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

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

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

images © Brett Boardman, Trevor Mein

a rhythmic design by zaha hadid, woods bagot & cox

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

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

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

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

a sustainable terminal for sydney

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

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

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

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

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

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

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

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

large glass walls maintain a visual connection to the surrounding landscape

the terminal favors intuitive navigation with open sightlines and understated signage

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

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

project info:

name: Western Sydney International Airport

architect: Zaha Hadid Architects, Woods Bagot, COX

location: Sydney, Australia

construction: Multiplex

photography: © Brett Boardman, Trevor Mein 

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

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

images © Jose Hevia, unless stated otherwise

dismantling the nuclear family through open, fluid typologies

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

Cierto Estudio unveils collective housing project The Room Community

The Room Community rethinks visibility as tool for spatial justice

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

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

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

what public housing can be when design leads

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

comprising 51 units surrounding generous common areas

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

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

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

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

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

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

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

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

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

occupants define how they live

project info:

name: The Room Community – Illa Glòries

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

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

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

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

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Madriguera Eco Reserve Stays by S-AR is the first built component of Glampeer, a hospitality initiative that aims to integrate architecture into mountain-based nature tourism. Located within a forested area that opens onto a small valley in Sierra de Arteaga, Mexico, the project explores how built structures can frame and enhance the experience of the surrounding landscape.

This initial phase comprises two separate cabins, Cabaña Conejos and Cabaña Liebre, each designed with distinct spatial programs but unified by a consistent material palette including wood, concrete, steel, and glass. Positioned along the western edge of the site’s natural slope, both cabins are oriented to maximize views toward a nearby mountain range. Their siting leverages the terrain for unobstructed visual access to both the valley and the forested backdrop.

all images by Recording Architecture

S-AR Sets Cabaña Conejos and Cabaña Liebre on a forested slope

Cabaña Liebre is compact in scale, roughly equivalent to a standard tent footprint, yet incorporates full interior amenities including a bathroom and kitchen. The structure employs a hybrid system of concrete supports and steel framing, enclosed with thermally insulated wooden boards. A concrete volume containing the bathroom and storage is inserted into the larger wooden shell. A surrounding terrace provides exterior space, adaptable for temporary features such as a portable fireplace. Cabaña Conejos, the larger of the two, accommodates multiple functions including sleeping, cooking, dining, and living, with the capacity to adapt interior configurations based on occupancy needs. The building is constructed using load-bearing concrete block walls and lightweight concrete slab systems, clad externally with thermally insulated black-painted wooden boards. Interior surfaces include wood flooring with a natural finish and walls coated with a cement and black paint mixture. Additional features include a workspace, a balcony, a rooftop viewing platform, and multiple access terraces.

Both structures operate as contemporary interpretations of the mountain refuge typology, using material economy and structural clarity to establish a visual and spatial dialogue with their environment. Madriguera Eco Reserve Stays by S-AR Studio frame specific landscape views while maintaining compact footprints, prioritizing environmental responsiveness and architectural precision.

two cabins, Cabaña Conejos and Cabaña Liebre, anchor the project

set on a forested slope, the cabins open toward a small mountain valley

each cabin is oriented to frame views of the surrounding mountain range

Cabaña Liebre occupies the footprint of a standard tent with full interior amenities

a consistent material palette of wood, concrete, steel, and glass unifies both structures

Madriguera Eco Reserve Stays integrates architecture into nature tourism in Sierra de Arteaga

Cabaña Conejos supports a range of living functions in a larger footprint

multiple terraces connect the interior to varied outdoor spaces

the cabins frame key landscape views without disrupting the terrain

interior surfaces feature natural wood floors and cement-finished walls

material economy and clear forms guide the architectural language

wooden insulation panels enclose the cabin, ensuring thermal comfort

each structure interprets the mountain refuge through contemporary design

project info:

name: Madriguera Eco Reserve Stays
architects: S-AR | @stacionarq

location: Sierra de Arteaga, Mexico

photographer: Recording Architecture | @recording.architecture

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

edited by: christina vergopoulou | designboom

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As timber becomes increasingly standardized in global construction, its material richness and irregularities are often stripped away. Japanese designer Takuto Ohta’s Asymptotic Wood series responds to this flattening of material character with a set of sculptural interventions that reawaken the expressive potential of wood — specifically cedar, a species abundant in Japan and commonly used in traditional architecture, yet largely overlooked in modern building.

At the center of each piece, the wood is treated as an asymptote, a mathematical curve that approaches a limit but never quite touches it. A deep cut is carved into the timber to represent this limit, forming an incision that sways inward at a 45° angle, as if being pulled into the core of the material. The result is a striking visual tension: the standardized timber appears to fold or rupture under invisible pressure, drawing attention to what lies beneath its surface uniformity.

all images courtesy of Takuto Ohta

takuto ohta revitalizes locally-ready natural materials

For all the pieces in the Asymptotic Wood series, Takuto Ohta uses raw cedar as the primary material. While globally many regions face wood shortages, Japan faces a paradoxical surplus of cedar despite its historic importance. Soft and flexible, cedar was once essential in the construction of homes, shrines, and public buildings. But with the rise of urbanization, apartment living, and industrialized building methods, it has fallen out of favor in contemporary practice. The increasing use of engineered wood products like MDF and plywood has also contributed to a disconnect between people and the materiality of solid wood.

‘In a society where globalization is accelerating, the standardization of information is inevitable,’ Ohta reflects. ‘But the connection to the materials and land that are physically related is inseparable.’ In response to this, the designer calls for a renewed relationship between people and place — an ethos of ‘local production for local consumption’ — urging people to reengage with the raw and irregular, the local and overlooked. ‘I shaped such a connection into a thorn and took a photo. I also painted the edges black to emphasize them,’ he shares.

Takuto Ohta completes the Asymptotic Wood series

the sculptural interventions reawaken the expressive potential of wood

made from cedar, abundant in Japan yet largely overlooked in modern architecture

at the center of each piece, the wood is treated as an asymptote, a mathematical curve

interlocked volumes

the project follows the ethos of ‘local production for local consumption’

the Japanese designer calls for a renewed relationship between people, materials, and place

project info:

name: Asymptotic Wood
designer: Takuto Ohta | @ohtatakuto

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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On the former site of Gorami Village, now called Goam-dong in Jecheon, Chungcheongbuk-do, architect Youngbae Kim of DRAWING WORKS renovates a 50-year-old farmhouse as Gorami House. Embracing the irregularity of the original timber structure, Kim transforms the aging home with subtle spatial recalibrations and a new undulating roofline that echoes the mountain ridges behind the site. The project respectfully layers material, memory, and light to preserve a deeply personal relationship to the space.

all images ©Yoon, Joonhwan

plywood and white walls finish Gorami House

Instead of erasing the past, Youngbae Kim, founder of Korean architecture studio DRAWING WORKS, amplifies it by framing, preserving, and, in some cases, patching crooked pine rafters, thick layers of daub, slanted mud walls, and mismatched construction methods with discreet interventions. The architect opts for a traditional L layout in the main building. One of the three rooms became part of a new living area, and the kitchen was reorganized into a linear arrangement, retaining existing rafters beneath newly insulated ceilings. Smooth white walls and plywood finishes enhance spatial clarity.

The original property — composed of a main house and adjacent servants’ quarters arranged around a yard—had belonged to the family for decades. When the current owners, a couple who lived in a Bundang apartment, returned to care for an elderly parent and tend an 8,250-square-meter plot of land, they chose not to demolish the house but to restore it. The design began with a conversation over sweet potatoes and omija tea in the winter sun, in a meeting of generations that set the tone for what would follow.

architect Youngbae Kim of DRAWING WORKS renovates a 50-year-old farmhouse

original elements reused for landscaping

The adjacent linear arrangement of servants’ quarters — now used as a guesthouse—was treated as a facade to the street, providing privacy while preserving their function as a threshold to the yard. Despite the changes, DRAWING WORKS maintains original elements like the timber doors and flat foundation stones and reuses them as landscape elements. A metal-framed ceiling flows like a wave between old beams, while the new roof, clad in natural slate, ties the two volumes together, its form echoing the slope of the nearby mountains.

Gorami House aims to demonstrate how structure, memory, and material can be composed like a folk song—simple, layered, and full of texture. What began as a disorderly farmhouse is now a grounded living environment that celebrates the site’s deep familial history.

embracing the irregularity of the original timber structure

a new undulating roofline that echoes the mountain ridges behind the site

the project respectfully layers material, memory, and light

preserving a deeply personal relationship to the space

DRAWING WORKS frames, preserves, and, in some cases, patches original elements

the architect opts for a traditional L layout in the main building

smooth white walls and plywood finishes enhance spatial clarity

DRAWING WORKS maintains original elements like the timber doors and flat foundation stones

the new roof, clad in natural slate, ties the two volumes together

what began as a disorderly farmhouse is now a grounded living environment

project info:

name: Gorami House
architect: DRAWING WORKS | @drawingworks_architects

location: 93-1 Goam-dong, Jecheon-si, Chungcheongbuk-do, Korea

area: 105 square meters

principal architect: Youngbae Kim
photographer: ©Yoon, Joonhwan | @yoon_joonhwan

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

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At Casacor São Paulo 2025, Atelier Marko Brajovic presents Ninho, a prototype of bio-urban equipment that invites humans to slow down, reconnect, and imagine cities as multispecies habitats. Part architecture, part installation, and part exhibition, Ninho nestles into Parque da Água Branca like a light ecological intervention, built from pinewood and recycled plastic. Soft, egg-shaped sofas encourage visitors to lie back, observe the sky, take in the trees, and listen to the ambient sounds of the park. Inspired by the clever ways birds and insects build their homes, this project combines design, nature, and city life to explore how our cities could change to better include and support non-human life. It invites us to think, feel, and imagine a future where people and wildlife can live side by side. 

all images courtesy of Atelier Marko Brajovic

Animal Architects Exhibition accompanies the Ninho installation

Conceived by the Brazilian team of Atelier Marko Brajovic, Ninho embodies a soft, hybrid typology. Inspired by the nests of the boldest birds, those that scavenge at the urban fringe to weave together nature and artifice, the structure challenges traditional ideas of technology, materiality, and authorship. Inside this playful, porous space, people can lie back and gaze at the sky, exchange stories, or learn how animal architects have always outsmarted us.

Surrounding the installation is the Animal Architects Exhibition, curated by the studio, which dives deep into the construction habits of non-human builders. The show is divided into three sections. The first focuses on birds and insects, presenting intricate architectures made from fibers, wax, mud, and even urban debris as instruments of seduction, protection, and survival. Illustrations and models unpack the logic of collective construction and cross-species cooperation. The second section turns the lens back onto humans, showcasing design projects that borrow from animal-made blueprints and exploring biomimetic structures and ecological adaptation. Finally, the Multispecity section asks the big question: what might cities look like if they were truly shared with other forms of life?

bird-eye view of the nest

animals as master architects

In the curatorial text, Atelier Marko Brajovic paints a vivid portrait of animals as master architects long before humans shaped the built environment. Termite mounds with natural ventilation, bee combs with embedded logic, or birds crafting nests from plastic trash — these examples are not just curiosities, but provocations. They remind us that construction doesn’t necessarily require technology, only intention and adaptation. Animals build with bodies and instincts, responding in real time to ecosystems in flux. They improvise, evolve, and even thrive in the heart of our cities.

Completing Ninho is a sensitive landscape intervention by Ana Kamitsuji, who rewilds the surrounding square with micro-habitats that support pollinators and seed-dispersing fauna.

360 pieces of reforested pine were used, along with the application of 40 extruded recycled plastic panels

the panels of recycled plastic are engraved in white with the names of bird species that inhabit the park

Ninho scales up bird architecture to human proportions

part architecture, part installation, and part exhibition, Ninho nestles into Parque da Água Branca

these examples remind us that construction doesn’t necessarily require technology

inspired by the clever ways birds and insects build their homes

project info:

name: Ninho—prototype of a bio-urban equipment

architect: Atelier Marko Brajovic | @markobrajovic

location: Casacor São Paulo, Parque da Água Branca, São Paulo, Brazil

creative director: Marko Brajovic

operations director: Bruno Bezerra

coordinator: Kelen Giordani Tomazelli

lead architects: Teresa Lima, Priscila Sati, Ailton Wenceslau

landscape design: Ana Kamitsuji

exhibition: Animal Architects Exhibition

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

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Tucked within the weathered coastline of rural Maine, OPAL Architecture’s Little House on the Ferry sidesteps the typical image of a single homestead set against a picturesque view. The project takes shape with three modest, prefabricated structures, nearly matching, positioned just so among the remnants of a former granite quarry. At first glance, the cabins appear to rest gently on the site, yet their placement reveals a more deliberate reading of place. Each sits in conversation with the stone around it, recognizing both the industrial past and the ongoing resilience of the recovering ground.

The guest house serves a family that travels from Austria to Maine each summer, joining an older main residence nearby. The new timber structures offer privacy for visiting friends and relatives, but they also deepen the experience of being in this particular landscape. Instead of dominating the site, the buildings register its scars and its softness. The design finds meaning in dispersion — each volume a fragment in dialogue with granite blocks and exposed bedrock.

images © Trent Bell Photography

cabins perch Lightly over rural maine landscape

OPAL Architecture’s cabins in Maine remain minimal in plan and expression, a gesture made possible by the use of prefabricated cross-laminated timber. Fabricated in Quebec from black spruce and ferried over to the island, these panels act as the full structural system, forming floor, walls, and roof. They arrive precut, slotting into place with precision. This construction method allowed the architects to ensure minimal disturbance to the fragile site, while producing a building envelope that is both strong and tactile. The grain of the spruce reads through the interiors, where the tone is kept pale and clear, letting the landscape carry the color.

Connection between the three buildings is managed by a series of decks that trace over the ground with lightness. These floating platforms act as thresholds, paths, and outlooks. They refuse any single axis or entry point. Instead, they reinforce the site’s inherent irregularity, allowing the architecture to feel both settled and momentary. Nothing is over-defined. The buildings are aligned more with the grain of the land than with each other.

each cabin responds differently to the contours and character of the quarry site

architecture in response to all seasons

OPAL Architecture designed the cabins to be used primarily in the warmer months of Maine, with large, operable windows ensuring natural ventilation. In the shoulder seasons, sliding wooden shutters temper the low sun and help insulate. When the owners leave for Austria in late fall, the shutters close the buildings up entirely. These movable elements add a quiet rhythm to the facades and offer subtle reminders of the life inside: one moment open to sea air and chatter, the next buttoned up and silent until next year.

Interior furnishings, drawn largely from the Thos. Moser collection, reflect a similar attitude toward restraint and care. Each piece is positioned as though placed thoughtfully and without hurry. The dining chairs, bedroom tables, and living room accents feel well suited to the project’s scale. Like the architecture itself, they support the experience of the site without distracting from it.

three micro-cabins are connected by a network of open decks

wooden shutters control sunlight and secure the house through the winter months

the elevated decks float over granite and brush, linking the buildings gently

interior finishes are kept pale and minimal allowing views to take center stage

the project is furnished with select pieces, created in Maine by Thos. Moser

the design reads the site carefully and builds lightly in response

project info:

name: Little House on the Ferry

architect: OPAL Architecture | @we.are.opal

location: Maine, USA

design partner: Riley Pratt

contractor: GO Logic

structural engineer: Albert Putnam Associates

photographer: © Trent Bell Photography | @trentbellphotography

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On Ecuador’s flood-prone coast, where rural communities like Babahoyo have long depended on distant urban centers for opportunity, La Panificadora timber bakery by Natura Futura emerges as a self-managed catalyst for local autonomy. This compact, modular project reclaims the everyday act of baking bread, an Ecuadorian dietary staple, as a tool for economic empowerment, education, and community cohesion. Initiated with support from the Ammodo Architecture Award, the 100-square-meter structure is led by women and youth, enabling skills training, production, and commercialization under one roof.

La Panificadora is built from locally available teak wood and responds to the humid climate through permeable facades, lattice doors, and generous open galleries for cross-ventilation and light. Horizontal floating beams secure the modules above ground, ensuring resilience against coastal flooding. While minimal in size, the space is conceived as a hybrid of infrastructure, school, market, and gathering place.

all images by Jag Studio

La Panificadora combines bakery, library, and retail

La Panificadora sets a replicable model for regenerative development in satellite territories across the Global South. Despite the presence of shared public areas in Babahoyo, such as sports courts and small plazas, few have succeeded in activating local productive forces. The Ecuador-based studio Natura Futura flips this script. Instead of another underused civic gesture, it proposes a phased structure that begins with education and ends in enterprise. The program is split into two timber modules raised on pilings: to the right, a bakery and library; to the left, a communal kitchen, retail point for bread and tea, and an open link to the rural landscape via a collective staircase. A central patio anchors the project, bridged between both blocks, evoking passive architectural systems once typical of Ecuador’s coastal vernacular.

La Panificadora timber bakery by Natura Futura acts as a self-managed catalyst for local autonomy

this compact, modular project reclaims the everyday act of baking bread

bread-making becomes a tool for economic empowerment, education, and community cohesion

the 100-square-meter structure is led by women and youth

La Panificadora is built from locally available teak wood

enabling skills training, production, and commercialization under one roof

responding to the humid climate through permeable facades, lattice doors, and generous open galleries

a phased structure that begins with education and ends in enterprise

project info:

name: La Panificadora
architect: Natura Futura | @naturafuturarq

location: Babahoyo, Pimocha, Ecuador

area: 100 square meters

collaborators: Kevin Araujo, Eduardo Carbo, Bamba Studio, Roswhel Suarez, GAD Parroquial Pimocha, Airton Alvarez, Janina Carbo

illustration: Jaime Peña

drawing: Kevin Araujo

photographer: Jag Studio | @jag_studio

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

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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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Kurahito Craft channel on YouTube shows how to transform a hard slab of wood into a flexible, see-through lampshade cover and more. Instead of using ingredients to make the wood soft or using a piece that has already been altered, either in form or through components, the Japanese content creator uses just a piece of timber for the project. He needs the help of a table saw for the process, too. He begins the flexible wooden lampshade cover by shaping the main material into an oval. To do this, he uses another piece of wood as a guide, also called a fence.

The craftsman holds everything in place with a clamp. He adjusts the height and angle of the blade, then lowers it before starting the cut. He trims along the fence, resulting in a rail-like shape. This is risky, so people who want to try it at home should proceed with caution. The creator makes the cuts in small steps. After completing one side, he measures and processes the other until the form looks like the letter M. He uses a hand plane to smooth the sharp corners. After that, the process that he describes as ‘yaruki’ begins for the flexible wooden lampshade cover.

all images courtesy of Kurahito Craft Channel

technique allowing designs suited for specific functions

Kurahito Craft keeps on cutting the wood until the shape starts to resemble a centipede. However, it still breaks when it bends. He then switches to a thicker piece of wood and changes the design; this time, cutting all four sides instead of adding more oval cuts. He repeats the earlier process and then smooths the surface using a sanding machine. He uses a flat plate to continue cutting the pieces. The result gives him a flexible wooden lampshade cover that looks like a flower or a gas burner. When he bends it this time, it doesn’t break and keeps its shape. 

When it’s time to test it out, the content creator fits a lightbulb in the middle, and the now cut timber is able to hold its new shape. The flexible wooden lampshade cover isn’t the only end result of Kurahito Craft’s project. Designers can adopt the technique to make structures and modular fixtures from wood instead of using other components or additives. The approach also allows users to create designs that are suited for specific functions or what they need, with the flexible wooden lampshade cover as just an example.

the slab of wood can bend without breaking

there are no additives added to make the wood malleable

view of the flexible wooden lampshade cover

the creator uses a flat plate to continue cutting the pieces

the now cut timber is able to hold its new shape

the content creator fits a lightbulb in the middle

project info:

channel: Kurahito Craft

The post kurahito craft transforms slab of wood into a flexible and see-through lampshade cover appeared first on designboom | architecture & design magazine.