The site has an area of 35m² with a frontage of 3.6m for a young family located on Tran Cung Street, which was established in 2005. This street is spread over villages (“Làng”) Hoang 1, Hoang 2, and Hoang 4 of “Xã Cổ Nhuế”, which is now Co Nhue 1 ward, Bac Tu Liem district, Hanoi City.
Active worldwide for more than 75 years, the Goethe-Institut commissioned a purpose-built space from concept to construction for the first time in its history. As one of its main hubs in West Africa, the choice of Kéré Architecture reflects Goethe-Institut Dakar’s ambition to define what cultural exchange looks like in the 21st century.
Active worldwide for more than 75 years, the Goethe-Institut commissioned a purpose-built space from concept to construction for the first time in its history. As one of its main hubs in West Africa, the choice of Kéré Architecture reflects Goethe-Institut Dakar’s ambition to define what cultural exchange looks like in the 21st century.
The renovation of Villa Serena 204 began as a personal and professional mission to challenge Japan’s “scrap-and-build” culture. Located in a historic modernist building designed by Junzo Sakakura, the project seeks to prove that aging architecture can gain value through thoughtful intervention. The core inspiration was the tension between the building’s rigid 600mm structural grid and the fluid lifestyle of its occupants—an architect and a casting director. By embracing the “ambiguity” between work and life, the design breathes new life into a modernist relic, transforming it into a high-functioning home and studio.
The renovation of Villa Serena 204 began as a personal and professional mission to challenge Japan’s “scrap-and-build” culture. Located in a historic modernist building designed by Junzo Sakakura, the project seeks to prove that aging architecture can gain value through thoughtful intervention. The core inspiration was the tension between the building’s rigid 600mm structural grid and the fluid lifestyle of its occupants—an architect and a casting director. By embracing the “ambiguity” between work and life, the design breathes new life into a modernist relic, transforming it into a high-functioning home and studio.
This project is for a new office and residence for a construction company with a 50-year history in Nagoya, Aichi Prefecture. The client owned two large warehouses near the site, both overflowing with unused timber—mostly surplus wood ordered in bulk by the previous generation, who had been a carpenter, along with reclaimed lumber collected during demolition. Although there were no clear plans for its use, the material had continued to accumulate year after year, too valuable to discard. Many construction companies and lumberyards across Japan hold similar stockpiles of timber lying dormant in warehouses.
House 30 is designed on a precise 30 cm grid that guides both how the home is built and how it looks. The layout follows a clear rhythm: four light stripes followed by one dark stripe, with all walls placed specifically on those dark lines.
The house had remained within the same family for generations, quietly carrying layers of everyday life and memory. Although the new owner lives abroad, he chose not to part with it, feeling a strong attachment to the place he had inherited. Rather than selling, the decision was made to bring the house back into use through ROOVICE’s Kariage framework—a system that renovates vacant homes and subleases them, allowing owners to preserve their properties without the burden of managing them. This approach made it possible for the house to be lived in once again, while retaining its identity and history.
A hill on one side and lush spring blossom trees on the other, the house is built on a south-west corner plot with a hill on the eastern side and a famous temple beyond. It is situated in RR Nagar in Bengaluru and is a residence to a couple, their son, and the grandparents.
What do lightweight materials bring to public space with an ethical, ecological, and non-extractive design principle? Various textile textures offer a point of entry, being closer to the body than heavy conventional structural materials. Through its flexibility and responsiveness, it enables a form of soft enclosure rather than a fixed boundary in architectural space. Responding to minimal environmental stimuli, the fabric brings continuous movements into space. When layered or assembled, it produces gradations of density, depth, and enclosure, while recent innovative fabrication technologies extend the possibilities of its form and structural durability.
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