From high-end boutiques to housing in disaster zones with beer-crate foundations, the Japanese architect creates with things people throw away. What will his distillery in whisky’s holy land look like?

‘I don’t like waste,” says Shigeru Ban. It’s a simple statement – yet it encapsulates everything about the Japanese architect’s work. He takes materials others might overlook or discard – from cardboard tubes to beer crates, styrofoam to shipping containers – and subjects them to a kind of alchemy, refining rough edges and transforming fragility into sturdiness.

The outcome is a perpetually ingenious and curiously poetic scavenger architecture that finds beauty and purpose in the everyday. From high-end boutiques to housing for refugees, Ban’s buildings blur the lines between eastern and western design traditions, between the luxurious and the ordinary, and between what constitutes a temporary building and permanent one.

Hailed as one of the defining achievements of African architecture, the historic, recently refurbished Ethiopian landmark has now won the World Monuments Fund/Knoll Modernism prize

Designed by the Italian architect Arturo Mezzedimi, Addis Ababa’s Africa Hall quickly became recognised as one of the defining achievements of African modernism on its completion in 1961. In 1963, it hosted the founding meeting of the Organisation of African Unity (OAU), the precursor to today’s African Union. Africa was then emerging from centuries of colonial rule, and many of the OAU’s founders – including Ghana’s Kwame Nkrumah and Gamal Abdel Nasser of Egypt – had led their nations to independence.

“Only a few years ago,” the Ethiopian emperor Haile Selassie said at the time, “meetings to consider African problems were held outside Africa, and the fate of its peoples were decided by non-Africans. Today … the peoples of Africa can, at long last, deliberate on their own problems and future.”

This extraordinary diner is the final wonder of the great Brazilian architect Oscar Niemeyer, who dreamt it up at the age of 103. And it’s a fine place for a sunset kombucha and gin

Perched among old brick buildings in an industrial neighbourhood of Leipzig in eastern Germany, a giant white sphere appears to hover over the corner of a former boiler house. Is it a giant’s golf ball? An alien spacecraft? A fallen planet?

Twelve metres in diameter, the Niemeyer Sphere is the final design of world-famous Brazilian architect Oscar Niemeyer and probably the most surprising creation by a visionary who valued the sensation of newness in art above all else, the result being mesmerising buildings that seem both space age and out of this world. The Sphere is like a vision from the future, dropped among used-car dealerships and construction equipment rental outlets, in a working-class neighbourhood that few tourists would ever pass through by design.

As one of the longest-running battles in British heritage comes to an end, the listing of the London arts complex vindicates the audacity of this sensational droogs’ paradise

Britain’s battle of brutalism has finally reached an exhausted conclusion with the listing of London’s Southbank Centre. The so-called “concrete monstrosities” of the Hayward Gallery, Purcell Room, Queen Elizabeth Hall and its skatepark undercroft have finally been Grade II-listed by the Department for Culture, Media and Sport. Traditionalists may be spitting feathers, but as football pundits are apt to assert: “It was the right result.”

However, it turned out to be a very long and very tetchy game. Constructed between 1949 and 1968 in an uncompromisingly brutalist style, the Southbank Centre was once voted Britain’s ugliest building. Since 1991, the Twentieth Century Society (C20), champions of all things modern, and Historic England had recommended listing on six separate occasions, yet their advice was rejected by successive secretaries of state. Until now. The decision brings to an end an unprecedented 35-year-long impasse, one of the longest-running battles in British architectural heritage.

The French architect, who once had her nose broken by Jean-Marie Le Pen, created apartment blocks with cascading terraces that seemed to have surrendered to nature. They are still loved by their residents

When the French architect Renée Gailhoustet died in 2023, the residents of Le Liégat, a social housing block she completed in 1982, put up a large handmade sign saying: “Merci Renée.” Architects are often accused of designing impersonal rabbit hutches that they themselves would never deign to inhabit, but when Gailhoustet died at the age of 93, she had been living in her Liégat duplex in the Parisian suburb of Ivry-sur-Seine for more than 40 years.

Outside her living room window, several storeys up, was a large cherry tree and a profusion of greenery. Characterised by their riotous informality, Gailhoustet’s free-plan apartment blocks invariably featured cascading terraces and loggias covered with a foot of soil, so residents could cultivate and enjoy un jardin derrière, a back garden.

From minting coins featuring his own face to covering buildings with gold, the president’s proposals for marking America’s semiquincentennial say a lot about the country’s backwards outlook

When the United States celebrated its bicentennial on 4 July 1976, it marked the occasion with the opening of the National Air and Space Museum’s exhibition hall on Washington DC’s National Mall. Designed in a boldly modernist style by the blue-chip firm Hellmuth, Obata + Kassabaum (now HOK), it stood as a testament to American aeronautical derring-do, from the Wright brothers to the moon landings.

At the time, even though the stench of Republican political shenanigans was never far off, with Gerald Ford replacing the disgraced Richard Nixon in 1974, there was a sense of a nation embracing progress, looking forward, not back. For all the historical re-enactments of Washington crossing the Delaware, the US chose to see itself through the prism of modernity and technological puissance.

Rammed earth sourced from, or near, the grounds of a proposed building site is attracting attention as an eco-friendly construction material

From afar, the low-rise homestead perched in the Wiltshire countryside may look like any other rural outpost, but step closer and the texture of the walls reveal something distinct from the usual facade of cement, brick and steel.

The Rammed Earth House in Cranborne Chase is one of the few projects in the UK that has been made by unstabilised rammed earth – a building material that consists entirely of compacted earth and which has been used as far back as the Neolithic period.

Forget brash statement projects – Riba’s prestigious gold medal has gone to a pivotal figure who works above an Aldi and designs billowing bandstands, jewel-like chapels and buildings that change colour

When Níall McLaughlin was shortlisted for the Stirling prize in 2013, for designing an exquisitely jewel-like chapel for a theological college near Oxford, he brought along his client to the prize-giving ceremony. It was the first (and possibly last) time a group of Anglican nuns had ever graced such a spectacle.

Despite clearly having God on his side, he lost out that year, but eventually scooped the Stirling in 2022, for the New Library at Magdalene College, Cambridge. Founded in 1428, Magdalene’s alumni include Samuel Pepys, Norman Hartnell and Bamber Gascoigne. Oxbridge colleges expect their buildings to endure, and McLaughlin delivered a reassuringly robust and handsomely detailed exemplar, mixing crisp planes of brick that recalled the American modernist Louis Kahn, with top notes of English Arts and Crafts, echoing the gabled forms of the college’s historic courts.

Manual for building design aims to encourage low-carbon construction as alternative to steel and concrete

An airport made of bamboo? A tower reaching 20 metres high? For many years, bamboo has been mostly known as the favourite food of giant pandas, but a group of engineers say it’s time we took it seriously as a building material, too.

This week the Institution of Structural Engineers called for architects to be “bamboo-ready” as they published a manual for designing permanent buildings made of the material, in an effort to encourage low-carbon construction and position bamboo as a proper alternative to steel and concrete.

Quake Brutalist Jam began as a celebration of old-fashioned shooter level design, but its latest version is one step away from being a game in its own right

A lone concrete spire stands in a shallow bowl of rock, sheltering a rusted trapdoor from the elements. Standing on the trapdoor causes it to yawn open like iron jaws, dropping you through a vertical shaft into a subterranean museum. Here, dozens of doors line the walls of three vaulted grey galleries, each leading to a pocket dimension of dizzying virtual architecture and fierce gladiatorial combat.

Welcome to Quake Brutalist Jam, the hottest community event for lovers of id Software’s classic first-person shooter from 1996. First run in 2022, the Jam started out as a celebration of old-school 3D level design, where veteran game developers, aspiring level designers and enthusiast modders gather to construct new maps and missions themed around the austere minimalism of brutalist architecture.

A deep dive into the creation of eight buildings from the 1700s to the 1900s tells some very human stories

History used to be about wars and dates, but to the architecture writer and TV presenter Dan Cruickshank, it’s more about floors and grates. In his new book, he takes a keen-eyed tour of eight English houses, from Northumberland to Sussex, dating from the early 1700s to exactly 100 years ago, and ranging from an outlandish gothic pile to one of the first council flats. In Cruickshank’s pages, classical influences from Rome and Greece give way to a revival of medieval English gothic and the emergence of modernism.

He is particularly interested in who commissioned and built his chosen dwellings, and how they got the job done. It’s a new spin on the recent fashion for historians to explore the homes of commoners, as opposed to royalty and aristocrats, in order to tell the life stories of their occupants. This probably began with the late Gillian Tindall, who wrote a highly original book about the various tenants of an old house by the Thames next to the rebuilt Globe theatre. That was followed by several series of A House Through Time, fronted by Traitors star David Olosuga.

Volunteers and neighbours are restoring the century-old homes as an act of defiance against Russia’s assault

Lesia Danylenko proudly showed off her new front door. Volunteers had nicknamed its elegant transom window the “croissant”, a nod to its curved shape. “I think it’s more of a peacock,” she said, admiring its branch-like details. The restoration project at one of Kyiv’s early 20th-century art nouveau houses was supported by residents, who celebrated with two pavement parties.

It was also an act of resistance against Russia, she explained: “We are trying to live like normal people despite the war. It’s about arranging our life in the best possible way. We’re not afraid of staying in Ukraine. I could have left the country and moved away to Italy or Germany. Instead, I’m here. The new entrance shows our commitment to our homeland.”

West Somerset Lagoon would harness renewable energy for UK’s AI boom – and create ‘iconic’ arc around Bristol Channel

The architect of the London Eye wants to build a vast tidal power station in a 14-mile arc off the coast of Somerset that could help Britain meet surging electricity demand to power artificial intelligence – and create a new race track to let cyclists skim over the Bristol Channel.

Julia Barfield, who designed the Eye and the i360 observation tower in Brighton, is part of a team that has drawn up the £11bn proposal. It would curve from Minehead to Watchet and use 125 underwater turbines to harness the power of the second-highest tidal range in the world.

This year’s highlights include the remodelling of a Richard Seifert brutalist ‘corncob’ tower, a celebration of Japanese carpentry and a wearable hot-water bottle
• The best art and photography of 2025
• More on the best culture of 2025

In a case of contents outshining the container, the V&A’s national museum of everything takes the public up close and personal to a gallimaufry of precious things, from porcelain to poison darts, textiles to tiaras. Elegantly shoehorned into the gargantuan hangar that was originally the broadcasting centre for the 2012 Olympics, it’s an Amazon warehouse crammed with global treasures, setting visitors off on an odyssey of “curated transgression” through an immersive cabinet of curiosities.

Canadian Centre for Architecture, Montreal
The birth of the People’s Republic is seen as a time of drab buildings. But this dazzling show, featuring a factory in a cave and a denounced roof, tells a wildly different story

In 1954, an issue of Manhua, a state-sponsored satirical magazine in China, declared: “Some architects blindly worship the formalist styles of western bourgeois design. As a result, grotesque and reactionary buildings have appeared.”

Beneath the headline Ugly Architecture, humorous cartoons of weird buildings fill the page. There is a modernist cylinder with a neoclassical portico bolted on to the front. Another blobby building is framed by an arc of ice-cream cone-shaped columns. An experimental bus stop features a bench beneath an impractical cuboid canopy, “unable to protect you from wind, rain or sun”, as a passerby observes. “Why don’t these buildings adopt the Chinese national style?” asks another bewildered figure, as he cowers beneath a looming glass tower that bears all the hallmarks of the corrupt, capitalist west.

Trump praises Vince Haley, his ex-speechwriter tasked with creating Arc de Triomphe knockoff amid affordability crisis

Amid concerns that he has failed to address a worsening affordability crisis, with health insurance premiums about to spike dramatically for over 20 million Americans, Donald Trump revealed on Sunday that his domestic policy chief’s main priority is building a triumphal arch for Washington DC.

Speaking at a White House holiday party, the president praised Vince Haley, his former speechwriter and a longtime aide to Newt Gingrich who now leads the White House Domestic Policy Council.

The brutalist arts-and-towers complex, where even great explorers get lost, is showing its age. Let’s hope the 50th anniversary upgrade is better than the ‘pointillist stippling’ tried in the 1990s

The Barbican is aptly named. From the Old French barbacane, it historically means a fortified gateway forming the outer line of defence to a city or castle. London’s Barbican marks the site of a medieval structure that would have defended an important access point. Its architecture was designed to repel. Some might argue, as they stumble out of Barbican tube station and gaze upwards, not much has changed in the interim.

The use of the word “barbican” was in decline in this country until the opening in 1982 of the Barbican Arts Centre. Taking 20 years to build, it completed the modernist megastructure of the Barbican Estate, grafted on to a huge tract of land devastated by wartime bombing. The aim was to bring life back to the City through swish new housing, energised by the presence of culture. Nonetheless, the arts centre, the elusive minotaur at the heart of the concrete labyrinth, was always farcically difficult to locate. To this day, visitors are obliged to trundle along the Ariadne’s thread of the famous yellow line, inscribed in what seemed like an act of institutional desperation, across concrete hill and dale.