Structures, in their literal and/or figurative sense, are composed of constituent elements. Such complex assemblies of objects and systems may be thought of to be in two categories in general: frames of constructions (buildings, atoms, languages) and institutional structures such as a government, or a business. Whether unbeknownst or privy to, we too, are components that beget, further or create certain structures, inorganic and organic; some fractally linked but finite, others infinite.

We find the concept and actuality of structures to be particularly interesting because they force us to reckon their most fundamental constituents: the value of a structural frame mirrors the health of its smallest constituent. If this cellular part of a whole does not make sense or comes apart, the rest of the structure too, is indubitably impacted. How can this be understood and recognised in the creative sphere? This week, we examine and identify creative structures and what makes them.

Mario Cucinella expounds on his 'Città Miniera' at Milan Design Week 2024, which, vis-à-vis its own assembly, suggests alternative structures to building urban futures. We also fathom what kind of feasible structures we may build on Mars (or if we even should), in conversation with one of the authors of 'A City on Mars.' As the Venice Art Biennale 2024 kicks off with its theme of 'Foreigners Everywhere,' we opine on the political structures behind such creative conclaves.

As the world teeters into conflict, diplomacy, urgency and indifference across vulnerable regions, the importance of maintaining a semblance of structures is brought to the forefront—which are the ones allowed to remain, which are forcefully dismantled, and which try desperately to stay in place? Within this purview, what defines the structural integrity of creatives? What upholds it? What bends it?