Beyond the village, along a road leading deeper into the majestic Bohemian Forest, stands a late 19th-century cottage. We propose a renovation that emphasises the joy of living in a house that has survived throughout and despite changing times. A house that is considerate of its surroundings rather than a loud neighbour.

The architecture design for Center Rog adds to the cultural revitalization of the city by rehabilitating a building that is listed due to its great heritage and historical value, in an urban location on the river embankment that needed a new lease of life and a makeover for use by citizens. 

Upon taking on the project and construction of the Village House, we encountered a building formed by the joining of two semi-detached houses, “regularized” by a superficial intervention that did not address the essential issues of the space. The initial diagnosis revealed a fragmented configuration, with compartments lacking a clear purpose, underutilized areas, and a staircase adapted to reach the upper floor, highlighting the lack of continuity between the parts. There were overlapping uses, unclear passages, and timid natural light that entered, unable to structure daily life. Our starting point was to restore logic and meaning to the whole, transforming two disconnected halves into a single organism.

The brickworks, that is run today by the Brickworks Museum, is the only intact surviving handmade brickworks in German-speaking Switzerland. The listed ensemble consists of a timber brick-drying shed, a kiln, that may no longer be operated, the biotope of the historical clay pit, a residential building with gardens, and a museum building that replaces a burned-down barn. In 2017 students of the guest professorship at the TU Munich worked on the task of designing a new kiln tower on the site. The prestressed earth-and-timber structure is based directly on the mock-up carried out at the Sitterwerk and is the world’s first prestressed earth building.

This building was designed as a home for a couple and their two children. The site is located on a quiet residential corner surrounded by an apartment complex and a golf course, with three sides facing roads except for the south. Currently, the area is a mix of vacant lots and houses, but it will gradually be filled with houses. The camping caravan on the vacant lot evokes the image of a family who enjoys nature and camping. I envisioned a house that would embody such a warm and joyful family life.

Laoyuting Pavilion is one of the invited projects of the 2024 Dianchi Art Season: “Home and Future”. It is located on the southern side of the Water-Forest Art Zone in the Laoyu River Wetland Park at Dianchi Lake. After its completion, it first served as the entrance to the Dianchi Art Festival, and after the festival, the pavilion was permanently preserved as a spatial hint for entering the wetland park, as well as a resting place for visitors. This wetland, filled with groves of bald cypress along the edge of Dianchi Lake, is in fact part of the city’s water-purification infrastructure—the final stage of natural filtration before water enters the lake. It is home to many small fish, and city dwellers often come here during leisure time to catch fish, hence the name Laoyu River Wetland. As a pavilion where people rest while fishing, it naturally came to be known as the Laoyuting Pavilion.

Few programmes offer such strong and evocative poetic substance as a lighthouse. The lighthouse is a place and an object that inspires reverie, the imagination of distant places, but also of return, of a landmark, a symbol of safety after stormy voyages. The lighthouse is the very embodiment of what it carries, of why it exists: to carry and bring light.

Earlier this month, news of Frank Gehry’s passing prompted an outpouring of tributes to the architect behind flamboyant museums, concert halls, and sinuous residential complexes. Rather than revisit that well-charted terrain, it is worth pausing on a more contemplative work in his oeuvre: Maggie’s Cancer Caring Centre in Hong Kong. Quiet, optimistic, and calibrated for everyday resilience, the building reflects multiple registers of Gehry’s intent: a commitment to positivity and survival—and, more personally, an architect’s own reckoning with loss and end-of-life care.

AquaPraça, the floating cultural plaza designed by CRA-Carlo Ratti Associati and Höweler + Yoon, becomes one of the landmarks of the UN Climate Change Conference COP30 in Belém, Brazil. Following its unveiling in Venice in September during the Biennale Architettura 2025 in partnership with Italy’s Ministry of Foreign Affairs and International Cooperation, Italy’s Ministry of Environment and Energy Security, and COP30 Presidency, AquaPraça now serves as an integral part of the Italian Pavilion at COP30, the UN Climate Change Conference. AquaPraça was made possible through a unique international coalition, including the Italian Agency for Development and Cooperation, CIHEAM Bari, and the World Bank Group’s Connect4Climate program, and with the support of BF International – Member of BF S.p.A. Group (as AquaPraça COP30 Naming Partner), Bloomberg Philanthropies, Costa Crociere, ENEL, and Gruppo Ferrovie dello Stato Italiane. AquaPraça was constructed by an Italian leading advanced steel construction Company, Cimolai. After COP30, Aquapraca will be donated by Italy to Brazil to become a community space for promoting social engagement on climate, cultural strategy, and creative industries in partnership with the State of Parà of Brazil.

Designing a residence in the heart of one of the busiest neighborhoods in the Metropolitan Zone of Guadalajara was quite a challenge, especially considering the proximity of the condominium’s clubhouse and the entrance booth. The family sought an intimate and private home, and this is how we achieved Casa EV, a unique and cozy space.