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Limberlost Place, on Toronto's waterfront, is perhaps the world's first public tall timber building—a technical landmark that also elevates the art of architecture. Designed by Moriyama Teshima Architects in joint venture with Acton Ostry Architects, the project was selected via an international competition hosted by George Brown College for a building that would achieve the highest global standards for design, technology, and sustainability. George Brown set out to demonstrate its leadership in sustainability and climate-consciousness with a state-of-the-art building that would serve as a living laboratory for students and a showpiece for Canada's tall timber construction industry.

In 2016, we were invited—along with several international studios—to take part in a closed competition for a single-family house in one of Vilnius's suburban districts, organized by a private client. This is an area characterized by loose, traditional development, with houses and summer cottages nestled among trees and expansive recreational grounds. On the plot included in the competition, as well as in its surroundings, there were once wooden houses from the interwar period, which have not survived to the present day.

A perforated screen is often treated as an afterthought, something applied to soften light, to decorate a façade, or to add texture where a wall might otherwise feel flat. It is photographed as a surface, drawn as a pattern, and discussed as a craft. But in many buildings across the Indian subcontinent and the Islamic world, the screen was never an addition. It was the wall itself. Remove it, and the building does not simply change in appearance; it loses its ability to regulate heat, move air, and mediate between inside and outside.

Casa Luz is an architectural and interior design intervention in an existing home in the city of Oaxaca that reflects on how to inhabit from a local perspective without resorting to nostalgic or literal gestures. The proposal is built upon a sensitive reading of the context, where materiality, light, and craftsmanship become the primary means of expression.

The 2026 edition of the Sony World Photography Awards has announced its overall winners, recognizing contributions across the Professional, Open, Student, and Youth competitions. Now in its 19th year, the program continues to position itself as a key platform for both emerging and established practitioners, drawing over 430,000 submissions from more than 200 countries and territories. The program recognizes work across ten Professional categories, including Architecture & Design, alongside parallel Open, Student, and Youth competitions, and is accompanied by an annual exhibition at Somerset Hou

The expansion of the Eugen-Bolz student residence is being built by the diocese of Rottenburg-Stuttgart and is located in the middle of a beautiful urban park.

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 institutio

Architecture is often evaluated through what gets built. But in many cases, what matters happens after: how spaces are used, adapted, and made part of everyday life. For Región Austral, winner of ArchDaily's 2025 Next Practices Awards, this is where design really begins. Working across many contexts, the practice approaches public space not as a single object, but as something that needs to be activated, negotiated, and sustained over time. Their projects focus less on defining form and more on creating the conditions for use, with design serving as the starting point.

Situated in a medium-density suburb, Burnley is a composed urban infill to a row of townhouses that has replaced the formerly dominant terrace houses in the area. Sheltered behind the hit-and-miss brickwork is a tranquil home with robust materiality, unexpected sky views, and access to plenty of greenery.

Satoyama Terrace is a small-scale hospitality project situated within a traditional Japanese satoyama landscape, where natural systems and human activity have historically coexisted in dynamic balance. The project begins with a fundamental question: how can architecture engage with this landscape without reducing it to a static or consumable image? Rather than reproducing a nostalgic rural scenery, the design reinterprets the relationships embedded in satoyama and translates them into a contemporary spatial experience. Water, wind, soil, and vegetation are treated not as background elements, but as active forces shaping perception and occupation.