With reclaimed land previously allocated to cars, the Grijalva River boardwalk offers generous public spaces and reconnects the Mexican city of Villahermosa to its river In Villahermosa, nature reigns supreme. Surrounded by rivers, lagoons, wild vegetation and the scorching heat of a humid tropical climate, the city’s identity is shaped by intense and unpredictable natural forces. The capital of the Mexican state of Tabasco was founded in 1564 on the banks of the Grijalva River, a vital trade route that has significantly shaped the city’s development. For locals, the river has long been both blessing and threat; major floods have been recorded since the 17th century. A devastating flood in 2007 submerged what officials estimated to be 80 per cent of the city, damaging or destroying more than 120,000 homes. In the aftermath of the inundation, high concrete retaining walls were built along both banks of the Grijalva River to prevent further flooding. While this was an understandable measure at first glance, it consequently caused residents to lose both their visual and physical connection with the river. As a result, people moved, particularly from the western bank where the historical centre is located, to new areas further away from the Grijalva River. The riverfront was left to deteriorate into a troubled zone. On the eastern bank, the neighbourhood of Gaviotas was already considered unsafe before the flood, yet it maintained more of its residential character. In 2022, 15 years after the dramatic flood, then‑president Andrés Manuel López Obrador, more commonly known as AMLO, announced the construction of a new 6km‑long riverfront promenade in Villahermosa, the capital of his home state. The idea was to enable the population to once again take pride in and live with their river, looking to Paris and Rome as examples. The monumental task, with its large urban scale and the population’s psychological trauma, was entrusted to the Ministry of Agricultural, Territorial and Urban Development (SEDATU) as part of their Programa de Mejoramiento Urbano (Urban Improvement Programme, or PMU). This programme aimed to use architecture as an ‘instrument of social transformation’. High expectations were placed on these projects; architects were asked to create ‘places of national pride’ while improving everyday living conditions. The architectural trio of Alejandro Castro Jiménez Labora, Mauricio Rocha Iturbide, and Óscar Rodríguez Castañeda, along with their teams, were commissioned to design a linear park along both banks of the Grijalva. Each architect contributed their strength: Castro brought his expertise in poetic urban furniture; Rocha his sensitive and atmospheric architectural approach; and Rodríguez his thoughtful urban and traffic planning skills. The SEDATU team provided technical and participatory expertise, enabling contextual sensitivity by sharing essential information about the site’s topography, soil conditions and water flows. From the city’s existing observatory, the Torre del Caballero landmark, visitors enjoy an excellent view over the redesigned riverbanks. The historical centre and the Gaviotas neighbourhood now form a single ensemble, while the intervention carefully responds to the different conditions found along the length of the river. The project’s main objective is to reclaim some of the land previously allocated to cars and create a promenade for pedestrians and slower vehicles, punctuated with public spaces and facilities. On both sides of the river, cars are now limited to just one or two grey asphalt lanes. Running alongside are generous cycle paths and pedestrian walkways made of earth‑coloured concrete. Speed bumps in the same material and colour connect the pavements on either side of the road while helping to limit traffic speed to 30km/h, further enhancing pedestrian safety. Several design elements are found along almost the entire promenade. A ribbon of light‑grey benches delineates the edge of the elevated riverfront; stone walls, steps and ramps are used to negotiate the slight changes in level; planters and lush vegetation soften the transition to the walkways, creating a welcome buffer from street traffic. The most visually striking components are the tall, red‑pigmented concrete light poles on the elevated path, adorned with elegant L‑shaped steel light fixtures, which establish a strong and cohesive visual rhythm. Only upon closer inspection you notice the 2007 retaining walls peeking through the dense tropical vegetation. Removing these unattractive concrete barriers was never an option; they stand as a symbol of successful flood protection for the local population. The architectural team ingeniously built the elevated promenade atop the existing wall – an effective concealment from the street side while simultaneously inviting residents to reconnect with the Grijalva.  At the foot of the observatory, directly below the retaining wall, the earth‑toned concrete platforms of the Carlos A Madrazo Becerra Park stretch towards the river. Visitors can access the park via a ramp from the promenade on the western bank or by ferry from the opposite side. In the park, concrete furnishings invite visitors to linger among tropical vegetation set against tall natural stone walls. Importantly, it is a space that is durable and requires minimal maintenance – a survival formula for public parks in the Mexican context. Small traces on the concrete benches reveal that the park weathered its baptism of fire last year: the design accommodates the river’s natural dynamics, adapting to fluctuating water levels without compromising public safety. Beyond providing much‑needed shade, the extensive planting of native, low‑maintenance plants on both riverbanks has improved soil stability. Above the park, on a broad extension of the elevated pathway, stand three long, elegant buildings with large cantilevered roofs supported by hefty beams resting on distinctive double columns. The tall glass walls that enclose the interiors are set back, creating a visual flow between interior and exterior spaces. While the beams evoke timber construction, they – like the columns – are made of the same pigmented concrete used for the promenade paving. Despite their refined composition, these structures have remained largely unused since their completion over a year ago, neither serving their intended function as restaurants nor hosting alternative uses. Even the beautifully designed park sees only limited public engagement. The ambitious goal of SEDATU with the PMU projects to ‘counteract violence and strengthen the social fabric’ appears, for now, to have fallen short in this area. According to national statistics, Villahermosa ranks first in perceived insecurity among Mexican cities. This sense of insecurity is tangible on the promenade by the city centre, where buildings that look abandoned contribute to an atmosphere of neglect. The situation is markedly different on the opposite riverbank, in the Gaviotas neighbourhood. Construction of the 3.5km promenade on this side began in 2021 with three open pavilions housing several small kiosks, which quickly evolved into popular taco stands. The Plaza Solidaridad, revitalised by the architectural trio, draws people from the surrounding vibrant neighbourhood. Further south, the final section that was built is a large sports area and children’s playground, which were embraced by the local community even before their official inauguration in February 2024. Especially after sunset, when the air cools, the well‑lit Gaviotas riverfront comes to life. During daylight hours, however, air‑conditioned shopping centres remain the preferred gathering places for the residents of Villahermosa. Rocha describes the city’s new promenade as a ‘jazz composition’, a striking metaphor that speaks of rhythmic complexity and the freedom to improvise. With just a few designed elements and carefully selected colours, the architects have harmoniously layered the river’s urban spaces. The project is earning international recognition but, in Mexico, it faced sharp criticism and was overshadowed by accusations of nepotism. Castro is a friend of AMLO’s son, and the fact that the intervention took place in the home state of the then‑president, coupled with its substantial budget by local standards, drew considerable attention. According to residents, this undermined public acceptance. When asked about the negative press, Rocha speaks of the need to develop a ‘crisis muscle’; he says architects working on public projects in Mexico must ‘let go of perfectionism’ as much lies beyond their control.  During AMLO’s six‑year term, which ended in 2024, SEDATU implemented 1,300 PMU projects in 193 highly marginalised municipalities across the country. While many of these interventions undoubtedly improved people’s quality of life, the Villahermosa riverside project also reveals architecture’s limitations, exposing some of the programme’s weaknesses: architectural interventions often act as sticking plasters on an extensively damaged urban fabric. They are handed over from a national ministry with comprehensive expertise and funding to local governments lacking the means to sustain them. Although SEDATU conducted participatory consultations during the project’s implementation, this engagement was absent once the project was completed. Public acceptance and appropriation can take time; what this project does is send an invitation out. 2025-06-05 Reuben J Brown Share AR June 2025RoadsBuy Now

When a bicoastal couple decided to build a new home along the Lieutenant River in the historic town of Old Lyme, Connecticut, they wanted privacy and plenty of space. They also wanted to capitalize on the unique quality of the area's natural light—an effect so magical that a century ago, it attracted numerous American Impressionist painters, who promptly dubbed it "Lyme light." Courtesy of MarvinIn this, the owners succeeded mightily: Among them, the project's three buildings—main house, carriage house, and pool house—feature no fewer than 110 windows and doors. And for each one, the build team turned to the Marvin Ultimate collection. The handcrafted, customizable windows and glass-paned doors, frequently arrayed to create "walls of glass," allow for an assortment of divided-light designs that deliver on three fronts at once: creating intriguing patterns and subtle gradations of light in every room, giving life and sparkle to the exterior, and, of course, ​​artfully framing the landscape beyond. "It's right on a tributary that leads to the Connecticut River—you've got marsh, cattails, osprey nests," says builder Nick Sapia of Connecticut-based Sapia Builders. "You want to do anything you can to capture that view."Ultimate windows from Marvin are available in a wide range of styles, sizes, and shapes—including specialty options such as triangles, octagons, and the arch-top windows shown in the living room above—and can also be customized to fit a specific placement challenge or design idea. On this home's front facade, for instance, a round window high on the gable was custom-designed with an intricate combination of curved and straight muntins dividing the panes of glass. "It was a tribute to one in the original house on the site," says Sapia, who worked with architect Scot Samuelson and interior designer Janine Dowling to bring the project to life. "If you can dream it and draw it, Marvin can build it."Courtesy of MarvinThis wealth of options allows for visual variety—the home features casement, picture, and specialty windows—while maintaining a cohesive overall look. The resolutely traditional exterior is enlivened by swaths of SDL (simulated divided lite) windows, which deliver the classic gridded look of multiple individual panes without sacrificing the energy efficiency of single panes. Combining those with Ultimate Swinging doors, as in the pool house below, creates sweeping glass "walls" that offer the greatest possible amount of light and access to views.Courtesy of MarvinThe Ultimate collection represents the brand's most extensive selection of features, options, colors, and finishes. Each piece of wood is individually sanded, conditioned, stained, and oven-cured (ensuring structural integrity) for a stately, high-end look both inside and out. "You want a sense of permanency," Sapia says. "Something of that quality and craftsmanship tends to have longevity."The windows invite that spellbinding Lyme light indoors, of course, but it's the vistas outside that steal the show. "From any point on the first floor, because of the glass, you're brought into the site—literally," Sapia says. "When you have such a dynamic view, with a bend in the river, the beautiful work inside the house almost goes away. You walk in and go right to the windows to gaze out."To learn more about Marvin Ultimate windows and doors, click here.

Fenix Art Museum / MAD ArchitectsSave this picture!© Iwan BaanMuseum, Refurbishment•Rotterdam, The Netherlands Architects: MAD Architects Area Area of this architecture project Area:  8000 m² Year Completion year of this architecture project Year:  2025 Photographs Photographs: Manufacturers Brands with products used in this architecture project Manufacturers:  Goppion Project Contractors: Products translation missing: en-US.post.svg.material_description More SpecsLess Specs Save this picture! Text description provided by the architects. Fenix is a major new museum that explores migration through the lens of art, opening on a landmark site in Rotterdam's City Harbor, developed by internationally acclaimed architects MAD. With a rapidly expanding collection of historic and contemporary objects, Fenix tells the story of migration through a series of encounters with art, architecture, photography, food, and history. Located in what was once part of the world's largest transshipment warehouse, on a peninsula in Rotterdam's historic port district, Fenix overlooks the docks where millions of migrant journeys began and ended. The monumental 16,000 square meter warehouse has been transformed to become Fenix by MAD Architects with restoration consultation by Bureau Polderman. This is MAD Architects' first commission for a public cultural building in Europe, as well as the first museum to be built by a Chinese firm in Europe. The project was initiated by the Droom en Daad Foundation, founded in 2016. The Foundation is helping redefine Rotterdam for the 21st century - developing new kinds of arts and culture institutions and fostering new creative talent that reflects the city's diversity, its spirit, and its historySave this picture!Restoration of the 172-meter-long façade of the former shipping and storage warehouse began in 2018, led by Bureau Polderman, and took a year and a half to complete. Some architectural details date back to 1923 when the warehouse opened, while others were part of the 1948-1950 reconstruction plan. In the past 60 years, many additions were made and the building's function changed many 4mes. The façade lacked uniformity. Fronts and frames were rusty. All elements along the façade have now been restored, refurnished, or rebuilt. The characteristic windows were restored to reflect the style of 1923. The 2,200 sqm expanse of the south façade was blast-cleaned and cement stucco was reapplied. The characteristic sliding doors at street level have been restored to their original post-war state, with doors and frames repainted in their original green color. A serene rhythm of columns, windows, and fronts has emerged that emphasizes the horizontal quality of the building.Save this picture!Save this picture!A defining new feature of the building is the Tornado - a double helix staircase evocative of rising air that climbs from the ground floor and flows up and out of the rooftop onto an outdoor platform offering spectacular panoramic views across Rotterdam and the Maas River, 24 meters above ground level. The dynamic structure is cladded in 297 polished stainless-steel panels, made in Groningen, Netherlands. The canopy that sits at the top of the structure is 17m in length and was transported by boat from Groningen to Rotterdam in pieces before being assembled and lifted into place. Inside the Tornado is a 550m long double-helix wooden staircase which emerges onto the platform, which can also be accessed via a central shaft.Save this picture!Inside the building are a series of vast gallery spaces spread over two floors, housing Fenix's growing art and historical collection, as well as a series of commissions by emerging artists from across the world. The ground floor contains exhibition and programming spaces, while the upstairs galleries are dedicated to the Fenix Collection. The museum is accessed via entrances in the centre of the north façade on the riverfront and the south façade. On arrival, visitors are immediately drawn to the base of the Tornado, whose dynamic, twisting form is lit by the glass roof above the central atrium that allows natural light to filter into the lobby. The entrance atrium features a welcome desk, museum shop, and café. At 2,275 sqm, Plein is a vast, flexible space for events and performances and will host a constantly changing programme of activity curated for and with Rotterdam's communities. Located on the ground floor on the Eastern side of the building, it features doors on three sides which can be opened out to create a welcoming covered public space. Fenix offers a number of dining options located throughout the building where visitors can encounter food cultures that have travelled the world.Save this picture!The top of the warehouse features a 6,750 sqm 'green roof', featuring sedum plants arranged in a concentric pattern, in line with the shape of the Tornado. As well as supporting biodiversity, green roofs provide insulation and store rainwater in the plants and substrate, releasing it back into the atmosphere through evaporation. This significantly reduces the burden on the sewerage system, reducing the risk of flooding and the burden on water treatment. The building uses a Thermal Energy System (TES), which stores excess heat from the building in the soil. A heat pump is connected to the TES to produce the correct temperature for the building. The aquifer serves as the source for the heat pump. By using the heat pump and passive cooling, it is possible to save up to 60 percent in heating energy and 80 percent in cooling energy. The staircase of the Tornado is made from sustainable Norwegian wood called Kebony, a leading modified wood brand established in Oslo, Norway, that uses a proven, innovative, patented technology to enhance traditional 4mber. Biobased modified wood is a sustainable building material with a significantly lower environmental impact than other building materials. Fenix repurposes a 100-year-old warehouse, restored as much as possible to its original state in the 1950s, with interventions in line with the original architecture from 1923.Save this picture!Save this picture!The building has been designed in consultation with VGR, an association specializing in making buildings as accessible and welcoming as possible. Plein and the Atrium will be publicly accessible spaces that are free to enter.Save this picture! Project gallerySee allShow less Project locationAddress:Rotterdam, The NetherlandsLocation to be used only as a reference. It could indicate city/country but not exact address.About this officeMAD ArchitectsOffice••• MaterialsSteelConcreteMaterials and TagsPublished on May 21, 2025Cite: "Fenix Art Museum / MAD Architects" 21 May 2025. ArchDaily. 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