The proposal for the main headquarters of Dynafit in Kiefersfelden is integrated into its natural surroundings, in the Eno Valley, as a striking visual landmark; a volume composed of the fusion of two pyramidal bodies, visible from the highway connecting Germany and Austria, aiming to become part of the landscape that defines the valley.
The Museum of Modern Art (MoMA) in New York is hosting an exhibition dedicated to Japanese architect Kisho Kurokawa's Nakagin Capsule Tower from July 10, 2025, through July 12, 2026. Titled The Many Lives of the Nakagin Capsule Tower, the exhibition offers a retrospective on the building's 50-year lifespan. Constructed in Tokyo's Ginza district in 1972 and dismantled in 2022, the tower is presented through contextual materials, original drawings, archival recordings, and a fully restored capsule. The exhibition invites reflection on how cities address aging buildings and the rapid transformation of urban areas. The diverse materials documenting the tower's continuous evolution over five decades encourage viewers to consider how architecture might endure by taking on new roles and functions beyond its original purpose.
The built environment is expected to reduce carbon emissions, support biodiversity, and respond to changing ecological conditions, all while providing housing for communities and reflecting their cultural values. In this shifting landscape, a once-maligned architectural style emerges in a surprising new form. Brutalism, long associated with institutional gravitas and material austerity, is now being reframed through an ecological lens. This hybrid movement, known as eco-brutalism, combines the power of concrete with greenery and climate-sensitive design strategies. The result is a set of spaces that are visually arresting, conceptually complex, and increasingly popular among designers, urban planners, and the general public.
Offering a path toward resilience and food security in the alluvial plains of Lake Titicaca, the Waru Waru agricultural fields are spread across the Peruvian highlands and constitute an ancient agricultural system. Connecting an ancestral legacy with modern concerns about water and food security, climate resilience, and sustainable land management, these agricultural systems open the debate about efficient water management and the importance of agricultural biodiversity. At the same time, they are part of the sense of identity and pride of the local Aymara community, consolidating cultural knowledge that is passed down and preserved across generations.
Soul House is a refuge nestled in the heart of the Mindo Valley, grounded in the atmospheric and material conditions of its surroundings, as well as the symbolic world its inhabitants have shaped to narrate their lives. Geometry is employed to order every element, inside and out, proposing a microcosm articulated as an opaque interior, veiled from the exterior. Symmetrical in both axes, the house envisions a duality between body and atmosphere, matter and mood.
Covering 3,500 square meters, the pavilion offers visitors a unique architectural and exhibition experience, showcasing the country’s innovation, culture, and productive activity. Over six months, companies, regional authorities, and other institutions will use their spaces for meetings, presentations, and forums. In this way, architecture becomes a strategic tool for international visibility.
Village Activity Center
Table tennis room, chess room, drama room, newspaper room, library room, children's room... These are the names of rooms that have been frequently seen in the village activity center recently.Village activity centers are public service facilities set up in villages to enrich and enhance the cultural and recreational lives of villagers.This approach of referring to the centralized setting of spaces and venues in urban communities is usually based on village collective assets, sometimes a compound, sometimes an office building. Although it may not be attractive in appearance, it can often be used to allocate the functional uses of rooms according to external environmental requirements and village collective needs, making it quite practical.
Haksanjae is a private library designed to accommodate approximately 10,000 volumes. In addition to the collection space, it includes a workspace for writing and lecturing, as well as a modest residential component for occasional stays. The client, a former university professor of history, sought a space in which to house an extensive personal book collection following retirement.
Located on a narrow urban lot measuring 5 by 31 meters, the existing house was in a state of structural neglect, with collapsed roofs and overgrown vegetation. Rather than demolishthe house, the architects proposed a minimal and respectful strategy: conserve the historic masonry walls, introduce light through patios and skylights, and organize the home into six distinct volumes—three covered and three open. This layout generates visual transparency, cross-ventilation, and a seamless indoor-outdoor experience.
Design through Finding: three new spaces in MD Anderson Hall — Rice University School of Architecture commissioned Kwong Von Glinow to design three new spaces within MD Anderson Hall: a Welcome Center, a Student and Community Forum, and a Faculty & Staff Lounge. These new spaces are located along the school's central axis. Our design process began with a deep dive into the building's history to understand the original 1947 building by Staub and Rather and the subsequent 1981 addition by James Stirling and Michael Wilford. One of the texts mentioned Philip Johnson's observation of the James Stirling addition: "I came to see Jim's building but couldn't find it." (Cite Fall 1992-Winter 1993) This notion of "finding" space became integral to our design approach.
At Cruda House, two levels are clearly distinguished: a renovated base, floor, and wall coverings, and an upper part that remains bare, authentic, and intact. Thus, in a single continuous space, the new and the existing, the technical and the artisanal, the repaired and the preserved coexist; a synthesis between past and present that allows one to inhabit time in all its layers.
In 1982, at a conference on earth building in Tucson, Arizona, an unusual presentation challenged everything architects thought they knew about rural resources. Instead of focusing on construction techniques, the presenter, architect Pliny Fisk III, spread out a series of hand-drawn maps that revealed something extraordinary - rural Texas wasn't resource-poor, as conventional wisdom suggested, but material-rich beyond imagination. The maps showed volcanic ash perfect for lightweight concrete, caliche deposits stretching across vast territories, and mesquite forests that could supply both hardwood flooring and insulation. The revelation redefined prevailing notions of value in architecture.
Can Brutalist architecture embrace nature so closely that it feels like the trees have shaped it? Studio Saransh's MS House in Ahmedabad offers a bold answer. The design of the house begins with a simple promise: to preserve the site's nine mature neem trees at all cost. The result is a concrete structure that bends to nature's will, influencing every decision—from spatial layout to the architectural form and material palette—in the process. This sensitivity to context and environment is a hallmark of Studio Saransh's design ethos, which emphasises functional elegance with an impactful design language.
The House of Culture and Administration, a new civic complex designed by Benthem Crouwel Architects in collaboration with Snøhetta, is gradually taking shape in the Dutch city of Delfzijl. Located at Molenbergplein, the project brings together cultural and administrative functions in a unified architectural gesture that aims to strengthen the urban fabric of Eemsdelta. The current visualization marks a step forward in the structural design phase. Technical and financial refinements will continue over the summer, with final approval from the municipal council expected in October 2025.
DeRoche Projects conceived the spatial framework for I Do Not Come to You By Chance, marking Amoako Boafo's inaugural London exhibition at Gagosian Mayfair. The project extends an evolving creative exchange between the artist and architect, following past collaborations including dot.ateliers|Ogbojo, a writers' and curators' residency founded by Boafo in Accra, and the Volta Pavilion, a viewing structure crafted from reclaimed timber sourced from Ghana's Volta Region to house Boafo's Proper Love, Papillon Hug (2024). The spatial strategy is anchored by a Courtyard Pavilion in Gallery 1 and the social sculpture Nkyinkyim in Gallery 2. Both interventions treat architecture not as backdrop, but as an active medium: one that reflects the cultural foundations of Boafo's work while amplifying and extending the portraits' focus on strength, resilience, and shared identity into spatial form.
Swimmable Cities is an alliance of 153 signatory organizations across 59 cities in 22 countries, supporting the global movement for swimmable urban waterways. In the context of increasing urbanization, climate change, and biodiversity loss, the initiative aims to reclaim rivers and harbors as public spaces for communities to enjoy and benefit from bathing. It advocates for urban waterways to be made safe, healthy, and accessible for both swimmers and wildlife, calling for cross-border collaboration to develop improvement strategies and collect data to evaluate "swimmability." This call becomes especially relevant amid rising global temperatures and growing inequalities in access to public infrastructure in major cities. The movement's 10-point charter begins with the affirmation of "the right to swim," celebrating urban swimming culture and recognizing the historical significance of water.
Vernacular architecture in Hong Kong originated as a series of small, coastal settlements—simple, village-like communities that reflected the city's early identity as a fishing hub. These seaside villages were typically composed of low-rise, timber-framed houses clustered around temples, forming tight-knit communities closely tied to the rhythms of the water.
Set atop a steep ridge in La Vega de Pupuya, Chile, this house embraces the landscape through a bridge-like form that floats above the terrain. A wooden rib system and exterior walkway connect each space independently, while wooden shutters regulate light and privacy. Built on a steel frame, the structure minimizes its impact and maximizes views. Designed for a simple yet immersive lifestyle, the project celebrates the dialogue between architecture and nature without imposing on the surrounding environment.
This 112㎡-house is designed for six people across three generations living together. The site is located at the end of a cul-de-sac, surrounded by detached houses in a densely built residential area by the sea with a bright atmosphere. The project involves rebuilding the original home—previously occupied by the grandparents—into a new residence for the entire family: three members from the younger generation and three from the older. The younger couple runs a hair salon near their home, and their child spends much of their time with the grandparents. The older generation splits their time between working at home and going into the city. The six family members lead diverse lifestyles and have varied relationships with one another.
A senior living community reflects the dynamics of a microcity. It is crucial to understand the additional yearnings of senior citizens, apart from their fundamental needs pertaining to medical and nursing assistance and various lifestyle needs that can ensure their overall well-being. The "Taikang Community Yan Garden” strives towards facilitating a living space for the elderly to confront their core desires and inspiring them to envision the days ahead with more freedom, openness, and vitality.