In compact homes, the kitchen is rarely only a room for cooking. It often operates as an edge: a service wall or a boundary between domestic work and social life. Its importance lies not only in food preparation, but in how it organizes the rest of the home, particularly due to limitations of plumbing and ventilation requirements. Before a living room can feel open, the kitchen often has to absorb the practical intensity of daily life: water, heat, smell, appliances, groceries, and storage.
This is especially visible in dense East Asian interiors, where domestic space is frequently shaped by limited area, changing family structures, hybrid work, and the cultural specificity of cooking. The open kitchen may be framed as a lifestyle feature, but in many apartments it is also a planning problem. It has to negotiate domestic labor, support informal gathering, and sometimes, as space-saving strategies, replace the hallway or foyer. More than a design gesture, the kitchen edge is therefore a spatial agreement between service and living.
Designing a museum interior means negotiating between the needs of the collection and those of the visitor: objects must be protected and carefully displayed, while spaces need to remain accessible, legible, and engaging. Scale, circulation, security, lighting, structure, and technology all become part of the design, often working quietly in the background so that the exhibits remain the focus. So, how do you fit 4.5 billion years of Earth's history into a museum interior? The renovation of the Natural History Museum Oslo, home to one of the largest geological and anthropological exhibitions in the Nordic countries, offers a clear example of how these demands can come together within an existing architectural framework.
A week of architecture news has highlighted the growing connections between environmental change, public systems, and the evolving role of architectural practice. Extreme weather events in different regions have drawn attention to the vulnerability of settlements, infrastructure, and territorial networks, while new approaches to housing demonstrate how changes in procurement, construction, and governance can influence architectural outcomes. At the same time, the recognition of established practitioners points to the lasting impact of architectural ideas across generations, as the profession continues to engage with questions of resilience, systemic change, and the broader conditions shaping the built environment.
The Suzhou Museum of Contemporary Art is now officially open to the public on the shores of Jinji Lake in Suzhou, China. The 60,000 m² building was designed by BIG – Bjarke Ingels Group, ARTS Group, VIA.inc, and SHUISHI for the Suzhou Industrial Park Culture, Sports and Tourism Bureau. The project is designed as a village of 12 pavilions beneath a continuous, ribbon-like roof, with a covered corridor that traces a path through the landscape as a network of exhibition spaces. The layout is inspired by the tradition of Suzhou's UNESCO-listed gardens. The project opens after a series of preview exhibitions, including the firm's Materialism exhibition, which remains on view. The building complex is set to become a new venue for contemporary art, design, and public life, marking BIG's first completed art museum.
Mexico's rapid urban growth over recent decades has left many cities struggling with fragmented neighborhoods, high crime rates, and severe shortages of quality public spaces. In many low-income urban areas, informal development occurred alongside raw infrastructure like drainage canals, rail lines, and steep ravines, dividing communities and creating hazardous vacant zones. To address this spatial segregation and lack of civic amenities, public agencies and architects across Mexico are intervening in these abandoned buffer zones to construct public parks. By converting former physical barriers into accessible pedestrian corridors, these projects rejoin separated neighborhoods, re-establish safe visual sight lines, and provide spaces for community gathering and daily recreation.
Across architecture and the building industry, women contribute to a wide range of fields, from design practice and construction to research and leadership. Their work reflects different approaches to some of the profession's most pressing questions, including environmental performance, adaptive reuse, and the creation of healthier and more responsive spaces. However, disparities remain visible in areas that influence professional recognition. For example, women continue to be significantly underrepresented in architecture in the United Kingdom. According to the Architects Registration Board, only about 31% of registered architects are women.
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MVRDV has revealed the design for WOMA, a mixed-use development planned for Wynwood Norte, Miami, in collaboration with Quito-based developer Uribe Schwarzkopf and Miami-based architect of record Kobi Karp. The development is planned on the site of a former coffee roasting company and takes cues from Wynwood Norte's industrial character and evolving creative community. Located alongside the nonprofit Bakehouse Art Complex, the project is intended to contribute to the area's growing network of spaces dedicated to art, fashion, and making.
On 1 September 2026, the Balearic Social Housing Model was announced as the recipient of the 2026 OBEL Award. The focus of this award's cycle was "Systems' Hack," calling on architecture to critically engage with the systems that underpin contemporary society and to examine how these interconnected networks might be reconfigured in response to accelerating global challenges. The Balearic Social Housing Model, created by economist and independent consultant Cris Ballester and architect and civil servant Carles Oliver, is a six-point approach to public housing developed between 2019 and 2023, providing additional value and comfort to traditional affordable housing by bringing procurement, architecture, materials, energy, tenure, public capacity and learning together as responses to current social, environmental and economic challenges. In this interview with ArchDaily, the model's creators discuss its origins, ambitions, and material challenges in making social housing a desirable place to live.
Seen from the water, Tallinn presents the skyline of a Hanseatic merchant town. During the Soviet period, most of the seafront was a restricted military zone, leaving the harbour as one of the few places where the city and the sea could meet. Even Linnahall, the vast concrete venue built for the sailing events of the 1980 Moscow Olympics, was positioned in part to preserve the view of the old town for ships approaching the harbour. For half a century, Tallinn grew away from the water that had made it a trading city, so when independence was restored in 1991, some of the capital's most valuable land was also among the least familiar to its inhabitants.
Tallinn's recent architecture is largely an architecture of reconnection. The city has been reopening what was cut off and adapting what lost its purpose, while building new structures where the boundaries between city, infrastructure and landscape are still being negotiated. The factories around the medieval centre, from Rotermann's mills near the port to the submarine yards at Noblessner, had lost their original purpose. Their gradual conversion has since become one of the defining stories of contemporary Tallinn. Much of this architecture is deliberately quiet, deriving its impact from the way old structures, new uses and the waterfront have been brought back into the life of the city.
At a moment when architects across the globe are revisiting earthen construction, reassessing vernacular technologies, and forging visceral connections between communities and the land beneath their feet, others are sketching habitats for the Moon and designing the built environments of a Martian colony. Architecture firms, engineers, and space agencies are investing serious intellectual effort into structures that would need to be raised from scratch on another world. Two impulses, one returning to the soil, the other reaching for the stars, are unfolding simultaneously within the same discipline. And the tension between them raises an uncomfortable question: what, exactly, are we trying to escape?
Water management, air quality, and heat mitigation are usually planned through systems much larger than the spaces where people actually experience them. Drainage networks sit below the street. Air pollution is measured across entire cities. Yet these conditions are felt much closer to the body: while waiting for a bus in the sun, walking through a flooded street, crossing an exposed plaza, or looking for somewhere to sit when the air itself feels difficult to breathe.
Heat makes this question especially urgent. As cities become warmer, streets, parks, transit areas, and other public spaces are increasingly becoming sites where design can reduce exposure through shade, planting, airflow, and water. For architecture, that brings part of climate adaptation into the spaces people use every day.
Japanese architect Kengo Kuma has been selected to receive the Andrée Putman Lifetime Achievement Award at the 2027 Créateurs Design Awards (CDA). The award, one of two Legacy Awards presented by the organization, recognizes a career that has influenced architecture and the built environment across generations and geographic contexts. Kuma will receive the honor during the CDA Awards Ceremony, which will take place at the Shangri-La Paris on January 16, 2027.
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What narratives do materials carry, and how can the visible "traces" of artisans engage in a dialogue with manufacturing processes and industrialization?Between design and construction, the act of thinking through making can become a guiding principle for a design philosophy. Combining wood, industrial materials, and reused objects, Atelier CRAFT's approach is rooted in reversible architecture, guided by its manifesto: "Transform design through making." Based in Saint-Ouen, Paris, the practice explores the relationships between humans and materials, the act of making, and manufacturing processes.
Amid growing economic, political, and climatic instability, the 2026 OBEL Award highlights the need for architectural approaches that rethink both existing and emerging infrastructures. The title for this edition is "Systems' Hack," where "systems" are understood as interrelated mechanisms governed by shared rules and "hacking" is framed as a strategic intervention that seeks to alter how these mechanisms operate. Within this framework, the OBEL Foundation has announced the Balearic Social Housing Model as the winner of this year's award, while also announcing a new cycle in 2027 under the same topic. The Balearic Social Housing Model is recognized for "transforming the role of social housing administration in the Balearic Islands between 2019 and 2023," proposing new approaches in response to an acute housing shortage and a critically limited public rental housing stock in Spain.
Elia Zenghelis. Photo: Harvard Graduate School of Design
Elia Zenghelis, Greek architect, co-founder of the Office for Metropolitan Architecture (OMA), and one of the most influential architectural educators of the late twentieth century, died on August 30, 2026, at the age of 89. His death marks the passing of a figure whose influence on architectural thought extended far beyond the buildings he designed, shaping the intellectual formation of several generations of architects through decades of teaching across Europe and the United States.
Born in Athens in 1937, Zenghelis studied architecture at the Architectural Association School of Architecture in London, completing his studies in 1961. He joined the practice of Douglas Stephen and Partners, where he worked until 1971, while simultaneously beginning to teach at the AA in 1963. At the school, he became a prominent voice for a more radical, avant-garde architectural discourse, helping to transform the AA into a fertile ground for radical ideas.
Severe late-August wildfires across northern Algeria have brought residential areas, agricultural lands, and critical transport corridors directly into the path of rapidly spreading flames. The destruction across Jijel, Béjaïa, and Tizi Ouzou claimed at least 12 lives and forced the emergency closure of major national highways. The latest outbreak follows a summer of repeated fires across the country, with authorities recorded nearly 2,000 fires nationwide in July, while fires in the northeastern province of Annaba at the end of the month forced more than 100 people to leave their homes and damaged nearly 150 houses. The current fires have again brought residential areas, roads and other infrastructure into the path of rapidly spreading flames. Forest fires occur regularly in northern Algeria during the summer, with increasingly frequent drought and periods of intense heat contributing to more severe fire conditions.
An exhibition tracing the vision behind Herzog & de Meuron's ten selected projects in China will open on September 12, 2026, at the M+ Museum in Hong Kong. The exhibition marks the museum's fifth anniversary; since opening, M+ has built its collection around visual art, design and architecture, moving image, and Hong Kong visual culture from the twentieth and twenty-first centuries. The museum building, designed by Herzog & de Meuron between 2012 and 2021, is located in the city's West Kowloon Cultural District (WestK), a cultural hub spanning forty hectares alongside Victoria Harbour. "Herzog & de Meuron: In Focus" is curated by Ikko Yokoyama and Iris Ng and reviews projects dating from 2002 to 2021, including Tai Kwun in Hong Kong (2006–2018) and the National Stadium in Beijing (2002–2008).
Amid the transformation of Uzbekistan's cities, ARC Architects develops an architecture that seeks to connect past and present. Founded in 2017 by Bobir Klichev, the studio emerged from Bukhara's architectural community and remains closely connected to the country's cultural and climatic particularities. With offices in Tashkent and Bukhara, ARC combines minimalism and ethnic references to develop a contemporary language rooted in its context.
Rather than reproducing a traditional image of Uzbek architecture, the studio seeks to understand how this heritage can be reinterpreted today, an exercise that necessarily engages with the overlapping historical layers across the country. For centuries, cities such as Samarkand and Bukhara were important commercial and cultural centers of Central Asia. Their architecture developed around inner courtyards and narrow streets, forming urban fabrics in which buildings and collective spaces are inseparable.
The courtyard at Rozzol Melara measures two hundred meters on each side, which makes it larger than any square in Trieste. Two L-shaped blocks of exposed concrete enclose it, one of them twice the height of the other, climbing from seven to fifteen stories as the ridge falls away toward the gulf four kilometers below. Concrete pylons spaced every fifteen meters carry the blocks down to a slope they never quite touch, opening porticoes deep enough to walk through, and above them the facades resolve into loggias at the scale of a single room. Seen from the coastal road, none of that is legible; one can only see a gray line drawn across the hills.
Inside the enclosure, the Istituto Autonomo Case Popolari of Trieste built the rest of a city. The 648 apartments account for less of the plan than the schools, the post office, the health center, the parish hall, the twenty-odd shops and the two-level garage, all reached through covered streets that run the length of the blocks and cross the court in a raised walkway, so that the route from a front door to a grocery or a classroom passes through collective space without ever going outdoors. Twenty-nine architects worked on it under the coordination of Carlo Celli, drawing on sociological studies commissioned before the project.
In the 1970s, Cuba faced a severe nationwide housing shortage due to population growth, rural-to-urban migration, and the degradation of existing housing stock. The government's answer was a system that pulled ordinary workers off their regular jobs and put them on building sites instead. This program, known as the Microbrigadas (microbrigades), reshaped entire districts of Havana, where they combined collective self-construction and state-backed technical knowledge, which left a mark on the urban grid of its capital city that persists until today.
