Georg Giebeler has taught construction and adaptive reuse for more than 20 years. After positions in Wismar and Wiesbaden, he became professor at Bergische Universität Wuppertal in 2018. His “Atlas Sanierung” (Atlas of Renovation) was published in 2007 by Edition Detail. He studied architecture in Graz and at the Städelschule in Frankfurt, worked with Volker Giencke, and established his own practice in the mid- 1990s.
Reinier de Graaf is a partner at OMA. In his latest book, Architecture Against Architecture, he reflects on the outdated working structures in many architectural practices and argues for a less naïve approach to political and economic influences.
The design of the museum began with a largely cleared site, yet without an operator. Yutaka Terasaki and Bao Mengxian report on how Kengo Kuma & Associates planned the building without needing a detailed briefing.
The new UCCA Clay Museum advances the millennia-old tradition of artisanal ceramics the Chinese metropolis Yixing is renowned for. An armour of red clay tile encloses the exhibition spaces and the open timber roof constructions above them – an expressive space for the presentation of modern ceramic art.
The Glasshouse Theatre adds a fifth venue to the heritage-listed Queensland Performing Arts Centre. It can be flexibly used for concerts, operas, and dance and theatre performances. The glass facades of the deeply cantilevered foyer visualise the theatrical art of illusion on the exterior.
In their restoration of the Monastery of Santa María of Sijena, Pemán y Franco and Sebastián preserve traces of destruction, rebuilding, and decay spanning 800 years. Recently, they remodelled the east and north wings into an exhibition space for the convent’s valuable artworks.
Brisbane is set to host the 2032 Summer Olympics. However, the city is also preparing for the future in cultural terms. In early 2026, Blight Rayner Architecture and Snøhetta completed the Glasshouse Theatre. Peter Brown and Michael Rayner explain the design.