Bamboo is often praised before it is understood. It grows quickly, carries a long history of building cultures, and appears to offer architecture an immediate ecological language. In photographs, it can seem almost self-explanatory: light, natural, renewable, and already aligned with a more sustainable future. Yet this apparent clarity is also what makes bamboo difficult to discuss with precision. Once it becomes a symbol of environmental responsibility, the material itself can disappear behind the image it produces.
This is the risk of bamboo's contemporary revival. It can be imagined too easily as a green substitute for industrial materials, a regional atmosphere, or a softer alternative to the harder languages of steel and concrete. In each case, bamboo is admired before its conditions are understood. The more important question is not whether bamboo is sustainable in a general sense, but what kind of architectural culture it requires: what forms of knowledge, maintenance, regulation, labor, and time are needed for its sustainability to become real.
When Buda and Pest joined in 1873, the two parts formed a capital whose identity has since been tied to this balance between geography and urban order. From the riverbanks and thermal baths to imperial monuments and infrastructural works, Budapest's architecture carries the traces of these overlapping histories.
That layered condition continues to shape Hungary's capital today. Alongside its historic fabric, Budapest has seen a steady accumulation of contemporary projects, from cultural institutions in City Park to new educational buildings, sports facilities, adaptive reuse works, and large-scale developments along the Danube. Often working through inherited structures rather than apart from them, these projects add new layers to a city shaped as much by continuity as by change.
A new space dedicated to contemporary art on the Île Seguin, in the Greater Paris area, is opening in October 2026. The new cultural institution, named "Large," will be housed in a building designed by Catalan architects and Pritzker Prize recipients RCR Arquitectes, the studio's first project in Paris. It is situated on La Pointe des Arts, a large-scale redevelopment of the Île Seguin's former industrial area into a mixed-use complex spanning more than 53,000 m² and focused on arts and culture. The project's architectural massing follows the stratification concept set out in the masterplan by Ateliers Jean Nouvel. The institution will open with the exhibition "Imaginary Engine: From Masterpieces of the Collection Renault to Artists of Today," bringing together 55 artists from 23 countries to explore the relationship between humanity and machines, in tribute to the site's industrial history and Renault's decades-long collaboration with artists.
At the helm of architectural discourse on sacred architecture, attention almost always settles on the monument. Temples, mosques, monasteries, and churches dominate architectural histories, design criticism, and photography alike, becoming the physical symbols through which faith is understood. For millions of pilgrims across India, the most consequential architectural experience begins long before the shrine comes into view. It unfolds across mountain roads, river ghats, shaded streets, temporary camps, queue systems, bridges, water kiosks, medical stations, and countless ordinary pieces of infrastructure through which pilgrimage actually takes place. The architectural work of pilgrimage may lie less in the shrine itself than in the environments that allow millions of people to reach it.
Dar al Funoon Abu Dhabi project by Frank Gehry. Image Courtesy of Department of Culture and Tourism Abu Dhabi
Dar al Funoon Abu Dhabi, the new performing arts institution designed by the late architect Frank Gehry, is among his final works. Translating to "House of the Arts," the landmark building, commissioned by Abu Dhabi's Department of Culture and Tourism, was designed as a global hub for the performing arts and is expected to open in 2030. The project adds to Gehry's work in the emirate, which also includes the upcoming Guggenheim Abu Dhabi, and follows the city's designation as a UNESCO Creative City of Music in 2021.
Bjarke Ingels Group (BIG) has unveiled new images of the National Juneteenth Museum, offering a closer look at the design of the 72,000-square-foot institution planned for Fort Worth, Texas. Designed in collaboration with Alligood Song Architecture and architect of record KAI Enterprises, the project is scheduled to begin construction in fall 2026 and will serve as a national center dedicated to preserving the history and legacy of Juneteenth. Led by activist Dr. Opal Lee, widely recognized as the "Grandmother of Juneteenth," the museum combines exhibition spaces with community-oriented programs intended to support both cultural preservation and neighborhood revitalization.
When the New Museum's original SANAA-designed building, a stack of shifted opaque boxes wrapped in a metal mesh skin, opened in 2007, it already seemed destined for some form of expansion to relieve the vertical pressure created by its constrained circulation and limited footprint. In March, the museum unveiled its long-anticipated addition, designed by OMA's Shohei Shigematsu and Rem Koolhaas. The angular and slightly set-back companion building doubles the museum's exhibition capacity while reshaping the institution's relationship to the city and to the original SANAA structure by Kazuyo Sejima and Ryue Nishizawa.
At the building's press opening, Koolhaas described the project "not simply as an extension but as a complement or counterpart." Shigematsu later elaborated: "We thought about designing a pair composed of two distinct and yet highly connected buildings. One is more vertical and introverted. The other is more horizontal and extraverted."
The Songshan Lake Exhibition and Performance Center, designed by ZHA in collaboration with the Beijing Institute of Architectural Design, is a new cultural and sports facility in Dongguan City, China. It's located in the city's High-Tech Industrial Development Zone, a technological innovation and science city established in 2001 as a hub for research, development, and high-tech manufacturing. Covering a total floor area of 45,000 square metres, the new cultural centre was designed to be a civic and cultural anchor for the Guangdong-Hong Kong-Macao Greater Bay Area (GBA). The construction of the riverside building started in 2021, and the complex was officially opened on March 30, 2026.
The Palace of Congresses renovation project. Terrace staircase render. Image Courtesy of Herzog & de Meuron
On June 3, 2026, Herzog & de Meuron was selected to revitalize the Palace of Congresses building in Tirana, Albania. The project was designed along with collaborators Julian Beqiri, Marsela Demaj, Michel Desvigne Paysagistes (MDP), ARUP, LDK, Gentian Shkurti, SUEB Industries sh.p.k., The Space Factory Ltd, MBBM, and KLAR sh.p.k. The Palace of Congresses (or Pallati i Kongreseve) was built during the People's Socialist Republic of Albania and opened in 1986 to host the Congresses of the Party of Labour of Albania and other official activities. The International Competition for the Redevelopment of the Palace of Congresses, carried out by the Albanian government, called for a comprehensive transformation of the building while preserving its historical identity. The project should address serious infrastructural issues and bring the Palace to contemporary standards in terms of technology, functionality, and quality of spaces.
BIG – Bjarke Ingels Group is nearing completion of the EVE Music Hall in Čepin, eastern Croatia, designed in collaboration with SIRRAH projekt and Theatre Projects. The 10,000 m² project contains a live music venue, congress facilities, exhibition spaces, a café, and rooftop event spaces. The venue is expected to host concerts, conferences, exhibitions, and cultural activities, accommodating nearly 4,000 guests indoors and up to 25,000 outdoors. The new cultural building marks the office's first project in Croatia and is expected to become its first completed music performance venue in early 2027.
This week, architecture's cultural dimension took center stage through a series of new platforms, institutional developments, and public-facing projects that expand how the discipline is discussed, preserved, and experienced. From the announcement of participants for the inaugural Pan-African Biennale in Nairobi and the unveiling of Concéntrico Festival's urban interventions across Logroño, to the opening of La Biennale di Venezia's new archival headquarters at the Arsenale, architecture emerged as a vehicle for research, exchange, and collective reflection. Alongside these initiatives, projects such as the expansion of Crystal Bridges Museum in Arkansas and the opening of the 2026 Serpentine Pavilion demonstrate how cultural institutions continue to invest in new spaces for gathering and engagement. This week's selection spans Kenya, Spain, Albania, Saudi Arabia, Italy, Lebanon, the United Kingdom, and the United States, reflecting the diverse contexts in which cultural institutions, public events, and architectural initiatives continue to evolve.
The conversion of disused religious temples through cultural programs constitutes one of the most compelling adaptive reuse strategies in contemporary urban planning. This functional compatibility seems to be rooted in the specific characteristics of churches: their central naves offer large-scale, clear floor plans and monumental cross-sections that easily accommodate the volumetric requirements of museums, theaters, or community hubs. Furthermore, the acoustic properties inherent to their vaulted ceilings, combined with intentional natural lighting filtered through stained glass windows or domes, create the spatial conditions for activities ranging from the performing arts to the exhibition of cultural artifacts. By assuming a public and cultural role, these buildings not only avoid demolition or physical abandonment but also preserve their status as urban and identity landmarks within the city fabric, revitalizing their immediate surroundings without altering their historical significance.
Designed by Studio NEiDA, The Falcon Cinema is a community and art centre located in Berekuso, Ghana, commissioned by film curator and Founding Director Jacqueline Nsiah. The cinema's mission is to create a home for cineastes to preserve Africa's cinematic legacy while hosting critical and creative thinking about contemporary filmmaking on the continent, designed and curated with a pan-African approach. The programme includes a 250-seat and a 150-seat screening room, a restaurant, an archive, communal spaces, an education hub, and an outdoor cinema. A second compound is planned for a future phase, to house living quarters for filmmakers in residence. Still in the design phase, the project started in 2024 and is expected to be completed in 2027.
Tsuyoshi Tane is a Japanese architect born in 1979 in Tokyo and based in Paris, where he founded ATTA – Atelier Tsuyoshi Tane Architects in 2006. Working across cultural, institutional, and landscape-related projects, Tane has developed an architectural approach that positions memory as a fundamental design driver. In his interview with Louisiana Channel, filmed in his Paris studio, Tane reflects on architecture as a discipline of observation and thought, arguing that meaningful design emerges from carefully reading the traces embedded within a site. For him, architecture is not produced on a blank slate but begins with an inquiry into what already exists, physically, culturally, and emotionally, beneath the surface of a place.
Following an international design competition launched in January 2026, the Museum of Contemporary Art of Panama (MAC Panamá) announced the selection of Mexican architects Palma + Taller TO to design its new building. The museum is described as "a new cultural infrastructure open to the city, conceived from the identity, climate, and landscape of Panama." The future museum headquarters will be located in the corregimiento of San Francisco, to consolidate the area as a hub of cultural activity. The selection criteria involved the relationship between the museum and the city, prioritizing proposals with integrated elements for community engagement and framing the building as a cultural infrastructure, enriching the contemporary urban environment of Panama City.
