conceptual approaches. In an era of information overload, she believes careful curation is essential to build trust, enhance learning, and highlight work that truly stands out.

Once the largest coal mine in Europe, the Zollverein complex in Essen, Germany, has undergone a remarkable transformation over the past twenty-five years. What was once a landscape of abandoned industrial facilities is now a laboratory of contemporary architecture, featuring works by Rem Koolhaas, Norman Foster, and SANAA. Their interventions bridge the site’s industrial past with its imagined future. Spanning 100 hectares, the UNESCO World Heritage site has become a global model of adaptive reuse, redefining what it means to preserve industrial heritage. Within this context stands the Ruhr Museum and its enigmatic art repository, the Schaudepot. Located in the complex’s former salt factory, the museum impresses not only with its collection but also with its architecture, which transforms a 1960s industrial building into a vibrant cultural venue.

Because of its historical and architectural relevance, the project is featured in the 2025 edition of Open House Essen, under the theme “Future Heritage.” The initiative explores which spaces might shape our future architectural legacy and asks pressing questions: What should we preserve? What should we adapt? And how can we design a future that is both livable and fair?

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The Design-Build model is an increasingly attractive project delivery method, offering benefits such as enhanced control, reduced risks, cost efficiencies, and quicker completion times. Central to this approach is teamwork and collaboration, contrasting sharply with the traditional method of separate design and fixed-price bidding by contractors. Design-Build naturally motivates all participants to seek ways to boost productivity and quality, ensuring fairness and transparency in costs.

Curated by Cotter & Naessens Architects, the Ireland pavilion at the 19th International Architecture Exhibition - La Biennale di Venezia in 2025 presents Assembly, exploring architecture's role in shaping spaces for gathering, discussion, and democratic exchange. Commissioned by Culture Ireland in partnership with the Arts Council of Ireland the pavilion is officially inaugurated by Yvonne Farrell of Grafton Architects with Sharon Barry, Director of Culture Ireland, and Fionnuala Sweeney, Head of Architecture at the Arts Council.

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An exhibition of architectural drawings and photographs, titled "Architecture = Art: The Susan Grant Lewin Collection," is now on view at Paul Rudolph's Modulightor Building in Manhattan, New York. Hosted by the Paul Rudolph Institute for Modern Architecture (PRIMA), the collection brings together works by prominent architects, including Eileen Gray, Daniel Arsham, Frank Gehry, Jesse Reiser, Hani Rashid, Steven Holl, Aldo Rossi, Michael Graves, James Wines, Stanley Tigerman, John Hejduk, among others. The drawings are accompanied by a selection of photographs by architectural photographers such as Ezra Stoller, Robin Hill, Norman McGrath, Paul Clemence, and others. The exhibition opened on July 2 and will remain on view until September 20, 2025.

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