Designed for desert environments, the Interactive Sand Reflecting Cone transforms sand into a participatory landscape where mirrored steel, solar energy and human interaction create an evolving public installation.
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A rural revitalisation project in Moganshan that transforms an abandoned agricultural structure into a contemplative forest retreat
Dream in Progress by Urlaubsarchitektur explores how hotels and holiday houses across Europe evolve through architectural transformation and creative process.
Abstract Landscape architecture shapes a cultural, sports and commercial complex in Daixi Town, creating a new civic landmark in Huzhou.
Cuizhu School in Shenzhen introduces a terraced architectural strategy that integrates courtyards, shaded platforms and roof gardens to create a climate responsive urban campus.
Chinese artist Lin Fanglu transforms Bai tie dye into monumental textile sculptures that merge craft, memory and contemporary art.
This multifunctional exhibition space redefines the gallery as an active spatial framework rather than a neutral container for art. Interwoven geometric volumes establish visual depth and multiple paths of movement, allowing visitors to construct individual spatial narratives. Natural and artificial light are treated as structural components, shaping atmosphere and perception throughout the day. By integrating form, light and circulation, the project positions architecture as a dynamic ecosystem where art and space continuously interact.
Agrosemillas Offices reinterpret agro-industrial architecture in rural Chile through reused shipping containers, circular façades and a north-facing saw-tooth roof system.
Sanjay Puri Architects designs Prestige University in Indore as a stepped, climate responsive academic building inspired by Indian stepwells, featuring a 9,000 sq m rooftop garden and open air auditorium for 9,000 students.
The Vienna based collective known for participatory installations that blur sculpture, architecture, and performance. Beginning with Percutaneous Delights at MoMA PS1 in 1998 and continuing through The B Thing, Hase, and Vorm Fellows Attitude, the text analyses how humour, bodily presence, structural risk, and material decay function as operative strategies rather than theatrical gestures. Positioned within broader discussions of relational and participatory art, the article considers how absurdity becomes a method for destabilising institutional space and reconfiguring collective experience.
