After a three-year restoration, Torre Velasca, Milan’s iconic skyscraper, reopens to the public with a fresh identity that amplifies its brutalist-modernist legacy. First completed in 1958 by the avant-garde collective BBPR (Banfi, Belgiojoso, Peressutti, and Rogers), the concrete tower has long stood as a symbol of postwar Italian resilience and experimentation. Now, under the direction of Hines, with Asti Architetti leading the architectural refurbishment, Torre Velasca enters a new phase as a hybrid vertical complex that combines residential, corporate, cultural, and communal uses, anchored by a newly created urban piazza.

all images ©Albo

Hines and Asti Architetti restore Torre Velasca

The defining form of the tower, composed of a rational base rising into a dramatic overhanging crown supported by angled buttresses, is preserved in its entirety. Often likened to a medieval fortress or Lombard tower, its bold silhouette remains unchanged, but its skin and systems are carefully upgraded. The original clinker brick facade, one of the most distinctive features of the building, was subjected to extensive restoration, led by Milan-based Asti Architetti for global real estate firm Hines, using laser cleaning and manual repair techniques to preserve its original grain and irregularities. Windows, some of which had been replaced with incompatible frames in the decades since its construction, were returned to BBPR’s specifications, reintroducing uniformity and rhythm to the grid.

The restoration also involves an overhaul of the building’s technological core—HVAC, energy efficiency systems, acoustic insulation, and digital infrastructure—earning the project LEED Gold and WiredScore Gold certifications. ‘The restoration had to be invisible,’ explains Paolo Asti. ‘Every intervention had to match the design logic and constructive intelligence of BBPR, or it didn’t belong.’

after a three-year restoration, Torre Velasca reopens to the public

reimagining BBPR’s skyscraper as a civic platform

Spanning 34,000 square meters of mixed-use program across 29 floors, what was once a gated skyscraper now opens fully to the public. The base now includes flexible event spaces, an exhibition gallery, retail units, and informal lounges. The 75-meter-high tower, once seen as a fortress, now functions as a civic platform. ‘This isn’t just a real estate project. It’s a return of public dignity to a building that was always meant to be part of the city, not apart from it,’ notes Senior Managing Director of Hines Mario Abbadessa.

Internally, public and private programs are layered vertically in a manner that respects the original tripartite structure: a commercial and communal ground plane, a modernist office block midsection, and a residential crown above—now reimagined as the METT Hotel & Lifestyle residences. The 18th floor houses MIA, a new panoramic restaurant designed with restrained luxury, while the mezzanine floors accommodate SUSHISAMBA and other food and wellness amenities. The interiors feature bespoke terrazzo, restored wood paneling, original signage typography, and hand-finished ceramics in an effort to echo the material intelligence of BBPR’s original scheme.

Perhaps the most radical gesture is at street level, where the formerly vehicle-dominated area around the tower has been entirely re-landscaped as Piazza Velasca, a pedestrian piazza paved in natural stone and planted with magnolias, olive trees, and native grasses. Asti Architetti’s custom benches and Esa Engineering’s lighting reinterpret BBPR’s design language in a contemporary idiom. The original street lamps designed by BBPR have also been restored, bridging past and present.

Milan’s iconic skyscraper adopts a fresh identity

first completed in 1958 by the avant-garde collective BBPR

the concrete tower has long stood as a symbol of postwar Italian resilience

under the direction of Hines, Asti Architetti leads the architectural refurbishment

Torre Velasca enters a new phase

a newly created urban piazza anchors the project

a hybrid vertical complex that combines residential, corporate, cultural, and communal uses

its bold silhouette remains unchanged

its skin and systems are carefully upgraded

laser cleaning and manual repair techniques preserve the original grain and irregularities of the facade

a rational base rises into a dramatic overhanging crown supported by angled buttresses

project info:

name: Torre Velasca Restoration

location: Milan, Italy

original architects: BBPR (Gian Luigi Banfi, Lodovico Belgiojoso, Enrico Peressutti, Ernesto Nathan Rogers)

restoration lead architect: Asti Architetti | @asti_architetti

developer: Hines Italy | @hines

floor area: 34,000 sqm

height: 75 meters

engineering: CEAS (structures), ESA Engineering (MEP)

general contractor: ARS Aedificandi

heritage supervision: Soprintendenza Archeologia, Belle Arti e Paesaggio per la città metropolitana di Milano

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Studio Saransh’s MS House in Ahmedabad, India, is a brutalist home that revolves around the nine mature neem trees of the site, preserving them as central elements that shape the spatial layout, architectural form, and material palette. The influence of nature is evident from the moment one approaches the site. The boundary wall winds around a tree trunk to preserve its growth, and a downward-curving branch near the entrance lobby makes this connection stronger. The brutalist aesthetic manifests strongly in the exterior, where bold geometries of the concrete facade disappear quietly within the green foliage. Square punctures within the shell of the residence and deep chamfered window sills further maximize this effect, allowing diffused light to cast playful shadows. The wooden-strip textured concrete mirrors the textures of the trees, softening the visual presence of the structure.

all images by @ishifishy

Nature softens the Brutalist Form of the ms house in india

At the heart of the house is a double-height central bay that embraces a neem tree. This space, oriented East-West, is where the family gathers for morning tea and meals under the canopy. ‘The central bay is more than just a design element—it is the soul of the house,’ explains Malay Doshi, principal architect at Studio Saransh. It anchors two wings: the front housing the living room, verandah, and garden, and the other accommodating the guest room, kitchen, and ancillary spaces. ‘Every element of this house is shaped by the site’s natural context and the family’s needs, embodying our belief that a good design must seamlessly integrate function, individuality, and environment,’ adds Kaveesha Shah, the principal interior designer of the Ahmedabad-based studio. 

On the upper floor, the central bay transitions into a study area overlooking the dining space below. Each space establishes its own relationship with the trees outside. The architects position the master bedroom directly above the living room, opening to a shaded balcony that overlooks the trees. Occupying the quieter rear wing, the daughters’ bedrooms offer views of the backyard. The second floor serves as a social terrace with a family lounge, bar, and powder room, creating an inviting space for gatherings above the neem canopies.

wooden-strip textured concrete mirrors the textures of the trees

Materials that Connect Inside and Out

Concrete and lime-plastered walls combined with grey Kota flooring create a cohesive design that ties the interior and exterior of the MS House together. The living room incorporates smooth-polished plywood cast concrete surfaces and ethically sourced Valsadi teak paneling, with ribbon windows framing the views of the foliage outside.

The dining area houses a custom wooden table by TDW with rosewood detailing that mirrors the linearity of the concrete and Kota pattern, while teak and wicker chairs from Mistry at Finest pair with a parametric suspension lamp designed in collaboration with Andlabs. The living room is designed to function as two seating clusters: one featuring a custom sectional sofa set and an iconic Eames chair with the Arco lamp from Flos, and the other with a more formal setup featuring custom-designed fabric lamps and an abstract art rug from Jaipur Rugs.

square windows puncture within the shell of the residence

Personal Spaces with Distinctive Characters

The bedrooms reflect the personalities of their occupants, with the master bedroom, finished in ply cast concrete and Kota flooring with terrazzo detailing, featuring a custom four-poster bed with stone pedestals and wooden posts. Contrasting tones saturate the daughters’ rooms—one with graphite shades, the other with sage green walls and green marble-infused terrazzo flooring. 

The bathrooms introduce their own design narratives. The master ensuite is bathed in natural light from two skylights: a circular one above the sink and a square one hidden in the shower. The black powder room on the terrace, featuring full-height glazing, overlooks an array of Champa trees, creating an illusion of a private courtyard. 

Beyond merely preserving the neem trees, MS House takes advantage of its orientation to maximize natural light and ventilation. Heat gain is reduced through laminated double glazing, deep shaded openings, and cavity walls. The solar-powered roof of the gazebo enables the house to run on solar energy, meeting 70-80% of its needs, while lime-plastered walls eliminate the need for plastic-based paints, ensuring an eco-friendly approach. Additionally, with materials used resourcefully—leftover timber is repurposed into custom tables, while marble remnants form a console in the drawing room, ensuring minimal construction waste.

the boundary wall winds around a tree trunk to preserve its growth

at the heart of the house is a double-height central bay that embraces a neem tree

here is where the family gathers for morning tea and meals

concrete and lime-plastered walls are combined with grey Kota flooring

the living room hosts an iconic Eames chair with the Arco lamp from Flos

the living room incorporates smooth-polished plywood cast concrete surfaces

MS House takes advantage of its orientation to maximize natural light and ventilation

project info:

name: MS House
architect: Ahmedabad-based studio | @studio_saransh
location: Ahmedabad, Gujarat, India
built-up area: 605 square meters
site area: 543 square meters

client: Manish Shah
design lead: Malay Doshi, Kaveesha Shah
design team: Vishal Gohel, Anamica Gupta

structure: Sakshham Consultants
MEP: Ravi Engineering
parametric consultant: andLabs
horticulturist: Shwetal Bhavsar

doors/windows: The Window Factory

photography: Ishita Sitwala | The Fishy Project | @ishifishy

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Launching during Milan Design Week 2025, 24Bottles introduces Titanium, the brand’s lightest thermal bottle to date. Born from the pursuit of essentiality, the new model combines minimal form with exceptional thermal performance. Its core design values – elemental function and sculptural simplicity – come to life through a campaign set at the Collegi of Giancarlo De Carlo in Urbino, chosen for its raw, monumental brutalist architecture. Developed entirely by the 24Bottles design team, the concept highlights the tension between the product’s extreme lightness and the weight of its architectural context, elevating Titanium as both an object of function and refined expression.

the Titanium collection by 24Bottles debuts during Milan Design Week 2025 | all images courtesy of 24Bottles

A NEW CHAPTER FOR 24BOTTLES, ROOTED IN DESIGN AND PURPOSE

Founded in Bologna in 2013, 24Bottles is known for its commitment to reducing single-use plastic through thoughtfully designed everyday objects. Combining functionality and environmental awareness, the Italian brand continues to grow its global presence across 65 countries, with flagship stores in Milan and Rome and a customizable online service through 24 Lab. The Titanium launch underlines the brand’s evolution, as it continues to challenge norms and build a more conscious lifestyle through design.

‘Titanium is just the beginning of a journey that will push 24Bottles to new frontiers of design and innovation. We will continue to explore new solutions to redefine the concept of the essential, transforming it into an increasingly extraordinary experience,’ explain Giovanni Randazzo and Matteo Melotti, founders of 24Bottles.

the campaign unfolds within the brutalist architecture of Giancarlo De Carlo’s Collegi in Urbino

WHERE MINIMAL DESIGN MEETS MATERIAL INTELLIGENCE

This launch signals a bold new direction for 24Bottles – one that redefines utility through material precision and elevated aesthetics. Offered in four distinctive variants – Abyss, Aura, Avant, and Astra – each name begins with the letter “A” to evoke themes of origin, depth, and limitless transformation.

To complement the collection, 24Bottles partners with Casba Studio on a modular accessory system: the Casba x 24Bottles Shoulder Strap, paired with the new Tri-holder. Engineered from hyper-technical materials, the strap wraps seamlessly around the bottle in a continuous loop, eliminating the need for bulky bags or fastenings. Integrated with discreet yet purposeful details – including a key carabiner and a dedicated phone holder – the system delivers hands-free functionality for everyday movement.

the collection is offered in four distinctive color variants

titanium is the brand’s lightest thermal bottle to date, crafted for high-performance functionality

the new bottle weighs half as much as its stainless steel counterpart while maintaining thermal insulation

this launch signals a bold new direction for 24Bottles

the bottles core design values are elemental function and sculptural simplicity

the design expresses a pure, sculptural form rooted in essentiality

24Bottles collaborates with Casba Studio on a modular shoulder strap and tri-holder system

project info:

name: Titanium

brand: 24Bottles | @24bottles_official

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Set deep in Mexico’s Mayan jungle beside a clear cenote, the Brutalist Retreat by Praaactice stands in raw contrast to its lush surroundings. This 115-square-meter, two-level home for a young couple embraces strong geometric forms while staying grounded in the landscape.

The architects build with concrete, weathered wood, and local stone, creating a structure that feels solid and aims to become timeless. The design doesn’t dominate the site but works with it, carving out precise openings to reveal the cenote and dense foliage. 

all images courtesy of Praaactice

the brutalist retreat blends raw concrete with the jungle

The team at Praaactice, led by Adrien Aguilar, carves a space on the ground floor, where the shadow of the upper volume creates a smooth transition from the outdoors to the indoors. The social area here opens up to the jungle, featuring a pool that seems to melt into the terrain and terraces that invite visitors to take in the view. A sculptural concrete staircase leads up to the second level of the Brutalist Retreat, which has two bedrooms. These rooms are private yet still keep the residents connected to the lush surroundings through strategically placed walls and windows. Throughout the day, the play of light and shadows makes the concrete come to life, adding depth to the simple materials.

the architects build with concrete, weathered wood, and local stone

a structure that feels solid and aims to become timeless

the design doesn’t dominate the site but works with it

precise openings to reveal the cenote and dense foliage

this 115-square-meter, two-level home is designed to house a young couple

the play of light and shadows makes the concrete come to life

project info:

name: Brutalist Retreat in the Tulum Jungle
architect: Praaactice Adrien Aguilar Architects

location: Mexico

design team: Adrian Aguilar, Shadani Segura, Jorge Trejo

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: thomai tsimpou | designboom

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As the final episode of Severance’s Season 2 airs today, March 21st, viewers are left to ‘hang in there’ (remember that Breakroom poster?) while waiting for the next. Aside from setting a new record for Apple TV+ as its most-watched overall show, the series could be a masterclass in world-building through design. Directed by Ben Stiller and created by Dan Erickson, the show curates an environment that combines mid-century modernism, brutalist corporate aesthetics, and retro-futuristic technology to craft a sleek and unsettling world. Every architectural detail, furniture choice, and object reinforces the eerie duality of Lumon Industries—a workplace that feels familiar yet alien.

Severance uses design as a psychological tool to shape its retro-futuristic dystopia. From the sterile, symmetric corridors of the Severed floor, to the warm yet curated domestic spaces outside its walls, every element serves a purpose. Explore how mid-century modernist architecture is warped into a mechanism of control, how Dieter Rams’ minimalist, industrial pieces contribute to the company’s unsettling aesthetic, and how color, typography, and art shape this hypnotic world as we deep dive into the design elements that make Lumon Industries.

all images courtesy of Apple TV+ | Eero Saarinen’s Bell Works houses Lumon Industries

MID-CENTURY MODERNISM through a dystopian lens

Filmed primarily at the Bell Works in New Jersey, designed in 1962 by Finnish-American architect Eero Saarinen, Lumon Industries headquarters is a corporate labyrinth that distorts the idealism of mid-century modernism into something ominous. The symmetrical layouts and smooth curves, typically symbols of innovation, here create an atmosphere of cold uniformity.

In the sixth episode of season 2 of the Apple TV+ show, the Gerald Luss House, a modernist residence in upstate New York, is introduced as the home of ‘Outie’ Burt and his husband Fields. Built in 1955 as the first residential project of architect, sculptor, and furniture designer Gerald Luss, the home, located in a region renowned for mid-century architecture, brings postwar corporate modernism into a domestic setting, complete with original Luss-designed furniture, like the iconic Time-Life couch.

Taghkanic House by Thomas Phifer and Partner

the diverging architectural narratives of timber and glass

The After Hours episode (S2, E9) opens at the home of the Lumon CEO Jame Eagan, and his daughter Helena, filmed at the Taghkanic House by Thomas Phifer and Partners. Tucked within a pine forest in rural upstate New York, the residence unfolds as two volumes with panoramic views of the Hudson River Valley and the distant mountains. The house’s glass and steel pavilion, perched above the landscape, creates a striking contrast with the solid lower level built into the hillside. 

In contrast, the Bier House—home to Mark’s sister Devon and her husband Ricken Hale—offers warmth and natural materials, yet still feels oddly staged. Designed by American-Japanese architect Kaneji Domoto in 1949, the Usonian home reflects his teacher Frank Lloyd Wright’s organic architecture principles, with a cantilevered living room, skylights, and a dining terrace wrapped around a tree. 

Lumon Industries headquarters is a corporate labyrinth

The Cold Precision of Dieter Rams inside lumon industries

The Severance production design team, led by Jeremy Hindle, curates furniture and objects that heighten the unsettling tone of the show. Pieces by Dieter Rams, a pioneer of minimalist industrial design, appear throughout Lumon, reinforcing the company’s clinical, function-over-form aesthetic. In the Chikhai Bardo episode (S2, E7), we visit the testing floor of Lumon Industries. There, we find Ms. Casey, Mark S.’s deceased wife, seated in the Fauteuil 620 armchair by Dieter Rams. In the same episode, more iconic designs by the German industrial designer make their appearance. Among them are the Braun FS-80 television, the Braun Wandanlage audio system, the HUV 1 Cosmolux lamp in collaboration with Reinhold Weiss, and the Bureau RZ-57, which contribute to the distinctive retro-futuristic aesthetic of Severance.

Beyond Rams, other furniture choices deepen the corporate sterility. The Fauteuil Nimrod by Marc Newson, the Fauteuil Fardos by Ricardo Fasanello, and Joe Colombo’s Chaise Universale and Vanity Dilly Dally all contribute to the eerie, hyper-controlled environment.

fluorescent-lit, linoleum-floored hallways evoke an institutional setting akin to hospitals

muted tones and stark typography

The color palette within Lumon is a crucial storytelling device. The soft greens of the office carpeting contrast against the stark white corridors, creating a hypnotic, almost hospital-like sterility. This choice is not accidental—green is often associated with focus and calmness, yet in Lumon’s context, it amplifies the unnatural stillness of the space.

Materiality plays an equally important role. Wood veneer paneling and muted earth tones in executive spaces suggest authority, while the fluorescent-lit, linoleum-floored hallways evoke an institutional setting akin to government facilities. The absence of natural light throughout the Severed Floor makes the workplace feel like an endless loop where employees exist in a world without time.

Typography and branding follow suit. Sans-serif fonts, minimalist icons, and corporate paperwork draw from mid-century government and business design, reinforcing Lumon’s faceless bureaucracy.

the Testing floor looks like an endless corridor

Art as Corporate Propaganda

At Lumon, even art serves as a tool of psychological control. The paintings that line the halls of the company—particularly the bizarre depictions of employees engaged in exaggerated, cult-like camaraderie—echo the visual language of Soviet-era propaganda and corporate motivational murals, reinforcing a manufactured sense of unity and devotion.

A significant aspect of the visual identity of Severance is the collection of oil paintings tied to Lumon’s lore and its founder, Kier Eagan. Stored and maintained by the Optics & Design department, these works, rendered in various styles, depict scenes from Eagan’s life and illustrate his philosophies, fostering an omnipresent, almost cult-like reverence for him. Through these images, Lumon carefully curates its own mythology, using art to shape the perception of its employees. In contrast, Irving Bailiff offers a deeply personal form of artistic expression. A prolific painter in his spare time, ‘Outie’ Irving fixates on a single subject: the Exports Hall leading to the Testing Floor.

Outside of Lumon, art takes on a different role. In the Attila episode (S2, E6), inside Burt and Fields’ kitchen, we catch a glimpse of Agnello Clown (1949) by Robert Springfels. While their home provides a stark contrast to Lumon’s sterile, hyper-controlled world, the clown’s eerie gaze lingers in the background, a subtle reminder that unease is never far away. Even in a space that should offer refuge, the presence of this unsettling painting hints at the fragility of their sanctuary.

Miss Huang in front of ‘Kier Pardons His Betrayers’ painting

pieces by Dieter Rams, a pioneer of minimalist industrial design, appear throughout Lumon

mid-century modernism, brutalist corporate aesthetics, and retro-futuristic technology

Fauteuil Nimrod chairs by Marc Newson

art serves as a tool of psychological control

furniture choices deepen the corporate sterility

employees sit at the Bureau RZ-57 office

green is often associated with focus and calmness

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Roberto Conte and Stefano Perego’s Brutalist Italy exhibition, following their publication of the same name, is now on view at the Italian Cultural Institute in Berlin. Over the last five years, the two photographers travelled over 20,000 kilometers across the Italian peninsula to document more than 100 Brutalist structures from the 1960s to the 1980s, from cemeteries and sanctuaries to port buildings and residential complexes.

Their work highlights how the architectural movement’s heritage in the country stands apart. Unlike the forward-looking Brutalism of other countries, Italian Brutalism acknowledges the past. As architectural historian Adrian Forty notes in the published text accompanying the exhibition, Italian architects embraced concrete as a medium that could embody both the past and the future, resisting the idea that modern materials should signify only progress.

all images by Roberto Conte and Stefano Perego, unless stated otherwise

captured by roberto conte and stefano perego 

This interplay highlighted by Adrian Forty is evident in structures photographed by Roberto Conte (see more here) and Stefano Perogo (see more here), like the Monte Grisa Sanctuary in Trieste, a geometric mass perched above the Adriatic, evoking both a futuristic spacecraft and an ancient fortress. In Genoa, the infamous ‘Washing Machines’ residential blocks present a striking contradiction — at once utopian in scale and dystopian in their weathered, timeworn surfaces. Such buildings challenge the notion that Brutalism is purely an aesthetic of power or imposition.

The result of this field research is the book Brutalist Italy (FUEL publishing, 2023), featuring 146 photographs of over 100 Italian Brutalist buildings that invite a deeper appreciation of these structures as vital parts of Italy’s built heritage. The Berlin exhibition marks its first dedicated showcase.

Monumental Cemetery extension, Busto Arsizio, by Luigi Ciapparella

La Casa Del Portuale by Aldo Loris Rossi

Roberto Conte and Stefano Perego spotlight Italy’s Brutalist heritage

Brutalist Italy documents Brutalist structures from the 1960s to the 1980s

the two photographers travelled over five years and 20,000 kilometers across the country

the Berlin exhibition marks the first dedicated showcase of Brutalist Italy

the exhibition is accompanied by a publication of the same name

San Siro Stadium, Milan

the buildings on view challenge the notion that Brutalism is purely an aesthetic of power or imposition

Adrian Forty’s written introduction speaks to how Italian Brutalism embraces the future while preserving the past

over 100 buildings were documented by the duo | image by Riccardo Malberti

the buildings extend from the Italian Alps to the Mediterranean Sea | image by Riccardo Malberti

image by Riccardo Malberti

the exhibition is on view at the Italian Cultural Institute in Berlin | image by Riccardo Malberti

project info:

name: Brutalist Italy

photographer: Roberto Conte | @ilcontephotography, and Stefano Perego

location: Italian Cultural Institute, Berlin, Germany

dates: 19th February — 30th April, 2025

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The principles of wabi-sabi, a Japanese philosophy that finds beauty in the natural and the imperfect, intertwine with the stark poetry of brutalism at shell+core’s OTAKU café in Abu Dhabi. Sited along the waterfront in the city’s Al Qana district, the project crafts a tactile and atmospheric environment envisioned to evolve with time. From the structure to the interior finishes, the UAE-based studio embraces material honesty, leaving concrete, untreated wood, and natural stone exposed to tell their own stories over time. 

all images by Bianca Studio 

shell+core’s earthy material palette embraces brutalism

Given the site’s location on an irregular lot and drawing inspiration from its waterfront setting, shell+core has integrated fluid forms throughout that soften the rigidity of the material palette. Reflective surfaces and carefully curated lighting create shifting patterns of shadow and light that soften the presence of imposing materiality, reinforcing the idea that the café is in constant dialogue with its natural surroundings. Among these organic touches, the influence of Tadao Ando’s brutalism is evident in the architects’ stark yet poetic approach to form. Volumes of concrete are juxtaposed with warm organic textures, prevalent in a central column, which, rather than being hidden or structurally masked, is partially clad in richly patterned Californian burl wood and elevated into a sculptural feature.

Indirect lighting accentuates its duality, allowing the interplay between smooth and rugged textures to become a focal point at OTAKU. Throughout, the architects have also positioned vintage and restored furniture personally sourced by the client to add further layers of depth and character, while large plants form subtle space delineators to present both intimate and open seating arrangements without disrupting the openness of the program.

shell+core completes OTAKU café

sited along the waterfront in Abu Dhabi’s Al Qana district

the principles of wabi-sabi intertwine with the stark poetry of brutalism

concrete, untreated wood, and natural stone are left exposed to tell their own stories over time

a central column is partially clad in richly patterned Californian burl wood and elevated into a sculptural feature

c

shell+core has positioned vintage and restored furniture personally sourced by the client

project info:

name: OTAKU

architect: shell+core | @shellandcore.uae

location: Abu Dhabi, UAE

lighting: PS LAB

photographer: Bianca Studio 

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Roberto Conte captures the concrete beauty of tropical-brutalist architecture in the idyllic landscape of Santa Cruz de Tenerife, Spain. The headquarters of the Tenerife Architects’ Association becomes the protagonist of the architectural photographer’s new series which spotlights the quiet legacy of this building. Built between 1966 and 1971 by a working group led by architects Javier Díaz-Llanos La Roche and Vicente Saavedra Martínez, the building integrates bold modernist forms with functional design for an adaptable interior. Key features include a vertically imposing main structure, an open square with exhibition spaces below, and a facade marked by irregularly arranged windows and striking concrete textures.

all images by Roberto Conte

roberto conte spotlights the brutalist structure’s legacy

Díaz-Llanos and Saavedra, both graduates of the Higher School of Architecture of Madrid in 1960, brought their modernist sensibilities from the Spanish capital to Tenerife, leaving a deep and lasting impact on the Canary Islands’ architectural heritage. This headquarters — known officially as Colegio Oficial de Arquitectos de Tenerife, La Gomera y El Hierro — is one of their masterpieces, functionally divided between the imposing main building, which has a striking verticality, and a large square beneath which are located exhibition areas. The open space, adorned with Lady Tenerife, a vivid red sculpture by Martín Chirino, interrupts the visual continuity of the urban fabric along Rambla de Santa Cruz, offering unobstructed views of the mountainous backdrop, creating a visual interaction between the landscape and the city.

The headquarters of the Tenerife Architects’ Association still serves the same function for which it was designed, and having undergone very few modifications since 1971, it remains a fascinating testament to its time. Within, it accommodates the association’s offices, a library, a meeting room, and a modular exhibition space, while the programming allows for flexibility in exhibition arrangements, utilizing floor-anchored supports. Irregularly arranged windows across the floors punctuate the facade, characterized by openings inclined at 45 degrees relative to the frontage. Cantilevered coverings protect the two entrances: the main one on the square and another on the street side, that lead to the offices and exhibition spaces. ‘While the exposed concrete — with the clearly visible imprints of wooden formwork — is undoubtedly the most important material element of the entire building, the interior also features the use of wood and tiles that inject a cohesive sense of texture and warmth,’ writes Roberto Conte.

Roberto Conte captures the concrete beauty of tropical-brutalist architecture

the headquarters of the Tenerife Architects’ Association becomes the protagonist of the series

located in the idyllic landscape of Santa Cruz de Tenerife, Spain

the building integrates bold modernist forms with functional design for an adaptable interior

the interior also features the use of wood and tiles

concrete textures

built between 1966 and 1971 by a working group led by Javier Díaz-Llanos La Roche and Vicente Saavedra Martínez

the headquarters still serves the same function for which it was designed, with very few modifications since 1971

it accommodates the association’s offices, a library, a meeting room, and a modular exhibition space

the materiality injects a cohesive sense of texture and warmth

the programming allows for flexibility in exhibition arrangements, utilizing floor-anchored supports

project info:

name: Colegio Oficial de Arquitectos de Tenerife

photographer: Roberto Conte | @ilcontephotography

architect: Javier Díaz-Llanos La Roche, Vicente Saavedra Martínez

location: Santa Cruz de Tenerife, Spain

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

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Transparent releases the Brutalist Speaker, a sound device that draws design inspiration from and pays homage to 1950s brutalist architecture. The Stockholm-based brand has finally come around after developing the speaker for around three years. It is crafted from 70 percent recycled aluminum, and the brand designs it for, but is not limited to, corner placement or use. Aside from its brutalist design, the Transparent speaker features dual three-inch tweeters and bass reflex construction so that the sounds coming out have rich and crisp bass.

The Brutalist Speaker comes with Wi-Fi integration and can easily connect to AirPlay2, Spotify Connect, Tidal Connect, and more. Its look is minimal, with two protruding speakers on the upper part, the control buttons just below them, and a third speaker just a corner away. These design elements hark back to the Brutalist architectural style of the 1950s while modernizing it by using an aluminum speaker as their canvas.

all images courtesy of Transparent

Elevated speakers to hear detailed high-frequency sounds

Transparent’s Brutalist Speaker doubles as a statement piece. It fits the style of a modern home, and because the Stockholm-based audio brand opts for recycled aluminum, it is sourced from post-consumer use. Looking at the speaker’s design, it rightfully resembles a geometric tower holding a large acoustic volume. Transparent adds that the bass reflex design is carefully engineered to produce massive sound. The reason the two three-inch tweeters are positioned at a 90-degree angle from their elevated vantage points is to allow listeners to hear what the Brutalist Speaker is playing, given its detailed high-frequency sound.

This positioning also helps create a richer soundscape, especially when the owner places it in the corner, as it relies on the acoustic reflections from the walls to bounce and reverberate its sound. The pre-mounted Wiim Mini module lets the owners access Wi-Fi streaming through music apps, and it’s easy for the Brutalist Speaker to join a stereo or multi-room wireless speaker system. Transparent releases their recent model on their site and at select retailers, including SSENSE, Mr. Porter, Luisa Via Roma, and Isetan.

Transparent releases the Brutalist Speaker dedicated to the 1950s architecture

the protruding speakers allow for high-frequency sounds

the control buttons sit just below the rounded speakers

it took the audio brand three years to develop the recent model

the device is crafted from 70 percent recycled aluminum

the audio brand designs it for, but is not limited to, corner placement or use

rear view of the speaker

the Brutalist Speaker can easily connect to AirPlay2, Spotify Connect, Tidal Connect, and more

Transparent’s Brutalist Speaker doubles as a statement piece for modern home

project info:

name: Brutalist Speaker

brand: Transparent | @transpa.rent

The post transparent’s aluminum speaker pays homage to 1950s brutalist architecture appeared first on designboom | architecture & design magazine.

In the latest of his architectural photography series, Hamburg-based photographer David Altrath‘s lens frames the Wotruba Church, a landmark of brutalism in Vienna. The building, envisioned by the Austrian sculptor Fritz Wotruba and realized by the architect Fritz Gerhard Mayr, is composed of 152 raw concrete blocks in varied shapes and sizes, with the tallest reaching 13.1 meters. Mayr meticulously realized the sculptor’s vision, assembling the blocks in an unconventional, staggered arrangement that gives the structure a powerful, monolithic presence while revealing the unadorned surfaces typical of brutalist aesthetics.

all images by David Altrath

glass filters the light amid Wotruba Church’s concrete blocks

Completed in 1976, the abstract, sculptural form of the church departs from traditional ecclesiastical design, emphasizing mass and asymmetry. David Altrath’s photography depicts the interplay of natural light and shadow within the minimalist interior of the Wotruba Church, where simple glass panels set between raw concrete blocks filter light that casts dynamic beams across the austere space. This interplay animates the otherwise sparse environment, enhancing the serene, contemplative atmosphere that Fritz Wotruba envisioned. The careful integration of light and form reflects his belief in finding beauty in simplicity, creating a space for reflection.

David Altrath‘s lens frames the Wotruba Church

envisioned by the Austrian sculptor Fritz Wotruba and realized by the architect Fritz Gerhard Mayr

simple glass panels set between raw concrete blocks filter light

152 raw concrete blocks in varied shapes and sizes compose the structure

the structure features a powerful, monolithic presence

David Altrath’s photography depicts the interplay of natural light and shadow within the minimalist interior

Mayr meticulously realized the sculptor’s vision

the blocks are assembled in an unconventional, staggered arrangement

revealing the unadorned surfaces typical of brutalist aesthetics

The post david altrath’s lens frames layered raw concrete blocks in austrian brutalist church appeared first on designboom | architecture & design magazine.