Museums: The Latest Architecture and News

The Museum of Furniture Studies was founded in 2017 in Stockholm, showcasing a collection of more than 1,300 furniture pieces by over 44 international designers. The museum's physical location closed in 2022, maintaining its visibility through its Digital Archive for Design Furniture until it was acquired by IKEA in 2024. This week, Danish architecture studio Cobe announced the transformation of a former IKEA warehouse in Älmhult, Sweden, into a new home for the museum. The project involves converting a closed storage facility into an open and accessible space for design while preserving its industrial structure. The building is scheduled to open in early February 2027.

The Bass Museum of Art has appointed the Los Angeles-based architecture practice Johnston Marklee to lead the expansion of its campus in Collins Park, Miami Beach, advancing a long-term vision that integrates architecture, landscape, and contemporary art. Founded in 1964 following the donation of the John and Johanna Bass collection, the museum is housed within a 1930s Art Deco building originally designed by Russell Pancoast as the Miami Beach Public Library and Art Center. Over time, the institution has evolved through architectural interventions, most notably the campus framework introduced by Arata Isozaki, which establishes a dialogue between the historic fabric and contemporary additions.

On Sunday, April 19, 2026, the Los Angeles County Museum of Art (LACMA) opened its new David Geffen Galleries to the public. Designed by architect Peter Zumthor, the building offers an elevated exhibition space for the museum's permanent collection. All artworks are presented in a single-level open space, in a non-hierarchical layout of cultures, traditions, and eras, spanning 6,000 years of art history across approximately 155,000 objects. The space is flexible, accommodating diverse curatorial projects as well as visitors' individual paths. The project marks a new step in the institution's two-decade transformation into a global art museum and the most comprehensive in the western United States.

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V&A East Museum, designed by architects O'Donnell + Tuomey, will open to the public on 18 April 2026. Assigned to the firm in 2015, the new building is located in the Queen Elizabeth Olympic Park, near its recently opened sister facility, the V&A East Storehouse, designed by Diller Scofidio + Renfro. Located in East London, the UK's newest cultural quarter supported by the Mayor of London, the two-building complex aims to "spotlight the many ways global artists, designers, and makers use creativity to shape the world." Dedicated to creative opportunity and its power to bring change, the museum's five public levels contain two permanent galleries, a 900 sqm temporary exhibition gallery, a top-floor project and event space, learning facilities, and a café.

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Throughout 2025 and early 2026, numerous museum projects were announced, advanced, or broke ground across multiple regions, with completion timelines largely extending from 2026 to 2030. Located across Asia, Europe, North America, and Central Asia, these developments reflect ongoing shifts in the role of cultural institutions within contemporary cities. Increasingly, museums are conceived not only as exhibition venues but as public-facing environments that accommodate education, research, and civic engagement. This expanded programmatic scope is often accompanied by architectural strategies that respond to urban conditions, spatial continuity, and the integration of cultural infrastructure into broader city-making processes.

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Far from the perception of the exhibition space as a sterile and untouchable, almost sacred place, the contemporary technology museum has emerged as a performative participant in the systems it seeks to document. The architecture of these institutions has become increasingly fluid and bold, often mirroring the velocity and complexity of the systems it houses. They operate as mediators between the human, the ecological, and the technological realms, transforming from encyclopedic warehouses into active educational engines. By spatializing complex scientific data through immersive rooms, these structures make the technological networks of our world accessible, engaging, and tangible.

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Architectural heritage is not only what a building was, but what it continues to become: a long process of building, rebuilding, and re-occupying over time. Where opportunities allow, this continuity produces a layered condition—one in which visitors can witness, experience, and feel the gradual shifting of a building's fabric, materiality, spatial order, and patterns of use, and occasionally even participate in that transformation.

Yet many projects—particularly those driven primarily by commercial imperatives—do not choose to value, or even to recognize, this slower work of adaptive reuse and heritage continuation. Developments governed by a numbers-only logic often opt for the easier path of demolition and rebuild: maximizing plot ratio, GFA, and rentable area with the efficiency of a clean slate. And still, every now and then, an opportunity surfaces that allows us to see—and to enjoy—the city's process of architectural "heritaging" in real time.

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Following the release of seven shortlisted proposals in 2025 through an online gallery, the Foundation for the Development of the Lands Adjacent to the Baptism Site has announced the winner of the international design competition for the Museum of Jesus' Baptism at Bethany, Jordan. Managed by Malcolm Reading Consultants, the six-month invited competition brought together architect-led multidisciplinary teams to design a museum and landscape project responding to the sacred character of Al-Maghtas, a UNESCO World Heritage Site. After finalist interviews conducted by an international Advisory Panel, the team led by Níall McLaughlin Architects (NMLA) was selected as the competition winner.

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New renderings released by WEISS/MANFREDI reveal updated plans for the ongoing transformation of the La Brea Tar Pits in Los Angeles, a comprehensive redesign that integrates the museum, landscape, and active excavation areas into a continuous public and research-oriented campus. Alongside the design update, the Natural History Museums of Los Angeles County (NHM) has announced the creation of the Samuel Oschin Global Center for Ice Age Research, a new initiative supported by the Samuel Oschin Family Foundation, which advances the site's long-term redevelopment. The transformation project is led by WEISS/MANFREDI as design lead for the museum and park, with Gruen Associates serving as executive architect and landscape architect, and Kossmanndejong (KDJ) responsible for exhibition design. Fundraising efforts are ongoing, with the project positioned for completion ahead of the 2028 Olympic Games in Los Angeles.

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Sordo Madaleno, in collaboration with építész stúdió and Buro Happold, has been selected to design the 43,000-square-meter New Debrecen Collection Center for the Hungarian Museum of Natural History. Debrecen, Hungary's second-largest city, is currently the focus of significant urban and university-related development, including plans to relocate the Hungarian Museum of Natural History from Budapest to the edge of Debrecen's Great Forest. The proposed Collection Center is conceived as a facility dedicated to the controlled storage and study of more than 11 million objects, drawing conceptual inspiration from traditional Hungarian clay vessels, structures historically used to protect and preserve. The project would mark the first European cultural commission for the Mexican architecture practice, which operates studios in London and Mexico City.

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This article is part of our new Opinion section, a format for argument-driven essays on critical questions shaping our field.

Traditionally, a museum visit is a calendared occasion with a clearly scripted sequence. Arrival is ceremonially marked—by grand stairs or thresholds, by ticketing and information desks, by an audio guide and a concise institutional preface about mission and history. That deliberate "special occasion" quality extends from how museums were long conceived: deliberately exceptional, tightly curated, and organized around a specific narrative arc. In this model, the museum assumes an authoritative voice—its knowledge deep, vetted, and to be respected rather than contested—while architecture and choreography reinforce a rather singular way of entering, learning, and remembering.

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The New Museum is the only museum in New York City dedicated exclusively to contemporary art. From its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding building on the Bowery, designed by SANAA in 2007, it has evolved into a center for exhibitions, research, and documentation on international living artists. In 2017, Shohei Shigematsu and Rem Koolhaas of OMA were selected to design the New Museum's expansion. The first design images were released in 2019. On January 13, the Museum announced that its 60,000-square-foot expansion, designed in collaboration with Cooper Robertson, will open on March 21, 2026, with an exhibition exploring the very definition of humanity.

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Snøhetta, in collaboration with the Beijing Institute of Architectural Design (BIAD), has won the international competition to design the Beijing Art Museum in Tongzhou District, Beijing. The project officially broke ground on December 31, 2025, with completion and public opening anticipated in 2029. Conceived as a new landmark for the eastern part of the city, the museum will form part of Tongzhou's cultural and civic development strategy as Beijing's sub-center. The commission marks Snøhetta's second major cultural project in the Chinese capital, following the Beijing Library, which opened to the public in 2023 and has since become a key reference for contemporary civic architecture in the city.

A new museum dedicated to the science of carbon fiber opened in Fiorenzuola d'Arda, Italy, on December 17, 2025. The project dates back to 2021 and was designed by CRA–Carlo Ratti Associati in collaboration with the late Italian architect Italo Rota. Commissioned by MAE, a manufacturer of equipment for carbon fiber production, the project transforms one of the world's largest archives on carbon fiber into a dynamic museum, uniting research with archival preservation and turning the archive into a space for interactive exploration. The project is described by its designers as a "living museum," a place to read, inquire, and connect ideas.

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Cultural institutions represent an active field for unbuilt architectural exploration, reflecting how architects continue to question the role of public buildings in shaping urban life. In this Unbuilt edition, submitted by the ArchDaily community, the selected proposals bring together a range of projects that engage with museums, exhibition centers, and diplomatic buildings as sites of public encounter. Rather than treating these programs as fixed types, these projects approach them as evolving spatial settings through which cities engage with history, knowledge, and representation.

Across varied geographies, from Wenzhou and Helsinki to Belgrade, Debrecen, Mexico City, and Nürnberg, the proposals explore different responses to contemporary cultural architecture. They range from adaptive reuse of industrial and ideological structures to new buildings embedded in waterfronts, parks, and residential neighborhoods. While some emphasize continuity with historical contexts, others experiment with lighter structures, environmental strategies, or new relationships between interior programs and the public realm. Together, they offer a snapshot of how cultural institutions are being reimagined in diverse urban conditions.

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The opening of the new Fondation Cartier pour l'Art Contemporain in Paris last October sparked renewed questions around the role, form, and future of museums. As cultural institutions continue to proliferate worldwide in this digital era, the museum itself appears increasingly in need of redefinition. Rather than offering a single model or solution, Architecture for Culture: Rethinking Museums, written by architectural historian and curator Béatrice Grenier, argues for a more contextual and plural understanding of what a museum can be: an institution shaped by its environment, its public, and the specific cultural questions it seeks to address.

ArchDaily had the opportunity to discuss these ideas with the author against the backdrop of the Fondation Cartier's newly inaugurated home on Rue de Rivoli. Housed within a restored Haussmannian building that once accommodated the Grands Magasins du Louvre, the space has been radically reimagined by Jean Nouvel as a dynamic, transformable architecture.

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The future Las Vegas Museum of Art (LVMA) will be the city's first stand-alone museum, designed by Pritzker Prize-winning architect Francis Kéré. In fall 2024, the City of Las Vegas granted LVMA two acres of land in Symphony Park, neighboring the city's downtown arts district, as part of a public-private partnership. The project is intended to serve the city's more than 2.4 million year-round residents, including nearly 300,000 students living within a 10-mile radius of the park, as well as tens of millions of visitors from around the globe. The 60,000-square-foot building was designed by Kéré Architecture, which teamed up with Skidmore, Owings & Merrill (SOM) to provide Las Vegas with "a gathering place for community and a beacon for the cultural world," and is scheduled to open in 2029.

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This week's architectural news reflects a broad engagement with how institutions, practitioners, and cultural platforms are positioning themselves in relation to both legacy and long-term change. Across museums, galleries, and major cultural events, architecture is being framed as an evolving public infrastructure, one that must respond to expanding collections, shifting curatorial models, and growing expectations around accessibility, sustainability, and civic presence. Alongside these institutional developments, professional recognitions and appointments have foregrounded practices rooted in site specificity, conservation, and critical research, highlighting architecture's role in mediating between historical contexts and contemporary needs.

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