The Tamboré Club project presents an architecture defined by the contrast between solid stone-clad volumes, which house the club’s main programs, and transparent areas that foster visual and physical integration with the surrounding natural landscape. Organized into four distinct blocks, the complex is accessed via a metal pergola that extends over a reflecting pool, surrounded by carefully curated landscaping that creates a welcoming and symbolic entrance.
In the heart of the 19th arrondissement of Paris, an isolated site surrounded by blocks of flats and towers has been refurbished. The atelier associer transformed the 1970s Jean Quarré upper secondary hospitality school into a media library and a Refugee House. The high cultural and social value of the chosen brief is unique in the world. It encompasses a neighborhood cultural facility and a place dedicated to the integration of exiled people on the territory of Paris. The media library joins the four media libraries of the city of Paris that possess a "center for the Deaf" to welcome the public communicating with sign language. The Refugee House brings together under one roof all the aspects of refugees' path to integration, in a convivial place of encounter and sharing.
In the heart of Rome's Trastevere district, STUDIOTAMAT has breathed new life into a hidden Liberty-style gem tucked away in the courtyard of a late 19th-century building along Viale di Trastevere. Once the caretaker's house for the old train station—or a neighborhood doctor's office, depending on who you ask—this forgotten villino has been reimagined as a refined urban hideaway for two. Spread across three compact, layered floors occupying 80 square meters and culminating in a lush, green terrace, the project began by carefully preserving the home's most distinctive elements. Restoring the front veranda with its delicate cathedral glass in soft greens, pinks, and yellows called for a mix of craft and technical precision. The original rhythm and hues were respected, while the frame was rebuilt in steel and solar-control glass. By removing the old French door that once divided it from the house, the veranda now flows into the interior, extending the living space and bathing it in natural light that subtly shifts in tone throughout the day.
In partnership with the European Cultural Center (ECC), ArchDaily has launched its inaugural exhibition as part of the seventh iteration of Time Space Existence, an architectural showcase occurring concurrently with the 19th Venice Architecture Biennale. Open from May 10 to November 23, 2025, in various locations throughout Venice, this edition centers on the theme of "Repair, Regenerate, and Reuse," promoting innovative and sustainable approaches in architecture. ArchDaily's contribution is located at Palazzo Mora, complementing other venues like Palazzo Bembo, Marinaressa Gardens, and Palazzo Michiel.
Rosan Bosch Studio has designed a new nature-based campus and learning environment for The
Garzón School in Uruguay. The school is nestled within a dense eucalyptus forest, fostering a unique connection with nature. The vast and untamed environment of the new Garzón School in Uruguay is intertwined with the school's identity. In close collaboration with the school community, Rosan Bosch Studio has developed a design concept where learning seamlessly happens indoor and outdoor. The new learning landscape nurtures innate curiosity and encourages exploration, play, and self-expression.
A pavilion in a Biennale serves as a platform for cultural expression, allowing a nation to articulate its architectural identity while responding to global challenges. These national exhibitions reflect how each country interprets the event's central theme through the lens of its own landscapes, histories, and future aspirations, reinforcing architecture's ability to act not only as a built discipline, but also as a catalyst for reflection, transformation, and dialogue. In this context, Montenegro's contribution resonates with particular force. Titled Terram Intelligere: INTERSTITIUM, the pavilion draws on the concept of a newly understood anatomical system of fluid-filled spaces running throughout the human body, facilitating connection and exchange. Once considered dense and inert, the interstitium is now revealed to be a network of dynamic interrelation — a metaphor that the curators use to reframe architecture as an active, living inquiry into natural, artificial, and collective intelligence, in tune with this edition's theme: Natural. Artificial. Collective.
Adjaye Associates has revealed the design for the International Children's Cancer Research Centre (ICCRC) in Kyebi, Ghana. Commissioned by the Wish4Life Foundation, the project marks a step in the development of pediatric healthcare in West Africa. Situated on a 225,000-square-meter site along the eastern slopes of the Atewa Range, the ICCRC is envisioned as an integrated facility dedicated to healing, research, education, and community engagement. It will be the first center in the region solely focused on the treatment of childhood cancers. The project is currently on view at the Time Space Existence exhibition, part of the Venice Architecture Biennale 2025, held at Palazzo Bembo until 23 November 2025.
The project is part of the Orfèvres eco-district, developed by SERL as part of a development concession for the town of Trévoux on the banks of the Saône. This new 10-hectare district lies to the east of the historic town center, in a quiet, predominantly residential environment. It is designed to promote connections with the existing urban fabric and landscape, soft modes of transport and to limit the presence of cars. The neighborhood is built around a public park that extends to the south along the former railroad line that linked the city to Lyon Croix Rousse. Lot B4, on which Tectoniques is working, directly overlooks this park.
The Diversity in Architecture (DIVIA) Award 2025 has been awarded to Vietnamese architect Trần Thị Ngụ Ngôn, founder of Tropical Space, in a ceremony held on 10 May 2025 at the European Cultural Centre, in Palazzo Mora in Venice. The award includes international recognition and a €10,000 prize, honoring women architects whose work contributes to cultural diversity and inclusion in architecture. This year's edition featured five other finalists: Carolina Rodas and Carla Chávez from Ecuador, Izaskun Chinchilla from Spain, Cazú Zegers from Chile, Patcharada Inplang from Thailand, and Surella Segú from Mexico, all of whom were presented as part of the Time Space Existence exhibition organized by the ECC.
Over the last decade, architectural design has relied on 2D methods of representation, such as elevations, sections, and floor plans, paired with digital renderings of 3D models. While these tools are essential to convey geometry and intent, they remain limited by their two-dimensional format. Even the most realistic renderings, created through programs like SketchUp, Revit, or AutoCAD, still flatten space and distance the viewer from the lived experience of a project. Recently, architects have begun to explore immersive technologies as a way to bridge this gap between drawing and experience, offering new ways to inhabit and assess spatial proposals.
Phoenix House is a profoundly personal endeavor, born from the restoration of an early 1900s Queenslander purchased in Brisbane, Australia. Initially, I had various plans for the property, but life's unexpected twists transformed it into a new home for me and my two children. While stored in the cane fields near Ballina, the house endured brutal southerly storms. When I visited, the tarps were gone, the structure was waterlogged, and the side veranda had collapsed into a heap of hardwood.
The project is located in a small village near Hangtoudong Metro Station in Pudong, Shanghai. In the southwest direction, one can see the elevated rail transit in the distance. To the east is a neighboring property, and to the west is a river. Opposite the riverbank lies a dense forest, with a peninsula site being its characteristic feature. What was shocking during the first visit to the site was not the pastoral scenery, but how the rail transit so dreamily switched between urban and rural areas, as if traveling through time. The original house, built in the 1980s, was in a dilapidated state, prompting the owner to apply for a reconstruction to provide a more comfortable and peaceful living space for their parents.
Throughout history, doors—and later automatic doors—have served a far greater purpose than merely marking an entrance or exit. They define thresholds, guide the flow of movement, and subtly shape the way people interact within a space. We can trace their evolution back to the 1st century, when Heron of Alexandria devised a steam-powered door—an early example of technology merging with architecture. Since then, contactless automatic door systems have incorporated technological advancements that enhance operation and redefine their role within buildings. Today, they are integrated across a range of building types and scales, acting as transitional elements that enhance comfort, energy efficiency, and the overall quality of indoor spaces.
"Fushi" is an auberge limited to one group per day, nestled deep in the Akigawa Valley on the western edge of Tokyo. The building overlooks the confluence of the Akigawa and Bonbori Rivers. To the west is Mount Joyama, a natural mountain fortress carved by clear streams. The site has a unique landscape that could not be achieved by human power. The auberge was founded by a family that has been running Kaiseki-Ryori (Traditional Multi-course meals) restaurants for over half a century.
The new Singleton Arts and Cultural Centre encourages fresh and exciting creative opportunities in the Hunter Valley region for locals and tourists alike. Each year, visitors flock to this area of NSW to appreciate the food, wine, and other locally made items. The new building aims to promote creative activities by providing space for functions and local art shows and offering the rural community access to international exhibitions.
Halfway between the Puig de Randa and the town of Montuiri, Cas Sestadors was born in the shade of two agricultural sheds that have been there for thirty years.
Built in 1974 by Jouven and Phelouzat (who also designed the neighboring hospital), the existing college is located on the south-western outskirts of the city center, in a suburban fabric that combines facilities, business parks, multi-family housing, and single-family dwellings. It is made up of several buildings arranged in an orthogonal system with no relationship to their surroundings. This functionalist architecture, poorly maintained, is now in a state of disrepair. The fragmentation of the buildings and successive additions have rendered the whole complex illegible and dysfunctional. The existing college is symptomatic of an ordinary heritage dating back to the 1970s, which has largely fallen into disrepute. Its transformation is now a necessity to meet contemporary environmental challenges. This implies taking a fresh look at it, as a heritage to be taken care of, an available resource rather than a clean slate. In addition to bringing the building up to standard and renovating its heating system, the project aims to clarify the formal and programmatic layout of the entire site in order to relieve congestion at the 550-student school, while increasing its capacity to 600. The project strategy must also take into account the need for a construction site on an occupied site, and therefore for phasing.
The renovation involves the conversion of an industrial building into housing with a coworking space and studio on the ground floor. It is an upside-down home with the living spaces all the way upstairs to provide maximum light and privacy.
In today’s dense, vertical cities, terraces—often overlooked as mere technical rooftops—are emerging as key spaces for reconnecting with nature, expanding residential functions, and offering moments of collective relief. Particularly in single-family homes located in compact urban areas, these elevated surfaces represent valuable opportunities to increase usable living space without occupying more land. By lifting daily life above street level, terraces open new ways of inhabiting the city, enabling a range of uses from leisure and contemplation to food production and social gathering. In contexts marked by limited green space and strained infrastructure, they hold the potential to generate what landscape architect Catherine Mosbach calls "additional layers of urbanity." Whether imagined as hanging gardens, gathering spots, edible landscapes, or wellness zones, terraces challenge the idea that the city ends at the top floor—inviting us to see the roof as a new kind of ground.
Fenix is a major new museum that explores migration through the lens of art, opening on a landmark site in Rotterdam's City Harbor, developed by internationally acclaimed architects MAD. With a rapidly expanding collection of historic and contemporary objects, Fenix tells the story of migration through a series of encounters with art, architecture, photography, food, and history. Located in what was once part of the world's largest transshipment warehouse, on a peninsula in Rotterdam's historic port district, Fenix overlooks the docks where millions of migrant journeys began and ended. The monumental 16,000 square meter warehouse has been transformed to become Fenix by MAD Architects with restoration consultation by Bureau Polderman. This is MAD Architects' first commission for a public cultural building in Europe, as well as the first museum to be built by a Chinese firm in Europe. The project was initiated by the Droom en Daad Foundation, founded in 2016. The Foundation is helping redefine Rotterdam for the 21st century - developing new kinds of arts and culture institutions and fostering new creative talent that reflects the city's diversity, its spirit, and its history