Elmaghraby Design House, in collaboration with Professor Dr. Gamal El-Kholy, takes over the rehabilitation of a disused lecture hall at Ain Shams University in Cairo, Egypt. The project has resulted in a significant addition to the campus, a multi-functional theater that introduces a new architectural identity through adaptive reuse. The architecture demonstrates a sustainable approach by reactivating an existing structure rather than initiating new construction, aligning with broader goals of resource efficiency and architectural preservation.

At the center of the design concept is the metaphor of the theater curtain, which informs both the programmatic transition and the architectural expression. The new facade, composed of a transparent glass curtain wall system and a series of parametric aluminum louvers, embodies this idea. The louvers, configured to respond dynamically to light and perspective, modulate transparency and shadow, giving the building a variable presence depending on time and viewpoint. This facade system also provides environmental performance by offering solar shading while maintaining visual openness. The glass curtain wall establishes visual continuity with the campus environment, reflecting adjacent structures and reinforcing contextual integration. Simultaneously, the parametric aluminum elements introduce a contemporary architectural language that distinguishes the theater from its more conventional surroundings.

contextual view blending new and existing elements | all images courtesy of Elmaghraby Design House

Ain Shams University Theater stands as the campus landmark

Internally, Elmaghraby Design House’s architectural team reorganizes the program to support dual academic and cultural functions. A fully equipped theater with a 550-seat capacity has been introduced, designed to accommodate a wide range of performances and events. In addition, two-tiered lecture halls, with a combined capacity of 1,200 students, extend the building’s usability for educational purposes. This hybrid configuration enables the structure to serve as both a learning environment and a cultural venue, fostering interdisciplinary interaction and community engagement.

By retaining the original structure and reimagining its function, the project minimizes material waste and conserves embedded energy. The intervention reinforces the role of architecture in evolving institutional identity, where form, function, and context are reassessed to meet contemporary needs. The Ain Shams University Theater now stands as a campus landmark, articulating a renewed commitment to cultural expression, academic versatility, and sustainable transformation through architectural design.

revitalized landscape creating vibrant campus edges

main entrance framed by dynamic aluminum fins

louver detail contrasting with soft landscape elements

the facade design draws from the metaphor of a theater curtain

vertical louvers animate the facade with movement

glass reflects the surrounding buildings, bridging old and new

close-up of louvers revealing layered depth and texture

aluminum louvers modulate shadow and light based on orientation and time of day

detail of parametric louvers casting rhythmic shadows

elevation reflecting the new architectural identity

at night, the facade opens like a stage curtain

project info:

name: Ain Shams University Theater Rehabilitation
architects: Elmaghraby Design House | @designed.by.elmaghraby

lead architect: Ahmed El-Maghraby

collaborator: Prof. Dr. Gamal El-Kholy

client: Ain Shams Government
location: Cairo, Egypt

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 undulating aluminum curtain facade drapes over ain shams university theater in egypt appeared first on designboom | architecture & design magazine.

The Western Sydney International Airport terminal has reached completion, marking Australia’s first new major airport in over half a century. Located in Badgerys Creek, the terminal is conceived as both a transport hub and civic landmark — an architectural statement grounded in place and shaped for the future of aviation.

First proposed by COX Architecture and Zaha Hadid Architects through a 2019 design competition, the project has since been carried forward by a collaborative team including Woods Bagot and builder Multiplex. The resulting terminal is a culmination of technical precision, spatial generosity, and cultural responsiveness, tailored to the evolving needs of Western Sydney.

‘This is a rare opportunity to define the next generation of airport design,’ says Cristiano Ceccato of Zaha Hadid Architects. ‘It’s a terminal that expresses both international ambition and a strong sense of place.’

images © Brett Boardman, Trevor Mein

a rhythmic design by zaha hadid, woods bagot & cox

Designing the expansive roofline of the Sydney Airport terminal, Zaha Hadid Architects, Woods Bagot, and COX take cues from the low-lying Cumberland Plain, echoing the contours of the land. Its ceiling, composed of sculptural, timber-lined modules, captures shifting daylight throughout the day. The filtered light creates a rhythm of brightness and shadow, offering both orientation and calm across the large volume of the departure hall.

Glass curtain walls along the perimeter draw in the landscape and provide views outward, ensuring a continuous connection between interior and environment. These gestures help shape a civic-scale structure that feels open and grounded, rather than monumental or imposing.

Working with construction company Multiplex, COX shaped the terminal as a contemporary expression of place. ‘The way light filters through the terminal shapes how people move, orient and feel,’ David Holm of COX explains. ‘For many, this space marks their first encounter with Australia, and we wanted that experience to feel unmistakably grounded in place.’

the Western Sydney International Airport terminal is Australia’s first major airport in over 50 years

a sustainable terminal for sydney

The roof canopy over the forecourt is configured by Zaha Hadid Architects, COX, and Woods Bagot to offer shelter and shade while guiding movement into the new Sydney Airport terminal. This threshold is conceived with attention to scale and detail, with natural materials and Indigenous design references shaping a quiet sense of welcome.

Warm timbers, etched details, and interpretive artworks are integrated throughout, creating an environment that honors the region’s heritage without relying on overt displays. Public consultation with Dharug custodians and First Nations consultant Murrawin informed many of the terminal’s symbolic and spatial elements.

This embedded cultural approach complements the terminal’s focus on intuitive, egalitarian movement. Sightlines are clear, signage minimal, and transitions between zones legible without requiring effort. As passengers move through arrivals, departures, and security checkpoints, the building’s architecture does the work of orientation.

its low-slung form and sculptural ceiling draw from the contours and light of the Cumberland Plain

Led by Woods Bagot, the design and delivery phase prioritized performance and longevity. ‘The ambition was to create a terminal that functions at a global standard while maintaining a distinct local identity,’ Neil Hill of Woods Bagot notes.

The architecture supports a modular expansion strategy, allowing for future growth in stages without the need for full redesign. Passive ventilation, water recycling, and energy-efficient systems earned the terminal a five star Green Star rating. From landside approach to baggage handling, every aspect was calibrated to optimize throughput and passenger comfort.

As Western Sydney International Airport prepares for its first flights, the terminal stands ready to support 24-hour international and domestic operations. Beyond its technical and environmental credentials, the project offers a new civic identity for one of Australia’s fastest-growing regions.

filtered daylight animates the terminal’s interior and guides passenger orientation

large glass walls maintain a visual connection to the surrounding landscape

the terminal favors intuitive navigation with open sightlines and understated signage

a modular layout and 5-star Green Star rating reflect long-term flexibility and environmental priorities

the terminal brings a civic-scaled space that blends global functionality with local cultural identity

project info:

name: Western Sydney International Airport

architect: Zaha Hadid Architects, Woods Bagot, COX

location: Sydney, Australia

construction: Multiplex

photography: © Brett Boardman, Trevor Mein 

The post zaha hadid and woods bagot shape sydney airport terminal with undulating timber modules appeared first on designboom | architecture & design magazine.

Living Room Collective uses live cyanobacteria within 3D printed biostructures to capture carbon dioxide from air in the Canada Pavilion at the Venice Architecture Biennale 2025. Named Picoplanktonics, the exhibition commissioned by The Canada Council for the Arts is on view from May 10th to November 26th, 2025. designboom speaks with Living Room Collective’s lead and biodesigner Andrea Shin Ling about the project. In our interview, she says that architecture often uses the term ‘regenerative design’ when referring to circular or upcycled material systems. ‘In Picoplanktonics, we are talking about the biological definition of regeneration, which means the literal ability to regenerate or renew from damaged or dead parts,’ she tells designboom.

The research team has merged two ancient metabolic processes for Picoplanktonics: photosynthesis and biocementation. For the former, they turn to cyanobacteria, one of the oldest groups of bacterial organisms on the planet. ‘Cyanobacteria are among the first photosynthetic organisms and are believed to be responsible for the Great Oxygenation Event, where 2.4 billion years ago, the atmosphere transformed from a high CO2 environment to a high O2 environment because of photosynthesis,’ Andrea Shin Ling explains. They can also produce biocementation, or the process of capturing carbon dioxide from air and turning it into solid minerals, like carbonates. Because of this, the resulting minerals act like ‘cement’ and can store the carbon permanently, keeping it out of the atmosphere.

all images courtesy of The Living Room Collective | photos by Valentina Mori, unless stated otherwise

Infusing the bacteria during the printing stage

Before bringing them to Venice, Andrea Shin Ling and the Living Room Collective fabricated the 3D printed biostructures at ETH Zürich’s laboratory. The biodesigner shares with us that when they make these structures, they already infuse the living cyanobacteria during the printing stage instead of later on. Then, they need to let the bacteria grow and take care of them so they can grow. This means they have to provide enough light, warmth, and humidity so that they can proliferate and slowly harden the prints.

‘The idea is that the bacteria cooperate in a human-initiated fabrication process and, with our care, can continue and finish that process (in this case, hardening the printed structures they live in),’ says Andrea Shin Ling. She adds that for the 3D printed biostructure with live cyanobacteria in Venice, favorable conditions mean warm sunlight, high humidity, and access to salt water. ‘These are conditions that are common in Venice and achievable in the Canada Pavilion, which informed our design process,’ the biodesigner explains to designboom.

Living Room Collective uses live cyanobacteria within 3D printed biostructures to capture carbon dioxide from air

Microorganisms that can repair themselves to a healthy state

In Picoplanktonics, the Living Room Collective works with bacteria as the living component of their material system. It has the ability to grow and die within the 3D printed biostructures, as shown in Venice, and the colony can restore itself under favorable conditions after periods of decline. Andrea Shin Ling says, however, that the process isn’t necessarily consistent since it depends on the environmental conditions at a particular point in time.

‘So, for instance, a bioprint might dry out if the air is too dry that week, and many of the bacteria die. But because the system is regenerative, the bacteria population has the potential to restore itself when favorable conditions return and then continue their carbon sequestration work,’ she shares with designboom.

these biostructures are inside the Canada Pavilion at the Venice Architecture Biennale 2025

During their research process, the group has also had samples where the bacteria have gotten ‘sick’, worn out, or where they looked like they were over-oxidized. With some care, the live cyanobacteria were able to repair themselves back to a healthy state. This is what Andrea Shin Ling means when she describes regenerative design. It looks more into the potential of biological material systems that are dynamic and restorative.

‘But their responsivity can also create situations that we don’t want. So much of the project is then trying to understand what is causing these situations and monitoring conditions so that we can respond accordingly,’ the biodesigner adds. Visitors to the Venice Architecture Biennale 2025 can see the research process and progress of Picoplanktonics firsthand inside the Canada Pavilion. It remains on-site from May 10th to November 26th, 2025.

the research group takes care of the bacteria throughout the exhibition to maintain their healthy state

the bacteria need warm sunlight, high humidity, and access to salt water to thrive

the research group already infuses the living cyanobacteria during the printing stage | image © designboom

the bacteria harden the printed structures they live in | image © designboom

the research team has used ancient metabolic processes for Picoplanktonics | image © designboom

the cyanobacteria can also produce biocementation, or the process of capturing carbon dioxide from air

Living Room Collective’s lead And biodesigner Andrea Shin Ling

the exhibition is on view until November 26th, 2025

project info:

name: Picoplanktonics | @picoplanktonics

group: The Living Room Collective

team: Andrea Shin Ling Nicholas Hoban, Vincent Hui, Clayton Lee

commission by: The Canada Council for the Arts | @canada.council

event: Venice Architecture Biennale 2025 | @labiennale

location: Calle Giazzo, 30122 Venice, Italy

dates: May 10th to November 26th, 2025

research and development: Andrea Shin Ling, Yo-Cheng Jerry Lee, Nijat Mahamaliyev, Hamid Peiro, Dalia Dranseike, Yifan Cui, Pok Yin Victor Leung, Barrak Darweesh

photography: Valentina Mori | @_valentinamori_

production

eth zurich: Huang Su, Wenqian Yang, Che-Wei Lin, Sukhdevsinh Parmar; Tobias Hartmann, Michael Lyrenmann, Luca Petrus, Jonathan Leu, Philippe Fleischmann, Oliver Zgraggen, Paul Fischlin, Mario Hebing, Franklin Füchslin; Hao Wu, Nicola Piccioli-Cappelli, Roberto Innocenti, Sigurd Rinde, Börte Emiroglu, Stéphane Bernhard, Carlo Pasini, Apoorv Singh, Paul Jaeggi; Mario Guala, Isabella Longoni;

toronto metropolitan university: Venessa Chan, Minh Ton, Daniel Wolinski, Marko Jovanovic, Santino D’Angelo Rozas, Rachel Kim, Alexandra Waxman, Richard McCulloch, Stephen Waldman, Tina Smith, Andrea Skyers, Randy Ragan, Emma Grant, Shira Gellman, Mariska Espinet, Suzanne Porter, Stacey Park, Amanda Wood, Lisa Landrum, Dorothy Johns, Cedric Ortiz

university of toronto: Daniel Lewycky, Philipp Cop

visualisation: Adrian Yu, Nazanin Kazemi, Ariel Weiss

structural advisors: Andrea Menardo, Kam-Ming Mark Tam

graphic design: Shannon Lin

website: Sigurd Rinde, Shannon Lin

local project logistics: Tamara Andruszkiewicz

project advisors: ETH Zurich, Benjamin Dillenburger, Mark Tibbitt

support: Canada Council, Digital Building Technologies, Institute of Technology & Architecture, D-ARCH, ETH Zurich, Department of Architectural Science, Toronto Metropolitan University, John H. Daniels Faculty of Architecture, Landscape and Design, University of Toronto, Royal Architectural Institute of Canada; Advanced Engineering with Living Materials (ALIVE) Initiative, ETH Zurich; Additive Tectonics GmbH; ABB Switzerland; Vestacon Limited and NEUF Architect(e)s

The post 3D printed biostructures with live bacteria capture carbon dioxide from air at venice biennale appeared first on designboom | architecture & design magazine.

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.

In the heart of Barcelona, where the city’s historical fabric meets the innovation-driven 22@ district, architecture firm Cierto Estudio brings a radical vision for collective housing to life with The Room Community, part of the larger Illa Glòries redevelopment. As Building A within a four-block ensemble designed by multiple architectural teams, the dwelling introduces a new model for modular, inclusive living. Comprising 51 units surrounding generous common areas, the design supports adaptable living, social equity, and sustainable practices. ‘We are incredibly proud of the Illa Glòries project. It represents a new model for urban living, one that prioritizes community, sustainability, and the well-being of its residents,’ says Cierto Estudio. 

What sets The Room Community apart is its full-spectrum approach to care, both social and environmental. From its cross-laminated timber (CLT) structure and passive climate strategies to its robust green infrastructure, with more than 60% of the plot being landscaped, the building meets NZEB standards while mitigating the urban heat island effect. At the social level, the project is conceived from a gender perspective, with strategies that support caregiving, safety, and shared responsibility. Wide, south-facing communal walkways double as balconies and connect homes to a rooftop garden, a shaded climate refuge and social platform that strengthens neighborly ties.

images © Jose Hevia, unless stated otherwise

dismantling the nuclear family through open, fluid typologies

Winning an international competition in 2017, Cierto Estudio, a practice founded by six women architects, proposed a housing typology that dismantles conventional domestic hierarchies. Their design challenges the nuclear-family norm, offering homes that are neutral in function yet rich in possibility. The layouts are fluid, with rooms of equal size and value, encouraging occupants to define how they live. Kitchens are no longer hidden or confined to traditional gender roles; instead, they are reimagined as open, social areas, visible from the entrance and integral to daily life. Sightlines stretch diagonally across apartments, while intersections between spaces create physical and visual continuity, allowing autonomy and collectivity to coexist.

Cierto Estudio unveils collective housing project The Room Community

The Room Community rethinks visibility as tool for spatial justice

The name of the project, The Room Community, hints at its spatial philosophy, centered on a modular system of square rooms, rotated and interconnected to create typologies without hierarchies. The central junction in the floor plan serves as a main organizing element, supporting adaptable configurations for diverse and evolving household structures. With no room dominating and no single function being fixed, the idea of home is elastic, evolving with the people who inhabit it.

Rather than isolating individual units, the building opens them to shared courtyards and balconies in a contemporary reinterpretation of the corrala typology, a traditional Spanish housing model characterized by multi-story buildings with dwellings facing inward toward a common courtyard or gallery. These communal spaces make way for spontaneous interaction and collective oversight, aiming to reduce gender-based violence by increasing visibility and mutual vigilance. 

designed as Building A within a four-block ensemble led by multiple architectural teams

what public housing can be when design leads

Commissioned by the Institut Municipal de l’Habitatge i Rehabilitació de Barcelona (IMHAB), the development represents a forward-thinking approach to public housing in a city facing growing affordability challenges. In a moment when housing is increasingly commodified and standardized, Illa Glòries signals what can be achieved when public institutions back thoughtful, community-oriented design. The collaboration between teams, including Cierto Estudio, Bayona-Valero, Cantallops-Vivente, Haz Arquitectura, and others, creates an urban block that is diverse and coherent at the same time. Alongside homes, ground-floor commercial spaces and pedestrian connections make the neighborhood more vibrant, knitting the new development into the dynamic rhythm of Barcelona. 

comprising 51 units surrounding generous common areas

the design supports adaptable living, social equity, and sustainable practices

south-facing communal walkways double as balconies and connect homes to a rooftop garden | image © Marta Vidal

the central junction in the floor plan serves as a main organizing element | image © Marta Vidal

a contemporary reinterpretation of the corrala typology | image © Marta Vidal

the name of the project, The Room Community, hints at its spatial philosophy

a modular system of square rooms, rotated and interconnected | image © Marta Vidal

no room dominates, and no single function is fixed | image © Marta Vidal

kitchens are no longer tucked away or gendered spaces | image © Marta Vidal

the layouts are fluid, with rooms of equal size | image © Marta Vidal

occupants define how they live

project info:

name: The Room Community – Illa Glòries

architects: Cierto Estudio | @ciertoestudio 
location: Plaça de las Glòries, Gran Via de les Corts Catalanes, Barcelona, Spain

site area: 5,000 square meters
total built area: 35,000 square meters

design team: Marta Benedicto, Ivet Gasol, Carlota de Gispert, Anna Llonch, Lucia Millet, Clara Vidal with Mariana Gomes

collaborator: Franc Llonch
client: Institut Municipal de l’Habitatge i Rehabilitació de Barcelona (IMHAB)
construction company: SACYR
wood structure assembly: Velima
CLT supplier: Xilonor
landscape architects: Beatriz Borque + Miquel Mariné
structural engineering: Bernuz-Fernández Arquitectes S.L.P.
MEP engineering: Eletresjota Tecnics Associats S.L.P
environmental consultancy: Societat Orgànica +10 SCCL
acoustic consultancy: Àurea Acústica S.L.
construction management: Ángel Gil
photographers: José Hevia, Marta Vidal | @_martavidal

The post modular housing by cierto estudio makes space for equity and shared life in barcelona appeared first on designboom | architecture & design magazine.

Set within a volcanic expanse in southern Iceland, a recent project by Sp(r)int Studio brings a nuanced response to the Stöng ruins, one of the country’s most significant archaeological sites. Excavated in 1939 and protected since 1957 by a modest shelter, the Viking-era longhouse in scenic Þjórsárdalur stands as a rare and remarkably complete remnant of early Icelandic domestic architecture. The restoration builds upon this legacy, extending the site’s function and form and remaining attentive to the surrounding terrain.

The new intervention introduces a spatial framework that protects the ruins without enclosing them. The studio preserves the original 1957 structure, cladding it in untreated larch that will weather naturally with the climate. A translucent roof of polycarbonate floats above the exposed ruins, diffusing light across the excavated stonework and dissolving the boundary between interior and exterior. The result is a structure that shelters without overpowering, prioritizing legibility and atmosphere over monumentality.

images © Claudio Parada Nunes

adapting to iceland’s volcanic Topography

The site geography of the Stöng ruins informs Sp(r)int Studio’s intervention. Rather than imposing a singular gesture, the architects design the structure to unfold across the valley floor, adapting to changes in elevation and framing natural contours. Carefully laid paths, a footbridge, and a new entry platform stitch together the disparate elements of the site, subtly choreographing the visitor’s experience while limiting physical intrusion on the landscape.

From the raised entrance, visitors are led onto a viewing platform that hovers above the longhouse remains. This shift in elevation positions the ruins in their full spatial context, granting clarity without encouraging contact. The intervention privileges alignment between visitor and view, and between architecture and terrain.

the Stöng ruins sit within a volcanic valley of southern Iceland

Light, Material, and Permeability

With its Stöng ruins shelter, Sp(r)int Studio’s design language remains sparse and deliberate. Larch cladding and polycarbonate are joined by concrete footings and steel connectors, each expressed with care and intention. The structure allows air to pass through and light to shift across the surfaces, sustaining the atmospheric conditions that have shaped the ruin for centuries. Glazed apertures and roof openings are positioned to capture views of specific artifacts and architectural traces, offering points of orientation and pause.

By emphasizing porosity and restraint, Sp(r)int Studio brings a sense of continuity between the original dwelling, the previous shelter, and the new construction. Nothing is obscured. Instead, the layers of intervention remain legible, forming a cumulative archive of preservation efforts across time.

a translucent polycarbonate roof hovers above the Viking-era longhouse remains

The renovation treats the 1957 shelter as an artifact worth conserving in its own right. Rather than replacing this earlier structure, Sp(r)int Studio extends its relevance by adapting it. In this way, the project foregrounds preservation as a living process which is neither finished nor frozen. Each design move seeks to extend the life of the site, resisting erasure in favor of architectural continuity.

This approach to heritage architecture emphasizes adaptability and engagement over interpretation. The architecture leaves room for temporal shifts and environmental variation, rather than imposing a fixed narrative. This way, the project becomes an open framework through which the past can be accessed without being finalized.

Sp(r)int Studio preserves the original 1957 shelter and re-clads it in untreated larch

elevated walkways and platforms guide visitors while protecting the excavation

interior spaces remain permeable to light and air, preserving atmospheric continuity

framed apertures direct views toward key archaeological details in the ruins

the shelter’s design by Sp(r)int Studio emphasizes restraint and continuity

project info:

name: Stöng Ruins

architect: Sp(r)int Studio

location: Iceland

area: 385 square meters

completion: 2024

photography: © Claudio Parada Nunes | @studiocapn

The post floating polycarbonate roof by sp(r)int studio protects iceland’s stöng ruins appeared first on designboom | architecture & design magazine.

Hovering above the coastline of Zhuhai, China, the Hengqin CRCC Plaza by Aedas reimagines urban connectivity through architecture. Designed by Aedas global design principal Dr. Andy Wen, the mixed-use complex unites four sculptural towers via a striking golden sky bridge that loops through the skyline like a ribbon of light. Integrating office, retail, and leisure spaces within 200,700 square meters, the development acts as a contemporary landmark for the Hengqin district, an area fast becoming a high-efficiency service hub linking Zhuhai and Macau.

At the heart of the design is the concept of Loop, Communication, and Integration, a triad expressed through the curving bridge that stitches together vertical towers with stepped sky gardens, rooftop terraces, and panoramic viewing points. Floating above the city like a futuristic artery, the bridge creates a walkable urban corridor in the sky. From a panoramic elevator to immersive skywalks, the journey through the building is envisioned as a spatial narrative of discovery, circulation, and elevation.

hovering above the coastline of Zhuhai, China | image by Catoptogram

golden wave-like facade fronts Hengqin CRCC Plaza

The design by the international architecture practice Aedas draws from the regional cultural and natural context. With its golden, wave-like facade, the project echoes the nearby sea, while operable glass curtain walls, cloud-like podiums, and landscaped terraces ensure breathability and sustainability in Zhuhai’s humid coastal climate. The massing also responds to the future development of Hengqin’s Central Business District, with a porous retail podium forming a continuous commercial loop on the ground level. Anchor stores at corners, vertical green systems, and framed plazas enhance urban legibility while inviting foot traffic into the retail flow.

Technically, the project is a feat of both vision and engineering. Sliding bearings embedded beneath the sky bridge counteract coastal wind loads, while alternating gold and silver aluminum panels reflect sunlight, creating a constantly shifting presence throughout the day. ‘Zhuhai Hengqin CRCC Plaza integrates nature, technology and people, creating a diverse urban environment.’ Dr. Andy Wen shares. ‘Rooted in cultural context, our design reimagines the spirit of place through poetic architecture, offering a new landmark that bridges the present and future between Zhuhai and Macau.’ 

golden sky bridges create a futuristic gateway | image by Catoptogram

a diverse urban living room | image courtesy of Aedas

at the heart of the design is the concept of loop, communication, and integration | image by Catoptogram

a walkable urban corridor in the sky | image by MTY

with its golden, wave-like facade, the project echoes the nearby sea

integrating office, retail, and leisure spaces | image by Catoptogram

the development acts as a contemporary landmark for the Hengqin district | image courtesy of Aedas

multi-layered space enhances circulation and vibrancy | image by Catoptogram

a continuous commercial loop | image by Marcus Oleniuk

a new landmark for the city | image by Marcus Oleniuk

project info:

name: Zhuhai Hengqin CRCC Plaza

architect: Aedas | @aedas_architects

location: Zhuhai, China

client: China Railway Construction Corporation

gross floor area: 200,700 square meters

design director: Dr. Andy Wen

The post golden sky bridge by aedas stitches together towers with its looping shape in china appeared first on designboom | architecture & design magazine.

Bershka unveils a new flagship store in the heart of Ibiza, redefining the traditional retail concept with a sculptural, sensorial space conceived as a living environment. Developed in collaboration with architecture and interior design studio El Departamento, the store departs from conventional retail typologies, positioning itself as a hybrid environment influenced by the island’s social and cultural context and resonating with Generation Z and Generation Alpha. Located at Avinguda Bartomeu de Roselló, 28–30, the project is organized into two distinct volumes with independent entrances; BERSHKA Woman covering 354 sqm, and BERSHKA Man occupying 126 sqm. Each space is designed with its own narrative, carefully curated to enhance user experience and create a sense of discovery.

all images courtesy of Bershka

El Departamento opts for neutral and tactile Materials

In the women’s store, circulation is structured around a large-scale mint-green metal installation referred to as El Lingote (‘The Ingot’). This linear intervention slices through the interior, functioning simultaneously as a catwalk, display system, and immersive experience. As customers move through the space, El Lingote reveals curated vignettes, culminating in a fitting room area bathed in translucent pink light, playful, enveloping, and unmistakably designed for social sharing. The men’s store, while more compact in surface area, utilizes verticality in the form of a double-height volume to generate spatial impact. A central column serves as the organizing element, around which custom-designed furniture is arranged to define pathways and spatial zones. Material variation and directional green lighting characterize the fitting rooms, reinforcing a distinct identity within the overall store experience.

For both interiors, the design team employs a restrained material palette focused on neutrality and tactility. Finishes include limestone, sprayed concrete, white acrylic, and terrazzo marble flooring. Lighting systems are calibrated to balance immersive effects with functional clarity, combining directional and diffused sources.

Bershka’s new Ibiza flagship redefines the retail experience as a living environment

El Departamento designs configurable store space for Bershka

Externally, the facade establishes continuity between the two volumes through a shared limestone treatment differentiated by tone, lighter on the women’s store and cooler grey on the men’s. A unified canopy bridges the two entrances, creating a visual and architectural link between the spaces.

The new Bershka Ibiza Flagship Store by El Departamento presents a redefinition of the retail environment as a configurable and multi-layered platform. Rather than emphasizing transactional function alone, the design incorporates elements that encourage exploration, engagement, and extended use. The result is a cohesive system of architectural and interior gestures that aligns with the brand’s evolving retail strategy.

designed by El Departamento, the space blurs boundaries between store and cultural venue

BERSHKA Woman covers 354 sqm, anchored by a central sculptural installation

El Lingote, a mint-green metal structure, slices through the women’s store

part catwalk, part display, El Lingote doubles as an immersive spatial framework

curated vignettes unfold along El Lingote, enhancing user navigation and discovery

a translucent pink-lit fitting room concludes the women’s store journey

each area within the flagship is conceived as part of a layered architectural system

BERSHKA Man occupies 126 sqm, using verticality to maximize spatial impact

the men’s store features a double-height volume centered around a structural column

custom-designed furniture in the men’s store defines spatial circulation

material choices, like limestone, terrazzo, concrete, and acrylic, focus on neutrality and tactility

green lighting and textural materials give the men’s fitting rooms a distinct identity

project info:

name: Bershka Ibiza Flagship Store

architect: El Departamento | @eldepartamento.estudio

lead architects: Alberto Eltini & Marina Martín

client: Bershka | @bershka

area Bershka Woman: 354 sqm
area Bershka Man: 126 sqm

location: Avinguda Bartomeu de Roselló, 28–30, Ibiza, Spain

The post el departamento sculpts sensory-driven gen Z interiors for bershka ibiza flagship store appeared first on designboom | architecture & design magazine.

Set amidst a small valley of vineyards in Veneto, Italy, Texturised House by Bongiana Architetture is a carefully measured extension of a modest rural building. A contemporary retreat designed to host family celebrations and intimate gatherings, where architecture shapes atmosphere through light and raw materiality. The project is grounded in the principle of raw purity: rough surfaces, exposed materials, and details reduced to their essence. Each wall and floor is the result of a specific interpretation, turning every surface into a visual and tactile narrative.

The structure reveals its own body with pride, in a play of textures that multiplies spatial perception. At the heart of the project lies the double-height barn, conceived as a large luminous cavity. The intent is to bring in as much natural light as possible, which filters through carefully placed openings and reflects on the textured surfaces, animating the space with shifting shadows. Within this volume rises the light structure of a suspended bookshelf, creating a new intermediate, airy, and intimate space that dialogues with the openness below.

all images by Riccardo De Vecchi

decorative material motifs set Texturised House’s visual rhythm

The theme of fire weaves through the house, connecting memory and the contemporary. In the old part, the original fireplace remains, while in the barn, a cast-iron stove becomes the new focal point. Around it, the walls are clad with Split terracotta tiles, designed by Bongiana Architetture for Terraformae, where the interpretation of the joint becomes the sole decorative motif, a minimal gesture that creates a vibrant backdrop of rhythm and materiality. The new concrete floor further tells this story of reinterpreted tradition through a surface that recalls the Venetian terrazzo, but instead of marble fragments, it incorporates reclaimed terracotta slats, cut from the hollow bricks used to clad the portico’s pillars. A gesture that ties the ground to the structure, weaving memory and material in a contemporary key.

The furnishings add another layer of memory. Carefully selected reclaimed pieces, such as a 1950s kitchen, are salvaged from an old house and transformed to begin a new life here. Old and new intertwine naturally, giving shape to a coherent and lived-in narrative. In Texturised House, Bongiana Architetture Studio reaffirms its poetics, an architecture of subtraction that gives strength to emptiness and depth to matter, crafting a place that is both a collective stage and a private retreat, a space where every surface speaks, and every detail tells a story.

Texturised House blends old structures with new volumes

architecture defined by raw textures and minimal detailing

textured surfaces become visual and tactile narratives throughout the house

the structure emphasizes rough exposed materiality

a double-height barn forms the luminous core of the project

carefully placed openings bring natural light into the central space

reclaimed furnishings, including a 1950s kitchen, add historical depth

old and new elements merge into a cohesive spatial narrative

split terracotta tiles create rhythm and texture

shadows and textures animate the interiors with changing light

an original fireplace remains in the old section of the house

the concrete floor recalls Venetian terrazzo with reclaimed terracotta slats

designed as a contemporary retreat shaped by light and material presence

project info:

name: Texturised House – Casa Baone

architects: Bongiana Architetture | @bongianaarchitetture
lead designer: Pietro Bongiana, Silvia Codato
location: Veneto, Italy

photographer: Riccardo De Vecchi | @riccardodevecchi.photo

The post exposed materials animate textured decorative patterns within rural house in italy appeared first on designboom | architecture & design magazine.

Serpentine and the LEGO Group unveil the Play Pavilion designed by Sir Peter Cook in London’s Kensington Gardens. The public art project coincides with World Play Day on June 11th, 2025, and rightfully so with the playful and vibrant flair of the pavilion. It is on view from June 11th to August 10th, 2025. The only orange on the horizon, the Play Pavilion by Sir Peter Cook partially comes to life with the use of LEGO bricks. Outside, these colorful blocks create protruding, tactile installations resembling topography. A kaleidoscopic roof shaped like a small bowl cocoons the architecture, colored in orange to match the similar shade of the base. Around the pavilion, the walls have slopes and peaks, mimicking the waves crashing onto the shore while creating different openings and exits. 

Anyone can run their hands along them and feel the LEGO-brick installations on the walls before they step inside the Play Pavilion. Here, sunlight passes through the openings because Sir Peter Cook didn’t join the roofing to the base. Air and light, then, flow in and out, and people can see the outside from inside. The use of LEGO bricks continues inside. The central pillar is reminiscent of a towering robot, a quiet sentry that surveys the space to check if everyone’s enjoying their time. To exit the structure, visitors can either walk towards one of the openings or use the yellow slide on the other side. On one of the walls, there’s a brick-built board and a treasure of LEGO blocks just below it, so visitors can pick up pieces, pin them onto the interactive structure, and shape them into how they want them to be. It’s the essence of the LEGO-built Play Pavilion, an intentional design by Sir Peter Cook.

The Play Pavilion, designed by Peter Cook (Peter Cook Studio Crablab), in collaboration with Serpentine and the LEGO Group © Peter Cook (Peter Cook Studio Crablab) | images courtesy of Serpentine; photos by Andy Stagg, unless stated otherwise

live activations throughout the summer of 2025

Sir Peter Cook describes the Play Pavilion with LEGO brick designs as a piece of theater, but the structure can recall the form of an observatory, too. From afar, the geometric roof already announces the presence of the orange playground. As visitors walk up closer to it, they then see the partly obscured body that completes it. In a location full of greenery, the Play Pavilion breathes in a refreshed life, luring in the visitors to come closer and find out more within. In the words of the architect, ‘a child might pop out on a slide, another may crawl through a hole on the ground, mystifying conventional entrance routes. Another mouth-shaped opening reveals an orator, performer, or singer entertaining eavesdroppers beyond.’

The LEGO-built Play Pavilion by Sir Peter Cook continues the series of programs presented by Serpentine. In 2022, Serpentine, the London Lions Basketball Club, and artist Alvaro Barrington partnered with CONSUL, Tower Hamlets Council, and Weavers Adventure Playground in Bethnal Green to create a basketball court. Today, it’s an orange pavilion that doubles as public art, with walls that present a series of tactile installations. For the gallery, these new initiatives bring together artists, designers, architects, and creatives to champion the spirit of play and community. The LEGO-built Play Pavilion by Sir Peter Cook is a platform for live activations throughout the summer of 2025.

view of the slide at the pavilion

the roof has a geometric design and a similar shade of the base

the walls present a series of tactile installations

inside, there’s a board where visitors can pin the LEGO bricks

portrait of Sir Peter Cook | photo by Gary Summers

Sir Peter Cook designs the pavilion commission for Serpentine and the LEGO Group | photo by Gary Summers

project info:

name: Play Pavilion

architect: Sir Peter Cook | @sirpetercook

team: Pablo Wheldon, Cong Ding

program: Serpentine Galleries | @serpentineuk

collaborator: LEGO Group | @lego

on view: June 11th to August 10th, 2025

The post serpentine unveils the LEGO-built play pavilion by sir peter cook in london appeared first on designboom | architecture & design magazine.