The renovation of the Gardiner Museum's ground floor was guided by three core principles: Accessibility, Connectivity, and Indigeneity. The project aimed to create a welcoming, flexible, and culturally resonant environment while highlighting the museum's world-class ceramics collection. A key inspiration was the desire to strengthen visual and physical connections across the ground floor, provide improved circulation, and recognize Indigenous ceramic traditions through the museum's first permanent gallery dedicated to Indigenous works, designed by Chris Cornelius of studio:indigenous and curated by Franchesca Hebert‑Spence, the museum's inaugural Curator of Indigenous Ceramics.

Passive House Forest Retreat proves that environmental performance and refined design ambition are not only compatible, they are mutually elevating.

The courtyard is often remembered as a figure from the past, an inward-looking space of nostalgia, culture, and domestic ritual. But this framing misses its primary role. Before it was symbolic, the courtyard was operational. It organized air, moderated light, and absorbed heat. It did not decorate architecture; it made it habitable. In contemporary housing, these functions are normally delegated to mechanical systems, applied after form is fixed. In courtyard houses, they are resolved spatially, before a wall is even built.

School at Belgaon Dhaga begins by moving beyond the rigid functions of the original building, using the new addition to foster spontaneous activity and unscripted interaction. The intent is to create informal learning environments that offer freedom and encourage a better exchange of knowledge between everyone inhabiting the space. Through this approach, the extension becomes a tool to bridge the gap between formal use and informal discovery, turning the in between zones into meaningful places of engagement.