Opening to the public on June 6th and on view through October 26th, the 2025 Serpentine Pavilion by Marina Tabassum Architects is now complete in London’s Kensington Gardens. Marking the 25th anniversary of the Serpentine’s architectural program, the pavilion, titled A Capsule in Time, explores themes of impermanence, tactility, and light through a modular, timber-built structure designed to move, adapt, and ultimately disappear. Ahead of the opening, Marina Tabassum discusses with designboom the ideas that shaped this year’s design.‘The pavilion is called A Capsule in Time for many reasons,’ Tabassum tells us during our interview. ‘One is that I find the connection between architecture and time quite intriguing (…) pavilions have a temporality, which is not about time but about a moment—to embrace and enjoy it.’

Aligned with Serpentine South’s historic bell tower, the elongated north-south structure is composed of four translucent capsules that dapple the space with shifting light. Tabassum draws inspiration from the hydrologic landscapes of Bangladesh, where ‘land constantly moves—it’s a situation where sand beds form, water takes the land away, and then it recreates it.’ This ephemerality is echoed in the building’s material choices. The architect works entirely in wood for the first time, not only for its dry-construction potential and future reuse, but also for its local availability. ‘We haven’t worked entirely with wood before because wood is not a material in Bangladesh as such… but here, it made sense,’ she explains.

Serpentine Pavilion 2025 A Capsule in Time, designed by Marina Tabassum, Marina Tabassum Architects (MTA). exterior view. © Marina Tabassum Architects (MTA) | image by Iwan Baan, courtesy of Serpentine

inside ‘a capsule in time’, knowledge can be shared freely

A kinetic capsule embedded within the Serpentine Pavilion structure allows parts of the pavilion to shift and expand for public programming. ‘It’s a movable part of the structure that can shift and connect with another section to create a larger, covered space. That’s where the kinetic element comes in.’ Marina Tabassum notes. At the heart of the pavilion stands a ginkgo tree—a resilient species dating back to the Jurassic Period. ‘That tree gives life to the whole pavilion,’ the architect shares with designboom. ‘Even though it’s within a park and surrounded by nature, having a tree inside the pavilion really changes the atmosphere.’

Tabassum also sees the pavilion as a place of quiet resistance, an antidote to rising global censorship. Bookshelves built into the capsules host a curated selection of texts in Bengali literature, poetry, ecology, and identity. ‘Some of them are by writers whose works have been banned in Bangladesh,’ she reveals during our discussion. ‘In a time when many books are being banned and education is being questioned (…) the very notion of knowledge feels under threat. So it felt important to bring that idea of books and knowledge into the pavilion—a space where knowledge can be shared freely.’ Continue reading to explore our full conversation with Marina Tabassum, this year’s Serpentine Pavilion architect.

marking the 25th anniversary of the Serpentine’s architectural program | image by Iwan Baan, courtesy of Serpentine

interview with Marina Tabassum 

designboom (DB): The Pavilion is called A Capsule in Time. What does that mean to you? What kind of histories, moments, or personal elements were you hoping to capture in this structure?

Marina Tabassum (MT):  The pavilion is called A Capsule in Time for many reasons. One is that I find the connection between architecture and time quite intriguing. We started architecture as a discipline with the notion that it would last forever. It’s almost like a continuity—when you’re not there, your architecture remains. So it continues through time. Timelessness has also been a way of looking into architecture—how you can make your buildings timeless, which is about defying time. At the same time, pavilions have a temporality, which is not about time but about a moment—to embrace and enjoy it. In the case of the Serpentine, it’s there for a five-month period—nice summer days, a beautiful sunny day like today—and then it’s gone. But it has a presence in the virtual realm, which is our new reality.

Where I come from, in Bangladesh, we have this notion of land as temporal. Land constantly moves—it’s a hydrologic situation where sand beds form, water takes the land away, and then it recreates it. So this idea of land being eroded and re-emerging also carries temporality. Architecture is associated with that, because people keep moving their houses from one place to another. I also bring in my way of practice. I come from a place defined by temporality, but I’ve always been very interested in light. A nice summer day in London can be really beautiful. That light can be celebrated if we create a space that lets it through. Light is an important element in this design. It also connects to pavilion structures in Bangladesh—ones we create for weddings or religious occasions, called shamiyanas. These shamiyana structures are made of cloth and bring in beautiful light. Bringing that sense, that atmosphere, into this space was also very important to me.

exploring themes of impermanence, tactility, and light | image by Iwan Baan, courtesy of Serpentine

DB: The translucent facade creates a play of light and shadow. What was the process behind achieving that dappled effect? Was it intentional from the start, or something that evolved along the way?

MT: The decision to bring in this very sort of translucent light into the space was intentional. That was one of the design intents. From the very beginning, that’s what we wanted for that space. But achieving that effect was a process. Initially, we were thinking of using jute and laminated jute; we looked into it and did some research.

But jute is a material that is not fire-rated, so it would not be allowed in the pavilion.

Then we had to look for something we could source locally here in London. So we settled for polycarbonate sheet with a translucent film on it. That actually helped us bring in the quality of light that we wanted. The building is maybe initiated in the Serpentine in Kensington Gardens, but it has an afterlife. That means there will be a continuity of this building in another location. So it will be used again—it won’t go into a landfill. That’s why we opted for a material of that nature.

Tabassum draws inspiration from the landscapes of Bangladesh | image by Iwan Baan, courtesy of Serpentine

DB: And what about working with wood for the first time entirely? What drew you to this material for the pavilion and how did it shape your approach?

MT: We haven’t worked entirely with wood before because wood is not a material in Bangladesh as such. The reason we used this material is because it’s something we could source locally here. And that’s one of our practice’s ethos—we like to source materials locally, where there’s also local knowledge of building. So using wood for the structure made more sense.

It’s also a dry construction. As you can imagine, it’s only here for a short period of time. That was another reason we chose a wooden structure, it can be dismantled and taken to a different location later on.

Serpentine 2025 Pavilion A Capsule in Time, designed by Marina Tabassum, Marina Tabassum Architects (MTA), design render, interior view | rendering © Marina Tabassum Architects (MTA), courtesy Serpentine

DB: The pavilion also features a kinetic element that moves and transforms the space. What inspired that idea? Were there any technical or design challenges in making it work?

MT: Not really. No, not in that sense. There was a budget challenge, but that’s always the case—nothing unusual. The main idea was to create a capsule-like form—sort of a half capsule—but we wanted it to feel more connected to the natural surroundings of the park. That’s why you see these openings or cuts in the structure: they’re designed to bring in elements of nature and create a balance between inside and outside.

The Serpentine Pavilion also serves a practical purpose. It hosts various events throughout the summer, so it was important to design a space that could accommodate around 200 people—even in rainy weather. That’s where the kinetic element comes in. It’s a movable part of the structure that can shift and connect with another section to create a larger, covered space. This allows the pavilion to expand when needed and provide shelter for bigger gatherings. So the kinetic feature had a functional reason behind it, but it also became an exciting design element—because no one had done something like that before in the Serpentine Pavilion. It adds a new and interesting layer to the experience.

the architect works entirely in wood for the first time | rendering © Marina Tabassum Architects (MTA), courtesy Serpentine

DB: You’ve built the pavilion around a ginkgo tree, which feels like a really meaningful choice. What led you to center the tree in the design, and how does that reflect your approach to climate-responsive architecture?

MT: Well, you know, the tree—I think that tree gives life to the whole pavilion. Otherwise, it’s a very archaic structural form. But the moment we brought in the tree, it transformed the space. Even though it’s within a park and surrounded by nature, having a tree inside the pavilion really changes the atmosphere. It brings life, and it gives the space a more intimate scale. That became one of the essential elements of the entire design. We really wanted to incorporate nature—not just to serve people, but to create a space that also celebrates nature. We were thoughtful about what kind of tree it should be. The idea was that once the pavilion is dismantled, the tree would be replanted somewhere in the park so it can continue to live.

We needed a tree that was strong and rugged, something that could withstand being transported and replanted. At the same time, it needed to be compatible with the plant community already in the park. So we looked for something that could meet all of those needs—but also something beautiful and light, that would sit harmoniously inside the pavilion. That’s how we chose the ginkgo tree. It has a beautiful, fan-shaped leaf—very sculptural, which I really loved. And towards the end of the season, in September or October, the leaves turn this beautiful yellow. So we’ll hopefully see that transformation as the pavilion nears its end. It’s poetic in a way—sustainability and poetry coming together in one gesture.

the structure allows parts of the pavilion to shift and expand | rendering © Marina Tabassum Architects (MTA), courtesy Serpentine

DB: In times of rising censorship, you’ve spoken about knowledge-sharing. How does the pavilion become a tool for resistance, if at all?

MT: Well, knowledge sharing is an important part of our practice—especially wherever we build. In the houses we’re building now, we try to work closely with the community. We share building knowledge with people so they’re able to eventually build on their own. That’s a core part of our approach. And the way we wanted to bring that idea of knowledge sharing into the pavilion was by introducing a small library alongside the café. We’re bringing in a range of books—different kinds of books.

Some of them are by writers whose works have been banned in Bangladesh. So you’ll see some of those there too. The idea is that, in a time when many books are being banned and education is being questioned or restructured in different parts of the world, the very notion of knowledge feels under threat. So it felt important to bring that idea of books and knowledge into the pavilion—a space where knowledge can be shared freely. We also want it to be a space for dialogue, where people can come together and, despite all our differences, celebrate our uniqueness.

Marina Tabassum portrait | image © Asif Salman

project info: 

name: A Capsule in Time
architect: Marina Tabassum, Marina Tabassum Architects (MTA) | @marinatabassum
location: Serpentine South, Kensington Gardens, London, UK

event: Serpentine Pavilion | @serpentineuk
dates: June 6th – October 26th 2025

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The National Gallery in London is set to open its redesigned main entrance on May 10, a clear architectural move by Selldorf Architects that completely changes how visitors approach the building. Working closely with the project’s heritage architects, Purcell and landscape designers, Vogt, the intervention keeps the bones of Venturi, Scott Brown and Associates’ (VSBA) 1991 Sainsbury Wing, but improves access, orientation, and lighting.

At the heart of the redesign is a new public forecourt, a ‘square within a square’, created by removing a little-used courtyard between the Sainsbury Wing and the historic Wilkins Building. This move gives the Wing more breathing room but also aligns it more fully with Trafalgar Square. It’s the first time visitors can walk from the street directly into the Gallery without steps, and the first time the building offers a transparent view inside. New conservation-grade clear glass replaces the original dark glazing, revealing the interior’s grand stair and circulation and making the space feel porous, social, and alive.

Wing Foyer | all images by Edmund Sumner Sainsbury © The National Gallery, London

Selldorf Architects improves orientation and lighting

Inside the National Gallery building, the original VSBA layout, a dark, compressed entry leading to a soaring staircase, remains legible, but everything around it has changed. The team of Selldorf Architects expands the foyer by 60%, replaces dark glazing with clear views, and adds two new double-height volumes to the east and west of the vestibule, preserving the original Postmodern play of compresion and release. These volumes now host a lounge, museum shop, and café, while the mezzanine houses a restaurant, bar, and bookshop. Orientation is easier, lighting is better, and every surface is quieter, clad with grey pietra serena limestone, Chamesson from Burgundy, slate, oak, black granite.

Oversized, non-structural columns were removed or slimmed down; donor walls and Egyptian-style columns were relocated for better sightlines. Lighting is improved both naturally, through glass, and artificially, via Murano glass LED diffusers. The grand stair remains untouched but is now foregrounded, a focal point rather than an afterthought.

view of the Main Stair with the Rotunda and Jubilee Walk

the first phase of the 200th anniversary program

The intervention is the first phase of the £85 million NG200 Welcome program for the National Gallery’s 200th anniversary. The goal is to rethink what a national gallery should feel like. Upcoming additions include the refurbished Research Centre, a new underground link between the Sainsbury Wing and the Wilkins Building, and the Supporters’ House, a hospitality space for patrons with views over Trafalgar Square. Meanwhile, VOGT’s landscape scheme keeps things minimal, replacing the former courtyard with terrazzo-style benches made from reconstituted Portland limestone. 

conservation-grade clear glass replaces the original dark glazing, revealing the interior’s grand stair

Selldorf Architects expands the foyer by 60%

orientation is easier, lighting is better, and every surface is quieter

the intervention is the first phase of the NG200 Welcome program for the National Gallery’s 200th anniversary

it’s the first time you can walk from the street directly into the Gallery without steps

preserving the original Postmodern play of compresion and release

at the heart of the redesign is a new public forecourt

project info:

name: The National Gallery | @nationalgallery

design architect: Selldorf Architects | @selldorfarchitects

heritage architect: Purcell | @purcell.architecture

location: Trafalgar Square, London WC2N 5DN, United Kingdom

landscape design: Vogt | @vogtlandscape

project manager: The NG200 Project

construction manager: Gardiner & Theobald | @gt_llp

structural, services, sustainability, pedestrian flow & acoustic engineers: Arup | @arupgroup

lighting: L’Observatoire International | @lobservatoire_intl

planning: The Planning Lab | @the_planninglab

access: David Bonnett Associates, Jane Simpson Access

wayfinding & graphics: Pentagram | @pentagramdesign, Thomas Matthews | @tm_thinking

community engagement: Kaizen

fire: OFR Consultants 

security: MFD/Thornton Tomasetti

approved inspectors: AIS Chartered Surveyors

vibration: Bickerdike Allen

business case: Colley Associates

communications: London Communications Agency (LCA) | @thisislca

café / espresso bar (ground floor): Studio Linse | @studiolinse, Selldorf

Locatelli restaurant (mezzanine): LXA | @lxaprojects

Locatelli cocktail bar (mezzanine): Selldorf

bookshop (mezzanine & ground floor): RFK / Ryder | @ryderarchitecture

gallery shop (ground floor): RFK / Ryder

digital visitor experience: The Office of Future Interactions | @future.interactions

client: National Gallery

director: Gabriele Finaldi

NG200 project director: Sarah Younger

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Lina Ghotmeh—Architecture (LG—A) wins the competition to redesign the Western Range galleries of the British Museum, marking a pivotal step in the ongoing Masterplan project of the institution. The ambitious transformation will be one of the most significant cultural renovations worldwide, reconfiguring the architecture and display of key artifacts within the historic museum by the middle of 2026. ‘My team and I are thrilled to embark on this journey for the renovation of the Western Range of the British Museum,’ shares the Lebanese-born architect. ‘This competition has been an exciting process shaped by dialogue and multiple voices. I am looking forward to continuing this rich and collaborative process as we work towards transforming this section of the museum into an extraordinary space — a place of connections for the world and of the world.’

all images courtesy of Lina Ghotmeh, unless stated otherwise

the architect’s ‘archaeological’ approach wins the jury

Led by Lina Ghotmeh, the Paris-based practice was selected for its sensitivity to the context of the museum, demonstrating a profound understanding of collections display and visitor interaction. The jury particularly resonated with the architect’s ‘archaeological’ approach, which aligns with the historical and curatorial ethos of the British Museum.

The competition drew over 60 international teams, culminating in a nine-month selection process. It tasked participants with reimagining key gallery spaces within the Western Range, including the architecture and display of significant artifacts. Five finalists advanced to the second stage, where Lina Ghotmeh—architecture emerged as the unanimous choice.

Lina Ghotmeh’s proposal includes a reconfigured space dedicated to the Mausoleum of Halicarnassus—one of the Seven Wonders of the Ancient World—situated in present-day Bodrum, Turkey. The selection process was overseen by a distinguished jury, including Yvonne Farrell, Meneesha Kellay, Mahrukh Tarapor, and Sarah Younger, alongside George Osborn, Chairman of the British Museum, and Dr. Nicholas Cullinan, the Museum’s Director. Representatives of the Board of Trustees, including Tracey Emin, Charlie Mayfield, and Alejandro Santo Domingo, also played a role in the decision-making process.

Lina Ghotmeh—Architecture (LG—A) to redesign the Western Range galleries of the British Museum

the project to be delivered by the middle of 2026

Ghotmeh approaches each project as a layered excavation—unearthing a building’s past to inform its reimagined future. Prioritizing sustainability and natural materials, her vision resonated with the collection of the museum, which spans two million years of human history. ‘Lina Ghotmeh is an architect of extraordinary grace and gravitas. Her team’s proposals demonstrated an exceptional and materially sensitive architectural vision for the British Museum, and their ‘archaeological’ approach clearly understood the ambition for this project to be as much an intellectual transformation as an architectural one,’ explains Dr. Nicholas Cullinan, director of the British Museum. ‘Lina and her team have a track record for delivering unique and human-centred design with a timeless elegance. I am delighted we will be working together and excited for the years ahead at such a pivotal chapter for the Museum, embarking on a generationally significant project that will transform a third of our gallery space.’

Lina Ghotmeh will work alongside a multidisciplinary team, including artist Ali Cherri, Plan A for design team coordination, Purcell as executive and conservation architect, Arup for structural and civil engineering, and Holmes Studio for graphic design and wayfinding. Together, they will refine their winning concept into a final design approach set to be delivered by mid-2026.

the competition tasked participants with reimagining key gallery spaces | image via @nicholascullinan

the jury particularly resonated with the architect’s ‘archaeological’ approach | image via @nicholascullinan

the Paris-based practice was selected for its sensitivity to the context of the museum | image via @nicholascullinan

Lina Ghotmeh and Nicholas Cullinan in the Western Range | © The Trustees of the British Museum

model submitted by Lina Ghotmeh Architecture for competition

project info:

name: British Museum’s Western Range galleries renovation
architect: Lina Ghotmeh—Architecture | @linaghotmeh_architecture
location: British Museum | @britishmuseum, London, United Kingdom

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English architecture studio TYPE has completed the retrofit of this Crescent House on the Golden Lane Estate in London. The project demonstrates how sensitive planning and detailing can improve energy efficiency and comfort, all while preserving the unique character of a listed residential building. TYPE’s retrofit approach provides a model for how affordable, sustainable renovations can revive historic properties.

TYPE identified an opportunity to achieve affordability by focusing on the material palette. The team’s approach emphasized underused, low-cost sustainable materials, which enhanced the inherent beauty of the space. The renovation showcases how careful material selection can contribute to both affordability and sustainability without compromising on quality or aesthetics.

images © Lorenzo Zandri

a dialogue between the old and new

The design concept by the architects at TYPE centered on celebrating the Crescent House’s original features while integrating modern upgrades. The project prioritized enhancing the thermal performance of the existing building envelope, in line with the local authority’s plan to improve the facades with double or triple glazing. By focusing on a ‘fabric first’ approach, TYPE aimed to demonstrate that investing in building fabric need not compromise the finish. The team tested new, affordable, and sustainable materials, such as lightweight honeycomb cardboard for sliding doors and cork for flooring. Ecoboard, a sustainable alternative to MDF, was used for joinery, and painted surfaces were chosen for easy maintenance.

Working within the constraints of a Grade II listing shaped many of the design decisions, but TYPE saw these limitations as opportunities to enhance the original features. The budget required a focus on upgrading the building fabric, with Spacetherm and Aerogel insulation used to minimize the impact on the historic listing. The underfloor heating system had to be both removable and thin to fit within the existing listed furniture, ensuring that the upgrades respected the building’s original character.

TYPE retrofitted an historic apartment on the Golden Lane Estate in the UK

Maximizing Space and Functionality of the crescent house

One of the key elements of the retrofit was the efficient use of space. The open-plan layout was subtly subdivided to create a more dynamic floor plan. This reorganization allowed for the introduction of functional features such as additional storage for an ironing board and vacuum, a discreet drying area, a small office space, and a utility cupboard. The redesign also ensured that the studio could function both as a shared space and offer privacy when needed.

The selection of materials focused on sustainability and affordability. Cork floors, honeycomb cardboard partitions, and painted surfaces were chosen for their low environmental impact. The use of demountable and recyclable elements allowed for flexibility, ensuring the design adhered to the building’s listed status. The exposed steel structure added an industrial aesthetic while reinforcing the apartment’s historic character.

TYPE’s approach to working with listed buildings underscores the importance of retaining, reusing, and recycling wherever possible. This ethos aligns with the broader goal of reducing environmental impact and maximizing sustainability in construction. The project serves as a prototype for future renovations, showcasing how smart material choices and thoughtful planning can lead to energy-efficient, cost-effective solutions that respect the historic fabric of a building.

the project focused on reducing energy use while preserving the building’s historic character

affordable sustainable materials were used to revive the apartment’s interiors

challenges included damp issues, lack of insulation, and adapting the layout for modern living

the design balanced original features with modern upgrades like double glazing and new insulation

clever sub-division of space maximized functionality for contemporary living needs

sustainable materials included cork floors, honeycomb cardboard partitions, and EcoBoard joinery

project info:

name: Crescent House

architect: TYPE | @type_architects

location: London, United Kingdom

project architect: Ogi Ristic

completion: May 2020

photography: © Lorenzo Zandri | @lorenzozandri

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In her latest photo series, Slovenian photographer Danica O. Kus turns to the Canada Water boardwalk — a 170-meter-long timber structures that floats above the water’s surface and weaves a vivid pathway in London. Designed by Asif Khan as part of the expansive Canada Water masterplan, the pedestrian bridge extends from the Canada Water Library and Station to the Surrey Quays shopping center, appearing as a winding ribbon.

Its sinuous curves, bold red hue, and wooden slats — a nod to the site’s history of Victorian trade — become the muse for Kus. Her evocative imagery captures the structure under the clouds, gently illuminated at night, and glistening under the rain, bringing to life its relationship with both its urban and ecological surroundings.

all images by Danica O. Kus

the timber bridge winds through, leading a trail of red

British architect Asif Khan integrates the Canada Water boardwalk into its urban environment as a community space with a deep respect for the area’s historic character, as well as the existing  biodiversity that thrives there. During the 19th and early 20th centuries, the Surrey Docks were central to London’s timber trade, bustling with rafters and deal porters who hopped between floating timber planks.

‘Crossing water can give us powerful sensations. This boardwalk immerses us in a few moments of color, of nature, and of beauty. I want to evoke the crossing of time too. I hope this gives someone a chance to take a breath and look at things in a new way,’ shares Khan. Danica O. Kus’ photographs capture this sense of immersion and further echo this idea of movement, highlighting how the boardwalk mimics these historical crossings with its distinctive red timber surface.

Asif Khan’s Canada Water boardwalk

resting above the water, the structure preserves local biodiversity

Yet, Kus’s perspective isn’t solely about the past. Her photographs reveal a seamless intertwining of history and modern ecological innovation. The Canada Water Boardwalk hovers above the water and rests on a series of timber fins in order to enhance biodiversity, creating a mosaic of wetland habitats that attract dragonflies, kingfishers, frogs, and other wildlife. Kus was particularly drawn to the lighting design, she tells designboom, which minimizes wildlife disruption while enhancing the boardwalk’s aesthetic appeal — a dual purpose her lens vividly frames.

a 170-meter-long timber structures that floats above the water’s surface

the pedestrian bridge extends from the Canada Water Library and Station to the Surrey Quays shopping center

a red ribbon-like appearance

Danica O. Kus captures the structure’s vivid red and sinuous curves

the wooden slats are a nod to the site’s history of Victorian trade

‘This boardwalk immerses us in a few moments of color, of nature, and of beauty,’ shares Asif Khan

Asif Khan integrates the Canada Water boardwalk into its urban environment as a community space

resting on a series of timber fins in order to enhance biodiversity

project info:

name: Canada Water boardwalk

architect: Asif Khan | @asifkhan.now

location: London, UK

photographer: Danica O. Kus | @danica_o_kus_photography

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Located in Peckham’s Holly Grove Conservation Area, Rusty House on the Rye is a 1950s property in Peckham, South London, that has been renovated and extended by studio on the rye. The transformation by the UK-based architects balances modern standards of comfort and sustainability with respect for the site’s historic character. Driven by the client’s desire to improve their existing home, the concept focuses on enhancing thermal efficiency, optimizing living spaces, and crafting a refined architectural aesthetic rooted in transparency and simplicity.

Externally, the monolithic extension is clad in weathered Corten steel, chosen for its rich, rusty patina envisioned to evolve over time that harmonizes with the red brick of the original house. This materiality, along with recessed gutters and shadow gaps, creates a clear distinction between the historic structure and its contemporary addition.

all images by FRENCH+TYE

the monolithic extension echoes the brick volume’s integrity

The project got off the ground in early 2023, completed by an all-female team led by architect Sarah Borowiecka, director of studio on the rye. In response to the client’s wishes, a two-story extension was planned while maintaining side access from the front garden into the rear. The garden was a standout feature and integral to the identity of Rusty House on the Rye. Additionally, a larger kitchen was developed to accommodate working from home, a snug, a utility room, and a new master bedroom. The existing home also needed updates, including resolving damp and ventilation issues and modernising the rooms to be more energy-efficient.

Located in the Holly Grove Conservation Area, the project faced tighter restrictions to preserve the characteristics of the neighbourhood. studio on the rye’s approach was to design an extension that would fit in with the surrounding area without resorting to pastiche. It opted for a  modern idiom that would sit comfortably with both the 1950s house and the more historical buildings nearby. Avoiding the common approach of using brick — difficult to match with the existing house — studio on the rye chose weathered Corten steel for the cladding. This choice not only complemented the tone of the house’s red brick but also introduced an unusual and visually striking element to the design. The steel’s patina, which develops a rusty, brown color over time, was accelerated to create the desired look upon installation. This weathered appearance harmonised with both the existing structure and the conservation area.

located in Peckham’s Holly Grove Conservation Area

integrating energy efficient systems and materials

For the architects, the biggest technical challenge was working with Corten steel. Though durable, its rusting process can cause rainwater runoff to stain surrounding finishes. To avoid this, a sealant was applied to prevent further rusting and protect the concrete floor tiles below. The studio also spent considerable time collaborating with metal suppliers and the contractor to develop a fixing method for the steel panels, ensuring a seamless, sleek look. In the master bedroom, the corner windows created an additional challenge for blackout conditions, as no standard off-the-shelf shutters were available. studio on the rye designed bespoke sliding MDF shutters that could be concealed in the walls, offering both aesthetic and functional solutions.

Another key design consideration was how to connect the house more effectively with the rear garden, compensating for the loss of some side garden space. Large sliding doors, a glazed corner in the kitchen, and expansive windows were introduced to create a seamless transition between the interior and the garden, allowing the outdoors to feel like an extension of the home. Insulation improvements, triple-glazed windows, and an energy-efficient bioethanol stove were also added to enhance the home’s sustainability.

studio on the rye renovates and extends a 1950s property

The design added significant floor space, including a kitchen/dining area, utility room, and snug on the ground floor, and a master bedroom with an ensuite shower room and walk-in wardrobe on the second floor. Inside, studio on the rye introduced new windows and doors, a revamped stairwell, and a new staircase. The kitchen was crafted from ash, with bespoke joinery, and floors were finished with polished concrete tiles that extend into the dining space, and oak throughout the rest of the house. The corner windows in the kitchen and master bedroom, a standout feature of the design, required bespoke glass to accommodate the unusual angle, dictated by the boundary line of the property. The materials were carefully sourced, with a focus on UK-based suppliers like Havwoods for the timber, Lazenby for the concrete floor tiles, Astro for the lighting, The Rooflight Company for the roof lights and Fluid Glass for the glazing.

the extension is clad in weathered Corten steel

recessed gutters and shadow gaps distinguish between the original structure and contemporary addition

the new sliding door system connects the expanded kitchen and dining area to the garden

with ultra-slim frames and a distinctive corner detail, the floor-to-ceiling glazing offers seamless indoor-outdoor flow

the door’s minimalist design aligns with the clean, monolithic forms of the extension

the garden serves as an ever-changing backdrop to indoor activities

insulation and triple-glazed windows significantly improve the home’s thermal performance

the material was chosen for its rich, rusty patina envisioned to evolve over time

a juxtaposition between the two volumes

with subtle framing the door maintains the design’s visual integrity

project info:

name: Rusty House
architect: studio on the rye | @studioontherye

glazing design: Fluid Glass | @fluidglassuk

location: Peckham, London, UK

photography: FRENCH+TYE | @frenchandtye

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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As the global population heads toward 9.7 billion by 2050, and urbanization increases, the need for sustainable housing and infrastructure grows more pressing. Holcim is leading this transformation by offering circular, resilient, and low-carbon building solutions that enhance quality of life while meeting ambitious environmental targets. The company’s work results in projects such as London’s Wood Wharf, a model of circular construction, and The Ellinikon in Athens, Europe’s largest urban regeneration project in collaboration with Foster + Partners. These ‘Building Icons’ exemplify how sustainable construction harmonizes with the environment while improving quality of life for future generations.

‘Holcim is a leader in sustainable building. We’re making circular construction and decarbonization drivers of profitable growth as we deliver superior performance. Building Icons is also about sparking a shift in the built environment that answers the question: What kind of world do you want to live in?’ says Miljan Gutovic, CEO of Holcim.

Wood Wharf, one of Holcim’s Building Icons exemplifies excellence in circular construction | all images courtesy of Holcim

Holcim’s portfolio of iconic projects, or ‘Building Icons,’ showcases the company’s answer to this question, demonstrating how the construction industry can help deliver a sustainable built environment. Through Building Icons, the company also wants to mobilize the whole building value chain to accelerate sustainable building together. 

Miljan Gutovic highlights four Building Icons as prime examples. In Melbourne, Australia, the Metro Tunnel project was developed in response to a growing population, using Holcim’s ECOPact low-carbon concrete for two nine-kilometer tunnels and five stations. This project achieved a 52% reduction in embodied carbon through bespoke concrete mix designs. 

Similarly, in Mexico’s rapidly growing industrial city of Monterrey, the 21-floor Moranta Tower – part of the mixed-use development Distrito Karena in Saltillo – became Holcim’s first full ECOPact project in the country, with Holcim’s SMARTCast digital technology used to optimize the concrete mix design to reduce cost, emissions and time.

Moranta Tower, part of Saltillo’s Distrito Karena, is Holcim’s first full ECOPact project in Mexico

LONDON’S WOOD WHARF: AN ICON OF CIRCULAR CONSTRUCTION

In the U.K, Wood Wharf in London shows how circular construction is transforming urban landscapes. Spanning over 500,000 square meters, this mixed-use development, located in Canary Wharf, includes offices, homes, retail spaces, and public parks. As one of the first projects in the UK to use Holcim’s ECOPact concrete, incorporating 20% recycled construction demolition materials (CDM), Wood Wharf shows how innovative materials can make large-scale urban development more sustainable while maintaining high performance standards.

‘The Holcim ECOPact range helped us focus on what low-carbon solutions and circularity options are available to us. As we progressed and our understanding and relationships with our supply chain partners grew, we were able to work closely to develop alternative concrete mixes,’ states Jonathan Ly, Director Structures of Canary Wharf Group.

Wood Wharf pioneers the use of neustark’s carbon removal technology

Wood Wharf also pioneers the use of neustark’s carbon removal technology, which injects CO2 into recycled concrete for permanent storage, reducing overall emissions. Additionally, a partnership with Sivyer Logistics enables the recycling of 800,000 tons of CDM annually, contributing to the project’s circular economy model. With a focus on developing sustainable office spaces, residential areas, and green public spaces, Allies & Morrison and Glen Howells Architects’ masterplan for Wood Wharf turns Canary Wharf into a thriving urban hub, creating another Building Icon with Holcim.

Wood Wharf turns Canary Wharf into a thriving urban hub, creating another Building Icon with Holcim

THE ELLINIKON: SETTING NEW STANDARDS IN URBAN REGENERATION

Continuing its transformative impact, Holcim’s work on The Ellinikon project in Athens showcases the potential of sustainable construction on a grand scale. Located on the former site of the Ellinikon International Airport, this ‘modern, green city’ covers 6.2 million square meters, making it Europe’s largest urban regeneration project. Partnering with Lamda Development and Foster + Partners, Holcim is playing an important role in realizing this vision of a modern, eco-friendly city by providing the materials for 90% of its structures.

‘For the Riviera Tower raft foundation we achieved the largest ‘one shot’ concrete pour in the history of Greece. Using 120 concrete trucks and 15 pumps, over 300 people from Holcim and our partners worked on this 40-hour non-stop pour. This major logistical challenge required extremely precise coordination, and marked an outstanding collaboration with our customer,’ explains Vassilis Iakovou, Head of Concrete Line at Holcim Greece.

Holcim’s input in the Ellinikon project in Athens showcases the potential of sustainable construction on a grand scale

The Ellinikon is designed as a ‘15-minute city’, where residents have easy access to essential services within walking or cycling distance. Highlights of the development include the Riviera Tower, which on completion will be the tallest residential skyscraper in the Mediterranean at 200 meters, and Greece’s first LEED Gold pre-certified building. The massive Ellinikon Park spans over 2 million square meters and doubles the green space available for each Athenian, while the Poseidonos Avenue Underpass – built with Holcim’s low-carbon concrete – further enhances connectivity and minimizes traffic congestion.

this ‘modern, green city’ covers 6.2 million square meters, making it Europe’s largest urban regeneration project

As a modern marvel of the 21st century with 6,200 acres of urban living, dynamic shopping districts, thriving business centers and leisure facilities, The Ellinikon is set to make a lasting environmental and economic impact, and is expected to create approximately 85,000 jobs. With the first phase slated for completion by the end of 2026, this Building Icon sets new standards for sustainable urban development.

Holcim is playing a key role in shaping this The Ellinikon by supplying materials for 90% of its structures

addressing Melbourne’s population growth, the Metro Tunnel project used Holcim’s ECOPact low-carbon concrete to build two nine-kilometer tunnels and five stations

Holcim’s ‘Building Icons’ showcases inspirational buildings at the heart of our cities and key infrastructure – built sustainably with Holcim Inside

project info: 

name: Building Icons

company: Holcim | @holcimbydesign

projects: Melbourne Metro in Australia, Moranta Tower in Mexico, Wood Wharf in the UK, the Ellinikon in Greece

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Wilkinson Eyre breathes new life into the iconic Battersea Power Station in London and redefines the historic landmark with new interiors, activities, and attractions. Originally designed by British architect Giles Gilbert Scott and opened in the 1930s, the building’s signature four-chimney form stands prominently along the River Thames. The architects have preserved the traditional brick structure while introducing large glass windows that modulate natural light, creating shimmering effects throughout the interior. High platforms and minimalist staircases serve as dynamic pedestrian walkways, connecting different areas within the building. The restored power station now features a variety of services and venues, from retail shops to event spaces, as well as a cinema and a cultural area that highlights the site’s rich history. Wilkinson Eyre’s Battersea Power Station is one of the restoration projects that has won the RIBA 2024, assigned annually by the Royal Institute of British Architects to define the standard of architecture in the UK. 

all images by Francesca Pompei

the iconic London building now accommodates a range of uses

Once decommissioned in the late 20th century, Battersea Power Station remained vacant for nearly 30 years before this transformative redevelopment. Wilkinson Eyre, known for their work on industrial sites like Gasholder Park at King’s Cross, has balanced the building’s industrial past with modern functionality. The design respects the original character while introducing contemporary elements that activate the space and accommodate a range of uses. The redevelopment by the London-based international architecture practice aims to revitalize the Battersea district, turning the historic site into a vibrant social hub. Drawing comparisons to the transformation of Tate Modern, the project harmonizes with its riverside surroundings, offering views from the top of the chimney lift, which enhances the building’s new role in London’s cultural landscape.

the design respects the original character while introducing contemporary elements

Wilkinson Eyre breathes new life into the iconic Battersea Power Station in London

the renovation redefines the historic landmark with new interiors, activities, and attractions

originally designed by British architect Giles Gilbert Scott and opened in the 1930s

the building’s signature four-chimney form stands prominently along the River Thames

introducing large glass windows that modulate natural light

the architects have preserved the traditional brick structure

high platforms and minimalist staircases serve as dynamic pedestrian walkways

connecting different areas within the building

the restored power station now features a variety of services and venues

retail shops, event spaces, a cinema, and a cultural area highlight the site’s rich history

Wilkinson Eyre’s Battersea Power Station is one of the restoration projects that has won the RIBA 2024

Battersea Power Station remained vacant for nearly 30 years before this transformative redevelopment

project info:

name: Battersea Power Station | @batterseapwrstn 
architect: Wilkinson Eyre | @wilkinsoneyre
location: Battersea Power Station, London, UK
photography: Francesca Pompei | @fpompei_architecture_photos

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

edited by: thomai tsimpou | designboom

The post wilkinson eyre reanimates london’s battersea power station with public spaces and venues appeared first on designboom | architecture & design magazine.

The popular video game Fortnite has introduced Re:Imagine London, a creative quest powered by Epic Games‘ Unreal Editor for Fortnite (UEFN). The online experience was jointly developed by Zaha Hadid Architects to research the use of UEFN for practical architectural applications and to pool creator talent across industries, including architecture, landscape, and interiors. Players are dropped onto a creator-made island situated around London’s waterfronts, inviting them to explore the city as a cooperative multiplayer experience in the genre of strategy-builder games with an educational component. 

Re:Imagine London on Fortnite | all images © Epic Games, courtesy ZHA

exploring urban intensification and community participation

Re:Imagine London investigates urban intensification and community participation in creating walkable, mixed-use, sustainable development. The Epic Games-engineered experience facilitates rapid optioneering through an engaging and exploratory approach to negotiating the complexities of the urban condition to build collaboratively in a contemporary context. As seen on Fornite’s platform, built content is crafted in various scales as pre-composed spatial scenes, expressing architectural, geometric, and spatial features consistent with ZHA’s built works while contributing to configured solutions’ planning and constructional awareness. The modules incorporate recent advances in construction technologies while showcasing a parametric approach to environmental and contextual performance through typological variation, gradation, and volumetric lighting and material effects.

prospector eagle view

a game designed by zaha hadid architects with epic games



Published by Epic Labs, Re:Imagine London highlights UEFN’s capabilities in Architecture Engineering and Construction (AEC) based on content provided by Zaha Hadid Architects, AccuCities, and Beyond Creative. The project continues ongoing research applications by ZHA’s Computation and Design Group (ZHACODE) in urban planning, platform design, spatial content creation, configurators, user experience design, and future twins.
 Players can take part in Re:Imagine London by downloading Fortnite (Fortnite.com/download) on their platform of choice and searching ‘Re:Imagine London’ or ‘1442-4257-4418’ in game. Join the ZHACODE Discord server and share your creations! 

boating on the Thames waterfront

residential views of St Paul’s Cathedral

invited friends party play

Re:Imagine London poster

collaborative building

project info:

name: Re:Imagine London

gaming platform: Fortnite | @fortnite

design: Zaha Hadid Architects (ZHA) / Research and development in participatory urbanism and architectural geometry by the ZHA Computation and Design Group (ZHACODE) | @zahahadidarchitects

powered by: Unreal Editor for Fortnite (UEFN)

published by: Epic Labs

game development: Epic Games | @epicgames, Beyond Creative | @beyondfnc

additional development: Heavy Iron, Sweet Justice Sound, Hardsuit Labs, art by rens

high fidelity map and environment context: AccuCities

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Peter Morris Architects collaborates with Fluid Glass on Minty House, a refurbishment project located in West Hampstead, London. The house‘s redesign sought to enhance the spatial flow and create a cohesive, distinctive living environment within the traditional Victorian terrace setting. The project features a new kitchen extension that fills in the side return, significantly improving the connection between the house and the garden.

A standout feature of the extension is a curved glass bay window, which maximizes natural light and introduces a unique architectural element. This dynamic design offers expansive views of the garden while contributing to the overall sense of openness and fluidity within the space. The curved glass adds a modern, distinctive touch, setting the house apart from its Victorian neighbors.

all images by Juliet Murphy Photography

light falls through Minty House’s glazed doors and skylights

In addition to the bay window, the collaborative team between Peter Morris Architects and Fluid Glass Studio installed a sliding door system to create a seamless indoor-outdoor transition. The minimal-framed glass doors enhance the connection between the interior and garden, allowing light to flood the kitchen and dining areas. This design choice effectively extends the living space and strengthens the relationship between the home and its surroundings.

Strategically placed skylights further enrich the design. Square and circular skylights act as both light sources and sculptural elements, contributing to the home’s atmosphere. The square skylights align with the modern, linear design, while the circular ones introduce softer, organic lighting, creating a balanced and tranquil environment.

Minty House, located in West Hampstead, London, was redesigned by Peter Morris Architects and Fluid Glass

distinct modern elements enhance house’s Victorian structure

The design prioritizes coherence and flow, with sightlines opened up from the front to the rear of the house. Glazing elements are strategically positioned to create a continuous, harmonious spatial experience. The combination of of the curved bay window, sliding doors, and distinctive skylights brings modernity to the Victorian structure, enhancing the home’s aesthetic while maintaining its historical integrity.

Minty House is now a unique blend of heritage and contemporary design, transformed into a brighter, more connected living space. The integration of glass elements and thoughtful layout contributes to a light-filled, modern environment that complements the original Victorian architecture.

the project aimed to enhance spatial flow within the traditional Victorian terrace setting

square and circular skylights act as both sculptural elements and light sources

the standout feature is a curved glass bay window, maximizing natural light in the space

the curved bay window offers expansive views of the garden and adds a unique architectural element

the curved glass adds a modern touch, distinguishing Minty House from neighboring Victorian homes

the skylights add a modern and organic contrast to the home’s design

strategic glazing enhances sightlines, ensuring coherence and flow throughout the house

minimal-framed glass openings flood the kitchen and dining spaces with natural light

the sliding doors extend the living space and strengthen the indoor-outdoor connection

a new kitchen extension fills in the side return, improving the connection between the house and garden

the design introduces a sense of openness and fluidity to the kitchen area

Minty House is now a blend of heritage and contemporary design, offering a light-filled, connected space

project info:

name: Minty House
architects: Peter Morris Architects | @petermorrisarchitects

architectural & structural glazing: Fluid Glass | @fluidglassuk

location: West Hampstead, London

photography: Juliet Murphy Photography | @jmphotocat

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 a series of square and circular skylights introduces geometric light casts within minty house appeared first on designboom | architecture & design magazine.