On 24 February 2022, Russia invaded Ukraine, a major escalation of the conflict dating since 2014. Now, a year later, the war is still ongoing. Both soldiers and civilians have fallen victim, while millions of others have become refugees, fleeing to safer areas across Europe or within Ukraine. What was instilled was a severe humanitarian and refugee crisis. The hostilities have also threatened Ukraine’s cultural and architectural heritage, as museums, monuments, and historical landmarks have become targets.

The implications are also reaching Europe and globally, as energy resources and food supplies become scarcer, damaging some economies. Still, Western countries remained unified in their support of Ukraine, as reported by international news outlets. Despite the economic difficulties, international support was mobilized through various initiatives in hopes of helping displaced people, protecting cultural heritage, and mapping a plan for reconstruction.

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Mies Crown Hall Americas Prize (MCHAP) Director Dirk Denison and 2023 MCHAP Jury Chair Sandra Barclay (Barclay & Crousse) have just announced the six finalists for the 2023 Americas Prize. The award recognizes the best-built works of architecture in the Americas completed between December 2018 and June 2021. This represents the latest stage of the fourth cycle of the MCHAP, launched in Venice, Italy, in August 2021. On March 24, 2023, the jury will announce the winners of the the 2023 Americas Prize. The authors of the winning project are set to receive a $50,000 fund for research along with a publication.

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“I am not an architect,” he says with a sparkle in his eyes, “I am merely a person seeking out their destiny.” To the late pioneer of Indian modernism, Balkrishna Vithaldas Doshi, architecture was a practice of self-discovery. The veteran’s stellar works of poetic functionality resulted from a humanist philosophy bearing the influence of modernist principles, Mahatma Gandhi, and Indian spiritual texts. Doshi believed that architecture was synonymous with life - a vehicle for constant celebration; a medium for heightened experiences. His greatest contribution to the architecture community was his powerful words of wisdom that echo the timelessness of his structures.

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Simultaneously gripping, disconcerting, and chaotic, Djibril Diop Mambéty’s Touki Bouki is an exhilarating cinematic ride. The 1973 drama — the first full-length film by the Senegalese director — is the fantastical narration of a young couple in Dakar, eager to escape the Senegalese capital for the allure of Paris. It’s a character-driven film in many ways, primarily centered on the couple’s adventures, but it is also a subtle visual examination of the urbanism of post-independence Dakar, where the city and its architecture are essential fixtures in a surreal storyline.

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Architecture has the power to emotionally engage with its occupants. Tactfully crafted spatial moments extend architecture into experience design - a growing need in the experience economy. Through sensorial and intellectual stimulation, spaces can deeply connect with their occupants to result in memorable instances. The orchestration of an experience requires not only an understanding of spatial principles but also how the service of the space is designed.

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Roman aqueducts built more than 2,000 years ago are still in operation. The Pantheon in Rome remains the largest dome made of unreinforced concrete in the world, with a diameter of 43.3 meters. At the same time, it is not unusual to see structures less than a decade old collapsing. Understanding why Roman structures remain standing has been the subject of studies by many researchers around the world. Why, even in hostile environments such as coastlines or seismic zones, do these structures remain intact? Is there some miraculous material or method that has been lost in history? An international group of researchers led by the Massachusetts Institute of Technology (MIT) has shed light on these questions, discovering that these structures had a previously overlooked capacity for self-healing, and the potentially huge environmental impact it can have, to create more durable concrete structures in the future.

Cities are inseparable from fast-paced lifestyles. Rising rents and “not-that-small” apartments characterize urban environments, perpetuating the chase for “bigger, faster, and more”. As economies develop and human needs grow, buildings are erected at alarming rates to rush toward progress. The risks of urban living are gradually being exposed, raising questions about more intentionally-driven actions. One way to return to slower lifestyles is by returning to slow architecture. 

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Artists are frequently inspired by land — be it painter Robert S. Duncanson’s renditions of American landscapes, or William Kentridge’s subversions of colonial-era British paintings depicting African vistas. Some artists, though, have preferred to work directly with the land, creating structures that sit on landscapes, or carving into the land itself. This art style — formally termed as Land Art — gained prominence in 1960s and 70s United States, in the context of the rise of the environmental movement amidst civil rights and antiwar protests, and as artists looked to separate themselves from the art market.

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Videos

Sodium chloride, most commonly known as salt, is everywhere. Ancient in its uses and abundant in nature, it preserves local ecosystems, de-ices roads, is vital in a variety of industrial processes, and is likely sitting on your kitchen table as a seasoning for your meals. Today, it is attributed relatively little value –considering it used to be as worthy as gold–, and unlike other nature-derived alternatives such as algae or mycelium, there doesn’t seem to be enough research and interest around all of its physical, mechanical or aesthetic properties. And yet it is a material with infinite, extraordinary potential. Apart from its life-supporting qualities, salt is affordable, easily available, antibacterial, resistant to fire, can store humidity and heat, and is great at reflecting and diffusing light.

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Architecture has been criticized for being a primary elitist indulgence. Most architectural projects are funded by the wealthy and seen as a means of bringing beauty into the surrounding environment. Architecture, however, is a double-sided coin with functionality balancing out aesthetics. With the ability to strategize radical solutions, architects equally find themselves at the forefront of solving complex issues. The context of Southeast Asia offers a demanding challenge with various social problems, giving architects a chance to save the world with humanitarian design.