June 22, 2026

How Georgia’s architecture makes its mark on the European narrative

We often say that architecture is a mirror reflecting the culture and values of the era in which it takes shape. Architecture, in fact, is one of the most reliable historians we have. Just look around a city to uncover layers of its past, its present, even glimpses of its future. But how does a building simultaneously retain the memory of its past and anticipate the future of society? And more importantly, how can it communicate these stories to us?

Architecture influences human behaviour and mental states through colour psychology, the power of light, and spatial design. Yet, society itself, according to its own values, defines the kind of impact it expects from the built environment. Maybe that’s why architecture always responds quickly to any economic, social, or political shift. In this way, it becomes an expression and image of a particular society. Recognising the values embedded in the language of architecture makes it much easier to understand the era and the people it represents.

As an architecture student from Georgia, I have come to discover my country’s history and philosophy in an entirely new way. Since entering the faculty of architecture, a completely different world has unfolded before my eyes. During my studies, I learned to read the narratives of time and identity subtly inscribed on the walls. Knowing that every architectural decision is a statement makes me perceive the spaces I enter and the streets I walk through far more consciously.

Historically, external political influence has often placed Georgia within certain cultural frameworks. Art has always been a weapon to break through boundaries. Georgian artists, writers, and poets were always ideologically close to Europe, yet politically distant from it. The love of freedom, the protection of values, and the desire for independence conditioned such closeness. This is reflected in the writings of Ilia Chavchavadze, the poetry of Paolo Iashvili, and the art of Petre Otskheli, whose works echo European Enlightenment ideals of liberty, national identity, and human dignity – values for which they sacrificed their lives.

However, resistance was most difficult in architecture, which faced the greatest restrictions. Georgian architecture was first guided by the “sample designs” of the Russian Empire, and then served the socialist ideas of the Soviet Union.

Despite the pressure of prevailing Russian classicism, Art Nouveau became widely established in Georgia, in parallel with European trends. At the same time, behind the Russian-approved facades, the delicately carved wooden balconies characteristic of Tbilisi’s residential courtyards still maintained their artistic vitality and reflected the vibrant social life of Georgians.

Later, among the copies of Soviet brutalism, unique examples of modernism also appeared, such as the former Ministry of Roads, the Chess and Alpine Club, the Tbilisi Sports Palace, etc. Today, we are proud of those architects who, following the footsteps of Europe, developed local architecture and did not shy away from self-expression, architects such as Simon Kldiashvili, Vladimer Aleksi-Meskhishvili, Giorgi Chakhava, Yuri Kasradze, and others. The existing heritage confirms that Georgian architecture has always sought to expand the existing framework and seek its own direction.

Nor do contemporary Georgian architects cease to amaze us. This year, eight architectural projects from Georgia were nominated for one of the most prestigious architecture awards in Europe – The European Union Prize for Contemporary Architecture. Also known as the EUmies Awards, the prize aims to discover works whose innovation represents a manifesto of contemporary architecture. Each EU member state shares common values, yet individual traditions, languages, history, landscape, and urban context still create a European identity rich in diversity: by recognising distinct yet interconnected architectural works, the prize helps to define common European values

An unprecedented number of Georgian nominees indicates that this event not only recognises the value of individual architectural buildings, but also that the uniqueness gradually created in Georgia takes part in the European discourse. As you can see, architecture is an archive of memory. It reflects society clearly; therefore, it is the strongest argument for values. It shows that resilience, identity, and diversity are among the principles that we, Georgians, share with the EU.

Having explored how the past is reflected in architecture, I now turn to the question of how it might also serve as a framework for imagining the future.

Almost any contemporary urban environment is rich in architectural styles: some of us are drawn to historic buildings, while others are captivated by high-tech sophistication. However, beyond matters of taste, values play a key role in shaping society. This process is governed, on the one hand, by the criticism and choices of influential individuals or institutions, and on the other hand, by public opinion, which in turn grants authority to those very figures. The power to influence grows, and criticism becomes more severe when we try to escape trends and, in pursuit of authenticity, attempt to create architecture that stands the test of time.

You can find such authorities in any field. In architecture, the EUmies Awards stand among them, setting the expectations for future architecture in Europe. If we look at the projects shortlisted for the 2026 EUmies Awards, we repeatedly encounter terms such as renovation, rehabilitation, transformation, and adaptation – concepts that imply giving new life to existing buildings. At the same time, the shortlisted projects are focused on social responsibility and public contribution. The award is directly linked to sustainable development and public well-being. Although renovation is not the only way to achieve these goals, many of this year’s finalists choose to return to existing buildings.

For architecture, the sustainability of ideas is of particular importance. We can’t demolish buildings simply because we no longer like them. Beyond economic and ecological factors, if the built environment were to change as rapidly as fashion or other areas of design, it would most likely call into question its innate cultural significance – that ability to capture and define an era.

At the same time, the growing influence of technology inevitably speeds up both the pace of our lives and architecture itself. While the architectural community wonders if the jury’s decision is an architectural manifesto or a coincidence, it becomes clear: there is a growing demand for a slower, more deliberate way of living – one that calls for greater responsibility, deeper awareness, and a more thoughtful relationship between people, buildings, and the environment.

Looking to the future, Georgian architecture is poised to play an increasingly active role in shaping Europe’s cultural and architectural landscape. The country’s heritage offers so many opportunities to be given new life. By learning from history and combining local traditions with European ideals, Georgian architects will contribute to building a future in Europe where innovation, heritage, and shared values coexist harmoniously.

Paradoxically, architecture is a frame without boundaries. As one of the most impactful human interventions in the environment, architecture must be approached with great care. Although this responsibility places architects in a defined framework, it is precisely within these boundaries that limitless possibilities emerge – just as freedom comes with responsibilities. This is exactly how I imagine joining the EU, finally finding freedom with huge responsibility and great opportunities.

Sources:

Mania, M (2006). European Architects in Tbilisi. Tbilisi

Art Nouveau in Tbilisi, balcony of Giorgi Kartvelishvili’s house, architect Simon Kldiashvili, Rome Street N4, © SCAN TBILISI

Georgian Modernism, former Ministry of Roads Building, currently Bank of Georgia’s head office, Architect Giorgi Chakhava, © Bank of Georgia

Blend of Art Nouveau (facade and interiors) and traditional Tbilisi balconies (courtyard), former residence of David Sarajishvili, currently Writers’ House of Georgia, architect Karl Tsaar, © SCAN TBILISI

Ana Gogichaishvili

Georgia