The anticipated Zayed National Museum is set to open in December 2025 in the Saadiyat Cultural District, joining a growing network of landmark institutions such as the Louvre Abu Dhabi, teamLab Phenomena, and the upcoming Guggenheim Abu Dhabi. Designed by Foster + Partners, the museum anchors the island with a bold sculpted form that draws deeply from Emirati heritage while incorporating advanced sustainable technologies.

The architecture is defined by five steel arching towers that rise above the galleries like falcon wings, a nod to the cultural importance of falconry in the UAE. Beyond this symbolism, each tower functions as a solar thermal chimney, drawing hot air out of the building through natural convection. Below, a landscaped garden traces a timeline of Sheikh Zayed’s life, while the main exhibition spaces are embedded within a gently contoured mound, abstracted from the topography of the Emirates. These six permanent pod-shaped galleries and a temporary exhibition space will present a comprehensive narrative of the UAE’s cultural, environmental, and social history.

all images © Department of Culture and Tourism – Abu Dhabi

foster + partners’ sculpted design at saadiyat Cultural District

Commissioned as a tribute to the UAE’s Founding Father, the late Sheikh Zayed bin Sultan Al Nahyan, the UAE’s new national museum will be split across two levels, supported by a dynamic programme of exhibitions, public events, and research initiatives. Highlights of the collection will include artefacts from the UAE’s earliest human settlements, a rare ancient Magan Boat reconstruction, the Blue Quran manuscript, and the Abu Dhabi Pearl — believed to be one of the world’s oldest natural pearls.

The museum builds on Sheikh Zayed’s vision and values to form part of a broader cultural strategy shared by its neighboring institutions on Saadiyat Island, home to one of the world’s densest clusters of cultural venues. Zayed National Museum’s permanent galleries will span archaeology, biodiversity, urban development, and Emirati traditions, drawing connections between local heritage and global narratives to celebrate the region’s identity. The collection also includes major archaeological finds dating back to the Palaeolithic era, including early irrigation systems and traces of Bronze Age copper mining, and these histories are presented alongside contemporary research and public programming, reflecting a commitment to making culture accessible across generations. With dedicated spaces for youth, senior citizens, and People of Determination, the museum seeks to foster inclusive engagement and shared learning.

Zayed National Museum is set to open in December 2025

Foster + Partners anchors Saadiyat Cultural District with a bold sculpted form

the design draws deeply from Emirati heritage while incorporating advanced sustainable technologies

five steel arching towers rise like falcon wings, a nod to the cultural importance of falconry in the UAE

each tower functions as a solar thermal chimney

the museum builds on the late Sheikh Zayed’s vision and values

six permanent pod-shaped galleries will present a comprehensive narrative of the UAE’s history

the galleries will span archaeology, biodiversity, urban development, and Emirati traditions

Highlights of the collection will include artefacts from the UAE’s earliest human settlements

the Abu Dhabi Pearl is believed to be one of the world’s oldest natural pearls

project info:

name: Zayed National Museum

architecture: Foster + Partners | @fosterandpartners

location: Abu Dhabi, UAE

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Yinka Ilori: Transparent Happiness opens at Helsinki’s Amos Rex museum as a vibrant public art commission that invites the Finnish capital to reimagine its urban spaces. Unveiled on June 20th, 2025, the large-scale work engages the museum’s signature mounds, transforming them into a space that is interactive and accessible. Through the project, Ilori reinterprets a popular urban site, bringing a sense of joy and communal spirit to Lasipalatsi Square, one of Helsinki’s most well-frequented spaces.

Transparent Happiness is the first in an annual series of public commissions hosted by Amos Rex, an institution known for activating its unique urban setting through art. Ilori’s work stands in contrast to the sleek, minimalist lines of the museum’s Modernist architecture, offering an environment designed for both reflection and play. The installation features a variety of functional spaces, including a playground, a pedestrian and skateboarding trail, a basketball court, and a ping pong table, all encouraging public interaction. Through this transformation, Ilori breathes new life into the urban square, making it a destination for people of all ages.

images © Mika Huisman / Amos Rex

yinka ilori’s playful reinterpretation of amos rex

Inspired by the vibrant colors and cultural narratives of his Nigerian heritage, Yinka Ilori’s installation at Amos Rex brings to life his childhood memories of playgrounds in London. Transparent Happiness is a space not just for physical play but for collective storytelling. Visitors are invited to interact with the space, engaging in playful activities that spark memories and anecdotes, creating an atmosphere that feels both nostalgic and refreshing. The installation reflects the artist‘s belief that public art should be accessible, joyous, and capable of creating connections between individuals from diverse backgrounds.

The museum’s mission to activate Lasipalatsi Square with dynamic art and events aligns with Ilori’s vision of public space as a place for inclusion and community. As the artist’s first public realm project in northern Europe, the work raises questions about the identity and accessibility of public spaces.

Yinka Ilori: Transparent Happiness transforms the iconic mounds at Amos Rex in Helsinki

installation art for the community

Yinka Ilori’s installation at Amos Rex is a celebration of art’s power to foster social connections. Visitors will find themselves immersed in an environment that encourages interaction, play, and the sharing of personal stories. As the installation remains on view through fall 2025, it brings an opportunity for the people of Helsinki to experience public art and contribute to the space through their presence and engagement.

‘Which identities are welcome in the efficient, well-maintained Nordic public realm?‘ asks Museum Director Kieran Long, echoing the underlying themes of Ilori’s work. Through this joyful installation, Ilori opens a dialogue on the role of public spaces in fostering connection, community, and belonging.

Ilori’s work features a playground, skateboarding trail, basketball court, and ping pong table

the large-scale public art commission encourages interaction and play in Lasipalatsi Square

the installation is the first in a series of annual public art commissions at Amos Rex

Ilori draws inspiration from his Nigerian heritage and childhood memories of London playgrounds

Transparent Happiness transforms a space for community engagement in Helsinki

the installation contrasts with the minimalist design of Amos Rex’s Modernist architecture

project info:

name: Transparent Happiness

artist: Yinka Ilori | @yinka_ilori

museum: Amos Rex | @amoskonst

location: Helsinki, Finland

on view: June 20th — October 12th, 2025

photography: © Mika Huisman / Amos Rex

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French President Emmanuel Macron unveils Nouvelle Renaissance, an ambitious renovation of the Louvre designed to tackle overcrowding and improve the visitor experience. With annual attendance nearing nine million, the Louvre’s Pyramid entrance, designed by I.M. Pei, has become overwhelmed by the success of the museum. With this in mind, the initiative includes reimagining the museum’s historic Perrault Colonnade to create a new, more efficient entrance and relocating Leonardo da Vinci’s Mona Lisa to a dedicated, standalone gallery.

Nouvelle Renaissance also addresses the long-term sustainability and accessibility of the Louvre, aiming for a more balanced visitor flow, better conservation, and a focus on education. The transformation will be underpinned by a global architecture competition, a nationwide art-sharing initiative, and a partnership with the Ministry of Education to improve art history education in schools. Macron describes the project as a ‘rebirth,’ uniting the 230-year legacy of the Louvre with today’s demands for accessibility, sustainability, and community engagement.

UPDATE July 1st, 2025: French Culture Minister Rachida Dati announced via X the launch of the international architecture competition for the Louvre’s Nouvelle Renaissance transformation. Framed as the world’s largest architectural call for a museum project, the competition invites proposals to rethink key public areas of the institution, including a new entrance through the historic Perrault Colonnade and a standalone gallery for the Mona Lisa. Backed by President Emmanuel Macron, the initiative follows rising visitor numbers, approaching ten million annually, and seeks to improve circulation, sustainability, and educational outreach. The project will be partially self-financed through a revised pricing policy and expanded patronage campaign, signaling a new cultural and architectural chapter for the Paris landmark.

all images courtesy of the Louvre, unless stated otherwise

transforming Perrault Colonnade and relocating mona lisa

On January 28, 2025, Emmanuel Macron held a press conference in front of the Mona Lisa painting at the Louvre, unveiling the transformative Nouvelle Renaissance project aimed at reshaping the museum‘s visitor experience and addressing overcrowding. 

The renovation plans include a global design competition inviting architects to imagine the 17th-century Perrault Colonnade as the Louvre’s new entrance. The challenge is to integrate current visitor flow solutions, respecting the classical grandeur of Claude Perrault’s original design. Funded by the own revenues of the museum, the competition seeks to alleviate pressure on Pei’s Pyramid while sustaining the Louvre’s role as a cultural beacon. The competition will be launched in the coming months, with a projected deadline to choose a winning design by the end of 2025. The project will be phased over six years, with 2031 as the target for completion.

Alongside the entrance redesign, the Mona Lisa will move to a self-contained gallery with timed entry and its own independent access, mitigating the relentless crowds that have long dominated its display. Museum officials explain that this dual strategy is crucial for conservation and visitor experience, ensuring Leonardo’s masterpiece remains accessible without jeopardizing its safety. The museum will also implement a differentiated ticketing system with higher ticket prices for visitors from outside the European Union to help finance the transformation. This approach is expected to increase visitation to 12 million annually by 2025.

a global design competition inviting architects to reimagines Perrault Colonnade

Subterranean axes and sustainable gardens complete the project

Beyond the headline transformations, Nouvelle Renaissance introduces a subterranean east-west axis beneath the Cour Carrée to streamline navigation, while the Carrousel and Tuileries gardens will be upgraded into climate-resilient green spaces. Additional infrastructure upgrades prioritize accessibility, staff well-being, and energy efficiency, with a nationwide art-sharing initiative dispersing Louvre collections to regional museums. This initiative aims to bring Louvre collections closer to local communities, promoting regional engagement with the museum’s artistic treasures. The French President also pledges to double annual student visits to 900,000, framing the Louvre as a ‘book’ for global audiences. Macron’s plan focuses on teaching art history on a national level, with a new partnership with the Ministry of Education to improve the teaching of art history in middle schools. At the same time, the Louvre plans to train teachers in the museum to help guide students through art history, making the museum a hub for education.

The announcement for the renovation was also shared through Macron’s and the Louvre’s Instagram accounts, where they posted two images to convey the vision of the project. The first image features a sad Mona Lisa with the French text translating to ‘when the state of the Louvre deteriorates.’ The second image shows a happier Mona Lisa with the French text ‘le projet Louvre Nouvelle Renaissance,’ meaning ‘the Louvre New Renaissance project,’ in meme-style font, emphasizing the positive transformation.

Mona Lisa will move to a self-contained gallery with timed entry and independent access

all images courtesy of the Louvre, unless stated otherwise

Crowd looking at the Mona Lisa at the Louvre by Victor Grigas via Wikimedia, licensed under the Creative Commons Attribution-Share Alike 4.0 International

Nouvelle Renaissance also addresses the long-term sustainability and accessibility of the Louvre

project info:

name: Louvre Nouvelle Renaissance 
location: the Louvre | @museelouvre, Paris, France

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Peter Zumthor’s long-awaited redesign of the Los Angeles County Museum of Art takes a step forward as LACMA reveals the David Geffen Galleries, its new architectural centerpiece, before art installation begins ahead of the grand public opening in April 2026 (find designboom’s previous coverage here). Capturing the horizontal, elevated structure in glass and concrete, images by Iwan Baan offer the first interior look at the museum’s 10,220-square-meter exhibition level. LACMA is now preparing to welcome the public to select areas of the new building starting summer 2025, signaling a gradual activation of the most ambitious architectural transformation in its history. Later that year, the museum will also unveil Jeff Koons’s Split-Rocker, a towering 37-foot-tall sculpture covered in over 50,000 living plants, which will become a permanent outdoor landmark adjacent to the new David Geffen Galleries.

Before the galleries are filled with thousands of artworks from LACMA’s encyclopedic collection, the museum offers a series of ‘sonic previews’ to animate the raw architecture. Acclaimed saxophonist and composer Kamasi Washington led a more than 100-person ensemble in a performance of his work Harmony of Difference, spread across the full breadth of the empty exhibition spaces.

all images by Iwan Baan

iwan baan PHOTOGRAPHS the museum’s new era

Floating over Wilshire Boulevard like a contemporary bridge, Zumthor’s building replaces four aging museum structures with a single, unified gallery space. In newly released photographs by Dutch photographer Iwan Baan, the architecture’s flowing form is captured in its raw state, offering a first glimpse into the expansive, unoccupied interiors before art installation begins. The David Geffen Galleries are named after the media magnate whose contribution marked the campaign’s largest gift, while the north wing honors LACMA trustee and board co-chair Elaine Wynn, whose pledge helped launch the building initiative. A new state-of-the-art performance space, the Steve Tisch Theater, anchors the southern plaza level. 

Major construction of the Zumthor-designed structure was completed in late 2024, allowing key operational functions to move in. In summer 2025, the public will begin to access parts of the plaza level, including new dining and retail spaces. Ray’s and Stark Bar will reopen in a redesigned location, while a new LACMA Store, funded by trustee Kelvin Davis and his wife, Hana, will also debut. Across the boulevard, a second restaurant and a café will open in 2026, their spaces shaped by campaign gifts from Ann Colgin and Joe Wender, Ryan Seacrest, Ashley Merrill, and Marc Merrill.

a first look at the museum’s 10,220-square-meter exhibition level

outdoor sculptures to be installed in the following months

Below the gallery floor, shaded public spaces on both sides of Wilshire Boulevard are designed for outdoor dining, programming, and art. A highlight is the East West Bank Commons, an outdoor plaza with capacity for 500-person events. The W.M. Keck Plaza will also become home to a new education center and a full-scale commissioned artwork by Mariana Castillo Deball titled Feathered Changes, which spans the north and south sides of the building.

The new structure reconnects LACMA with the city through architecture and landscape to offer over 14,160 square meters of accessible public space. Outdoor sculptures by artists including Liz Glynn, Thomas Houseago, Shio Kusaka, Pedro Reyes, and Diana Thater will be installed in the coming months. Longtime favorites will also return, including Tony Smith’s Smoke (1967), Alexander Calder’s Three Quintains (Hello Girls) (1964), and a newly designed 743-square-meter Rodin garden, funded by the Cantor Foundation, showcasing some of the artist’s most iconic bronze works.

As the museum ramps up toward its 2026 opening, more previews will be announced, and the installation of LACMA’s permanent collection will begin later this year.

capturing the horizontal, elevated structure in glass and concrete

LACMA is now preparing to welcome the public to select areas of the new building

Zumthor’s building replaces four aging museum structures with a single, unified gallery space

the architecture’s flowing form is captured in its raw state

major construction of the Zumthor-designed structure was completed in late 2024

the installation of LACMA’s permanent collection will begin later this year

as the museum ramps up toward its 2026 opening, more previews will be announced

Peter Zumthor’s long-awaited redesign of the Los Angeles County Museum of Art

the new structure reconnects LACMA with the city through architecture and landscape

project info:

name: LACMA | @lacma

architect: Peter Zumthor

location: Los Angeles, California, US

photographer: Iwan Baan | @iwanbaan

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Acne Studios unveils a new permanent gallery space in Paris, Acne Paper Palais Royal, with ‘2025’, a solo exhibition by photographer Paul Kooiker on view through July 27th, 2025. Located at 124 Galerie de Valois, beneath the historic arcades of the Palais Royal and overlooking its iconic gardens, the space marks a significant chapter for the Swedish fashion house as it extends its presence beyond fashion into the realms of art, exhibitions, and cultural events.

images courtesy of Acne Studios

from magazine to life

The gallery is named after Acne Paper, the biannual magazine of the Stockholm-based house, featuring fashion, art, design, and writing. Much like the magazine, this new space is designed to host a mix of creative content that spans from art shows and photography exhibitions to talks, book signings, and cultural events. It’s intended as a space for dialogue and experimentation, where both well-known and emerging artists can share work and ideas.

The first exhibition at Acne Paper Palais Royal will feature new works by Dutch photographer Paul Kooiker, known for his unusual, stylized images that often explore the human body in surreal or theatrical ways. This choice fits well with Acne Studios’ visual identity and its longtime interest in photography and conceptual image-making. Since its founding in 1996 in Stockholm as a multidisciplinary collective, Acne Studios has treated fashion as just one part of a larger creative practice. This gallery in Paris reinforces that approach, placing the brand in one of the most iconic cultural locations of the city.

2025 by Paul Kooiker is on view through July 27th, 2025

2025 photographic exhibition by Paul Kooiker

Paul Kooiker’s 2025 photographic exhibition, on view through July, 27th, 2025, gathers forty-two portraits of art students from Amsterdam’s Gerrit Rietveld Academie, offering a sharp yet nuanced meditation on the ambivalence of young adulthood. While formally echoing the conventions of school portraiture, Kooiker’s images resist nostalgia and instead document a generation caught between uncertainty and resilience.

Each portrait stands as a rite of passage and a snapshot of emotional ambiguity. The familiar format, head-on, tightly framed, and meticulously lit, serves as a canvas for psychological tension. These are not celebratory tokens of academic progression but rather open-ended reflections on a volatile moment. The students’ expressions, neither entirely hopeful nor wholly anxious, channel the complexity of a world where optimism is tempered by crisis.

forty-two portraits of art students from Amsterdam’s Gerrit Rietveld Academie are on display

a sharp yet nuanced meditation on the ambivalence of young adulthood

each portrait stands as a rite of passage and a snapshot of emotional ambiguity 

Acne Studios opens a new permanent gallery space in Paris

the gallery opens to the public on June 26th, 2025

the first exhibition at Acne Paper Palais Royal will feature new works by Dutch photographer Paul Kooiker

a major step for the Swedish fashion brand

the gallery is named after Acne Paper, the biannual magazine of the brand | via @acnestudios

the students’ expressions channel the complexity of a world where optimism is tempered by crisis

project info:

name: Acne Paper Palais Royal

brand: Acne Studios | @acnestudios

location: 124 Galerie de Valois, Palais Royal, 75001 Paris, France

opening date: June 26th, 2025

inaugural exhibition: 2025
photographer: Paul Kooiker | @paulkooiker
dates: June 26th – July 27th, 2025

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In 2026, Hamburg debuts the UBS Digital Art Museum, a cultural landmark set to become the largest institution in Europe dedicated exclusively to digital and immersive art. Founded by tech entrepreneur Lars Hinrichs and led by Artistic Director Ulrich Schrauth, the museum is backed by UBS as naming sponsor and lead partner. Nestled in the city’s HafenCity district, the 6,500-square-meter space launches with a permanent teamLab exhibition, marking a notable addition to the cultural scene of Hamburg and the international evolution of digital art.

the museum is set to open in Hamburg’s HafenCity district | image © Heide und von Beckerath

teamLab Borderless Hamburg realizes a vision born in tokyo

The opening exhibition of the museum, teamLab Borderless Hamburg, introduces a monumental, interactive art environment by the acclaimed international art collective. Spread across the entire building, teamLab Borderless in Hamburg will be an immersive ecosystem where digital artworks move freely between rooms and transform with human interaction. Ceilings soar to 12 meters, offering a cathedral-like canvas for teamLab’s algorithmic landscapes, animated waterfalls, and responsive light forms.

The origin story of the UBS Digital Art Museum began in Tokyo, when Hinrichs visited teamLab Borderless for the first time and was inspired to bring a similar experience to Hamburg, Germany, and Europe. That vision took shape in 2019, culminating in the selection of HafenCity, a waterfront development known for its experimental architecture and cultural ambition, as the ideal location. Positioned between the Elbphilharmonie and the maritime museum, the site situates the museum within Hamburg’s new axis of innovation and public life.

a milestone for the cultural scene of Hamburg | image © Studio Bauer, Thorsten Bauer

where art is meant to be touched, felt, and co-created

While UBS lends its name and strategic support, the UBS Digital Art Museum remains a private initiative – artist- and audience-driven, rather than corporate-owned. As stated by Ulrich Schrauth during a Digital Art Mile panel discussion at Basel, the museum is intended to be a ‘platform for digital and immersive art that makes this new genre accessible and tangible for everyone.’ Breaking with traditional museum models, teamLab Borderless Hamburg will invite visitors of all ages to explore without physical or conceptual barriers. No ‘do not touch’ signs here, as photography, interaction, and even co-creation are integral parts of the experience.

Beyond its inaugural exhibition, the museum will operate with the long-term mission to showcase the full spectrum of digital art, support emerging practices, and foster public dialogue around art and technology.

teamLab, Universe of Water Particles on a Rock where People Gather, Courtesy teamLab Borderless Tokyo © teamLab

teamLab, Forest of Flowers and People: Lost, Immersed and Reborn © teamLab

teamLab, Crows are Chased and the Chasing Crows are Destined to be Chased as well: Cosmic Void, Courtesy teamLab Borderless Jeddah © teamLab

teamLab, Forest of Resonating Lamps – One Stroke, Fire, Courtesy teamLab Borderless Jeddah © teamLab

teamLab, The Way of the Sea: Crystal World © teamLab

teamLab, Light Vortex, Courtesy teamLab Borderless Tokyo © teamLab

teamLab, Infinite Crystal World © teamLab

set to become the largest institution in Europe | image © UBS Digital Art Museum

visitors of all ages can explore without physical or conceptual barriers | image © UBS Digital Art Museum

the museum’s long-term mission is to showcase the full spectrum of digital art | image © UBS Digital Art Museum

project info:

name: UBS Digital Art Museum | @digitalartmuseum

location: HafenCity, Hamburg, Germany

founder: Lars Hinrichs

CEO: Caren Brockmann

artistic director: Ulrich Schrauth | @uschrauth

lead partner / naming sponsor: UBS | @ubs

inaugural exhibition: teamLab Borderless Hamburg

artist: teamLab | @teamlab, @teamlab_borderless

opening year: 2026

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Marking a new chapter in the evolving cultural landscape of Japan’s Setouchi Islands, Tadao Ando’s Naoshima New Museum of Art officially opens its doors. Directed by Miki Akiko, the museum becomes the tenth architectural work by Ando within the Benesse Art Site Naoshima initiative and the first to carry the island’s name (see designboom’s previous coverage here). Situated in the village of Naoshima and built by the Fukutake Foundation, the institution opens with From the Origin to the Future, a sweeping inaugural exhibition featuring major works and new commissions by leading Asian artists and collectives, including Takashi Murakami, Do Ho Suh, and Cai Guo-Qiang. Through immersive installations and deeply site-responsive pieces, the show explores themes of identity, memory, and the relationship between people and place.

Tadao Ando’s Naoshima New Museum of Art officially opens its doors | all images by GION, unless stated otherwise

concrete, light, and silence sculpt the project

Across one above-ground and two subterranean levels, the museum integrates architecture and nature in Ando’s signature vocabulary of concrete, light, and silence. Four gallery spaces radiate from a skylit vertical axis, an open staircase that draws visitors underground while maintaining a connection to sky and sea. Outside, the café terrace overlooks the Seto Inland Sea with views of Teshima Island, while the black plaster and pebble-finished facade recalls vernacular materials of the Honmura area, referencing the burned cedar walls and textures of local village homes.

‘It is my belief that the experiences in Naoshima will forever linger in the memories of those who visit the island. The songs we listened to and the works of art we saw in our childhood are never forgotten. I hope that many children will visit Naoshima and be able to feel their senses being stimulated so that they can open up doors to a new world,’ notes the Japanese architect. ‘Such ”moving experiences” have the power to nourish human beings and refine our senses that will in turn lead to more opportunities to be emotionally moved. Naoshima is an island like no other that is filled with such opportunities. For the Naoshima New Museum of Art, I once again endeavored to build a place that cultivates sensibilities and moves people’s hearts.’

the museum becomes the tenth architectural work by Ando within the Benesse Art Site Naoshima initiative

Takashi Murakami, Do Ho Suh and more shape the inaugural show

The opening exhibition spans a wide geographical and generational range, featuring prominent names such as Cai Guo-Qiang, Takashi Murakami, Do Ho Suh, and Heri Dono, alongside emerging and mid-career artists like Martha Atienza, Pannaphan Yodmanee, and the Indonesian duo indieguerillas. Works are installed throughout the museum’s galleries, café, and outdoor zones. Some revisit iconic projects—like Cai Guo-Qiang’s Head On, a dramatic procession of wolves originally shown at the Guggenheim—while others are site-specific pieces created for Naoshima. Do Ho Suh debuts a corridor from a local home within his ongoing Hub series, and N.S. Harsha transforms the museum café into an immersive mural space reflecting the island’s interwoven social and ecological rhythms.

The mission of the museum builds on Benesse Art Site Naoshima’s founding concept of ‘well-being’—a vision cultivated over 35 years through the interconnection of nature, architecture, and art. This ethos resonates throughout From the Origin to the Future, which brings together works that question and reaffirm values in a changing world. ‘With the addition of this new museum that mainly focuses on Asian contemporary art and features ”dynamism” by changing exhibitions relative to other museums and art facilities in Benesse Art Site Naoshima, where permanent exhibitions of works by Western and Japanese artists have been dominant so far, we can offer visitors more opportunities to discover increasingly diverse artistic expressions and more reasons to come back,’ shares Miki Akiko. ‘Furthermore, as our first museum that is located within a residential district, the museum seeks to be one that is truly suited for Naoshima, both rooted in local community and open to the world, making us inquire into how we can create a state of harmony between art, architecture, nature, and the community, while always going back to the origin of our activities.’

integrating architecture and nature

the café terrace overlooks the Seto Inland Sea

N.S.Harsha, Happy Married Life, 2025 | image by Takeru Koroda

works are installed throughout the museum’s galleries, café, and outdoor zones

concrete, light, and silence compose the project

Do Ho Suh, Hub/s, Naoshima, Seoul, New York, Horsham, London, Berlin, 2025 | image by Takeru Koroda

exhibition view of Naoshima New Museum of Art Inaugural Exhibition—From the Origin to the Future, 2025 | image by Takeru Koroda

project info:

name: Naoshima New Museum of Art 

architect: Tadao Ando Architect & Associates

location: Benesse Art Site | @benesse_artsite, Naoshima, Kagawa Prefecture, Japan

total floor area: 3,176.43 sqm

site area: 6,017.67 sqm

client / founder: Fukutake Foundation

director: Miki Akiko

exhibition: From the Origin to the Future

artists: Aida Makoto, Martha Atienza | @martha.atienza, Cai Guo-Qiang | @caistudio, Chim↑Pom from Smappa!Group | @chimpomfromsmappagroup, Heri Dono | @heridono.official, indieguerillas | @indieguerillas, Takashi Murakami | @takashipom, N. S. Harsha, Sanitas Pradittasnee | @sanitas_bean, Shitamichi Motoyuki + Jeffrey Lim, Do Ho Suh | @dohosuhstudio, Pannaphan Yodmanee

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After the sudden cancellation of Design Miami/Basel, a new chapter begins with MAZE Design Basel stepping in with a bold vision for collectible design. Launching on June 16th–17th, 2025, the event brings together leading international galleries in the evocative setting of the neo-gothic church Offene Kirche Elisabethen, right across from the Kunsthalle, and right on time for Basel’s peak cultural week. Participating galleries include Kreo, Salon 94, Pierre-Marie Giraud, Galerie Mitterrand, Thomas Fritsch – Atrium, Jousse Entreprise, Ketabi Bourdet, Galerie Gastou, Laffanour | Galerie Downtown, Meubles et Lumières, and Thomsen Gallery.

Mouton de Pierre by François-Xavier Lalanne | image by Studio Shapiro, courtesy of Galerie Mitterrand

neo-gothic church sets the stage

MAZE Design Basel, a newly formed salon under the growing MAZE constellation, transforms Offene Kirche Elisabethen into a sanctuary for collectible design from the 1950s to today. Set directly across from the Kunsthalle, the event aims to become a vital new ritual in the art world’s annual pilgrimage to Basel.

The venue itself plays an atmospheric role, as Offene Kirche Elisabethen’s lofty nave and stained-glass windows provide a dramatic counterpoint to the modern and postmodern works on display. Rather than the sterile fairgrounds of convention centers, the salon offers a more intimate format, aligning with the MAZE philosophy of immersive art experiences in architecturally charged settings.

Responding swiftly to the absence left by Miami/Basel’s departure, eleven leading dealers specializing in decorative and collectible design have coalesced to shape this two-day salon. With a curatorial mindset and market-savvy instinct, they present a panorama of exceptional objects across eras and disciplines. 

Mexique by Charlotte Perriand | image courtesy of Jousse Entreprise

eleven galleries to shape the two-day salon

At MAZE Design Basel, Galerie Gastou leads with the historical debut of Coque, an iconic sculptural armchair by Philippe Hiquily, alongside a new variation of his Gombert console. The presentation deepens with rare 1980s works by André Dubreuil and a parchment-clad 1937 sideboard by Jacques Adnet, bridging modernist elegance and metallic baroque. Laffanour | Galerie Downtown underscores its legacy in radical 20th-century design with a museum-grade selection by Prouvé, Perriand, Le Corbusier, Zanine Caldas, and Takis—figures whose experimental visions reshaped how we inhabit space.

Across the board, galleries embrace material experimentation and sculptural language. Galerie Mitterrand revisits the dreamlike utility of François-Xavier Lalanne, with signature pieces like the Rhinocrétaire and Moutons de laine. Pierre Marie Giraud brings a refined palette of contemporary ceramics and glass, highlighted by Herzog & de Meuron’s Duo Iuga table. Thomas Fritsch—Artrium anchors the ceramic revival with postwar French works by Georges Jouve and Suzanne Ramié. Galerie Kreo continues its mission as a design laboratory with editions by Abloh, the Bouroullecs, and Marc Newson, while Galerie Meubles et Lumières traces a luminous arc through 1950s–1980s French and Italian design with icons like Gino Sarfatti and Pierre Paulin. 

Jousse Entreprise showcases a sharp curatorial mix from Perriand to emerging talents. Ketabi Bourdet juxtaposes works by young artists like Inès Longevial and Audrey Guttman with landmark design pieces by Philippe Starck and Martin Szekely. Finally, Thomsen Gallery introduces a distinct voice with Japanese art ranging from antique tea ceramics and bamboo baskets to Gutai-era ink works and contemporary minimalism. 

Gourd-Shaped Flower Basket by Tanabe Chikuunsai II (1910-2000), Japan | image courtesy of Thomsen Gallery, New York

Bridge Présidence armchair, ca. 1950, Présidence desk, ca. 1950, and Lecture Hall bench, ca. 1956 by Jean Prouvé | image courtesy of Laffanour – Galerie Downtown

Easylight by Philippe Stark, circa 1979 | image by Studio Shapiro, courtesy of the artist and Gallery Ketabi Bourdet

All’Aperto coffee table by Pierre Charpin | image © Alexandra de Cossette, courtesy of Galerie Kreo

Duo Iuga table, designed in collaboration with Herzog & de Meuron | image courtesy of Pierre-Marie Giraud

image courtesy of Meubles et Lumières

Gombert, console, 1980, by Philippe Hiquily, Bouclier, mirror, circa 1987 and Perles, candlesticks, circa 1990, by André Dubreuil | image by Edouard Auffray, courtesy of Galerie Gastou

Offene Kirche Elisabethen | image courtesy of MAZE

MAZE location | Offene Kirche Elisabethen (Open church of St. Elisabeth), image courtesy of Basel Tourismus

project info:

event: MAZE Design Basel

dates: June 16th – June 17th, 2025

location: Offene Kirche Elisabethen, Basel, Switzerland

participants: Thomas Fritsch – Atrium | @thomas_fritsch (Paris), Galerie Gastou | @galerieyvesgastou (Paris), Pierre-Marie Giraud | @pierre_marie_giraud (Brussels), Jousse Entreprise | @galeriejousseentreprise, @jousseentreprise (Paris), Ketabi Bourdet | @ketabibourdet (Paris), Kreo | @galeriekreo (Paris), Laffanour – Galerie Downtown | @laffanourgaleriedowntown (Paris), Meubles et Lumières | @galeriemeublesetlumieres (Paris), Galerie Mitterrand | @galerie_mitterrand (Paris), Salon 94 | @salon94 (New York), Thomsen Gallery | @thomsengallery (New York)

special projects: Nikos Koulis Jewels, Reflets de Nouvel (cocktail bar installation), JRP|Editions

organized by: MAZE Art Salons | @maze.presents

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After four years behind closed doors, the Michael C. Rockefeller Wing at New York‘s Metropolitan Museum of Art is set to reopen to the public. The redesign, led by Kulapat Yantrasast and his team at WHY Architecture, takes a subtle approach. There’s no dramatic reveal. Instead, the space feels more open, more navigable, and more attuned to the objects it holds.

The museum will celebrate the wing’s opening with a day-long, public festival on Saturday, May 31st, 2025. The space now houses The Met’s collections of the Arts of Africa, Oceania, and the Ancient Americas in distinct galleries, each given room to unfold on its own terms. These collections have long shared a roof, but the new design avoids blending them together. The separation isn’t sharp, though. There’s a sense of proximity that encourages visitors to notice both difference and resonance.

At a preview of the new wing on May 28th, architect Kulapat Yantrasast says: ‘I’m grateful for the artists and artisans who opened my eyes and allowed me to have this deep love and empathy in me.’ The architect was tapped to lead the redesign at the end of 2018, nearly fifty years after the 1969 founding of the curatorial department which it houses.

Arts of Africa, Gallery 341, The Michael C. Rockefeller Wing, The Metropolitan Museum of Art, New York. photo by Bridgit Beyer | all images © The Metropolitan Museum of Art

redefined galleries for the rockefeller wing

Rather than mimicking or recreating the architecture of the regions represented, the new wing at the Metropolitan Museum of Art gestures toward certain materials or structural rhythms. Each gallery of the museum‘s Michael C. Rockefeller wing has its own atmosphere. The result is more interpretive than literal, allowing the objects to stay at the center of attention.

Although getting lost in a museum is part of the experience, the previous layout could feel disjointed. With WHY Architecture’s redesign, the flow is clearer. The architects create longer sight-lines, smoother transitions between spaces, and a less fragmented experience overall. The layout nudges visitors gently from one area to the next without forcing a particular path.

Filtered daylight now enters the galleries through a newly installed glass wall along the south facade. It’s a careful move. The light is controlled to protect sensitive works, especially ancient textiles, but its presence softens the space. Central Park becomes a quiet, scenic backdrop rather than a distraction.

Arts of Oceania, Gallery 350, The Michael C. Rockefeller Wing, The Metropolitan Museum of Art, New York. photo by Bridgit Beyer

the met to throw a public reopening party

To mark the reopening, the museum will host a daylong celebration on Saturday, May 31st. It begins with a ribbon-cutting in the morning and continues through the afternoon with live performances, workshops, artist talks, and food across the museum and its plaza. The grand opening is an open invitation for New Yorkers and visitors to explore.

The festival includes demonstrations from contemporary artists whose work speaks to the collections on view. Mosaic artist Manny Vega will lead a workshop on the plaza. Meanwhile, artists Nilda Callañaupa Alvarez and Teokotā’i Paitai will demonstrate weaving techniques from Peru and Oceania, inviting participation rather than performance. These moments bring a sense of continuity between past and present.

Later in the day, architect Kulapat Yantrasast will join Met Director Max Hollein for a public conversation about the redesign. The duo will exchange ideas on how architecture can shape, and sometimes reshape, the way we engage with cultural history in a museum setting.

Arts of the Ancient Americas, Gallery 360, The Michael C. Rockefeller Wing, The Metropolitan Museum of Art, New York. photo by Bridgit Beyer

Arts of the Ancient Americas, Gallery 363, The Michael C. Rockefeller Wing, The Metropolitan Museum of Art, New York. photo by Bridgit Beyer

Mexica sculptures in Gallery 360, Arts of the Ancient Americas, The Michael C. Rockefeller Wing, The Metropolitan Museum of Art, New York. photo by Bridgit Beyer

Arts of Africa, Gallery 341, The Michael C. Rockefeller Wing, The Metropolitan Museum of Art, New York. photo by Bridgit Beyer

Bamana Jo sculptures in Gallery 341, Arts of Africa, The Michael C. Rockefeller Wing, The Metropolitan Museum of Art, New York. photo by Bridgit Beyer

Arts of the Ancient Americas, Gallery 360, The Michael C. Rockefeller Wing, The Metropolitan Museum of Art, New York. photo by Bridgit Beyer

project info:

name: Michael C. Rockefeller Wing

architect: WHY Architecture | @why_site

location: The Metropolitan Museum of Art | @metmuseum

reopening: May 31st, 2025

photography: © The Metropolitan Museum of Art

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The Photography Seoul Museum of Art introduces a new cultural presence to Dobong-gu, a district of northeastern Seoul that, is gradually seeing the introduction of contemporary landmarks — just next door is the newly completed Robot and AI Museum by Turkish studio Melike Altinisik Architects (MAA).

Designed in collaboration by Austrian firm Jadric Architektur and Korean studio 1990uao Architects, the newly completed museum spans six levels — four above ground, two below — totaling 7,048 square meters. With its broad concrete surfaces and filtered light, the building feels anchored in its setting while gesturing toward the evolving identity of Korean photography.

Its architectural frame balances introspection with openness. The architects have treated the museum like a vessel for light, emphasizing clean circulation, restrained materiality, and soft transitions between levels. Interior zones are punctuated by voids that offer moments of pause and reorientation. Light wells and controlled apertures shift with the time of day, shaping the atmosphere in which visitors encounter the museum’s growing collection. See designboom’s previous coverage here!

images by Yoon Joonhwan, courtesy PhotoSeMA. © PhotoSeMA

two inaugural exhibitions

The Photography Seoul Museum of Art by Jadric Architektur and 1990uao Architects opens as Korea’s first public institution dedicated solely to the photographic medium. Operated as a branch of the Seoul Museum of Art (SeMA), the project expands SeMA’s cultural reach while setting out a distinct curatorial mission. The inaugural exhibitions — The Radiance: Beginnings of Korean Art Photography and Storage Story — mark the museum’s public debut, both as an architecture and as an archive.

In The Radiance: Beginnings of Korean Art Photography, the museum presents seminal works by Jung Haechang, Lim Suk Je, Lee Hyungrok, Cho Hyundu, and Park Youngsook. The exhibition draws from a collection that now includes over 20,000 works and archival materials dating from the 1920s to 1990s. These early pieces are installed with a sense of spatial reverence, highlighting the relationship between image and context while allowing room for the visitor’s own interpretation of the medium’s historical shifts.

In contrast, Storage Story engages the new museum as both subject and site. The six artists featured — Dongsin Seo, Won Seoung Won, Jihyun Jung, Joo Yongseong, Melmel Chung, and Oh Jooyoung — use photography to reflect on the institution’s formation. Their works explore the idea of a museum as a living organism: one shaped by systems of classification, memory, and projection. The interplay between art and architecture in this context becomes particularly resonant, with each piece responding directly to the building’s spatial language.

the Photography Seoul Museum of Art brings a cultural landmark to Dobong-gu, Seoul

architecture shaped by light and lens

The Photography Seoul Museum of Art is designed with close attention to the conditions that shape photographic experience. Galleries are proportioned to accommodate shifting media, from silver gelatin prints to video-based installations, while archival spaces are hidden yet essential. This provided the infrastructure for long-term research and preservation. The result is an architecture that feels both deliberate and flexible, suited to the museum’s dual identity as a site of display and a working archive.

The project sets an ambitious institutional vision. Beyond its exhibitions, the museum is positioned to encourage dialogue between artists, curators, and researchers. Programming includes regular talks, workshops, and events extending through the summer season, reinforcing its role as a dynamic cultural anchor for the region. Through sustained engagement with the medium’s history and future, the museum hopes to widen the public’s understanding of photographic art.

While deeply grounded in the context of Korean photography, the museum’s aspirations are outward-looking. As General Director Choi Eunju notes, the project complements SeMA’s other satellite institutions and aims to position Seoul as a critical node in Asia’s contemporary photography scene.

Jadric Architektur and 1990uao Architects design a light-filled museum for photography

the museum’s interiors are shaped by natural light and spatial stillness

installation views, Storage Story, Photography Seoul Museum of Art, May 29th — October 12th, 2025. photos by Image Zoom, courtesy SeMA

installation views, Storage Story, Photography Seoul Museum of Art, May 29th — October 12th, 2025. photos by Image Zoom, courtesy SeMA

installation views, Storage Story, Photography Seoul Museum of Art, May 29th — October 12th, 2025. photos by Image Zoom, courtesy SeMA

installation views, The Radiance: Beginnings of Korean Art Photography, Photography Seoul Museum of Art, May 29th — October 12th, 2025. photos by Youngdon Jung, courtesy SeMA

project info:

name: Photography Seoul Museum of Art

architect: Jadric Architektur ZT GmbH (@jadricarchitektur), 1990uao Architects (@1990uao.kr)

location: Seoul, South Korea

client: Seoul Museum of Art (SeMA) | @seoulmuseumofart

lead architects: Mladen Jadric, Yoon Geun Ju

team: Jakob Mayer, Federica Rizzo, Nikolaus Punzengruber, Dennis Przybilka, Max Krankl

photography: © Yoon Joonhwan | @yoon_joonhwan

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