The Suzhou Museum of Contemporary Art by Bjarke Ingels Group (BIG) emerges on the banks of Jinji Lake. Designed in collaboration with ARTS Group and Front Inc., and commissioned by Suzhou Harmony Development Group, the 60,000-square-meter complex (find designboom’s previous coverage here) is envisioned as a contemporary reinterpretation of Suzhou’s historic gardens.

The structure unfolds as a village of twelve interconnected pavilions unified beneath a flowing, ribbon-like roof whose gentle undulations echo tiled eaves. Materialism, a material-led inaugural exhibition curated by the studio, is on view through March 8th, 2026, before the museum temporarily closes and reopens this summer for its grand inauguration. 

all images by Ye Jianyuan, unless stated otherwise

fluid network of pavilions evokes garden heritage

Rooted in the cultural identity of Suzhou, BIG’s design draws from the traditional lang (廊), a long, covered corridor that guides visitors through Chinese gardens, transforming it into a fluid network of exhibition spaces, courtyards, and walkways. ‘Suzhou is the cradle of the Chinese garden,’ notes Bjarke Ingels, describing the museum as ‘a garden of pavilions and courtyards’ where architecture and landscape intertwine. Glazed galleries and porticoes link the structures together in what Ingels calls ‘a Chinese knot of interconnected sculpture courtyards and exhibition spaces.’ Seen from above, the stainless steel roofs ripple across the site like a living organism, their gentle curves tracing a silhouette that connects the city to the lake.

The architects mirror the changing colors of the sky and waters on warm-toned stainless steel and curved glass facades. Inside the museum, daylight filters through clerestories and skylights, creating reflections and shadows across the galleries. Four of the twelve pavilions contain the main exhibition halls, while the remaining spaces host a multifunction hall, theater, restaurant, and grand entrance area. Bridges and tunnels weave between the buildings above and below ground, giving the museum flexible circulation and climatic adaptability. Outside, a sequence of gardens extends the visitor journey toward the lake, where sculpture installations and public paths remain open beyond museum hours.

a sequence of gardens extends the visitor journey toward the lake

materialism: a prelude to the museum’s opening

For BIG partner Catherine Huang, the project is a tribute to Suzhou’s enduring relationship between architecture and landscape. ‘We envision the lang, a traditional element of Suzhou gardens, gracefully winding through the landscapes and transforming into pavilions,’ she explains. The museum follows China’s GBEL Green Star 2 sustainability certification, addressing technical and social dimensions of environmental design. In 2024, Suzhou MoCA was recognized as a national landmark when it appeared on an official China Post stamp celebrating the city’s urban development around Jinji Lake.

Materialism reframes architecture through the substances that give it form. Rather than organizing projects by typology or geography, the exhibition groups twenty of BIG’s works according to the materials they are made from, including stone, earth, concrete, metal, glass, wood, fabric, plastic, plants, and recyclate. Seating elements throughout the galleries are fabricated from the very materials on display, turning the exhibition into a tactile, sensory journey through texture, weight, and surface. Visitors encounter architecture not as an image or model alone, but as something to be physically experienced through matter. ‘Due to the nature of the architectural profession, the fate of the project is always decided in the early stages: the concept design or the competition,’ explains Bjarke Ingels. ‘But 90% of our work is what follows, the translation of the idea into reality, the materialization of the fiction into fact. This exhibition is dedicated to the material aspect of our profession.’ Ingels continues: ‘The ideas and concepts are still there, but here the architectural story is told through the materials and the collaborations that made them possible.’

the Suzhou Museum of Contemporary Art by BIG emerges on the banks of Jinji Lake

the structure unfolds as a village of twelve interconnected pavilions

a flowing roof whose gentle undulations echo tiled eaves tops the museum | image by Studio SZ Photo

a tribute to Suzhou’s enduring relationship between architecture and landscape | image by Studio SZ Photo

in 2024, Suzhou MoCA was recognized as a national landmark 

BIG’s design draws from the traditional lang (廊)

a fluid network of exhibition spaces, courtyards, and walkways

glazed galleries and porticoes link the structures together

a landscape of light, reflection, and interwoven paths

four of the twelve pavilions contain the main exhibition halls

Materialism invites visitors on a ‘material odyssey’ | image by Studio SZ Photo

cubic stools made from various materials | Materialism at BIG’s HQ in Copenhagen, image by Yongwon Jo  

material samples | Materialism at BIG’s HQ in Copenhagen, image by Yongwon Jo  

luminous ‘BIG’ sign anchors the entrance to the exhibition | image by Studio SZ Photo & Suzhou MoCA

a 1:1 prototype of the Gelephu International Airport’s diagrid structure | Materialism at BIG’s HQ in Copenhagen, image by Yongwon Jo  

project models and photographs | image by Studio SZ Photo & Suzhou MoCA

architecture and landscape intertwine

a contemporary reinterpretation of Suzhou’s historic gardens

the museum follows China’s GBEL Green Star 2 sustainability certification | image by Studio SZ Photo

sculpture installations and public paths remain open beyond museum hours | image by Studio SZ Photo

project info:

name: Suzhou Museum of Contemporary Art

architect: Bjarke Ingels Group (BIG) | @big_builds

location: Suzhou, China

area: 60,000 sqm (646,000 sqft)

client: Suzhou Harmony Development Group Co. Ltd

collaborators: ARTS Group Co. Ltd, Front Inc., Shanghai Shuishi Landscape Design Co. Ltd, Rdesign International Lighting

photographers: Ye Jianyuan, Studio SZ Photo | @studiosz_photo, Yongwon Jo | @yong1jo

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On a prominent corner lot along one of the busiest streets of Bà Rịa Ward, Ho Chi Minh City, KQI Architect completes The 1999’s Coffee, a 210-square-meter café led by architect Kiến Quân. The project is conceived as an architectural gesture that mediates between the speed of the city and the slower rhythms of everyday pause. 

Taking advantage of its corner condition, the design opens toward multiple directions, allowing the café to receive natural light throughout the day. A long, westward-extending sloped roof acts as a continuous sun-shading device, shaping the silhouette of the building while protecting interior spaces from harsh afternoon exposure. Beneath this roof, interlocking asymmetrical volumes establish a dynamic composition, avoiding a single frontal orientation and instead encouraging movement around and through the structure. The roofline is clad in small metal sheets of varied colors, shapes, and sizes, layered like fish scales to create a textured surface that shifts subtly with changing light conditions.

all images by Minq Bui

1999’s Coffee explores material warmth through stone and brick

The Vietnamese team at KQI Architect combines stone, baked brick, woven reed panels, natural wood, and rammed-earth textures, choosing finishes that preserve their raw and tactile qualities and introduce a sense of familiarity and craft. The palette emphasizes sensory experience, roughness, warmth, and weight, reinforcing the café’s role as a place of physical and perceptual slowing down.

This material language continues inside 1999’s Coffee with a restrained palette of neutral tones, soft yellows, and natural wood finishes. Large windows draw daylight deep into the compact interior, extending the space outward visually while maintaining a sense of enclosure. The interiors avoid strong contrasts or decorative gestures, instead relying on light, proportion, and texture to shape atmosphere. 

Through its open geometry, tactile materials, and controlled light, the project proposes architecture as a way to gently recalibrate it, offering visitors a place to slow down, breathe, and momentarily step outside the rhythms of the street.

the café’s rippling metal roofline folds toward the street

creating a shaded outdoor seating area at the corner plot

stone-clad walls and curved openings soften the building’s edges

a composition of interlocking volumes beneath a sculptural roof canopy

the sloping roof extends outward, sheltering open-air seating

a deep overhang transforms the sidewalk into a semi-covered social space

the main entrance is set beneath a steeply sloped canopy that draws visitors inward

the sculpted roof lifts and dips to frame views, light, and movement through the café

trees punctuate the roof

the café’s corner condition allows it to open toward multiple directions

the café’s arched openings soften the stone-clad facade

woven reed panels line the underside of the roof

a folded roof edge creates a dramatic threshold

the roof’s sweeping form shelters the entrance

project info:

name: The 1999’s Coffee

architect: KQI Architect

location: Bà Rịa Ward, Ho Chi Minh City, Vietnam

area: 210 square meters

lead architect: Kiến Quân

photographer: Minq Bui | @minqbui

The post rippling metal roof drapes over interlocking stone volumes of vietnamese café appeared first on designboom | architecture & design magazine.

Narxoz University Business School in Almaty, Kazakhstan, repurposes a former Soviet-era campus building into a contemporary facility for executive education. The project, designed by AGP Architects – Astana Grazhdan Proekt, adapts an existing structure from 1978, introducing new spatial and structural systems while restoring key architectural features, most notably the original sawtooth roof. Through selective demolition, structural reinforcement, and targeted additions, the building is redefined as an independent academic and public environment within the university campus.

The original building had served multiple functions over time, including administrative offices and a cafeteria. A rooftop extension added in the early 2000s altered the building’s proportions and obscured the sawtooth roof, resulting in a visually heavy form that lacked a clear architectural identity. The renovation brief extended beyond functional upgrading, aiming to establish a distinct institutional presence suitable for professional education, exchange, and public engagement.

all images by Damir Otegen

campus Structural Reconfiguration and a New Circulation Core

Working within the constraints of the existing structure required careful attention to height limitations, load-bearing capacity, and seismic regulations. Structural assessments identified non-compliance in the added upper floor, necessitating its removal. This process revealed the concealed sawtooth roof, which was subsequently identified through archival research and on-site analysis as a defining feature of the original design. The dismantled level was reconstructed using a new structural system that allowed the sawtooth profile to be preserved and reinterpreted as a central architectural element.

The design team at AGP Architects – Astana Grazhdan Proekt introduced a new attached entrance volume to clarify circulation and provide a visible point of access. This addition contains the main entrance, reception, a double-height lobby, and a panoramic elevator, functioning as a spatial connector and communication hub. The transparent volume establishes a clear relationship between interior activity and the campus environment, reinforcing the building’s public character.

Interior spaces are organized across multiple levels, combining classrooms equipped for executive education with coworking areas, informal meeting spaces, coffee points, and video production facilities. In the basement, former storage areas were converted into flexible halls for events and exhibitions. These spaces receive natural light through full-height glazing and a horizontal skylight integrated into the terrace above.

Reinterpreting Architectural Heritage Through Material Unity

Material continuity is used to unify existing and new elements. Standing-seam metal panels extend from the roof to the facade, accentuating the rhythm of the sawtooth geometry and providing a consistent contemporary envelope. A restrained palette of grey and white maintains visual continuity with surrounding campus buildings while avoiding direct replication.

Through the restoration and reinterpretation of a previously obscured architectural feature, the project transforms an underutilized campus structure into a flexible educational and public platform. The intervention by AGP Architects – Astana Grazhdan Proekt establishes a clear connection between the building’s historical layers and Narxoz University’s evolving academic and cultural role.

a restrained palette of grey and white tones maintains a visual dialogue with the main university buildings

the rebuilt upper level preserves the sawtooth profile using a new structural system

the new building houses the main entrance, reception area, double-height lobby, and panoramic elevator

newly introduced skylights bring daylight into the interior spaces

standing-seam metal panels transition from roof to facade, ensuring volumetric continuity

the skylight defines a naturally lit circulation and study area

light becomes part of the architectural form, shaping the space through ceiling geometry and integrated fixtures

the space is organized as a flexible hall defined by structural clarity and natural light

the project connects the building’s architectural history with its new academic role

modular acoustic booths are integrated into the open interior for focused work and private communication

the project transforms the interior into a contemporary student-oriented environment

calm material choices create a balanced environment supporting focus

project info:

name: Narxoz University Business School
architect: AGP Architects – Astana Grazhdan Proekt

design team: Kanashkova Svetlana, Zhunusov Madi, Shevchenko Aleksandr, Kapenov Askar

location: Almaty, Kazakhstan

photographer: Damir Otegen

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Snøhetta has released new footage documenting construction progress at the Theodore Roosevelt Presidential Library in Medora, North Dakota. The video captures the building as it rises along the northeast edge of a butte bordering Theodore Roosevelt National Park. Here, the building’s rammed earth walls and living green roof begin to define the project’s presence within the vast and scenic Badlands.

Set across 93 acres, the site remains legible throughout construction. The camera follows graded footpaths leading toward the slowly sloping roof plane, which appears as a continuation of the land rather than a separate object dropped onto it. The building’s relationship with the landscape will be more than just formal as it is designed to be regenerative and self-sufficient, aiming toward carbon neutrality. See more visualizations of the project from its 2020 unveiling here!

Still under construction, the library is set to open on for the 250th anniversary of the United States, July 4th, 2026.

construction advances along the butte overlooking Theodore Roosevelt National Park | visualization courtesy Snøhetta

snøhetta’s living roof of native landscaping

Snøhetta‘s newly unveiled video offers a closer look at the living green roof, a central component of the Theodore Roosevelt Presidential Library. Layers of reused on-site soil are already being positioned to support a Native Plant Project developed with Resource Environmental Solutions and North Dakota State University. More than sixty native species will eventually occupy this surface, reconstructing a prairie ecology of grasses, sedges, forbs, and shrubs that once defined the region.

From an architectural perspective, the roof reads as both structure and landscape. Its thickness and gentle curvature suggest insulation, water management, and plantings working together. Construction activity reveals how the roof mediates between interior spaces and the long views across the Badlands.

Snøhetta’s latest footage reveals the library emerging from graded terrain | image courtesy Snøhetta

inside the self-sufficient structure

Inside, Snøhetta’s video shows the emerging scale of the Theodore Roosevelt Presidential Library’s galleries and circulation spaces. Structural bays frame future exhibition zones designed for immersive storytelling and digital archives, with careful attention to sound control, light modulation, and climate stability for artifacts.

The project’s regenerative ambitions include passive strategies and low-carbon materials which point toward targets of zero energy, zero emissions, zero water, and zero waste. At this phase, the Theodore Roosevelt Presidential Library reads as a building assembled through systems that support long-term performance and seasonal use, shaped by the environmental pressures of the North Dakota plains and guided by a measured architectural logic.

native prairie plant systems are prepared as part of the roof assembly | image courtesy Snøhetta

the project’s regenerative ambitions include passive strategies and low-carbon materials | image courtesy Snøhetta

project info:

name: Theodore Roosevelt Presidential Library 

architect: Snøhetta | @snohetta

location: Medora, North Dakota, USA

client: Theodore Roosevelt Presidential Library Foundation (TRPLF) | @trlibrary

completion: expected July 4th, 2026

photography, video: courtesy Snøhetta

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The Brise-Vent Havre Harbor Museum is a proposal by LYT-X Studio located along the historic waterfront of Le Havre, France. Planned as an adaptive reuse of an industrial harbor structure, the project positions a former port building as a civic cultural facility woven into the maritime edge of the city.

The site occupies a stretch of working waterfront that once supported industrial exchange. As port operations shifted, the structure lost daily relevance within urban life. The proposal, with its dramatically curving rooftop, treats the existing fabric as a spatial and infrastructural resource, retaining its massing and presence while introducing architectural elements that enable public access and contemporary cultural use.

visualizations © LYT-X Studio

brise-vent havre harbor museum: a threshold for le havre

The Brise-Vent Havre Harbor Museum, designed by LYT-X Studio, organizes movement as a continuous sequence linking city streets, promenade, and harbor. Circulation routes pass across and through the building, encouraging everyday passage alongside scheduled cultural activity. This approach situates the museum within the wider waterfront network, allowing informal use to coexist with exhibitions and events.

A curved roof extension forms a continuous canopy along the water’s edge. The canopy structures circulation, offers shade, and mediates between urban paths and harbor activity. Beneath it, semi open spaces and a sheltered courtyard provide access from both land and water, establishing a public environment that feels accessible throughout the day.

the project adapts an industrial harbor structure into a public cultural space along the waterfront

new waterfront spaces for the public

Public access shapes the architectural decisions across the Brise-Vent Havre Harbor Museum. The courtyard remains open beyond gallery hours, allowing the site to function as a civic space. Transitions between interior and exterior rely on spatial continuity and material alignment rather than visual devices alone. Exhibition halls, performance spaces, and circulation areas accommodate formal programming alongside daily movement.

Environmental strategies build on the reuse of the existing structure. The extended canopy supports passive shading and moderates conditions along the waterfront. Courtyards and roof openings bring daylight into interior volumes, while coastal air movement supports natural ventilation. Through these measures, the Brise-Vent Havre Harbor Museum presents a measured approach to transforming an industrial harbor structure into a lasting cultural presence within the city.

a curved roof canopy defines shaded paths and transitional outdoor spaces

courtyards and semi open areas support daily public access beyond gallery hours

new interventions extend the building toward the harbor to support public movement

circulation routes connect city streets, promenade, and water in a continuous sequence

interior programs align with views toward maritime activity

environmental strategies rely on reuse, daylight, and coastal air movement

project info:

name: Brise-Vent Havre Harbor Museum

architect: LYT-X Studio | @lytx_studio

location: Le Havre, France

area: 31,000 square meters

design team: Dingdong Tang, Zehui Li, Haisheng Xu

status: concept

visualizations: © LYT-X Studio

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Set to open at last on January 19th, 2026, the 3XN GXN Architects-designed Sydney Fish Market occupies a prominent stretch of Blackwattle Bay on the Australian city’s inner harbor. Designed in collaboration with BVN and Aspect Studios, and delivered by Multiplex, the project introduces a purpose-built facility that brings wholesale operations, public market areas, and waterfront access into a single system.

The new building, with its floating roof canopy, is located roughly one mile southwest of the central business district and replaces a former market structure with a volume oriented toward the harbor edge. The site sits within the wider renewal of Blackwattle Bay, where industrial ground has been reworked into a continuous band of public space and shoreline improvements.

images © Tom Roe

the landmark roof canopy by 3xn architects

Among the defining elements of the Sydney Fish Market, designed by Danish practice 3XN GXN Architects, in association with BVN and Aspect Studios, is its continuous roof canopy that spans nearly 20,000 square meters. Its profile rises and dips across the site, forming a sheltered field beneath rather than a closed hall.

The structure is assembled from 594 glulam beams and 407 prefabricated roof cassettes — some beams extending up to 32 meters in length. The canopy reaches roughly 200 meters along the water, establishing a broad horizontal presence when viewed from across the bay.

Timber is left exposed across much of the underside, with connections and joints legible at close range. The roof cassettes sit above this framework in a repeating pattern that reads as both structural and surface condition. Daylight filters through perimeter openings and roof edges to lend a steady variation in brightness across the market floor.

the Sydney Fish Market is set to open on the harbor edge at Blackwattle Bay

inside the new sydney fish market

Below the canopy, 3XN GXN Architects’ Sydney Fish Market operates within a semi-open plan. Stalls, service zones, and circulation routes are arranged to maintain clear separations between working areas and public paths. Sightlines run across the hall, allowing views into handling and auction spaces without direct overlap of movement.

Public circulation follows a sequence of ramps, bridges, and stepped seating that rises from the ground-level plaza. A tribune structure forms a gradual transition between exterior and interior zones, with concrete steps and timber surfaces facing the harbor. Movement through the building stays lateral and continuous, guided by changes in level and material rather than enclosed corridors.

a continuous timber roof spans the market floor and waterfront

a waterfront promenade

Around the building, more than 6,000 square meters of public open space extend along the foreshore. A new promenade links this section of Blackwattle Bay to the longer harbor walk connecting Rozelle Bay and Woolloomooloo. Hard surfaces give way to planted edges, where landscape interventions manage stormwater through biofiltration beds and wetland planting.

At the waterline, the project incorporates marine infrastructure intended to support ecological conditions within the bay. Seabin units, seawall tiles, and submerged habitat elements line the edge, forming a layered boundary between built surface and harbor water. These elements sit alongside working berths and service zones tied to the market’s daily operations.

The Sydney Fish Market stands as the first completed building within the broader transformation of Blackwattle Bay. Its orientation places the working market directly on the harbor, reversing the inward-facing arrangement of the previous facility.

the market sit beneath an open and ventilated hall

glulam beams and prefabricated cassettes form a legible structural field

public circulation passes alongside working market activity

daylight enters from the perimeter and roof edges

stepped seating connects the plaza to interior market spaces

project info:

The post 3XN GXN, in association with BVN and ASPECT studios, completes sydney fish market appeared first on designboom | architecture & design magazine.

Located along the Zhujia River in Jiang’an District, Wuhan, LuxeIsland Farm, designed by Various Associates, forms the core of the 230,000-sqm LUXEOASIS development. Positioned between northern hillsides and a southern pier, the project is conceived as a small-scale retreat that combines ecological recreation, educational programs, retail, and cultural activities within a unified landscape framework. Commissioned for both architectural and interior design, Various Associates developed LuxeIsland Farm as a spatial experiment in community interaction and environmental integration. The project explores the themes of ‘Future, Fun, and Interaction’ through an architectural language that juxtaposes geological massing with craft-based detailing.

The farm masterplan adopts a circular layout that connects animal enclosures, creative workshops, retail spaces, and dining areas. New structures are embedded within the terrain, creating a continuous rhythm across the valley. Volumetric forms resembling scattered stones or meteorites emerge from the ground, interwoven with misting systems and vegetation. Semi-submerged animal enclosures with green roofs reduce visual impact while enhancing the sense of immersion in the landscape. Each building is characterized by the use of natural materials such as bamboo, timber, and stone. Bamboo weaving, referencing local craft traditions, is reinterpreted as a structural and aesthetic device, forming roofs and facades that mediate light and shadow across the site.

all images by SFAP

Bamboo pavilions and earthen forms shape LuxeIsland Farm

Set against the hillside, the animal enclosures are designed with minimal intervention to preserve the existing terrain. Their partially earth-sheltered configuration blends the farm into its surroundings, while open paddocks and shaded frameworks create varied environments for alpacas, deer, and other animals. The design emphasizes both safety and proximity, encouraging educational and recreational interaction between visitors and animals.

The creative workshop is a lightweight bamboo-woven pavilion composed of a domed canopy and stone-like supports. Triangular perforations in the bamboo surface allow filtered daylight to create dynamic shadow patterns. The open layout functions as a café, rest area, and flexible workspace, with operable facades connecting directly to surrounding greenery. A secondary pavilion, a ‘silver disc,’ houses an ice cream and donut station. Its metallic surface contrasts with the earthy tones of adjacent structures, serving as a visual focal point within the site. A nearby feed house encourages closer interaction between visitors and animals, reinforcing the site’s social and experiential role.

The feed barn and washroom are designed as a paired composition, characterized by bamboo-and-metal roofs that appear to float above textured stone and cement finishes. The design team at Various Associates uses artisanal coatings and muted color palettes to emphasize material honesty and spatial coherence across programmatic functions. At the Forest Star Stage, a flexible outdoor area supports events and performances. Defined by sawdust flooring, hay bale seating, and ambient lighting, it transforms from a daytime resting area into an evening gathering space.

LuxeIsland Farm by Various Associates anchors the LUXEOASIS development along Wuhan’s Zhujia River

LuxeIsland Farm integrates ecology, leisure, and rural urbanism

Material selection reflects ecological awareness and formal precision. Bamboo, timber, and red earth establish a connection with the regional landscape, while metal and concrete articulate a contemporary contrast. Through these combinations, LuxeIsland Farm demonstrates how natural materials and constructed form can coexist within a performative and educational setting.

By blending architectural form, environmental design, and cultural programming, Various Associates positions LuxeIsland Farm as both a functional agricultural environment and an evolving social landscape, an example of how contemporary rural architecture can integrate ecology, leisure, and urban experience.

the project integrates ecology, recreation, and cultural activities within a unified landscape framework

Various Associates designed both the architecture and interiors as a spatial experiment in environmental integration

the masterplan adopts a circular layout linking animal enclosures, workshops, and dining spaces

scattered, stone-like structures emerge from the terrain, blending architecture with the valley landscape

semi-submerged animal enclosures reduce visual impact while enhancing immersion in nature

natural materials such as bamboo, timber, and stone define the farm’s architectural language

set against the hillside, the animal zones preserve the existing topography with minimal intervention

open paddocks and shaded frameworks create diverse environments for alpacas, deer, and other animals

bamboo weaving is reinterpreted as a structural and aesthetic device throughout the project

a silver disc pavilion houses an ice cream and donut station, contrasting with the site’s earthy tones

the creative workshop features a lightweight bamboo-woven dome supported by stone-like columns

the design encourages close, educational interaction between visitors and animals

material choices reflect ecological awareness, combining bamboo, timber, and red earth with concrete and metal

triangular perforations in the bamboo canopy filter natural light into dynamic shadow patterns

the feed barn and washroom pair share bamboo-and-metal roofs that appear to float above stone surfaces

artisanal coatings and muted materials create a consistent and tactile interior palette

LuxeIsland Farm operates as both an agricultural landscape and a social environment rooted in ecology and design

project info:

name: LuxeIsland Farm
architect: Various Associates | @various_associates

location: Wuhan, China

area: 500 sqm

interior area: 150 sqm

client: Luxelake’s Cultural Tourism

lead designers: Lin Qianyi, Yang Dongzi

design team: Hou Jinwang, Li Min, Zhang Junbiao, Pan Baizhen, Li Zebing, Lin Liangji, Huang Yongliang

structural design: UDG

landscape design: WTD

photographer & videographer: SFAP

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 bamboo-woven domes sculpt wuhan luxury farm retreat by various associates appeared first on designboom | architecture & design magazine.

Takashi Niwa Architects designs Urban Sparkle for Hokkaido Sachi Restaurant located in Thao Dien, Ho Chi Minh City, Vietnam. Designed for a flagship Japanese restaurant, the building is defined by an origami-inspired steel roof that establishes a strong architectural presence while organizing light, circulation, and program across the site. The project occupies a 30-meter street frontage directly in front of Ho Chi Minh City’s first metro line and is surrounded by high-rise residential towers. As a result, the building is experienced from three primary viewpoints: street level, passing trains, and elevated perspectives from adjacent towers. The design responds to these conditions by treating the roof as both a visual marker and a spatial framework, allowing the building to register at multiple urban scales.

The roof structure is composed of folded 4 mm steel plates spanning up to 6 meters. Through systematic origami-based folding principles, the thin steel gains structural rigidity while maintaining a lightweight appearance. This approach is considered one of the first applications of origami-inspired thin steel plate construction in Vietnam. The folded geometry enables large spans, integrates skylights, and minimizes material thickness while remaining structurally efficient. Local metalworking techniques were used to fabricate the complex geometry within budget constraints.

Urban Sparkle is located in Thao Dien, Ho Chi Minh City | all images courtesy of Takashi Niwa Architects

Folded form and lighting create a dynamic spatial framework

Light plays a central role in the project, designed by Takashi Niwa Architects. During the day, the folded roof channels daylight through strategically placed skylights, distributing natural light across the interior. At night, artificial lighting reverses this effect, projecting outward through the same openings and transforming the building into a luminous presence within its surroundings. The steel surfaces reflect and diffuse light throughout the day, producing changing visual conditions depending on time and viewpoint. The geometric pattern of the roof subtly references snow crystals, establishing an abstract connection to northern landscapes associated with Japanese cuisine. This reference is conveyed through form rather than literal symbolism, allowing cultural identity to be expressed through material and geometry. The roof also defines interstitial exterior and interior spaces, supporting gathering areas and outdoor performances along the landscaped approach.

Inside, the folded ceiling creates variations in height and compression, guiding movement through the restaurant. Circulation follows the curves of the roof geometry, with spatial transitions shaped by changing light conditions and ceiling profiles. Dining, circulation, and performance areas are organized as a continuous spatial sequence rather than discrete rooms. Urban Sparkle demonstrates how folded geometry, thin steel construction, and controlled lighting can be combined to produce a building that responds to its urban context while supporting programmatic flexibility. Through material efficiency and geometric clarity, the project establishes a recognizable architectural identity shaped by light, structure, and movement.

the folded ceiling channels natural light through skylights, creating a dramatic interplay of light and shadow

the central skylight reveals the complex intersection of folded steel planes, creating ever-changing light patterns

varying ceiling heights beneath the folded roof naturally guide circulation

a dining alcove frames views of the garden landscape

a private dining room features an origami-inspired pendant light echoing the roof’s geometric language

the curve of sparkle form brings a gathering feeling into the room, accompanied by an origami-inspired lighting design

the wall texture created by timber carving expresses the sparkle form

the garden entrance with the S-shaped roof invites guests into the restaurant and forms an open gathering space

construction view reveals the intricate geometry of 4mm steel plates radiating from the central skylight

the building transforming into a glowing beacon, as interior light radiates through transparent facades

nighttime aerial view captures the roof glowing as a beacon, revealing the building’s three distinct facades

project info:

name: Urban Sparkle for Hokkaido Sachi Restaurant Thao Dien

architect: Takashi Niwa Architects | @takashi_niwa_architects

design team: Takashi Niwa, Vu Thi Thanh Huong, Nguyen Phuong Anh, Tran Thanh Tung, Kyohei Takahashi

interior design: Takashi Niwa, Tran Thanh Tung, Nguyen Phuong Anh, Bui Cong Ky, Mai Ngoc Anh, Bui Thi Thanh, Pham Huy Hoang

structure engineer: NEY & Partners Vietnam

contractor: NINOCONS (Interior)
location: Ho Chi Minh City, Vietnam

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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Poppins Nursery School Karuizawa Kazakoshi, designed by NIKKEN SEKKEI, is a single-story wooden nursery school in Japan. Located in a highland resort area of Karuizawa, near Lake Shiozawa and Kazakoshi Park, the structure overlooks Mount Asama. The building is positioned diagonally at the center of the site to naturally separate the south-facing playground from the north-facing parking area, making use of the site’s existing slope and minimizing the need for new barriers along the western retaining wall.

The project is defined by two leaf-shaped roofs of different heights. Childcare rooms are placed beneath the lower roof, while the higher roof covers the hall and staff facilities. The floor plan is designed so that all childcare rooms face the outdoor garden, and the hall functions as the central gathering space where children engage in group activities. Large windows introduce daylight and provide views of the surrounding landscape throughout the year.

Spatial divisions rely on wooden columns rather than enclosed walls, creating a continuous interior environment that supports movement and visual connection across age groups. The six nursery rooms, grouped into zones for ages 0-2 and 3-5, feature lower ceiling heights and a smaller spatial scale suited to young children. Each room connects to the hall through column-defined openings, allowing for gradual transitions between spaces and enabling interaction between different age groups.

all images by Norihito Yamauchi

NIKKEN SEKKEI employs Timber framework and Dual Roof Planes

The design team at NIKKEN SEKKEI opts for material and environmental strategies that emphasize wood as the primary interior finish. This approach aims to create a unified atmosphere across childcare rooms, circulation zones, and the hall. High-side windows located between the two roofs supply natural light and support gravity-based ventilation during mild seasons, reducing dependency on artificial lighting and mechanical cooling.

Structurally, the project employs two simple, untwisted roof planes cut into organic, leaf-like geometries that taper toward the eaves. These roof surfaces were constructed using standard laminated timber without special curved components. Columns are slightly angled along the curve of the plan so that their intersections with beams remain nearly vertical, allowing the use of common connection hardware and reducing the need for custom structural fittings. Double timber columns (120 × 240 mm European red pine) are arranged at regular 1,820 mm intervals, corresponding to plywood module dimensions and creating a rhythmic structural grid reminiscent of loosely defined forest-like zones.

By standardizing short-span joint details and optimizing material use, the project maintains a clear structural expression while remaining efficient to construct within a limited schedule and budget. The spatial volume beneath the high roof accommodates the hall, kitchen, and staff areas, while mechanical equipment is placed in the ceiling space under the low roof to maximize usable interior area.

a leaf-shaped roof defines the low, child-scaled volumes of the nursery

the building sits on a highland site overlooking Mount Asama

organic roof geometries taper toward the eaves

wooden columns replace walls to create an open interior flow

large windows bring natural light into the hall

laminated timber is used to form the untwisted roof planes

column-defined openings allow gentle transitions between spaces

wood surfaces unify the childcare rooms and circulation areas

double timber columns create a rhythm across the interior grid

all childcare rooms face the outdoor garden

nursery rooms are divided into zones for ages 0-2 and 3-5

structural spacing corresponds to standard plywood module dimensions

mechanical equipment is placed beneath the low roof to maximize space efficiency

high-side windows between the two roof levels channel light in and out of the interior

project info:

name: Poppins Nursery School Karuizawa Kazakoshi
architect: Nikken Sekkei Ltd | @nikkensekkei_global
location: Karuizawa, Kitasaku-gun, Nagano Prefecture, Japan

site area: 2699.04 sqm

total floor area: 494.46 sqm

contractor: Seibu Construction Co., Ltd.

photographer: Norihito Yamauchi

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edited by: christina vergopoulou | designboom

The post twin leaf-shaped roofs unfold atop nursery school by NIKKEN SEKKEI in japan appeared first on designboom | architecture & design magazine.

ITM Yooehwa Architects completes this ‘Heaven’s Voice’ prayer room at South Korea‘s Handong University, bringing a compact place for reflection shaped by its hillside site and minimalistic concrete expression. The project occupies a small rise at the center of campus, a location the architect immediately recognized for its symbolic nature.

The commission emerged from a donation by an elder of a local church, and the brief invited a chapel that was both modest and purposeful. ‘The site revealed itself,’ lead architect Yoo Ehwa shares. She describes perceiving the contours of the campus as resembling a sheep, with the chosen hill forming its heart. This elevated position allows the subterranean structure to be read from surrounding buildings, with the form of its rooftop cross visible only from the sky and the interior.

images © Yongkwan Kim

meditative interiors by ITM Yooehwa Architects

A very limited budget guided the earliest decisions, leading ITM Yooehwa Architects to eliminate applied finishes and instead focus on the power of form, volume, and light. ‘We had to let meaning come from structure,’ the architect explains. This approach sharpened the emphasis on the building’s core purpose as a prayer room and allowed the design to evolve with a directness that suits the quiet atmosphere the project seeks to create.

The entrance begins at the base of the hill along a sweeping footpath. The sequence rises slowly toward the chapel, with ramps tracing the exterior to maintain a continuous connection between inner and outer experience. These circulatory elements draw from the site’s topography and shape an intentional transition from campus life into a more meditative space.

ITM Yooehwa’s prayer room is compact place for reflection shaped by its hillside site

the symbolic structure and skylight

The prayer room’s entrance maintains the dimensions of a corridor, a deliberate gesture which ITM Yooehwa employs to encourage individuals to enter in solitude. Yoo Ehwa goes on: ‘I wanted people to arrive one by one, as if preparing their hearts.‘ This scale sets the tone for the interior, where simplicity guides the spatial character.

Inside, the room stands free of columns. A cantilevered structural strategy supports the roof and reinforces the symbolic weight of the cross, which anchors the central axis. Seating is arranged to encourage horizontal awareness of the landscape beyond the long window, while a skylight above the cross introduces a vertical beam of daylight.

the prayer room’s entrance maintains the dimensions of a corridor

a prayer room sliced with sunlight

The interplay of horizontal and vertical light creates a shifting atmosphere across the prayer room’s surfaces. Sunlight entering from above draws attention to the cross throughout the day, shaping an experience that evolves with changing conditions. ‘The light gathers and traces the passage of time,’ she continues, describing an intentional engagement with daily rhythms.

This luminous register gives the space a sense of presence despite its compact footprint. ITM Yooehwa’s design frames light as a core architectural element, allowing it to express both orientation and spiritual focus. The simplicity of the envelope heightens this reading, as the absence of finishes foregrounds texture, shadow, and structure.

the rooftop is sliced with a narrow skylight in the form of a cross

the symbolic skylight emphasizes the building’s core purpose as a prayer room

the project occupies a small rise at the center of campus

seating is arranged to exaggerate the landscape’s horizonality

sweeping footpaths shape an intentional transition from campus life into a more meditative space

project info:

name: Handong University Prayer Room ‘Heaven’s Voice’

architect: architect | @ehwayoo

location: Pohang, South Korea

area: 190 square meters
completion: 2023
photography: © Yongkwan Kim

The post cruciform skylight illuminates subterranean prayer room by korean architect ITM yooehwa appeared first on designboom | architecture & design magazine.