Lampegiet Theatre in Veenendaal, Netherlands. Image Courtesy of MVRDV
Designed by MVRDV in collaboration with Buro Happold, the new Lampegiet Theatre in Veenendaal, the Netherlands, is scheduled to replace the existing theatre building from 1988. Approved by the Veenendaal City Council in January 2026, the project is expected to begin construction in 2027 and reach completion in 2029. Conceived as a contemporarycultural venue that responds to both current performance requirements and the city's historical identity, the new theatre introduces a compact, multi-volume composition wrapped in a porous ceramic facade that allows the building to act as an illuminated urban landmark.
Architecture's public role emerges as a central theme across recent announcements, institutional projects, and professional programs. The selection of the 2026 Serpentine Pavilion designer foregrounds architecture as a space for public encounter and material inquiry, while major civic and cultural projects point to renewed investment in institutions that support education, exchange, and urban continuity. Alongside these developments, international award programs and policy-aligned initiatives continue to situate architecture within broader conversations on sustainability, social responsibility, and long-term impact, highlighting how design decisions at both intimate and monumental scales respond to shared environmental and civic challenges.
Leisure spaces are often where different generations cross paths. Without formal programs or assigned roles, they allow people to move, pause, and remain together, each engaging space in their own way. In a built environment increasingly shaped by specialization and separation, these shared spatial grounds have become less common, giving leisure-oriented architecture a renewed relevance.
Discussions around public space have repeatedly pointed to the value of openness and flexibility in supporting collective life. As architect Herman Hertzberger has noted, "the more a space can be interpreted in different ways, the more people it can accommodate." Rather than attempting to create interaction, architecture shapes the conditions that make togetherness possible.
Spanning multiple geographies and scales, this week's architecture news reflects ongoing discussions around long-term planning, institutional frameworks, and the public role of architecture. National-scale urban initiatives and large civic developments point to how planning and infrastructure are being used to reorganize cities and territorial systems, while parallel attention to stadiums, cultural facilities, and mixed-use projects highlights the expanding civic ambitions of large-scale architecture. Alongside these, interviews and heritage-focused projects foreground participatory practices and the careful reuse of existing structures, highlighting architecture's capacity to operate within complex social and political conditions. Recognition platforms and professional programs further situate these practices within a broader architectural discourse, offering insight into how contemporary work is evaluated and shared across regions.
MVRDV and Delft University of Technology Release _Le Grand Puzzle_, an Urban Study of Marseille in the South of France. Image Courtesy of HÇläne Bossy, Manifesta
In architecture, most practices revolve around delivering projects to clients. Offices are shaped by deadlines, budgets, and clear briefs. While this structure produces buildings, it rarely leaves space for architects to question broader issues — about how we live, how cities are changing, or what the future demands of design. But alongside this production-focused system, a quieter movement has emerged: studios, collectives, and foundations that prioritize research, experimentation, and reflection. These are the architecture think tanks — spaces designed not to build immediately, but to think first.
The idea of a think tank is not new. Traditionally found in politics, economics, or science, think tanks bring together experts to study complex problems and propose solutions. In architecture, their rise reveals a tension at the heart of the discipline. If architecture is to remain socially and environmentally relevant, can it continue to rely only on client-driven practice? Or must it carve out space for slower, deeper inquiry?
This article is part of our new Opinion section, a format for argument-driven essays on critical questions shaping our field.
Who designs architecture today? In a professional landscape increasingly defined by collaborative workflows, generative software, and distributed teams, the figure of the architect as a singular creative author feels both anachronistic and inadequate. This article argues that architectural authorship is no longer an individual act, but a collective and distributed condition shaped by institutions, technologies, and shared forms of labor. The transition from individual to collective authorship is not simply a consequence of larger offices or digital tools; it signals a deeper structural shift in how architecture is produced, communicated, and validated.
The Plum Village BuddhistMonastery in southern Dordogne, France, has received construction approval for the first phase of its ongoing collaboration with Dutch architecture studio MVRDV. The approvals cover the Upper Hamlet masterplan phase, including the construction of new guest houses and the renovation and expansion of the monastery's bookshop, as well as a new nunnery building at the Lower Hamlet. Developed in collaboration with co-architect MoonWalkLocal and consultants OTEIS, VPEAS, and Emacoustic, the wider project includes two masterplans for the Monastery's Upper and Lower Hamlets, four communal guest houses, a new nunnery, and the transformation of an existing bookshop. Working on a non-profit basis, the design team prioritises renovation alongside the use of circular and bio-based materials, aligning the architectural approach with the monastery's philosophical principles. The proposed additions aim to better accommodate the annual visitors who travel to Plum Village to engage with the teachings of Engaged Buddhism.
MVRDV and SYNRG have received approval to construct Schieblocks, a 47,000-square-metre office building in Rotterdam, the Netherlands. Designed for developer LSI, who markets the project as The Bluezone Offices, the building will occupy a narrow site along the railway line, reaching 61 metres in height and extending almost 150 metres in length. The programme includes commercial spaces at ground level, offices throughout, and a restaurant and event venue on the upper floors. Conceived as a "3D neighbourhood," the design breaks the large volume into a series of colourful, distinct blocks that incorporate numerous references to Rotterdam's architectural character.
What does optimism feel like in cities that can no longer rely on perfection as their ultimate ambition? Across the world, urban environments bear the weight of overlapping pressures: climate volatility, spatial inequality, political fragmentation, public distrust, and chronic infrastructural disinvestment. These realities render the idea of an ideal city increasingly detached from lived experience. Yet the hope for building better systems persists. While utopian visions may seem like an escape from the growing complexities of the modern world, the greater challenge for contemporary city-making is to confront those complexities rather than avoid them.
Two 36-storey residential towers have been completed on Irwell Bank Road in Singapore, featuring a pixelated facade designed by MVRDV. The scheme builds on the modular system developed by ADDP Architects, who designed the buildings using Prefabricated Prefinished Volumetric Construction (PPVC). MVRDV's facade introduces variation across the elevations and marks the locations of the communal green spaces on the 24th floor and the rooftop. Irwell Hill Residences, developed by City Developments Limited (CDL), is MVRDV's debut collaboration on a building in Singapore's urban core.
"The Grand Ballroom" Asllan Rusi sports palace project in Tirana, Albania by MVRDV. Image Courtesy of MVRDV
This week's architecture news highlights a diverse global landscape of design innovation, cultural investment, and adaptive reuse. Across continents, new museums and cultural venues are opening to foster dialogue around art, design, and community engagement. At the same time, major recognitions and project announcements underscore the growing importance of sustainable, socially conscious practices in shaping contemporary architecture. From adaptive transformations in New York, Tainan, and Milan, including preparations for the Milano Cortina 2026 Winter Games, to new cultural landmarks in Ghana and Qatar, this week's overview features projects by leading firms such as Herzog & de Meuron, Snøhetta, and Mecanoo, alongside initiatives from emerging practices like Limbo Accra in West Africa.
"The Grand Ballroom" Asllan Rusi sports palace project in Tirana, Albania by MVRDV. Image Courtesy of MVRDV
Tirana, the capital of Albania, is experiencing a rapid transformation driven by the long-term urban strategy outlined in the Tirana 2030 (TR030) Master Plan. Developed in 2017 by Stefano Boeri Architetti, UNLAB, and IND [Inter.National.Design] through a competition organized by the Ministry of Urban Development, the plan's objectives include increasing urban density, improving public infrastructure, and integrating green spaces and open areas into the urban fabric. It is in this dynamic setting that MVRDV has won the international competition for Tirana's new Asllan Rusi Sports Palace. Conceived as a mixed-use development, the project, named The Grand Ballroom, combines a 6,000-seat arena for basketball and volleyball with residential apartments, a hotel, and ground-level retail. With its spherical form exceeding 100 metres in diameter, the design adds a distinctive landmark to Tirana's growing collection of ambitious architectural projects.
The Sax residential towers by MVRDV. Render. Image Courtesy of MVRDV
The City of Rotterdam, developers BPD and Synchroon, and architecture firm MVRDV have officially begun construction on The Sax, a major residential project located on Rotterdam's Wilhelminapier. Designed to contribute to the city's ongoing densification efforts, the development will deliver 916 apartments within two interconnected towers. Once completed, The Sax will make Wilhelminapier the most densely populated area in the Netherlands, making the project an example of compact urban growth. The design comprises two towers, combining a wide mix of housing types and shared amenities with strong connections to public transport and sustainable mobility solutions, including parking for 1,800 bicycles and a fully automated car garage. With its silver façade and undulating balconies, the building's form echoes the shape of a saxophone, reflecting the character of Rotterdam.
As the 19th Venice Architecture Biennale enters its concluding weeks, the global architecture scene continues to unveil significant projects and recognitions. This week's highlights include Studio Libeskind's residential complex in Prague; sauerbruch hutton's Panorama Constance exhibition building in Germany, and CRA–Carlo Ratti Associati's digitally fabricated bivouac for the upcoming Milano Cortina 2026 Winter Olympics. In New York, Venezuelan artist Miguel Braceli designed a major public artwork for the city's waterfront, addressing themes of migration, diversity, and the complexities of geopolitical identity. The week also brought recognition to sustainable and creative achievements, from the Holcim Foundation's regional awards for sustainable construction to the publication of Tadao Ando. Sketches, Drawings, and Architecture by Taschen, celebrating nearly five decades of the architect's design process.
Shenzhen is China's first Special Economic Zone（SEZ), serving as a window for China's Reform and Opening-up and an emerging immigrant city. It has evolved into an influential, modern, and international metropolis, creating the world-renowned "Shenzhen Speed" and earning the reputation of the "City of Design." Architectural design stands as the most intuitive expression of Shenzhen's spirit of integration and innovation. Over the past decade (2015-2025), the development of urban architecture in Shenzhen has closely integrated with its open and inclusive urban character, ecological advantages of being nestled between mountains and the sea, and the local spirit of blending traditional culture with innovative technology, showcasing Shenzhen's unique charm and robust vitality across multiple dimensions.
Every act of building begins with the transformation of raw materials, energy, and land, and this inevitably entails environmental impact. This encompasses all the changes a process triggers in the natural world: from resource extraction to pollutant emissions, from energy consumption to biodiversity loss. Measuring this is complex, as it spans multiple dimensions. Carbon has emerged as the common metric, translating these effects into greenhouse gas emissions (CO₂ equivalent) directly linked to global warming. This standardization has made it omnipresent and comparable across materials, systems, and sectors. Reducing carbon emissions, therefore, means addressing the root of global warming, which is a particularly urgent task in the construction industry, responsible for about 39% of global emissions. In response to this challenge, MVRDV NEXT, the innovation and digital tools division of the Dutch architectural firm, launched CarbonSpace, a free, open platform that brings carbon accounting to the architect's desk, right at the napkin sketch stage.
The museum and gallery visit has long been a highly curated experience. Visitors are guided through a carefully orchestrated sequence of rooms, with hand-picked works arranged to tell a specific narrative, supported by signage, graphics, scenography, and calibrated lighting. Even the rarely changed exhibitions - the permanent collections, also typically rely on a strong curatorial voice— led by noted artists or curators—to set institutional stance and shape interpretation.
At the same time, storage areas for museums and galleries are typically kept separately—often within the same building but under tightly controlled access, and not infrequently off-site in dedicated facilities, such as the Louvre Conservation Centre. These zones have long been understood as highly controlled spaces not only in terms of access, but also in relation to climate, humidity, archival order, handling protocols, maintenance, and repair. For fear of thefts and that the spatial, environmental, and sequencing requirements of the archive could be disturbed, storage has traditionally been somewhat secretive and primarily serves academic researchers and art practitioners by request. Rarely does the general public gain a comprehensive picture of the works safeguarded by any given institution.
