Modernism in architecture was perhaps the first truly global building design philosophy. Established at the beginning of the twentieth century, its early proponents were heavyweights from Europe, such as Le Corbusier, Walter Gropius, and Mies van der Rohe. In 1923, Le Corbusier published his seminal written work, usually translated into English as Towards a New Architecture. Newness, and a rejection of history, was one of the central tenets of modernism. This manifested itself in the use of new materials such as steel and concrete, which gave rise to an unprecedented freedom of formal expression.
By the middle of the twentieth century, Modernism was adopted across the world by countries recovering from the Second World War and overcoming the legacy of colonialism. It became the language of reconstruction and of nation-building, reinforced by its rejection of the past. Its emphasis on technology suited this brave new world of industry, large-scale development, and new building types. Fast-forwarding to a century after its birth, Modernism itself has become the legacy. As buildings progressively become obsolete or reach the end of their design lives, there is an appreciation of the heritage value of these structures, both as designed items and as symbols of the spirit of the age in which they were built. Here, we look at five Modernist buildings from five regions going through adaptive reuse proposals. Where form once followed function, here, the function must follow the form.
Museum of Furniture Studies project visualizations, 2026. Image Courtesy of COBE
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.
Renaissance of the Real by Annabelle Schneider and Snøhetta, Milan Design Week 2026. Image Courtesy of USM
Across cultural platforms, heritage sites, and institutional developments, this week's news reflects how the built environment is reshaped through processes of transformation, reinterpretation, and public engagement. From archaeological reactivations and adaptive reuse strategies to museum expansions and large-scale international gatherings, architecture operates across multiple temporalities, balancing preservation with contemporary use and spatial continuity with evolving cultural programs. Within this context, ArchDaily's selection of installations and exhibitions from Milan Design Week 2026 highlights how design weeks increasingly function as curatorial frameworks for experimentation, while global events and institutional projects continue to expand the formats through which architecture is produced, shared, and debated.
A building designed by Minoru Yamasaki in downtown Minneapolis is set to be converted into a hotel, marking a new phase in the life of the former headquarters of the Northwestern National Life Insurance Company, one of the architect's lesser-known yet formally distinctive works. Vacant since 2023, the building at 20 Washington Avenue South is now the subject of an adaptive reuse proposal that aims to introduce hospitality and public-facing functions. Initial plans were presented in April 2026, outlining a transformation of the structure while retaining its defining architectural features. The project is expected to move forward pending approvals, with a projected opening targeted for 2028.
There is an ancestral gesture in shaping earth. Long before architecture was established as a discipline, clay was already being molded by hand and transformed by fire, turning raw matter into domestic utensils and cultural objects. Within the history of this craft, ceramic factories mark the transition from manual knowledge to serial production, expanding its scale without entirely severing its material origins. Scattered across different territories, these structures record the relationship between technique, landscape, and time. Over the decades, however, many of them lost their original function, replaced by more technological processes or absorbed by the urban development around them, entering an intermediate state between permanence and obsolescence.
The Pantheon in Rome is globally known as a major tourist and architectural icon, a built testimony to both Greek culture and Roman technique, and a symbol of the Roman Empire. The monument was recently intervened upon by the Italian architecture studio STARTT (Studio of Architecture and Territorial Transformations). The project, titled Pantheon – Micro Architectures for Archaeology, was promoted by the Italian Ministry of Culture as part of a program of interventions initiated in 2019 to open public access to the archaeological areas of the Pantheon. STARTT's project represents the first phase of the program, focusing on opening a new entrance from the Pozzo del Diavolo, an area located behind the monument's Rotunda, allowing visitors to access parts of the building's archaeological fabric that were previously reserved for technical functions.
The construction industry today faces an unavoidable paradox: the urgent need for sustainable solutions for the future of cities collides with the exhaustion of the term "sustainability" itself, often reduced to a hollow commercial label. In this scenario, Arquivo – one of the winners of ArchDaily's 2025 Next Practices Award – emerges as a facilitator and mediator between different stakeholders in the construction field through disassembly – or rather, de-construction – and the reuse of building elements. Etymologically, if "construction" derives from the Latin construere (to heap up, assemble), the prefix "de-" imposes a conceptual inversion: it is not about destroying, but about disassembling with intelligence to understand the logic of the parts.
For DB Studios, architecture is not only about building, but about belonging. It is about creating a situated practice, one that responds to its context, its people, and its local identity, expressed through materials, color, and spatial decisions. In this sense, design becomes a way of articulating a language rooted in its context and shaped by the people it serves.
This position becomes especially evident in Vision Pakistan, a project by DB Studios recently recognized with the 2025 Aga Khan Award for Architecture. Beyond recognizing the project's architectural qualities, the award highlights a broader commitment: creating a supportive environment for underprivileged youth in which education, vocational training, and spatial design work together to foster independence and social mobility. Through its form, façade, and interior organization, the building responds closely to its context, reinforcing a sense of ownership among its users while fostering pride in the surrounding community and among emerging local practitioners.
Cultural centers continue to serve as a productive ground for unbuilt architectural exploration, reflecting how architects are rethinking the role of public institutions in relation to landscape, experience, and program hybridity. In this Unbuilt edition, submitted by the ArchDaily community, the selected projects bring together a range of proposals that expand the definition of the cultural center beyond a singular building. These works position architecture as a spatial framework that mediates between research, exhibition, retreat, and public life, often embedded within or distributed across natural and urban contexts.
Across varied geographies, from northern Norway and Oslo to Łódź, Vienna, Marrakech, and New Tashkent, the projects demonstrate diverse responses to cultural infrastructure. They include landscape-integrated complexes shaped by topography and climate, bridges that combine gallery and public circulation, zoological pavilions structured as immersive sequences, adaptive reuse of military buildings into performance spaces, courtyard-based environments rooted in local traditions, and climate-responsive institutions informed by environmental analysis. Together, these proposals explore how cultural programs can be organized through movement, spatial layering, and relationships between interior and exterior conditions.
A team led by French architecture practice Coldefy, comprising CITYFÖRSTER, Sporaarchitects, TREIBHAUS.LAND, and Marko & Placemakers, has won the competition to design a masterplan for Rákosrendező in Budapest. The project is developed for the Budapest Capital Asset Management Centre, acting on behalf of the Municipality of Budapest. The design outlines a 15-year scheme to transform a brownfield site long regarded as the city's "rust belt," located on the eastern side of the Hungarian capital. The regeneration plan includes over 10,000 apartments, new transportation links, and commercial and civic spaces, forming a comprehensive urban redevelopment strategy aligned with 15-minute city principles.
The architecture firm Settanta7 has begun the construction of Bosco della Musica, a new campus for the Conservatorio Giuseppe Verdi in Milan. The site is located in Rogoredo, a former industrial area in the southeastern part of the city, currently under scrutiny due to incidents of violence and public safety concerns. The area is therefore the focus of development initiatives by the Italian Ministry of Transport and Infrastructure, including the competition for this project, which was awarded to Settanta7 in 2022. The firm is responsible for the design and is overseeing the coordination of all disciplines as lead consultant for the construction of the entire project: a broader urban regeneration program that includes the redevelopment of the 17,400 sqm site and the adaptive reuse of the "Ex Chimici" industrial building, alongside the construction of four new buildings, three dedicated to educational activities and one intended for student housing.
As housing shortages and affordability challenges intensify across global cities, this week's architectural discourse centers on how design, policy, and adaptive strategies intersect to shape the future of urban living. Initiatives range from grassroots movements and legislative reforms aimed at expanding access to housing to innovative models that rethink ownership, development, and community engagement. At the same time, architects are reimagining existing structures and districts, transforming underused offices, historic landmarks, and unfinished buildings into mixed-use, culturally significant, or publicly accessible spaces. Across scales, these stories illustrate how architecture negotiates scarcity, value, and social priorities, demonstrating its capacity not only to produce new buildings but also to recalibrate urban environments in ways that balance heritage, sustainability, and human experience.
In an age so obsessed with skincare and appearances, few architects are truly interested in the intestines of our buildings. With a practice rooted in contextual awareness and technical pragmatism, sensitive to the needs of the people it serves and to resource limitations, Moroccan architect Aziza Chaouni focuses on the hidden systems that allow architecture to be. Over the past two decades, she has been working on projects across different geographies, particularly in the Saharan region, actively engaging with its communities and heritage.
Currently leading the South–North (SoNo) Lab for Sustainable Construction and Conservation at EPFL in Lausanne, Switzerland, Chaouni brings to the academic realm her architectural expertise in operating under pressing constraints, advocating for reciprocal collaboration between the Global South and the Global North. ArchDaily had the opportunity to speak with Aziza about her experience in Africa and how it can foster more sustainable ways of designing buildings for the future of our cities.
Manresa Wilds Zoomed Aerial. Image Courtesy of BIG
ManresaIsland Corp. has unveiled the final vision for Manresa Wilds, a 125-acre waterfront park planned on a former power plant peninsula along Long Island Sound in Norwalk, United States. Developed in collaboration with landscape architecture firm SCAPE and architecture studioBIG, the proposal outlines the transformation of a polluted and long-inaccessible industrial shoreline into a publicly accessible coastal landscape. Following the receipt of a stewardship permit from Connecticut's Department of Energy and Environmental Protection in December 2025, the project will move forward in phases, beginning with the opening of the 28-acre Northern Forest in spring 2027. Subsequent phases, extending into the early 2030s, will deliver the majority of the restored landscape and the adaptive reuse of the 1960s-era power plant as a year-round civic and educational hub, opening nearly two miles of coastline that have been closed to the public for decades.
Lacaton & Vassal have announced the transformation of a former administrative center into a mixed-use residential and office building in Vannes, a medieval town in Brittany, northwest France. The project is part of a State policy to mobilize state-owned land for housing. In 2023, the French State launched a call for expressions of interest for a project on the former administrative complex, which housed several State services, in consultation with the City of Vannes. The winning proposal is a partnership between GReeStone Immobilier and Grand Ouest Immobilier, with an architectural team formed by the office of Anne Lacaton and Jean-Philippe Vassal, winners of the 2021 Pritzker Prize, in partnership with Emmanuelle Delage Architecte. According to the city government, the proposal was chosen with the aim of promoting resilience and limiting the carbon footprint by renovating rather than demolishing.
In Hong Kong, where interiors and small buildings are routinely caught between two extremes—high-gloss "luxury" finishes on one end, and budget-cautious industrial roughness on the other—a third attitude has emerged through the calibration of both: a uniquely precise, relevant, and materially honest execution that is not dependent on price point. This is calibrated rawness. Calibrated rawness describes an architecture that retains the directness of matter and materiality—concrete, metal, blockwork, exposed structure, visible services—while subjecting it to rigorous control.
The "raw" is not a costume, and the "refined" is not polished; it is a discipline of precise execution, producing spaces that feel balanced and considered, yet never "made up" or overworked. Studio 1:1 demonstrates this attitude consistently across its work—and its upcoming publication, Architecture under the Radar: Three Projects in Asia (with a foreword by Nader Tehrani), offers a timely frame through which to read this ethos as more than an aesthetic, but as a repeatable architectural method.
Hospitality-driven programs, specifically coffee shops and social hubs, are partly defined by their role as "third places": social anchors that bridge the gap between private and public life. Unlike residential or commercial office programs that require rigid partitioning for privacy and utility, they rely on expansive, open-plan environments. This allows for an architectural strategy of minimal intervention, allowing the structural envelope to remain intact. By avoiding the subdivision of space, architects maintain uninterrupted sightlines to original masonry, timber frames, or decorative ceilings, ensuring the building's historical narrative remains the protagonist. Simultaneously, the commercial activity provides the necessary maintenance and public engagement to ensure the site's continued existence.
