William Hanley

This Jordan-based architect is monitoring the ISIS-led destruction of historic sites and spearheading efforts to stop it. In a video that provoked outrage as it made its way across the Internet in February, men 
in military clothing ransacked Iraq’s Mosul Museum, toppling statues of ancient rulers from their pedestals before pounding the figures—some replicas but others original—with sledge-
hammers.

Even on a particularly airless late-summer evening, the appeal of the Bywater, a once-working-class New Orleans neighborhood just downriver from the French Quarter, cuts through the oppressive humidity. 

A Spanish architect converts a historic building in upstate New York into an outpost for a Manhattan art dealer.

Snarkitecture, the name that artist Daniel Arsham and designer Alex Mustonen have given their nearly 10-year-old design collaboration, cuts two ways. On the one hand, it references the fictional creature in Lewis Carroll’s nonsense poem “The Hunting of the Snark”; on the other, it invokes the arch tone of Internet writing.

Andreas Angelidakis is not sure why millions of people are obsessed with cat videos. “It’s a curious thing, what captures people’s attention,” he says. “Architecture is a lot slower than that kind of exchange of images.” 

Allyson Vieira builds monuments—but she uses unexpectedly humble material. Take her 2013–14 exhibition The Plural Present. There, the New York–based artist filled a gallery with Classical ruins: The City Wall, 2013, delimited the space with a colonnade that framed Beauty, Mirth, and Abundance, 2013, three figures striking acontrapposto that echoes the famed Greek statue of the three graces at the Metropolitan Museum of Art.