Located approximately 300 kilometers north of the Arctic Circle, on the island of Andøya in northern Norway, The Whale by Dorte Mandrup is currently under construction along the coastline of Andenes. The small settlement is situated near Bleiksdjupa, a deep-sea canyon that brings marine life close to shore and has contributed to the region's role as a whale-watching destination. Recent construction images show the building emerging from the rocky shoreline, maintaining a low profile that follows the contours of the site. The surrounding context, including the existing lighthouse and residential structures, situates the project within an active coastal environment.

In the windswept coastal landscape of Denmark, where meadow meets dune and pine bends in the coastal breeze, Shoreline Studio rests as a retreat for artistic immersion. Conceived as a space apart from yet connected to the rhythms of a family summerhouse, it balances Danish building tradition with the contemplative sensibility of Japanese architecture. Though restrained in scale, it unfolds with a generous sense of atmosphere, offering a place where light, material, and landscape converge.

On March 12, the Chilean architect of Croatian descent, Smiljan Radić Clarke, was awarded the 2026 Pritzker Architecture Prize. The jury highlighted his "unorthodox approach to design," which "may initially appear unusual, unexpected, even rebellious; yet, far from producing alienation or estrangement, his anti-canonical stance feels fresh and unprecedented. It conveys the unmistakable sensation of encountering something new." This recognition will be celebrated with the annual Pritzker Architecture Prize Laureate Lecture and Panel Discussion, to be held in Mexico City at the Universidad Nacional Autónoma de México (UNAM), at the Faculty of Architecture's Teatro Estefanía Chávez, on May 12, 2026.

Even the most distracted passerby is captured by the monumental presence of this structure in Valencia’s established Benimaclet neighborhood. Before it, any attempt at rational apprehension quickly dissolves. Its constructive logic seems to escape comprehension as the space unfolds through tensions and deviations, where nothing is immediately given. Between masses of concrete and the insurgent force of vegetation, an almost choreographic play of planes, angles, and rotations emerges. In the vertigo of this encounter, one realizes that the building was not made to be understood, but to be experienced.