Archdaily

The house, with a gable roof, is characterized by the materialization of lightning as a central element that defines and separates the interior spaces. The lightning, when transformed into a wall and luminaire, clearly and immediately structures and shapes the functioning of the different rooms.

Quinta da Ombria is a property in the Algarve hinterland with 150 hectares. Surrounded by extensive citrus groves, fig and carob trees, small farms and villages, the dramatic landscape and the rich biodiversity of this mountainous estate comprise a watercourse and a series of archaeological remnants related to farming and its early waterworks. The resort comprises golf course, hotel and clubhouse, in addition to villas and other residential units.

Rising 17 stories above one of Taipei's principal promenades, Dunhua Tower redefines the residential high-rise typology through a sophisticated interplay of materiality, geometry, and sustainable design. The tower's distinctive L-shaped footprint creates two contrasting facades—one slender and elegantly proportioned, the other broader and more commanding—allowing the building to respond dynamically to its urban context while maximizing natural light and views for residents. Housing 45 residential units, the building achieves an intimate scale that distinguishes it from the typical density of Taipei's housing market.

The remodeling of Plaza de Salamero arose from a public competition launched by the Zaragoza City Council to replace the roof slab of the existing underground parking garage beneath the square, following a structural failure detected in 2020. Rather than viewing this circumstance as a limitation, the project turns it into an opportunity to redefine the public space and create a new urban park for the historic center.

In 1972, Robert Venturi, Denise Scott Brown, and Steven Izenour published Learning from Las Vegas, challenging architects to reconsider the underappreciated, largely dismissed commercial landscape in the United States. Their storied distinction between the "duck," a building whose form communicates its meaning, and the "decorated shed," an ordinary structure whose identity is conveyed through signs and symbols, questioned a widely accepted modernist assumption that architectural expression should emerge from form and function. By examining billboards, neon lights, casinos, and the commercial strips of Las Vegas, the authors argued that architecture should study the visual languages of American consumer culture.

The project was implemented in an exceptional location in Vilnius – the Aukštagiris Geomorphological Reserve. The protected forest environment and hilly terrain became the main axis of this architectural concept. The landscape dictated the position of the buildings on the plot, allowing for maximum use of natural light, opening up the most spectacular views through the windows, and maintaining a respectful, sustainable relationship with nature.

This broad avenue, extending from Ikebukuro Station toward Marunouchi, was once traversed by Toden trams, with a terminal located right in front of the station. Lines ran from Ikebukuro toward Ueno and Sukiyabashi. One can only imagine the myriad stories that must have unfolded at those stops.

Legombang Treehouse reinterprets traditional Balinese architecture as a contemporary tropical family home, using reclaimed timber, passive design, and a treehouse-like structure woven around the site's existing trees. Designed by Cave Urban co-founder Jed Long for his own family, the house is located in Pantai Lembeng, Ketewel, Bali. As both architect and client, Jed had the opportunity to explore his own approach to tropical family living without the constraints of a conventional client brief.

On a plot of land that rises thirteen meters (forty-three feet) from the street, "La Joya" House transforms the challenge of a steep slope into an architectural journey, revealing the landscape of San Agustinillo level by level.
The project emerged from a brief to develop three independent units: two small apartments intended primarily as rentals, and a larger residence for the owners' temporary stays. Instead of concentrating the program into a conventional volume, the steep topography offered an opportunity to fragment it and distribute it across different levels along the hillside. Consequently, each unit finds its own place within the site, maintaining privacy while enjoying a direct relationship with the sea.

Located in São Paulo, JCB House is a 450-square-meter single-family residence designed by SUITE based on a precise and quiet premise: to create an architecture that presents itself in its most essential form, allowing life to unfold naturally. Developed between 2024 and 2026, the project draws on the interplay of solids and voids to organize integrated spaces that challenge the boundaries between interior and exterior, offering the family a functional, welcoming home open to different ways of living.

Between the cork oaks and the Vicentina Coast, Herdade da Matinha was born from an abandoned Alentejo estate, whose chimney still bears the date 1917. This rural tourism project, developed by SABRAB Architecture in collaboration with the owner Alfredo Moreira da Silva, starts from a simple principle: to make use of what already existed and add only what was necessary, with the same economy of means that has always characterized rural construction in the Alentejo region.

The plot is located in a relatively consolidated area of urban expansion, integrated into a block designated for public facilities within a residential environment composed of multi-family apartment buildings and semi-detached single-family homes.

Field Shelter sits among the allotments and rice fields of Amagatsuji in Nara, Japan. Designed and built by Studio Armitage in collaboration with Space Department, it provides a place for people working on the surrounding plots to sit, rest, and shelter from the weather.

The concept of "eyes on the street" is perhaps the most famous within architectural and urban literature when it comes to urban security. Jane Jacobs uses this expression to refer to people who - consciously or unconsciously - use public spaces or observe them from their homes, generating natural surveillance. A movement that, within our discipline, is encouraged both through quality public spaces and through the powerful relationship between the public and private created through building facades. Advocating for this daily control, Jacobs believes in a way of making architecture and cities that condemns excessive verticalization, reinforced by isolated buildings and single-use ones that deny contact with the street.

On the edge of the Zuiderheide nature reserve in Eemnes stands a family home dating from 1971. The original house had a square footprint and measured just fifty square metres. An extension was added in 2002, but this resulted in a fragmented layout. The staircase was hidden away in a corner, the rooms were dark, and the spaces were poorly connected, both visually and in terms of circulation.