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Mozart House / Studio DERA
- architects: Studio DERA
- Location: London, United Kingdom
- Project Year: 2025
- Photographs: Lorenzo Zandri
- Photographs:
- Area: 82.0 m2
Contemporary Ecuadorian Architecture: Connecting Materials, Environment, and Culture
Ecuador's territory embraces a remarkable diversity of landscapes, ranging from the Pacific Coast to the peaks of the Andes, the vast expanse of the Amazon rainforest, and the volcanic Galápagos Islands. Each region of the country presents its own distinctive characteristics, reflected in its varied environmental, cultural, and social contexts. While Latin American architecture is rooted in rich ancestral traditions, native construction techniques, and local materials, contemporary Ecuadorian architecture expresses an evolving identity that blends these elements with actual demands. Tradition and innovation, local resources and modern techniques, along with social responsibility and aesthetics, interact with the natural environment, urban conditions, and social contexts.
House in a Garden / Edition Office
- architects: Edition Office
- Location: Melbourne, Australia
- Project Year: 2026
- Photographs: Maxime Delvaux
Architecture of Water: Disappearing Fixtures in Contemporary Wellness
What if the most advanced elements in a bathroom were the ones you could barely see? In spaces where walls, ceilings, and floors form uninterrupted surfaces, fixtures retreat, and water itself becomes the primary material shaping experience. The careful placement of fixtures in bathrooms, such as sinks, taps, showerheads, and shower drains, each asserting their presence as both an object and a function. But what happens when these elements begin to disappear?
Instead of adding mounted elements to a bathroom's design, some approaches work through subtraction. The bathroom is no longer composed of visible objects, but understood as a continuous surface. Fixtures recede into walls and ceilings, allowing water, light, and atmosphere to take precedence. What takes shape is a form of minimalism and something more: an architecture that absorbs its technical systems entirely, allowing fixtures to disappear, leaving only their effects. The experience itself becomes the protagonist, no longer mediated by visible objects, but shaped directly through water, light, and space.
Milan Design Week 2026: Must-See Installations, Exhibitions, and Events
From April 20 to 26, Milan Design Week 2026 returns as a citywide platform where design operates as both a cultural practice and a form of exploration. Framed by the Fuorisalone theme "Be the Project," this year's edition shifts the focus from outcome to process, positioning design as a dynamic, human-centered act shaped by intuition, responsibility, and transformation. Installations and exhibitions across the city foreground making as an open-ended condition, one that embraces error, temporality, and experimentation as integral to creative production. Within this context, design becomes a space of exchange between disciplines, materials, and intelligences, reflecting broader conversations around sustainability, emerging technologies, and the evolving relationship between the physical and the digital.
Sayuwon Park Visiting Center Gate / liveraniandrea
- architects: liveraniandrea
- Location: Daegu, South Korea
- Project Year: 2025
- Photographs: Yongbaek Lee
- Area: 140.0 m2
Coachella 2026 Immersive Installations Explore Monumentality and Light Transparency in the California Desert
The 25th edition of the Coachella Valley Music and Arts Festival returns to the Empire Polo Club in Indio, California, from April 10 to 12 and April 17 to 19, 2026, bringing together more than 130 acts alongside an ambitious program of large-scale art installations. Presented by Public Art Company (PAC) and curated by founder Raffi Lehrer in collaboration with Goldenvoice Art Director Paul Clemente, this year's selection explores monumentality through luminance, transparency, and lightness of form. Set within Coachella's desert oasis, the installations invite visitors to engage physically and sensorially, responding to shifting daylight and the evolving atmosphere from sunrise to nightfall.
Mapping the Technosphere: Architecture as an Interface Between Systems and Territories
Architecture can no longer be conceived as an isolated object, detached from the technical networks that sustain contemporary life — a condition that calls for new readings and approaches. It is within this context that, in March, ArchDaily’s monthly theme focused on The Technosphere, a topic both broad and inherently complex. Drawing on the concept of the technosphere, coined by geoscientist Peter Haff to describe the totality of human-made artifacts, a landscape emerges in which contemporary life is deeply intertwined with machines, data, and energy networks.
Cunha House / Roberto Brotero Arquitetura
- architects: Roberto Brotero Arquitetura
- Location: Cunha, Brasil
- Project Year: 2024
- Photographs: Camila Alba
- Area: 300.0 m2
Lee House / Candalepas Associates
- architects: Candalepas Associates
- Location: Watsons Bay NSW 2030, Australia
- Project Year: 2020
- Photographs: Rory Gardiner
Hongling Middle School Shixia Campus / Tumushi Architects
- architects: Tumushi Architects
- Location: Shenzhen, China
- Project Year: 2023
- Photographs: Chao Zhang
- Area: 42177.0 m2
Elmali House / PIN Architects
- architects: PIN Architects
- Location: Elmalı, Türkiye
- Project Year: 2024
- Photographs: İbrahim Özbunar
- Area: 354.0 m2
In Trace, Bureau de Change Lets Circularity Cement Memory in Cast Concrete
New builds boast a certain architectural bravado, often from a place of hubris, when realized from scratch—a clean slate’s seductive promise that the future need not answer to the past. Bureau de Change would argue the opposite. With Trace, their deep retrofit residential project in London’s Euston, the firm proposes something both more difficult and more interesting: that true ingenuity lies not in erasure, but in negotiation.
Set along Drummond Street, the project reworks a tired 1980s brick building into five light-filled apartments, adding two new floors while retaining the majority of the existing structure. But this isn’t preservation in the nostalgic sense, nor is it a wholesale reinvention dressed up in heritage cues. Instead, Trace sits, deliberately, on what the architects describe as “a thin line between being religious to references of the past and completely ignoring them.”
It’s a balancing act that feels increasingly urgent. In cities like London, where demolition remains the default mode of progress, adaptive reuse can still read as compromise. Trace reframes it as authorship.
At the heart of the project is a materially literal interpretation of its name. Rather than being discarded, the existing brick facade comprises crushed and reincorporated aggregate within a new glass-reinforced concrete cladding system. The result is a textured, rusticated surface that quite literally embeds the building’s past life into its present form. It is, in every sense, a record of time, laced with lore.
This gesture operates on multiple registers. Environmentally, it significantly reduces construction waste and preserves embodied carbon—an increasingly critical metric in evaluating a building’s true footprint. Conceptually, it transforms demolition from an endpoint into a beginning, folding the act of destruction into a circular narrative of renewal. As the architects note, there’s “something beautiful about encasing the past life of the site into the new building.”
Beauty, here, is not incidental. Bureau de Change’s methodology resists the idea that sustainability must be aesthetic penance. Instead, constraint becomes a catalyst for invention. The crushed brick aggregate produces a richly varied surface, its gradients and irregularities amplifying depth and shadow. And as cities are increasingly defined by flatness—both literal and experiential—this commitment to texture reads subversively.
“Tactility is so important in new buildings,” the studio explains. “We are surrounded by more and more bland flat buildings that make our experience in the city less and less rich.” Their response is architectural seduction: facades that invite a second glance, then a third; surfaces that encourage passersby to slow down, to look up, to reach out and touch. It’s a quiet rebellion against the frictionless scroll of contemporary life.
That same ethos extends to the building’s formal language. Drawing from the surrounding context—Georgian terraces, the ghost of Euston Station, and the layered urban fabric of Tolmer’s Square—the facade reinterprets traditional arches and proportions through a contemporary lens. Openings are organized within a disciplined grid, their segmental forms stretched and scaled to accommodate larger windows, increased daylight, and cross-ventilation.
History becomes less a reference point and more a working material, as it should.
The interiors follow suit. Apartments are arranged in stepped, double-aspect layouts that subtly delineate kitchen, dining, and living zones without resorting to partitions. It’s a spatial strategy that privileges light, air, and adaptability. Winter gardens extend this logic further, occupying that ambiguous territory between inside and out, offering residents a buffer against both density and isolation.
Bureau de Change describes their process as excavation: “We treated this project as archaeologists more than anything else.” Rather than imposing a singular vision, the architects sift through layers of history—Georgian ambition, postwar decline, late-20th-century redevelopment—assembling a narrative that acknowledges what was, while speculating on what could be.
This approach reframes the role of the architect altogether. No longer just a designer of new forms, but a curator of those that exist––and above all, a steward of accumulated meaning. It’s a position that feels both humbling and more radical, particularly in an industry still enamored with spectacle.
There’s nothing timid about Trace, though. Perhaps the most quietly provocative aspect of the project is its scalability. Positioned within the broader ambitions of the Euston Area Plan, the structure demonstrates how small-scale interventions can exert outsized influence. In dense urban environments, these liminal sites—often overlooked in favor of grand masterplans—offer fertile ground for experimentation. In many ways, they offer the ideal testing sites for a more circular, materially conscious architecture.
In an era defined by both environmental urgency and cultural amnesia, adaptive reuse proves to be the most forward-thinking move of all.
To learn more about the firm’s ingenuity and ethos, or to view their portfolio, visit b-de-c.com.
Photography by Gilbert McCarragher..
Renovation of the Mountain House AC. / DARP - De Arquitectura y Paisaje
- architects: DARP - De Arquitectura y Paisaje
- Location: Retiro, Colombia
- Project Year: 2025
- Photographs: Mauricio Carvajal
- Area: 220.0 m2
Dyson Makes Hand-Held Fans Cool with the HushJet Mini
A heatwave hack, a last resort—perhaps even a stand-in for traditional air conditioning—tiny fans have long hovered somewhere between novelty and quiet surrender. Dyson, unsurprisingly, has other plans. Enter the HushJet Mini Cool: a handheld, wearable, desk-friendly device that reframes personal cooling as less of a coping mechanism and more of a lifestyle accessory—one that just so happens to deliver airflow speeds up to 25 m/s (about 55 mph).
Weighing just under half a pound—roughly the heft of a smartphone—it’s engineered for the kind of constant companionship usually reserved for earbuds and iced coffee. And in a world where overheating is both literal and metaphorical—packed commutes, open-plan offices, increasingly ambitious summers—the health benefits of staying cool are no longer trivial. Regulating body temperature can help maintain cognitive performance, reduce fatigue, and keep irritability at bay, effectively turning personal cooling into a productivity tool.
Dyson, predictably, doesn’t stop at function. This is as much an aesthetic recalibration as it is a technical one. Personal fans have historically been relegated to the same kooky category as neck pillows and emergency ponchos—useful, but hardly aspirational. The HushJet Mini Cool course-corrects with a design language that feels closer to wearable tech than seasonal accessory. Three finishes—Cobalt/Ink, Carnelian/Sky, and Stone/Blush—lean into contrast, softness, and emotional resonance, turning airflow into something almost expressive.
Even the acoustics get a glow-up. Dyson’s HushJet projection system doesn’t just move air efficiently; it refines the sound profile, stripping out the high-pitched whir that has long defined the category. The result is cooling that considers ambient comfort as much as performance—present, but polite.
Then there’s the versatility. Handheld on the move, perched on a desk when focus is fleeting, or worn hands-free when your outfit—or your patience—can’t accommodate another device. Add a lanyard, travel pouch, or optional clips and mounts, and it becomes less a single object and more a system for staying composed in increasingly uncomposed conditions.
Seventeen years of airflow engineering distilled into something that fits in your palm, the HushJet Mini Cool makes a compelling case: staying cool is no longer just about survival—it’s about self-regulation, performance, and a bit of style. Because if you’re going to carry a fan, it might as well look intentional.
To shop this and other innovations by the brand, visit dyson.com.
Photography courtesy of Dyson.
These Ultra-Refined Outdoor Furnishings Take on The Shades of Spring
Simplicity is often deceptive—seemingly straightforward (even easy) from the outside, yet incredibly difficult to get right. Working with a single material—powder-coated steel—and just two applications—sheet and tube—nonconformist French furniture producer Tiptoe has developed the multipronged PANORAMA collection. The outdoor line now includes a lounge chair, bench, low table, and stool.
With the full gamut—plus the preexisting outdoor table and chair—Tiptoe applies a consistent structural logic across six products, flexing its industrial expertise through precisely cut, folded, and formed metal. These elegantly light yet sturdy armatures may appear effortless, but they are the result of rigorous refinement: calibrating proportions, resolving ergonomic dimensions, and fully leveraging the material’s inherent properties. The finishing touch? Five new colorways: Soleil Yellow, Brick Red, Graphite Black, Forest Green, and Chalky Grey.
These “spring” tones—exuberant yet measured—are carefully attuned to a range of natural settings, complementing the hues and textures of re-emerging flowerbeds, bristling wetland grasses, pebble-strewn shores, and lengthening sunsets. The pieces blend in while subtly standing out, achieving a quiet visual balance. Lightweight and easily repositioned, they offer a high degree of versatility.
PANORAMA furnishings can be arranged in near-endless configurations. The bench supports moments of repose while encouraging social interaction, while the stool functions equally well as a side table or standalone seat. Anchoring the collection, the outdoor table is now available in 90×90, 130×80, and 160×80 cm formats. Here, the system’s defining curvature is most fully expressed—standing in for a draped tablecloth and seamlessly integrated into the object’s form.
From a sustainability standpoint, the designs are highly durable and weather-resistant, ensuring longevity. Their understated, universal language also resists the pull of passing trends. Steel itself—at least in Europe, where all Tiptoe products are manufactured—is now composed of up to 80% recycled content.
To learn more about this and other collections collection, visit tiptoe.fr.
Photography courtesy of Tiptoe.
Ten Social Housing Units in Santa Margalida, Mallorca / Javier Gavín + Siddartha Rodrigo + Juan Moreno + DATAAE
- architects: DATAAE
- architects: Javier Gavín
- architects: Juan Moreno
- architects: Siddartha Rodrigo
- Location: Santa Margalida, Spain
- Project Year: 2025
- Photographs: Clara Torres González
- Area: 1112.0 m2
Elevated Infrastructure and Public Space: Reclaiming the Ground Below
Elevation is often framed as progress, lifting movement above the friction of the city and smoothing circulation into uninterrupted flow. Every act of lifting produces a secondary condition in its wake. Beneath flyovers, metro lines, and railway viaducts, a second ground emerges as shaded, ambiguous, and rarely planned with the same intent as what moves above. These spaces are not incidental leftovers. They are the spatial consequence of a design decision that privileges speed, clearance, and efficiency, redistributing value and visibility across the city in the process.
What lies below is not empty. It is structured, constrained, and defined by infrastructure, left without a clear role. Studies on elevated highways consistently describe these undercroft zones as residual spaces, formed when transport systems are conceived independently of the ground they pass through. An Arup report on spaces beneath viaducts notes how they often disrupt pedestrian continuity while remaining outside formal planning frameworks. Similarly, recent academic reviews of under-flyover environments highlight that these areas are rarely integrated into urban design strategies at all. The result is a peculiar condition: space that is physically present and structurally determined, but programmatically undefined.
Renovation Design of Yongping Warehouses / Atelier cnS
- architects: Atelier cnS
- Location: Haijing Avenue East, Dali Town, Nanhai District, Foshan City, China
- Project Year: 2025
- Photographs: Siming Wu
- Area: 4311.0 m2