The CKK Jordanki concert hall emerges like an outcrop of weathered rock from an urban park in Toruń, in northern Poland. Its Spanish architect, Fernando Menis, has yoked such imagery to local architectural references and technical ingenuity to establish a strong character for the building while deferring to its sensitive setting on the edge of the medieval Old Town.
A curving ladder of sculptural balconies rises above the double-height display windows of UNStudio’s first project in Brussels—a mixed-use block on the highend Avenue de la Toison d’Or.
The Singapore government funded the $370 million museum complex, which opened in November 2015 as a highlight of the island-nation’s 50th anniversary as an independent republic.
The Whitworth Gallery, in England’s booming second city, Manchester, is a cultural institution that took a walk in the park back in 1889—it was the first English art museum to adopt a parkland rather than urban setting.
In the Cilento region of southern Italy, on the coast of the Tyrrhenian Sea, Edoardo Tresoldi created Incipit from rolls of wire mesh for the 19th annual Meeting del Mare music festival last June.
When Chilean architect Alejandro Aravena speaks about designing buildings, he invokes the language of governments and institutes: “investing in brains over bricks”; turning “forces into forms.” But unlike the abstract ideas that may emerge from a policy institute, Aravena, with his Santiago-based firm ELEMENTAL, is keen on designing solutions that not solely aid, but empower society’s neediest.