In book Dream Facades, Jack Balderrama Morley examines houses from shows including Keeping Up with the Kardashians to see what we can learn

Houses have always been at the center of reality TV. Lifestyles of the Rich and Famous set the domestic stage in the 1980s with its quasi-documentary look into the real lives of the ultra-wealthy. It walked so MTV Cribs could run, and in September 2000, Cribs became what critic Sam Jacob called “the most popular architectural media ever”. Known for its unhinged (and sometimes fake) house tours by the celebrity owners themselves, the hit show’s Ozzy Osbourne episode spun off in 2002 into The Osbournes, which Kris Jenner used for the basis of her pitch for Keeping up with the Kardashians. The rest is history.

In the book Dream Facades: The Cruel Architecture of Reality TV, author Jack Balderrama Morley reflects on residential settings and takes us through these histories, reflecting on how homes and design in reality shows are at once aspirational escapism, sinister characters, extensions of our own desires, and artifacts of American urban history. “I’m interested in what reality TV show homes represent, and why so many of us love getting lost in them,” Morley said. “On screen, they become appendages of our own homes.”

Stepping off the night train, full of memories of his life there three decades ago, the writer finds a changed city fighting for survival

My first flat in Kyiv was a couple of metro stops outside the city centre, just opposite Volodymyrskyy market, in a nondescript mid-20th century block. The lease was arranged by post. It took me five days to drive there from Edinburgh in an old Polo in November 1991. Finding my way to Kyiv was easy – one road from Calais takes you straight there – but once I got to the outskirts, I must have used a paper map to navigate through the city. I spoke no Ukrainian, and enough Russian to ask basic directions, but not enough to understand the answer. I could read the street signs. I found a parking space round the back and began to unload my stuff.

Recently, I went back. I crossed the road from the square by the metro and went through the market. It’s a neater, quieter place than I remember from the early 1990s, not so much because of the war as from the gradual changes over the intervening years, when peasant farmers around Kyiv became fewer and post-communist supermarkets and commercial food distribution systems replaced the old state shops. In the weeks before and after the 1991 referendum, when Ukrainians voted to leave the Soviet Union, precipitating its quick disintegration, I went to the state shops to queue for cheap, rationed, often scarce items such as bread and hard cheese; the market was a place of plenty and, for locals, high prices. Row upon row of countrywomen in aprons sold huge jars of sour cream, chalk-white towers of cottage cheese wrapped in muslin and pots of horseradish in beetroot juice, alongside vendors from the Caucasus offering persimmons, pomegranates and fresh coriander, and pickle merchants with buckets of Korean carrot salad and wild garlic stalks. All this is still abundant in Kyiv, still locally made, but packaged and stacked on supermarket shelves by big firms. Nobody’s selling homemade sour cream now – perhaps they’ll be back in spring? – there’s only one pickle seller, and the meat counter is no longer quite the shrine to pork fat it once was.

Need something brilliant to read this weekend? Here are six of our favourite pieces from the last seven days

Completion of glass cross brings Antoni Gaudí’s church to maximum final height of 172.5m, 144 years after work began

The final piece of the central tower of Barcelona’s Sagrada Familia has been laid in place, bringing the church to its maximum final height 144 years after work began.

After several days when it has been too windy to work, the upper section of the 17 metre-high four-sided steel and glass cross was winched into position at 11am on Friday, completing the tower dedicated to Jesus Christ. At 172.5 metres, the Sagrada Familia, to which the Catalan architect Antoni Gaudí devoted the later part of his life, is Barcelona’s tallest building and the world’s tallest church.

After a decade of austerity closed more than 1,000 centres, the government has promised £500m to renew youth services. We tour a glossy new venue in Preston – and a girls-only one in London

Preston, Lancashire is no stranger to trailblazing architecture. The city’s bus station, the largest in Europe when it opened in 1969, is a brutalist masterpiece. Next month, a new public building opens opposite the bus station built with similar aspirations to transform local lives: a youth centre.

To a generation raised when cuts had gutted services – between 2010-11 and 2023-24, local government spending on youth services fell by 73% and more than 1,000 youth centres closed – the idea of a place designed just for young people may seem as anachronistic as coach travel, but 2026 brings big changes to youth services in the UK.

Xalet del Catllaràs contains elements of architect’s naturalistic style, expressed in works such as Park Güell and Sagrada Família

An elegant modernist building in the mountains north of Barcelona, originally constructed to house engineers establishing a nearby mine, has been confirmed as a work of Antoni Gaudí, Catalonia’s most celebrated and distinctive architect.

The Xalet del Catllaràs, about 80 miles from Barcelona in the county of Berguedà, was built in 1905 and commissioned by Eusebi Güell, Gaudí’s lifelong patron. Güell was the owner of a cement company with mines in the region and he needed somewhere to house the engineers, many of them British, who would help extract the coal for his factories.

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.