Ema is a trained architect, writer and photographer who works as a Junior Architect at REX in NYC. Inspired by her global experiences, she shares captivating insights into the world’s most extraordinary cities and buildings and provides travel tips on her blog, The Travel Album.

When we think of architecture, the mind often conjures images of towering structures, intricate façades and innovative forms. But beyond the physical structure lies an often-overlooked element that profoundly shapes the experience of these buildings: the landscape. In modern design, landscape architecture should not be an afterthought; it should be an integral component of the overall project that creates harmony between the built spaces and the natural environment. Through careful planning and intentional design, landscapes enhance the architecture they surround, transforming structures into places that tell stories, evoke emotions and encourage engagement.

Landscape as an Extension of the Building Narrative

Quinta de Santo António Hotel & Winery by Atelier Sérgio Rebelo, Tabuaço, Portugal

Landscape design acts as a critical architectural element, extending the building’s design language into its surrounding environment and embedding it within its site. A carefully designed landscape doesn’t just frame the building, it amplifies its narrative. For example, a cultural center inspired by local traditions might use native plants, pathways mimicking historical trade routes or water features that reflect regional ecosystems, grounding the architecture in its context. Similarly, a modernist home with sharp angles and minimalist aesthetics might extend its story through a landscape of linear paving patterns, structured hedges and sculptural trees that echo its form. The landscape becomes an active participant in the architecture, reinforcing its themes and ensuring that the story the building tells is fully realized in the interplay between structure and site.

Imagine this approach applied to the design of a boutique winery nestled in a rolling hillside — a project that I previously tackled. The building’s architecture was inspired by the region’s heritage, with a roofline echoing the undulating terrain and materials sourced locally to reflect the earthiness of winemaking. The landscape was deliberately crafted to enhance this narrative, transforming the site into an experiential journey through the story of wine production. We designed terraced vineyards that wrapped around the building, not only for function but to symbolize the layering of time and tradition. A winding pathway was carved into the landscape, guiding visitors through rows of vines before arriving at the tasting room — a subtle nod to the journey from grape to glass. Native grasses and wildflowers bordered the site, creating a transition between cultivated land and the surrounding natural landscape, while strategically placed oak trees referenced the barrels used in wine aging. Every element of the landscape was intentional, amplifying the building’s story and immersing visitors in the region’s culture and craft.

Storytelling Through Landscape: A Cultural and Environmental Dialogue

Naturpark Amager by ADEPT + LYTT by ADEPT, Copenhagen, Denmark

Landscape design serves as a powerful storytelling tool, allowing architects and designers to weave narratives into the fabric of a place. Through plant selection, materials and spatial organization, landscape design can reflect local history, culture or ecology. For example, the incorporation of native plants not only supports local biodiversity but also anchors the building within its geographical and cultural context. The Japanese tea garden is a classic example of landscape telling a cultural story. Paths, ponds, and plantings guide visitors through a sequence of views and experiences that represent themes of tranquility, harmony, and mindfulness. Each turn in the path, each carefully placed rock or tree, is imbued with cultural symbolism. This storytelling aspect of landscape design enhances the building it surrounds, adding layers of meaning and resonance that connect visitors to a deeper understanding of place.

An exemplary project that embodies the storytelling power of landscape design is the Naturpark Amager in Copenhagen, Denmark. This project activates a unique landscape through clear storytelling and subtle architecture that highlights natural qualities, activities and communities. A series of new visitor points ensure visual links throughout the park and make the protected landscape more accessible to its visitors. The landmark design creates an easily recognizable architecture that establishes a strong identity firmly anchored in the context. Each visitor point is located at a transformation pivot — from urban condition to nature or from land to water — framing the landscape and creating new experiences by breaking down its enormous scale into smaller spaces and stories. The individual designs enhance unique landscape characters and activities, using a simple design vocabulary that strengthens the existing character. The points not only create new experiences for visitors but also stage the landscape and provide a versatile framework for future development in the park.

Crafting Visual Harmony: The Landscape-Architecture Connection

Vals Thermal Spa by Peter Zumthor, Vals, Switzerland

The relationship between a building and its surrounding landscape is one of visual dialogue. Landscape design has the power to ground a structure within its context, creating a sense of place that feels intentional and complete. A building with sharp, modern lines might benefit from soft, flowing greenery to create balance, while a minimalist, open form might be enhanced by a landscape of simple, clean lines that mirrors its aesthetic.

Consider The Vals Thermal Spa by Peter Zumthor. This project exemplifies the profound dialogue between architecture and its surrounding landscape. Nestled within the Swiss Alps, the spa is seamlessly carved into the mountainside, achieving a remarkable integration with its natural surroundings. The design uses locally quarried Valser quartzite, grounding the building in the region’s geological identity while reflecting the rugged textures of the surrounding terrain. The spa’s linear forms and subterranean design create a harmonious interplay between built and natural elements, blending into the topography rather than dominating it. The landscape further enhances this connection, with reflective pools and open-air spaces that frame breathtaking alpine views, inviting visitors to experience the synergy between architecture and nature. This thoughtful integration creates a sense of place that feels both intentional and timeless, where the building and landscape together evoke a dialogue of tranquility and balance.

The Experience Factor: How Landscape Shapes Human Interaction

National Assembly Communication Building by HAEAHN Architecture and H-Architecture, Seoul, South Korea

One of the most profound effects of landscape design is its ability to shape how people experience and interact with architecture. Landscape acts as a transitional space, guiding people from the public realm to the private sanctuary of a building. Pathways, for example, can gently lead visitors through a series of environments that prepare them for the experience ahead, whether a quiet garden leading to a meditation center or an expansive plaza framing a museum entrance. Landscape architecture not only shapes physical movement but also evokes emotional responses. A well-designed garden or outdoor courtyard can inspire curiosity, encourage contemplation, or invite relaxation, shaping how people engage with the built environment. Pathways, plantings, seating areas, and interactive elements create moments of pause and reflection, allowing visitors to appreciate the architecture from various perspectives and at different paces. This carefully curated journey through a landscape often transforms a building into a multidimensional experience rather than just a static object.

Complementing the Building’s Form and Materials

Art House by Andrea Cochran Landscape Architecture, San Francisco, California

Landscape design enhances architecture not only through aesthetics but also by complementing a building’s physical attributes. Different architectural forms call for different landscaping approaches. A towering skyscraper might feel cold and imposing, but the addition of green spaces at its base, such as gardens or tree-lined plazas, humanizes its scale and invites people to linger. Similarly, materials like stone, glass and concrete are softened by the organic textures of plants, creating a sensory balance that makes a space more approachable and engaging.

Water features, garden walls and textured plantings can emphasize architectural elements, adding visual weight to certain areas or drawing attention to specific design details. Situated on a steep hillside, the Art House project in San Francisco is designed to have a terraced garden that mirrors the natural topography while creating a series of intimate, flexible outdoor spaces. This thoughtful design extends the living areas into the landscape, carving out a tranquil connection to nature amidst the dense cityscape and integrating the building with its surroundings. The terraces not only enhance the aesthetic appeal of the structure but also address the functional challenge of the steep slope, stabilizing the site and making it usable. By integrating the architecture with its environment, the landscape design reinforces the physical attributes of the building, creating a cohesive and harmonious experience.

Framing Architecture as Art Through Landscape Design

901 Fairfax Hunters View by Andrea Cochran Landscape Architecture, San Francisco, California

Just as a frame enhances a painting, a well-designed landscape elevates a building, positioning it as the centerpiece of a curated setting. Landscape design can be used to control sightlines, directing viewers to appreciate certain architectural features or views. For instance, a winding path or strategically placed trees can create a “reveal” effect, guiding visitors toward an entrance or framing a stunning view of the structure. The landscape thus becomes a canvas upon which architecture is displayed, encouraging people to view it as a work of art. In historic preservation, landscape design also serves to highlight architectural heritage. At Monticello, Thomas Jefferson’s residence, the landscape is designed to evoke the agricultural identity of the era, with orchards, gardens, and fields that frame the house within its historical context. By restoring and preserving the landscape, the architectural history is both honored and amplified, creating a harmonious composition that celebrates the site’s legacy.

The 901 Fairfax Hunters View project embodies how a well-designed landscape can elevate architecture, positioning the building as the centerpiece of a curated setting. This project’s landscape is meticulously designed to guide sightlines, framing key architectural elements and creating intentional connections between the built environment and its surroundings. Pathways and plantings are strategically placed to lead visitors through the space, unveiling architectural details and framing views of the structure as though unveiling a work of art. The interplay of greenery, open spaces and hardscaping not only enhances the building’s aesthetic appeal but also creates moments of discovery, encouraging visitors to engage with the architecture as part of an integrated, living composition. Here, the landscape becomes more than a backdrop — it is a dynamic canvas that enriches the building’s presence and reinforces its visual and cultural significance.

Landscape as an Integral Part of Architecture

Seattle Art Museum: Olympic Sculpture park by WEISS/MANFREDI Architecture/Landscape/Urbanism, Seattle, Washington

Landscape design is not simply an accessory to architecture — it is an art form that completes the story, transforming buildings into immersive environments that resonate with every visitor. By uniting architecture with its surroundings, landscape design creates harmony, tells stories and enhances experiences, turning spaces into living, breathing works of art. In a world where architecture and design are increasingly intertwined with sustainability, culture and human experience, landscape architecture plays an indispensable role. It is the bridge between the built and natural environments, enhancing not only the aesthetic qualities of a structure but also its sustainability, functionality and emotional impact. For architects and designers committed to creating spaces that inspire, engage, and endure, landscape design is an invaluable tool — a transformative force that brings architecture to life.

Architizer's 13th A+Awards features a suite of sustainability-focused categories recognizing designers that are building a greener industry — and a better future. Start your entry to receive global recognition for your work!

The post The Groundwork of Great Design: Integrating Landscape into Architectural Narratives appeared first on Journal.

With a diverse jury of global experts and a global voting public, Architizer's A+Awards champions firms around the world. Get your work in front of the industry's best by starting your submission today. 

I have always found buildings with legs quite intriguing. Howl’s Moving Castle by Studio Ghibli, the science fiction film Mortal Engines and even Archigram’s famous Walking City have always teased out this untapped potential of an architecture that moves. Still, I do not believe that architects have spent nearly enough time studying mobile architecture forms and strategies as they do for traditional, static buildings — and, by extension, cities.

On the one hand, this makes a lot of sense: what architect would want to spend time, money and energy to design an architecture of impermanence? It offers a lot less convenience, it is way harder to implement and ultimately, it lacks prestige.

Yuval Noah Harari’s acclaimed book, Sapiens: A Brief History of Humankind, traces the history of Homo sapiens, starting from the Stone Age and ending in the 21st century. What struck me while reading it was the (forgotten) fact that early human settlements were often semi-nomadic, shifting with the seasons or available resources. It wasn’t until the Agricultural Revolution that humans started to permanently settle in specific parts of the world, usually in locations near water or fertile valleys. In other words, land cultivation is the reason why architects currently have jobs.

According to Harari, however, the Agricultural Revolution marked the beginning of humanity’s downfall, as it led to our own domestication. No longer content with simple survival, humans began to seek ever more — more food, more water, more land, more wealth, more comfort and more technology. This insatiable desire fueled urban sprawl and reshaped human life around constant expansion and accumulation.

Discussing mobile cities does not necessarily mean that we have to return to building tents or homes out of mud and rocks; however, having a wider mindset of impermanence (and thus architecture) might solve a lot of contemporary issues our world is currently facing. The aftermath of natural disasters, resource scarcity and even political needs could greatly benefit if a handful of architects devoted themselves to study methods of designing mobile cities.

During the 2023 Venice Biennale, the Norman Foster Foundation presented a real-size prototype of the Essential Homes Research Project, a concept designed to provide rapidly assembled housing for people displaced by natural or manmade disasters. Designed in collaboration with Holcim, the structure stands as an alternative to traditional tent shelters, featuring a durable exterior: a catenary arch-shaped formwork over which a rollable canvas containing a low-carbon cement mix is draped. As soon as the canvas is sprayed with water, it dries and hardens, forming a solid shell.

XBO Mobile Unit by 70 N arkitektur as

When 70°N arkitektur was invited to the European exhibition PARASITE – Prototypes for Amphibious, Readymade, Advanced, Small-scale, Individual, Temporary, Ecological houses – the office developed a prototype structure titled XBO: a 40-foot-long (12 meter), 10-foot-wide (3,2 meter) and 12-foot-high (3,5 meter) unit that, when unfolded, provides comfortable living in any location. Easily transportable via truck, its primary goal is to use minimal resources and maximize the qualities of active living, while adapting in any type of context.

Finally, in September 2024, an international humanitarian contest organized by Archstorming on behalf of Tunisian charity Wallah We Can, for new mobile school concepts in Palestine was announced. The competition calls for proposals for new educational spaces that can be easily installed, dismantled and rebuild in any location, starting from a site next to Khan al-Ahmar village in the West Bank, which has been under the threat of demolition for fifteen years. The Wallah We Can charity has held similar open calls for a modular preschool concept in Ethiopia, a secondary school in Malawi as well as a large family home in Tanzania.

My inclination is to say that the future of mobile cities holds a mix of permanent and impermanent architecture. The scenario in which our thousand year old cities are abandoned and where humans hit the roads once more is rather far-fetching. On the other hand, emerging lifestyle trends such as digital nomadism, challenge preconceptions on how humans wish to live. In truth, our current “human settlements” have become quite stifling: too many people, too much traffic and not enough space are all issues we face daily.

But what if we could decongest our cities entirely? Imagine a world where we build self-sustaining, clean-energy power stations by rivers or in wide, open fields — not to transfer power back to centralized cities, but so people could “plug into” these hubs directly, staying for a few weeks or months before moving on to another location. Education, too, would no longer be bound to static institutions; instead, “school” could be a dynamic journey, actively engaging students with diverse cultures, landscapes and communities.

Though mobile architecture has mostly been tested on a small scale, for example through emergency relief housing or temporary event structures, the potential it holds could transform the way we think about cities and communities altogether. The possibilities are endless: a future of adaptable, resilient living spaces that encourage sustainable use of resources, connect people to the land, and offer freedom from the constraints of static urbanization.

With a diverse jury of global experts and a global voting public, Architizer's A+Awards champions firms around the world. Get your work in front of the industry's best by starting your submission today. 

Featured Image: XBO Mobile Unit by 70 N arkitektur as

The post Cities on the Go: Could Mobile Architecture Decentralize Urban Futures? appeared first on Journal.

The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available. Order your copy today.  

There is no shortage of Medieval archways, Baroque façades and Gothic spires in the historic city of Prague. Built with towering proportions, adorned with intricate moldings, and piercing the skyline with striking silhouettes, each is regarded as typical of the Central European region; together, they form the basis of Prague’s distinctive aesthetic. Yet there is another side to Prague’s architecture, one that draws admirers to its lesser-known quarters. It’s a style that has somehow, despite its short-lived presence, become an essential part of Prague’s architectural heritage.

In the early 20th century, while cities across Europe were embracing the naturalistic, ethereal forms of Art Nouveau, a group of Czech architects in Prague chose a different path. Inspired by the groundbreaking geometric art of Picasso and Braque, architects like Josef Go?ár, Pavel Janák and Vlastislav Hofman took a unique approach: Cubist architecture. Unlike the flowing lines and floral motifs of Art Nouveau, Cubism introduced angular, crystalline forms. When integrated into building design, it became a radical departure from the city’s medieval and Baroque surroundings.

The Cubists believed that objects had an inner energy that could be released by splitting open or slicing horizontal and vertical surfaces. For Prague’s architects, Cubism was an opportunity to release that energy and redefine their national identity. At the time, the city was still under the Austro-Hungarian Empire’s rule, and the Czech avant-garde saw Cubism as a way to assert cultural independence. Through the abstraction and fragmented shapes of Cubism, they believed architecture could provoke new emotions and thoughts while creating a uniquely Czech visual language that contrasted sharply with the oppressive imperial styles of the time.

House of the Black Madonna by Josef Go?ár, Prague, Czech Republic (VitVit, D?m U ?erné Matky Boží 03, CC BY-SA 3.0)

The result was striking. In 1912, Go?ár designed the House of the Black Madonna, a building whose angular façade and Cubist interiors showcased this new approach. The building became an icon, as it remains today, housing the city’s first Cubist café and challenging European design conventions like never before. Other buildings soon followed. The Kova?ovic Villa in Vyšehrad, with its bold geometries and diagonal lines, is a beautiful example of this unique design style. While one structure that is impossible to overlook is the triplex house on Rašínovo Embankment, built according to a design by Josef Chochol. Particularly striking is the building’s entryway, with its polygonal gable and dominant bay window that sits proudly above the main door.

Despite its short lifespan, approximately fifteen years, Cubist architecture left a lasting imprint on Prague, mostly in the Vyšehrad neighbourhood, making it one of the only places on earth where Cubist design reached its most complete form. Even today, Prague’s Cubist buildings stand out in part for their unusual angular facades but also for the depth of detail that carries the Cubist vision from exterior to interior. Unlike traditional Cubism — the kind found in painting, which aims to expose unseen perspectives despite a two-dimensional medium, Cubist architecture engages the third dimension — walls, windows, doors and even staircases are designed to shift, refract and shape space itself.

Cubist Museum at The House of the Black Madonna by Josef Go?ár, Prague, Czech Republic (Thomas Ledl, Prag Kubismus Schwarze Madonna 5, CC BY-SA 4.0)

The key to the language of Cubist architecture is a reliance on geometric forms, particularly triangles, hexagons, prisms and diamonds. These design choices give Prague’s Cubist buildings a depth that catches visitors unawares while warping light and shadow in new and interesting ways. The House of the Black Madonna, for instance, has a façade that projects forward in layered planes, creating a visual depth that was new to the era and remains unusual in modern architecture, too.

Inside the buildings, distinctive, jagged furnishings — chairs, tables and even light fixtures — were also included, and their geometric forms meticulously supported the architectural style. In this way, these buildings are one of the most excellent examples of unified aesthetics in architecture. Kova?ovic Villa is a fine example of this cohesion, with its Cubist furniture designed specifically to fit the house’s unique architectural lines.

Kova?ovicova Vila by Josef Chochol, Prague, Czech Republic (VitVit, Vyšehrad Sequensova a Kova?ovicova vila 3, CC BY-SA 4.0)

To live in a Cubist building in Prague is to immerse oneself in an environment where everyday function meets a kind of geometric experimentation. Unlike traditional homes, these spaces feel slightly disorienting at first glance — walls are angled, surfaces are faceted, and the light behaves differently as it hits sharp corners and fractured surfaces — yet they work as traditional homes, no different to any other.

It is emotionally that Cubist spaces had and still have the most profound effect. They create an entirely different atmosphere from Prague’s Baroque or Gothic interiors. There’s a sense of intentional tension; a feeling that, with its tight angles and bold lines, the space is shifting, revealing more of itself in each experience, becoming a space that invites curiosity and engagement. For many, living within these fractured forms prompts a fresh appreciation of space itself, as each room subtly nudges the occupant to move, observe, and interact with its architecture in a way that is quite theatrical.

Keystone Office Building by EM2N, Prague, Czech Republic | Photo by Simon Menges.

In all, the influence of Prague’s Cubist experiment is visible not only in its direct descendants, like the uniquely Czech form of Rondocubism — a blend of Cubist structure with national folk motifs — but also in the modern architecture that celebrates this bold design style and inventive form, the Keystone office building is a prime modern example as even today, Prague’s contemporary architects cite Cubism as an inspiration, not necessarily in its angular motifs but in its willingness to push the boundaries of architectural convention.

Preservation efforts for Prague’s Cubist architecture reflect the movement’s cultural significance. The remaining buildings are carefully maintained and celebrated as part of the city’s architectural heritage as museums, galleries, and cultural centers, inviting locals and visitors alike to engage with this piece of Czech history. The continued public interest in these spaces has sparked a sense of pride in their preservation, making Cubist architecture not only a point of historical curiosity but a thriving part of Prague’s unique and daring identity.

The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available. Order your copy today.  

The post Cubist Prague: The Geometric Architectural History of Eastern Europe appeared first on Journal.

Climate change is no longer an abstract concept conveyed through scientific data; every person on this planet has now been touched by the effects of our warming planet. Architecture, as has been well-documented, has been a contributing force in many ways — both by relying on materials that pump CO2 into the atmosphere but also by cultivating a widespread reliance on fossil-fuel-intensive systems — like air conditioning, electric lighting and more — due to poor design. Nowadays, architects are leaning into emerging technologies and materials that will help lower their building’s embodied and operational carbon (indeed, even just the use of these two words reveals how much the conversation has evolved!). The need not simply to replace materials but to rethink design approaches buildings’ relationships to their surrounding environment is clear.

With this in mind, Architizer’s Sustainability in Design Award honors the work of Sanjay Puri Architects, whose work exemplifies innovation in climate-responsive architecture. Led by Sanjay Puri, the firm integrates sustainability into every project, emphasizing energy efficiency, heat mitigation and passive cooling techniques that are especially vital in extreme climates. Given that the firm is based in India, where roughly 90 percent of the country is considered an extreme heat danger zone, their work is even more remarkable. Indeed, many of their designs, whether for private homes, student housing or public community centers, describe briefs for areas that regularly exceed 40 degrees Celcius (104 Farenheit).

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With a team of over 100 professionals and projects spanning 36 cities in India and beyond, Sanjay Puri Architects uses natural resources like light and air in striking ways, employing unconventional forms, careful siting and innovative massing. Their portfolio is defined by a sensitive, context-driven approach that prioritizes both sustainability and aesthetic quality in a fusion demonstrating that new approaches to climate responsive design can generate beautifully distinct new approaches to age-old typologies. In honor of this award, Architizer’s Managing Editor, Hannah Feniak, sat down with Sanjay to reflect on the firm’s history and future trajectory.

RAS HOUSES by Sanjay Puri Architects, Ras, India

Hannah Feniak: Tell us a little about your story — how did you get started? How did your firm grow?

I read “ The Fountainhead” by Ayn Rand when I was 16 years old and it was this story that introduced architecture as a creative field to me and convincingly inspired me to become an architect. I have read this book several times after becoming an architect, and it still inspires me, instilling and fortifying the resolve to create buildings that change the perception of spaces. I started by working in an office prior to starting a formal education in architecture, so by the time I started learning architecture in the Academy of Architecture, Mumbai, I had already been to various sites, completed working drawings and design development. While I was in the 5th year of the architectural course, at the age of 23, I was made a Senior Associate of the architecture firm I was working in.  I started my practice four years later in 1992. We grew from a single-person firm to 108 currently.

The Rajasthan School by Sanjay Puri Architects, RJ, India

Looking back, which of your projects do you feel was the most significant to the firm’s development and why? [You can pick more than one!]

The Ras Houses project is a low-rise housing development on a contoured site designed to respond to the varied slopes of the land, with naturally lit spaces and naturally ventilated circulation spines organically juxtaposed within the landscape. Deep recessed windows, sheltered decks and terraces and natural cross ventilation makes this housing energy efficient with reduced heat gain in response to the hot desert climate of its location.

The Rajasthan school is designed with north facing classrooms, sun breakers to mitigate heat gain, open sheltered courtyard and open naturally ventilated corridors — all in response to the desert climate of its location. The building does not need air conditioning even when the external temperatures are 35 degree Celsius.

The Mirai House of Arches has an envelope of sheltered outdoor decks and terraces to substantially reduce heat gain in a location with temperatures in excess of 35 degrees Celsius for eight months annually. This house is built with locally sourced materials including vedic adobe bricks, lime plaster sandstone and local workers. Each one of these projects demonstrate a strong contextual response to the climate and surroundings with energy efficient designs that are sustainable and explore spatial relationships in different ways, creating places that are meaningful.

Mirai House of Arches by Sanjay Puri Architects, Bhilwara, India

How is sustainability embedded within the culture of your practice?

Sustainability is one of the most important factors governing design and needs to be addressed and interwoven into every aspect of design, to create a better tomorrow, conserve resources and reduce the carbon footprint and climate change.

Nokha Village Community Centre by Sanjay Puri Architects, Nokha, India

What does winning Architizer’s Sustainability in Design Award mean to you and the firm?

This is a huge achievement for our entire team reinforcing our belief towards creating sustainable design solutions and making our resolve even stronger to pursue climate responsive design using locally available materials and contract labor as far as possible along with methods and practices that substantially reduce the carbon footprint while building as well as while the buildings are operational.

Studios 90 by Sanjay Puri Architects, Kodla, India

If you had one piece of advice on sustainable design to offer the next generation of architects, what would it be?

It is the only field which has the opportunity to create sustainable solutions on a large scale saving huge amounts of energy when done effectively and thus preserving the world’s natural resources.

Architizer's 13th A+Awards features a suite of sustainability-focused categories that recognizing designers that are building a green industry — and a better future. Start your entry to receive global recognition for your work!

Top image: The Street by Sanjay Puri Architects, Mathura, India

The post Hot Spots, Cool Designs: Sanjay Puri Architects Usher In a New Era of Climate-Responsive Architecture appeared first on Journal.