In the four years since the celebrated Iraqi-born architect died suddenly in March 2016, a “toxic dispute” has been taking place between the executors of her estate [...]. The long-running feud has finally been settled in an explosive court hearing involving contested allegations of financial mismanagement, disregard for corporate governance and “clandestine relationships” between the current practice principal and junior members of staff. — The Guardian

Southwark council declared that its New Architect Design Services Framework was a “first-of-a-kind” attempt to engage with a new generation of diverse designers. As councillor Leo Pollak put it: “It is the framework some architects have been waiting for all their years.”

It turns out that black architects will have to wait even longer. — The Guardian

With each of us now living in socially distanced self-isolation, with shops shuttered, offices abandoned and urban centres reduced to ghost towns, it’s hard not to wonder what kind of lasting impact Covid-19 will have on our cities. Will homes need to adapt to better accommodate work? Will pavements widen so we can keep our distance? Will we no longer want to live so densely packed together, working in open-plan offices and cramming into lifts? — The Guardian

“I feel like I am atoning for some of what I did,” says Yasmeen Lari with an embarrassed chuckle. “I was a ‘starchitect’ for 36 years, but then my egotistical journey had to come to an end. It’s not only the right of the elite to have good design.” — Yasmeen Lari, in The Guardian

“Stone,” says architect Amin Taha, “is the great forgotten material of our time. In 99% of cases, it’s cheaper and greener to use stone in a structural way, as opposed to concrete or steel, but we mostly just think of using it for cladding.” — The Guardian

“We have to think of buildings as material depots,” says Thomas Rau, a Dutch architect who has been working to develop a public database of materials in existing buildings and their potential for reuse. [...] “Waste is simply material without an identity,” he says. “If we track the provenance and performance of every element of a building, giving it an identity, we can eliminate waste.” — The Guardian

It was the year that council housing turned community-minded, King Arthur got a swishy new bridge and the Lake District harboured a gem — The Guardian

This all makes what is happening now all the more remarkable. Last summer, Ford Motor Company announced it had bought the building, with plans to invest $740million to transform it into a world-leading research centre for ‘future mobility’. The very industry that signed the station’s death warrant in the first place is now set on resuscitating it as a beacon of sustainable transport. — The RIBA Journal

Ishigami’s structure is a striking object, but it could have been so much better, and it is a frustrating outcome in what has been a troubled year for the Serpentine. [...] After almost 20 years of commissioning novelty structures to host summer parties for sponsors, it feels like the format could do with a rethink and look beyond the bounds of the gallery’s garden, and the collectors’ estates where the structures end up. — Oliver Wainwright, The Guardian

Any visitor to New York over the past few years will have witnessed this curious new breed of pencil-thin tower. Poking up above the Manhattan skyline like etiolated beanpoles, they seem to defy the laws of both gravity and commercial sense. They stand like naked elevator shafts awaiting their floors, raw extrusions of capital piled up until it hits the clouds. — The Guardian

[...] Peter Barber, one of the most original architects working today. Over the past decade he has built a reputation for his ingenious reinventions of traditional house types and his ability to craft characterful chunks of city out of unpromising sites.

[...] He is a master of humane high-density, designing that rare thing: new housing that feels in tune with the grain of London, in the form of neither alienating slabs nor tacky towers, without resorting to pastiche. — The Guardian

Following a three-year, £50.7m programme of works, dubbed the “Open Up” project, the ROH hopes to have a more visible, welcoming presence. Its motivations have not only been to shed its rarefied reputation, but also to improve crowd flow inside the constricted corridors, inject daytime activity and transform its secondary studio, the Linbury, into a new world-class theatre. Walls have been bulldozed, spaces excavated, and restaurants extended [...] — The Guardian