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

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Located in La Reserva, Sotogrande, Spain, Villa TAI by ARK Architects, led by architect Manuel Ruiz Moriche, is a residential project that merges Mediterranean and Oriental architectural principles. The villa is conceived as a contemporary residence that responds to the evolving priorities of sustainable living, environmental integration, and well-being.

The architectural approach emphasizes balance between spatial openness and material tactility. Positioned on a stone and wood podium, the structure frames panoramic views of the Mediterranean Sea, enhancing the spatial continuity between interior and exterior. This dialogue is reinforced through the strategic use of natural light and orientation, which ensures illumination throughout the day while maintaining a consistent connection with the surrounding landscape.

all images courtesy of ARK Architects

ARK Architects Emphasizes Materiality and Context

Material choices across the project reflect ARK Architects Studio’s focus on texture and craftsmanship. Natural stone and wood define the palette, supporting a refined design language that prioritizes tactile quality and visual coherence. The spatial layout integrates views of the sea, greenery, and the adjacent golf course, aligning with ARK’s principle of contextual design.

Furnishings by Molteni&C are integrated into the project to support the architectural narrative. The living area features the Marteen sofa and side table by Vincent Van Duysen, along with the Cinnamon armchair by Naoto Fukasawa. These pieces contribute to the residence’s emphasis on understated comfort and visual cohesion, aligning with the broader design objectives of efficiency, balance, and longevity. 

Villa TAI is situated in La Reserva, Sotogrande, Spain

the project is designed by ARK Architects under Manuel Ruiz Moriche

Mediterranean and Oriental architectural influences define the villa

the design emphasizes sustainability, spatial balance, and well-being

a dialogue between interior and exterior is established through form and orientation

stone and wood materials integrate the architecture into its environment

strategic use of natural light enhances interior illumination throughout the day

texture and craftsmanship guide the selection of materials and finishes

the spatial layout encourages visual continuity with the surrounding landscape

positioned on a podium, the villa overlooks the Mediterranean Sea

natural stone and wood form a restrained, tactile material palette

Molteni&C furnishings support the architectural concept

the design prioritizes understated luxury over decorative excess

project info:

name: Villa TAI
architects: ARK Architects | @ark.architects

lead architect: Manuel Ruiz

furnishings: Molteni&C | @molteniandc

location: La Reserva, Sotogrande, 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: christina vergopoulou | designboom

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Originally designed in 1972 by Argentine designer Ricardo Blanco, the Plaka Chair, or Silla Plaka, is a folding chair developed with a strong emphasis on functionality and compactness. The chair was conceived to fold into an extremely slim profile, optimizing it for portability and storage. Its form also allows it to be hung on a wall, emphasizing its graphic and sculptural qualities beyond mere utility.

The Plaka Chair is recognized as a significant piece in the history of Argentine design. It is held in the permanent collections of both the Museum of Modern Art (MoMA) in New York and the Los Angeles County Museum of Art (LACMA), reflecting its historical and design relevance. Ricardo Blanco’s Plaka Chair has been reedited by Holder Objects, an editorial platform, design store, and gallery dedicated to contemporary and collectible Latin American design. 

all images by Najtlix Studio

Plaka Chair joins Holder Objects’ curated selection of furniture

Founded by designer Trinidad Davanzo and architect Camilo Palma, Holder Objects platform presents a curated selection of furniture and art-led objects that explore connections between design, geography, and cultural identity within the region. Holder’s approach includes research-based curatorial work focused on uncovering historically important but lesser-known works, an effort referred to as ‘design archaeology.’ This methodology aims to preserve and reintroduce Latin American design heritage to a wider audience, especially in Europe, fostering cultural dialogue and collaboration.

The Plaka Chair joins Holder’s growing catalog, which also includes pieces such as the Puzzle Chair (1975) by Chilean designer Juan Baixas, another design held in the MoMA collection, alongside works from a range of contemporary Latin American designers. Holder Objects is set to give a talk at 3daysofdesign 2025, representing Latin American design.

the Plaka Chair, designed by Ricardo Blanco in 1972, emphasizes functionality and compactness

a folding chair reduced to its most minimal profile

clean geometry and foldable structure define its visual character

Holder’s reedition brings renewed attention to Ricardo Blanco’s design

designed for portability, stored like artwork

a landmark of 20th-century Argentine design

a folding chair that functions as both seat and statement

the Plaka Chair reflects a considered approach to material use and movement

fabrication

fabrication

fabrication

fabrication

sketches

project info:

name: Silla Plaka – Plaka Chair (Slab Chair)
designer: Ricardo Blanco

furniture company: Holder Objects | @holder.objects

photographer & videographer: Najt Lix Studio

concept & research: Najt Lix Studio | @najtlixstudio

director: Matías Lix | @lix_klett

original music: Camilo Palma | @ap_ducal

special thanks: Ana Scotto, Roberto Busnelli, Guillermo Ferrari, Pablo Diez, Fundación Ida | @fundacionida, Estudio Ovalle | @estudioovalle

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

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In Seas of Construction, photographer Manuel Alvarez Diestro documents urban development across China and South Korea through a visual study of construction sites. The photography series focuses on large-scale temporary coverings, green and blue fabrics draped over terrains, that serve both functional and aesthetic roles during the construction process. These coverings, typically used to stabilize soil and reduce dust, appear in the images as expansive, textile landscapes. Their vivid coloration and scale resemble the earthworks of 20th-century land art, transforming utilitarian materials into visual metaphors within the natural and built environment.

Photographed in remote or peripheral areas beyond city centers, the sites are often transitional spaces, landscapes caught between states of erasure and emergence. The fabric surfaces take on the appearance of abstract topographies or undulating seascapes, suggesting the anticipation of new urban forms beneath.

construction site in Seoul, South Korea | all images by Manuel Alvarez Diestro

Fabrics draped over construction sites resemble seascapes

The Seas of Construction series first started taking form on Hainan Island, where photographer Manuel Alvarez Diestro noticed fabric laid across construction sites near palm trees resembled ocean waves, drawing parallels with travel calendars featuring idyllic tropical coasts. From this point, the visual metaphor of a ‘sea of construction’ began to define the conceptual lens through which the work evolved.

In recontextualizing these temporary interventions, the series presents a reinterpretation of the built environment and the materials that shape it. The photographs invite viewers to consider how urban growth is not only a structural process, but also a visual and symbolic one, where fabric becomes a medium of transformation.

construction debris covered with green fabric in Seoul, South Korea

green fabric covering land in Hainan, China

construction site in Seoul, South Korea

construction site in Seoul, South Korea

Blue fabric covering land against new residential towers in China

construction site in Shanghai, China

sea of green fabric in Seoul, South Korea

a vast territory covered with green and blue fabric in China

Jeju Island, South Korea

green fabric surrounds new towers in Beijing, China

mountains of stones covered with black fabric in Incheon, South Korea

project info:

name: Seas of Construction

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A collaborative project between contemporary artist Jacky Tsai and Chinese aerospace company LandSpace has resulted in the successful launch of the world’s first fully art-painted orbital rocket. The Zhuque-2 Enhanced (ZQ-2E Y2), measuring nearly 50 meters in height, was launched from the Jiuquan Satellite Launch Center in China and crossed the Kármán line, officially entering outer space. 

This marks the first instance of a complete rocket body being treated as a unified visual artwork and deployed in a successful space mission. The design, themed around the Chinese legend ‘Chang’e Flying to the Moon,’ features continuous painted compositions depicting Chang’e, the moon palace, and celestial figures. These elements were executed using aerospace-grade paints and techniques, developed in close coordination between the artist and engineering teams. Jacky Tsai reimagined the myth through bold visual language and vibrant colors, blending Eastern narrative with contemporary aesthetics.

all images courtesy of Jacky Tsai

Jacky Tsai applies aerospace-grade paint across the entire rocket

Unlike prior examples of decorative treatments or mission insignia applied to rockets, this project involved a fully integrated surface design across the entire launch vehicle. This unprecedented initiative presented both technical and visual challenges. To realize the vision, artist Jacky Tsai worked closely with engineers to apply aerospace-grade paint and advanced production methods, ensuring the artwork remained vivid and intact under extreme launch conditions. ‘To witness my artwork launched into space on a real rocket is one of the most emotional moments of my career. Through this project, I hope to send our shared dreams and imagination truly into the cosmos,’ Tsai said.

Segments of the painted rocket body were recovered post-launch following stage separation, serving as tangible evidence of this pioneering art experiment. The project stands as a formal and material intersection between visual art and aerospace technology. This launch represents a new point of convergence between creative disciplines and space exploration, expanding the framework through which rockets may be viewed not only as engineering systems but also as cultural artifacts.

Jacky Tsai’s artwork transforms the entire rocket surface

artist Jacky Tsai worked closely with engineers to realize the surface design

continuous painted compositions span the rocket’s full height

aerospace-grade paint remained vivid and intact under extreme launch conditions

the first art-painted vehicle entering outer space

project info:

name: the world’s first fully artist-painted rocket
designer: Jacky Tsai | @jackytsaiart

company: LandSpace

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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

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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

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Snap Inc. has announced the release of its new lightweight AR glasses with see-through lenses that double as a wearable computer. Unveiled at the Augmented World Expo 2025, the immersive Specs is slated for a 2026 release with a slew of features as part of the upcoming Snap OS update. With the Snap AR glasses and their see-through lenses, users can translate 2D information into 3D floating objects before their eyes using the integrated language models, including OpenAI and Gemini. There’s also a real-time transcription for around 40 languages, and it can understand even the non-native accents with ‘high accuracy.’ For developers, they can generate 3D objects while they’re wearing the glasses and remotely monitor and manage multiple pairs of Specs.

In line with the recent announcement, the Snap Spectacles, which are a pair of AR glasses, also have lenses that generate the images and sounds of the book the user is reading. Named Augmented Reading Lenses, it’s a collaboration between the National Library Board of Singapore and Snap Inc., with LePub Singapore as the campaign’s production lead. These Snap AR glasses and lenses use real-time OCR, or the conversion of typed text into a digital format, and generative AI to produce the visuals. The device already has stereo speakers, so the soundscapes are a natural addition to the reading experience.

all images courtesy of Snap Inc. as well as National Library Board of Singapore and LePub Singapore

Sounds play as the user reads the text

The Snap AR glasses and lenses use text recognition and machine learning to see the content the user is reading and activate the related visuals and sounds. First, the device scans the printed text as the user reads. Then, the images float before their eyes, accompanied by the sound effects linked to specific words or scenes. In this case, when the book describes a kind of environmental or action sound, like doors opening, the Snap AR glasses with these new lenses play that audio right into the speakers. 

So far, the company and the library say that the visuals appear in time for what the user is reading. Once they look up from the page, they can see the images depicted in the text in their field of vision. The National Library Board of Singapore adds that the project is a part of its initiative to use technology as a way to engage more people to read books. The teams have collaborated with LeGarage, the innovation branch of LePub Singapore, to help develop the reading experience and campaign of the Snap AR glasses and lenses. At the present time, they plan to roll out the beta-testing devices later in 2025 in Singapore to gather feedback before the public rollout.

The story was updated on June 11th, 2025, to include the announcement on the 2026 Specs AR glasses.

Snap Inc. has announced the release of its new lightweight AR glasses that double as a wearable computer

the device has see-through lenses for sharper and clearer viewing

the device uses real-time OCR and generative AI to produce the visuals and sounds

users can also interact with the floating imagery, based on what they’re reading

sample visuals when the user reads Pride and Prejudice

even Frankenstein shows up as a generated visual

the device already has stereo speakers, so the soundscapes are present

the images and sounds appear as the user reads

users can see the images depicted in the text in their field of vision

the beta testing rolls out later in 2025

project info:

name: Augmented Reading Lenses

companies: Snap Inc., Snap AR Studio, LePub Singapore | @spectacles, @lepub_worldwide

library: National Library Board of Singapore | @nlbsingapore

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: matthew burgos | designboom

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Part of the Korean Pavilion at the 2025 Venice Biennale, Time for Trees by Heechan Park + Studio Heech presents a series of spatial installations and sensing devices marking the pavilion’s 30th anniversary. The project explores the evolving relationship between the architecture of the Korean Pavilion and the surrounding trees within the Giardini della Biennale, framing this interaction through visual, auditory, and spatial means.

The installations, ‘A Shadow Caster,’ ‘Giardini Travelers,’ and ‘Elevated Gaze 1995,’ operate as observation tools, offering a framework to perceive how the pavilion coexists with its natural surroundings over time. Emphasizing the pavilion’s original integration into the site without displacing any trees, the project highlights the long-term coexistence of built form and landscape. Rather than treating architecture as separate from nature, the installation acknowledges both as equal components in the spatial composition of the Giardini. Developed through collaborations with various Korean workshops, the work reflects on the logistics and implications of constructing international exhibitions. It also addresses the broader conditions of biennale production, positioning the project as both site-responsive and globally connected. Unlike the closed typology of white cube exhibition spaces, the Korean Pavilion remains visually and spatially open to its surroundings. The installations within are designed to interact with environmental conditions such as light, shadow, and sound, reinforcing the role of time and place in the experience of architecture.

Time for Trees celebrates the Korean Pavilion’s 30 years | all images by Yongjoon Choi unless stated otherwise

Time for Trees showcases three site-specific spatial installations

‘A Shadow Caster’ is a site-specific spatial installation that allows visitors to read and experience the shadows cast by the trees around the Korean Pavilion. The work captures the patterns, shades, and subtle movements of the surrounding Giardini environment, evolving with time, seasons, and changing climate conditions. Visitors experience the relationship that the Korean Pavilion has with the vegetal and topographic conditions

Created by Studio Heech’s team in collaboration with a woodworking shop and a metal workshop in Seoul, the ‘Giardini Travelers’ are structural and modular architectural devices created for site-specific events and rituals at the Venice Biennale. Moving through various national pavilions of Giardini, they explore and celebrate the rich and intriguing histories connected to the surrounding trees and natural environment. These adaptable modular trusses can function as an observation deck, ladder, bench, seating area for visitors, stage for special events, or a setting for temporary exhibitions. In particular, in this exhibition, they are used as a ladder and bench, allowing visitors to experience the stories created through relationships with the surrounding trees. ‘Giardini Travelers’ remains an ‘artwork’ that, even in the 21st century, must be created on the other side of the globe and embark on a long journey to Venice. It serves as both a ritualistic tribute and a critical inquiry into the efforts and dedication of those who create national pavilions every year, as well as the long-standing history and traditions of the Biennale.

‘Elevated Gaze 1995’ is inspired by the quote ‘free independence of the human gaze, tied to the human face by a cord so loose, so long, so elastic that it can stray, alone, as far as it may choose,’ from Marcel Proust’s ‘In Search of Lost Time, Swann’s Way.’ In this passage, the human gaze moves freely and independently, experiencing its surroundings. Through this piece, visitors transcend the limits of their own gaze, rising higher to take in the landscape of the Giardini and the sounds of trees and forests. The long-standing story created by the equal symbiosis of architecture and trees in the Giardini is reinterpreted and shared with visitors through ‘Elevated Gaze 1995.’ The exhibition’s title, ‘Time for Trees,’ draws from Sufi Boise’s essay of the same title in Architectural Review (April 2023).

the project explores the relationship between architecture and surrounding trees in the Giardini

three key installations frame the dialogue between built form and landscape

‘A Shadow Caster’ captures the movement and seasonal changes of tree shadows

visitors engage with environmental patterns created by nearby trees

light and shadow define a shifting spatial experience around the pavilion

the human gaze moves freely and independently, experiencing its surroundings

each installation interacts with sound, light, and time to frame natural processes

the project acknowledges the equal presence of nature and structure in the Giardini

‘Giardini Travelers’ are modular structures built for observation and interaction

project info:

name: Time for Trees
architect: Heechan Park – Studio Heech | @studioheech

venue: Korean Pavilion, Giardini, Venice

dates: May 10th – November 23th, 2025

digital interaction collaborator: Yoosuk Kim (RGB lab)

fabrication coordinator: Il Park (Design Lab)

technical advisor: Junhyuk Park, Junghoon Kim (Archi Terre)

fabricator: KD-Art, Catharsis, RGB lab

project assistant: Yurim Kim (Studio Heech)

photographer: Yongjoon Choi, Yongbaek Lee

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 site-specific installations by studio heech fuse korean pavilion with biennale’s giardini trees appeared first on designboom | architecture & design magazine.

Developed by artist and designer April Soetarman, The Unfinished Projects Release Form is a printed slip that provides a structured approach to letting go of incomplete creative works. The form is intended as a tool for acknowledging the effort and time invested in a project that can no longer be continued, whether due to shifting priorities, limited resources, or changing personal context.

all images by Alison Luntz

creative interruption as a natural part of the creative process

The product takes the form of a two-part carbonless slip, measuring approximately 5.5″ x 8.5″. Each booklet contains 10 identical forms. Users are invited to complete the form by documenting the nature of their unfinished project and their reasons for discontinuation. Designed by artist April Soetarman, this process aims to create a moment of intentional reflection while providing a simple ritual for resolution. Once filled out, the top white copy is destroyed, while the yellow copy is retained. The release form is produced under Soetarman’s Weird Side Projects label.

the Unfinished Projects Release Form walks you through the process of letting go of your unfinished project

the project aims to acknowledge that creative work and effort matters, even if it stays unfinished

the two-part carbonless form copies handwritten information twice, on both the white and yellow sheets

the release form comes in packs of 3 if you have a lot of projects to release

each form documents the story of a creative project left incomplete

INSTRUCTIONS: After filling out the form, destroy the top white copy. Keep the bottom yellow copy. You are now free.

approximately 5.5″ x 8.5″, each booklet includes 10 identical forms

project info:

name: The Unfinished Projects Release Form

writer and designer: April Soetarman | @AprilSoetarman – WeirdSideProjects | @weirdsideprojects
product photographer: Alison Luntz | @alisonluntz

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

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