The Memphis Art Museum shares updated renderings, construction images, and the first details of its curatorial approach for its new downtown cultural campus, scheduled to open in December 2026. Designed by Herzog & de Meuron in collaboration with architect of record archimania and landscape studio OLIN, the 11,475-square-meter building repositions the institution along the Mississippi River, expanding its gallery footprint and its role as a civic space. The museum frames the new building as an active participant in the way that art, history, and community are experienced.

The glass facade of the building and street-level galleries allow passersby to see inside, while a public plaza shared with the historic Cossitt Library forms a new cultural commons along the bluff. At the center, a shaded courtyard operates as a social hinge, surrounded by a continuous, single-story loop of flexible gallery spaces. Five galleries feature large windows overlooking either the Mississippi River or the courtyard, while light-filled classrooms with northern exposure link viewing art to making it. Atop the building, a 4,645-square-meter rooftop sculpture garden, described as an ‘art park in the sky’, extends the footprint of the museum into the skyline. Sculptures, native plants, an event pavilion, and panoramic views of downtown Memphis and the Mississippi floodplain transform the roof into a public destination. 

The building is among the first major US museums to be constructed using laminated timber, with wood forming a defining architectural element throughout the campus. Timber beams, warm-toned surfaces, and material references to the clay banks of the Mississippi embed the building in its regional landscape. ‘Already, the civic nature of the building is tangible, and one can sense the positive impact it will have on Memphis,’ notes Ascan Mergenthaler, Senior Partner at Herzog & de Meuron.

all Memphis Art Museum construction images by Houston Cofield

a curatorial shift grounded in lived experience

Founded in 1916, the Memphis Art Museum is the largest and oldest world art museum in Tennessee, Mississippi, and Arkansas, holding nearly 10,000 works that span 5,000 years of global history. Its collection includes Old Master paintings from the Samuel H. Kress Foundation, American art from the late 19th and 20th centuries, and significant holdings in photography. The move downtown allows the institution to reorganize its narratives around lived experience rather than conventional art historical chronologies.

That shift is most visible in the new curatorial framework. When the museum opens, its galleries will be organized into 18 distinct exhibitions that foreground connections across time, geography, and medium. The new layout creates visual and conceptual dialogue between spaces. ‘The construction of a new museum has given us a rare opportunity to not simply display more art, but to reimagine how we think about history, power, creativity and connection,’ says Chief Curator Dr. Patricia Lee Daigle. ‘We’re able to present the collection in ways that reflect the lived realities of the city that we serve.’

One thematic throughline across the campus is liberation. An exhibition anchored by Henry Sharp Studio’s Warren Black Gospel Window, on view for the first time, presents an early depiction of Christ and three biblical women as Black. This gallery will be in conversation with another space across the courtyard that explores jazz as a liberatory force for Black American abstract artists, including Sam Gilliam’s Azure (1977), a work long associated with the museum. These cross-courtyard sightlines are not incidental; the building’s spatial organization actively supports curatorial storytelling.

scheduled to open in December 2026

archives, artists, and the making of collective memory

Through the Blackmon Perry Initiative, the institution has acquired 80 works by contemporary Black artists, including Sanford Biggers, Brittney Boyd Bullock, Jordan Casteel, Torkwase Dyson, Alteronce Gumby, Hew Locke, and Ebony Patterson, an initiative supported by the Blackmon Perry Endowment, which funds a Curator of African American Art and Art of the African Diaspora, along with exhibitions, catalogues, and acquisitions. Another major addition is the Hooks Brothers Studio archive, which includes more than 75,000 photographs documenting Black life in the American South between 1900 and 1984, promised as a gift from Andrea Herenton and board trustee Rodney Herenton.

Opening during a year of major cultural expansions across the city, including projects at the National Civil Rights Museum and the National Ornamental Metal Museum, the new Memphis Art Museum positions itself as part of a broader cultural ecosystem rather than a standalone icon. As Executive Director Zoe Kahr puts it, ‘The depth of a community’s belief in the arts is reflected in its willingness to invest boldly in spaces that invite imagination, dialogue, and connection.’

the 11,475-square-meter building repositions the institution along the Mississippi River

expanding its gallery footprint and its role as a civic space

an active participant in the way that art, history, and community are experienced

the glass facade of the building and street-level galleries allow passersby to see inside

light-filled classrooms with northern exposure link viewing art to making it

a 4,645-square-meter rooftop sculpture garden extends the footprint of the museum

front street | all renderings courtesy of Herzog & de Meuron

front street sidewalk

Monroe Plaza

courtyard entry

roof garden

gallery north

gallery west

gallery north

front street sidewalk, evening

riverside evening

project info:

name: Memphis Art Museum | @brooksmuseum

architect: Herzog & de Meuron | @herzogdemeuron

location: Memphis, Tennessee, USA

total area: 11,475 square meter (123,500 square feet)

architect of record: archimania | @archimania

landscape design: OLIN | @olininsta
opening: December 2026

The post herzog & de meuron-designed memphis art museum takes shape ahead of 2026 opening appeared first on designboom | architecture & design magazine.

An icon of Brutalist architecture in New York, the Breuer Building reopens this week as the new global headquarters of Sotheby’s. The Marcel Breuer-designed museum has stood at 945 Madison Avenue since 1966, and has since been home to the Whitney Museum of American Art, The Metropolitan Museum of Art, and The Frick. Its latest transformation by Herzog & de Meuron marks the continuation of its public legacy. designboom attended a preview of the renovated building to learn about the project from the Sotheby’s team and architect Wim Walschap, Senior Partner at Herzog & de Meuron.

‘This building is an example of postwar modernism and Brutalism with a very distinct beauty,’ says Walschap. ‘It was designed specifically for public use. It has endured as an icon and much-loved landmark in New York, proving also its timeless appeal.

‘Our goal was to preserve the building’s integrity, its purpose, and legacy, while preparing it for a dynamic new use that puts art at the center.’

the Marcel Breuer-designed museum has stood at 945 Madison Avenue since 1966. image © designboom

herzog & de meuron’s sensitive renovation

The Breuer Building”s adaptive reuse for Sotheby‘s, undertaken by Herzog & de Meuron with New York–based PBDW Architects, is approached with respect for its legacy as a New York icon. The architects retain the weight and texture of Marcel Breuer’s bush-hammered concrete, which continues to express itself as both surface and structure. Along Madison Avenue, a subtle lighting scheme renews the facade’s sculptural presence after dark.

Inside, the reconfiguration restores the original gallery sequences conceived for the Whitney Museum while equipping them for Sotheby’s program of exhibitions, auctions, and events. Office partitions have been removed to reestablish spatial continuity, while updated environmental systems and new lighting calibrate the galleries for both fine art and design objects.

‘We worked closely with Sotheby’s to ensure that the building does more than just retain its identity,’ Walschap explains. ‘We’ve tried to reactivate it and prepare it for the next generation of use, balancing preservation and transformation.’

Sotheby’s Breuer building lobby. image © designboom

new galleries for sotheby’s global headquarters

The new galleries for Sotheby’s Global HQ at the Breuer Building in New York open with exhibitions drawn from The Leonard A. Lauder Collection, The Cindy and Jay Pritzker Collection, and Exquisite Corpus, a major private collection of Surrealist art. Jean-Michel Basquiat’s Crowns (Peso Neto) (1981) and Maurizio Cattelan’s America (2016) also feature among the inaugural displays. These shows remain free and open to the public, extending Breuer’s original vision of accessibility.

‘The opening of Sotheby’s at the Breuer is a historic moment for New York City, the art world, and our company,’ says Steve Wrightson, Sotheby’s Global Head of Real Estate, Facilities & Security. ‘The Breuer building, deeply woven into the architectural landmarks and history of New York, perfectly complements our portfolio of marquee locations in Hong Kong, Paris, London, and Zurich.’

Sotheby’s third-floor Breuer galleries, featuring works from the Modern Evening Auction, highlighted by Dorothea Tanning’s ‘Interior with Sudden Joy’, Frida Kahlo’s ‘El sueño (La cama)’, and Victor Brauner’s ‘Maison hantée’ [left to right]. photography by Stefan Ruiz, courtesy Sotheby’s

Herzog & de Meuron’s intervention works largely through precision rather than addition. The rhythm of exposed concrete, dark granite floors, and carefully proportioned window openings remains central to the experience. The gallery ceilings are stripped back to their original profiles, and support new track lighting systems that adjust between exhibition and salesroom use. On the second floor, a flexible hall now accommodates talks and events.

A restaurant designed by Roman and Williams will open in the spring, completing the building’s reactivation. ‘Those who knew it in earlier incarnations will be moved by how we’ve reimagined 945 Madison Avenue,’ says Lisa Dennison, Sotheby’s Executive Vice President and Chairman, Americas. ‘Breuer’s design, with its remarkable ability to embrace many styles and eras of art, is especially meaningful for Sotheby’s.’

The Cindy and Jay Pritzker Collection. image © designboom

Jean-Michel Basquiat’s Crowns (Peso Neto) (1981). image © designboom

Sotheby’s Breuer lobby gallery, featuring works from the Collection of Dorothy and Roy Lichtenstein, photography by Stefan Ruiz, courtesy Sotheby’s

The Leonard A. Lauder Collection. image © designboom

Sotheby’s fourth-floor Breuer galleries, featuring Gustav Klimt’s ‘Blooming Meadow (Blumenwiese)’, ‘Portrait of Elisabeth Lederer (Bildnis Elisabeth Lederer)’ and ‘Waldabhang bei Unterach am Attersee (Forest Slope in Unterach on the Attersee)’, from The Leonard A. Lauder Collection [left to right]. photograph by Stefan Ruiz, courtesy Sotheby’s

project info:

name: Breuer Building

original architect: Marcel Breuer (1966)

renovation architect: Herzog & de Meuron | @herzogdemeuron

executive architect & preservation: Platt Byard Dovell White Architects (PBDW) | @pbdwarchitects

location: 945 Madison Avenue, New York, NY, USA

site area: 1,200 square meters (12,916 sqft)

gross floor area (GFA): 7,268 square meters (78,232 sqft)

previous coverage: August 2025

client: Sotheby’s | @sothebys

design team: Jacques Herzog, Pierre de Meuron, Wim Walschap (Partner in Charge), Philip Schmerbeck (Associate, Project Director), Jackie Bae (Associate, Project Manager), Bethany Herrmann (Project Designer), Farhad Ahmad, Marija Brdarski, Javier de Cárdenas Canomanuel, Sebastian Frowein, Nathan Mehl, Melodie Sanchez

structural engineering: Silman Structural Solution / TYLin

MEPFP engineering: AMA Group USA

lighting design: Tillotson Design Associates

AV & low voltage consulting: TMT Technology

acoustic consulting: Eligator Acoustics Associates

geotechnical consulting: Langan Engineering and Environmental Services

vertical transportation: DTM Inc.

life safety: Homes Keogh Associates

code consulting: Gillman Consulting Inc.

waterproofing & special inspections: Socotec Engineering, Inc.

contractor: J.T. Magen

The post herzog & de meuron-restored breuer building opens as sotheby’s HQ in new york appeared first on designboom | architecture & design magazine.

Herzog & de Meuron, together with Marge Arkitekter, propose Under samma tak (Under the Same Roof) for Göteborg’s new arena district in Sweden, a future-oriented, experience-driven landmark designed to evolve with the city. The project is designed to accommodate civic life and large-scale events, integrating urban rhythm, collective spaces, and sustainable design strategies through adaptive transformation, circular construction, and ambitious climate goals. Developed as part of an international competition that also included proposals by White Arkitekter with Allies & Morrison, whose Meet Gothenburg entry was selected as the winning scheme, Populous with Okidoki Architects, Semrén & Månsson with GMP International, and CF Møller with Olsson Lyckfors, the project positions reuse and flexibility at the center of its architectural response.

Under samma tak reflects a deep appreciation for Göteborg’s architectural heritage, especially the city’s iconic Scandinavium arena. The team proposes an inventive reuse strategy that retains half of the original structure. The existing oval geometry becomes the foundation for a new, circular main arena that expands capacity while preserving identity. By raising the arena floor, inserting a practice rink below, and adding a vast LED screen, the design transforms Scandinavium into a semi-open amphitheater capable of hosting new event formats. 

all images via Göteborgs Stad, unless stated otherwise

Herzog & de Meuron Shape an Open and Green Urban Landmark

The architects at Herzog & de Meuron and Marge Arkitekter calibrate building heights to respond to the context, aligning with Svenska Mässan to the south and tapering down toward Gårda in the east. A brick-clad plinth with rounded volumes and slender columns defines a welcoming urban edge, while generous staircases and open terraces invite pedestrians upward into the heart of the complex. Active ground floors and transparent facades connect the arenas with the surrounding streets, keeping the area lively even when no events are happening.

Above, a large accessible roof park reintroduces green public space to the dense event district. This elevated landscape, connected by stairs, elevators, and escalators, acts as both a community hub and an extension of the event experience. Designed for year-round use, the park accommodates informal sports, outdoor markets, and leisure paths, turning the arenas into an everyday urban destination. Environmentally, the green roof contributes to stormwater management, insulation, and biodiversity.

Completing the composition is a new hotel tower positioned near Korsvägen that serves as a visible landmark from key approach routes, including the highway and the main transit hub of the city. Its curved facade embraces the landscape below, softening its visual impact while anchoring the western edge of the development. Designed for flexibility, the tower can host both 3- and 4-star hotel functions and later adapt to housing or office uses without obstructing views from Svenska Mässan’s existing hotel.

a future-oriented, experience-driven landmark designed to evolve with the city

A Diverse Field of Visions for Göteborg’s Arena District

The arena district competition attracted a diverse range of architectural visions, each proposing a different approach to renewing Göteborg’s event hub. The winning entry, Meet Gothenburg by White Arkitekter in collaboration with Allies & Morrison, Arup International, Stadia Design, and Sweco Sverige, was announced by the jury on September 30th, 2025. Other proposals include Populous, Okidoki Architects, and WSP’s Hör & häpna (Hear & Be Amazed), Semrén & Månsson with GMP International GmbH’s Omfamna arvet (Embrace the Heritage), which came in second place, and CF Möller, HOK, Olsson Lyckfors, SBP, and Mareld’s Vingslag (Wing Strike). The competition brief covered a multi-arena replacing Scandinavium, a smaller arena replacing Lisebergshallen, a training rink, logistics and support facilities, an inner arena square, a hotel, and extensive public spaces, with each entry interpreting the site and program requirements through its own architectural language.

the project is designed to accommodate civic life and large-scale events

the team proposes an inventive reuse strategy that retains half of the Scandinavium arena structure

the project positions reuse and flexibility at the center of its architectural response | image via @margearkitekter

a large accessible roof park reintroduces green public space to the dense event district

Meet Gothenburg winning entry by White Arkitekter in collaboration with Allies & Morrison, Arup International, Stadia Design, and Sweco Sverige

Vingslag by CF Møller, Olsson Lyckefors, HOK, sbp, Mareld

Hör & häpna by Populous, Okidoki, WSP

Omfamna arvet by Semrén & Månsson Arkitekter AB i samarbete med GMP International GmbH

project info:

name: Under samma tak (Under the Same Roof)

architects: Herzog & de Meuron | @herzogdemeuron, Marge Arkitekter | @margearkitekter

location: Göteborg, Sweden

client: City of Göteborg

The post herzog & de meuron leads adaptive reuse proposal for future arena complex in sweden appeared first on designboom | architecture & design magazine.

On September 21st, 2025, Philadelphia will see the opening of Calder Gardens, a new park and museum shaped by Herzog & de Meuron and Piet Oudolf. Rather than presenting a monumental museum, the project frames Alexander Calder’s work within a lush, layered landscape that gradually reveals its structure and galleries as visitors move inward from the city. The project occupies a city rich with the Calder family’s history. Alexander Calder’s grandfather and father both left their mark on Philadelphia, and works by all three generations line the Parkway.

From the Parkway, a long tapered metal wall forms an austere backdrop to the meadowed garden, softening the sound of nearby traffic and leading to a wood-lined entry beneath a folded metal canopy. The architecture remains deliberately understated. A circular disc at the center creates a plaza and conceals the main galleries below ground, while two sunken gardens — one perfectly round, the other irregular — bring daylight into the galleries and offer distinct settings for Calder’s sculpture.

Today, September 15th, designboom visited Calder Gardens ahead of its public opening to experience Piet Oudolf’s meadows in dialogue with Herzog & de Meuron’s architecture in-person — stay tuned for updates!

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

subdued architecture by herzog & de meuron

Inside, visitors to Philadelphia’s Calder Gardens descend from a modest lobby to a series of Herzog & de Meuron-designed galleries that vary in light and proportion. The ‘Highway Gallery’ offers a view of Calder mobiles from a mezzanine, while the ‘Open Plan Gallery,’ set beneath the central disc, receives natural light and frames views of the Vestige Garden. Smaller spaces such as the Apse and Curve galleries provide intimate settings for works on paper and light-sensitive sculptures. The architects plan each room to encourage a slow, careful encounter with Calder’s art.

Jason Frantzen, senior partner at Herzog & de Meuron, describes the project as ‘both an actual and a conceptual garden,’ designed in close collaboration with the Calder Foundation and the Barnes Foundation to honor Calder’s legacy while creating ‘a space for all Philadelphians and visitors alike to discover Calder’s work again and again.’

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

lush landscape design by piet oudolf

Piet Oudolf’s 1.8-acre landscape surrounds and threads through the architecture throughout Calder Gardens, transforming a once-overlooked site in Philadelphia into a shifting, four-season meadow. More than 250 plant varieties — grasses, perennials, and woodland species — form a living composition that changes with weather and time. Paths curve through woodlands, perennial meadows, and tall borders, drawing visitors toward the central disc and framing new views at every step.

From the West Woodland Garden’s young oaks to the late-summer prairie grasses that sway near the building’s edge, the landscape designer’s planting encourages a pace that’s slow and contemplative. The sunken Vestige and Sunken gardens, visible from the main galleries, are a living hybrid of art and landscape. As Oudolf notes, ‘Gardens are for everyone.’

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

project info:

name: Calder Gardens | @caldergardens

architect: Herzog & de Meuron | @herzogdemeuron

landscape designer: Piet Oudolf | @pietoudolf

location: Philadelphia, Pennsylvania

client: Calder Foundation| @calderfoundation

opening: September 21st, 2025

previous coverage: September 2022, January 2025

The post calder gardens: take a first look at herzog & de meuron and piet oudolf’s philadelphia oasis appeared first on designboom | architecture & design magazine.

Birdhouses designed by Norman Foster, Sou Fujimoto, Lina Ghotmeh, Frida Escobedo, and more are shown in the exhibition Architects for the Birds during London Frieze Week. Taking place at Christie’s London 20/21 Marquee Week between October 13th and 17th and during the Frieze Week between October 8th and 14th, 2025, the project led by Norman Foster brings together ten renowned architects to design homes for the birds for an exhibition and a charity auction supporting brain cancer research.  

Norman Foster initiated the collaboration with the Tessa Jowell Foundation, inviting nine other architects to interpret themes of sanctuary, care, and hope through miniature architectural birdhouses. The participating architects include Norman Foster, Renzo Piano, David Chipperfield, Grafton Architects, Sou Fujimoto, Lina Ghotmeh, Jacques Herzog, Frida Escobedo, Farshid Moussavi, and Kazuyo Sejima/SANAA.

all images courtesy of Christie’s Images Ltd. 2025 | photo by Michael Bodiam

Exhibition at Christie’s King Street during London’s Frieze Week

Each architect, including Norman Foster, who conceived the project, received an open brief allowing interpretation of the sanctuary theme, and the resulting birdhouses are set to be exhibited publicly at Christie’s King Street during London’s Frieze Week in October 2025, then sold at a private dinner auction. While specific construction details aren’t provided, each architect, including Norman Foster himself, likely approaches the birdhouses using materials and techniques consistent with their established design philosophies and architectural styles.

The scale shift from large buildings to small birdhouses poses technical challenges, as details that work at building scale may not function at miniature scale, requiring the contributing architects to rethink proportions and their joinery methods. The theme of sanctuary, care, and hope offers them a conceptual framework while allowing individual interpretation. Some architects focus on the protective aspects of shelter, such as Norman Foster’s tiered, lamp-like birdhouse, while others zero in on the nurturing qualities of home, including Frida Escobedo’s ladderized wooden open birdhouse and Grafton Architects’ playful resting rods. 

Norman Foster, Birdfeeder, 2025. Prototype | photo by Michael Bodiam

‘Architects for the Birds’ to support research on brain cancer

Named Architects for the Birds, the exhibition coinciding with London Frieze Week and the auction by Christie’s represents a rare and collectible design challenge through birdhouses by the most revered architects of the present time. Each birdhouse is slated to be auctioned at a private dinner at Christie’s to support the work of the Tessa Jowell Foundation to improve treatment and care for people with brain cancer across the NHS in the UK.

The Tessa Jowell Foundation focuses on brain cancer treatment improvement, specifically addressing what they identify as the leading cancer killer of children and adults under 40. The foundation was established following Tessa Jowell’s death from brain cancer. She served as the UK’s longest-serving Secretary of State for Culture, which explains the cultural connections that enabled this architectural collaboration.

Norman Foster, Birdfeeder, 2025. Prototype | photo by Michael Bodiam

Frida Escobedo, Bird Station – 01, 2025

Grafton Architects, A drawing of Éanlann for Architects for the Birds, 2025

Grafton Architects, Éanlann, 2025

Grafton Architects, A drawing of Éanlann for Architects for the Birds, 2025

Jacques Herzog, Utensils, 2025

Jacques Herzog, Utensils, 2025

Kazuyo Sajima, Tori no le, 2025

project info:

name: Architects for the Birds

architects: Norman Foster, Renzo Piano, David Chipperfield, Grafton Architects, Sou Fujimoto, Lina Ghotmeh, Jacques Herzog, Frida Escobedo, Farshid Moussavi, Kazuyo Sejima | @officialnormanfoster, @rpbw_architects, @david.chipperfield, @graftonarchitects, @sou_fujimoto, @linaghotmeh, @herzogdemeuron, @fridaescobedo, @farshidmoussavi, @sanaa_jimusho

foundation: Tessa Jowell Foundation | @tessajowellfoundation

auction: Christie’s | @christiesinc

event: London 20/21 Marquee Week, London Frieze Week | @friezeofficial

dates: October 13th to 17th, 2025

photography: Michael Bodiam | @michaelbodiam

The post norman foster, sou fujimoto, lina ghotmeh and more design birdhouses at christie’s in london appeared first on designboom | architecture & design magazine.

Herzog & de Meuron restores one of New York’s iconic examples of urban Brutalism, the Breuer Building, set to open to the public in late 2025 as the new global headquarters of Sotheby’s, marking the latest chapter in the life of a structure that has continually adapted to house some of the city’s most significant art collections.

The restoration, in collaboration with local firm Platt Byard Dovell White Architects (PBDW), embraces a ‘light-touch’ approach, retaining Breuer’s original materials and spatial intentions while updating infrastructure to improve accessibility, curatorial flexibility, and the visitor experience. The character-defining features of the building remain intact, including bush-hammered concrete walls, coffered ceilings, mahogany finishes, and bluestone floors. Yet new interventions, such as a discreetly inserted elevator and revamped lighting systems, prepare the building for diverse programming. 

UPDATE August 12th, 2025: Sotheby’s announces the opening date for this worldwide headquarters as Saturday, November 8th, 2025. The opening will be free and open to the public and will coincide with an exhibition of Modern and Contemporary art.

‘On November 8, we will be honored to welcome the global art community back into this remarkable museum quality space,’ comments Charles F. Stewart, Sotheby’s Chief Executive Officer. ‘On behalf of all of us at Sotheby’s, I extend our gratitude to our partners Herzog & de Meuron for their brilliant work in amplifying the Breuer’s historical and material legacy for the Sotheby’s era. They have devoted the same level of care and respect to the building as you would a great work of art. I’d also like to thank the New York City Landmarks Preservation Committee for their support and praise for our ‘spectacular’ use of the space. We think visitors will agree.’

945 Madison Ave, New York, Ny, Usa, Marcel Breuer, 1966 (As The Whitney Museum) | images courtesy of Sotheby’s

A New Chapter for new york’s Brutalist Icon

Originally completed in 1966 by Bauhaus-trained architect Marcel Breuer for the Whitney Museum of American Art, the inverted ziggurat form, with its recessed windows and robust concrete facade, was designed to provoke. Since its opening, the building has served as a home for art, temporarily housing the Metropolitan Museum of Art and the Frick Collection after the Whitney’s departure in 2014. Now, nearly 60 years later, Sotheby’s takes over as steward of the building’s next phase, preserving its cultural role while offering free public access for the first time in its history. 

The project embraces the contradictions of the building, retaining the severe materiality of the lobby, including bronze, concrete, and wood finishes, but now integrates vitrines and display counters in dialogue with Breuer’s original benches. On the gallery floors, the design team at Herzog & de Meuron reinterprets the irregular window openings as curatorial assets, using them to organize the space and reintroduce a connection with the street. Formerly dim interiors are brightened through layered lighting strategies that allow the building to support new media and a wider range of exhibitions.

© Frank Stella / Artist Rights Society (ARS), New York, © 2025 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York

a shift from museum to auction house

According to Jacques Herzog, the firm sees this project as part of a long-standing practice of working with existing buildings. ‘We have always admired the Breuer Building,’ he notes, describing it as ‘an architectural icon of postwar modernism.’ Like their earlier work on the Park Avenue Armory, the design team approaches this intervention with a sense of excitement and responsibility, aiming to restore lost spatial clarity and make the building relevant for a new audience and function.

As the city continues to grow and build in all directions, the transformation of the Breuer Building offers an approach that values the past while shaping the future. Once a museum and soon to be an auction house, the building is shifting from one part of the art world to another, remaining a striking presence.

Willem de Kooning: © 2025 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York. Ellsworth Kelly: © Ellsworth Kelly Foundation, courtesy Matthew Marks Gallery. Joan Mitchell: © Estate of Joan Mitchell

© 2025 Ruth Asawa Lanier, Inc., Courtesy David Zwirner, This rendering includes a reproduction of Georgia O’Keeffe’s, Jimson Weed/White Flower No. 1, 1932, that will not be on view on Sotheby’s © 2025 Georgia O’Keeffe Museum / Artists Rights Society (ARS), New York

Jackson Pollock: © 2025 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York. Lucio Fontana: © 2025 Estate of Lucio Fontana / Artists Rights Society (ARS), New York, NY

recessed windows punctuate the robust concrete facade

Herzog & de Meuron restores the Breuer Building

project info:

name: Sotheby’s Global Headquarters

building: The Breuer Building (originally Whitney Museum of American Art)

original architect: Marcel Breuer (1966)

renovation architect: Herzon & de Meuron | @HerzogdeMeuron

executive architect & preservation: Platt Byard Dovell White Architects (PBDW) | @pbdwarchitects

location: 945 Madison Avenue, New York, NY, USA

site area: 1,200 square meters (12,916 sqft)

gross floor area (GFA): 7,268 square meters (78,232 sqft)

client: Sotheby’s | @sothebys

design team: Jacques Herzog, Pierre de Meuron, Wim Walschap (Partner in Charge), Philip Schmerbeck (Associate, Project Director), Jackie Bae (Associate, Project Manager), Bethany Herrmann (Project Designer), Farhad Ahmad, Marija Brdarski, Javier de Cárdenas Canomanuel, Sebastian Frowein, Nathan Mehl, Melodie Sanchez

structural engineering: Silman Structural Solution / TYLin

MEPFP engineering: AMA Group USA

lighting design: Tillotson Design Associates

AV & low voltage consulting: TMT Technology

acoustic consulting: Eligator Acoustics Associates

geotechnical consulting: Langan Engineering and Environmental Services

vertical transportation: DTM Inc.

life safety: Homes Keogh Associates

code consulting: Gillman Consulting Inc.

waterproofing & special inspections: Socotec Engineering, Inc.

contractor: J.T. Magen

The post sotheby’s HQ to open november 2025 in NYC herzog & de meuron-restored breuer building appeared first on designboom | architecture & design magazine.

The Eames Institute of Infinite Curiosity announces plans to convert the former Birkenstock campus in Novato, California, into an art and design museum open to the public. Located just north of San Francisco, the 88.5-acre site will become a permanent home for the Institute’s expanding programming, including exhibitions, public workshops, and access to the Eames Collection.

The campus centers on a 166,000-square-foot modernist complex originally designed in the 1960s by architect John Savage Bolles for McGraw-Hill. Its most prominent feature, a saw-tooth warehouse roofline, has long served as a recognizable architectural gesture amid the region’s low hills. Herzog & de Meuron, in collaboration with San Francisco–based executive architects EHDD, is leading the redesign, which focuses on adaptive reuse and a new public program.

‘We are honored to collaborate with the Eames Institute on this Bay Area project — a region which has significantly shaped our practice through key projects including the de Young Museum in San Francisco,’ says Simon Demeuse, Partner at Herzog & de Meuron.

the Eames Institute museum will occupy a former Birkenstock campus | visualization courtesy Herzog & de Meuron

continuing a legacy

While the campus is currently closed to the public in California, the Eames Institute will open it with museum and gallery programming, makerspaces, culinary venues, and gardens. The institute‘s plan — with design led by Herzog & de Meuron and EHDD — emphasizes accessibility, economic growth, and educational engagement, with officials citing it as a key alignment with local development priorities.

‘To share my grandparents’ vision with the world is the honor of a lifetime,’ comments Llisa Demetrios, Chief Curator of the Eames Institute. ‘Ray and Charles’ boundless curiosity for solving problems through design has been at the core of the Eames Institute’s mission, and this expansion will allow us to share those gifts with our community on an even larger scale.’

The museum will house a selection of works from the Eames Collection, as well as programming inspired by the Institute’s mission to make design thinking more widely accessible. The project reflects a long-term commitment to the North Bay community and to preserving and evolving the legacy of Charles and Ray Eames, whose ethos of experimentation and utility continues to influence generations of designers.

the modernist complex was designed by John Savage Bolles in the 1960s | visualization courtesy Herzog & de Meuron

a major cultural institution in northern california

Community leaders and cultural institutions in Northern California have embraced the upcoming Eames Institute museum, citing both its symbolic and practical value to the region. The Institute’s presence is expected to catalyze investment, education, and cultural participation at a scale previously unseen in the area.

‘The Eames legacy is a cultural treasure, and the Institute’s new campus will be a platform to share this more broadly than ever before,’ adds David C. Howse, President of California College of the Arts. ‘The news is incredibly exciting — creating a destination for the public to immerse themselves in design, while providing an unparalleled learning experience for our students.’

The Eames Institute is currently working to develop a detailed programmatic and architectural plan, which will guide the next phase of transformation for the site. With Herzog & de Meuron’s conceptual framework as well as community support, the project is set to become a landmark celebrating California’s design history and its future.

Herzog and de Meuron will lead the project with EHDD as executive architects | image courtesy Eames Institute

the campus features a undulating roofline and will be adaptively reused | image © Iwan Baan

plans include galleries, public workshops, green areas and culinary venues | image © Iwan Baan

select works from the Eames Collection and family archives will be on view | image © Iwan Baan

the project aligns with cultural development goals in Marin County | image © Iwan Baan

the Institute’s expansion reinforces its mission to share the Eames legacy with the public | image © Iwan Baan

project info:

name: Eames Institute of Infinite Curiosity

location: 8171 Redwood Blvd, Novato, California

client: Eames Institute | @eamesinstitute

design architect (renovation): Herzon & de Meuron | @HerzogdeMeuron

executive architect (renovation): EHDD | @EHDD_architecture

original architect: John Savage Bolles

status: ongoing

photography: courtesy Eames Institute

visualizations: courtesy Herzog & de Meuron

The post herzog & de meuron to redesign 1960s california campus for eames institute museum appeared first on designboom | architecture & design magazine.

In Berlin’s Mitte district, Herzog & de Meuron’s Am Tacheles development is hosting three interior vignettes inspired by various architectural languages, staged by Garth Roberts. The interventions at ROOMS of AM TACHELES are shaped by three architecture and design studios — Fernando Laposse, Lotto Studio, and studioutte — who challenge conventional notions of domesticity by reimagining high-end living as a space of material exploration and conceptual storytelling rather than predetermined luxury. Under the guidance of Roberts, the approach deviates from conventional paradigms of domesticity and standard design vocabularies, instead embracing the unfinished and the exaggerated.

all images by by Robert Rieger

interventions by Fernando Laposse, Lotto Studio, and studioutte

‘ROOMS of AM TACHELES seeks to explore the diverse aesthetic and emotional potential of domestic life, shaped by the iconic architecture of these living spaces,’ explains creative director and multidisciplinary designer Garth Roberts. The interiors, each responding to a different room within the Mitte district, are thus not fully furnished and are posed as ‘gestures’ — fragments of possibility that encourage open-ended interpretations and engagement with space.

Fernando Laposse’s vignette is playful and pink, transforming the interior into a sensory domestic landscape shaped by organic textures. Known for his innovative use of natural fibers, the architect here works with sisal, corn husk veneers, and other overlooked materials to craft tactical surfaces and unexpected encounters. His vignette bridge sustainability with cultural heritage, turning these raw materials into a powerful medium for storytelling.

Garth Roberts stages ROOMS of AM TACHELES

dualities inspired by herzog & de meuron’s brutalism

Lotto Studio adopts a sculptural approach drawing on negative space, and balancing function with the expressive potential of materiality. Aluminum, burled maple, and Emperador marble touches dialogue with the architecture of Gruentuch Ernst. By treating interior design as an interplay of form, void, and inhabitation, the designers‘ composition feels both curated and open-ended. studioutte’s interpretation of domestic space, meanwhile plays with contrasts — juxtaposing raw aluminum against supple leather, translucent drapery against monolithic volumes. Whle also inspired by Herzog & de Meuron’s brutalist forms at Am Tacheles, the Milan-based studio infuses contrasting warmth and tactility, challenging assumptions about scale and softness in interior environments.

the exhibition includes three interior vignettes

all interiors are inspired by Herzog & de Meuron’s architecture

Fernando Laposse, Lotto Studio, and studioutte design a room each

the approach deviates from conventional paradigms of domesticity and standard design vocabularies

embracing the unfinished and the exaggerated

Fernando Laposse’s vignette is playful and pink

the architect here works with sisal, corn husk veneers, and other overlooked materials

turning raw materials into a powerful medium for storytelling

the approach embraces conceptual storytelling rather than predetermined luxury

tactile surfaces

project info:

name: ROOMS of AM TACHELES

creative director: Garth Roberts | @garth_tm

architects: Fernando Laposse | @fernandolaposse, Lotto Studio | @lottostudio.mb, studioutte | @studioutte

location: Am Tacheles, Berlin, Germany

The post fernando laposse, lotto studio & studioutte stage ‘unfinished’ vignettes at am tacheles, berlin appeared first on designboom | architecture & design magazine.

Designed by ARTA Architects in Central Hong Kong, the Tai Kwun Chairs is a versatile public furniture system adaptable by any user. The system, featuring over 220 benches, playfully integrates with the Hong Kong Jockey Club at the Tai Kwun Arts and Cultural Center’s distinctive blend of historic and contemporary architecture. Ergonomically designed for comfort, the curving forms of the wooden chairs draw inspiration from the floating boxes of the modern structures, including those by Herzog and de Meuron, and the roofscape of the site’s heritage buildings.

A bespoke locking system allows for easy installation and removal, accommodating diverse seating arrangements. This adaptability supports a range of uses at this cultural site, from large-scale performances to small gatherings or individual moments of quiet reflection.

all images by Kevin Mak 

a modular, adaptable system of public seating at tai kwun

Sustainable wood in a range of natural hues envelops the steps as the Tai Kwun Chairs are laid out, creating a gradient pattern that is visually prominent while harmonizing with the surrounding architecture. Functionality extends beyond comfort and use to storage, as the chairs are stackable, with the capacity to transform into an impromptu art installation or be gathered away to ensure efficient space management. ARTA Architects’ design has been recognized with multiple accolades, including Gold Awards at the Better Future – Asian Design Awards 2023 and the Hong Kong Smart Design Awards 2023.

designed by ARTA Architects

a versatile public furniture system adaptable by any user

the system playfully integrates with the Tai Kwun Arts and Cultural Center’s blend of historic and contemporary architecture

featuring over 220 benches

a bespoke locking system allows for easy installation and removal

Tai Kwun Chairs’ adaptability supports a range of uses at this cultural site

ARTA Architects crafts the seats from wood in a range of natural hues

project info:

name: Tai Kwun Chairs

architect: ARTA Architects | @arta_architects

location: Tai Kwun, Hong Kong

photographer: Kevin Mak 

The post 200 chairs shape arta architects’ versatile furniture system at tai kwun center in hong kong appeared first on designboom | architecture & design magazine.

Calder Gardens, the new cultural destination designed by Herzog and de Meuron and Dutch landscape designer Piet Oudolf (see designboom’s previous coverage here), has announced its opening date in September 2025. Located on the Benjamin Franklin Parkway in downtown Philadelphia, the gallery space is set to showcase the art and ideas of Alexander Calder, one of the 20th century’s most influential artists and a Philadelphia native. The institute has also appointed Juana Berrío as the Marsha Perelman Senior Director of Programs. A seasoned curator, educator, and arts programmer, Berrío will lead public programming that connects audiences to Calder’s work through performances, events, and wellness activities, fostering engagement and community in this innovative blend of art, nature, and architecture.

all images courtesy of Calder Gardens

Juana Berrío Curates Inclusive Programming at Calder Gardens

Beginning her role on January 21st, 2025, Juana Berrío will draw on her extensive background in curatorial practice and arts programming to shape new public engagement initiatives for this new Philadelphia-based institution. With experience at leading institutions such as the Whitney Museum of American Art, SFMOMA, and the Walker Art Center, as well as her work as cofounder of San Francisco’s Kiria Koula, Berrío has developed a reputation for creating dynamic, community-focused cultural experiences. Her diverse expertise, spanning education, research, and sustainability, positions her to craft programs that reflect the spirit of Calder’s art while fostering inclusivity and connection.

‘Calder Gardens is an entirely new type of cultural institution focused on nurturing introspection and personal growth through the art and ideas of my grandfather—one of the most influential artists of the modern era. Juana Berrío’s expertise and wide-ranging interdisciplinary experience—shaped by openness, compassion, and curiosity—
make her ideal for this essential role at Calder Gardens. We look forward to being inspired by her dynamic, unexpected programming,’ says Alexander S. C. Rower, President of the Calder Foundation, Chair of the Calder Gardens Curatorial Committee, and Calder’s grandson. 

‘I am thrilled to join Calder Gardens, a unique space that integrates art, architecture, and nature to invite self-reflection,’ shares Juana Berrío. ‘I look forward to working with the team to design rich cross-pollinations between artistic and nonartistic practices, with diverse communities, and between humans, flora, and fauna. Calder’s own passion for interdisciplinary collaborations and experimentation at large provides a perfect context for Calder Gardens to become one of the most innovative and forward-thinking spaces for art and culture today.’

project info: 

name: Calder Gardens

architect: Herzog & de Meuron | @herzogdemeuron

landscape designer: Piet Oudolf | @pietoudolf

location: Philadelphia, Pennsylvania

client: Calder Foundation| @calderfoundation
opening: September 2025

The post herzog & de meuron-designed calder gardens announces september 2025 opening appeared first on designboom | architecture & design magazine.