In recent years, food has taken on a renewed role within architecture, not simply as a program or typology, but as a shared spatial practice. Beyond restaurants or dining design, communal eating spaces are increasingly understood as environments where presence, ritual, and time intersect, allowing people to gather, stay, and coexist. In these settings, eating does not just happen within space; it actively shapes it, temporarily transforming ordinary, borrowed, or improvised environments into places of exchange.

This shift is visible across a wide range of built projects, installations, and community spaces that use shared meals as a way of bringing people together. Initiatives such as Fondo Supper Club frame dining as a social platform, using food to connect artists, designers, and local communities through conversation and collaboration. Similarly, sit.feast, presented during Milan Design Week 2024, approached the table as a spatial installation, one where sitting and eating together became the primary means of collectively producing space.

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Among the 2025 Aga Khan Award winners is AAU Anastas and their project, Wonder Cabinet in Palestine, whose central aim is to serve as a haven for culture and creativity and a bridge between design and production. Beyond this meaningful project, AAU Anastas—working from offices in Bethlehem, Palestine, and Paris, France—has built a broad portfolio since 2015. Notable works include Dar Al Majous, a restoration in Bethlehem that challenges the boundary between domestic and public realms; the Tulkarm Courthouse (2015), one of their first projects that redefined civicness and social gathering on a prominent corner site in Tulkarm; and The Flat Vault, a commercial intervention that adds a juxtaposed stone vault to an existing monastery shop associated with a church built in the 12th century by the Crusaders.

Among these compelling works, Wonder Cabinet likely drew the jury's attention not only for its refined execution and layered spatial complexity, but also for how it operates as a socially generative platform—dissolving the boundary between social infrastructure and architecture. Conceived to support culture, creativity, design, and production, the building aspires to host architects, designers, chefs, artisans, and sound and visual artists, among others. In no small way, it advances the spirit articulated by the 2025 judges, who characterized this cycle as a year of fostering resilience and optimism through design, by demonstrating how architecture can catalyze community and enterprise simultaneously.

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The opening of the new Fondation Cartier pour l'Art Contemporain in Paris last October sparked renewed questions around the role, form, and future of museums. As cultural institutions continue to proliferate worldwide in this digital era, the museum itself appears increasingly in need of redefinition. Rather than offering a single model or solution, Architecture for Culture: Rethinking Museums, written by architectural historian and curator Béatrice Grenier, argues for a more contextual and plural understanding of what a museum can be: an institution shaped by its environment, its public, and the specific cultural questions it seeks to address.

ArchDaily had the opportunity to discuss these ideas with the author against the backdrop of the Fondation Cartier's newly inaugurated home on Rue de Rivoli. Housed within a restored Haussmannian building that once accommodated the Grands Magasins du Louvre, the space has been radically reimagined by Jean Nouvel as a dynamic, transformable architecture.

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The making of a place is not a difficult thing in principle; it is enough for people to come together in a regular set location for a purpose or activity, and a space becomes. This does not disregard the fact that a physical element needs to accompany this gathering for a space to become sheltering, accommodating, and alluring. This idea of the space that emerges from intent can most definitely be seen in one of the most ancient of functions, which is food or produce markets.

For a market to become, the architectural element can be as simple as a light roof, which would harbor merchants and offer a non-spoken boundary to the place, or it can be as resourceful as adaptively reusing an existing building or site to fit new needs. Finally, it can be a temporary and lightweight structure pitched for certain events or needs and then removed to be used elsewhere, or for other means.

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Dear Readers,

The past year marked a defining moment in ArchDaily's evolution: a year of recalibration, intention, and renewed editorial purpose. 

In an increasingly fast-moving and saturated media landscape, we took the opportunity to ask the fundamental questions: What does architectural media need to be today? What responsibilities do we carry as a global platform? And how can we contribute meaningfully to a profession navigating social, environmental, and cultural transformation?

And by engaging deeply with these reflections, we stepped fully into our role, bringing greater definition to who ArchDaily is and how it operates.

In the mountainous regions of Vietnam, the borderlands of Thailand, and the rugged Western Ghats of India, building school projects remains a challenge defined by logistics. In areas where infrastructure and industrial supply chains are limited or distant, transporting each kilogram of material can significantly increase costs and logistical complexity. During 2025, several school projects in rural contexts in Asia showed how the architect's role often shifted from a designer of form to a strategist of procurement. The primary challenge was not merely aesthetic but a matter of durability: using locally available materials and protecting them from monsoon rains, high-velocity winds, and sometimes seismic instability.

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There is not enough that can be said about the benefits of incorporating plants in interiors or Plantscaping. Integrating vegetation indoors serves many purposes, whether practical, aesthetic, or psychological. Although there are basic requirements for incorporating greenery into Homes, well-thought-out plant selections and placements are characteristically different across the world. By going over recent interior works, a few recurrent plantscaping design patterns arose, each reflective of distinctive climates, building styles, and traditional building techniques.

While the type of the chosen plants varies depending on favorable conditions for growth and local availability, the main distinctions are related to the direct environment and display method in which the vegetation is set, as well as its intended purpose. While plants are there to offer mental wellness to some, they are essential for cooling to others, or could even be meant for small-scale farming.

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The 2025 Osaka Expo has captured widespread attention—not only for its architectural ambition and spectacle, but also for breaking records and generating controversy. Its most iconic feature, a monumental timber ring designed by Sou Fujimoto, has already made headlines as a Guinness World Record-breaking wooden structure. Built on the reclaimed island of Yumeshima, the site has attracted praise and critique in equal measure. Beyond its awe-inspiring 2-kilometer circumference—parts of which extend dramatically over the water—the structure has also drawn concerns, including questions about health & safety, extreme heat, and swarms of insects that may affect the visitor experience.

This year also marks a significant anniversary: the 55th year since the 1970 Osaka Expo, held under drastically different socio-economic conditions. Comparing these two expos—both hosted in the same city—offers a rare opportunity to reflect on how the rhetoric, curatorial themes, and architectural ambitions of world expos have evolved over time. From "Progress and Harmony for Mankind" in 1970 to "Designing Future Society for Our Lives" in 2025, the shift in thematic focus reveals changing global priorities. Meanwhile, the scale and nature of architectural involvement have also transformed, from the futuristic visions of Japanese Metabolism to a more internationally dispersed group of designers concerned with sustainability, technology, and civic engagement.

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