Mexican architecture studio LANZA atelier, founded by Isabel Abascal and Alessandro Arienzo, is appointed to design the Serpentine Pavilion 2026. Titled ‘a serpentine’, the pavilion will open to the public on June 6th, 2026, at Serpentine South in London’s Kensington Gardens. The announcement coincides with the Pavilion’s 25th edition, which Serpentine will mark through a special collaboration with the Zaha Hadid Foundation, reflecting on the legacy of the inaugural pavilion designed by Hadid in 2000.

LANZA atelier’s proposal draws from the serpentine, or crinkle-crankle, wall, a historic English architectural feature composed of alternating curves. Originally developed in ancient Egypt and later introduced to England by Dutch engineers, the serpentine wall gains its structural stability from its geometry, allowing it to be only one brick thick while maintaining strength. 

Serpentine Pavilion 2026 a serpentine, designed by Isabel Abascal and Alessandro Arienzo, LANZA atelier | design renders © LANZA atelier. courtesy Serpentine

a serpentine is shaped by curves, climate, and movement

The pavilion is positioned on the northern side of the site and structured through two main walls. One traces the serpentine geometry, while the other aligns with the existing tree canopy. A translucent roof rests lightly on brick columns, evoking a grove of trees and allowing light and air to move freely through the structure. 

Brick is used as the primary material, referencing both the English garden tradition and the existing brick facade of the Serpentine South Gallery, which was originally a tea pavilion itself. Through rhythmic repetition, the brick columns transition from opaque to permeable, creating a gradient of openness. LANZA atelier frames this material strategy as a metaphorical bridge between Europe and the Americas, linking vernacular traditions through shared construction logics rather than symbolic gestures. According to the architectural duo, the project is conceived as ‘a device that both reveals and withholds,’ shaping how people move through space. They draw parallels with England’s fruit walls, which historically moderated climate and created sheltered micro-environments. From this lineage emerges a Pavilion built from simple clay brick, foregrounding what the architects describe as ‘the elemental capacity of architecture to bring people together.’

LANZA atelier’s proposal draws a historic English architectural feature composed of alternating curves

a platform for cultural exchange and experimentation

Since its inception, the Serpentine Pavilion has served as a platform for architectural experimentation, offering architects a rare opportunity to test ideas in a public, open-access context. Over time, the commission has evolved from a one-off structure into a broader cultural infrastructure, hosting lectures, performances, screenings, and interdisciplinary events. 

Serpentine CEO Bettina Korek frames the Pavilion as a structure that extends beyond its physical form, connecting people, landscape, and ideas. Artistic director Hans Ulrich Obrist emphasizes the institution’s increasing focus on younger practices over the past decade, describing LANZA atelier’s work as deeply embedded in material, context, and lived experience. Their pavilion, he notes, will function as a ‘content machine,’ hosting live events across disciplines throughout the summer and autumn.

The 2026 edition will also include a dedicated architectural program developed in collaboration with the Zaha Hadid Foundation. This initiative aims to reflect on Hadid’s legacy while fostering transnational and transgenerational dialogue around contemporary architectural questions. Former Pavilion architects will be invited to contribute, linking the Pavilion’s history to its future trajectories.

the serpentine wall gains its structural stability from its geometry

the pavilion is positioned on the northern side of the site and structured through two main walls

conceptual sketch, worm’s eye view | image © LANZA atelier. Courtesy Serpentine.

Isabel Abascal and Alessandro Arienzo of LANZA atelier | image © Pia Riverola

project info: 

name: a serpentine
architect: LANZA atelier | @lanzaatelier

lead architects: Isabel Abascal, Alessandro Arienzo
location: Serpentine South, Kensington Gardens, London, UK

event: Serpentine Pavilion | @serpentineuk
opening date: June 6th, 2026

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London’s unmistakable Brutalist colossus, the Barbican Centre, is set to pause its regular operations and close its doors for a full year beginning in June 2028 as part of an ambitious renovation program. The project will be led by Allies and Morrison, Asif Khan Studio, and Buro Happold.

The Barbican, a Grade II-listed cultural powerhouse designed by Chamberlin, Powell & Bon and built between 1965 and 1982, has since stood as an iconic mixed-use development with residential, recreational, and cultural facilities. It houses one of Europe’s most celebrated multi-arts portfolios, including the Barbican Art Gallery, Curve, Level 2 Gallery, a world-class concert hall, theatre spaces, cinemas, and the much-loved Conservatory. The building was captured in recent photographs by David Altrath.

images © David Altrath

the year-long ‘barbican renewal programme’

Nearly forty-five years after the centre’s opening, wear and aging infrastructure have begun to show, prompting a renovation dubbed the Barbican Renewal Programme. Led by Asif Khan Studio, Allies and Morrison, and Buro Happold, the extensive overhaul aims at securing the center’s future for decades to come. The project will see key public spaces — from the dramatic foyers and lakeside terrace to the landmark Conservatory — restored and reimagined, while vital infrastructure is modernized to meet contemporary standards of accessibility, sustainability, and creative flexibility. 

the centre was designed by Chamberlin, Powell & Bon and built between 1965 and 1982

the renovation: What Will Close and What Will Remain Open

The closure will run from the end of June 2028 until summer 2029. During this time, most of Barbican programs and spaces will be under construction. However, the Barbican cinemas on Beech Street will remain open, and the surrounding residential estate will stay accessible. In addition, creative partnerships and off-site programming are expected to help maintain the Barbican’s cultural presence across London while the walls are quiet.

The City of London Corporation has already committed a £191 million funding package toward the first phase of renewal, representing roughly eighty per cent of the required investment, with the remainder to be raised through a fundraising campaign. This ambitious pause comes at a defining moment with the Barbican’s fiftieth anniversary on the horizon in 2032.

the closure will run from the end of June 2028 until summer 2029

project info:

name: Barbican Renewal Programme | @barbicancentre

architects: Allies and Morrison, Asif Khan Studio, Buro Happold

closure dates: June 2028 — Summer 2029

photography: © David Altrath | @davidaltrath

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NEON unveils The Fountain, a 4.3-meter-high sculptural water feature installed in Brent Cross Town’s Neighborhood Square, London. The work draws on the enduring tradition of fountains found throughout European city squares, civic structures that act simultaneously as landmarks, spaces for play, and sources of calm through the sound and movement of water. NEON reinterprets these qualities in a contemporary language, aiming to create a moment of pause, curiosity, and well-being within this emerging district.

NEON set out to design a fountain that felt familiar yet visually distinct. The team introduced a gentle asymmetry by subtly offsetting the stacked plates in plan. This allows the sculpture to appear different from every viewpoint, creating varied cascades that enrich both the acoustic qualities and the visual movement of the falling water. Material selection for the installation was driven by performance and longevity. HI-MACS was chosen for its durability, color stability, and ability to form the exact geometries required for the stacked plates and fins. Its long lifespan and weather resistance minimize future maintenance. The chosen palette, green for the vertical elements, echoing the surrounding landscape, and turquoise for the water tables, referencing the colors often associated with water, grounds the sculpture in its setting.

all images by John Sturrock unless stated otherwise

Public Fountain Invites Play, Calm, and Community Connection

The Fountain encourages curiosity and a wide range of informal interactions. For residents and visitors, the steady sound and movement offer a gentle backdrop to daily life, making the square feel more comfortable for sitting, chatting, or simply passing through. Crucially, children often engage directly with the cascades and the shallow pool at the base, bringing a sense of play and energy to the space. ‘We were interested in creating a piece that could shift between being contemplative and playful, depending on how people choose to engage with it,’ says Mark Nixon, founding member of NEON Studio. ‘The Fountain offers calm moments through its sound and movement, but it also invites light-hearted interaction, especially from children. That duality felt important for a public space like this.’

The project’s launch was marked by a powerful community engagement initiative. Working with photographer Cesare De Giglio, NEON, Related Argent, and Barnet Council invited local residents, workers, and visitors to participate in a portrait series. Participants were asked to share a personal wish for the future, a modern echo of the tradition of making a wish at a fountain, which was then displayed in an exhibition. This initiative fostered a strong sense of local ownership, embedding the community’s stories within the public artwork.

NEON unveils a 4.3-meter sculptural fountain in Brent Cross Town

stacked plates form the fountain’s distinctive layered geometry

varied cascades create dynamic sound and movement across the surface

The Fountain anchors the new Neighborhood Square in London

green vertical fins echo the surrounding landscape of the square

gentle asymmetry ensures the sculpture shifts from every viewpoint

The Fountain creates a moment of calm within the emerging district

turquoise water tables evoke the colors traditionally linked to water

visitors experience a soft acoustic backdrop from the falling water

project info:

name: The Fountain
designer: NEON | @neon.uk

location: London, UK

lead designers: Mark Nixon & Viliina Koivisto

client: Brent Cross Town, a partnership between Related Argent and Barnet Council

structural engineers: Structure Workshop

fabrication: The White Wall Company

specialist consultants: Fountains Direct

photographers: John Sturrock | @johnnysturrock, Cesare De Giglio | @cesare_dg

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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Photographer David Altrath walks the Barbican Centre, tracing how elevated walkways, heavy concrete masses, and layered water landscapes shape one of Britain’s boldest experiments in high-density urban living. Designed by Chamberlin, Powell, and Bon and completed in 1982, the estate rises from post-war London. Altrath focuses on the constant shifts of light, weather, and movement that animate the megastructure of the Brutalist icon.

The scale of the estate is felt in the sweeping view of its terrace blocks rising over the central green. Narrow balconies wrap the long facades, filled with red flowers, potted plants, and the everyday objects of residents. Below, a lawn dotted with picnics and a small playground softens the geometry, revealing the original intention of the architects to merge high-density housing with generous public space. Behind the horizontal stack of apartments, the crisp verticality of newer office towers reminds viewers of the role of the estate as a cultural enclave carved into the commercial center of the city.

all images by David Altrath

elevated paths and water gardens shape the brutalist landmark

Moving into the complex, Hamburg-based photographer Altrath focuses on its elevated pedestrian routes, the system of brick-tiled walkways that binds the estate together. One corridor curves under a low concrete canopy, framed by slender black steel posts and lit by a soft glow that pushes the eye outward toward surrounding trees. Another walkway runs straight into a thicket of cylindrical columns, their rough-cast surfaces catching the daylight. A painted yellow line down the center subtly hints at the estate’s circulation logic, a city built for walkers above the traffic of the ground plane.

At the water gardens, layered terraces, fountains, and planted islands unfold in a slow gradient toward the lake. Altrath catches families perched on a circular brick island feeding ducks, reeds rustling in the wind, and sunlight flickering through the surface of the ponds. The rhythm of the fountains runs parallel to the long reflections of the residential towers, tying the vertical and horizontal scales of the Barbican into one continuous landscape.

David Altrath walks the Barbican Centre

london’s urban past through concrete, water, and film

From beneath the terrace blocks, the camera turns to the estate’s undercrofts, vast yet quiet spaces where columns descend straight into the water and the echoes of the city fade. Altrath frames these supports as sculptural elements, highlighting the surprising delicacy in their arrangement despite the weight they carry overhead.

Throughout the series, fragments of older London appear between concrete planes through church windows, pale stone facades, and medieval remnants peeking through the estate’s elevated pathways. These juxtapositions underline the Barbican’s layered history, a reconstruction of a bombed district, a proclamation of modernist ideals, and now a cultural landmark continuously reshaped by its users.

Shot on Kodak Vision3 250D and 500T, the photographs embrace the warmth, grain, and atmospheric softness of film. Altrath uses the medium to pull out the shift of color across aggregate surfaces, the texture of water meeting brick, and the way planted edges soften the monumental presence of the estate. 

elevated walkways, heavy concrete masses, and layered water landscapes shape the complex

one of Britain’s boldest experiments in high-density urban living

designed by Chamberlin, Powell, and Bon and completed in 1982

Altrath focuses on the constant shifts of light, weather, and movement that animate the megastructure

the scale of the estate is felt in the sweeping view of its terrace blocks rising over the central green

narrow balconies wrap the long facades

the camera turns to the estate’s undercrofts

brick-tiled walkways bind the estate together

moving into the complex, Altrath focuses on its elevated pedestrian routes

rough-cast surfaces

the photographs embrace the warmth, grain and atmospheric softness of film

Altrath uses the medium to pull out subtleties often overlooked in Brutalist structures

the cultural landmark is continuously reshaped by its users

a cultural enclave carved into the commercial center of the city

project info:

name: Barbican Centre

photographer: David Altrath | @davidaltrath

architects: Chamberlin, Powell and Bon

location: London, Great Britain

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Studio DERA has repurposed a former school swimming pool into a sustainable multi-purpose learning and wellbeing space for Waltham Forest College in London. With the college rapidly expanding its student body, finding new ways to accommodate educational and extracurricular needs was a priority. Studio DERA had already run a sustainable materials workshop for WFC students, while building a hempcrete and timber community center and nursery in nearby Higham Hill. College Principal & CEO Janet Gardner, invited Studio DERA directors Max Dewdney and Marcel Rahm to reimagine the long disused swimming pool site and do a feasibility study. The architects decided that retrofitting the original structure and utilising natural materials was the most sustainable and efficient way to transform the space into an attractive and inspiring hub for students and staff. A RIBA Stage 2 Report and a strong design narrative that aligned with the college’s estate strategy resulted in a successful funding bid to the Department for Education.

From the outset, Studio DERA’s work was shaped by ongoing consultations with educators, curriculum leaders, facilities managers, and students. The architects ran a series of workshops and engagement sessions to test spatial strategies, technical requirements, and user priorities. This informed key elements of the final design, including the subdivision of the Pool into zones, the use of biophilic and acoustic elements, and the inclusion of a stage and IT suite. Balancing architectural ambition with operational need, Studio DERA worked closely with the college to coordinate infrastructure upgrades and ensure long-term adaptability and maintainability with the installation of a new renewable energy system. The project was completed in 48 weeks, but fine-tuning continues post-completion, based on real-time user feedback from students and staff. The result is a versatile, welcoming, and light-filled space of 994 sqm.

all images courtesy of Studio DERA

Light, Material, and Adaptability Anchor Pool’s Adaptive Redesign

The Pool has five learning zones, each tailored to support a range of teaching styles and group sizes. A raised stage positioned at the former pool’s deep end creates a focal point for lectures, performances, and assemblies. Beneath it, a new IT room cleverly uses the original pool depth to deliver a high-performance digital learning infrastructure. The original high-level windows were cut down to the external floor level, dramatically increasing the natural light. Studio DERA installed integrated window seating along the old pool concourse, and fixed desks around the perimeter of the former pool tank for study and small group work. To increase thermal performance to meet DfE standards, triple-glazed windows were installed, along with insulation of both external and internal walls, and new insulated pipework. Operational energy use is expected to fall significantly thanks to air source heat pumps, mixed-mode ventilation, and LED lighting.

Material choices were guided by principles of low embodied carbon, durability, and circularity, and include FSC-certified timber, recycled acoustic panels, and low-VOC finishes. ‘We wanted the Pool to be an inspiring and practical space that elevates student learning and staff functionality, and, above all, brings joy. We were really keen to show just what is architecturally possible in the education sector, which is so often sadly under-funded and under-prioritized. Janet Gardner at Waltham Forest College was a visionary leader for this project, and together with our great contractors, we’ve delivered an ambitious, design-led and sustainable hub which puts the user experience front and center,’ shares Max Dewdney, Studio DERA’s director architect.

Studio DERA transforms a disused school swimming pool into a multi-purpose learning space in London

the space is divided into five learning zones to accommodate varied teaching styles and group sizes

the design prioritizes natural materials and low embodied carbon construction methods

retrofitting the original pool structure minimized waste and preserved the site’s existing framework

expanded windows bring daylight deep into the interior, enhancing visibility and comfort

integrated seating along the pool’s former edge encourages informal study and collaboration

a raised stage at the pool’s deep end forms a focal point for lectures, assemblies, and performances

fixed desks line the perimeter, offering flexible spaces for group and individual work

the project features FSC-certified timber, recycled acoustic panels, and low-VOC finishes

the project supports Waltham Forest College’s expanding educational and wellbeing programs

The Pool stands as an example of how adaptive reuse can renew educational architecture sustainably

project info:

name: The Pool
architect: Studio DERA

location: London, UK

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The RIBA Stirling Prize 2025 has been awarded to Appleby Blue Almshouse by Witherford Watson Mann Architects, a pioneering model for housing in later life that reimagines the centuries-old almshouse for the 21st century. Replacing a disused care home in Southwark, the scheme’s terracotta walkways, generous communal spaces, and street-facing bay windows foster connection while restoring dignity to older residents. With its warm material palette and quietly radical plan, Appleby Blue demonstrates how architecture can combat isolation through thoughtful design and civic care.

This year’s other RIBA awards further celebrate architecture’s social conscience: St. Mary’s Walthamstow by Matthew Lloyd Architects received the Stephen Lawrence Prize; Appleby Blue Almshouse also earned the Neave Brown Award for Housing; its client, United St Saviour’s Charity, was named Client of the Year; and Sheerness Dockyard Church by Hugh Broughton Architects won the Reinvention Award for transforming a fire-damaged ruin into a vibrant community space.

Appleby Blue Almshouse, Witherford Watson Mann Architects, Southwark, London

Stirling Prize 2025

Winner of the RIBA Stirling Prize 2025, Appleby Blue Almshouse by Witherford Watson Mann Architects redefines what housing for later life can be. Built on the site of a former care home in Southwark, the project offers 57 social-rent apartments for residents over 65, designed to nurture connection and independence equally.

The architects have inverted the traditional almshouse layout, placing generous communal spaces — a double-height garden room, kitchen, and shared terraces — at its core to encourage chance encounters and shared meals. Wide, terracotta-paved galleries, lined with planters and benches, replace corridors with streets in the sky, while bay windows overlooking the high street subtly dissolve boundaries between residents and the wider community.

Behind its brick facade lies a warm, timber-clad interior that feels domestic rather than institutional. Every element, from the discreet accessibility details to the open sightlines across the complex, reflects a deep understanding of ageing as a social, not solitary, condition. Appleby Blue sets a new benchmark for civic-minded architecture, and stands as proof that beauty and dignity belong at the heart of social housing.

Stephen Lawrence Prize 2025

The winner of the Stephen Lawrence Prize 2025 is St. Mary’s Walthamstow by Matthew Lloyd Architects.

‘St Mary’s, the oldest and — with its Grade II* listed status — most protected building in Walthamstow, has been sensitively repaired and transformed into a flexible, inclusive and welcoming space for the whole community to enjoy, as well as a place of worship. With a focus on encouraging and nurturing new talent, the award exclusively recognises projects led by an early career project architect [in this case, project architect Alex Spicer].’

St. Mary’s Walthamstow, Matthew Lloyd Architects, Walthamstow, London

Neave Brown Award for Housing

The winner of the Neave Brown Award for Housing 2025 is Appleby Blue Almshouse by Witherford Watson Mann Architects.

‘Given in honour of modernist architect and social housing pioneer, Neave Brown, the annual award recognises the UK’s best new affordable housing. Carefully designed to reduce loneliness and isolation, Appleby Blue Almshouse, which provides social housing for over 65’s, balances public, semi-public, and private spaces – including generous walkways, shared gardens, and a communal kitchen, to foster connection and support independence.

‘The scheme embodies Neave Brown’s belief in housing as a civic and social project, as it not only provides secure homes at social rent, but it also represents a thoughtful framework for living well in later life.’

Appleby Blue Almshouse, Witherford Watson Mann Architects, Southwark, London

Client of the Year

The winner of Client of the Year 2025 is United St Saviour’s Charity for Appleby Blue Almshouse by Witherford Watson Mann Architects.

‘This award celebrates the crucial role of clients in championing outstanding architecture. Tackling social isolation among older generations living in Southwark was a key priority, so the charity worked closely with Witherford Watson Mann Architects to ensure the design focused on creating spaces to encourage chance meetings and enable easy interaction between residents.

‘Features including its double-height garden room and community kitchen, where residents come together for meals and various group activities, and smaller shared spaces, including a glazed porch and gallery on the first-floor level, give residents an opportunity to connect and observe the daily bustle of the high street location — are both integral to the success of the design.’

Appleby Blue Almshouse, Witherford Watson Mann Architects, Southwark, London

reinvention award

The winner of the 2025 RIBA Reinvention Award has been announced as Sheerness Dockyard Church by Hugh Broughton Architects.

‘The award recognises buildings that have been creatively reused to improve their environmental, social, or economic sustainability, to increase their longevity and energy efficiency, rather than demolishing and rebuilding them.

The disused building, which had been on Historic England’s ‘Heritage at Risk’ register due to fire damage, was sensitively restored by Hugh Broughton Architects using innovative material, and employing local skills and labour, to preserve its exterior and retain original features.

‘The former church’s new multi-faceted role as a community facility hosting a co-working space, café, public exhibition areas and an events venue has breathed new life into the community and Sheerness as a whole.’

Sheerness Dockyard Church, Hugh Broughton Architects, Sheerness, Isle of Sheppey, Kent, England

Stirling Prize People’s Poll

With thousands of votes cast overall, the people chose the Elizabeth Tower restoration by Purcell Architecture as their winner of RIBA’s Stirling Prize People’s Poll 2025.

‘Housing the symbolic bell and timepiece of the nation (Big Ben), the most comprehensive restoration of Elizabeth Tower in 160 years is a masterpiece in conservation and craftsmanship.’

‘Like many conservation projects, appreciating the achievement requires some investigation. The shape of the tower, the clock faces and the sounds of the bells are mostly appreciated from a distance, as a dominant presence within one of the world’s most recognisable skylines. The jury’s inspection was carried out from within, after entering through a very modest door to one side of the main thoroughfare of MPs and parliamentary staff going about their business.

‘Work led by Purcell at the lower levels included extensive stone repairs, the refurbishment of various interior rooms for exhibitions and admin, and the clever insertion of a passenger lift which must be a welcome addition to the clock engineers and tour guides.’

Elizabeth Tower restoration, Purcell Architecture, London, England

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DHaus completes London Pied-à-Terre, a 26-sqm micro-apartment that examines the parallels between compact living in Paris and London. The project reconfigures a small interior into an open, light-filled dwelling that explores how minimalism and spatial clarity can enhance everyday urban life.

Both Paris and London face high housing costs and dense urban fabric, leading to a prevalence of micro-apartments and subdivided historic buildings. In Paris, former chambres de bonne, once servants’ quarters, have evolved into compact homes, while in London, Victorian and Georgian townhouses are frequently divided into small flats and basement studios. Within this shared condition, London Pied-à-Terre responds through adaptive reuse, efficient planning, and refined detailing.

all images by Declan Driver

design balances efficiency, material integrity, and spatial clarity

The redesign focuses on openness and light. By removing internal partitions and integrating the kitchen with the living area, the layout maximises daylight and visual continuity. Built-in furniture, concealed storage, and a restrained material palette maintain efficiency and cohesion throughout the space. A four-meter-high Egyptian-style entrance door acts as a spatial threshold, introducing a sense of scale within the compact footprint. Custom banquette seating, influenced by Bauhaus geometry, contrasts with a minimalist staircase whose handrail recalls a simple line drawing. Each feature contributes sculpturally, replacing traditional decorative elements with form-driven design.

For the project, DHaus architecture studio draws on lessons from Parisian small-space living, defined by optimised layout and lighting, multi-functional furniture, vertical extension, and minimalist coherence. Opening kitchens to living areas maintains clear sightlines, while using translucent partitions distributes light. Fold-out tables, sofa-beds, and storage are integrated into walls and niches. Tall shelving, under-bed compartments allow for double-height spaces. A consistent palette and uncluttered arrangement sustain a sense of calm.

London Pied-à-Terre reinterprets compact living through a minimalist lens

Compact layouts in Paris and London inspire DHaus’ approach

Material experimentation plays a central role in the project. DHaus employed Dinesen flooring from Denmark for its natural grain and durability, and introduced a custom stainless-steel kitchen, the studio’s first in a residential setting. At the core of the living space, the D*Table provides a transformable surface that adapts to dining, working, or entertaining, reflecting the flexibility central to the design’s concept.

‘We wanted to take lessons from Parisian micro-living and translate them into a London setting; compact, adaptable, and designed to make the most of every square meter,’ says David Ben Grunberg, Director of DHaus. Founded in 2017, DHaus operates between London and Paris, with a focus on experimental architecture and design. The studio’s approach emphasizes precise detailing, adaptable layouts, and material integrity, exploring how spatial efficiency can coexist with expressive architectural form.

the 26-square-meter apartment explores parallels between Parisian and London small-space design

DHaus transforms a compact footprint into an open, light-filled interior

the design responds to the spatial challenges of high-density urban living

removing partitions allows natural light to flow freely through the apartment

the interior balances efficiency, material integrity, and spatial clarity

Micro apartment interior Photo by Declan Driver

integrated kitchen and living areas enhance openness and continuity

a stainless-steel kitchen marks DHaus’s first residential installation of the material

the interior space opens up to a planted balcony

project info:

name: London Pied-à-terre

architect: DHaus | @the_dhaus_company

contractor: All In One Build

photographer: Declan Driver | @decphotos

flooring: Dinesen | @dinesen

stainless steel kitchen: Complete Catering Contracts Ltd

handrail: Metal Works London | @metalworkslondon

coffee table: The D*Table by DHaus

sofa: Ikea | @ikea

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Bottega Veneta opens a month-long pop-up at Harrods, London, celebrating half a century of its signature Intrecciato weave. The project, running until October 2nd, 2025, explores the brand’s craft vocabulary through space, weaving together product, architecture, and gesture into a retail environment that speaks to heritage and experimentation.

The installation introduces La Tavola, a new architectural concept modeled on the communal tables used in Bottega Veneta’s ateliers. Positioned as the centerpiece of the Harrods space, it functions as a workshop-like platform where visitors can engage with small leather goods, jewelry, and fragrances. A dedicated compartment highlights the construction of the Intrecciato technique, turning what is usually hidden labor into an object of study. Alongside, bespoke stationery and keepsakes curated exclusively for the pop-up are offered to clients.

images courtesy of Bottega Veneta

Interlocking Forms in Wood and Concrete complete the pop-up

The design of the pop-up store takes inspiration from weaving, with furniture and fixtures arranged in an interlocking system. Made from concrete and Italian walnut, the pieces echo both the geometric precision of Bottega Veneta’s Intrecciato pattern and the modernist architecture of the Veneto region, where the house was founded. Soft leather elements carry this motif through the interior. A capsule collection in emerald green, a color tied to both Harrods and Bottega Veneta, highlights the space, while the launch of Mezzanotte, a trio of woody perfumes, adds a sensory layer to the project.

The visual direction comes from Craft is our Language, a campaign photographed by Jack Davison. The imagery focuses on hand gestures as symbols of making, communication, and closeness, presenting the artisan’s hand as both subject and tool. In line with the themes of the pop-up, the series draws inspiration from Italian artist and designer Bruno Munari and his handbook Supplemento al dizionario Italiano, which explored the meaning of Italian hand gestures.

Bottega Veneta opens a month-long pop-up at Harrods

the installation introduces La Tavola

this architectural concept is modeled on the communal tables used in Bottega Veneta’s ateliers

furniture and fixtures are arranged in an interlocking system

the pieces echo the geometric precision of Bottega Veneta’s Intrecciato pattern

made from concrete and Italian walnut

project info:

name: Bottega Veneta at Harrods

brand: Bottega Veneta

location: Harrods, London, UK

dates: September 2nd – October 2nd, 2025

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Lucy Sparrow’s latest installation, Bourdon Street Chippy, transforms the Lyndsey Ingram Gallery in London into a fully immersive fish and chip shop rendered entirely in felt. Open through September 14th, 2025, the project continues Sparrow’s exploration of everyday environments through soft sculpture, creating a spatial experience and material presence.

The exhibition occupies the gallery’s rooms with a clear intent to emulate the structure and ambiance of a working chippy. From the banquette seating to the framed portraits on the walls, each element is conceived with a distinct attention to layout and proportion. The familiar counter lends a functional threshold between visitor and vendor, while the seating area encourages visitors to linger, treating the project as both a gallery and social space.

images © Lucy Emms (unless otherwise stated)

lucy sparrow exhibits her command of the material

At the heart of the Bourdon Street Chippy installation is artist Lucy Sparrow’s command of material translation. Over 65,000 hand-crafted felt pieces articulate every surface, container, and consumable object within the chippy. What emerges is a material language that captures the texture of linoleum flooring, the gloss of laminated menus, and the sheen of deep-fried food through stitch and shape. Even the chips, with fifteen distinct cuts in five different tones, are organized with the rigor of typological study.

The spatial layout reflects the hierarchical clarity of a traditional takeaway. Circulation paths are defined by counters, queues, and bench seating, while sightlines are organized around key objects: a felt fryer, hand-sewn condiment dispensers, and signage arranged with unified graphics.

Lucy Sparrow transforms Lyndsey Ingram Gallery into a fully immersive felt fish and chip shop

the interactive bourdon street chippy

Lucy Sparrow herself is present at Bourdon Street Chippy five days a week, reinforcing the installation’s interactivity. Her participation blurs the boundary between artist and vendor, and between object and performance. ‘The familiarity of these spaces disarms the viewer,’ Sparrow explains. ‘It’s a way of getting people to let their guard down.’

The choice of a chippy, as opposed to her previously explored subjects including a supermarket or pharmacy, adds a more intimate layer to the work. ‘My relationship with food has always influenced my art,’ she continues. ‘Over time, I came to understand that my practice had become a way to manage difficult emotions.’ In this sense, Bourdon Street Chippy operates as both a personal artifact and a public setting.

Bourdon Street Chippy recreates a familiar high street space

In bringing a High Street staple into the controlled conditions of a commercial gallery, the installation invites questions about access, nostalgia, and gentrification. The gallery’s polished context contrasts with the working-class origins of the fish and chip shop, yet the installation’s warmth and humor hold space for both critique and affection.

‘Lucy is one of the most important and meaningful artists of her generation,’ says gallerist Lyndsey Ingram. ‘Her work blurs the lines between performance and installation art, all in her distinctive felt language.’ The gallery’s transformation is comprehensive as every surface and volume supports the illusion.

visitors navigate a fabric-rendered takeaway complete with counters banquettes and signage

the installation blends sculpture and performance within a curated spatial framework

over 65,000 felt objects include fifteen chip shapes in five colors | image © Alun Callender

Bourdon Street Chippy explores themes of nostalgia, commerce, and craft

Lucy Sparrow is often present in the gallery, engaging directly with visitors

project info:

name: Bourdon Street Chippy

designer: Lucy Sparrow | @sewyoursoul

location: Lyndsey Ingram Gallery, London, UK

dates: August 1st — September 14th, 2025

photography: © Lucy Emms | @lucy.emms, © Alun Callender

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The newly completed Twin House stands on a compact urban plot in London, designed by Graeme Williamson Architects as a residence for the architect’s blended family. The project approaches the idea of home as a flexible framework, both spatially and symbolically, expressed through its distinctive twin-gabled silhouette clad in red cement board.

The house’s form responds to the duality of two family units combining under one roof. From each street-facing elevation, the paired rooflines register as familiar domestic profiles held in subtle tension. This clear geometry also supports a sculptural reading of the volume, allowing the building to engage differently with each surrounding context.

images © Leon Chew

an Adaptable, upside-down layout

Inside, architect Graeme Williamson’s Twin House adopts an upside-down layout, which places the main living, working, and dining spaces on the first floor. The elevated position benefits from long views across Hackney and improved daylight access. Bedrooms and bathrooms are arranged on the ground level and in the basement, creating separation between communal life and private retreat.

With this configuration, the architect anticipates the evolving needs of the household. As the couple’s children approach adulthood, the lower floor bedrooms can be closed off, leaving a one-bedroom dwelling across the upper levels. The planning strategy allows the house to potentially adapt over time without requiring significant structural changes.

Graeme Williamson Architects designs Twin House as a home for a blended family

wrapped in an all-red facade

A continuous red cement board wraps the Twin House’s roof and facade in a single, unbroken surface. The cladding, containing a high proportion of wood fiber, was chosen both for its low-carbon impact and its capacity to unify the massing. Its matte texture subtly shifts in appearance as light moves across the facades throughout the day.

Interiors incorporate bespoke cement tiles designed by Melanie Mues, the architect’s partner and a graphic designer. Laid in fragmented patterns, the tiles reference the geometry of the twin roofs while introducing a tactile counterpoint to the smooth planes of concrete and plaster.

the project features a twin-gabled profile clad entirely in red cement board

Apertures are distributed to admit daylight at calibrated times. Morning light enters the kitchen and dining zone through low east-facing openings, while evening sun filters into the living spaces through west-oriented windows. Carefully placed glazing also mitigates overheating and ensures privacy without sacrificing views toward the cityscape.

The design of each elevation follows a deliberate balance of exposure and enclosure, producing facades that engage with the shifting rhythms of the street and the sky. This measured approach to daylight was a central driver of the project’s form and fenestration.

an ‘upside-down layout’ places living spaces upstairs and bedrooms below

the configuration allows the house to adapt as children move out over time

large apertures are positioned to bring in daylight and maintain privacy

each facade responds to different urban conditions with a sculptural approach

inside the house, bespoke cement tiles reference the geometric form of the roofs

project info:

name: Twin House

architect: Graeme Williamson Architects | @graemewilliamsonarchitects

location: Stoke Newington, Hackney, London, England

tile design: Melanie Mues
photography: © Leon Chew | @leon.chew

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