Adaptive Reuse: The Latest Architecture and News

Once the largest coal mine in Europe, the Zollverein complex in Essen, Germany, has undergone a remarkable transformation over the past twenty-five years. What was once a landscape of abandoned industrial facilities is now a laboratory of contemporary architecture, featuring works by Rem Koolhaas, Norman Foster, and SANAA. Their interventions bridge the site’s industrial past with its imagined future. Spanning 100 hectares, the UNESCO World Heritage site has become a global model of adaptive reuse, redefining what it means to preserve industrial heritage. Within this context stands the Ruhr Museum and its enigmatic art repository, the Schaudepot. Located in the complex’s former salt factory, the museum impresses not only with its collection but also with its architecture, which transforms a 1960s industrial building into a vibrant cultural venue.

Because of its historical and architectural relevance, the project is featured in the 2025 edition of Open House Essen, under the theme “Future Heritage.” The initiative explores which spaces might shape our future architectural legacy and asks pressing questions: What should we preserve? What should we adapt? And how can we design a future that is both livable and fair?

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SPPARC architecture and design studio has revealed plans to renovate the former Ravenscourt Park Hospital in Hammersmith, London, which has stood vacant for two decades. The building, originally named the Royal Masonic Hospital and designed by Thomas S. Tait, is regarded as one of the first major modern buildings in the UK and was Europe's largest independent acute hospital when it was opened by King George V in 1933. Built to provide low-cost treatment for Freemasons and their families, the 260-bed facility operated until 1994, reopened as an NHS hospital in 2002, and was permanently closed in 2004. According to the recent announcement, the Grade II listed landmark, currently on Historic England's Heritage at Risk register, is intended to be repurposed as 140 new homes, a 65-bed care home, and spaces available for public hire.

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This curated selection of projects from the 2025 Venice Architecture Biennale explores regeneration as a deliberate, intelligent process rooted in the specific conditions of a place. For decades, the Biennale has been a testing ground for architecture's most urgent ideas, allowing designers, researchers, and institutions to present visions that address evolving environmental, cultural, and social challenges. This year's projects reveal how regeneration, whether of an entire coastal city, a disused industrial site, or a neglected public space, requires more than replacing the old with the new. It calls for a precise reading of existing contexts, the preservation of embedded knowledge, and the careful integration of contemporary needs.

The eight selected works show that regeneration can emerge from multiple starting points: reactivating heritage through adaptive reuse, restoring ecological systems as part of urban planning, developing open and modular strategies for social housing renewal, or layering technological innovation onto historically rooted practices. While the scale of intervention varies, each project demonstrates a sensitivity to what is already there and existing, be it material resources, urban patterns, or cultural memory, and a willingness to work with these assets as catalysts for transformation. Together, they suggest that regeneration must start somewhere, and that its success lies in balancing innovation with the intelligence of what already exists.

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What does it mean to build with care, using what others leave behind? This question shapes the work of the Matter Matters Lab, an initiative founded by architect and researcher Catherine Söderberg Esper during the isolation of the pandemic. Drawing from experiences across cultures and motivated by a personal transformation during motherhood, Catherine began to investigate everyday waste as raw material for regenerative construction systems. Her first experiment involved gluing her own cut hair using white glue, initiating a radically intimate and handmade approach. Since then, the lab has focused on transforming organic waste into low-impact architectural materials, inspired by Indigenous knowledge systems and aiming to break from extractive models in construction. Projects like the Avocado Bricks, made from discarded avocado seeds, exemplify this approach of local, circular, and rooted in the idea of reciprocity between matter, place, and care, offering a new way of building with waste.

The Deutsches Architekturmuseum (DAM) in Frankfurt has launched its new exhibition Architecture and Energy: Building in the Age of Climate Change on June 14, which will be open to visitors until October 5, 2025. Developed in collaboration with engineer and sustainability advocate Werner Sobek, the exhibition explores the intersections of architecture, energy, and climate, focusing on the environmental impact of the built environment and the role of architecture in mitigating climate change. By framing architecture as both a challenge and an opportunity in the context of the climate crisis, the exhibition seeks to contribute to a broader shift in thinking, one that positions design as a vital component of a sustainable future.

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MVRDV has completed the GATE M West Bund Dream Center, a major adaptive reuse project that transforms a former cement factory into a dynamic cultural and leisure district in Shanghai. Located along the city's Huangpu River, the development contributes to the growing series of West Bund cultural initiatives and offers a wide array of public amenities, from food and retail spaces to climbing facilities, event venues, and riverside relaxation areas. Once the site of Asia's largest cement factory, the area underwent a significant shift following the 2010 Shanghai Expo, which prompted the relocation of industrial activities and the revitalization of the riverbanks.

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The theorist André Corboz, known for his contributions to the critical reading of territory, proposes that the cities should be understood as a palimpsest. That is, a surface continuously rewritten, where traces of previous layers remain visible even after successive interventions. For him, the city is not a static entity, but an organism in constant transformation, where historical, functional, and symbolic layers overlap. This is why working on restoration or rehabilitation projects for historical buildings is particularly complex, requiring careful thought about the approach to be taken: should extensions and renovations seek complete coherence with the original language, or assert themselves as architectural expressions of their own time?

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During 2024, the Canadian Centre for Architecture (CCA) launched a three-part documentary and exhibition series titled Groundwork, exploring alternative modes of practice in light of the current climate crisis. The process began with a series of studio visits in search of offices addressing substantial questions for contemporary architecture through practice, culminating in the selection of three projects: Xu Tiantian's "minimal intervention" museum on Meizhou Island, Carla Juaçaba's community pavilions in a coffee field in Minas Gerais, and bplus.xyz (b+)'s European Citizens' Initiative for a new legal framework to facilitate the renovation and transformation of existing buildings. The latter, HouseEurope!, was recently recognized as the winner of the seventh edition of the OBEL Award and was showcased at the international exhibition of the Venice Architecture Biennale 2025.

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