The Missing Room / Carroccera CollectiveSave this picture!•Italy Architects: Carroccera Collective Year Completion year of this architecture project Year:  2025 Photographs Photographs: Lead Architects: Gianfrancesco Brivio Sforza, Dariia Nepop, Nacha Palomeque Coll, Caspar Schols, Angelica Rimoldi More SpecsLess Specs Save this picture! Text description provided by the architects. The Missing Room is a living space designed to encourage new rituals and patterns of use, offering an opportunity to enter an alternative time zone and experience a passage between a human-controlled environment and an untamed natural one. It is a room that has escaped the rigid confines of a defined house, choosing to exist without walls or a ceiling – a place where nature becomes the main inhabitant and visitors are invited to act as respectful guests. As one enters the Carroccera landscape, the search begins. Meandering through the land, the Missing Room gradually reveals itself, with the wanderer catching shimmering glimpses of smaller secondary structures shining through the forest greenery. This collection of visual fragments prepares the visitor for the main encounter, enriching the landscape with its enigmatic shapes and forms.Save this picture!Save this picture!Save this picture!The Missing Room is not simply a shelter but a space that invites discovery. A collection of abstract forms with a core activated by water and fire, it reimagines the most primal human rituals: resting, eating, cleansing, and conversing. These activities mix in unexpected yet harmonious ways. While guests cook over a crackling open fire, another inhabitant bathes in a heated bath, and a cow drinks from an integrated trough—all beneath a ceiling of tree canopies and the open sky. This space encourages visitors to set their own pace and redefine their pre-existing notions of domesticity. At the core of the Missing Room stands a seven-meter-tall monolith: a multifunctional chimney. On one side, the fire powers the ovens, while on the other, it heats water for bathing and warms the area at the front of the space. This towering form responds to the scale of the surrounding trees, rising like a beacon above the canopies, marking its presence in the landscape and guiding visitors with its smoke signals.Save this picture!Save this picture!Water, like fire, plays a central role in activating the hidden features of the structure. The water flow is released at the entrance of the structure, filling the main collection channel that distributes the flow into various basins throughout the structure. Users are encouraged to interact with the water systems by adding or removing plugs as needed to direct the flow; to fill the bath, use the sink or supply water to the cattle trough. The bath next to the water channel has a built-in natural convection system and comfortably accommodates three to four people. For solo use, the bath's size can be reduced with a partitioning panel and a removable lock to conserve water. Once closed, the bath can be transformed into a heated surface and used as a resting place to sleep at night under the stars.Save this picture!Save this picture!Save this picture!A bespoke sail canopy can be set up to offer shade or protection from rain. Using the chimney as a mast, the fabric is raised with a series of ropes and tensioned at the corners with ground pegs. By day, the canopy catches dappled shadows cast by the surrounding foliage; by night, it reflects light from built-in recessed lighting, transforming the structure into a glowing lantern. The Missing Room reconnects us with the rhythms of nature that have been lost in the contemporary world by reducing the act of dwelling to its very essence. Forest debris is gathered and converted into heat while the wastewater from bathing and cooking is filtered and safely dispersed into the field, providing irrigation and wet areas that contribute to the overall biodiversity of the forest.Save this picture!© Alessandro NanniConstructed with a focus on material and structural sustainability, the stainless steel refuge is durable, recyclable, and resistant to weathering. To protect the land, the modular structure and use of a non-invasive screw-pile foundation ensures that no traces are left behind if the house is required to be removed from the site. The Missing Room is a space for all – humans and non-humans – to share. Above all, the Carroccera Collective conceived of the room as a place to enjoy the very act of being. To invite our guests to slow down, reorient the senses, and rediscover the sensory richness and simplicity of the natural environment. As nature has vanished from our daily rituals and gone missing from our human lives, the room is a space to reveal the forgotten.Save this picture! Project gallerySee allShow less Project locationAddress:Carroccera site, Piedmont, ItalyLocation to be used only as a reference. It could indicate city/country but not exact address.About this office MaterialSteelMaterials and TagsPublished on May 23, 2025Cite: "The Missing Room / Carroccera Collective" 23 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030385/the-missing-room-carroccera-collective&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Maison-Jardin BEAU / Alexandre Bernier ArchitecteSave this picture!© Maxime BrouilletHouses•Montréal, Canada Architects: Alexandre Bernier Architecte Area Area of this architecture project Area:  2300 ft² Year Completion year of this architecture project Year:  2023 Photographs Photographs:Maxime Brouillet Manufacturers Brands with products used in this architecture project Manufacturers:  Alumico, Artemide, Chez Lamothe , David Roussel, Hamster, MQ, Mac, Matter, Plan Beton, Showroom Montreal Lead Architect: Alexandre Bernier More SpecsLess Specs Save this picture! Text description provided by the architects. Located in the heart of St-Henri, a dense post-industrial residential neighborhood in Montreal, this single-family residence asserts itself discreetly through its vertical volume, raw materiality, and sensitive relationship to the garden.Save this picture!It stands out for its compact and rigorous form, constructed almost entirely of concrete, used for the structure, floors, ceilings, and interior finishes alike. This radical transformation of a typical Montreal duplex challenges domestic space through a bold mono-material approach—a typology traditionally built in wood. The unconventional use of concrete in a Montreal home makes it a unique project.Save this picture!Save this picture!Save this picture!The architectural gesture explores the tension between the archetype of the mineral refuge and the lightness of a dwelling open to its environment. The dialogue between this raw materiality and the transparency of the garden-facing façade reveals an architecture that is both monolithic and porous. The whole is organized around the stacking of free and open floor plates. Freed from structural constraints, the façade allows natural light to penetrate deep into the space. The shifting shadows of foliage, cast throughout the day on the mineral wall, bring a discreet and contemplative poetry, giving the concrete's roughness an unexpected sensitivity.Save this picture!Save this picture!On the ground floor, the façade literally vanishes thanks to a large sliding door, merging the living space with the garden. A reflecting pool acts as a water mirror that amplifies the light. This liquid presence balances the building's density, introducing freshness and lightness.Save this picture!Textures, Finishes, and the Mass of Concrete - The surfaces are distinguished by a variety of concrete textures and finishes. The floors, in polished terrazzo, reveal selected aggregates exposed through scarification. The exposed concrete walls retain the imprint of the formwork ties, highlighting the constructive nature of the project. The kitchen work surfaces, including the 14-foot-long island with rounded corners, are also made of concrete.Save this picture!Save this picture!As a massive material, akin to mono-material stone houses, concrete promotes thermal inertia, passive heating, and heat storage. Complemented by a radiant floor system, it acts as a thermal battery. Its load-bearing capacity frees the façades from bracing, allowing for generous fenestration tailored to solar orientations.Save this picture!Save this picture!Decidedly contemporary, the BEAU Residence proposes a sensitive architecture of contrasts, where the weight of concrete is lightened through contact with the living. Through the use of material and an intimate relationship with vegetation, it offers a new way of inhabiting the city—between mass and transparency, permanence and flexibility, rigor and softness. A simple yet powerful gesture for a contextual, sustainable, and resolutely contemporary architecture.Save this picture! Project gallerySee allShow less About this office MaterialConcreteMaterials and TagsPublished on May 23, 2025Cite: "Maison-Jardin BEAU / Alexandre Bernier Architecte" 23 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030350/maison-jardin-beau-alexandre-bernier-architecte&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

House for Lisa and Bert / Alpina ArchitectsSave this picture!Courtesy of Alpina ArchitectsHouses•Ixelles, Belgium Architects: Alpina Architects Year Completion year of this architecture project Year:  2024 More SpecsLess Specs Save this picture! Text description provided by the architects. From Racines, you can look down on Vipiteno from above. Here, architecture blends seamlessly into a striking Alpine landscape; the built environment engages in a measured dialogue with the mountains, respecting centuries-old building traditions rooted in a smart economy of resources and an innate ability to adapt, even through the harshest winters. Within this context stands an old farmhouse, the subject of our intervention, soon to become the home of Lisa and Bert.Save this picture!Save this picture!Save this picture!Existing Conditions - The project revolves around the renovation of a traditional farmhouse, perched within a landscape where the balance of solid and void, built and natural, defines the very quality of living. This is a typical Alpine farmhouse, characterised by solid stone walls and a double-pitched timber roof. Its internal layout reflects the typological organisation of rural Alpine dwellings: the ground floor is primarily residential, while the attic space has traditionally served as storage and utility space. The floor plan follows a tripartite layout, structured around a central circulation core. One distinctive feature of farmhouses in this valley is the hayloft, which is directly integrated into the main residential volume. Now obsolete in its original function, it offers significant potential for new uses. The challenge of the project is to intervene without disrupting the existing balance—to preserve the essence of the farmhouse, its history, while allowing it to embrace new life.Save this picture!Vision and Functional Programme - Lisa and Bert, a young couple, envision a home that is both deeply rooted in tradition and open to new ways of living. They dream of a space that enhances their connection to the landscape, allowing for seamless transitions between indoors and outdoors—a home that balances intimate spaces with large openings towards the Alpine surroundings. The programme calls for the division of the building into two distinct residential units: a holiday apartment on the lower floor and the main residence spanning the ground floor and attic. A key design choice is the inversion of conventional living arrangements—placing the main living area in the attic to take advantage of the height and natural light, creating open, panoramic spaces.Save this picture!Save this picture!Save this picture!Design Approach - The project is based on a reinterpretation of the traditional farmhouse typology, maintaining its primary structural elements while reorganising the interior with a fresh spatial logic. The renovation of the existing building is conceived as an act of continuity—a transformation that renews without erasing, reinterpreting form and function through a contemporary lens while preserving the constructive memory of the place. The ground floor houses the bedrooms, conceived as sheltered, intimate spaces, while the attic is dedicated to the living area, unfolding as a fluid, open space closely connected to the surrounding landscape. The intervention on the hayloft creates a new threshold between the home and the outdoors, providing covered parking and a generous entrance area. A light timber staircase leads up to the upper level, where the kitchen and living room merge into a single, light-filled space, crowned by a rhythmic sequence of exposed beams that amplify the spatial perception. Opposing loggias and fully glazed gables frame breathtaking views of the mountain landscape. Strategically placed skylights ensure carefully calibrated zenithal lighting, strengthening the home's connection to the sky. A Leseerker (a reading bow-window) on the first floor serves as a cosy retreat, offering a suspended view over the valley. New balconies, designed with slender steel cable railings, extend along the east and west façades, creating sheltered outdoor spaces that open directly onto the Alpine scenery. A sequence of vertical wooden slats, arranged in a dynamic rhythm, generates a play of solid and void, filtering views while ensuring privacy and protection.Save this picture!Materiality - The project embraces a sustainable and site-sensitive approach, selecting local materials and construction techniques that align with tradition. The existing structure is preserved and reinforced, with plastered walls treated in soft, natural pigments that harmonise with the surrounding landscape. The attic extension is clad in larch, a material that evolves over time, acquiring a silver-grey patina that reflects the continuous dialogue between architecture and nature. The balconies, also in larch, reference the Alpine vernacular. This material selection is not merely aesthetic—it expresses a deliberate intent to create an architecture that becomes part of the landscape, where every detail contributes to a larger narrative of memory, historical layering, and dialogue with the territory.Save this picture! Project gallerySee allShow less About this officeAlpina ArchitectsOffice••• MaterialWoodMaterials and TagsPublished on May 23, 2025Cite: "House for Lisa and Bert / Alpina Architects" 23 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030372/haus-fur-lisa-und-bert-alpina-architects&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Whether you’re heading to this year’s Biennale, planning a future visit, or simply daydreaming about Venice, this guide—contributed by Hamilton-based architect Bill Curran—offers insights and ideas for exploring the canal-crossed city. Venice is like eating an entire box of chocolate liqueurs in one go. – Truman Capote Venice is my mystical addiction and I soon will make my 26th trip there, always for about 10 days or more. I keep getting asked why, and asked by other architects to share what to do and what to see. Only Italo Calvino could have reimagined (in ‘Invisible Cities’) such a magical, unique place, a water-born gem forged from 120 islands linked by 400 bridges and beset by a crazy-quilt medieval street and canal pattern. Abstract, dancing light forms dappling off water, the distinct automobile-less quiet. La Serenissima, The Most Serene One. Most buildings along the Grand Canal were warehouses with the family home above on the piano nobile floor above, and servant apartments above that in the attics, in a sea-faring nation state of global traders and merchants like Marco Polo. Uniquely built on a foundation of 1,000-year-old wood pilings, its uneven, wonky buildings have forged a rich place in history, literature and movies: Joseph Brodsky’s Watermark, Hemingway’s Across the River and into the Trees, Don’t Look Now starring Donald Sutherland, Mann’s Death in Venice, The Comfort of Strangers with Christopher Walken, Henry James’ The Wings of the Dove and The Aspern Papers, Kate Hepburn’s ‘Summertime. Yes, yes, Ruskin’s Stones of Venice is an option, as are Merchant of Venice and Casanova. Palazzo Querini Stampalia (Venice): Photo via Wikipedia THE MODERN ARCHITECTURE OF VENICE Much of Venetian life is lived in centuries-old buildings, with a crushing post-war recession leaving it preserved in amber for decades until the mass tourists found it. Now somewhat relieved of at least the cruise ship daytrippers, it is a reasonable place again, except maybe in peak summer. The weight of history, a conservatism for preservation and post-war anti-Americanism led to architectural stagnation. So there are few new, modern buildings, mostly on the edges, and some fine interior interventions, mostly invisible. For modern architecture enthusiasts Venice is a challenge. Carlo Scarpa (Giardini, Venise) – Photo via Wikipedia, licensed under the Creative Commons Attribution 2.0 Generic license Here is what modern architects should see: Carlo Scarpa‘s Must-See Works: Go see any of Scarpa’s interventions, demonstrating his mastery of detailing, materials, joinery and his approach to blending with existing fabric. He is Italy’s organicist, their Frank Lloyd Wright, and they even worked together (on the Masieri Foundation). Negozio Olivetti: The tiny former Olivetti typewriter showroom enfronting Piazza San Marco is perhaps the most wonderful of his works. It is open now to visit as a heritage museum. ”God is in the details”; Scarpa carefully considered every detail, material and connection. Le magasin Olivetti de Carlo Scarpa (Venise). Photo via Wikipedia. This file is licensed under the Creative Commons Attribution 2.0 Generic license The Fondazione Querini Stampalia is a must see, a renovated palazzo with ground floor exhibit spaces with tidewater allowed to rise up inside in one area you bridge across. The former entrance bridge is a lovely gem of exquisite detailing, rendered obsolete by a meh renovation by Mario Botta. A MUST is to have a coffee or prosecco in Scarpa’s garden and see the craft and detail of its amazing water feature. The original palazzo rooms are a lovely semi-public library inhabited by uni students; sign up as a member on-line for free. Walk up the spiral stair. The entry gate to the UIAV Architecture School in Campo Tolentini  is an unexpected wonder. A brutalist yet crisply detailed sliding concrete and steel gate, a sculpted concrete lychgate, then an ancient doorway placed on the lawn as a basin. Main Gate of the Tolentini building headquarters of Iuav university of Venice designed by Carlo Scarpa. Photo via Wikipedia, licensed under the Creative Commons Attribution 2.0 Generic license OTHER MODERN ARCHITECTURE TO SEE: Minimalist Dave Chipperfield expanded an area of suede-like concrete columbariums on the St. Michele cemetery island. Sublime. Extra points if you can find the tomb Scarpa designed nearby. The Ponte della Costituzione (English: Constitution Bridge) is the fourth bridge over the Grand Canal in Venice, Italy. It was designed by Santiago Calatrava. (Image via: Wikipedia) Calatrava’s Ponte della Constituzione bridge is an elegant, springing gazelle over the entrance to the Grand Central. But the glass steps are slippery and are being replaced soon, and the City is suing Calatrava, oops. The barrier-free lift pod died soon after opening. It is lovely though.   Le Canal della Giudecca, la Punta della Dogana, la basilique Santa Maria della Salute de Venise et le Canal Grande à Venise (Italie). Photo via Wikipedia Tadao Ando’s Punte Della Dognana museum is large, with sublime, super-minimalist, steel and glass and velvety exposed concrete interventions, while his Palazzo Grassi Museum was more restoration. A little known fact is that Ando used Scarpa’s lovely woven basketweave metal gate design in homage. An important hidden gem is the Teatrino Grassi behind the Museum, a small but fabulous, spatially dramatic theatre that often has events, a must-see! Fondaco dei Tedeschi: At the foot of Rialto Bridge and renovated by Rem Koolhaas, this former German trading post had been transformed into a luxury shopping mall but closed last month, a financial failure. Graced with a stunning atrium and a not well know fabulous rooftop viewing terrace, its future is now uncertain. The atrium bar is by Phillipe Starck and is cool. Try it just in case. Fondaco dei Tedeschi. Photo via Wikipedia Procuratie Vecchie: This iconic 16th storey building is one of Piazza San Marco’s defining buildings, and David Chipperfield’s restoration and renovation of this building, which defines Piazza San Marco, is all about preservation with a few modern, minimalist interventions. It operates as a Biennale exhibit space. Infill housing on former industrial sites on Guidecca Island includes several interesting new developments called the Fregnans, IACP and Junghans sites (look for fine small apartments such as by Cino Zucchi that reinterpret traditional Venetian apartment language). A small site called Campo di Marte includes side-by-sides by Alvaro Siza (disappointing), Aldo Rossi and Carlo Aymonino (ho hum); some day there will be a Rafael Moneo on the empty lot.     View this post on Instagram   A post shared by Denton Corker Marshall (@dentoncorkermarshall) AT THE BIENNALE: At the Biennale grounds there is much to see, with the only recent project the Australia Pavilion by Denton Corker, a black granite box hovering along a canal. Famous buildings include the Nordic Pavilion (Sven Ferre), Venezuela Pavilion (Carlo Scarpa), Finland Pavilion (Alvar Aalto), former Ticket Booth (Carlo Scarpa), Giardino dell Sculture (Carlo Scarpa), Bookstore (James Stirling) and there are some fab modern interiors inside the old boat factory buildings. Canada’s Pavilion by the Milan firm BBPR (don’t ask why) from 1956 is awkward, weird and much loathed by artists and curators. Le pavillon des pays nordiques (Giardini, Venise). Photo via Wikipedia, licensed under the Creative Commons Attribution 2.0 Generic license. Just outside the Biennale on the Zattere waterfront is a stirring Monument to the Women Partisans of WWII, laid in the water by Augusto Maurer over a simple stepped-base designed by Scarpa. Venezia – Complesso monastico di San Giorgio Maggiore. Photo via Wikipedia,  licensed under the Creative Commons Attribution-Share Alike 4.0 International license. BEYOND THE BIENNALE The Vatican Chapels: In 2018 the Vatican decided to participate in the Biennale for the first time for some reason and commissioned ten architects to design chapels that are located in a wooded area on the Venetian island of San Giorgio Maggiore, behind Palladio’s church. The architects include Norman Foster, Eduardo Souto de Moura, and Smiljan Radic, and includes The Asplund Pavilion, like the Woodland Chapel  that inspired it. It is intended as a “place of orientation, encounter, meditation, and salutation.” The 10 chapels each symbolize one of the Ten Commandments, and offer 10 unique interpretations of the original Woodland Chapel; many are open air. These are fab and make you think! Chiese San Giorgio Maggiore was designed by Palladio and is fine. But its bell tower offers magnificent city views and avoids the long lines, crowds and costs of Piazza San Marco’s Campanile. Next to San Giorgio you should tour the Cini Foundation, with an amazing stair by Longhera, the modern Monica Lunga Library (Michele De Lucchi) and a lovely Borges-inspired labyrinth garden. Behind San Giorgio en route to the Chapels is the Museo del Vetro (Glass Museum) and the fabulous Le Stanze della Fotografia (contemporary photography gallery) featuring a Mapplethorpe retrospective this year. (If you’re visiting this year, join me in Piazza San Marco on July 7, 2025, for his ex Patti Smith’s concert.) An unknown MUST DO is a concert in the stunning Auditorium Lo Squero (Cattaruzza Millosevich), with but 200 comfy seats in an adapted boat workshop with a stage wall of glass onto the lagoon and the Venitian cityscape. La Fenice Opera House in Venice, Italy. Image via: Wikipedia La Fenice Opera House: after burning down in 1996, Aldo Rossi supervised the rebuilding, more or less ‘as it was, as it is’, the Italian heritage cop-out. There is no Rossi to see here, but it is a lovely grand hall. Book a concert with private box seats. Venice Marco Polo Airport is definitely Aldo Rossi-inspired in its language, materials and colours. The ‘Gateway Terminal’ boat bus and taxi dock is a true grand gateway (see note about Gehry having designed an unbuilt option below). Venice Marco Polo airport. Photo via Wikipedia HIDDEN GEMS Fondazione Vendova by Renzo Piano features automated displays of huge paintings by a local abstract modernist moving about a wonderful huge open warehouse and around viewers. Bizarre and fascinating. Massimo Scolari was a colleague or Rossi’s and is a brilliant, Rationalist visionary and painter, renown to those of us devotees of the Scarpa/Rossi/Scolari cult in the 1980’s. His ‘Wings’ sculpture is a large scale artwork motif from his drawings now perched on the roof of the UIAV School of Architecture, and from the 1991 Biennale. Do yourself a favour, dear reader, look up his work. Krier, Duany and the New Urbanists took note. He reminds me of the 1920s Italian Futurists. You can tour all the fine old churches you want, but only one matters to me: Santa Maria dei Miracoli, a barrel-vaulted, marble and wood-roofed confection. San Nicolo dei Mendicoli is admittedly pretty fab, and featured in ‘Don’t Look Now’.  And the Basilica of Santa Maria Assunta on Torcello has an amazing mosaic floor, very unusual stone slab window shutters (and is near Locanda Cipriani for a wonderful garden lunch, where Hemingway sat and wrote). For the Scarpiani: There is a courtroom, the Manilo Capitolo, inside the Venice Civic Tribunale building in the Rialto Market that was renovated by Scarpa, and is amazing in its detail, including furniture and furnishings. You have to pass security to get in, and wait until court ends if on. It is worth it! The Aula Mario Baratto is a large classroom in a Palazzo overlooking the Grand Canal designed by Carlo Scarpa with amazing wood details and furniture. The room has stunning frescoes also. You can book a tour through Universite Ca’ Foscari. The view at a bend in the Grand Canal is stunning, and you can see the Fondazione Masieri (Scarpa renovation) building off to the left across the side canal (see Missed Opportunities). Within the Accademia Galleries and Correr Museum are a number of small renovations, stairs and art stands designed by Scarpa. Next to the Chiesa di San Sebastino decorated by Veronese is the Scarpa entrance to a linguistics library for the Universita Ca’ Foscari. Fondation W – Wilmotte & Associés: A French architect who is not shy and presumably rather wealthy runs his own exhibition space focused on architecture; ‘…it is both a laboratory and shop window…’,  so one of those. Worth a look. There is a recent Courthouse that is sleek, long, narrow, black and compelling on the north side of Piazzalle Roma, but I have not yet wandered in.   FOOD AND DRINKS FOR ARCHITECTS Philippe Starck’s lobby bar at the Palazzina Grassi hotel is the only cool, mod bar in town. Wow! Ask the barman to see the secret Krug Room and use the PG bar’s unique selfie washroom. I love this bar: old, new, electic. Also, Starck has a house on Burano, next to the pescheria (sorry, useless ephemera). He wants you to drop by. Restaurant Algiubagiò is the only cool, modern restaurant and it has fab food. It also has a great terrace over the water. Go! Zanze XVI is a nice clean mod interior and Michelin food. Worth it. Ristorante Lineadombra: A lovely, crisp modern interior and crisp modern Venetian food. A great terrace on the water also. Local Venice is a newer, clean, crisp resto with ‘interesting’ prices. Your call. Osteria Alla Bifora, while in a traditional workshop space, is a clean open loft, adorned modernly with a lovely array of industrial and historic relics. It is a lovely bar with charcuterie and a patio on the buzzy campo for students. Great for late night. Cicchetti are Venetian tapas, a standard lunch you must try. All’ Arco near Rialto has excellent nouveau food and 50m away is the lovely old school Do Mori. Osteria Al Squero in Dorsoduro overlooks one of the last working gondola workshops, and 100m away is the great Cantino del Vino già Schiavi. Basegò has creative, nouveau cichetti. Drinks on a patio along the Grand Canal can only be had economically at Taverna al Remer, or in Campo Erberia at Nanzaria, Bancogira, Al Pesador or Osteria Al Cichetteria. Avoid any place around Rialto Bridge except these. El Sbarlefo San Pantalon has a Scarpa vibe and a hip, young crowd. There is a Banksy 50’ away. Ristorante Venissa is a short bridge from Burano to Mazzorbo island, a Michelin-starred delight set in its own vineyard.   Since restaurant design cannot tie you up here, try some fab local joints: Trattoria Anzolo Raffaele : The owner’s wife is from Montreal, which is something. A favorite! Pietra Rossa: A fab, smart place with a hidden garden run by a hip, fun young restauranteur, Andrea. Ask for the Canadian architect discount. Oste Mauro Lorenzon : An entertaining wine and charcuterie bar run by the hip young restauranteur’s larger than life father, and nearby. Mauro is a true iconoclast. Only open evenings and I dare you to hang there late. Anice Stellato: A great family run spot, especially for fish. Excellent food always. La Colonna Ristorante: A nice, neighbourhood joint hidden in a small campo. Il Paradiso Perduto: A very lively joint with good food and, rarely in Venice, music. Buzzy and fun. Busa da Lele: Great neighbourhood joint on Murano in a lovely Campo. Trattoria Da Romano: Best local joint on Burano. Starck hangs here, as did Bourdain.   Cafes: Bacaro aea Pescaria is at the corner by Campo de la Becarie. Tiny, but run by lovely guys who cater to pescaria staff. Stand outside with a prosecco and watch the market street theatre. Extra points if you come by for a late night drink. Bar ai Artisti is my second fav café, in Campo S. Barnaba facing where Kate Hepburn splashed into the canal. Real, fab pastries, great terrace in Campo too. Café at Querini Stampalia: get a free visit to Scarpa’s garden and wander it with a coffee or prosecco. Make sure to see the bookstore also (and the Scarpa exhibition hall adjacent). Carlo Scarpa à la Fondation Querini Stampalia (Venise). Photo via Wikipedia, A lesser known place is the nice café in the Biennale Office next to Hotel Monaco, called Ombra del Leone. The café in the Galleria Internationale d’Arte Moderna Ca’ Pesaro is great with a terrace on the Grand Canal.   Cocktail bars: Retro Venezia: Cool, retro vibe. The owner’s wife dated a Canadian hockey player. You must know him. Il Mercante: A fabulous cocktail bar. Go. Time Social Bar:  Another cool cocktail bar. Vero Vino: A fab wine bar where you can sit along a canal. Many good restaurants nearby! Arts Bar Venice: If you must have a cocktail with a compelling story, and are ok with a $45 pricetag. Claims Scarpa design influence, I say no. But read the cocktail stories, they are smart and are named for artists including Scarpa. Bar Longhi in in the Gritti Hotel is a classic, although cheesey to me. Hemingway liked it. It has a Grand Canal terrace. The Hilton Stucky Hotel is a fabulous former flour factory from when they built plants to look like castles, but now has a bland, soulless Hilton interior like you are in Dayton. But it has a rooftop bar and terrace with amazing sunset views! While traditional, the stunning, ornate lobby, atrium and main stair of the Hotel Danieli are a must-see. Have a drink in the lobby bar by the piano player some evening.   STAYING MODERN Palazzina Grassi is the only modern hotel in Venice, with a really lovely, unique lobby/bar/restaurant all done by Philippe Starck. At least see the fab bar! Johnny Depp’s favourite. Generator Hostel: A hip new-age ‘design-focused’ hostel well worth a look. Not like any hostel I ever patronized, no kegs on the porch. Go visit the lobby for the design. A Euro chain. DD724 is a small boutique hotel by an Italian architect with thoughtful detailing and colours, near the Peggy Guggenheim Museum (the infamous Unfinished Palazzo), and they have a small remote outpost with fabulous apartment called iQS that is lovely. The owner’s brother is the architect. My fave! Avogaria: Not just a 5 room hotel, it is ‘a concept’, which is great, right?  But very cool. An architect is one of the owners. German minimalist architect Matteo Thun’s JW Mariott Venice Resort Hotel and Spa is an expensive convent renovation on its own lagoon island that shows how blandness is yawningly close to minimalism. The Hotel Bauer Palazzo has a really lovely mid-century modern section facing Campo San Moise, but it is shrouded in construction scaffolding for now.   SHOPPING MODERN FOR ARCHITECTS It is hard to find cool modern shopping options, but here is where you can: Libreria Acqua Alta: Used books and a lovely, unexpected, fab, alt experience. You must see and wander this experience! It has cats too. Giovanna Zanella: Shoes that are absolute works of art! At least look in her window. Bancolotto N10: Stunning women’s clothing made in the women’ prison as a job skill training program. Impeccable clothes; save a moll from a life of crime. Designs188: Giorgio Nason makes fabulous glass jewellery around the corner from the Peggy Guggenheim Museum. Davide Penso: Artisan made glass jewellery on Murano. Ferrovetro Murano: Artisan made jewellery, bags, scarfs. (on Murano). Madera: All the cool designer housewares and jewellery. DECLARE: Cool, modern leathergoods in a very sweet modern shop with exquisite metal detailing. A must see! Ottica Urbani: Cool Italian eyewear and sunglasses. Paperowl: Handmade paper, products, classes. Feeling Venice: Cool design and tourist bling can be found only here. No shot glasses.   MISSED OPPORTUNITIES, MEMORIES AND B-SIDES The Masieri Foundation: Look up the tragic story of this project, a lovely, small memorial to a young architect who died in a car accident on his honeymoon en route to visit Fallingwater in 1952. Yep. His widow commissioned Frank Lloyd Wright to design a small student residence and study centre, but it was stopped by anti-American and anti-Modernism sentiments. (Models and renderings are on-line). This may be Venice’s saddest architectural loss ever. The consolation prize is a very, very lovely Scarpa interior reno. Try to get in, ring the bell (it is used as offices by the university)! (Read Troy M. Ainsworth’s thesis on the Masieri project history). Also cancelled: Lou Kahn’s Palace of Congress set for the Arsenale, Corbusier’s New Venice Hospital which would have been sitting over the Lagoon in Cannaregio near the rail viaduct, Gehry’s Venice Gateway (the airport’s ferry/water taxi dock area). Also lost was Rossi’s temporary Teatro del Mondo, a barged small theatre that tooted around Venice and was featured in a similar installation in 1988 at the R.C. Harris Water Treatment Plant. All available on-line. Teatro del Mondo di Aldo Rossi, Venezia 1980. Photo via Wikipedia, CC BY-SA 4.0 Itches to scratch: Exercise your design skills to finish the perennial favorite ‘Unfinished Palazzo’ of the Peggy Guggenheim Museum, design a new Masieri Foundation, design the 11th Vatican Chapel or infill the derelict gasometer site next to Palladio’s Chiese San Francisco della Vigna.   FURTHER AFIELD Within an hour’s drive, you can see the simply amazing Tombe Brion in San Vito Altivole and the tiny, stunning Giptotecha Canova in Possagna (both by Scarpa), the Nardini Grappa Distillery in Bassano del Grappa by Maximillio Fuksas, and a ferry and taxi will get you to Richard Meier’s Jesolo Lido Condos on the beach. A longer drive of two hours into the mountains near Cortina will bring you to Scarpa’s lovely and little known Nostra Signore di Cadora Church. It is sublime! Check out the floor! Zaha Hadid’s stunning Messner Mountain Museum floats above Cortina, accessible by cable car. The recent M-09 Museum on mainland Mestre, a quick 10 minute train ride from Venice, by Sauerbruch + Hutton is a lovely urban museum with dynamic cladding. Castelvecchio Museum. Photo via Wikipedia The Veneto region is home to many cool things, and fab train service gets you quickly to Verona (Scarpa’s Castelvecchio Museum and Banco Populare), Vicenza (Palladio’s Villa Rotonda and Basillicata). There are Palladio villas scattered about the Veneto, and you can daytrip by canal boat from Venice to them. Go stand where Hemingway was wounded in WWI near Fossalta Di Piave (there is a plaque), which led to his famous novel, ‘A Farewell to Arms’. He never got to visit Venice until 1948, then fell in love with the city, leading to ‘Across the River and into the Trees’. He also threatened to burn down FLW’s Masieri Foundation if built (and they both came from Oak Park, Illinois. So not very neighborly).   OTHER GOOD ARCHITECTURAL REFERENCES Venice Modern Architecture Map The only guidebook to Modern Architecture in Venice   These architectural guide folks do tours geared to architects: Architecture Tour Venice – Guiding Architects Venice Architecture City Guide: 15 Historical and Contemporary Attractions to Discover in Italy’s City of Canals | ArchDaily Venice architecture, what to see: buildings by Scarpa, Chipperfield and other great architects The post An Architect’s Guide to Venice and its Modern Architecture    appeared first on Canadian Architect.

Latin America at the 2025 Venice Biennale: Exploring Territory, Memory, and Ancestral Knowledge to Build the PresentSave this picture!Andamio Vivo - Perú. Image © Gonzalo Vera Tudela De MontreuilThe 19th edition of the Venice Architecture Biennale officially opened to the public on May 10, becoming a significant international platform for exploring the current state of global architecture and sparking conversations about the challenges the discipline faces today—both shared and specific to each territory. This year’s theme, "Intelligens. Natural. Artificial. Collective," proposed by general curator and Italian architect Carlo Ratti, invites reflection on architecture’s interconnection with other fields—such as art, artificial intelligence, and technology—while also emphasizing the importance of territories, landscapes, and, above all, the people who collectively shape our built environment.In this context, the national participations of Latin American countries have enriched the international exhibition with contributions deeply rooted in their local cultures and identities. Argentina, Brazil, Chile, Mexico, Peru, and Uruguay represented Central and South America in Venice. Across their proposals, several shared themes emerged—most notably, the idea that contemporary architecture must consciously reconnect with its territory and draw from its history in order to build more thoughtfully today. Along these lines, the installations explored the re-signification of local elements and ancestral knowledge, adapting them to contemporary challenges and contexts.Brazil and Mexico centered their exhibitions on an in-depth investigation of land recording and mapping, addressing the use of ancestral construction technologies in relation to agriculture and the natural landscape. Both explored how these traditional techniques can be adapted to contemporary contexts. Uruguay, recognizing that over half of its territory is composed of water, emphasized the importance of considering this resource as an integral part of the country’s history, culture, and development. Peru and Argentina, meanwhile, focused on the re-signification of unique local elements—the silobag, emblematic of the Argentine countryside, and totora, a plant traditionally used in various forms of construction in Peru. In both pavilions, these materials were prominently featured, evoking the cultural and symbolic significance they carry. Finally, Chile’s participation presented a reflective and thought-provoking working table that examined recent debates around artificial intelligence policies established in the country. Related Article Between Algorithms and Ancestral Knowledge: Expanding the Concept of Architectural Intelligence Siestario - Argentina Save this picture!Save this picture!Upon entering Siestario, the Argentine Pavilion located in the Arsenale of Venice, visitors are immersed in a space of soft light and evocative soundscapes. At the center, serving as the undisputed focal point, is a large pink inflatable bag that instinctively invites repose. This is a silobag—a storage element commonly used in the Argentine countryside for preserving grain, especially soy, and emblematic of the country’s export-driven economy. In this context, the silobag functions not only as a spatial gesture but also as a temporal one: an invitation to pause and reflect amid the pace of the Biennale.In this way, architects Marco Zampieron and Juan Manuel Pachué succeed in decontextualizing this characteristic element—deeply rooted in national identity—by re-signifying its function and placing it within a space of critique and questioning. The result is effective: visitors are drawn to the installation, climb onto it, rest, and surrender to the experience, surrounded by images and sounds that induce a dreamlike drowsiness.(re) invenção - BrazilSave this picture!Save this picture!Brazil’s exhibition, curated by Luciana Saboia, Eder Alencar, and Matheus Seco—members of Plano Coletivo—is divided into two rooms, presenting research on the knowledge drawn from the lands of the Amazon. The installation establishes a dialogue between ancestral wisdom and contemporary urban infrastructure through exhibition elements that also serve as the structural system of the display.In the first room, lined with biodegradable wooden panels, maps and documents are spread across the floor, evoking the direct relationship that Indigenous peoples of the Amazon have with their land. In the second, a curated selection of architectural and urban infrastructure projects illustrates how these traditional forms of knowledge—deeply connected to Brazilian territory—are transformed into collective knowledge, capable of adapting to contemporary projects while preserving this cultural heritage.This balance between local culture, territory, and contemporary challenges is expressed almost literally through a minimalist and precise installation, composed of vertical panels and a suspended table made of reforested wood, both connected by tensioned steel cables. The balance is achieved through stone counterweights and a central metal tube that distributes the forces, turning the table into a structural element that redefines the spatial experience of the room.Reflective Intelligences - ChileSave this picture!Save this picture!The Chilean Pavilion presents a powerful proposal: upon entering the room, a central table—the main exhibition element—reflects a series of videos, essays, and images on its water surface. These works focus on archival research exploring the country’s growing role in the development of artificial intelligence, data center buildings, and the impact this has on the territory and, above all, its inhabitants.Serena Dambrosio, Nicolás Díaz Bejarano, and Linda Schilling Cuellar, the architects behind the pavilion, conceive the table not only as a physical support but also as a reference to the political tool of the "roundtable" used by the Chilean government to introduce policies and regulations around AI. In this case, the use of the water’s reflection invites visitors to reflect on what this technological development truly entails, questioning the exclusion of communities and environmental factors in these decision-making spaces. In this way, the table within the pavilion becomes a fertile ground for fostering collective dialogue among all key stakeholders: architects, researchers, communities, and policymakers.Chinampa Veneta - MéxicoSave this picture!Save this picture!The experience of entering the Mexican Pavilion, located in the Arsenale at the Biennale, is completely immersive. Visitors are welcomed by a recreation of a chinampa—an ancient cultivation system that involves creating platforms of earth over water to form small agricultural islands—which immediately captures attention through its lush vegetation, the scent of damp soil, and the sounds of water. The rest of the room, where vegetables, flowers, and medicinal herbs planted in the central chinampa are also expected to grow, is arranged to mimic the canals of Xochimilco, drawing a parallel with Venice itself, famously built over water.With this installation, the curatorial team—comprising Estudio Ignacio Urquiza and Ana Paula de Alba, Estudio María Marín de Buen, ILWT, Locus, Lucio Usobiaga Hegewisch & Nathalia Muguet, and Pedro&Juana—proposes revisiting these traditional chinampa agricultural systems to reflect on their adaptation in the present as a sustainable response, thanks to their self-irrigation system, within the context of droughts and global climate crisis. It also stands as evidence of a collective system bridging the natural and the built environment, as well as sustained care over time.Living Scaffolding - PerúSave this picture!Save this picture!The Peruvian Pavilion, with Alex Hudtwalcker as chief curator and Sebastián Cillóniz, José Ignacio Beteta, and Gianfranco Morales as associate curators, is presented at the Biennale’s Arsenale with Living Scaffolding, a proposal centered around a monumental structure built from totora reed wood. This installation brings to Venice the ancestral knowledge of the Uros and Aymara peoples of Lake Titicaca, who for centuries have used totora to construct floating habitable islands, homes, boats, and other essential elements for life on the lake.Over time, the refinement of this ancient technique incorporated other essential components—such as ropes and logs—that contribute to the stability and buoyancy of the structures. All this knowledge is materialized in an installation that can be fully experienced: visitors enter and walk through the scaffolding, exploring its construction system from within.Living Scaffolding highlights the technical precision and enduring relevance of this tradition, which in the contemporary context takes on a new meaning connected to collectivity, material memory, and the possibility of reactivating ancestral techniques as a response to today’s challenges. 53,86% Uruguay Land of Water - Uruguay Save this picture!Save this picture!Curated by architects Ken Sei Fong and Katia Sei Fong, alongside visual artist Luis Sei Fong, the Uruguayan Pavilion explores the country’s relationship with its maritime territory, which accounts for just over half of its total surface area. Located in its own building within the Biennale’s Giardini, the pavilion features a poetic and musical installation: a wavy ceiling from which amethyst stones hang, dripping water that strikes metal containers on the floor. This sensory and sonic experience invites visitors to contemplate water as a thread that weaves together the country’s memory, identity, and development.The installation presents a critique of the global water management model, emphasizing that, as a finite and increasingly scarce resource, it is essential to establish policies and regulations for its preservation. In this context, architecture plays a key role: it can not only offer innovative solutions but also promote conscious planning around water in cities and territories, acting as a bridge between the way we inhabit and the way we collectively manage this vital resource.Save this picture!Latin America’s participation in the 2025 Venice Biennale reveals that architecture is not only a design discipline but also a powerful critical and cultural tool. Each pavilion, rooted in its specific territorial context and local cultural identity, enacts a form of resistance by exploring ancestral knowledge, natural resources, and contemporary technologies as collective ways of knowing—learning from the past to build better today. In a global context marked by environmental crises, inequalities, and technological transformations, these architectural and deeply reflective endeavors construct new and reimagined narratives, where the local is no longer intrinsic to a fixed context but rather knowledge that expands, connects, and adapts to shared new realities.Save this picture! Image gallerySee allShow less About this authorPaula PintosAuthor••• Cite: Pintos, Paula. "Latin America at the 2025 Venice Biennale: Exploring Territory, Memory, and Ancestral Knowledge to Build the Present" [Latinoamérica en la Bienal de Venecia 2025: territorio, memoria y saberes ancestrales para construir el presente] 23 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030213/latin-america-at-the-2025-venice-biennale-exploring-territory-memory-and-ancestral-knowledge-to-build-the-present&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

The Holy See Pavilion Presents a Living Practice of Restoration at the Venice Architecture Biennale 2025Save this picture!Vatican Pavilion. Image © Jose HeviaAt the 19th International Architecture Exhibition, La Biennale di Venezia, the Dicastery for Culture and Education presents "Opera Aperta", a project that positions architecture as a practice of collective care and responsibility. Curated by Marina Otero Verzier and Giovanna Zabotti, Opera Aperta is set within the Santa Maria Ausiliatrice Complex in Venice's Castello district. Designed by Tatiana Bilbao ESTUDIO and MAIO Architects, the project transforms the 500-square-meter site into a space for collaborative restoration and public engagement. Conceived as a work in progress rather than a finished installation, Opera Aperta functions as a platform for ongoing exchange, participation, and engagement rooted in the local context. This open and process-oriented approach was recognized during the opening events, where the Holy See Pavilion received the Golden Lion's Special Mention for National Participation. Save this picture!For six months, the project activates the Santa Maria Ausiliatrice Complex in Venice's Castello district, occupying approximately 500 square meters. The site, rich in historical and cultural layers, was originally established in 1171 as a hospice for pilgrims. Over the centuries, it evolved into the city's oldest hospital and, by the 18th century, served as a nursery, school, and boarding facility. Designated for cultural use by the City of Venice in 2001, the complex is now under the management of the Dicastery for Culture and Education of the Holy See, which is overseeing its restoration as part of a long-term commitment to preserving its significance within the urban fabric.Save this picture!Within this context, Opera Aperta proposes an architectural approach centered on repair, continuity, and reinterpretation. Rather than replacing existing elements, the project focuses on enhancing the built environment through restoration. Cracks and imperfections are treated not as defects, but as spaces for new meaning and engagement. During the exhibition, the Holy See Pavilion becomes a site of ongoing transformation, an open framework that accommodates the work of architectural studios, local associations, and civic organizations. This collaborative structure invites contributions from across the community, positioning the project as a model for inclusive, adaptive, and context-sensitive architectural practice. Related Article Bahrain Wins the Golden Lion for Best National Participation at the 2025 Venice Architecture Biennale Save this picture!Save this picture! Opera Aperta is a collaborative process involving an international team and local collectives together, claiming repair as a creative and radical practice that transcends architectural form to nourish communities, ecosystems and the fragile bonds between them. By revitalising an existing structure, we value its cracks and losses not as flaws to be hidden, but as openings to new possibilities. These thresholds invite us to reimagine the relationship between past and future, growth and decay, rupture and regeneration. Opera Aperta honours the layered histories embedded in this specific place while creating space for those who will come after us. - Marina Otero Verzier, Curator of the Holy See Pavilion Save this picture!Restoration work at the Santa Maria Ausiliatrice Complex is carried out by local artisans and specialized conservators, with expertise spanning stone, marble, terracotta, stucco, mural and canvas painting, wood, and metal. The interior of the complex supports this ongoing work through adaptive spatial strategies. Fabrics suspended from the walls partially veil the surfaces, while maintaining visibility of the interventions. Mobile scaffolding serves a dual purpose, supporting the restoration and functioning as modular furniture that defines flexible zones within the space. Complementing these efforts, Opera Aperta includes platforms for cultural exchange and community participation. A communal table, organized by the cooperative nonsoloverde, invites residents and visitors to engage in shared dialogue during the same weekly intervals.Save this picture!The Venice Architecture Biennale 2025 will run from May 10 to November 23, hosting a total of 65 National Pavilions. Among them, four countries, Azerbaijan, Oman, Qatar, and Togo, will be participating for the first time. The Azerbaijan national pavilion will present Equilibrium. Patterns of Azerbaijan and the Republic of Togo will present the exhibition titled Considering Togo's Architectural Heritage. This year the Kingdom of Bahrain's national pavilion was awarded Golden Lion for Best National Participation. Titled Heatwave, the exhibition was curated by architect Andrea Faraguna and located in the historic Artiglierie of the Arsenale. Golden Lion for Best Participant in the exhibition Intelligens. Natural. Artificial. Collective is awarded to Canal Café by Diller Scofidio + Renfro, Natural Systems Utilities, SODAI, Aaron Betsky, Davide Oldani, and two special mentions were awarded to Opera Aperta of Holy See Pavilion and the Pavilion of Great Britain: GBR: Geology of Britannic Repair, commissioned by Sevra Davis of the British Council and curated by Owen Hopkins, Kathryn Yusoff, Kabage Karanja, Stella Mutegi. Image gallerySee allShow less About this authorReyyan DoganAuthor••• Cite: Reyyan Dogan. "The Holy See Pavilion Presents a Living Practice of Restoration at the Venice Architecture Biennale 2025" 23 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030449/the-holy-see-pavilion-presents-a-living-practice-of-restoration-opera-aperta-at-the-venice-architecture-biennale-2025&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! 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Studio Lodtunduh / Pablo Luna StudioSave this picture!Courtesy of Maximiliano Allendes Medeiros & Pablo Luna Studio Architects: Pablo Luna Studio Area Area of this architecture project Area:  295 m² Year Completion year of this architecture project Year:  2025 More SpecsLess Specs Save this picture! Text description provided by the architects. Located in the quiet village of Lodtunduh, just south of Ubud, Bali, this architectural studio was conceived as a spatial expression of openness, adaptability, and care. Measuring 33 meters in length by 8 meters in width, the building reflects a design philosophy rooted in sensitivity to place, material honesty, and environmental integration.Save this picture!Save this picture!Constructed using locally sourced black bamboo, reclaimed wood, and handcrafted terrazzo, the structure exemplifies the intersection of minimalism, natural construction, and refined craftsmanship. A black bamboo structural frame supports a wavy fluid roof, finished with ulin wood shingles, and is grounded by solid concrete walls and terrazzo floors that create a calm, textural equilibrium between mass and lightness.Save this picture!Save this picture!Save this picture!Save this picture!The spatial layout is open and continuous, allowing for a dynamic flow between communal areas and focused work zones. At the entrance, a model-making workshop introduces a space where ideas take early physical form. Just beyond, the main workspace is enclosed with steel-framed glass panels, offering acoustic separation and visual connectivity to the landscape. Timber flooring and black bamboo elements provide warmth and cohesion throughout.Save this picture!Save this picture!Save this picture!Save this picture!Two large worktables, one centrally positioned and another extending along the southeastern edge, function as the operative core of the space. Both were custom-designed with integrated power access, bag storage, and refined details to support order, efficiency, and collective use. Handmade bamboo pendant lights suspended from the ceiling offer a soft, ambient glow, enhancing the quality of light and the atmosphere of focused creativity.Save this picture!As the building unfolds, the architecture becomes more open and increasingly connected to the outdoors. A stone and wood table marks a shared area for informal meetings, while a sunken lounge space, referred to as the Zen Center, serves as a setting for internal presentations, reflective gatherings, or quiet moments of pause. At the far end, an open kitchen and a long communal table create opportunities for rest, meals, and spontaneous dialogue. The surrounding gardens bring shade, breeze, and a living connection to the tropical environment.Save this picture!This project explores the potential of architecture to foster presence, collaboration, and ecological attunement. Through its material choices, spatial rhythm, and restrained design language, the studio operates as both a workspace and a vessel for shared values.Save this picture! Project gallerySee allShow less Project locationAddress:Ubud, IndonesiaLocation to be used only as a reference. It could indicate city/country but not exact address.About this officePablo Luna StudioOffice••• MaterialWoodMaterials and TagsPublished on May 23, 2025Cite: "Studio Lodtunduh / Pablo Luna Studio" 23 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030380/studio-lodtunduh-pablo-luna-studio&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Linea House / Wolveridge ArchitectsSave this picture!© Derek SwalwellHouses•Sandringham, Australia Architects: Wolveridge Architects Area Area of this architecture project Area:  800 m² Year Completion year of this architecture project Year:  2021 Photographs Photographs:Derek Swalwell Manufacturers Brands with products used in this architecture project Manufacturers:  Artedomus, CDK stone, Classic Ceramics, Concrete Resurfacing Systems, Eco Timber, New Age VeneersMore SpecsLess Specs Save this picture! Text description provided by the architects. Blade House sits deeply embedded in its landscaped garden, with every part of the interior visually connected to nature. The clients wanted a home that would evolve as their adult family, and guests come and go, and a floor plan defined by separate wings ensures that will happen. Central to the overall design is the idea of the house not turning its back on the street, while still preserving a sense of privacy and security for the clients and their family. Removing the traditional boundary fence extends the property outwards, generously greeting passers-by and softening the line between public and private space.  Save this picture!Save this picture!Save this picture!Save this picture!Save this picture!The facade is a series of full-height blades and cedar screens, creating privacy for the occupants while still letting in natural light. These external elements also engage with the Jack Merlo-designed landscaping to reinforce the importance of biophilic design in creating a home that facilitates both health and well-being. Internally, the primary ensuites' large picture window lets the outdoors in, the study overlooks a private courtyard, and 3.5m high sliding doors open the north-facing kitchen, living & dining areas up to the garden. These varied connections create a sense of discovery as one moves through the home. Even the home's transitional spaces enjoy a visual connection with the garden, while the kitchen, dining, and lounge also enjoy a physical one, very much positioning them as the central hub of the house. Save this picture!Save this picture!Save this picture!Save this picture!Save this picture!Complementing the scheme is a restrained material palette, which predominantly comprises Australian hardwood timber, travertine, and Venetian plaster internally, with travertine also used generously externally alongside the cedar. In the garden, it all has an effortless resort-like feel, with various recreation zones allowing for easy entertaining, in the outdoor dining/living area or at the pool/spa, with a casual seating area, firepit, and trampoline completing the well-considered design.  Save this picture! Project gallerySee allShow less About this office MaterialsWoodStoneMaterials and TagsPublished on May 23, 2025Cite: "Linea House / Wolveridge Architects" 23 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030384/linea-house-wolveridge-architects&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

O Plant-based Thao Dien Cafe / xưởng xépSave this picture!© Quang DamCoffee Shop Interiors•Thao Dien, Vietnam Architects: xưởng xép Area Area of this architecture project Area:  93 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Quang Dam Lead Architects: Lam Bao More SpecsLess Specs Save this picture! Text description provided by the architects. In architecture, we are often accustomed to adding – a new structure emerging as a mark of human presence imprinted on nature. However, for this project, we chose a different approach: instead of adding, we deliberately subtracted artificial interventions.Save this picture!Save this picture!Save this picture!Save this picture!The site was originally a small garden attached to an old house, now repurposed into a café serving plant-based food and beverages. We did not want the presence of architecture to diminish the inherent value of the garden. How could the garden remain part of the house while simultaneously becoming an inseparable part of the café? We opted for a minimalist approach, preserving the essence of the site, making only subtle adjustments to shape a new space without disrupting its existing balance.Save this picture!Soft, implied partitions were introduced to define the space in a way that allows for fluid transitions rather than rigid boundaries. These elements establish functional zones naturally, ensuring privacy while maintaining a strong connection to the garden. The same green space now serves both the house and the café, allowing them to coexist and share their value in a new way.Save this picture!Save this picture!Save this picture!Beginning with volumetric studies, we refined the design through multiple iterations, gradually eliminating unnecessary elements until the space reached its purest form. Throughout this process, it felt as though the site itself was engaging in a dialogue with us: it did not need more; it needed less—an approach that was lighter, more restrained. And so, we began a process of subtraction—removing unnecessary boundaries to make the architecture more open, allowing it to converse more harmoniously with nature.Save this picture!Save this picture!Save this picture!Save this picture!Save this picture!The structural system follows a minimalist yet effective principle. Columns, roofing, and gutters were all carefully refined so that each element serves a clear purpose, with nothing in excess. In terms of materials, we selected lightweight solutions that interact naturally with the surroundings. The roofing system is designed as a delicate, undulating layer – like a drifting cloud – providing shade without completely blocking natural light. The partitions are "tailor-made" from 3mm weathered steel sheets, their edges bent for reinforcement, evoking the warmth of aged wooden beams. The façade, woven from steel mesh, helps reduce the visual mass of the structure while fostering a seamless integration between architecture and greenery.Save this picture!With this approach, architecture does not impose itself upon the space but instead acts as a subtle intervention that enhances what already exists. The garden remains a garden, but now, it is no longer just part of the old house—it has become an integral part of a shared communal space—a natural transition between people and landscape, between old and new, between the present and future possibilities.Save this picture! Project gallerySee allShow less Project locationAddress:Thao Dien, Thu Duc city, Ho Chi Minh city, VietnamLocation to be used only as a reference. It could indicate city/country but not exact address.About this office Published on May 22, 2025Cite: "O Plant-based Thao Dien Cafe / xưởng xép" 22 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030335/o-plant-based-thao-dien-cafe-xuong-xep&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

The Tamboré Club / DMDV arquitetosSave this picture!© Nelson Kon e Alberto RicciWellbeing•Jundiaí, Brazil Architects: DMDV arquitetos Area Area of this architecture project Area:  988 m² Year Completion year of this architecture project Year:  2024 Lead Architect: Thiffani Siani More SpecsLess Specs Save this picture! Text description provided by the architects. The Tamboré Club project presents an architecture defined by the contrast between solid stone-clad volumes, which house the club’s main programs, and transparent areas that foster visual and physical integration with the surrounding natural landscape. Organized into four distinct blocks, the complex is accessed via a metal pergola that extends over a reflecting pool, surrounded by carefully curated landscaping that creates a welcoming and symbolic entrance.Save this picture!The building opens inward toward the lot, facing a permanent preservation area—an architectural gesture that strengthens its connection to the natural environment and offers a sense of discovery as one enters the site. A central volume, distinguished by its elevated metal roof, houses the main event hall, oriented toward the outdoor pool. The gym faces the same direction, while the heated indoor pool stretches along the lateral edge of the site, forming a kind of internal plaza enveloped by native vegetation.Save this picture!The architectural language strikes a balance between geometries: the organic design of the outdoor pool contrasts with the rectilinear volumes of the building, while maintaining a dialogue with the natural surroundings. An outdoor patio between the event hall and the gym serves as an open-air cinema, where the building's end wall functions as the projection screen.Save this picture!The interior design emphasizes a refined rusticity, featuring natural materials such as stone, exposed concrete, and wood to create spaces that evoke comfort, warmth, and a strong connection to nature.Save this picture!Save this picture!Save this picture!In the highest part of the terrain, two barbecue areas have been positioned to take full advantage of the complex’s elevated views. Complementing the sports facilities are a playground, tennis courts, a multi-sports court, and beach tennis courts, all integrated into a multifunctional landscape.Save this picture! Project gallerySee allShow less Project locationAddress:Jundiaí, BrazilLocation to be used only as a reference. It could indicate city/country but not exact address.About this office MaterialsSteelStoneMaterials and TagsPublished on May 22, 2025Cite: "The Tamboré Club / DMDV arquitetos" [Clube Tamboré Jundiaí / DMDV arquitetos] 22 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1029930/the-tambore-club-dmdv-arquitetos&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream