Building materials

BIG's Suzhou Museum of Contemporary Art: A Garden of Interconnected Pavilions

The Bjarke Ingels Group (BIG) has inaugurated its first art museum, the Suzhou Museum of Contemporary Art, a significant 60,000-square-meter cultural complex situated by Jinji Lake in Suzhou, China. This newly opened institution is a collaborative effort with ARTS Group, VIA.inc, and SHUISHI, and stands as a testament to contemporary architectural innovation blended with historical design principles. The museum's unique structure, comprising twelve interconnected pavilions beneath a flowing, ribbon-like roof, reinterprets the classical Chinese garden layout to create a permeable environment that blurs the lines between galleries, green spaces, pathways, and public areas, forging a dynamic link between the city and the serene lakeside. The facility is set to become a vital center for modern art, design, and cultural activities in Suzhou's evolving lakeside district, hosting a diverse range of exhibitions, including BIG's 'Materialism', and exploring themes from modern and contemporary art to technological artistic practices and cross-cultural artistic dialogues.

Central to BIG's design philosophy for the Suzhou Museum of Contemporary Art is the integration of the traditional Chinese 'lang' (covered corridor), reimagined as a continuous circulatory system linking the museum's twelve distinct pavilions. This architectural element guides visitors through an engaging sequence of galleries and communal spaces, with smaller pathways diverting to individual exhibitions and tranquil gardens. The museum's layout, enhanced by bridges and tunnels, fosters a sense of interconnectedness, allowing it to function as a fluid landscape of experiences rather than a series of isolated rooms. This flexible organization ensures the institution can adapt to evolving exhibition programs and public events. The project reflects Bjarke Ingels' vision of an urban porous structure, dissolving the conventional museum typology into a village of pavilions that connects the city to the lake, inviting exploration of sculpture gardens and natural elements flowing through the site.

Architectural Harmony: Blending Tradition with Modernity

The core architectural vision behind BIG's Suzhou Museum of Contemporary Art is deeply rooted in the reinterpretation of the traditional Chinese garden's 'lang' (covered corridor). This element is reimagined as a fluid, continuous pathway that seamlessly integrates the twelve distinct pavilions, guiding visitors through a harmonious journey of art and nature. The design strategically employs bridges and tunnels, establishing a multi-layered circulation that encourages exploration and discovery. This approach ensures that the museum functions not merely as a collection of isolated exhibition spaces but as an interconnected landscape, where artistic experiences are interwoven with natural beauty. The result is a highly adaptable and engaging environment that can evolve with changing exhibitions and public programs, reflecting a profound respect for cultural heritage while pushing the boundaries of contemporary museum design.

The museum's innovative design effectively breaks down the traditional barriers between indoor and outdoor spaces, creating a fluid transition that echoes the immersive qualities of historic Chinese gardens. This integration allows visitors to move effortlessly between art installations, tranquil gardens, and open public areas, fostering a more interactive and enriching cultural experience. Bjarke Ingels' ambition for urban porosity is evident in how the design encourages public interaction, drawing individuals from the city towards the waterfront through sculpture gardens and landscaped courtyards. The continuous roof, a distinctive feature of the museum, acts as a unifying element that binds the diverse pavilions together, creating a coherent yet dynamic architectural narrative. This thoughtful interplay of architecture and landscape ensures that the Suzhou Museum of Contemporary Art serves as a vibrant cultural hub, deeply connected to its surroundings and offering a unique platform for contemporary artistic expression.

The Ribbon Roof: A Unifying Element and Public Space

The Suzhou Museum of Contemporary Art's most striking feature is its looping, ribbon-like roof, which visually unifies the twelve pavilions and creates a distinct silhouette against the skyline. This architectural element is not only aesthetically remarkable but also serves a functional purpose, reminiscent of an infinity knot or traditional papercut patterns when viewed from above. The roof’s design also takes into account the panoramic views from the nearby Ferris wheel, effectively becoming the building's 'fifth facade' and offering a unique visual experience from an elevated perspective. This dual consideration—precise graphic composition from above and a fluid sequence of art, architecture, and gardens at ground level—demonstrates a thoughtful approach to engaging with both the urban context and the visitor's journey, making the roof an integral part of the museum's identity and its interaction with the broader Suzhou landscape.

Catherine Huang, a partner at BIG, highlights how the roof's aerial composition frames the gardens below, creating an interplay between precision and discovery. The museum challenges the conventional notion of an isolated cultural institution by intertwining its various components under a single, expansive roof and an intricate network of circulation paths. This design philosophy transforms movement through the site into an intrinsic part of the architectural experience, encouraging visitors to explore the connections between the city and the waterfront. The success of this ambitious project hinges on how the gardens, galleries, and open routes will be utilized over time, ultimately determining the extent of its public connection and its role as a dynamic, integrated cultural landmark. The inaugural exhibitions, including BIG's 'Materialism' and showcases of modern, contemporary, and Chinese art, further underscore the museum's commitment to diverse artistic exploration within its innovative architectural framework.

OMA's Resident-Centric Urban Renewal in Taipei Challenges Standardized High-Rises

In a groundbreaking move for urban development, residents of Taipei's Songshan Yulin Yuan Community have directly engaged OMA to reimagine their existing residential complex. This collaboration seeks to establish a unique model for urban renewal, moving away from the typical developer-driven, standardized high-rise constructions. The initiative aims to investigate how increased urban density can be achieved while simultaneously safeguarding the spatial characteristics, green spaces, and collective spirit that the community cherishes.


Taipei faces a critical need for housing rejuvenation, with a significant portion of its buildings over three decades old and many predating modern seismic standards. Taiwan's 2024 Disaster-Prevention Urban Renewal policy offers incentives for the reconstruction of vulnerable properties, and the Songshan project perfectly aligns with this objective by placing community members at the forefront of the redevelopment process. OMA's design emerged from extensive dialogue with the current inhabitants, underscoring the challenge of integrating contemporary needs with the preservation of the neighborhood's valued attributes. The proposed architectural scheme transforms the site into two 24-story structures, crafted from four interconnected vertical volumes. This innovative design incorporates stepped and shifted massing to mitigate the visual impact of the new development, create dynamic openings, and optimize natural light and ventilation within the apartments. This approach cleverly reinterprets the existing domestic layouts, ensuring continuity with the residents' familiar living patterns rather than discarding them entirely, thereby fostering a sense of belonging within a denser environment.


A core element of OMA's strategy involves maximizing the interstitial spaces within and around the residential buildings. A comprehensive network of shared amenities is planned across various levels, fostering strong connections both within the towers and with the broader neighborhood. These communal areas include a second-floor semi-open platform integrated with the tree canopy and adjacent parks, offering spaces for recreation and social interaction. The ground floor will feature a welcoming lobby and retail spaces, designed with a receding facade to enhance engagement with nearby schools and park pathways. Below ground, a community living room will provide tranquil leisure options, illuminated by a central atrium that maintains visual links throughout the structure. Rooftop sky gardens on the lower sections of the towers will offer panoramic views of Taipei, collectively forming a continuous social fabric that extends daily life beyond individual residences into a vibrant communal sphere.


The Songshan Urban Renewal Residence project fundamentally redefines the relationship between urban density and residential quality. It challenges the notion that urban renewal must inevitably result in isolated, uniform high-rises. Instead, it advocates for a design philosophy that enhances density while meticulously preserving the unique character and domesticity of the neighborhood through thoughtful massing, strategic openings, and integrated public spaces. This ongoing schematic design phase exemplifies a participatory approach to urban development, where residents actively contribute to shaping the future of their homes. OMA's response, featuring stepped slabs, balconies, shared platforms, and communal gardens, demonstrates a forward-thinking method for urban transformation that prioritizes human experience and community cohesion. This project stands as a testament to the power of collaborative vision, where residents and architects together forge spaces that not only meet modern demands but also honor and enrich existing community values, ensuring that progress harmonizes with the spirit of place and fosters a vibrant, inclusive urban future.

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DLR Group Redefines Middle Eastern Urbanism: Crafting Human-Centric Spaces from Masterplans to Micro-Moments

In the rapidly expanding urban landscapes of the Middle East, a new paradigm for city development is emerging, championed by the DLR Group. This architectural and design powerhouse is moving beyond the conventional focus on monumental scale and high density, instead advocating for an approach that places human experience, sensory richness, and local authenticity at its core. Through an integrated design philosophy, DLR Group demonstrates that even the most ambitious megaprojects can foster intimate, livable communities where individuals feel connected to their surroundings and each other. Their work across diverse regions, from the mountainous terrains of Makkah to the cultural hubs of Abha, exemplifies a commitment to designing spaces that are not only functional but also deeply intuitive, welcoming, and rooted in their unique contexts.

DLR Group Pioneers Human-Centric Urban Design Across the Middle East

In a region characterized by unprecedented urban expansion, the DLR Group is spearheading a transformative approach to city planning and architectural design. Key figures like Henrique Dias, Middle East Hospitality & Mixed-Use Director, and Stefan du Toit, Design Director, Landscape, emphasize that the true challenge in modern urbanism is not density itself, but how that density is thoughtfully designed and experienced. Their philosophy rejects the notion of repetitive, overwhelming structures, instead advocating for environments that offer sensory richness, variety, and a profound sense of place.

The firm's multidisciplinary team seamlessly integrates master planning, architecture, landscape, and interior design to translate vast urban footprints into comprehensible and deeply authentic communities. Rather than allowing architectural ego to dictate design, DLR Group prioritizes humility, meaning, and user experience, embedding tactile materials, balanced spatial hierarchies, and central civic anchors to foster social interaction and a connection with nature.

A critical aspect of their strategy involves deconstructing scale, particularly at ground level where human interaction occurs. Stefan du Toit highlights landscape architecture's role as a vital interface, gradually stepping down massive architectural volumes to create digestible foregrounds. This is achieved through curated topography, layered experiences, and the strategic use of plants, shade structures, and artistic features, ensuring a smooth transition from high-rise structures to human-scale environments.

This human-centered approach is vividly demonstrated in projects across the Middle East. At EMAAR – The Heights in Dubai, a sprawling 750-hectare masterplan, DLR Group has organized over 7,500 homes into intimate neighborhood clusters, each anchored by a Wellness Club and integrated within a vast open space network. Curvilinear villa layouts, green buffers, and shaded pedestrian routes ensure neighborhood intimacy and promote well-being. Similarly, in SUMOU in Al Khobar and LIWAN Najd in Riyadh, continuous pedestrian networks and car-free wadis, enhanced by tree canopies, water features, and lighter paving surfaces, reduce radiant temperatures and encourage walkability. These developments are structured around central civic nodes, placing daily essentials within comfortable walking distance, thereby fostering a vibrant live-work-play ecosystem.

Furthermore, DLR Group shows profound deference to terrain and cultural context. At MAAD in Makkah, the steep mountainous landscape is embraced as an organizing framework, with high-density development concentrated at lower elevations and massing tapering as topography rises. This allows built forms to merge naturally with the mountains through stepped terraces. Vaida Buchrotaite, Middle East Director of Interior Design, explains that in spiritually significant destinations like Makkah, interior design is intentionally restrained, supporting the guest's journey through subtle materiality and reflective spaces. This sensitivity extends to regional heritage, as seen at The Point in Abha, where traditional Al-Qatt Al-Asiri wall art is abstracted into custom textiles and geometric textures, creating modern yet authentic destinations deeply rooted in local culture.

The success of DLR Group's vision is underpinned by its integrated studio workflow. Shawn Meyers, Middle East Master Planning Director, emphasizes an active, iterative collaboration where master planners, architects, landscape architects, and interior designers shape the vision together from day one. This holistic approach ensures alignment, fosters stronger decisions, and leads to cohesive outcomes that prioritize human experience at every scale.

The DLR Group's innovative urban design philosophy offers a compelling vision for future city development, particularly in rapidly urbanizing regions like the Middle East. By shifting the focus from mere density to the quality of human experience, they demonstrate that cities can be both grand in scale and intimate in feel. This approach inspires us to consider how urban environments can be crafted to enhance well-being, foster community, and celebrate local identity, proving that thoughtful design can transform concrete jungles into vibrant, human-centered ecosystems. It's a powerful reminder that the true measure of a city's success lies in its ability to enrich the lives of its inhabitants.

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