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The Marian Goodman Gallery in Tribeca reworks the 1875 Grosvenor Buildings into a contemporary exhibition space, balancing preservation with the spatial requirements of a modern gallery.

OUNASS STAGE in Dubai was conceived as more than a conventional retail environment. Positioned somewhere between gallery, installation, and boutique, the project explores how contemporary retail spaces can serve as platforms for cultural exchange, storytelling, and spatial experimentation. Designed by VAUST for Ounass, the concept translates the raw atmosphere of Berlin's contemporary art scene into a context shaped by precision, luxury and transformation. At the center of the project lies the idea of "Alternate Abundance". Luxury is expressed not through ornament or visual excess, but through atmosphere, material honesty and spatial tension. The project intentionally distances itself from the polished neutrality often associated with luxury retail and instead embraces an architectural language informed by brutalism and modernism alike.

For much of the twentieth century, architectural culture was shaped by the pursuit of lightness. Steel structures and curtain walls reduced the building envelope to a thin layer separating interior from exterior, while façades became smooth, continuous surfaces where windows were cut as precise openings within an abstract plane. But for centuries, buildings were conceived as bodies of mass; walls possessed depth, windows were recessed within thick masonry, and space was often experienced as something carved from the solidity of construction. In recent years, several contemporary projects appear to revisit this older spatial logic, reintroducing thickness as an architectural co

The Neckarbogen neighborhood parking garage is Heilbronn's most modern and forward-thinking parking facility. This new multifunctional building combines parking spaces, electric vehicle charging infrastructure, car-sharing services, local energy generation, and other neighborhood services, all under one roof. A mobility station, which can be used independently of car traffic, is located in a highly visible corner spot.

China has an extensive number of small towns with historic districts boasting natural and organic spatial fabric mainly composed of self-built houses. Nevertheless, these areas are generally trapped in tough regeneration predicaments: the deterioration of physical spaces has disrupted the social ecosystem, resulting in hollowing-out, an aging population and a severe loss of vitality; meanwhile, they fall into a quagmire due to constraints such as limited resource endowments, weak financial support, and insufficient market drive.

Baekje (18 BCE–660 CE) was one of the ancient kingdoms of Korea, established by migrants of Buyeo origin who branched from Goguryeo and settled in the Han River basin. Among its history, the Hansung period—before the capital was relocated to Ungjin—represented the height of Baekje's prosperity, with the kingdom flourishing in and around present-day Seoul until 475 CE.

Blending Geometric Forms with NatureThe inception of this healthy cafe and restaurant stems from the owner's vision for a space that is "simple yet truly outstanding." The design team brilliantly interpreted this by integrating the concept of nature with basic geometric shapes—triangles, squares, and circles—weaving them into a cohesive narrative. Given the densely populated residential neighborhood, the designers addressed the context by utilizing a bold "circular form" to enclose the area, cleverly masking the external chaos. This strategic layout creates an open sanctuary that connects the earth below with the sky above, seamlessly drawing nature into the heart of the architecture.

Located within a pine forest, the house is conceived as an architectural element that, rather than blending into the landscape, seeks an intentional contrast. The project is organized around three solid, light-toned shingle volumes that emerge against the dark hues of the trees. This decision transforms the house into a luminous element within the forest, establishing a dialogue where the architecture asserts itself as an object in the face of nature.

The project was made in partnership with the association CRESCER, which supports people in social vulnerability, and the Municipality of Amadora. We sought to make the space inhabited from the very first moment.

The project consists of the rehabilitation of a former farmhouse, uninhabited and previously used to accommodate agricultural workers, that forms part of a larger ensemble organized around a central courtyard.