At a time when more churches in Denmark are closing their doors than opening them, Henning Larsen’s Højvangen Church, set on the edge of Skanderborg, is the first to rise in the parish in over 500 years. The 1,500-square-meter structure sidesteps the conventional idea of a church as a singular, front-facing monument, unfolding like an open-ended, approachable pavilion in the landscape. Developed in collaboration with architect Espen Surnevik and landscape studio Schul Landskab & Planlægning, the project rethinks this site for worship as a place for gathering, pause, and shared experience.

The brick-clad church is built into a gentle slope, with a low profile and a shifting facade that helps it blend into the landscape. A partially sunken corridor connects it to the existing parish center, reinforcing this quiet presence. Inside, the space avoids the traditional church layout, with no central aisle or fixed orientation. Instead, the baptismal font is placed at the center of the building and serves as its anchor point. From here, views extend out in multiple directions, toward the forest, the cemetery, and the old church tower. This setup reflects the idea of the church as a shared, inclusive space, intentionally flexible, that allows the interior to adapt to different uses such as concerts, services, farewells, and community events.

all images by Rasmus Hjortshøj

light sets the atmosphere inside Højvangen Church in sweden

Light plays an essential role in the design of Højvangen Church, shaping both the atmosphere and the overall experience of the space. ‘Light was a central design driver,’ says Eva Ravnborg, director at Henning Larsen. ‘It’s more than a physical element – it brings a calm, almost spiritual quality to the space, lifting the experience of the church room beyond the everyday.’ The architects’ team supports this idea through the use of perforated brick walls and brass details, which allow natural light to filter in gently. The subtle curves of the facade help modulate the light further, while the colonnaded rear includes small niches that offer spots for reflection or informal conversation.

Henning Larsen’s Højvangen Church in Skanderborg is the first to rise in the parish in over 500 years

stackable Ekko chair marks its debut in this project

Furniture also plays an intentional role in the project. With the introduction of the Ekko chair, designed in collaboration with Danish furniture maker Brdr. Krüger, Henning Larsen returns to furniture design for the first time in 60 years. The chair is stackable, durable, and sleek, made to meet the standards of public use while harmonizing the calm atmosphere of the space.

For Henning Larsen’s global design director Greta Tiedje, the church reflects a shift in how society relates to sacred space. ‘A place of worship is a civic anchor,’ she says. ‘We designed it to be part of the everyday, a space where people can gather across generations and beliefs and find meaning through shared experience. That’s where real life happens.’

the 1,500-square-meter structure sidesteps the conventional idea of a church

unfolding like an open-ended, approachable pavilion in the landscape

the brick-clad church is built into a gentle slope

a low profile and a shifting facade helps the building blend into the landscape

a partially sunken corridor connects it to the existing parish center

the space avoids the traditional church layout

there’s no central aisle or fixed orientation

this setup reflects the idea of the church as a shared, inclusive space

the interior can adapt to different uses

the baptismal font is placed at the center of the building

project info:

name: Højvangen Church

architect: Henning Larsen | @henninglarsenarchitects, Espen Surnevik | @espen.surnevik

location: Skanderborg, Denmark

area: 1,500 square meters (16,146 square feet)

landscape architecture: Schul Landskab & Planlægning

engineering: Ramboll

furniture design: Brdr. Krüger + Henning Larsen

photographer: Rasmus Hjortshøj | @rasmus_hjortshoj

The post henning larsen builds brick-clad church in denmark as open pavilion for gathering appeared first on designboom | architecture & design magazine.

Just outside Gandhinagar, India, the Alloa Hills Weekend House folds gently into the land, allowing the terrain to dictate its rhythm. Studio Sangath approached the residential project with quiet attentiveness, designing a retreat that prioritizes stillness and intimacy with the surrounding topography. Tucked into a bend in the Sabarmati River’s landscape, the house offers its residents a reprieve from the acceleration of city life, but also extends its welcome to artists, writers, and filmmakers seeking time away to create.

At the core of the brick and terracotta residence is a courtyard that both divides and anchors the interior spaces. The inner garden draws the horizon inward, reframing nature as a constant companion rather than a distant view. This spatial arrangement extends outward into a stepped terrace that spills into the surrounding terrain, intended to host everything from quiet evenings under the sky to informal performances. Studio Sangath’s design orients the home to receive the landscape with open arms, dissolving barriers between shelter and scenery.

images © Vinay Panjwani

a house shaped by Recycled Earth

Designing its Alloa Hills Weekend House, the architects at Studio Sangath choose materials with consideration for the natural context. Beginning with compressed bricks composed of recycled brick kiln waste, the team brings a tactility to the structure and grounds the project in its environment. This thoughtful approach lends a sense of stewardship to the project, as the walls themselves seem to speak to the layers of earth they emerged from. The result is a home whose material story resonates with the cycles of renewal around it.

Along its longitudinal axis, the home is bordered by wide verandahs that mediate between enclosure and exposure. These shaded galleries soften the edges of the building, giving the living spaces breathing room to interact with sun, wind, and rain without confrontation. When the doors are left open, the home becomes a quiet pavilion, with air and light moving unimpeded through its rooms. Morning enters with a softness, while the evening light brushes the courtyard from within, establishing a rhythm of illumination that changes by the hour.

Studio Sangath sites its Alloa Hills Weekend House near Gandhinagar, India

A Language of Terracotta in alloa hills

Material continuity defines the sensory experience of Studio Sangath’s Alloa Hills Weekend House. Terracotta finds its way into nearly every surface, from the pigmented concrete walls to the red-toned brick floors and sun-warmed pavers. This shared language of texture and tone allows the architecture to unfold slowly and cohesively, offering a lingering, tactile warmth. In the Alloa Hills, the architects craft a home that moves with the day, is generous with its thresholds, and is fluent in the language of the land.

the open terrace extends the interior outward and creates space for stargazing or small gatherings

a central courtyard brings the surrounding landscape into the heart of the home

the home welcomes not only its owners but also artists and creatives seeking quiet inspiration

recycled compressed bricks reduce the building’s environmental impact and ground it in its setting

deep verandahs offer protection from the sun while promoting natural ventilation and shade

when the doors are open, the home becomes a breezy pavilion connected to the outdoors

project info:

name: Alloa Hills Weekend House

architect: Studio Sangath | @studio_sangath

location: Alloa Hills, Gandhinagar, India

principal architects: Khushnu Panthaki Hoof, Sönke Hoof
built area: 600 square meters

photography: © Vinay Panjwani | @panjwani.vinay

The post studio sangath uses recycled brick and terracotta to shape artists’ refuge in india’s alloa hills appeared first on designboom | architecture & design magazine.

Set at the foot of Houyanta Hill in Zhejiang Province, the Shanxia Cultural Station by MUFU ARCHLAB is informed by its proximity to landscape and ritual. Located directly across from the open field where Shanxia Village’s centuries-old Bench Dragon Lantern ceremony unfolds each year, the project functions as a cultural threshold, bridging everyday life and the temporality of celebration.

The Chinese practice’s design approach responds closely to spatial context and local identity, resting the building on a former residential plot, with a scale and orientation that subtly signals its public intent. To its north, the ceremonial field remains untouched; behind it, the unique rock formations of the hills form a natural backdrop. This pairing of geological and cultural terrain informs the stepped brick layers of the facade, as well as the project’s logic which reinforces patterns of movement.

all images courtesy of MUFU ARCHLAB

mufu archlab rests the structure with a subtle presence

The decision to locate a new public building here is inseparable from the village’s long cultural trajectory. Historically known as Shiyou (travel-friendly), Shanxia has produced notable scholars and retained strong ritual traditions despite recent urban encroachment. The Bench Dragon Lantern, held on the seventeenth day of the first lunar month, is its most visible expression, a vivid procession in which villagers shoulder wooden benches arranged to form the body of a dragon. Each family contributes a segment, and each new marriage extends the dragon’s length, turning the ritual into a living diagram of kinship, growth, and shared presence.

MUFU ARCHLAB’s design is shaped by this annual convergence, with the Cultural Station becoming an instrument in the festival’s perpetuation. The tiered brick structure supports its performance logistically while reinforcing its spatial centrality in village life. Further, it provides infrastructure through a subtle framing. In this way, the project reflects a larger sensibility in the architects‘ work to treat architecture as one of the ongoing mediums of culture-making.     

Shanxia Cultural Station is informed by its proximity to landscape and ritual

located across from the field where Shanxia Village’s historic Bench Dragon Lantern ceremony unfolds each year

the Cultural Station becomes an instrument in the festival’s perpetuation

layers of bricks echo the contours of the hills

a quiet public space

the project reflects a larger sensibility of the architect to treat architecture as an ongoing mediums of culture-making

set at the foot of Houyanta Hill in Zhejiang Province

project info:

name: Shanxia Cultural Station

architect: MUFU Arch Lab 

location: China

The post stepped brick layers of MUFU archlab’s cultural space hosts festival traditions in china village appeared first on designboom | architecture & design magazine.

Abhishek Ajmera Architects’ Brick House is a modest dwelling in Indore, India. Set on a 6,500-square-foot plot, it spans 8,000 square feet and accommodates four bedrooms, a basement office, common areas, and an activity room. True to its name, the project celebrates exposed brick as both a material and a design language, articulating spatial transitions, filtering light, and tying the interiors to their architectural shell.

The entrance is a considered experience: a sculpted mound, floating steps, and a suspended I-beam resting on a boulder collectively form a threshold that dissolves typical boundaries between landscape and built form. Inside, the material palette — primarily brick, metal, wood, and black basalt — establishes a consistent visual language across interior and exterior spaces.

all images courtesy of Abhishek Ajmera Architects

abhishek ajmera architects creates a fluid, open interior

The interiors are organized with flexibility in mind. Instead of conventional walls, the plan uses partitions to maintain openness and fluidity. A double-height living room with a sloped ceiling forms the spatial core of the house, opening toward the north-facing pool and a southeast garden. Full-height sliding glass doors tuck into brick walls, merging indoor and outdoor zones, and above the dining area, a mezzanine level with a bold blue panel functions as a reading nook or workspace, adding depth and overlooking the space below.

A solid wood dining table anchors the area beneath a cantilevered lighting element and exposed I-beam. The kitchen, adjacent to this space, features an island designed to appear suspended, with dark veneer finishes that echo the home’s overall materiality. Throughout the house, Abhishek Ajmera Architects punctuate the palette with color — green, yellow, blue, and red surfaces enliven rooms and prevent monotony.

Abhishek Ajmera Architects completes Brick House

a hanging staircase becomes the focal point

A hanging staircase, made of solid wood and metal, rises beside a black basalt wall, all under a vaulted ceiling. Its adjacent window is positioned to cast shifting patterns of light and shadow throughout the day, an effect repeated across the house through slit windows, skylights, and carefully framed openings.

On the first floor, two bedrooms, an activity room, and a dressing area are arranged with access to natural light and ventilation. The daughter’s bedroom includes a private balcony overlooking the pool, while her dressing room is lit by a skylight that minimizes the need for artificial lighting. The master bedroom, set in a quiet corner, features a vaulted brick ceiling and views to the east and west. A terrace accessible from the eastern side extends the living space outdoors, while the west facade features planters and brick louvers that temper sunlight and enhance privacy.

set on a 6,500-square-foot plot in Indore, India

A yellow spiral staircase leads to the terrace, adding a sculptural gesture that complements the exposed brickwork. In the master suite, the ensuite bathroom incorporates vegetation and natural light, with windows that ventilate and reduce the reliance on mechanical systems. A walk-in wardrobe and central island complete the suite, flooded with daylight from an east-facing slit window. In the basement office, exposed brick and concrete walls, a Jaisalmer stone floor, and glass partitions create a warm, naturally lit work environment. Vertical ducts and well-positioned windows bring sunlight to indoor plants, mitigating the usual drawbacks of subterranean spaces. Minimal decor and raw materials, such as reclaimed rods, brick, wood, and glass, allow the architectural textures to take center stage.

the project celebrates exposed brick as both a material and a design language

brick articulates spatial transitions, filtering light, and tying the interiors to their architectural shell

the material palette primarily comprises brick, metal, wood, and black basalt

it accommodates four bedrooms, a basement office, common areas, and an activity room

a double-height living room with a sloped ceiling forms the spatial core of the house

a mezzanine level with a bold blue panel functions as a reading nook or workspace

a solid wood dining table anchors the area beneath a cantilevered lighting element and exposed I-beam

project info:

name: The Brick House
architect: Abhishek Ajmera Architects | @abhishekajmeraarchitects

location: Indore, India

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: ravail khan | designboom

The post red brick and black basalt wrap abhishek ajmera’s house in india with tactility appeared first on designboom | architecture & design magazine.

At the Clerkenwell Design Week 2025, Alex Chinneck’s monumental brick facade sculpture slides and sits down in London’s Charterhouse Square. Named ‘A week at the knees,’ the public art, on view at the square until early July 2025, looks like it has gotten weary, so it slides down onto the grass to take a break. It raises its knees, creating an arch over the gravel path and allowing the visitors to pass through it like a temporary underpass. At first glance, the monumental brick facade sculpture seems made of lightweight materials. That is, until Alex Chinneck tells visitors the sculpture comes to life using real bricks, 7,000 in total.

Under the red bricks lies 4.6 tons of reused steel, salvaged from the demolition of the former American Embassy in London and provided by Cleveland Steel. The step has allowed the artist to reduce the artwork’s footprint by around 9.3 tons of carbon emissions. The 7,000 bricks are a combination of First Quality Multi Bricks and Floren Albion bricks, provided by the Michelmersh Group and precision cut by FabSpeed. There are seven recycled steel windows with four bending frames, courtesy of Crittal Windows, alongside one bending door and drainpipe. Visitors can see the artwork for free from today until early July 2025 at Charterhouse Square, London.

all images courtesy of Alex Chinneck | photos by Charles Emerson

monumental brick facade sculpture that has slid down

‘A week at the knees’ is a freestanding monumental brick facade sculpture. At the present time, it stands at 5.5 meters tall and is 13.5 meters long. It’s not the first time Alex Chinneck made his public art slide down. He did it in 2013 with the sliding house in Margate, which first brought him global attention. In this artwork, the facade seems to peel off from the house. In ‘A week at the knees’, a slope emerges, the knees of the sculpture, depicting a local or tourist who’s resting in the garden during summertime. It’s more physical, more human, more alive. 

While it’s almost impossible not to see the monumental brick facade sculpture, there’s still a chance some might think a building’s walls have peeled off if they’re looking at it. That’s because the public art, when viewed from afar, mimics the Georgian architecture that surrounds it, making the temporary sculpture seemingly part of the rows of houses. The artist has been doing his practice for a long time. He has completed close to twenty public artworks already. He has made buildings that melt, hover, bend, and unzip, and even tied street furniture in knots. Safe to say that he’s just getting started. Even more follows after the brick facade sculpture at Clerkenwell Design Week. 

Alex Chinneck’s monumental brick facade sculpture slides and sits down in London’s Charterhouse Square

named ‘A week at the knees,’ the public art is on view until early July 2025

it has raised ‘knees’ to allow visitors to pass through it

the sculpture comes to life using real bricks, 7,000 in total

in detail, there are 4.6 tons of reused steel under the red bricks

visitors can evidently walk through it like an underpass

overall, there are seven steel windows with four bending frames

as seen, Alex Chinneck sitting next to his monumental brick facade sculpture named ‘A week at the knees’

the steel used for the most part is from the demolished parts of the former American Embassy in London

so far, the sculpture is on view until early July 2025

project info:

name: A week at the knees

artist: Alex Chinneck | @alexchinneck

collaboration: Chiltern GRC, Cleveland Steel, Crittall Windows, FabSpeed, Michelmersh Brick Holdings PLC | @chilterngrc, @Crittall_windows_uk, @mbhplc

event: Clerkenwell Design Week 2025 | @clerkenwelldesignweek

on view: May 20th to early July, 2025

location: Charterhouse Square, London, EC1M 6AN

photography: Charles Emerson | @charlesemerson_

The post alex chinneck’s monumental brick facade sculpture slides and sits down in a london garden appeared first on designboom | architecture & design magazine.

The Thomas Sankara Mausoleum, designed by Kéré Architecture, rises solemnly from the red earth of Ouagadougou with a quiet sense of permanence. Its brick volumes carry the weight of memory, yet open to the light and wind that move freely across the site. Built on the very ground where Sankara and twelve of his closest aides were assassinated, the building acknowledges history without enclosing it. It invites presence through both sunlight and earth. 

Inside the mausoleum, Kéré Architecture arranges the tombs in a circular pattern that follows the arc of the sun. At each hour, daylight passes through a separate oculus above one of the thirteen graves, animating the space with shifting light. This hourly rhythm creates a subtle procession, pulling visitors through a landscape of loss, where the absence of each man is rendered in full-scale vertical voids. These open columns stretch skyward, framing absence as architecture. See designboom’s previous coverage here.

images © Kéré Architecture

a mausoleum to remember Thomas Sankara

Approaching the Thomas Sankara Mausoleum, visitors follow a winding route that begins along Boulevard Thomas Sankara and unfolds into a colorful pavilion. Kéré Architecture softens the transition between public city and sacred space through this sequence, allowing the act of walking to become part of the experience of remembrance. The building reveals itself gradually, offering time to reflect before entering its inner chamber.

The building’s materials reflect the land on which it stands. Kéré Architecture turned to laterite stone and clay bricks sourced locally, rooting the construction in the traditions Sankara once championed. Communities around Ouagadougou gathered and prepared the earth, reinforcing the connection between memory and labor. This choice also supports passive thermal performance, as the structure absorbs and regulates the heat of Burkina Faso’s dry climate.

Meanwhile, Kéré Architecture’s environmental strategy is embedded in the building’s form. Two large, louvered gates are positioned along the east-west axis to funnel wind through the central chamber. The 34-meter dome above acts as a thermal buffer, shielding the space below while allowing air to circulate. Rather than seal off the heat, the design embraces natural flows, using the land’s resources to maintain comfort and calm.

the mausoleum is sited where Sankara and twelve others were assassinated in Ouagadougou

The Larger Memorial Landscape in burkina faso

The mausoleum is the first realized element of the Thomas Sankara Memorial Park, a wider urban project also led by Kéré Architecture. This future park, occupying fourteen hectares, will include gathering spaces, educational facilities, and a towering monument. Rising to 100 meters, the tower will carry visitors up to an open terrace at 87 meters — a reference to the year of the assassination. Its height serves as a visible reminder of a history reclaimed.

In public remarks, Francis Kéré described the commission as both a personal and political responsibility. The Thomas Sankara Mausoleum, he noted, transforms a site once shrouded in silence into a place of gathering. The team draws the space outward, aligning architecture with healing. Here, remembrance becomes collective rather than private, and the design supports the emergence of a new kind of civic identity.

The integration of the mausoleum into the broader Ouagadougou Green Belt plan extends the project’s reach. Kéré Architecture connects the site to Sankara’s environmental legacy, as the memorial park will introduce plantings and shaded paths into a dense urban grid. The mausoleum thus becomes part of a regenerative landscape, where built form and green space work in tandem to protect memory and future life.

thirteen tombs are arranged in a circular plan, illuminated hourly by shifting daylight through skylights

thirteen vertical voids represent the physical absence of the assassinated figures

a winding pavilion connects Boulevard Thomas Sankara to the mausoleum entrance to guide visitors

the structure is built using locally-sourced laterite and clay bricks

passive cooling is achieved with large louvered gates and a 34-meter dome that regulates temperature

the mausoleum is the first part of Kére Architecture’s larger Thomas Sankara Memorial Park

project info:

name: Thomas Sankara Mausoleum

architect: Kéré Architecture | @kerearchitecture

location: Ouagadougou, Burkina Faso

completion: May 2025

photography: © Kéré Architecture

design team: Leonne Vögelin, Andrea Maretto, Nabil Haque, Brice Ouédraogo, Aarif Kouanda
contributors: Nataniel Sawadogo, Rasmané Zongo, Jean Sawadogo, Lucien Tondé, Toussaint Kaboré, Anicet Bagré, Arnaud Batiana, Kinan Deeb
collaborators: Prestige Multi Services SARL et Sous-Traitants
client: Ministère de la Communication, de la Culture, des Arts et du Tourisme (MCCAT/PCIM-INTS) Burkina Faso

The post kéré architecture completes memorial to thomas sankara’s burkina faso revolution appeared first on designboom | architecture & design magazine.

Monadnock Architects unveils Volante, a social housing building which occupies a slender footprint within the Nieuw-Zuid redevelopment in the Dutch city of Hilversum. Here, porch flats and generous greenery shape a legacy of postwar urban planning. On a site previously occupied by a residential-care facility, this new social housing project completes an ensemble of five structures, introducing density while honoring the open qualities of the neighborhood. The structure’s position atop a parking garage required precision in planning, resulting in a carefully calibrated relationship between height, massing, and light.

Volante is designed as two joined volumes, aligned lengthwise to nestle between existing buildings while preserving access to daylight and sightlines. At the center, a circular atrium provides orientation and light, anchoring the corridors that lead to each unit. Though compact, the apartments benefit from this shared interior rhythm, with circulation treated as an architectural space rather than a means to an end.

images © Stijn Bollaert

playful geometries mark volante’s entrance

With the design of its Volante project, Monadnock Architects takes a pragmatic yet expressive approach to facade design. Long elevations are animated by a steady cadence of vertical piers and horizontal bands, realized in brickwork that feels both familiar and carefully wrought. Rather than apply decorative treatments, the architects embedded richness into the construction itself. Shaped bricks form junctions with a quiet attention to detail, creating shadows and texture that reward close observation.

The main entrance distinguishes itself through a palette of glazed bricks in deep, contrasting tones. Openings shift in scale and shape, inviting movement through a slightly abstracted gateway. This deliberate formal variation signals a break from the repetitive housing block, asserting the address as a shared front door and a marker of arrival within the neighborhood’s internal rhythm.

Volante is part of a densification effort in the Dutch city of Hilversum

Monadnock Architects’ Optimistic Details

Monadnock Architects use the terminal walls of Volante to define its urban role beyond the immediate site. These gable-like end facades are more than closures — they operate as signals, visible from afar, and carry a subtle figuration that punctuates the building’s linear volume. In a district that balances visual openness with increasing density, these gestures give character without demanding attention.

There’s a distinct clarity to Volante’s expression that reflects a belief in the dignity of housing. Materials are robust, but their assembly conveys levity. The ochres and reds of the brickwork catch changing light with warmth, while the building’s quiet symmetry offers a sense of order amid the trees and neighboring facades. It is a structure that looks settled, yet quietly ambitious.

The architecture resists the urge to impose a singular identity. Instead, its strength lies in how fluently it completes a larger composition. Densification here does not compete with the inherited character of Hilversum’s greenery or mid-century fabric. The building draws on these cues, integrating new residents into a context with care and continuity.

the main entrance is marked by glazed bricks and geometric openings that establish identity

the brick facade features vertical piers and horizontal bands that create depth and rhythm

end facades are designed as urban markers visible from a distance

the use of color and tactility brings warmth and optimism to the residential experience

specially-shaped bricks add texture and refinement throughout building

a circular atrium serves as the central organizing space for the compact apartments

project info:

name: Volante

architecture: Monadnock Architects | @monadnock.architects

location: Nieuw-Zuid, Hilversum, The Netherlands

floor area: 8,032 square meters
completion: December 2024

photography: © Stijn Bollaert | @stijn_bollaert

lead architects: Job Floris, Sandor Naus
team: Marta Cendra, Michael Maminski, Filippo Gallone, Matéo White, Blanka Major
project architect: Sandor Naus

client: Dudok Wonen | @dudokwonen
contractor: Hegeman | @hegemanbv
construction engineer: IAA Architects
structural engineer: Schreuders
MEP engineer: InnQ Installations
building physics engineer: Alcedo
landscape architect: Hosper Landscape Architecture | @hosper_landschapsarchitectuur
urban planner: Moke Architecten | @moke_architecten

prefab concrete stairs: Hop prefab
steel stairs and balustrades: Krepla
elevators: Schindler Elevators
main entrance floor, walls: Winckelmans
common area floor: Marmoleum, Forbo Flooring
windowframes manufacturer: Kawneer
windowframes balustrades facades, supplier: Rollecate
interior frames, doors: Berkvens
facade cladding, brick: Klinkerwerk Iking | @klinkerwerk_iking
facade cladding, glazed bricks: Dijkstra Frisian Earthenware | @dijkstrakleiwaren
aluminium cladding: Voskamp

The post playful geometries dot monadnock’s colorful ‘volante’ social housing in the netherlands appeared first on designboom | architecture & design magazine.

Amidst the lush landscape of Auroville, India, Residences at White Mongoose by Bayhauz Design Studio reinterprets the regional language of residential architecture through a dual-home typology — one for a family from Bihar and the other a guest homestay. The project navigates between collective living and private inhabitation, balancing openness with enclosure across a one-acre plot.

The two homes are positioned side by side, each expressing its own narrative while sharing a coherent architectural language shaped from locally sourced natural materials. Earthen walls, plastered brick, cement block jaalis, and oxide floors are integrated throughout and celebrated in their exposed state to evoke an earthen-home sensibility through emotional resonance, warmth, and tactility. Shared design elements such as sloping roofs and brick jack-arched ceilings create visual continuity while adapting to the environmental context of Auroville. 

all images by Saurabh Madan

bayhauz design studio roots the homes in the land

One of the homes functions as a private residence; the other is designed to host travelers, welcoming them into Auroville’s earthy, immersive atmosphere. Though differing in function, both structures emerge from a shared goal to prioritize material honesty, natural light, ventilation, and spatial fluidity. Across them, Bayhauz Design Studio (see more here) integrates open-plan layouts that reflect the community-driven spirit of township, encouraging a strong relationship between indoor and outdoor environments. A dialogue between the clients’ aspirations and the vision of the architects also shaped the project’s architectural form, aiming to create spaces that feel raw, alive, and rooted in the land.

Each structure interprets the shared language in a way that suits its use. The family home features more intimate, grounded spaces, while the homestay embraces openness with double-height volumes and a depressed green oxide-floored living area that invites informal gatherings. Black cudappa flooring and grey oxide walls define the space, while multi-use steps and a mezzanine study add layers of interaction and solitude. Perforated jaalis offer light, ventilation, and visual connection across levels — a feature mirrored in the family home’s staircase.

Throughout, the project features custom-designed furniture by SO Design Lab. In the family residence, the focus is on comfort and personal expression, whereas the homestay uses versatile, durable pieces fit for a rotating guest demographic. Outside, landscaping choices also underscore the duality of the project: selected plants by the family sit within a raw, natural setting, fostering an unmanicured aesthetic that encourages nature to thrive alongside the built.

jaali wall filtering the harsh west sun while inviting in cool breezes

exposed brick masonry and earth plaster create dynamic bands in the elevation

rammed earth elements highlight the foyer

staggered levels, exposed rammed earth, and a corridor framing views of the outdoors

a double-height living space anchored by a rammed earth wall and generous daylight

the sunken living space fosters informal conversations with multiple seating zones and warm materials

the courtyard is transformed into a vibrant outdoor space

the Jaali wall behind the staircase enhances cross ventilation and adds a dynamic play of shadow

a dual-home typology defines the project

stone floors, rammed earth walls, and a green oxide washroom wall create a serene atmosphere

amidst the lush landscape of Auroville, India

project info:

name: Residences at White Mongoose
architect: Bayhauz Design Studio

location: Auroville, India

text: Shivangi Buch — Build Prose 

furniture & lighting: So Design Lab

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: ravail khan | designboom

The post warmth and tactility of earth wrap bayhauz duo of houses in india appeared first on designboom | architecture & design magazine.

Hotel Avándaro, located in Valle de Bravo, Mexico, is the result of a comprehensive renovation and masterplan by architecture studios Chain + Siman and modomanera. Originally built in 1958 by Mexican modernist Francisco Artigas and later modified in the 1990s by architect Noldi Schreck, the property has undergone a redesign that maintains key architectural features while introducing updated spatial and material strategies. The 3,000 sqm hotel complex includes 81 guest suites, a convention center, two restaurants, a boutique, deli, golf course, clubhouse, and multiple communal areas. The site, situated within a forested area approximately 90 minutes from Mexico City, remains a venue for corporate gatherings and recreational stays.

The design reorganized circulation to separate and clarify pathways for hotel guests, club members, and event participants, improving spatial flow throughout the complex. While contemporary interventions were added, original architectural elements, such as sloped roofs and timber structures, were retained and adapted through new geometries and detailing. Materials including wood, stone, brick, and neutral-toned finishes were selected in response to the natural surroundings.

all images by Rafael Gamo and Celia Rojo

Chain + Siman and modomanera update hotel’s interior layouts

The collaborative design teams by Chain + Siman and modomanera studio renovated the guest suites with a focus on updated interior layouts. Original wooden ceiling beams were preserved, and new features, such as suspended fireplaces and outdoor balconies, were introduced to extend interior space toward the surrounding landscape. Sustainability was a central component of the project. Emphasis was placed on restoration over demolition to reduce waste and preserve embodied energy. A former dividing wall facade was adapted as a load-bearing element within a newly developed sequence of shared spaces. Additional environmental strategies included the installation of solar panels, a rainwater harvesting system, passive climate controls, and adaptive lighting.

Material sourcing and construction labor were largely local. The use of regional materials minimized transportation impact and supported local production. Employment generated through construction and operations was prioritized for members of the local community. The renovated complex includes new features such as JOSĒ Restaurant and La Acuarima, a circular pavilion adjacent to a natural canal, as well as a deli, café, and gym facilities. The project integrates architectural conservation with contemporary spatial needs, establishing a balance between heritage, environmental considerations, and operational functionality.

Hotel Avándaro sits within a forested landscape near Valle de Bravo, Mexico

neutral-toned materials complement the surrounding forest environment

JOSĒ Restaurant adds new culinary programming to the complex

timber, stone, and clay bricks form a cohesive material language across the site

the project features artwork by Mexican sculptress Charlotte Yazbek

a combination of vegetation and artisanal clay plates decorate the restaurant’s walls

the wooden beams are left uncovered to filter natural light, creating an interplay of light and shadow

Hotel Avándaro’s common areas integrate responsive lighting that illuminates beams and sloped roofs

the renovation includes two restaurants, a boutique, deli, golf course, clubhouse, and multiple communal areas

extensive views of the forested landscape turn the deli into an iconic viewpoint

a new spatial layout improves circulation between guests, members, and event attendees

Chain + Siman and modomanera led the comprehensive design overhaul

the project merges architectural continuity with updated hospitality design

project info:

name: Hotel Avándaro
architects: Chain + Siman | @chainsiman, modomanera | @modomanera
location: Valle de Bravo, Mexico

photographer: Rafael Gamo | @rafael_gamo, Celia Rojo | @celiarojo.fotografia

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post chain + siman and modomanera revive modernist landmark hotel avándaro in mexico’s forest appeared first on designboom | architecture & design magazine.

In the Dutch city of Heerlen, Holy Water by MVRDV proposes a playfully irreverent reimagining of the St. Francis of Assisi Church: not as a house of prayer, but a public swimming pool. With the help of Zecc Architecten, the Rotterdam-based studio won a competition to convert the 20th-century monument into a social amenity, preserving the historic spirit of the brick building while giving it a second life in service of the community. ‘Why not give these churches a social function again, as they used to have?‘ asks Winy Maas, co-founder of MVRDV. ‘A public swimming pool is ideally suited for this.’

One of the most innovative elements of Holy Water by MVRDV is an adjustable pool floor. This technical achievement accommodates swimmers of all ages and abilities while simultaneously supporting a completely dry, flat surface for cultural programming. When filled with a thin layer of water, the pool transforms into a mirrored surface, capturing the architecture in reflection and giving the illusion of walking on water. ‘You can create a beautiful visual effect,’ says Maas, ‘allowing the church to return to its original form and appear even larger and more impressive through reflection.’

visualizations © MVRDV

MVRDV salvages and repurposes sacred elements

A glowing circular canopy announces the entrance to MVRDV’s Holy Water renovation, forming a contemporary counterpoint to the brick mass of Heerlen’s original church. Inside, circulation paths along the former aisles lead to changing rooms and food services tucked behind glass walls. These transparent dividers preserve the building’s axial procession while ensuring the pool’s climate does not interfere with the fragile historic finishes.

Sensitive reuse is at the heart of the project, where original church pews are integrated into the design, doubling as poolside seating and bar counters. The pulpit, once a platform for sermons, will become the lifeguard’s chair. These subtle but thoughtful gestures anchor the transformation in memory, rather than erasure.

The design pays homage to ecclesiastical aesthetics through mosaic flooring that references stained glass and local murals. Working with artists from Heerlen, the architects emphasize community involvement. Lighting too has dual purpose — rows of suspended fixtures echo the original chandeliers while marking out swimming lanes. It’s a balance of spiritual atmosphere and functional choreography.

MVRDV’s Holy Water project transforms a historic church in Heerlen into a public swimming pool

Holy Water is part of Heerlen’s broader urban revival

Keeping a pool warm without damaging the church’s materials posed a major challenge. Holy Water by MVRDV solves this by insulating the roof externally and restoring its existing tiles. Inside, the original timber structure remains visible while hidden acoustic panels absorb echoes. A glass envelope around the pool keeps moisture away from the art and architecture, and all technical equipment has been cleverly concealed underground.

A joint effort by MVRDV, Zecc Architecten, IMd Raadgevende Ingenieurs, Nelissen Ingenieursbureau, and SkaaL, Holy Water by MVRDV exemplifies integrated design thinking. With structural, climatic, and economic expertise contributing to its realization, the project stands as a model of what adaptive reuse can achieve when heritage meets imagination.

The transformation of St. Francis of Assisi Church into Holy Water by MVRDV aligns with a citywide redevelopment push that includes a Roman museum and the renovation of the Royal-Rivoli cinema. The swimming pool not only relieves pressure on Heerlen’s existing facilities, but anchors a cultural and civic revival in the heart of the city. When completed at the end of 2027, Holy Water by MVRDV will be a working model for how disused sacred spaces can be respectfully reinvented.

the design preserves the church’s architecture while introducing a flexible, adjustable pool floor

mosaic tiles inspired by stained glass and local murals decorate the pool

church pews are repurposed as poolside seating while the pulpit becomes a lifeguard chair

Holy Water is expected to open in 2027 as part of a larger revitalization project across Heerlen

a shallow water feature allows visitors to experience the illusion of walking on water

project info:

name: Holy Water

architect: MVRDV | @mvrdv & Zecc Architecten | @zeccarchitects

location: Heerlen, The Netherlands

client: Gemeente Heerlen

area: 1,270 square meters

completion: 2025

visualizations: © MVRDV

architect: MVRDV, Zecc Architecten
founding partner in charge: Winy Maas
director: Gideon Maasland
design team (MVRDV): Gijs Rikken, Magda Porcoțeanu, Justin Vermeulen
design team (Zecc Architecten): Bart Kellerhuis, Roy van Maarseveen, Thijmen Hilhorst

structural engineer: IMd Raadgevende Ingenieurs | @imd_raadgevende_ingenieurs

building physics: Nelissen Ingenieursbureau | @nelissen_ingenieursbureau

cost calculation: SkaaL

copyright: MVRDV Winy Maas, Jacob van Rijs, Nathalie de Vries

The post MVRDV proposes irreverent renovation of historic church into ‘holy water’ swimming pool appeared first on designboom | architecture & design magazine.