Nikos A. Salingaros
Nikos A. Salingaros is a professor of mathematics and architecture. His latest book, "Unified Architectural Theory", is published in several languages and online.
Architecture’s abysmal ignorance
Artificial Intelligence reveals what experts deny
Architectural urbanicide
Our societies have allowed special interests to tear down living architecture
Modernist architecture melts our brains
Findings from lockdown suggest environments lacking the complexity of life may pose a threat to humanity
Still making dystopia
What have modern architects learned from their most trenchant critic?
Most Read
Gary Stevenson is wrong about wealth taxes
The popular economist is irritating, but more importantly he is mistaken
What is wrong now was wrong before
Julia Gillard should not pretend that the “unintended consequences” of the gender debate were unknowable
Why they hated Ann Widdecombe
Fair-minded people could agree or disagree with her opinions. Left-wing bigots hated her for not abandoning them
Ethnic minorities are abandoning Labour
It is not just Muslim voters who have been abandoning the Labour Party
Oldham, new problems
How changing demographics have reshaped culture and politics in Greater Manchester
In the trenches
Hannah Betts considers whether the
classic trench coat is the GOAT
Kemi at the crossroads
Kemi Badenoch cannot tell everybody what they want to hear
The Muslim modernisers
Muslim reformers do not innovate; they renew by seeking to mend what is broken
A mean mood in Makerfield
Reform have enthusiasm, but quiet Labour voters could still swing it for Burnham
Information rage
Jacob Siegel’s new book The Information State is profound and troubling
Reform’s man in Makerfield
An interview with Rob Kenyon about online controversies and national priorities
There is nothing authentic about Andy Burnham
The blokeish Labour man is as slimy a politician as the rest of them
The return of a luxury lingerie brand
La Perla isn’t about the male gaze; it’s about feminine feel
Zurbarán on Freud’s couch
An acclaimed new exhibition is full of overwrought symbolism and compositional failures
