Thisispaper Magazine

On Sant Ignasi's Square in Manresa, David Closes sets perforated-metal volumes against the scarred stone wall of a demolished baroque church, the new entrance to the Baroque Museum of Catalonia.

On the narrow San Mateo Street in Madrid, Lluís Alexandre Casanovas Blanco lines Lawrence Bookshop with birch plywood plinths that sell artists' books and hold artworks at once.

On the northern edge of Taichung's Central Park, over a military airfield decommissioned in 2004, SANAA completes the Taichung Art Museum, the studio's first public building in Taiwan.

At 1,530 meters in the Montafon village of Gargellen, Christian Tonko builds Vergalderie, a gable of hand-picked Montafon stone holding three holiday lofts and a gallery for Herbert Albrecht's sculpture.

In Aichi, Ryota Sekiya raises a cedar frame from close to 300 naturally air-dried trees, cut by hand and joined without a single metal fitting into a woven grid of beams.

In Dearborn, Michigan, Snøhetta gathers Ford's design, engineering, and fabrication teams under a single fritted-glass roof, replacing a scattered campus with one four-story building.

On a cactus plain near Todos Santos, studiofont pours Nereidas entirely in pigmented concrete, an off-grid pavilion and four cabins built to weather into the desert over time...

Tucked into the lounge of PURO Warszawa Stare Miasto, MUND opened in 2025 as something harder to label than a typical hotel restaurant.

In a vacant unit of a municipal housing complex in Kyoto, Tato Architects and Yo Shimada let a 3,600mm semicircular table do the work of walls, holding dining, work, and rest at a single shared surface.

The American West has been told and retold through pulp fiction, country music, and western movies.

Borrowed from Zhuangzi, where spillover names the looseness of plain speech that keeps pace with a restless world, the word turns against its author across two floors of Empty Gallery in Hong Kong.

At Triangolo, Cremona, Satoru Kurata paints dawn and dusk as psychological weather: hybrid figures between human and animal, phone screens in blue dark, each scene holding two people looking from different sides at once.

On a steep plot in Poland's Beskid Mountains, Robert Konieczny KWK Promes takes a classic gabled house and rotates it into the slope, so its roof peels away from the hill and dissolves into the lawn.

In a Correze village where the first Neanderthal burial was found, W-Architectures builds a museum whose walls are cast from site aggregate and whose roof becomes a walkable path.

In Sydney, Anthony Gill Architects reads the House next to Taylor Square less as a statement than as a piece of Darlinghurst stitched back into the block, two structures joined loosely around carved courtyards.

At Galería Gato in Lima, Andrea Ferrero casts the toy castle in dull silver, filling the rooms with snarling groomed dogs, chained dragons and heart-eyed cameras that guard a moss garden.

What happens when you refuse to hide the beams?

In the mountains above Tateyama on the Sea of Japan coast, Kengo Kuma & Associates sinks IWA Sake Brewery under one vast yakisugi roof, built around a central hearth.

In the rear garden of a Victorian house in the Mapesbury Conservation Area, Piercy&Company sinks a timber-lined pottery studio 600mm into the ground — capped with a circular oculus that fills the room with the particular quality of light that clay seems to

In the Hertfordshire countryside, DSDHA converts a working farm barn at Henry Moore Studios & Gardens into an exhibition space that extends the sculptor's estate without interrupting it.

Gianni Botsford Architects converts two disconnected farm buildings on the Isle of Wight into a home and artist residency, insulating from outside while leaving the original stone interior intact.

The Suichang Funerary Complex by Untitled Architects sinks a set of board-formed concrete halls into a wooded valley in Zhejiang, China, where a coffered ceiling steps upward toward a single opening onto the sky.

At the end of a bog road in Glenties, Co.