Articles by Antonia Piñeiro

“Map the New World” is the motto of Project PLATEAU, led by Japan’s Ministry of Land, Infrastructure, Transport and Tourism (MLIT), to develop and expand access to 3D models representing the diversity of cities across the country. Japan comprises a total of 744 cities, including 14 with populations exceeding one million, 190 with between 100,000 and one million inhabitants, and 540 with populations between 10,000 and 100,000. To date, 3D models of more than 250 cities have been made available as open data through the country’s public G-Spatial Information Center, and can also be accessed via an online browser viewer. According to public authorities, the project aims to strengthen urban resilience by providing society with new tools to address local challenges. This involves not only urban space modeling but also collaboration with local governments, private companies, and technology communities. The project also includes a digital reconstruction of the recently closed Osaka World Expo site.

Paris’s 19th arrondissement Parc de la Villette is undergoing a major transformation, combining a newly opened urban farm with restored biodiversity as part of a strategy to adapt the 55.5-hectare park to climate change. Masterplanned by Bernard Tschumi in 1982 and opened to the public in 1987, the park stands as a landmark of European modernism in public space design, breaking from the traditional concept of the metropolitan park. With a 15,000-square-meter extension, this major green lung in northeast Paris is reimagining its lawns as a living laboratory for environmental education, where animals, plants, and humans coexist. The extensive renovation follows the addition of Tschumi’s HyperTent in 2022, a hyperbolic paraboloid structure functioning as a new ticket booth on the podium of Folie L4, and marks the park’s most significant transformation since its inauguration.

Between 2023 and 2024, photographers Francesco Russo and Luca Piffaretti documented architecture and landscapes across Ecuador’s coast, the Andes Mountains, the Amazon rainforest, the Galápagos Islands, and cities such as Quito, Guayaquil, and Cuenca. The photographic documentation explores Ecuador’s evolving identity through its contemporary architecture, examining how it engages with natural surroundings, urban conditions, and social contexts. The resulting archive includes more than 40 projects by renowned local practices such as Al Borde, Durán & Hermida, Emilio López, José María Sáez, La Cabina de la Curiosidad, MCM+A, Natura Futura, and RAMA Estudio, among many others. The selection demonstrates how architecture can create high-quality spaces that respond to contemporary demands for sustainability and environmental responsibility by combining creativity and technology with renewable resources, despite ongoing economic, climatic, and political challenges in Latin America and beyond.

A team led by French architecture practice Coldefy, comprising CITYFÖRSTER, Sporaarchitects, TREIBHAUS.LAND, and Marko & Placemakers, has won the competition to design a masterplan for Rákosrendező in Budapest. The project is developed for the Budapest Capital Asset Management Centre, acting on behalf of the Municipality of Budapest. The design outlines a 15-year scheme to transform a brownfield site long regarded as the city’s “rust belt,” located on the eastern side of the Hungarian capital. The regeneration plan includes over 10,000 apartments, new transportation links, and commercial and civic spaces, forming a comprehensive urban redevelopment strategy aligned with 15-minute city principles.

UNS‘s design proposal for Turin‘s new Metro Line 2, developed in collaboration with Settanta7, Mijksenaar, Frigorosso, 3BA, and WSP, has been selected by an international jury of experts chaired by Dominique Perrault. The proposal is based on the idea of “flow,” a concept that has historically shaped the Italian city, from the Po and Dora rivers to the 18 kilometers of arcaded porticoes that structure how residents and visitors move. The project envisions Line 2 as a new “urban river,” guided by three design principles to facilitate this flow: branding, transit experience, and scales of identity. With 32 stations planned in total, the initial design phase includes 10 stations, among them Mole Giardini, San Giovanni Bosco, and Carlo Alberto.

Between June 23 and August 30, 1988, The Museum of Modern Art (MoMA) in New York held an exhibition titled Deconstructivist Architecture, as part of a program “conceived to examine current developments in architecture.” Curated by Philip Johnson and Mark Wigley, it focused on the contemporary work of seven international architects: Coop Himmelblau, Peter Eisenman, Frank Gehry, Rem Koolhaas, Daniel Libeskind, Bernard Tschumi, and a young Zaha M. Hadid. At 37 years old, her work was presented to the world as an example of “the emergence of a new sensibility in architecture.” The material on display was not a model or a blueprint, but a painting, The Peak, submitted for an architectural competition in Hong Kong in 1983. From this starting point, her contribution to architecture deepened along the same lines recognized at the time of her inclusion in the exhibition: the development of a distinctive, mathematical, and, in her own words, “fluid” architectural language, and her emergence as a leading female figure in a field historically dominated by men.

“Gender equity remains an ongoing problem in architecture. Women architects are roughly one-third of the profession or less worldwide.” This is the opening statement of the documentary Transnational Narratives: A Documentary Celebrating South Asian Women in Architecture, a result of the 4th Lilly Reich Grant for Equality in Architecture. The grant, an initiative by the Fundació Mies van der Rohe, promotes equal access to opportunities in architectural practice and supports the study and dissemination of contributions to architecture that have been unfairly rendered invisible. Within this context, the documentary, created by Dr. Igea Troiani, Dr. Mamuna Iqbal, artist and researcher Paula Roush, and filmmaker Rime Tsujino, brings visibility to the experiences of six architects of South Asian origin: Sumita Singha, Chitra Vishwanath, Sara Khan, Fauzia Qureshi, Sajida Vandal, and Neelum Naz, whose professional careers span India, Pakistan, and the United Kingdom.

Kanye West turning a Tadao Ando Malibu beach house into a ruin, Ellen DeGeneres and Portia de Rossi purchasing and re-selling the 1955 Richard Neutra-designed Brown-Sidney House, and fashion designer Marc Jacobs renovating a Frank Lloyd Wright-designed house near New York City are just a few examples of pop stars’ affair with historically significant architecture. Celebrities, like soccer players, form an elite group characterized by a high concentration of wealth and significant social status. They are not only buyers of high-end architecture as authored property and cultural capital, but also agents of its preservation and promotion. This year, we are seeing new examples of this agency at work from a more abstract yet also more popular perspective: from the stage design for Bad Bunny’s Super Bowl performance to a newly designed stadium for Shakira by BIG-Bjarke Ingels Group, architecture is used as a vehicle for promoting Latin American identity.

New York’s Brooklyn Museum has announced the extension of its neoclassical building, a New York City–designated landmark, to include new galleries dedicated to its historic African art collection. The project to renovate and create permanent galleries was designed by the Brooklyn-based architectural firm Peterson Rich Office (PRO), with prior experience in contemporary exhibition spaces, in consultation with Beyer Blinder Belle Architects & Planners on the museum’s historic preservation. The project transforms previously underutilized spaces that served as on-site storage, marking a new milestone in a series of renovations of an institution with over 200 years of history. For the first time, the museum’s Egyptian art galleries will connect to the new African galleries, uniting North Africa with the rest of the continent to offer visitors a cohesive vision of Africa’s rich artistic legacy.

This week, architecture presents new visions of the future across a geographically diverse landscape, with landmark projects and renewal initiatives emerging in Saudi Arabia, Taiwan, Bahrain, Germany, Italy, Australia, Morocco, and Burundi. New platforms for discussing urban futures highlight decolonization and the climate crisis as central priorities for contemporary architectural practice. At the same time, contrasting perspectives on urban regeneration are reflected in both the demolition of recent landmark structures and the large-scale transformation of industrial sites. On another note, the Olympic Games continue to act as catalysts for architectural production, as seen in the proposal for a new sports center in Australia for Brisbane 2032. This momentum coincides with major international infrastructure developments in Africa, including a new airport terminal in Morocco, as well as projects that rethink spaces for research and public engagement, such as a new building for the German Language Forum.