The 2026 Color of the Year selections show a shift toward nuanced, layered palettes and understated spatial calm, moving beyond the saturated earth tones of previous forecasts. Pantone's Cloud Dancer, a soft white, sets a foundation of clarity and simplicity, while Sherwin-Williams and C2 Paint highlight the versatility of mid-tone neutrals and soft ochres, emphasizing material authenticity and adaptability across different interior surfaces and lighting conditions. Benjamin Moore and Graham & Brown explore deeper, atmospheric hues that balance warm and cool undertones, and Behr, Valspar, and AkzoNobel introduce muted greens and blue-based tones aimed at creating restorative, composed, and visually engaging interiors.
New Manchester United Stadium aerial render. Image Courtesy of Foster + Partners
During 2025, several sports infrastructure projects were announced that remain on our radar, most of which are scheduled for completion between 2028 and 2030. Located across Asia, Europe, Africa, the Middle East, and North America, these projects reflect contemporary masterplan strategies for the transformation of large sports venues within their urban contexts. Many of the stadiums are planned as part of broader redevelopment frameworks that include new public spaces, mixed-use programs, event facilities, and mobility upgrades, rather than as isolated structures. Designs led by international offices such as Populous, Foster + Partners, Heatherwick Studio, OMA, Gensler, AFL Architects, and VUILD illustrate a range of architectural, urban, and infrastructural responses to the evolving role of large sports facilities.
The potential of existing buildings to shape cities and communities in flux through reuse and adaptation is the key focus of HouseEurope! and their activism: addressing the pressing challenge across much of Europe, where it is often easier, cheaper, and faster to demolish buildings than to renovate. For decades, construction policies, industrial practices, and market systems have favored new development, often undervaluing the cultural, social, and environmental significance of existing structures. For their work advocating systemic change in architecture, HouseEurope! received the 2025 OBEL Award under the theme "Ready Made." In a conversation with ArchDaily, collective members of HouseEurope! Alina Kolar and Olaf Grawert discussed the organization's approach to architecture, policy, and collective action.
In recent years, food has taken on a renewed role within architecture, not simply as a program or typology, but as a shared spatial practice. Beyond restaurants or dining design, communal eating spaces are increasingly understood as environments where presence, ritual, and time intersect, allowing people to gather, stay, and coexist. In these settings, eating does not just happen within space; it actively shapes it, temporarily transforming ordinary, borrowed, or improvised environments into places of exchange.
This shift is visible across a wide range of built projects, installations, and community spaces that use shared meals as a way of bringing people together. Initiatives such as Fondo Supper Club frame dining as a social platform, using food to connect artists, designers, and local communities through conversation and collaboration. Similarly, sit.feast, presented during Milan Design Week 2024, approached the table as a spatial installation, one where sitting and eating together became the primary means of collectively producing space.
Wonder Cabinet / AAU ANASTAS. Image Courtesy of AAU ANASTAS
Among the 2025 Aga Khan Award winners is AAU Anastas and their project, Wonder Cabinet in Palestine, whose central aim is to serve as a haven for culture and creativity and a bridge between design and production. Beyond this meaningful project, AAU Anastas—working from offices in Bethlehem, Palestine, and Paris, France—has built a broad portfolio since 2015. Notable works include Dar Al Majous, a restoration in Bethlehem that challenges the boundary between domestic and public realms; the Tulkarm Courthouse (2015), one of their first projects that redefined civicness and social gathering on a prominent corner site in Tulkarm; and The Flat Vault, a commercial intervention that adds a juxtaposed stone vault to an existing monastery shop associated with a church built in the 12th century by the Crusaders.
Among these compelling works, Wonder Cabinet likely drew the jury's attention not only for its refined execution and layered spatial complexity, but also for how it operates as a socially generative platform—dissolving the boundary between social infrastructure and architecture. Conceived to support culture, creativity, design, and production, the building aspires to host architects, designers, chefs, artisans, and sound and visual artists, among others. In no small way, it advances the spirit articulated by the 2025 judges, who characterized this cycle as a year of fostering resilience and optimism through design, by demonstrating how architecture can catalyze community and enterprise simultaneously.
The opening of the new Fondation Cartier pour l'Art Contemporain in Paris last October sparked renewed questions around the role, form, and future of museums. As cultural institutions continue to proliferate worldwide in this digital era, the museum itself appears increasingly in need of redefinition. Rather than offering a single model or solution, Architecture for Culture: Rethinking Museums, written by architectural historian and curator Béatrice Grenier, argues for a more contextual and plural understanding of what a museum can be: an institution shaped by its environment, its public, and the specific cultural questions it seeks to address.
ArchDaily had the opportunity to discuss these ideas with the author against the backdrop of the Fondation Cartier's newly inaugurated home on Rue de Rivoli. Housed within a restored Haussmannian building that once accommodated the Grands Magasins du Louvre, the space has been radically reimagined by Jean Nouvel as a dynamic, transformable architecture.
The making of a place is not a difficult thing in principle; it is enough for people to come together in a regular set location for a purpose or activity, and a space becomes. This does not disregard the fact that a physical element needs to accompany this gathering for a space to become sheltering, accommodating, and alluring. This idea of the space that emerges from intent can most definitely be seen in one of the most ancient of functions, which is food or produce markets.
For a market to become, the architectural element can be as simple as a light roof, which would harbor merchants and offer a non-spoken boundary to the place, or it can be as resourceful as adaptively reusing an existing building or site to fit new needs. Finally, it can be a temporary and lightweight structure pitched for certain events or needs and then removed to be used elsewhere, or for other means.
Set to open on January 19, 2026, the Sydney Fish Market marks the first completed project within the broader renewal of Blackwattle Bay on Sydney's inner harbour. Designed by 3XN in collaboration with BVN and Aspect Studios, and delivered by Multiplex, the purpose-built facility replaces the former market with a contemporary structure that combines an operating wholesale fish market with retail, dining, and publicly accessible waterfront spaces. Positioned approximately one mile southwest of Sydney's central business district, the project reframes one of the world's largest fish markets by volume as both working infrastructure and a civic destination.
Every architectural project is the result of deliberate choices. Beyond form and function, buildings embody technical, political, and cultural decisions that shape their relationship with both their surroundings and the people who inhabit them. ArchDaily’s AD Narratives series explores these processes by bringing together accounts that trace projects from initial conception to built realization. In parallel, the AD Classics series turns to works of historical significance, presenting not only the stories behind these buildings but also technical drawings that allow for a deeper, more informed reading of their architecture.
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.
Taking a deeper look at the interplay of light and shadow in architecture seems to be a recurring topic on the agenda of many professionals in the field. Spaces of light and darkness are conceived to enhance circulation and spatial directionality, as well as to highlight the colors, textures, and forms of specific architectural elements. That said, the impact of natural light on building facades reveals the need to develop strategies that support energy savings, improve the thermal and visual comfort of interior spaces, and promote the reduction of carbon emissions. Considering light as another material in architecture, in what ways could its power contribute to the architectural experience?
The past year marked a defining moment in ArchDaily's evolution: a year of recalibration, intention, and renewed editorial purpose.
In an increasingly fast-moving and saturated media landscape, we took the opportunity to ask the fundamental questions: What does architectural media need to be today? What responsibilities do we carry as a global platform? And how can we contribute meaningfully to a profession navigating social, environmental, and cultural transformation?
And by engaging deeply with these reflections, we stepped fully into our role, bringing greater definition to who ArchDaily is and how it operates.
This week's news compilation brings together current discussions around public and collective space, cultural infrastructure, and long-term urban transformation across diverse geographic contexts. From shared management models redefining public space ownership in cities such as Paris and New York, to large-scale event-driven initiatives linked to Milano Cortina 2026 and the World Urban Forum in Baku, the selected projects and initiatives highlight how governance, culture, and infrastructure intersect in contemporary practice. These themes are further developed through a mix of strategic planning processes, including international test planning efforts in Northern Lviv, and built projects spanning education, culture, and temporary architecture, from a new dental teaching facility in Blantyre, Malawi, to restored and newly opened cultural venues in the United States and Taiwan, and adaptive reuse interventions showcased at the ChicagoArchitecture Biennial. The international examples outline an architectural landscape shaped by reuse, public engagement, and the evolving role of design in responding to social, cultural, and institutional frameworks.
Courtesy of [applied] Foreign Affairs, Institute of Architecture, University of Applied Arts Vienna
Long before architecture took the form of walls, roofs, or cities, it gathered people around fire. The simple fire pit was one of humanity's earliest spatial devices: a place for warmth, food, storytelling, and ritual. Around it, space took shape through proximity rather than enclosure, through shared presence rather than prescribed use. The fire organized bodies in a circle, fostered alliances, and turned survival into collective life. Today, this ancestral logic persists: architecture has the potential of bringing people together not by commanding how they gather, but by creating the conditions that make togetherness possible.
This month, ArchDaily explores Coming Together and the Making of Place, a topic that examines architecture as a framework for inclusion, care, and belonging. The theme aligns with the first edition of the ArchDaily Student Project Awards, which approach care from a collective perspective by focusing on spaces that nurture better ways of living together. Looking beyond iconic gathering spaces, the coverage considers everyday environments, from food markets, communal tables, and neighborhood plazas to third spaces, domestic settings, and digital or hybrid environments of remote togetherness. Rather than treating togetherness as a fixed program, it asks how spatial design can support openness, diversity, and collective life without enforcing uniform ways of gathering.
On the southern edge of Vienna, a cluster of monumental terraces rises above the cityscape, their stepped balconies cascading with greenery and their rooftops crowned with swimming pools. This is the Wohnpark Alterlaa, one of the most ambitious social housing projects in postwar Europe. Designed by Austrian architect Harry Glück and built between 1973 and 1985, the complex was founded on a provocative principle: municipal housing should not only provide affordable shelter but also offer the pleasures and amenities usually reserved for the wealthy.
With more than 3,000 apartments housing nearly 9,000 residents, Alterlaa was conceived as a city within the city. Alongside its residential towers, it incorporates shops, schools, medical services, and cultural facilities, ensuring that daily life can unfold entirely within its boundaries. The project reflects a moment of optimism in Vienna's urban policy, when housing was understood as infrastructure for collective well-being rather than as a commodity.
Today, interdisciplinary learning and exchange are more important than ever in addressing increasingly complex environmental, social, and urban challenges.
Each summer, the University of California, Berkeley's College of Environmental Design (CED) becomes an intensive laboratory for architectural, landscape, and urban exploration. Through two complementary programs—Design + Innovation for Sustainable Cities (DISC) and the Summer Institutes—Berkeley offers an immersive curriculum grounded in disciplinary rigor, intentional exchange, and a shared institutional culture. Together, these programs reflect CED's long-standing multidisciplinary structure, with architecture, landscape architecture, city planning, and urban design thriving and collaborating under one roof.
The Egg is a performing arts centre located in Albany, within New York's Empire State Plaza, designed by the North American firm Harrison & Abramovitz. Construction began in 1966 and was completed twelve years later, in 1978, with the aim of hosting a broad range of cultural events and performances for New York State residents. Drawing inspiration from Brazilian modernism, the domed, egg-like concrete structure stands out as a striking counterpoint within an otherwise rational urban ensemble. Surrounded by state government towers set in an open plaza and clad in stone, the building's exposed concrete, its seemingly suspended form, and pronounced curved geometry position it as a late example of modernist Brutalism. The venue is currently undergoing restoration and, after six months of renovations, is set to reopen on January 8, 2026, in what has been described as a "refreshed and reimagined" space.
The circular economy, including the reuse of building materials, is fast becoming a key component in the fight against carbon emissions. This involves designing to minimize waste and utilize materials that can be reused at the end of the building's life. On the opposing side, the reuse of materials from partially or wholly demolished buildings can also reduce waste and carbon emissions that would have resulted from using virgin materials. Sustainability purposes aside, the reuse of building materials has a centuries-old history, both for symbolic reasons and simply out of necessity.
President Ilham Aliyev has signed an order declaring 2026 the "Year of Urban Planning and Architecture" in the Republic of Azerbaijan. The decision establishes a national framework focused on urban planningpolicy, architectural culture, and sustainable development, aligning with Azerbaijan's preparations to host the 13th World Urban Forum (WUF13) in Baku in May 2026. According to the order, the designation aims to preserve Azerbaijan's centuries-old traditions while integrating contemporary approaches that respond to current social, environmental, and spatial challenges. The President's Administration will now prepare and submit a comprehensive action plan for the year within one month.
One month remains until the Opening Ceremony of the Olympic Winter Games Milano Cortina 2026, with competitions set to run from February 4 to 22, 2026. The Opening Ceremony will take place on February 6 at the Milano San Siro Olympic Stadium and will bring together approximately 2,900 athletes from around the world competing across 16 sports, with 116 gold medals to be awarded. The Olympic Winter Games return to Italy twenty years after Torino 2006 and seventy years after Cortina 1956. This edition, however, adopts a markedly different approach, proposing a shift away from the traditional high-cost, high-waste model toward adaptive reuse, renewable energy, and long-term regional development. The most geographically dispersed Winter Games in history plan to rely on 92% existing or temporary venues, build on regions with established tourism industries, avoid major environmental disruption, and implement circular design and recycling strategies, the results of which will become evident in the coming months. The Milano Cortina 2026 Winter Paralympics will follow, taking place from March 6 to 15, 2026.
