The National Medal of Honor Museum, Rafael Viñoly’s final project, translates the theme of military valour into a strongly symbolic architectural composition. At its centre is a large steel-clad Exhibition Hall, suspended about 12 metres above an open courtyard, the “Field of Honor”. This central void acts as threshold, gathering space and place of reflection, while spiral staircases and fully glazed lifts turn the entrance to the galleries into an ascending journey. The five supporting megacolumns represent the branches of the U.S. Armed Forces; at the centre, an oculus brings natural light into the space, softening the monumental mass of the suspended volume.

Located in the Saadiyat Cultural District, the Zayed National Museum tells the history of the United Arab Emirates through the legacy of its founding father, Sheikh Zayed. Norman Foster’s design builds its identity around five steel towers rising up to 123 metres, inspired by the wings of a falcon in flight. More than an iconic gesture, these structures incorporate principles of natural ventilation, turning a cultural reference into a climatic device. Light sandy tones, natural light and the relationship with the coastal landscape place the museum in a suspended condition between desert, city and sea.

Designed by Zaha Hadid Architects, the Science & Technology Museum in Shenzhen appears as a vast, fluid, almost aerospace-like volume, conceived as a new symbol for the Greater Bay Area. Its geometry is also shaped by the environmental conditions of the site, including solar radiation, humidity, prevailing winds, air quality and the subtropical climate. The façade, made of 95,000 irregular stainless steel panels, creates a shifting surface that moves from deep blue to different shades of grey according to the light. Outdoor terraces and interior routes extend the museum towards the park, making the building both a technological and environmental machine.

The Xuelei Fragrance Museum translates into architecture a subject that is, by definition, invisible: scent. Designed by Shenzhen Huahui Design, the museum is organised around eight cylindrical volumes in red brick, evoking the processes of distillation and refinement of raw materials. Brick gives physical and material presence to an otherwise immaterial world, while the sequence of cylinders creates a fluid path, almost like an olfactory trail through space. Inside, galleries and around 300 interactive smelling stations turn the visit into a sensory experience, completed by a rooftop garden.

Set within the new Takanawa Gateway City development, MoN Takanawa by Kengo Kuma works in contrast to the vertical and infrastructural context around it. Its architecture is light, porous and fragmented: openwork walls, diffused lighting, varied materials and an ascending spiral façade made of wood and layered glass create a deliberately evanescent building. More than 200 plant species dissolve the boundary between inside and outside, bringing the changing seasons into the architectural form. The museum therefore becomes not only a container for narratives, but a changing narrative of the city itself.

MoN Takanawa © Yasuyuki Takaki

In the Lithuanian countryside, the Lost Shtetl Museum addresses the memory of vanished Jewish communities through a quiet architecture, far from any rhetorical monumentality. Rainer Mahlamäki organises the complex like a small village: a sequence of autonomous volumes, almost houses, each linked to a chapter of the exhibition route. Dynamic rooftops recall the silhouette of a shtetl, while blind gables and a grey tiled exterior turn the building into a softened presence in the landscape. Rather than imposing itself, the museum seems to emerge from the countryside, transforming memory into something fragile, discreet and deeply physical.

The Islamic Civilization Center in Tashkent reinterprets Timurid architectural tradition through a contemporary monumentality. Monumental portals and a 65-metre-high dome define a building that draws on the language of both palace and civic monument. Inside, the Qur’an Hall uses light, sound and multimedia elements to create a contemplative atmosphere, while the other spaces accommodate museum, archival, educational and research functions. The project brings together representation and accessibility: not only a major urban icon, but a cultural machine conceived for intercultural dialogue and the transmission of knowledge.