Architectural Cases

Swiss architect Barbara Buser has been recognized with the 2026 Jane Drew Prize, an accolade celebrating her profound influence on architectural discourse and practice, particularly in championing women's roles and advancing sustainable building reuse methodologies. Her foundational work in establishing various innovative studios has consistently emphasized the importance of a circular economy within the construction industry. This esteemed award highlights Buser's long-standing commitment to environmental responsibility and her visionary leadership, underscoring her status as a trailblazer who has significantly shaped contemporary architectural thought and practice. Her efforts have not only pushed the boundaries of adaptive reuse but have also inspired a new generation of architects to consider the ecological footprint of their designs, fostering a more sustainable future for the built environment.

Separately, the Ada Louise Huxtable Prize was awarded to British artist and curator Lubaina Himid. This prize acknowledges individuals from fields outside architecture who have made significant contributions to the discipline. Himid's work, particularly her involvement in the British Black Arts Movement and her role in curating exhibitions that showcased Black artists, challenges conventional perspectives on who designs and inhabits our cities. Her art serves as a powerful commentary, promoting a more inclusive understanding of spatial practice and advocating for marginalized voices within the architectural dialogue. Himid's recognition highlights the intersectionality of art, social justice, and urban development, emphasizing how cultural expressions can profoundly influence and critique the built world.

Pioneering Circular Construction and Adaptive Reuse

Barbara Buser, a distinguished Swiss architect, has been honored with the prestigious 2026 Jane Drew Prize, acknowledging her groundbreaking efforts in sustainable building practices and her pivotal role in promoting women within the architectural profession. Through her co-founding of numerous influential studios, including Bauteilbörse, Baubüro In Situ, Denkstatt Sàrl, Unterdessen, and Zirkular, Buser has consistently championed the principles of adaptive reuse and circular construction. Her work has redefined how building materials are perceived and utilized, advocating for their careful stewardship as finite resources. This holistic approach ensures that components are integrated into an ongoing cycle of assembly and reassembly, thereby minimizing waste and maximizing resource efficiency. Her visionary leadership has not only established new paradigms in environmentally conscious design but has also inspired widespread adoption of these practices across the industry.

Buser's impact extends beyond individual projects; she has created a comprehensive ecosystem for circular construction through her various ventures. Bauteilbörse, a building parts exchange, exemplifies her commitment to facilitating the reuse of architectural elements, transforming what might be considered waste into valuable resources for new constructions. Her involvement with Baubüro In Situ and Denkstatt Sàrl further underscores her dedication to integrated urban planning and architectural design that prioritizes sustainability. The initiative Unterdessen, which promotes the temporary use of vacant private property, showcases her innovative thinking in optimizing existing urban spaces. Moreover, Zirkular, her circular construction planning office, offers specialized expertise in implementing these sustainable methodologies. Manon Mollard, editor of The Architectural Review, aptly noted that Buser's foresight in treating building materials as finite resources was remarkably ahead of its time, emphasizing that her recognition for these invaluable contributions is long overdue. This array of initiatives collectively demonstrates Buser's profound and lasting influence on shaping a more sustainable and resource-efficient built environment.

Celebrating Diverse Contributions to Architecture

The Jane Drew Prize, a key component of the W Awards (formerly known as the Women in Architecture Awards), annually celebrates architects who have made significant contributions to the field, particularly in advancing the role of women. Barbara Buser's receipt of the 2026 prize places her among a distinguished group of past winners, including Anne Lacaton, Iwona Buczkowska, Kate Macintosh, Yasmeen Lari, and Zaha Hadid, all of whom have left indelible marks on modernist architecture and beyond. These awards, established by The Architectural Review and Architects' Journal, serve as crucial platforms for highlighting the achievements of women in a historically male-dominated profession, thereby fostering greater equity and recognition within the global architectural community.

In parallel, the Ada Louise Huxtable Prize, another significant component of the W Awards, honors individuals whose work from adjacent disciplines enriches and informs architecture. This year, the prize was awarded to British artist and curator Lubaina Himid, recognizing her profound influence on architectural discourse. Himid, a prominent figure in the British Black Arts Movement of the 1980s and the first Black artist to win the Turner Prize in 2017, has consistently challenged conventional narratives through her art. Her curatorial efforts introduced Black artists and communities to wider audiences, and her artworks often explore themes of identity, power, and representation within built environments. Eleanor Beaumont, deputy editor of The Architectural Review, highlighted that Himid’s work prompts architects to critically examine whose voices are heard in the design of homes and cities. Himid’s artistic practice, by offering a platform to those systemically marginalized, provides an alternative spatial perspective that enriches architectural dialogue and encourages a more inclusive and equitable approach to urban planning and design.

In the historic Nihonbashi district of Tokyo, a unique 14-room hotel, SOIL Nihonbashi, stands out with its rust-red, corrugated steel facade, meticulously crafted by Kiyoaki Takeda Architects and Staple Studio. This architectural gem is more than just a place to stay; it's a living embodiment of the neighborhood's rich tradition of "alleyway gardening," where residents have long cultivated greenery in unexpected urban spaces. The hotel's design not only pays homage to this cultural practice but actively integrates it, with many of the facade's plants being propagated and gifted by locals, fostering a deep sense of community and connection.

SOIL Nihonbashi, soaring nine stories high, is nestled within Nihonbashi's labyrinthine backstreets, an area that blends towering skyscrapers with centuries-old eateries and specialized shops. The hotel's undulating exterior directly mirrors the numerous planters that adorn sidewalks and windowsills throughout the district, a testament to residents' ingenuity in creating gardens where conventional green spaces are scarce. Kiyoaki Takeda, one of the architects, highlighted that the facade's terracotta-inspired hue evokes the familiar planters and rich clay soil prevalent in the area, seamlessly weaving the local gardening culture into the building's aesthetic.

The collaborative efforts of Takeda and Staple Studio, the design arm of Japanese developer Staple, involved extensive research walks through Nihonbashi. These explorations revealed a vibrant, generational culture of sharing plant cuttings among neighbors, a practice known as "kubu-wake." This tradition of botanical exchange not only inspired the hotel's design but also manifested literally, with local residents contributing plants that now grace the hotel's metallic exterior. This means that many of the orchids, jade plants, and lady palms adorning SOIL Nihonbashi are direct descendants of greenery that has thrived in the neighborhood for years, if not decades.

Takeda emphasized that hotels often feel disconnected from local life, particularly for residents. However, the "kubu-wake" tradition offered a unique opportunity for genuine engagement. By incorporating plants donated by the community, the hotel transcends mere decoration, becoming a catalyst for conversation and community building. Imagine guests and locals sharing stories about "their" plants, forging bonds over shared horticultural heritage. This innovative approach aims to transform the hotel into a dynamic, three-dimensional alleyway garden, inviting interaction and fostering a sense of collective ownership.

The hotel's steel-frame construction allowed for the incorporation of expansive sliding windows, offering guests panoramic views of the verdant facade. These windows can be fully opened, blurring the lines between indoor and outdoor spaces and making the compact rooms feel more expansive. At ground level, a tiled bench encircles the building, providing an inviting space for guests and locals to gather, perhaps enjoying drinks and sourdough pizza from Pizza Tane, the ground-floor pizzeria. The interior design, also by Staple Studio, continues this theme, utilizing the same terracotta tiles found on the exterior bench for the pizzeria's bar, the reception desk, and the built-in platform beds in the guest rooms.

Further integrating natural elements, materials like Itoigawa stone and water-smoothed pebbles are repurposed as door knobs and wall hooks, bringing an alfresco touch indoors. The guest rooms are suffused with warm brick, soil, and terracotta tones, echoing the neighborhood's gardening ethos. Staple Design collaborated with emerging studios to create custom furnishings, including ombre washi paper lamps, a hammock-style sling sofa by snowboard maker Shinji Matsukawa, and plant pots crafted from recycled Shigaraki stoneware and coffee grounds. Ascending to the hotel's top floor reveals a charming rooftop garden, where herbs for the pizzeria are cultivated alongside propagated plants lovingly donated by neighbors.

SOIL Nihonbashi is part of a larger revitalization effort by Staple in the Nihonbashi area. The company's diverse portfolio, including a co-working space, Parklet Bakery, Timsum wine bar, and the K5 hotel, are all conveniently located within a short stroll of each other. Staple founder Yuta Oka noted that when the company began its work seven years ago, the eastern side of Nihonbashi was often overlooked, a "forgotten, old Tokyo." He sees Japan as being rich in such places, areas impacted by depopulation that desperately need a renewed purpose. Staple's mission is to discover these locales, breathe new life into them, and make them accessible to the world.

Staple has successfully applied this community-centric development model in other overlooked regions of Japan, such as Okayama, Setoda, and Hakodate, which were once popular domestic tourist destinations in the mid-20th century. Oka emphasizes that hotels serve as a vital starting point in this process, helping to combat depopulation by attracting a diverse mix of demand and people, all while respecting local culture and residents. Staple, positioning itself as a "soft developer," prioritizes understanding community needs, whether it's for a bakery or a workspace. By strategically distributing these amenities across walkable neighborhoods, Staple aims to foster greater integration between long-term residents, tourists, and new arrivals, ensuring that development benefits everyone. Oka articulates a philosophy where "citizens first" is paramount, believing that culturally sensitive travelers prefer to witness happy locals thriving in their daily lives, rather than being treated as mere kings in a traditional resort setting. This thoughtful approach to urban renewal, exemplified by SOIL Nihonbashi, offers a blueprint for creating vibrant, inclusive communities that honor history while embracing the future.