Ateno Architecture Studio’s Gaia residence seeks to renegotiate the traditional notions of luxury, embracing a philosophy grounded in simplicity and the use of raw materials. Despite the seemingly contradictory character of the chosen materials against the lush green island backdrop in Greece, the house exudes an intimate and inviting ambiance. Its warm clay terracotta tones resonate with the landscape, creating a space that conveys the feeling of being cradled within the earth, as if carved from the land itself. Rustic textures, of handmade terrazzo, marble, and wood, uniformly applied to walls, floors, and ceilings, come together to establish an ideal environment for a summer residence.

all images © Yiorgis Yerolymbos

ateno sculpts the house with minimalist geometries

Meganisi Island, known for its vibrant landscapes and pristine waters, provided the perfect setting for the project. Perched atop a ridge and surrounded by century-old olive trees, the design of a two-storey building, originally conceived and permitted by another architectural firm, underwent a complete transformation, preserving only its structural framework and core spatial arrangement. Responding to the building’s irregular geometry, defined by tangent rectangles, Ateno Architecture Studio’s design introduces an extensive wooden pergola, that serves as a unifying element, and evokes the sense of an expansive canopy floating above a podium, rising from the earth.

The clay house features five distinct bedrooms complemented by expansive seating and dining areas, seamlessly blending private sanctuaries with shared living spaces. Nestled in the embrace of nature, the exterior space, spread across three levels, integrates with the topography. Its focal point lies in the middle tier, where the swimming pool, remote yet inviting, connects the upper and lower levels. Surrounded by vibrant greenery, the upper-level provides occupants with panoramic views of the Ionian sea and Pindos mountain range, while the lower level, embedded in the terrain, creates a secluded retreat.

Gaia becomes part of the island landscape

the project embraces a philosophy grounded in simplicity and the use of raw materials

responding to the building’s irregular geometry, Ateno introduces an extensive wooden pergola

its warm clay terracotta tones resonate with the landscape

the view through the living spaces opens up towards the Ionian sea and Pindos mountain range

muted tones and raw textures create continuity in color and form

wide openings connect the living spaces with the landscape

light and shadow moves through the space

vivid colors contrast with the muted material palette

warm wooden textures complement clay surfaces

the main facade, framed by wild greenery and illuminated from the interior

from above, light outlines the geometry of the house

set on Meganisi Island in Greece

project info:

name: Gaia Residence
architect: Ateno Architecture Studio | @ateno.studio

location: Meganisi, Lefkada, Greece

architect team: Elias Theodorakis, Yiorgos Fiorentinos (Ateno Architecture Studio)

collaborating architect: Spiros Giotakis

structural engineer and supervisor: Angelos Kourtis
MEP engineer: Ioannis Mavrokefalos
contractor: My Ionian Group
client: Polydeykis S.A.

photographer: Yiorgis Yerolympos | @

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 ateno’s clay-coated house overlooks mountains and the sea on a greek island appeared first on designboom | architecture & design magazine.

Rubén Valdez Practice’s Spiritual Enclosure is a quiet, circular intervention designed for reflection in the desert of Todos Santos, Mexico. Commissioned by Paradero Hotels as a non-religious ceremony space, the project consciously works with light, material, and orientation, carved into the arid terrain and partially sunken as its circular concrete ring emerges just above ground level. Inside, the surface is left raw and exposed, with only the compacted earth underfoot containing it while it opens up to the sky.

Entry into Spiritual Enclosure is indirect, beginning with a single baffled ramp, rotated 45 degrees from the central axis, that leads visitors through a gradual sequence of turns before the full space is revealed. The decelerated approach here deepens the spatial transition from the exterior desert into the enclosure in a motion that mirrors the site’s ceremonial function.

all images by César Béjar

rubén valdez practice references spirituality in mexican culture

Organic curves and minimal detailing allow the enclosure to dissolve into the landscape while framing its boundaries. A single semi-circular aperture opens the space toward distant mountain ridgelines, while a full circle of the sky is revealed within the boundary of the walls. Further, Rubén Valdez Practice orients the structure along an east-west axis, which allows the sun’s movement to register throughout the day and cast shifting shadows that mark the passage of time.

The space inside is vast and open, adorned with only rows of wooden benches and a polished obsidian disc, the latter referencing tezcatl mirrors that have been used for centuries in Mesoamerican cultures as tools of reflection and spiritual insight. Here, the Switzerland-based architects utilize the mirror as a visual and symbolic anchor, functioning as a small reflective void within the open circle. 

Spiritual Enclosure is a quiet, circular intervention designed for reflection

Rubén Valdez Practice carves the structure in the Mexican desert

partially sunken as its circular ring emerges just above ground level

crafted from concrete

a single semi-circular aperture opens the space toward distant mountain ridgelines

benches inside create a space for spiritual contemplation and rest

the materiality infuses a natural warmth

a polished obsidian disc references tezcatl mirrors that have been used for centuries in Mesoamerican cultures

entry into Spiritual Enclosure is indirect

located in the Baja California Desert

project info:

name: Spiritual Enclosure

architect: Rubén Valdez Practice | @rubenvaldezpractice

location: Todos Santos, Mexico

photographer: César Béjar | @cesarbejarstudio

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Construction has begun on Asaan, the Misk Heritage Museum in Riyadh, Saudi Arabia, a new cultural institution designed by Zaha Hadid Architects. Set within At-Turaif, a UNESCO World Heritage Site and the historic heart of Diriyah, the museum takes it name from Arabic word meaning ‘inheritance passed down through generations’, and in its program, centers on preserving and celebrating the Kingdom’s rich cultural heritage.

Drawing inspiration from the surrounding Najdi architecture, a vernacular tradition that has shaped the region’s mud-brick buildings for over six centuries, the museum marks Zaha Hadid Architects’ first use of adobe construction. It is formed from locally produced clay mud-bricks whose high thermal mass and insulating qualities are well-suited to the desert climate. 

all renders by Specto-Digital

marking Zaha hadid architecture’s first adobe construction

Diriyah is widely regarded as the birthplace of the Saudi Arabian state, making the new museum a symbolic addition to one of the Kingdom’s most significant heritage sites. The Asaan museum also forms part of the Diriyah Gate development masterplan that envisions a fully walkable city prioritizing water conservation, energy efficiency, wellness, and climate resilience. Within this context, the team at Zaha Hadid Architects has envisioned a low-embodied-carbon building stretching across three storeys.

Its facade is punctuated by the geometries of the old town, while within, it is organized around three shaded courtyards — a hallmark of traditional Najdi design. These courtyards serve as climatic buffers and functional anchors for the museum’s key programs: Education, Arts, and Administration. Landscaped gardens, public plazas, and rooftop promenades will also wind through, further extending the museum’s public realm, with shading devices enhancing outdoor comfort.

construction begins on Asaan, the Misk Heritage Museum in Riyadh

part of the Diriyah Gate development masterplan

Backed by the Misk Foundation, a non-profit dedicated to youth education and empowerment, the museum by Zaha Hadid Architects aims to foster deeper engagement with Saudi heritage. Interactive exhibitions, workshops, and immersive experiences will be paired with on-site conservation labs to support the preservation of archaeological artifacts. ‘Asaan’s role extends beyond preserving and displaying artifacts,’ says Khaled Al-Saqer, CEO of the museum, ‘it seeks to inspire meaningful engagement through immersive experiences that connect past, present, and future generations, strengthening pride in Saudi identity and sharing our cultural legacy with the world. Asaan will offer a wide range of interactive programs curated by leading experts. These initiatives aim to foster cultural passion, inspire creativity, and empower all members of society to engage with and celebrate our heritage.’

Zaha Hadid Architects punctuates the adobe facade by the geometries of the old town of At-Turaif

within, the museum is organized around three shaded courtyards

the Asaan museum forms part of the Diriyah Gate development masterplan that envisions a fully walkable city

project info:

name: Asaan Misk Heritage Museum

architect:  Zaha Hadid Architects | @zahahadidarchitects

location: Diriyah, Riyadh, Saudi Arabia

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The Pond Houses at Saguna Baug, India, are a series of cottages by Put Your Hands Together (PHYT) – BioArchitects, positioned at the boundary between land and water. Designed as part of a larger 50-acre agro-tourism development in Neral, Maharashtra, the project integrates architectural form with the surrounding man-made pond ecosystem.

Constructed using 9-inch-thick Compressed Stabilized Earth Blocks (CSEB) made from on-site excavated earth, the structures emphasize material efficiency and passive thermal regulation. Raised platforms reduce ground impact and allow for minimal disruption to the pond environment.

all images by Amalgamate

Design maintains continuity between nature and built forms

The architectural layout by Put Your Hands Together (PHYT) – BioArchitects includes a gently elevated plinth that transitions into a deck overlooking the water. The buildings are composed of a composite RCC (Reinforced Concrete Composite) frame with load-bearing walls supporting a dual-layered roof system, an inner brick shallow dome combined with an outer sloping Mangalore-tile roof. This combination enhances insulation and reduces the cooled interior volume, lowering energy requirements.

For the interior spaces, the design team includes integrated beds and seating elements, arranged to orient views toward the pond. Cantilevered blocks with a blue IPS (Indian Patent Stone) finish contribute to the exterior profile while providing indoor vantage points toward the landscape and water. The spatial configuration aims to maintain continuity between natural and built environments.

a total of six units grouped in three clusters float over the pond

traditional Mangalore tile roof forms the outer skin

deep front verandahs cantilever above water

front face of the cottages overlooks the pond

cantilevered seating spaces provide views of the pond

raised platforms minimize impact on the pond ecosystem

structures are constructed using 9-inch CSEB blocks from on-site earth

reinforced concrete frame supports load-bearing earthen walls

roof system combines a shallow brick dome and Mangalore tiles

curved roofline complements the natural setting

fixed furniture in the interior create different vantage points

project info:

name: Pond Houses at Saguna Baug

architect: Put Your Hands Together – BioArchitects | @pyht_bioarchitects

location: Saguna Baug, India

photographer: Amalgamate | @amlgmt

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 pond houses crafted from earth blocks float above land and water in india appeared first on designboom | architecture & design magazine.

In the flood-prone region of Sindh, Pakistan, the Juliet Center anchors a prototype development for resilient, community-driven architecture led by Yasmeen Lari. Within the Pono Village, conceived by the Heritage Foundation of Pakistan following the devastating floods of 2022, this new bamboo pavilion creates a flexible, open space to empower local residents. The project has thus been completed by Nyami Studio and Jack Rankin with a strong social focus, responding directly to the area’s environmental and economic vulnerabilities that intensified after 2022.

Extending Lari’s broader vision to foster self-sufficiency through vernacular techniques, the Juliet Center is built with low-cost and eco-friendly materials including bamboo, mud, lime, and thatch. It is shaped as a lightweight, vaulted structure that recalls the traditional domed forms familiar in Sindh, while translating them into a sinuous, modular silhouette. Within the open form framed by bamboo columns, it creates an inviting setting for spontaneous community gatherings while providing a space to host educational workshops, upskilling locals in sustainable building techniques.

all images courtesy of Nyami Studio

the pavilion champions environmental & social empowerment

Following the floods of 2022, the Pono Village was developed as a vital zero-carbon settlement — an extension of Yasmeen Lari’s exploration of sustainable shelters for marginalized communities who have been displaced by such disasters over the years. For the Juliet Center too, Lari commissioned London-based Nyami Studio and designer Jack Rankin to create a new node for the community, taking into consideration structural longevity and long-term civic empowerment — particularly for women, who are here trained in construction and craftsmanship to support their livelihoods. ‘At the heart of the project was a commitment to creating positive social impact,’ notes Rankin. ‘To support this, we designed a flexible, open-plan space that could serve both the local community and the Heritage Foundation, providing a setting for workshops, talks, and social gatherings.’

The structure consists of two vaults arranged on a hexagonal grid, spanning widely to open up to the village without the need for internal columns. Though the space maintains a basic open plan, its modularity ensures that it remains deliberately flexible for future expansions or replication in other settlements.‘It is for the community to inhabit, adapt, and use in ways that suit their daily lives,’ the designer adds.

Nyami Studio and Jack Rankin complete Juliet Center

a community space amid yasmeen lari’s zero-carbon pono village

For the construction process, Nyami Studio and Jack Rankin reinforced the Heritage Foundation of Pakistan’s commitment to preserving and promoting culturally rooted building practices, fusing this with the precision of digital design to work with the extreme climate while achieving complex geometries and durability.‘With no locally available methods for steaming or heating bamboo, we bent it by notching and shaping it into formwork,’ Rankin shares. Shaping these elements according to pre-calculating angles while integrating local techniques, the formwork was adjusted through a process of trial and error in close collaboration between the international design team and local villagers.

For the finishing, floors have been layered with 10,000 hand-made mud tiles fired in neighboring villages, and a durable, woven thatch roof made of locally-harvested grass offers protection from the extreme heat and rains. Structurally, the design utilizes 2-3′ bamboo members which allows for faster material procurement without compromising on spanning capacity or stability.

this new vaulted bamboo pavilion creates an open space to empower locals

While the building was still awaiting the completion of a perimeter of tiled steps and a retractable fabric facade when Jack Rankin and Neil Palmer (co-founder of Nyami Studio) departed Pakistan, it had already been embraced by the community. Children turned the Juliet Center into a playground, and adults gathered for afternoon tea, filling the space with life before the final finishes were even implemented.

built with traditionally low cost and eco-friendly materials including bamboo, mud, lime, and thatch

its curves recall the domed forms familiar in the region, translating them into a lightweight, sinuous silhouette

intended to host spontaneous community gatherings while providing a space for educational workshops

the formwork was adjusted through trial and error

developed in close collaboration between the design team and villagers

floors are layered with 10,000 hand-made mud tiles fired in neighboring villages

‘With no locally available methods for steaming or heating bamboo, we bent it by notching and shaping it into formwork’

located within Yasmeen Lari’s Pono Village

project info:

name: The Juliet Center

architect: Jack Rankin, Nyami Studio | @nyamistudio

location: Pono Village, Sindh, Pakistan  

The post flood-proof bamboo pavilion anchors yasmeen lari’s zero-carbon pono village in pakistan 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

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Design practice Put Your Hands Together – BioArchitects constructs Jalmanjar Farmhouse in Ahmedabad, India. The residential project aims to optimize climatic efficiency through passive and active strategies suited to the region’s hot and dry conditions. The key design elements, including the orientation, spatial configuration, material selection, jali envelope, and windcatchers, work in coordination to enhance thermal comfort while minimizing energy consumption.

Situated on the periphery of a 12.5-acre site, the farmhouse is introduced by a perforated gable-end jali wall made of compressed earth blocks. This outer layer reduces direct solar radiation while facilitating natural ventilation through integrated windcatchers. The layout consists of two rectangular volumes housing the primary living and dining areas, positioned on either side of an open-to-sky courtyard. A passage and circulation core connect these spaces, extending vertically to accommodate two bedrooms and their adjoining bathrooms.

all images by Amalgamate

jali wall encloses Jalmanjar Farmhouse’s open spaces

The jali wall defines intermediary spaces such as semi-open verandahs, balconies, landscape niches, service corridors, and an open-to-sky shower. Structural elements include 9-inch-thick load-bearing walls composed of compressed stabilized earth blocks (CSEB) combined with a hybrid steel and concrete framework. The thermal mass of CSEB aids in maintaining cooler interior temperatures, while the elevated steel-supported roof increases spatial volume, promoting improved air circulation and comfort.

Studio Put Your Hands Together – BioArchitects organizes a compact footprint to minimize land coverage, reinforcing the primary function of the site as a farm. Expansive north-facing windows in the living and kitchen areas fully open to dissolve the boundary between interior and landscape, integrating the built environment with its agricultural surroundings.

Jalmanjar Farmhouse by Put Your Hands Together – BioArchitects, designed for climatic efficiency

the perforated jali wall reduces solar radiation while promoting natural ventilation

structural elements include compressed stabilized earth blocks and a hybrid steel-concrete framework

the use of locally sourced earth blocks reduces the project’s environmental impact

windcatchers integrated into the design enhance airflow within the farmhouse

a balance of solid and perforated surfaces ensures thermal performance and privacy

semi-open service corridors enhance functionality while maintaining privacy

a passage and circulation core connect the primary living and dining areas

the jali envelope extends beyond the interior, defining semi-open verandahs and balconies

the farmhouse integrates traditional materials with contemporary construction techniques

project info:

name: Jalmanjar Farmhouse
architect: Put Your Hands Together – BioArchitects | @pyht_bioarchitects

location: Ahmedabad, India

photographer: Amalgamate | @amlgmt

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 perforated facade of compressed earth blocks envelopes farmhouse in ahmedabad appeared first on designboom | architecture & design magazine.

Ronald Rael’s Adobe Oasis rises from California’s Coachella Valley as a cluster of ribbed, earthen passageways that bridge indigenous construction practices with digital fabrication. Created for Desert X, the installation reinterprets the mud-building traditions of Colorado’s San Luis Valley, a historic borderland between the U.S. and Mexico before 1848, through the precision of 3D printing. Layered in rhythmic ribbons of red adobe, the walls mimic the texture of the surrounding palm trunks, anchoring the work in both its landscape and architectural heritage aligned with the 2025 exhibition’s call for interventions that reimagine the desert as a site of memory, transformation, and resistance.

With this work, equal parts land art and architectural experiment, the US-based artist and architect further challenges industrial construction’s reliance on carbon-heavy materials like concrete and steel. By revitalizing ancestral knowledge and harnessing adobe’s natural insulating properties, non-toxicity, and fire resistance — qualities refined by various civilizations over centuries — Rael proposes a return to a more sustainable built environment shaped from the land.

all images by Lance Gerber, courtesy Desert X

ronald rael’s adobe oasis envisions sustainable construction

‘I envisioned about 16 years ago, a future of earthen construction that involved 3D printing,’ Ronald Rael reflects, describing his ongoing exploration of how ancient, low-impact materials can be revised as an ecological imperative in the face of the climate crisis. For the artist, working with the robotic printer is a ‘delicate dance’ — one where he remains in constant dialogue with the mud, adjusting and responding as the structure takes shape. The process is sensory and tactile, and deeply connected to place, he says, with the scent, texture, and malleability of the material all becoming tools in bridging the past with the future.

‘We naturally have a visceral connection to earthen structures. We feel them and we understand them because we evolved to build them,’ he continues. As such, the work continues to position earth as both an ancient and radically contemporary material, using robotic programming to advance an evolution of a construction method that has shaped human settlements for over 10,000 years. From the mudbrick ziggurats of Mesopotamia to the rammed-earth mosques of Mali and the vaulted homes of Nubia, civilizations have continuously refined adobe architecture to suit their environments. In the 20th century, architects like Hassan Fathy solidified its potential, demonstrating its viability for low-cost, climate-responsive housing. Rael builds on these histories as an evolution with a focus on engagement and tactility, integrating 3D printing to refine the labor-intensive nature of earthen construction while maintaining its adaptability to site and climate.

Ronald Rael completes Adobe Oasis

a cluster of ribbed, earthen passageways that bridge indigenous construction practices with digital fabrication

located in California’s Coachella Valley for Desert X 2025

3D printed in rhythmic ribbons of red adobe

the work is grounded in both its landscape and architectural heritage

the walls mimic the texture of the surrounding palm trunks

for Rael working with the robotic printer is a ‘delicate dance’ where he remains in constant dialogue with the mud

using robotic programming to reimagine an evolution of an ancient construction method

Adobe Oasis is equal parts land art and architectural experiment

project info:

name: Adobe Oasis

artist: Ronald Rael | @rrael

location: Coachella Valley, California

event: Desert X | @_desertx

on view: March 8th — May 11th, 2025

photographer: Lance Gerber | @lance.gerber

The post ronald rael 3D-prints cluster of earthen walls for ‘adobe oasis’ in coachella valley at desert X appeared first on designboom | architecture & design magazine.

The year 2024 saw designers and architects reimagine material applications in more sustainable and environmentally responsible ways. Zero-waste alternatives replaced traditional construction methods, as seen in ReGrow Willow’s hybrid material system that combines willow and pressed earth for architectural applications. Projects like André Kong Studio’s mushroom mycelium brick pavilion in New York and Studio dreiSt’s recyclable canteen furniture crafted from construction waste pushed the boundaries of conventional techniques.

Natural materials once considered waste emerged taking the place of synthetic options, such as Studio Sanne Visser’s use of human hair yarn applied on furniture and accessories. From Gisung Han’s decomposable stool made of wildflower seeds and potato-based plastic to Studio Arp’s pendant lamp shaped from leather derived from citrus waste, these projects embraced circular design principles. Our 2024 big stories include Mengyan Guo’s sculptural clothing collection crafted from discarded tea leaves, upcycled stools made from spent shower sponges and coffee grounds designed by Columbia University students, and Laura Bordini’s packaging series, which repurposes microalgae and industrial waste biomass to promote ecological regeneration. designboom rounds up 2024’s top 10 projects that stood out for their creative use of materials for practical, and sustainable designs.

FROM CHOW TO CHAIR: UPCYCLED STOOLS MADE FROM SPENT SHOWER SPONGES AND COFFEE GROUNDS

image courtesy of Justin Wan

The Luffa Stoolita explores the potential application of plant-based by-products, particularly their subsequent food wastes, as alternative materials for furniture design and construction. Realized by Columbia University GSAPP master’s students Justin Wan, Paul Edward Liu, and Tim Ting-Hao Chen, the project challenges conventional materiality in the realm of sustainable furniture, while prompting reflection on responsible consumption and waste management. By upcycling natural waste materials, the stool design demonstrates the possibility of extending the life cycle of food beyond its short-lived consumerist lifespan aligned with low-impact design solutions to address the issue of food waste. To ensure environmental sustainability, all materials used in the research and design project are locally sourced. 

read more here

LAURA BORDINI REPURPOSES MICROALGAE AND INDUSTRIAL WASTE BIOMASS TO NOURISH PLANT LIFE

image courtesy of Laura Bordini

Laura Bordini’s By Osmosis explores a circular process in which waste generated by one process becomes nourishment for another. The project showcases the potential of ‘growing materials’, particularly microalgae, in promoting ecological regeneration by actively contributing to fostering plant life.

Using biomass derived from the death of microorganisms recovered from industrial waste centers, the designer demonstrates how this product can be transformed into a biomaterial that stimulates plant growth. Bordini presents a series of products, such as packaging materials, designed to be planted and function as agricultural biostimulants.

read more here

VIENNA’S CONSTRUCTION WASTE BECOMES RECYCLABLE FURNITURE FOR CANTEEN BY STUDIO DREIST

image by Paul Sebesta, courtesy of Studio dreiSt

Bioregional design practice Studio dreiSt unveils Biofabrique canteen, the modular hospitality area of Vienna Design Week 2024. Designed in collaboration with the material-driven project Biofabrique Vienna, the canteen incorporates 1,700 handmade ceramic tiles glazed with metro excavation clay, demonstrating how materials like clay from Vienna metro construction sites and food production residuals can be repurposed into long-lasting, recyclable building components. The golden-brown surface of the ceramic glaze is derived from subway excavation clay and carbolime, while energy-efficient materials like Carbo and Adobe bricks are utilized to construct bar tables and counters.

read more here

HUMAN HAIR SPINS INTO YARN IN STUDIO SANNE VISSER’S INSTALLATION FOR LONDON DESIGN FESTIVAL

image by Rocio Chacon

Material design research practice Studio Sanne Visser introduces Locally Grown, an interactive installation exploring human hair as an innovative, sustainable material. Presented at the Material Matters Fair during the London Design Festival, the project invites visitors to engage with the full process, from live haircuts to hair spinning and rope-making demonstrations, resulting in an exhibition of design objects made from hair. The installation emphasizes collaboration and circular economy, featuring contributions from nine studios, including Helen Kirkum Studio, Lauren MacDonald, and Wilkinson & Rivera, who integrate Visser’s hair-based materials into a variety of products, ranging from high-quality interior objects to unique accessories.

Sanne Visser emphasizes the collaborative spirit behind her work, stating, ‘I work independently, but I would never say I work alone.’  This ethos is at the heart of the installation, blending collective creativity, ecological responsibility, and innovative design with sustainable material solutions.

read more here

MYCELIUM BRICK PAVILION BY ANDRE KONG STUDIO SPROUTS IN NEW YORK BOTANICAL GARDENS

image by Marlon Co for NYBG

Homegrown Wonderland is an organic garden pavilion created by andre kong studio for the New York Botanical Garden’s latest exhibition. As Wonderland: Curious Nature explores the fantastical world of Lewis Carroll’s Alice’s Adventures, the installation features bricks grown from mycelium—the root structure of mushrooms. This innovative materiality reflects the scene where Alice consumes a mushroom and grows rapidly, evoking a whimsical transformation as she outgrows the White Rabbit’s cottage.

Engineered by Arup, the pavilion juxtaposes a quaint, aged timber-frame cottage, scaled down to create an intimate setting, with unexpected walls crafted from full-sized mycelium bricks. The pavilion will be dismantled after its display in the gardens, with the mycelium bricks composted, and the timber will be reused.

read more here

GISUNG HAN’S POTATO PLASTIC-BASED STOOL BLOOMS INTO WILDFLOWERS AS IT DECOMPOSES

image courtesy of Gisung Han

Gisung Han’s Blooming Decay Stool is made from wildflower seeds and potato-based plastic, designed to bloom into flowers as it decomposes. The project stems from the designer’s desire to create various types of bioplastics with artful, sustainable principles and with manufacturability in mind.

‘Does a chair designed with sustainable principles always need to be durable and long-lasting? How about a chair that breaks easily, becoming more beautiful as it deteriorates?’ Han questions. As a result, the stool embraces the beauty of disappearance, envisioned to be disposable and biodegradable, naturally dispersing seeds back into the environment as it ages.

read more here

‘REGROW WILLOW’ POSES HYBRID EARTH CONSTRUCTION SYSTEM STRENGTHENED WITH DIGITAL FABRICATION

image courtesy of Karlsruhe Institute of Technology (KIT)

ReGrow Willow presents an innovative hybrid material system that pairs the tensile strength of willow with the compressive strength of earth for architectural applications. Developed by professorships at the Karlsruhe Institute of Technology (KIT), this comprehensive construction process leverages bespoke digital fabrication and computational tools to advance the synergistic combination of the two natural materials. Embracing lightweight, mobile, and adaptable fabrication equipment, the project embodies a low-impact design philosophy to reduce energy and material consumption, offering a sustainable structural alternative to reinforced concrete.

Championing a circular ethos, the project further seeks to integrate alternative materials and closed-loop systems into construction practices, addressing resource depletion and waste generation. By disrupting the traditional linear model of take, make, and dispose, ReGrow Willow aims to establish a waste-free and fully circular digital construction, closing local material cycles.

read more here

LEATHER-LIKE MATERIAL FROM CITRUS WASTE WRAPS PENDANT LAMP AT LONDON DESIGN FESTIVAL

image by Stone Stuart courtesy of Studio Arp

Interdisciplinary practitioner Alkesh Parmar, founder of Studio Arp, repurposes orange peel waste into sustainable materials in the Citrus Sinensis project. Incorporating traditional craftsmanship and low-tech processes, the studio explores themes of migration, colonialism, and decentralized design. Showcased at the Material Matters Fair during the London Design Festival, this project includes lighting, objects, and artworks, emphasizing the intergenerational preservation of craft and the sustainable use of natural resources, while drawing on the origins of the orange from the Himalayan foothills.

Through his innovative process, APeel, Parmar transforms waste citrus peel into a versatile leather-like material suitable for diverse applications. In a crucial phase before the orange peel dries, it becomes pliable and moldable, similar to leather, with its properties varying based on the type of citrus and environmental conditions—ensuring an adaptable and sustainable process. Low-tech craft techniques emphasize the potential of local materials, challenging conventional Western design practices.

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ECO-FRIENDLY PACKAGING BY BIOREGION INSTITUTE REPURPOSES BARLEY WASTE AND SEAWEED

image courtesy of Bioregion Institute

Lab director Alexandre Bau, industrial biochemist Lars Haugen Aardal, and industrial designer Alvise Rizzo from the Bioregion Institute introduce Feddie Packaging, an eco-friendly packaging solution crafted from whiskey distillation byproducts and locally sourced seaweed. This innovative biomaterial offers a low-cost, low-carbon alternative to pulped cellulose, advancing sustainable packaging design.

The biomaterial repurposes draff—the spent malted barley grains left over from whiskey production—as a raw material rich in starch, proteins, and fibers. Typically used as animal feed or compost, draff’s natural properties make it an ideal base for molded pulp packaging. To enhance its functionality, the team combines draff with sugar kelp, a seaweed cultivated along Norway’s coast. This land-and-sea biomass pairing leverages the adhesive qualities of alginate, a natural polysaccharide found in kelp, to create a robust, shock-absorbing packaging material. ‘By converting this waste biomass into a useful product without compromising biodegradability, we extend its life cycle and offer a cheap alternative resource to the molded pulp packaging industry,’ affirms the team. ‘We leverage the residual starch in draff as a natural binder, a key component that provides strength and elasticity to the material.’ 

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SCULPTURAL TOP AND SKIRT MADE OF DISCARDED TEA LEAVES CAN ABSORB ODOR

image courtesy of Mengyan Guo

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Studio Heech’s modular partition system reinterprets the traditional Korean wattle and daub method for contemporary interiors. At the exhibition ‘Room, As It Is’ at Arumjigi in Seoul, Sensing Instrument explores the potential of earth as a sustainable material that does not generate industrial waste in modern architecture. While looking at how natural materials can become part of one’s daily routine, the structure ensures that it maintains the flexibility and functionality demanded by modern environments.

A 3D printed washbasin and folding bench is installed within, forming contrasts with the raw textures of the earth, clay, bamboo, and straw made with the assistance of skilled craftsmen. Employing these materials and construction methods, the studio challenges the misconception that traditional materials are unsuitable for contemporary lifestyles.

all images by Doyeon Kwon unless stated otherwise

studio heech explores potential of earth in modern interiors

Amidst spaces typically defined by industrialized materials, Studio Heech’s Sensing Instrument introduces natural elements through sight, smell, and touch. The exhibition setting further enhances this design narrative, with the Arumjigi building offering panoramic views of the historic Gyeongbokgung Palace on one side and a traditional Korean courtyard, or Hanok, on the other. The Seoul-based studio’s design draws inspiration from the concept of ‘borrowing the landscape’ from outside into interior spaces, which is central to traditional Korean architecture.

Sensing Instrument is a spatial device that allows users to subtly tailor their experience of the space, blending natural elements with modern adaptability. Meanwhile, the panoramic view borrowed from the outside is experienced differently depending on the changes in the space controlled by the occupants. In addition, the earthy scent and texture evoked by the traditional wattle and daub walls contribute to a layered, intricate, and personalized spatial experience.

Studio Heech presents Sensing Instrument

the system maintains the flexibility and functionality demanded by modern environments

the wall is made with the assistance of skilled craftsmen

Sensing Instrument is a spatial device allowing occupants to subtly tailor their experience of space

movable bench and furniture | image courtesy of Arumjigi Foundation, 그루비주얼

a 3D printed water basin | image courtesy of Arumjigi Foundation, 그루비주얼

reinterpreting the traditional Korean wattle and daub method | image courtesy of Arumjigi Foundation, 그루비주얼

accompanied by rammed earth furniture | image courtesy of Arumjigi Foundation, 그루비주얼

on view at the exhibition Room, As It Is at Arumjigi in Seoul | image courtesy of Arumjigi Foundation, 그루비주얼

project info:

name: Sensing Instrument
designer: Studio Heech | @studioheech

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 studio heech’s partition puts contemporary twist on traditional korean wattle & daub method appeared first on designboom | architecture & design magazine.