In Pachuca, in the Mexican state of Hidalgo, operadora fits a whole family house inside a 7.5-metre cube of load-bearing brick under a fine cement render, 120 square metres stacked over three levels, with small changes of level that make it feel larger. In Malvern East, Melbourne, B.E. Architecture builds a family house for one of its directors, Andrew Piva, behind an almost windowless white brick face: a forecourt of granite cobblestone, rough-sawn travertine underfoot, rooms lined in antique oak and a pizza oven in the brick of a courtyard, a palette B.E. calls “strangely reminiscent of an older time and place.”

From Japan Guide: Every arch at Tama Art University Library is 200 millimetres thick, whether it spans 1.8 metres or 16, and Toyo Ito lays them along crossing curves just inside the main gate of a campus in the suburbs of Tokyo.

From Copenhagen Guide: Five brick towers, each shaped by the outline of the pools below, rise above a glass base on Paper Island in Copenhagen, where KAI Water Culture House by Kengo Kuma & Associates is due to open on 5 December.

From Casa Mexicana: In Pachuca, Mexico, operadora fits an entire single-family house inside a 7.5-metre cube, House Within a Cube I, its programme stacked over three levels and coated in a fine cement render.

Explore Tokyo Guide

From Australian Houses: Set behind an almost windowless white brick face on a laneway in Malvern East, Melbourne, B.E. Architecture turns its director’s family house inward around a cobbled forecourt and a run of courtyards.

Patricia Reyes spent a year on the Atlantic shore of The Gambia, and Atlantic Ocean Twilight belongs to the beach as the day turns over into night: horse riders, families, the crowds who come down to the water and the Kankurang, a masked protective spirit of Manding initiation, each picture made together rather than taken. Along the Yangjaecheon trail in Seoul, StudioFA designs Bread&Walk, a small bakery café, around “someone briefly pausing during a walk, picking up bread in one hand, and returning to the path”, with tables at different heights so sightlines never meet head-on. And at Lehmann in Porto, until 7 November, Ángela Jiménez Durán keeps the grammar of Ursula K. Le Guin’s The Word for World is Forest and changes the noun: papier mâché sculptures and linen paintings on the ground floor, a spiral of clay, water and thermal blankets on the floor below, and an exhibition text that, after Natália Correia, offers poetry as something to be eaten.

A procession from the street to a cellar bathhouse: in New York, MV-LLC sends guests through a wood-paneled reception down to The Altar, where saunas and cold plunges ring a granite atrium.

Freight routes, not nature trails, set the itinerary for the plant studies Michael Assiff gathered across the United States and rebuilt in extruded plastic for USA Flowers in New York.

Refusing the narratives usually fixed to African subjects, Patricia Reyes made Atlantic Ocean Twilight along The Gambia’s Atlantic coast, a set of beach portraits built on presence, movement and joy.

Explore New York Guide

From Seoul Guide: Along the Yangjaecheon trail in Seoul, StudioFA has stacked Bread&Walk across three levels, a bakery kitchen below, retail at street level, and a new second floor where a walk pauses for bread.

From Porto Guide: Poetry is the founding principle of the world Ángela Jiménez Durán assembles in The Word for World is Poem, where linen paintings, papier mâché sculptures and a spiral of clay share two floors of a gallery in Porto.

In Rizhao, on the Yellow Sea coast of Shandong, ZAO / Zhang Ke Architecture Office carries the upper storey of a community art centre on curving concrete beams and three cores, so the ground floor opens on every side to a sloping lawn for outdoor cinema and theatre, and a narrow slit between the two halves lets a line of green into the stairwell. In Palma, Josep Lluís Sert, barred from working in Spain under Franco, designed Joan Miró’s studio by post from the United States in 1956, an L-shaped plan under an undulating vaulted roof; Rafael Moneo later turned the foundation’s star-shaped gallery against the development around it, setting out to hide the surrounding buildings and softening the daylight through translucent alabaster. And in London, Actual Office holds the private rooms of Oval House apart so the main space can stay open, reached through a deep threshold lined in dark walnut and ringed by full height sheer curtains that soften the city outside.

From Alps Guide: A single circular opening cut through the ceiling turns the sky into a changing field of colour inside Skyspace Piz Uter, the stone cylinder James Turrell set in a meadow above Zuoz in Switzerland.

From Basel Guide: Rather than a sealed box for art, Peter Zumthor gives the Fondation Beyeler a spiralling, side-lit museum plus a pavilion and gate house, three buildings set into a park in Riehen, on the edge of Basel.

From Concrete Stories: A curving lattice of concrete beams rests the upper storey of Rizhao Community Art Center on three corners, so ZAO / Zhang Ke Architecture Office can open the ground floor to a Shandong hillside on every side.

Explore Switzerland Guide

From Concrete Stories: Set against the development that worried Joan Miró, Rafael Moneo‘s star-shaped gallery anchors Fundació Miró Mallorca, photographed by Nikolas Dost in Palma, beside the studio Josep Lluís Sert designed for him in 1956 and a rural 18th-century house.

From The Apartment: By holding the private rooms apart, Actual Office lets the main space of Oval House in Londonstay open and fluid, a 155 square metre pied-à-terre where dark walnut and soft plaster meet full height sheer curtains.

On rue des Trois Bornes in Paris, Romain Basile Petrot builds WINONA, a cocktail bar and restaurant for the teams behind Fugazi and Classique, around a wooden horseshoe counter topped with deep red marble, with an aluminium bas-relief fresco by Valentine Nitram; entirely rebuilt, it is meant to feel as if it had always been there. Caleb Stein photographed one swimming hole on Wappinger Creek, outside Poughkeepsie, between the ages of nineteen and thirty-one, and Down by the Hudson fills, one name at a time, a valley the Hudson River School painted empty of people: Shamus, Matthew, Jackson, Oden, Bode, Owen. And at CCC OD in Tours until 1 November, Laura Bottereau and Marine Fiquet’s Where the Organs Storm takes the eighteenth-century wax anatomical Venus and reads the body through weather: a pillow cast rigid in epoxy resin with a knife rising from its centre, a mattress spilling shattered safety glass and cactus pads, a 1972 satellite view of Cyclone Monique.

From Tokyo Guide: A knife worth keeping for decades cannot be chosen in a hurry, so Hanare, a 30 sq m room L/O set beside Tojiro’s flagship store in Asakusa, Tokyo, is built for the long conversation that commissioning one demands.

Cotemp’s first permanent shop sits inside an existing building on a Shanghai side street, where ONOAA STUDIO treats Conceived by Cotemp as a small iron box, opened at the door and left to gather traces of time.

From Paris Guide: A horseshoe-shaped wooden counter topped with deep red marble anchors WINONA, the cocktail bar and restaurant Romain Basile Petrot has built in Paris for the teams behind Fugazi and Classique.

Explore Concept Stores

A single swimming hole on Wappinger Creek, outside Poughkeepsie in the Hudson Valley, is the whole subject of Down by the Hudson, the black-and-white series Caleb Stein built across more than a decade of returning.

At CCC OD in Tours, Laura Bottereau & Marine Fiquet recast the wax anatomical Venus as a “catastrophic body” for Where the Organs Storm, where meteorological violence seeps into pillows, mattresses and skin.

At Bunurong (Shoreham), Victoria, Wolveridge Architects folds the Australian farmhouse, usually a loose gathering of sheds around one dwelling, into a house and a shed across one forecourt, the house a grid of blackbutt posts and beams under an inverted curved roof. In the walled city of Nicosia, Anastasiou Misseri restore a listed 1920s corner building to shop below and home above, putting new boards down only where timber was before, in the exact direction of the old planks; the only new forms, a dining room and a small polygonal outdoor toilet, stand on the roof in zinc. And in Piraeus, the port of Athens, MPNYC turns a former nightclub into Castor Place: the metal box bolted onto its 1850s stone shell in the 1990s now floats above the masonry on a slim clerestory, reclaimed brick laid without mortar rebuilds the canopy, and one thin coat of lime stucco settles damaged walls, bracing and infill into a single field.

From Germany Guide: Never shown in public because of its size, Anselm Kiefer’s eleven-metre Schwarze Flocken now has a building of its own in Künzelsau, Germany, a concrete pavilion by David Chipperfield Architects.

From Set in Stone: Thick walls do most of the work at Cairngorm Cottage, where Architecture Office replaces a dark 1970s rear addition on a Victorian house in Ballater, Aberdeenshire, with rooms of granite and clay block.

On a 50-acre property at Bunurong (Shoreham), Victoria, Wolveridge Architects compresses the Australian farmhouseinto two timber structures, a house and a shed sharing one forecourt beneath an inverted curved roof.

Explore Concrete Stories

From Second Life: Shop below, home above, as in the 1920s: in the walled city of Nicosia, Cyprus, Anastasiou Misserirestore Aeschylou Trikoupi and add only two new forms, both clad in zinc, on its roof.

From Second Life: An 1850s stone shell carries a floating metal volume at Castor Place, where MPNYC has turned a former nightclub in Piraeus, the port of Athens, into a venue that keeps every repair in plain view.

Koesy’s Eureka, the first show at MO, a basement gallery in Hannam-dong, Seoul, sets one figure upright and another prostrate before it, stripped of its head, its body covered in irezumi. Here the fallen one is the one that has woken, free because it lost something. In Tbilisi, Non-Objective sets six round openings across the top of VASE-21, each larger than the last, from one stem up to six, so the stainless steel vase, released by Apropos Editions, holds twenty-one flowers, no more and no fewer. And beside the A45 near Wilnsdorf, Germany, schneider+schumacher builds the road sign for a church at full scale: a white silhouette with two pointed spires, a vault of 66 profiles cut from oriented strand board and slotted into a gridshell, and daylight that reaches the altar only through skylights in the spires.

What passes between two bodies in an exchange of saliva? Jan Baszak answers at WHOISPOLA in Warsaw with Within and For Each Other, two albino roe deer made of foam, cotton, steel and synthetic saliva.

From The New Chair: Grief changes how a home and its objects are read, and in London, Antonia Fischer works that shift into Trauer Tragen, Carrying Grief, a steel chair etched from castings of her grandparents’ home.

From Seoul Guide: The figure that has truly awakened is not the one left standing but the headless body fallen before it: the reversal Koesy stages across two sculptures in Eureka, the opening show of a new basement gallery in Seoul.

Explore Sacral Journey

From Minimum: Six round openings, each larger than the last, from one stem to six, let Tbilisi studio Non-Objectivemake VASE-21 a sum: 1 plus 2 plus 3 plus 4 plus 5 plus 6, resolving to 21 flowers.

From Germany Guide: The road sign for a church, built at full scale: beside the A45 near Wilnsdorf, Germany, schneider+schumacher raised Autobahnkirche Siegerland as a white silhouette with two pointed spires.

Thermia is the old name for Kythnos, in the Greek Cyclades, where RAUM, an atelier in Nantes that by its own account starts from the particular, delivers House Thermia, a private commission with Dimitra Kanellopoulou as associate. In Poblenou, Barcelona, Andrea Arriola Fiol and Adrián Mellado Muñoz of Aramé Studio work by removal. Villa V is a party-wall house only 4.7 metres wide, and taking out the central volume of its upper floor opens a double-height void under a skylight for a staircase of traditional timber carpentry; on the ground floor, an island-table cast in place in concrete, fixed and immovable, holds the centre. And in Hampstead, London, Twelve Forty One joins two flats in a period house into one duplex, trades enclosed corridors for open halls that carry light deep into the plan, reinstates period details obscured over the years and runs natural oak cladding through the interior to tie its levels together.

From Weekend Retreat: A single tree rooted in a rock on a sloped grassland at 1,530 metres near Cunha, in Brazil, gave Arquipélago Arquitetos and Mariana Caires the one fixed point around which Casa Fazenda Bocaina turns.

From Second Life: The old fabric sets the terms: Noue Studio carves Conversion of a Farmhouse into Six Apartments out of a former farmhouse and its Category B protected dwelling at Montagny, in Fribourg, Switzerland.

From Weekend Retreat: Thermia is the old name for Kythnos, a Cycladic island in Greece, where the Nantes atelier RAUM has delivered House Thermia, a private commission with Dimitra Kanellopoulou as associate on the project.

Explore Off-the-Grid

From Second Life: A narrow party-wall house in Poblenou gives up the central volume of its upper floor to a double-height void, where Aramé Studio sets Villa V around a skylit timber staircase in Barcelona.

From New London House: Two apartments inside a period house in Hampstead, London, become one duplex as Twelve Forty One reworks the circulation of Hampstead House so open halls carry light and views deep into the plan.

Asked by the Houston Archive Project at Rice University to photograph Rice Stadium and the Astrodome, Rory Gardiner followed both out into the streets, parking lots and motorway flyovers around them. The twenty-one pictures of Houston, Untitled are titled by coordinates alone. In Along the River Lea, Mattia Corato cycles the waterway through East London, once the artery that carried coal into the city, now a recreational stretch where some live on the water for the freedom and others because housing costs are rising. And in Istanbul, YET. Design Studio grows a single chair, first shown at Milan Design Week 2025, into the Strut Collection: chair, table and pouf drawn from the same aluminium angle profile, their frames, joints and legs, the parts that usually disappear, left in full view.

Twenty-eight pipes salvaged from a decommissioned church organ glow neon green from within at Galerie Neu in Berlin, where Jeremy Shaw’s Half-Life of Grace wires radioactive glass to sound.

From Copenhagen Guide: Inside Tranen in Hellerup, north of Copenhagen, Louis Morlæ builds Walls at the World’s End, three robotic walls that roll into new formations on carts driven by live data pulled from the internet.

Twenty-one photographs titled by nothing but their coordinates: in Houston, Rory Gardiner builds Houston, Untitled around Rice Stadium, the Astrodome and the surrounding streets.

Explore the Berlin Guide

Once an industrial artery that carried coal into the city, the River Lea is now a recreational space where a community lives on the water, followed by Mattia Corato through East London in Along the River Lea.

The parts that usually disappear under a chair, its frame and joints and legs, carry the argument of Strut Collection, three aluminium pieces that Istanbul studio YET. Design Studio keeps in full view.

At Veillac, Pont de Salars, in France, Atelier AJO cuts two openings through the load-bearing walls of a long-empty farm to join barn, central building and dovecote for weekends with family and friends, alters none of the original facade openings, and works in concrete, ash and sheep’s wool. In Tersnaus, a Romansh-speaking village in the eastern Alps, Dario Wohler renovates Via Seneria, a listed farmhouse built in Strickbau, the log construction of Graubünden: squared timbers laid flat and notched at the corners, each course locking into the one below without a nail. And among the Longjing tea fields of Hangzhou, Common Wonder fits a full private residence into a footprint roughly 5 by 6.7 metres, stacked over four levels: L Hermit House II, an adaptive reuse where timber joinery becomes storage, seating and the edge between one use and the next, and lattice and circular windows bring the tea fields in.

From Portugal Guide: On a hilltop at the industrial edge of Penafiel, Portugal, Nuno M. Sousa gives Corcet Headquarters the bearing of a small acropolis, setting a family firm’s mixed workshops behind a long gallery of concretepillars.

From Switzerland Guide: At the foot of the Jura in Montricher, Switzerland, the Jan Michalski Foundation hangs nine writers’ cabins beneath a perforated canopy, each by a different practice, from ELEMENTAL to Kengo Kuma & Associates.

Its volume and openings fixed by regulation, a ruined hut in Santa Margarida de Montbui, near Barcelona, becomes a house anyway: ARQUITECTURA-G lowers the ground a metre and staggers the rooms around one heavy core.

From Second Life: Three volumes stood cut off from one another until Atelier AJO pierced their load-bearing walls: Farmhouse Renovation reconnects a long-vacant farm at Veillac, Pont de Salars, in France.

Explore The New Farmhouse

From Second Life: In Tersnaus, a village in the Val Lumnezia of Switzerland’s canton of Graubünden, Dario Wohlerrenovates Via Seneria, a listed historic farmhouse built in the log-stacked Strickbau tradition.

From Second Life: Roughly 5 by 6.7 metres, stacked over four levels within the Longjing tea fields of Hangzhou, L Hermit House II is where Common Wonder takes the old idea of the hermit’s retreat and turns it inward.

Eunkyung Lee runs StudioFA in Seoul as an interior design practice, and Lying on the floor, her first sculpture, starts where that work stops: on the floor just past the entrance, in the gap between two pieces of furniture, wherever a tired body gives up in a place nobody designed for it. She shapes each form in material soft enough to take the imprint of a hand, then casts it in aluminum in a sand mould, three pieces on three legs, ankle high, with no use proposed. And in inland Sardinia, the Florence-and-Berlin duo succco went looking for what remained of a folk medicine once kept mostly by women, prayer woven into gestures of white magic. They set out to make a reportage and dropped it. An Island Within the Island sets photographs and fragments of text side by side, neither explaining the other, and leaves most names of places and people out.

From Germany Guide: For Addresses Without Names at max goelitz in Munich, Germany, Ju Young Kim rebuilds the fittings of airplanes and waiting rooms in leaded and fused glass, an overhead bin remade as a lit stained-glass panel.

Strip a 1980s horse stable of its cupola, eaves and trim and what is left is Studio Barn, a workspace in rural Rhode Island that Worrell Yeung then wrapped, roof and walls alike, in black asphalt sheets.

The floor beyond the entrance, the gap between two pieces of furniture: for Lying on the floor, Eunkyung Lee of Seoulpractice StudioFA casts those unintended resting places into aluminum that keeps the marks of a hand.

Explore Artists Atelier

In the inland of Sardinia, far from the coast and the tourists, Florence-and-Berlin duo succco made An Island Within the Island, chasing what survives of a folk medicine once kept mostly by women.

In the La Primavera forest in Zapopan, Jalisco, Ana Victoria Pérez-Gil and Saúl Figueroa go the other way, breaking PRM39 into volumes of stucco, stone and wood strung along a single walkway, so the existing trees stay where they are. In Denmark, a summer house that sleeps a whole family usually means a main house plus a guest house; on Sjællands Odde, Studio Furö puts the four bedrooms of Stenkløvervej under one roof and the budget into local wood, Thermowood cladding, clay plaster and lime paint. And in Northwood, on the western edge of London, Will Gamble Architects joins a Grade II listed cottage to a new rear volume wrapped in sapele shutters, with a glazed link and a planted courtyard between them. Muttram Veedu is Tamil for a house arranged around a courtyard, a Sri Lankan type in which open sky does the work of a room.

From Concrete Stories: On a steep vineyard slope above the Eisacktal valley on South Tyrol’s Ritten plateau, Andreas Gruber Architects sets Val Mira, two monolithic towers cast in raw exposed concrete.

From Concrete Stories: At Moita Santa de Cima, a village in the municipality of Ansião in central Portugal, Atelier Espaço P2 sets House in Cerrado into the slope as a white plastered volume under a single chimney.

From Casa Mexicana: In the dense woodland of La Primavera in Zapopan, Jalisco, Ana Victoria Pérez-Gil and Saúl Figueroa set PRM39, a house fragmented into volumes threaded by courtyards, gardens and walkways above a ravine.

Explore Alpine Houses

From Weekend Retreat: Sustainability is also a question of how much gets built, and on Sjællands Odde in Denmark Studio Furö makes the case with Stenkløvervej Vacation House, one rectangular volume where the local habit is two.

From New London House: In Northwood on the western edge of London, Will Gamble Architects turns a Grade II listed cottage into Muttram Veedu, a family home built around a planted courtyard from Sri Lankan house typology.

Yein Lee casts matter as an accomplice at Cukrarna, a collaborator that pushes back. Shawne Brown photographs the margins of the Bible Belt, treating disillusionment as a gift. Shushana Khachatrian builds a chair that resists comfort. Rodaa Studio shapes DAARK, a coffee shop in Paris, from raw materials and simple lines. Each holds a pressure rather than resolving it.

At Warsaw’s Zachęta, the National Gallery of Art, Jura Shust builds Żywica* Solar Plexus around a felled spruce, its severed roots sealed in tree resin on a raised metal platform.

At Cukrarna’s Parterre Gallery in Ljubljana, Yein Lee stages Accomplice, five sculptures and a ground-based pool installation that hold form and matter in a state of continual negotiation.

Moving between his family home in the highlands of northeast Tennessee and the Kansas heartland where his wife was born, Shawne Brown makes See the Elephant, a series along the margins of the American Bible Belt.

From The New Chair: In Yerevan, designer Shushana Khachatrian of Studio Shoo builds The Woman’s Chair, a sculptural seat on three stainless-steel legs whose angled backrest refuses to let anyone recline.

From Paris Guide: In Le Marais, a few minutes north of Place des Vosges in Paris, Rodaa Studio shapes DAARK, a coffee shop on rue de Turenne that treats specialty coffee as culture rather than commodity.

Charly Jolliet wraps Plywood House in plywood throughout, lifted above Broc on timber piles. Jordi Hidalgo Tané borrows the neighbouring industrial park’s prefabricated concrete for a garden room in Olot. In a Kamakura landslide zone, Yusuke Igarashi Architects rebuild the sōan teahouse in reinforced concrete, rebar for bamboo. atelier EGR pairs load-bearing stone with earth-plastered brick in Coudoux. None hides how it was built.

From DwellWell: Beyond the river at Veade in northern Portugal, Parto Atelier sets Casa de Souvinha behind thick walls of concrete and stone, three buildings pushed down a slope held by oaks and cork oaks.

From Weekend Retreat: On a former garden plot above Broc, in Switzerland‘s Gruyère valley, Charly Jolliet Architecte raises Plywood House on timber piles, its two low volumes split between sleeping under an oak and living toward the valley.

From Concrete Stories: In the garden of a family home in Olot, Girona, Jordi Hidalgo Tané sets Prefab Pavilion Facing a Centuries-Old Cedar, a 120 m2 room of prefabricated concrete built like the industrial buildings nearby.

From Japan Guide: In a landslide warning zone in a Kamakura valley, Japan, Teitakusubako, Yusuke Igarashi Architects build Konkuri-an, a three-mat teahouse that rebuilds the sōan in high-pressure washed reinforced concrete.

In the hillside town of Coudoux, in Provence, atelier EGR gathers a rehabilitated stone sheepfold and a new landmark building around an old well, reviving the public square.

Each project here begins the same way. Takumi and Riho Wakui read a ten tsubo plot in Kagurazaka back to its Edo-period lots before drawing. PCA-Stream set a 490-seat hall into an existing clearing above Evian so the tree cover stays. Corpo Atelier left two facades almost untouched and put a structurally useless pillar inside. Goians had nowhere to gather, so the new centre answers an absence.

From Jutaku: On a steep bedrock plot in Stavanger, Norway, Knut Hjeltnes Architects, with collaborator Francesca Iarrusso, sets a white timber house in a U around a piazzetta whose fourth wall is a maple and an apple tree.

From Vertical Living: On a plot of roughly 33 square metres in Kagurazaka, one of Tokyo’s dense wooden districts, Takumi Wakui and Riho Wakui build House in Kagurazaka, a machiya raised into four vertical storeys for their own home.

On a sloping woodland clearing above Lake Geneva in Evian, France, PCA-Stream has completed La Source Vive, a partially buried chamber music hall clad in pre-patinated copper tiles.

From DwellWell: In Faro, in the south of Portugal, Corpo Atelier reworks a house around a pillar that carries no load and a series of cuts that open the white room to the wooden structure above it.

From Concrete Stories: In a small valley outside Xoane, in the Galician province of A Coruña, Spain, NULA.STUDIO and FCA fuse a cluster of gabled houses into Goians Community Center, a single oxide-red concrete volume.

The same is true across this issue. Daniel Berg took a heath and a pine grove as the brief itself. Lasse Sylvest Lilleor named a show after the commands a designer types to make a shape. Glasfurd & Walker drew a menu split three ways into the room that serves it. Trestle built a public interior in Cork that can be taken apart and recast.

At MAC in Santiago, Chilean artist Paulina Mellado floods the museum with fountains, aquariums, panels and sculptures, an immersive territory that models a planet tipping into ecological crisis.

From DwellWell: On the Falsterbo Peninsula near Höllviken, where southwestern Sweden narrows between the Baltic and the Öresund, Daniel Berg Arkitekter settles Villa P into the pine and heather under a single zinc roof.

At Innenkreis on Herluf Trolles Gade 28 in Copenhagen, Lasse Sylvest Lilleør stages Extrude, Bridge, Fill, four 3D-printed works that behave less like furniture than like creatures consenting to be used.

In Vancouver, &Daughters builds Jeju, a 44-seat Korean restaurant that turns the jeongnang, the three-pole gate of Korea’s Jeju Island, into a working sign staff raise and lower to open and close the room.

In Cork City, Trestle stages settle, a temporary public interior of furniture pieces drawn from Irish vernacular furniture, recast to host gatherings across a programme of events.

From its Shanghai studio, NOVSEP gathers Ruby, a family of counter stools that set slack suede slings against high-gloss lacquer in oxblood, greige and espresso, legs splayed like a figure caught mid-stride. And inside the disused Church of Sant Feliu in Lladó, north of Girona, the gallery Spiritvessel stages KIN TOO, a second gathering of artists who pull images out of negative space, discards and imprints, from Monia Ben Hamouda’s soil-caked plaster to Andrew Birk’s building pressed onto canvas. And in Kortrijk, Abby stages Coup de Théâtre. A Play of Clay, a group exhibition that treats its ceramic collection as a cast of actors and sorts centuries of figures, showpieces and painted backdrops into three acts.

On a 21-square-mile island, Bermudian artist Nicola Muirhead builds Descendants of Summer from portraits, landscapes, archival interventions and oral histories, taking its title from the colonial name Summer Isles.

From Berlin Guide: In a former lamp factory on Rotherstraße in Friedrichshain, Berlin, Studio Inhalt_ builds Nichigetsu, a sushi counter where light maple dissolves the line between furniture and room.

From The New Chair: Legs splayed like a figure caught mid-stride, Ruby sets slack suede slings against high-gloss lacquer in oxblood, greige and espresso, a family of counter stools from Shanghai studio NOVSEP.

Explore Restaurants by Design

Inside the disused Church of Sant Feliu in Lladó, Spain, the gallery Spiritvessel stages KIN TOO, a second gathering of artists whose work turns negative space, discards and imprints into a shared language of kinship.

In Kortrijk, Belgium, Abby stages Coup de Théâtre. A Play of Clay, a group exhibition that treats its ceramic collection as a cast of actors and sorts centuries of figures, showpieces and scenery into three acts.

Below the ramparts of the Corte citadel in Corsica, Orma Architettura rebuilds its own office on the footprint of a decayed pagliaghju, a gabled stone volume on a square plan, its board-formed concrete and polished terrazzo set inside the walls of the old dry-stone holding. Above the church in Carballeda de Avia, a hill village in Ourense, FIRM and BASED anchor the Muimenta Multipurpose Social Center to a house gutted by the 2018 fires and the socalcos terraces around it, adding a timber portal frame under a tile roof on the terrace below.

From Switzerland Guide: In the commercial zone of Contone, a village in Ticino, Switzerland, WDMRA sets down Urs Hauser Winery, a three-storey cube clad in laser-perforated Corten steel that stands beside a restaurant without crowding it.

From DwellWell: On a hillside above Gijón in Asturias, Madrid practice HANGHAR assembles Casa Guadalupe, a 120-square-metre steel house whose main frame rose on site in under 48 hours.

From Concrete Stories: In Mérida, Mexico, on the Yucatán peninsula, TÁNAT is building Casa Ínsula together with PEMO and Carlos García Noriega, a single elongated concrete volume whose window openings hold no glass, no frames and no sills.

Explore Casa Mexicana

From Set in Stone: Below the ramparts of the Corte citadel in Corsica, France, Orma Architettura rebuilds Office Orma Architettura on the footprint of a decayed pagliaghju, a gabled stone volume on a square plan.

From Set in Stone: Above the church in Carballeda de Avia, Spain, a hill village in Ourense, FIRM and BASED anchor the Muimenta Multipurpose Social Center to a house left in ruins by the 2018 fires and the stone terraces around it.

Then three ways of building lightly. In the Czech village of Panoši Újezd, Lenka Milerová fits a 32-square-metre summer house inside a derelict pigsty, keeping the rubble walls and running a concrete bench around the room that becomes daybed, window seat and bath surround in turn. On a meadow outside Nuglar-St. Pantaleon in Switzerland, Piertzovanis Toews built a pavilion for the young people who wrote to the council asking for somewhere to meet, out of donated timber and second-hand metal sheet, on foundations that unscrew. And at Tulum’s urban edge, V Taller pulls Babel inward around a courtyard of chukum, tropical wood, linen and clay, so the middle stays open, planted and shared.

From The New Chair: From Rīga, Studio Sija brings Soft Tensions to Collectible in Brussels, a chair whose solid walnut seat, carved to a soft scoop, is cradled by a rigid frame of welded stainless steel.

In the grounds of a 19th-century mansion in Ghent, where trees screen a main road, BLAF Architecten builds GjG House from reclaimed brick, its plan bending to miss every trunk.

In the Domain Precinct beside the Royal Botanic Gardens in Melbourne, MORQ has built 49 Walsh Street, ten apartments for Neometro across four levels, ringed by a planted buffer.

Explore DwellWell

From Concrete Stories: In the Czech village of Panoši Újezd, Lenka Milerová turns a derelict pigsty into Panoši Újezd Summer House, a 32-square-metre seasonal dwelling that keeps its stone walls and inserts board-formed concrete.

From Off the Grid: On a meadow just outside the village of Nuglar-St. Pantaleon in Switzerland, Piertzovanis Toews has built Pavilion of the Sliding Doors, a wooden frame that a community raised for itself out of donated materials.

At Tulum’s urban edge in Mexico, with the jungle running to the horizon behind it, V Taller wraps Babel around a courtyard, two curved wings of arches and vaults drawn inward so the centre stays open, planted and shared.

Then work, then clay, then the crowd itself. In the commercial zone of Contone, a village in Ticino, Switzerland, WDMRA wraps a three-storey winery in laser-perforated Corten so the floor slabs vanish and the oak barrel cellar fills with a shifting field of dots. At Abby in Kortrijk, Coup de Théâtre. A Play of Clay sorts some ninety historical ceramics into three acts and asks them to perform beside work by Nick Cave, Wieki Somers and Anne Wenzel. And between 1983 and 1985 Martin Parr took a medium format camera and a flash to New Brighton, where the ice cream ran over children’s hands and litter carried the same weight in the frame as a face.

From Paris Guide: On rue Molitor in the 16th arrondissement of Paris, Corinne Callies and Jean-Marie Duthilleul set the altar of Église Saint-François de Molitor at the centre of an ellipse inscribed in a cube.

In the Marmilla hills of Sardinia in Italy, at Bannari on the edge of Villa Verde, Carlo Atzeni, Silvia Mocci, Maurizio Manias and Franceschino Serra arrange a parish complex around one hollow basalt wall running east to west, recently captured by Studio Vetroblu.

From London Guide: In Finsbury Circus, a City of London garden dating to 1606, London studio Studio Weave sets the Parks Office low into the planting, a clay-render volume housing a working base for the City Gardens team.

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From Switzerland Guide: In the commercial zone of Contone, a village in Ticino, Switzerland, WDMRA sets down Urs Hauser Winery, a three-storey cube clad in laser-perforated Corten steel that stands beside a restaurant without crowding it.

In Kortrijk, Belgium, Abby stages Coup de Théâtre. A Play of Clay, a group exhibition that treats its ceramic collection as a cast of actors and sorts centuries of figures, showpieces and scenery into three acts.

Between 1983 and 1985, Martin Parr took a medium format camera and a flash to New Brighton on the Merseyside coast and made The Last Resort, among his earliest work in colour.

Then coast and light. Aranza De Ariño arranges three board-formed concrete volumes at Puerto Escondido to choreograph wind and shade. Aperture republishes Joel Meyerowitz’s own preface to Cape Light, the book that came out of those summers in Truro and Provincetown. And Alec Soth’s 2019 book of portraits runs from a house in Kentfield to a bookshop in Odessa.

From Off the Grid: At the foot of a vineyard beside the River Havel in Werder, Germany, undjurekbrüggen builds HAIN, a pair of agricultural volumes caged in fieldstones salvaged from a road that no longer exists.

From Portugal Guide: On the granite shore at Leça da Palmeira, north of Porto, Álvaro Siza set Casa de Chá da Boa Nova low between the rocks, its tiled roof barely clearing the stone.

From Casa Mexicana: On the Pacific coast of Puerto Escondido, Oaxaca in Mexico, Aranza De Ariño builds Casa Viento, three board-formed concrete volumes that choreograph wind, shade and light rather than enclosing space.

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Out on the far reaches of Cape Cod, in Truro and Provincetown, Aperture republishes Joel Meyerowitz‘s preface to Cape Light, the book that came out of two summers and an 8-by-10-inch view camera.

From a house in Kentfield, California to a bookshop in Odessa, Alec Soth made I Know How Furiously Your Heart Is Beating, a book of portraits taken in the rooms where the sitters live, published by MACK.