Paulo Mendes da Rocha often says that the function of architecture is nothing more than ‘supporting the unpredictability of life’. Spaces stand everyday life, meetings, landscape, art. Something like a frame, which is often also considered a supporting element of a work of art, since it highlights and, mainly, directs the viewer's gaze to the main object. The phrase of the Brazilian architect combines well with the way that the Lacaton & Vassal office works. The French couple's award raises some questions about how accurate their choices are for the current moment in the world. This includes the philosophy of their work, the design solutions adopted and the material palette generally adopted.

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The 2021 Pritzker Architecture Prize, architecture’s highest honor, has been granted to Anne Lacaton and Jean-Philippe Vassal, founders of Lacaton & Vassal, the French duo renowned for their multiple sustainable housing projects and for the Palais de Tokyo, a contemporary art gallery in Paris. In their three decades of work, Lacaton & Vassal always prioritized the “enrichment of human life”, benefiting the individual and supporting the evolution of the city.

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Anne Lacaton and Jean-Philippe Vassal founded their architectural studio Lacaton & Vassal in 1987, years after studying and working together at the École Nationale Supérieure d’Architecture et de Paysage de Bordeaux. The practice established in Paris has been awarded this year’s prestigious 2021 Pritzker Prize. Their built work leaves strong evidence of what they believe is relevant: sustainability, wellbeing, social responsibility, and the readaptation and the respect of the existing built environment.

Like natural systems, great architecture is the product of circular processes. For Jan Jongert, a founding partner and architect at Superuse Studios, sustainable design is rooted in a continuous cycle of creation and recreation, use and reuse. Viewing re-use as a circular design strategy, the studio is developing strategies for cities to connect different flows and integrate these systems into the existing urban environment.

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Carl Pruscha, an Austrian architect who mainly dedicated his professional career to investigate and work closely in the field of regional architecture in the eastern world, a territory that was being overlooked at a time when the modern movement in architecture and in the rest of the world was booming. Through an overview of his life, we will highlight some of his most relevant works in Nepal and Sri Lanka and understand how Pruscha managed to stamp his unique visions of architecture and cities into his built projects.

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“Successful, vibrant, happy cities arise out of the visions of many, not the powerful few.” - Jane Jacobs.

While we’ve seen progress in female representation over the last century, women’s perspectives and voices are still significantly marginalized. This year, the UN reported that women serve as Heads of State or Government in only 22 countries and that 119 countries have never had a female leader, despite the strong case that their leadership makes for more inclusive decision-making and more representative governance. Moreover, women occupy just 10 percent of the highest-ranking jobs at the world’s leading architecture firms.

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In theory and practice, in the modern era, the idea of spatial separation between home and work was related to the traditional sexual division of men and women, and of their role in life. Going back to the earliest feminist thinking in architecture, in western industrialized communities, we are elaborating in this article on women’s changing role in the 20^th century and its impact on the space we experience today. 

Because of the decrease in the availability of land area and the ever-increasing price per square meter, cities often tend to grow vertically. When we picture large metropolitan areas, we almost always imagine high-rise buildings, and the recognizable skyline becomes an icon that immediately evokes the places in which they are located.

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Memento mori is an ancient Latin expression that means "remember that you are mortal." The Roman people used it not to represent a fatalistic approach to death but rather as a way of valuing life.

A few centuries later, as we arrive at our current context and the world reaches the terrifying figure of 2 million deaths as a result of the Covid-19 pandemic, memento mori is more relevant than ever.

As architecture has evolved to include advanced building envelopes, innovative structural systems, and hybrid programs, new boundaries have been drawn. Sustainable practices and passive strategies have led architects to re-imagine building skins and the relationship between interior and exterior. While different typologies are designed with varied levels of permeability, libraries demand rigorous attention to performative facades and protected programs. This holds especially true when libraries are placed within radically changing landscapes.

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How many changes have you done to your interior space during this past year? Whether it was a change of furniture layout, repainting the walls, adding more light fixtures or perhaps even removing them, after spending so much time in one place, the space you were once used to didn’t make sense anymore. We could blame the overall situation for how we’ve been feeling lately, but as a matter of fact, the interior environment plays a huge role in how we feel or behave as well. However, if you were wondering why some neighbors seem much more undisturbed and serene even in the midst of a pandemic, it could be because the interior is greener on the other side.

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“There seems to be a public image of any given city which is the overlap of many individual images," American urban planner Kevin Lynch once said. "Or perhaps there is a series of public images, each held by some significant number of citizens,” he added.

Following this remark, in his book "The Image of the City" (1960), Lynch begins an analysis around the elements that constitute what he considers to be the image of the city. While introducing, describing, and illustrating these elements as physical, perceptible objects, Lynch considers that other non-physical factors such as history, function, or even the name of the city also play a significant role in the construction of this imageability.

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