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

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

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

live activations throughout the summer of 2025

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

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

view of the slide at the pavilion

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

the walls present a series of tactile installations

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

portrait of Sir Peter Cook | photo by Gary Summers

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

project info:

name: Play Pavilion

architect: Sir Peter Cook | @sirpetercook

team: Pablo Wheldon, Cong Ding

program: Serpentine Galleries | @serpentineuk

collaborator: LEGO Group | @lego

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

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

In a quiet corner of London’s Chelsea Flower Show, Studio Weave’s Avanade Intelligent Garden pulses beneath the textures of bark and lush foliage. The project gathers and interprets signals from its plants, soil, and air to form an AI-driven ecosystem that listens as much as it grows. The English architects, in collaboration with landscape designer Tom Massey and natural materials expert Sebastian Cox, has created an architectural presence within the garden that reflects both ecological knowledge and digital intuition. The result is a place of learning, adjusting, and responding that’s alive with signals and wrapped in a facade of mushroom mycelium.

This year’s gold medal-winning entry comes from a carefully tuned partnership. Massey’s planting scheme, Cox’s material intelligence, and Studio Weave’s architectural framing find coherence through a shared interest in craft and care. Rather than standing apart, the building acts as a lightly held edge. It folds around the perimeter, creating an inner clearing that functions like a micro-courtyard — a calm interior within the lush density of the Intelligent Garden.

images © Daniel Herendi

a form informed by mushroom mycelium

Studio Weave‘s shed structure within the Intelligent Garden rises from materials that carry their own narratives. Ash timber, harvested from diseased trees in local forests, has been woven and curved to shape the outer skin. Between the slats, natural light lands on the softly undulating surface of mycelium panels. These fungal forms, grown in Sebastian Cox’s Kent workshop from agricultural byproducts, bring both tactile richness and a low-impact material footprint. Together they form a type of garden architecture that feels grown as much as it is built.

This intervention carries more function than its restrained form suggests. It provides shelter and workspace for its gardener-custodians — people tasked with tending the Tom Massey-designed garden and managing the technology embedded within it. Avanade’s AI platform gathers live data on soil health, humidity, and light exposure, offering caretakers a nuanced picture of how each tree and plant responds to its environment. The table inside serves both workshop and observation, reinforcing the idea that care and technology must coexist at a very human scale.

Studio Weave collaborates with Tom Massey and Sebastian Cox to create the Intelligent Garden

studio weave Designs for Disassembly

Tucked within the structure is a shaded, humid corner that leans into the mystery of the mycelium. Here, in conditions designed for growth rather than display, the garden shows its quieter work. Fungal fruiting bodies emerge in their own time, fed by a microclimate that speaks to forest understories. It is a moment of architectural pause, and a reminder that some processes can be invited but never controlled.

Though the Intelligent Garden is a temporary installation, the building’s afterlife has been carefully plotted. Prefabricated in four volumes, it was assembled quickly on-site and will move to Manchester’s Mayfield Park after the show. The building’s construction avoids permanence in favor of adaptability. Every joint, weave, and panel has been designed with disassembly in mind. The entire structure is biodegradable or recyclable, with nothing left as waste. It is, in essence, a compostable building.

locally-sourced Ash and mycelium emphasize sustainability and material storytelling

Beyond the structure, the Intelligent Garden makes a pointed case. Trees in urban areas are under threat from poor planting conditions, neglect, and environmental stress. Nearly half fail within ten years. The garden does not offer a single fix. Instead, it puts forward a layered system — where AI is a tool, not a substitute, for long-term stewardship. Through sensors and predictive models, the technology here helps direct limited resources where they’re most needed, supporting both survival and growth over time.

This is the second year Studio Weave and Tom Massey have collaborated at Chelsea. Their previous entry also received gold, but this year’s work pushes further into a cross-disciplinary space. Known for projects that engage civic and natural contexts with unusual sensitivity, Studio Weave brings architecture into conversation with planting and performance. The firm’s ability to work fluidly between disciplines is evident in how the structure holds the garden without overwhelming it.

the garden integrates AI technology to support the long-term care and survival of urban trees

sensors and AI track soil health and environmental data for optimal growing conditions

an interior courtyard is designated for workshops and quiet observation

the building was prefabricated in modular volumes and designed for reuse after the show

a ‘mushroom parlour’ demonstrates ideal conditions for fungal growth

project info:

name: Avanade Intelligent Garden and Building

architect: Studio Weave | @studioweave

event: Chelsea Flower Show 2025

location: London, United Kingdom

landscape design: Tom Massey | @tommasseyuk

materials: Sebastian Cox | @sebastiancoxltd

digital systems: Avanade Inc. | @avanadeinc

photography: © Daniel Herendi | @neverordinaryview

The post mushrooms and machine learning shape studio weave’s intelligent garden in chelsea appeared first on designboom | architecture & design magazine.

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

The post marina tabassum on designing the 2025 serpentine pavilion as it opens in london appeared first on designboom | architecture & design magazine.

Never one to shy away from the unexpected, the architectural provocateur Sir Peter Cook is teaming up with Serpentine and the LEGO Group to bring the Play Pavilion to London’s Kensington Gardens. The project is designed as an immersive, riotous celebration of fun, one of architecture’s most under-appreciated function. Set to be unveiled on June 11th, 2025 — World Play Day — the new pavilion will pop with color, form, and irreverence to prove that play, like good design, thrives on risk and curiosity.

Peter Cook’s pavilion will be a theatrical performance in Kensington Gardens. With its colorful gestures, it appears to have hatched from an anarchic sketchbook. ‘The Play Pavilion is a piece of theatre,’ says Cook. ‘From a distance, intriguing shapes rise from within the structure… A child might pop out on a slide, another may crawl through a hole on the ground.’

It’s less a static structure and more a living cartoon — teasing, hiding, revealing. Through pierced and scooped walls, visitors can glimpse flashes of activity inside and echoes of laughter. It invites Brits and tourists alike to embrace the strange.

the pavilions celebrates architecture as a space for fun | visualizations courtesy Serpentine Galleries

serpentine galleries and lego transcend the White Cube

By teaming with architect Sir Peter Cook and LEGO Group, Serpentine expands its reach beyond the gallery’s clean-lined walls and into the messier, livelier reality of the park. ‘We are thrilled to be collaborating with the LEGO Group… to realise the vision for play we all share with Peter Cook,’ said Serpentine’s Chief Executive Bettina Korek and Artistic Director Hans Ulrich Obrist in a joint statement. ‘Zaha Hadid long envisioned a collaboration between Serpentine and Peter Cook… Now, that vision is becoming a reality.’ In this playful detour, architecture escapes the exhibition and becomes a real-world encounter, situated directly in Kensington Gardens.

The LEGO Group’s involvement is more than decorative. LEGO bricks form a key material in the pavilion’s composition, turning the familiar building block into a full-scale architectural gesture. ‘Play is not just a source of joy; it fosters connection and encourages exploration,’ said Julia Goldin, Chief Product and Marketing Officer at the LEGO Group. Indeed, the Play Pavilion becomes a tactile and communal space, where visitors are drawn into a three-dimensional celebration of imagination — something Cook has long championed.

Peter Cook describes the structure as a piece of theater designed to intrigue

a continuation of legendary Radical Design

As a founding member of Archigram, Sir Peter Cook famously redrew the boundaries of architectural possibility. With speculative projects like Plug-In City, he and his peers imagined flexible, kinetic cities built on modular systems and social ideals. While many of Archigram’s ideas remained unbuilt, Cook’s influence has been profound. The Play Pavilion nods to that legacy — transforming fantastical forms into lived experience. It joins a growing list of realized works by Cook, including Kunsthaus Graz in Austria and the Drawing Studio at Arts University Bournemouth. And yet, this project might be his most accessible to date. It’s a democratic monument to fun and unpredictability.

Throughout the summer, the Play Pavilion will host live activations from performances to public programs. Visitors will be invited to engage not just with the architecture, but with each other. Peter Cook sums it up best: ‘Play transcends survival, achievement, and common sense.’ In a world often over-engineered for efficiency, the Play Pavilion is radical. Visitors are challenged to waste time well. Whether you’re crawling through a mouth-shaped opening or simply eavesdropping on a hidden orator, you’re part of the performance.

LEGO bricks are incorporated into the design to highlight the power of play and collaboration

Peter Cook, portrait © Paul McLaughlin

 

 

 

 

 

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project info:

name: Play Pavilion

architect: Sir Peter Cook | @sirpetercook

program: Serpentine Galleries | @serpentineuk

collaborator: LEGO Group | @lego

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

visualizations: courtesy Serpentine Galleries

The post serpentine taps sir peter cook and LEGO for radical ‘play pavilion’ in london appeared first on designboom | architecture & design magazine.

Manchester United unveils plans for a 100,000-seat stadium, designed by Foster + Partners, as the centerpiece of a large-scale regeneration of Old Trafford. The new stadium, situated adjacent to the existing home of the football club, preserves its historic identity, introducing a state-of-the-art design focused on fan experience and sustainability.

Conceptual images and scaled models revealed by the architects showcase an outward-looking structure with an expansive public plaza—twice the size of Trafalgar Square—and a vast energy-harvesting canopy that shelters the stadium and collects rainwater. The district is set to be entirely walkable, well-connected by public transport, and enriched with green spaces. ‘This has to be one of the most exciting projects in the world today. It starts with the fans—bringing them closer than ever to the pitch, cultivating an incredible atmosphere. Beyond that, the stadium is a miniature city of the future, setting a new global benchmark for sustainability and connectivity,’ shares Norman Foster.

all images courtesy of Foster + Partners and Manchester United

designing the future of old trafford

British international studio Foster + Partners’ proposed stadium and surrounding development aim to transform the area into a global sports and cultural hub, delivering £7.3 billion annually to the UK economy and generating 92,000 new jobs. The vision for Old Trafford extends beyond football, aligning with Greater Manchester’s economic growth strategy. With the masterplan now set, Manchester United moves into the next phase of design development and consultation, paving the way for a new era at Old Trafford. ‘Today marks the start of an incredibly exciting journey to the delivery of what will be the world’s greatest football stadium. This new home will transform the fan experience while acting as a catalyst for lasting social and economic renewal,’ states Sir Jim Ratcliffe, co-owner of Manchester United. 

The Old Trafford Regeneration Task Force, led by Lord Sebastian Coe, has played a crucial role in exploring the redevelopment potential of the area. With the feasibility phase complete, Manchester United will now lead the delivery of the stadium, while the Mayoral Development Corporation will oversee the broader regeneration effort. ‘Our objective is clear: to have the world’s best football team playing in the world’s best stadium. Following extensive consultation with fans and local residents, we believe a new stadium is the right path forward,’ highlights Omar Berrada, chief executive of the football club.

an outward-looking structure with an expansive public plaza

paving the way for a new era at Old Trafford

a vast energy-harvesting canopy that shelters the stadium and collects rainwater

the district is set to be entirely walkable, well-connected by public transport, and enriched with green spaces

introducing a state-of-the-art design focused on fan experience and sustainability

the new stadium is situated adjacent to the existing home of the football club

the stadium has a seating capacity of 100,000

the vision for Old Trafford extends beyond football

Manchester United to lead the delivery of the stadium

project info:

name: Manchester United stadium

architect: Foster + Partners | @fosterandpartners

football club: Manchester United | @manchesterunited

location: Manchester, UK

The post foster + partners unveils plans for manchester united’s future 100,000-seat stadium appeared first on designboom | architecture & design magazine.

Heir and a Spare is a new chicken enclosure set to be built at Grizedale Arts in the Lake District, UK, featuring a distinctive timber structure inspired by the form of a hen. Designed by Phineas Harper, Rosa Nussbaum, and Jos Geczy, the coop integrates a combination of UK-grown timber shingles arranged in overlapping layers to create a feather-like texture.

The structure is elevated on a powder-coated steel frame and incorporates a curved shingled roof. Two primary doors, fitted with pivoting polycarbonate vents, allow for daylight and ventilation, while a letterbox hatch at the rear provides access to four cork-insulated nesting boxes for egg collection. A ceramic finial, glazed in red, crowns the top of the enclosure, referencing the shape of a chicken’s comb.

all images courtesy of Phineas Harper, Rosa Nussbaum, and Jos Geczy

mobile Heir and a Spare chicken coop includes a large wheel

The creative team of Phineas Harper, Rosa Nussbaum, and Jos Geczy has won the design competition to build the new chicken coop at Grizedale Arts in the Lake District. Designed for mobility, the coop includes a large wheel, enabling repositioning within the landscape. The project is funded by the Coronation Orchard Fund, a £2.5m community initiative commemorating the coronation of King Charles III.

Grizedale Arts, a rural arts organization in Cumbria, has previously hosted architectural projects such as Rock Hut by Material Cultures and a cold food store by Hayatsu Architects. Once constructed, Heir and a Spare will become a prominent addition to the site’s evolving collection of structures.

Heir and a Spare is a new chicken enclosure set to be built at Grizedale Arts

the distinctive timber structure is inspired by the form of a hen

UK-grown timber shingles arranged in overlapping layers create a feather-like texture

the coop is designed by Phineas Harper, Rosa Nussbaum, and Jos Geczy

the structure is elevated on a powder-coated steel frame and incorporates a curved shingled roof

two primary doors, fitted with pivoting polycarbonate vents, allow for daylight and ventilation

a ceramic finial, glazed in red, crowns the top of the enclosure, referencing the shape of a chicken’s comb

a letterbox hatch at the rear provides access to four cork-insulated nesting boxes for egg collection

the coop includes a large wheel, enabling repositioning within the landscape

Heir and a Spare is the winning project of Grizedale Arts’ chicken coop design competition

project info:

name: Heir and a Spare
designers: Phineas Harper, Rosa Nussbaum, and Jos Geczy

organizer: Grizedale Arts | @grizedale.arts

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 feathered timber shingles wrap hen-shaped chicken coop in UK’s lake district appeared first on designboom | architecture & design magazine.

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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Situated near Tain in northern Scotland, the Glenmorangie Distillery has been a cornerstone of Highland whisky-making since its conception in 1843. In 2016, The Glenmorangie Company launched a competition for an extension to its historic site, commissioning Barthélémy Griño to realize the project. In 2024, the Franco-Uruguayan and Paris-based practice delivered two industrial buildings that redefine the identity of the distillery, symbolizing the brand’s renewal and its ambitious development strategy.

The iconicity of the architecture arises from two new interlinked volumes—a tower 20 meters in height that overhangs the whole sight. Inspired by the old lighthouses guiding ships in the Dornoch Firth, it emphasizes a vivid modernity, with its transparent and cubic volume also acting as a contemporary symbol, revealing two of Scotland’s largest whisky stills within. Throughout the day, this Lighthouse reflects the changing sky, capturing its shades and brightness. Wooden panels within the glass facade subtly reference the oak casks where the old whisky develops its flavor.

all images by Hélène Binet, courtesy of Barthélémy Griño

openings on barthélémy griño’s facade improve ventilation

Barthélémy Griño conceived the Lighthouse with two main intentions: erasing the industrial, technical, or infrastructural semiology and arising a vibrant, kinetic architectural envelope. First, the new iconic glazed tower welcomes two monumental stills alongside a laboratory for creating and tasting on the highest level, enjoying panoramic views over the North Sea. A second, lower building completes the facility as it subtly merges with the existing warehouses with its traditional and local stone and slate cladding.

Due to the distillery’s isolated geographical location, the conservation area, and the ethical environmental approach, all the construction material supply chain and its sources have been limited. Thus, the architects built the facade with reused stones coming from an on-site demolition. As for slate and pavement, they originate from local quarries situated near the distillery. In contrast, the floorings are composed of metallic structure and grating panels in order to anticipate any use evolution. The facades are fitted with several openings located on opposite sides to increase natural ventilation in production areas.

The Glenmorangie distillery extension aims to express the brand identity, create added value for the team and visitors, upgrade the site perception, and translate the perfection quest of this renowned company. Notably, the extension is partially fed by biogas, directly emanating from the distillation process itself. Here, the distillers can give free rein to their creativity, experimenting with various recipes.

the Glenmorangie Distillery has been a cornerstone of Highland whisky-making since 1843

the iconicity of the architecture arises from two new interlinked volumes

inspired by the old lighthouses guiding ships in the Dornoch Firth

its transparent and cubic volume acts as a contemporary symbol

a tower 20 meters in height overhangs the whole sight

wooden panels within the glass facade reference the oak casks where the old whisky develops its flavor

the Glenmorangie distillery extension aims to express the brand identity

this Lighthouse reflects the changing sky

here, the distillers can give free rein to their creativity

project info:

name: Glenmorangie Distillery | @glenmorangie
architect: Barthélémy Griño | @barthelemygrino
location: Tain, Scotland

photographer: Hélène Binet | @binet.helene

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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Bangladeshi architect Marina Tabassum, founder of Marina Tabassum Architects (MTA), was selected to design the 2025 Serpentine Pavilion, titled A Capsule in Time. Opening on June 6, 2025, at Serpentine South in London’s Kensington Gardens, the pavilion commemorates the 25th anniversary of the series. The commission continues the experimental spirit of Zaha Hadid, whose mantra, ‘There should be no end to experimentation,’ remains foundational to the program.

Inspired by the ephemeral architecture of South Asia and the organic forms of garden canopies, A Capsule in Time features an elongated, north-south structure that aligns with Serpentine South’s historic bell tower. Four wooden capsules with translucent facades create dappled lighting effects, reminiscent of sunlight filtering through foliage. The Pavilion also marks Tabassum’s first construction built entirely from wood, a material choice that emphasizes tactility, impermanence, and lightness. At its heart, a kinetic element allows one capsule to move and transform the space, offering visitors new ways to interact with the space. ‘The relationship between time and architecture is intriguing: between permanence and impermanence, of birth, age and ruin; architecture aspires to outlive time. Architecture is a tool to live behind legacies, fulfilling the inherent human desire for continuity beyond life,’ explains Marina Tabassum. ‘The Serpentine Pavilion offers a unique platform under the summer sun to unite as people rich in diversity.’

all images courtesy of Marina Tabassum and Serpentine

A Capsule in Time embraces the human desire for connection

Marina Tabassum is internationally recognized for her climate-conscious, socially engaged practice. Her studio, MTA, has pioneered modular, mobile housing solutions such as Khudi Bari (Small House), designed to support communities vulnerable to climate change along the rivers of Bangladesh. Known for blending contemporary design with regional history and culture, Tabassum describes her Pavilion as a ‘capsule of memory and time,’ evoking the transience of architecture in the Bengal delta while embracing the universal human desire for continuity and connection.

‘A Capsule in Time will honour connections with the Earth and celebrate the spirit of community. Built around a mature tree at the centre of the structure, Tabassum’s design will bring the park inside the Pavilion,’ add Bettina Korek, Chief Executive, and Hans Ulrich Obrist, Artistic Director of Serpentine. ‘This is a milestone year for the Serpentine Pavilion Commission as we celebrate 25 years since the inception of this prestigious program.’  The chosen tree is a semi-mature ginkgo—a resilient species dating back to the Jurassic Period, known for its high tolerance to climate change and resistance to pests and diseases. Over the course of summer into autumn, its fan-like leaves will gradually shift from green to luminous gold. After the Pavilion closes in October, the Ginkgo will be replanted in Kensington Gardens as a lasting contribution to the park’s ecosystem.

A Capsule in Time features an elongated structure that aligns with Serpentine South’s historic bell tower

a potential future afterlife for the structure

In an era of increasing censorship, Tabassum envisions the Pavilion as a space for open dialogue and collective learning. Her team at MTA has curated a selection of books celebrating Bengali literature, culture, poetry, ecology, and identity. These will be housed on bookshelves embedded within the structure, reinforcing its potential afterlife as a mobile library or community archive — a physical capsule of knowledge and exchange.

To accompany the Serpentine Pavilion, Serpentine and Verlag der Buchhandlung Walther und Franz König will co-publish a catalogue in July 2025, designed by Wolfe Hall. Richly illustrated and multidimensional in scope, the publication includes essays by art and architecture historian Perween Hasan, Yale Architecture Dean Deborah Berke, and critic Thomas de Monchaux, contributions from Shumon Basar and artists Rana Begum and Naeem Mohaiemen,  and sketches from Tabassum’s own notebooks. It also features a photo essay by Iwan Baan and in-depth conversations with both Hans Ulrich Obrist and David Chipperfield, tracing the Pavilion’s conceptual and material evolution.

four wooden capsules with translucent facades create dappled lighting effects

Marina Tabassum is internationally recognized for her climate-conscious, socially engaged practice

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
opening date: June 6, 2025

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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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