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From conceptual work to photographs and videos to drawings and more, the jury is reviewing entries to Architizer’s<\/i> <\/i>2025 Vision Awards<\/i><\/b><\/span><\/a>. Keep tabs on the world’s best architectural representation<\/i> <\/i>by clicking here<\/i><\/span><\/a>.<\/i><\/p>\n<\/p>\n A year ago, I made a third visit to the Scottish Parliament. This time, it was to see the process behind the building. In the lobby, there was a meticulously crafted exhibition filled with drawings and models by Enric Miralles. The work was breathtaking, immediately capturing my attention, even more so than the building itself. The material offered access to something the surrounding architecture could not fully reveal: the choices and possibilities behind its realization. When leaving the building, I pondered over a very specific question: why can the evidence of making hold our attention so strongly, even when the finished work is right there?<\/p>\n Traditionally, architecture already values process. Thinking back to architecture school, the work was never judged based on the finished product. Rather, each student was evaluated primarily on their capacity to show the process, the logic and the choices behind the design. In addition, there have been countless exhibitions and archives throughout the centuries that store and display architectural drawings and models \u2014 often viewed as a separate cultural and intellectual property from the materialized space.<\/p>\n In contrast, the architectural industry is exceptional in presenting the finished work through polished imagery that strips away any trace of production. There is no apparent struggle, no messiness and the building seems inevitable. Ironically, the \u201ceffortlessness\u201d that architects aspire to communicate becomes the very thing that makes it harder to understand why they are needed in the first place.<\/p>\n