Casa Ailes is a residential project by Jaime Guzmán Creative Group, located in an exclusive gated community in Mexico City. Conceived as a refuge, its proposal stems from the idea of developing a blind facade as an expressive element, defined by six extruded concrete volumes that protrude and shape playful spaces from the void created within. Its design responds to the immediate context with a dual strategy: a hermetic facade facing the street that ensures privacy, and a controlled openness toward the garden and city views. As a result, the architectural composition is characterized by the contrast between solidity and lightness, both in the spatial distribution and in the application of materials. At the main entrance, a reflecting pool frames the access and mirrors the concrete volumetry, creating a visual effect that accentuates the geometry.

all images by Rafael Gamo

Central Patio and Vertical Circulation Organize interior layout

The design process of Jaime Guzmán Creative Group begins with a methodological analysis of the client’s activities and needs, allowing the development of creative and specific solutions for each project. In the case of Ailes, the clients requested open, interconnected social spaces, as well as a gathering area completely independent from the private zones, where their teenage daughters could meet freely. To address this need, a basement was designed to house a speakeasy with direct street access, allowing guests to enter independently without interfering with family dynamics. This level also includes a large parking area and service spaces, whose distribution responds to the structure of the upper floors. Upon entering the ground floor, one arrives at a vestibule covered by smoked-glass bridges that connect the upper levels and reinforce a sense of vertical spaciousness. The horizontal connection follows a similar principle, with a series of social spaces intertwined around a central patio that acts as the organizing axis of the house, ensuring a balanced distribution of natural light and cross-ventilation. In this patio, which is positioned half a level above the living room, a vertical concrete block houses an elevator, integrated into the design to guarantee that the parents, now in their fifties, can comfortably inhabit the home for years to come. A corridor connects the entrance to the garden through subtle level changes, articulating the ground floor with vertical circulations and distributing access to the office, family room, living area, and kitchen. Wide-opening glazing dissolves the boundaries between indoors and outdoors, constantly integrating the social areas with the open-air space. The living room relates both to the central patio and the main terrace, the latter open to the garden and sheltered from Mexico City’s climate by a large concrete cantilever.

On the upper level, this element houses the master bedroom and is resolved with concrete wall-beams, a structural solution that ensures stability and formal continuity. The landscaping is carefully integrated, with vegetation framing access points and terraces, providing natural shade, improving air quality, and generating a sense of respite within the city. Access to the second floor is through a solid block of stairs clad in marble on both floor and ceiling, leading to the glass bridges supported by a steel structure. At the northwest end, the younger daughter’s room takes advantage of the extruded volume of the main facade to integrate storage spaces, bookshelves, and resting areas, while at the southwest end, the master bedroom opens onto the garden, featuring a large walk-in closet and a bathroom that allows exterior views from a ceramic bathtub. This level also includes a laundry room for the management of linens and clothing, optimizing household operations. The third floor functions as an independent apartment within the house, providing the eldest daughter with the degree of autonomy her parents envisioned. It is accessed via a staircase that, as it rises, brings in natural light and frames the western cityscape. The eldest daughter’s room is located on the main facade, while on the opposite end is the main family room, with access to a terrace surrounded by vegetation that offers a panoramic view. This space incorporates a steel lattice with a folding screen system, designed to flexibly modulate privacy, light, and temperature. Its mechanism allows it to be fully opened or closed, adapting to the desired interior atmosphere. The materials used in the project emphasize the contrasts of the architectural concept through a sober and timeless palette that conveys balance, modernity, luxury, and comfort.

Casa Ailes is a private residence designed by Jaime Guzmán Creative Group in Mexico City

Jaime Guzmán’s Holistic Approach to Material and Comfort

Exposed concrete dominates Casa Ailes, providing a rough yet expressive texture with a uniform tone in both interiors and exteriors, one of the project’s main challenges. This cold material contrasts with the warmth of wood applied to floors and ceilings, creating a homely feel. Steel forms part of the structural system and is integrated into interior details, contributing solidity while also imparting a sense of lightness and precision in visible elements. The interior design, led by Mariana Rivera, complements the architecture with a precise selection of furniture and art. Pieces by Mexican and Italian designers were incorporated, achieving a coherent chromatic and material balance. A central piece stands out in the living room: a Japanese kimono intervened with gold paint on a lead canvas by artist Mayte Guzmán. Beyond its artistic value, this work reinforces the zen and wabi-sabi influence in the home’s aesthetic.

Jaime Guzmán Creative Group’s Casa Ailes integrates advanced systems of energy efficiency and sustainability. Hydronic heating ensures an optimal indoor climate without drying the environment, while a smart home system allows lighting and entertainment to be controlled from mobile devices, simplifying the management of comfort. The residence also includes a rainwater harvesting system for reuse in reflecting pools, irrigation, and car washing, along with solar panels that help reduce electricity consumption, moving the house closer to energy self-sufficiency. These systems improve the home’s energy performance and reflect both the clients’ and the studio’s commitment to sustainability and environmental respect. Casa Ailes is a testament to the holistic design approach of Jaime Guzmán Creative Group, resulting in a work that transcends its residential function. The quality of its spaces, the meticulous attention to material transitions, and its profound connection to the lifestyle of its inhabitants make this residence a carefully executed architectural work, one that reflects a design philosophy valuing harmony with the environment and the well-being of its users.

the street-facing facade is defined by six extruded concrete volumes forming a blind exterior

solid concrete elements shape interior voids and create varied spatial conditions

a hermetic street facade contrasts with controlled openness toward the garden

the house is organized around a central patio that distributes light and ventilation

social spaces unfold continuously around the interior courtyard

smoked-glass bridges connect upper levels and emphasize vertical openness

marble-clad stairs lead to steel-supported glass bridges on the upper floors

exposed concrete is used consistently across interior and exterior surfaces

wood accents soften the concrete-dominated material palette

bedrooms incorporate storage and seating within the extruded facade volumes

concrete, wood, and steel emphasize the brutalist character of the residence

project info:

name: Casa Ailes
architect: Jaime Guzmán Creative Group | @arq.jaimeguzman

location: Mexico City, Mexico

photographer: Rafael Gamo | @rafael_gamo

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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Casa da Rocha Quebrada by SO Arquitetos stands on the southern coast of São Miguel in the Azores, occupying the final open plot along a line of older houses facing the Atlantic. Set against lava rock and open water, the house addresses a landscape shaped by salt and wind, where buildings are designed to endure the coastal elements.

The project was conceived for the parents of one of the studio’s founders, a circumstance that allowed decisions to remain close to daily use and long-term inhabitation. The architects describe the house as essential, shaped by an approach that removes excess and keeps attention on matter, proportion, and function. In this context, the concrete building closes a coastal block while continuing the geological logic of the site, reading as an extension of the Rocha Quebrada itself.

image © Ivo Tavares Studio

Casa da Rocha Quebrada takes shape with durable concrete

From the street, Casa da Rocha Quebrada appears as a dense concrete volume which the team at SO Arquitetos articulates with deep recesses. Exposed concrete was chosen for its resistance to time and salt air, as well as for its directness. The material reads as raw and precise, carrying the marks of casting and weather without applied finish. Solids and voids establish a rhythm that limits visual access, with openings set back from the facade to create shade and protect from strong winds.

The architects describe the exterior as a mineral mass, a sequence of cavities carved into stone. This controlled opacity gives the building a reserved presence within the village fabric. It presents itself as quiet and closed to reinforce the concept of a structure shaped first by site conditions.

Casa da Rocha Quebrada occupies the final coastal plot along São Miguels southern edge

Interior atmosphere

SO Arquitetos curates the interiors of its Casa da Rocha Quebrada to contrast the raw concrete exterior. Crossing the threshold, visitors are met with timber flooring, walls, and built-in cabinetry which warm the spaces and soften the weight of the concrete shell. This contrast lends a steady balance between enclosure and comfort, so that this welcoming warmth and tactility become a central part of the experience.

The plan remains direct. Three bedrooms occupy one side of the volume, while the shared spaces flow together along the sea-facing edge. A central patio cuts through the house, drawing daylight and air deep into the interior. This open void supports natural ventilation and brings a quiet counterpoint to the outward-facing rooms.

the house is conceived as a solid concrete volume shaped by Atlantic exposure

Living with the sea

On the southern elevation, the house opens toward the Atlantic through a structural grid that frames views without exaggeration. The ocean remains present throughout daily movement, filtered by columns, slabs, and balustrades.

Light enters in bands which change with the hour and weather, while the sound of water remains constant.
Seen from the natural pools below, the volume reads as mute and steady, composed of concrete planes shaped by shadow and sun. Stone walls and planted terraces mediate between house and shore, allowing the building to sit with the terrain without dominating it. 

recessed openings protect the interior while limiting views from the street

exposed concrete was chosen for durability against salt and wind

interior wood surfaces temper the weight of the concrete structure

views of the ocean are framed and filtered by columns and slabs

living spaces align with the sea through a regular structural grid

project info:

name: Casa da Rocha Quebrada

architect: SO Arquitetos | @s.o_archi

location: Lagoa, São Miguel, Açores, Portugal

completion: 2024

area: 315 square meters

photography: © Ivo Tavares Studio | @ivotavaresstudio

landscape, interior design: SO Arquitetura & Design

builder: Tecnicouto, Lda
engineering: Teorema Contínuo – Unipessoal Lda

light design: TECNIQ

acoustic design + fluids, thermal engineering: Roberto Aguiar

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Robert F. Wagner Jr. Park and Pavilion is a new waterfront landscape and civic structure in New York‘s Battery Park City designed by Thomas Phifer and Partners with AECOM.

Set along the southern edge of Lower Manhattan, the project reimagines a familiar public space as an elevated terrain shaped by coastal protection and long views across the harbor.

The work forms a central component of the South Battery Park City Resiliency Project, where flood defense is designed as civic infrastructure. The park rises nearly ten feet above its previous elevation in a calibrated shift that responds to projections for future storms and rising sea levels, all while preserving public access to the water’s edge.

images © Scott Frances

an ascending landscape as resilient infrastructure

Visitors and residents of New York’s Battery Park City approach the new Wagner Pavilion through gently sloping gardens dotted with trees and plantings. The gradual ascent creates a slow reveal of the vast waterfront, with footpaths oriented to maintain sightlines toward the Statue of Liberty and Ellis Island.

The elevated landscape conceals a continuous flood protection system beneath lawns and planting beds. A sheet pile floodwall is driven to bedrock below the central lawn, linking to exposed segments that connect with defenses to the north and south. The team at AECOM and the architects at Thomas Phifer and Partners embed this infrastructure within the park’s topography so that public space remains at once uninterrupted and protected from rising water levels.

the Robert F. Wagner Jr. Park reshapes the southern edge of Battery Park City

design informed by stormwater strategies

The organization of Wagner Park follows the legacy layout of lawns, gardens, and pavilion spaces, translated into resilient a new section of Battery Park City. The surface reads as a vast green plane, yet its grading guides stormwater toward planted areas and filtration zones with precision. This balance between openness and performance defines much of the park’s character.

Stormwater strategies are split across wet and dry sides of the flood line. On the water-facing side, rain moves through performative gardens and into an underground infiltration gallery before releasing gradually into the soil. Landward areas channel water to a reuse cistern for irrigation and maintenance. Materials reinforce this system, with high albedo pavers, pervious surfaces, and salvaged stone and wood contributing to durability and environmental performance.

flood protection infrastructure is embedded beneath lawns to preserve open waterfront access

Ecology at the Water’s Edge

Along the harbor, the park introduces a living shoreline that supports habitat and public education. Terraced edges, habitat shelves, and tide pools create varied conditions for native plantings and marine life, while engineered pile wraps and textured concrete expand surfaces for invertebrates. A marine habitat education zone near Pier A brings these systems into view, linking ecological processes with everyday experience.

Planting across the site emphasizes seasonal change and regional ecologies, from tidal estuary to upland woodland. Path widths are kept tight to increase green coverage, and tree canopies temper summer heat with shade and filtered light. The park has earned Gold certification under the Waterfront Alliance’s Waterfront Edge Design Guidelines, reflecting an integrated approach to resilience, ecology, and access.

the Wagner Pavilion marks the transition between city, park, and water

the sculpted pavilion by thomas phifer and partners

Approaching from within the park, the Wagner Pavilion appears as a low, sculpted form aligned with the terrain. Its deep red concrete carries a warmth that resonates with nearby historic masonry, including Castle Clinton and other harbor fortifications. A sequence of arched vaults defines the entry piazza, framing the passage from garden to open harbor.

Moving through the central vault, the landscape opens toward the water, with the Statue of Liberty and Ellis Island precisely framed. The pavilion acts as a threshold rather than a destination alone, marking the transition between city, park, and harbor. Access from the esplanade below is equally considered, with ramps and stairs offering multiple paths upward.

warm red concrete vaults frame views toward the Statue of Liberty

inside new york’s wagner pavilion

Inside, the Wagner Pavilion accommodates a restaurant and a classroom, extending the park’s public life into sheltered spaces. Outdoor seating spills into the piazza, encouraging overlap between interior activity and the surrounding gardens. Circulation continues upward via broad stairs and an elevator to an observation deck that offers panoramic views across New York Harbor, The Battery, and inland toward downtown Manhattan.

The roof edge is softened by planting that echoes nearby landscapes. Curved walls mirror the contours of the park, reinforcing a sense of continuity between building and landscape. Within the broader framework of Battery Park City, the pavilion reads as a carefully tuned civic room shaped by its resilient and enduring relationship with the waterfront.

stormwater moves through gardens, filtration zones, and reuse systems across the site

Wagner Park rises gently to meet future storm and sea level conditions

the landscape balances wide views of New York Harbor with everyday footpaths and gardens

project info:

name: Wagner Pavilion

architect: Thomas Phifer and Partners | @thomasphiferandpartners

location: 20 Battery Place, New York, NY

area: 19,204 gross square feet

photography: © Scott Frances | @scottfrancesphoto

client: Battery Park City Authority | @bpcparks

prime consultant: AECOM | @aecom

landscape architecture, urban design: AECOM LAUD | @laud.nyc

landscape architect of record team: SiteWorks | @siteworkscm

AECOM LAUD team: Gonzalo Cruz, Tristan Porto, Yanni Ma, Garret Avery, Katie Barsanti, Hogan Edelberg

Thomas Phifer and Partners team: Thomas Phifer, Ryan Connolly, Jean Phifer, Sharmin Bhagwagar, Andrew Mazor, Gabriel Smith, Robert Chan, Naomi Ng, Jessica Luscher

SiteWorks team: SiteWorks (Andrew Lavallee, Ruth Nervig, Roberto Palomeque)

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THINK TANK completes the redevelopment of Kinshasa’s historic Zando Central Market in Congo into a climate-responsive civic infrastructure designed to accommodate 20,000 vendors, nearly six times its original capacity. Once conceived for just 3,500 traders, the 1970s-era market had become dangerously overcrowded, unsanitary, and structurally exhausted. Located in the heart of the Congolese capital, the new 80,500-square-meter complex replaces the former building with a covered yet porous commercial environment that integrates retail, logistics, cold storage, food courts, and essential public services, including a fire station, police post, infirmary, and administrative facilities.

The team approaches the project as an African market first and foremost. The architecture relies on passive principles, including thermal mass, cross-ventilation, stack effect, and deep shade. The structure is composed of open concrete frames topped by large mushroom-shaped slabs, an echo of the former market’s iconic roofscape. These canopies protect vendors and shoppers from solar radiation while allowing hot air to escape naturally through height differences in the structure. Terracotta brick facades wrap the market, patterned with moucharabieh-like perforations inspired by Congolese textiles, allowing air to pass through the building while filtering sunlight.

all images by Martin Argyroglo

an award-winning model of material restraint and climate logic

The redevelopment by the Paris-based team at THINK TANK received the 2025 Holcim Foundation Award – Regional Winner (Middle East Africa), with the jury praising its structural clarity, contextual sensitivity, and use of only two primary materials, concrete and terracotta brick. The panel described the project as ‘a landmark for Kinshasa,’ highlighting its mushroom-shaped slabs and breathable facades as both technically effective and symbolically resonant. 

The building is constructed almost entirely from concrete and brick. Both materials were selected not only for durability and performance, but also for their local availability. Concrete aligns with regional construction skills and structural demands, while brick has deep roots in Congolese architectural traditions.

To support local economies, three brick factories within 60 kilometers of the site were reactivated to supply the project. The material strategy also reduces operational complexity, with finishes being integrated into the structural logic, eliminating the need for layered systems or specialized maintenance. Elevators were replaced by gently sloped ramps, keeping the building low-tech and robust over time.

THINK TANK completes the redevelopment of Kinshasa’s historic Zando Central Market in Congo

water, plants, and urban biodiversity

The architects organize the plan around five open courtyards, introducing vegetation and daylight into the deep footprint of the market. These patios are planted with native species and function as microclimatic regulators, social gathering spaces, and biodiversity pockets. Planters are integrated into railings, and surrounding streets are lined with trees to form a green corridor connecting to Kinshasa’s nearby botanical garden. Rainwater is collected and stored in tanks, then reused for irrigation, cleaning, and fire safety. The system reduces dependence on municipal infrastructure while reinforcing the building’s resilience during heavy rains or service interruptions.

Before THINK TANK’s market redevelopment, Zando had become one of Kinshasa’s most precarious urban zones. Years of neglect had led to blocked streets, lack of sanitation, uncontrolled sprawl, and nightly violence. During the COVID-19 pandemic, the site was closed, creating an opportunity for authorities to initiate a full regeneration of the area. The new structure reorganizes circulation, introduces fire protection systems, establishes waste management zones, and integrates security and healthcare services directly into the building. 

a climate-responsive civic infrastructure designed to accommodate 20,000 vendors

participatory planning

The architects expanded the minimal original brief into a detailed program through workshops involving city officials, vendors, fire services, and municipal departments. Stalls are offered in multiple sizes, rented by linear meter or square meter, allowing vendors from different income levels to coexist. Informal trading areas are preserved rather than erased, acknowledging their central role in Congolese urban culture.

Universal access is built into the architecture. Wide, gently sloped ramps connect all levels, responding to the high number of disabled citizens in the Democratic Republic of Congo due to conflict and disease. This ensures that upper floors remain accessible without reliance on mechanical systems.

Visually, the design draws from both Congolese building traditions and the modernist legacy of African brutalism. The mushroom-shaped slabs, once a defining feature of the original market, are reinterpreted as structural, climatic, and symbolic devices. Their geometry provides shade, distributes heavy loads, and gives the building a recognizable civic identity. The terracotta facades use patterns inspired by wax textiles and tattoo motifs, combining ventilation with cultural reference. The natural color of local clay allows the building to sit within Kinshasa’s landscape without visual dominance.

the complex replaces the former building with a covered yet porous commercial environment

integarting retail, logistics, cold storage, food courts, and essential public services

the structure is composed of open concrete frames

large mushroom-shaped slabs top the market

these canopies protect vendors and shoppers from solar radiation

height differences in the structure allow hot air to escape naturally

terracotta brick facades wrap the market

the architecture relies on passive principles, including thermal mass, cross-ventilation, stack effect, and deep shade

the building is constructed almost entirely from two materials: concrete and brick

the terracotta facades use patterns inspired by wax textiles and tattoo motifs

the design draws from both Congolese building traditions and the modernist legacy of African brutalism

project info:

name: Zando Central Market 

architect: THINK TANK | @thinktank_archi

location: Kinshasa, Democratic Republic of the Congo

surface area: 80,500 square meters

team: THINK TANK / Egis Bâtiment International / Novablok (feasibility) / Ayo Bet Façades

lead architects: Marine de la Guerrande & Adrien Pineau

client: SOGEMA (Dieudonné Barakani)

award: Holcim Foundation Awards 2025 – Regional Winner (Middle East Africa)

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The cement-like mechanical keyboard ATM 98 draws its Misty Dusk colorway from the style of Tadao Ando’s concrete Church of the Light in Osaka, Japan. The tool has a soft gray color and a calm, simple look, with a single key next to F12 being the change of color. The surface is matte, and the soft RGB lights glow through the keys. This colorway is joined by the other versions named Frost Whisper and Night Ink, with the former using a see-through design inspired by translucent luggage. Parts of the keyboard are clear, so you can see some of the inside structure. 

Here, the inner layers, gold-colored circuit board, and glowing switches become part of the design. At night, when the RGB lights turn on, the keyboard looks like it is glowing from within, especially with Night Ink and its orange-colored beam resembling fire. The ATM 98 mechanical keyboard uses a 98-key layout, including a number pad, and the brand Angry Miao describes the tool as whisper-quiet. It is because the design follows a ‘silent-first’ idea, meaning it is built to be very quiet while still feeling smooth and satisfying. In this case, each key press comes without a sharp noise when the user begins typing.

all images courtesy of Angry Miao

Star ring knob at top can control the computer’s volume

This quiet feeling comes from how the keyboard is built inside. The ATM 98 uses a gasket mount system, so the keys sit on soft layers instead of being fixed tightly to the frame. There are eight layers inside, including foam and flexible materials, that absorb sound and vibration, and these layers help stop hollow sounds and scratching noises, making typing calm and smooth. Under the keys of the mechanical keyboard are switches called Bsun Light Sakura switches, adjusted to make typing quieter and smoother. 

The material inside the switch reduces friction, so keys move easily. When users press a key all the way down, it feels firm, and when they let go, it springs back cleanly. At the top of the ATM 98 mechanical keyboard is a knob called the Star Ring. By default, it controls volume, but users can change what it does using dedicated software, so they can set it for scrolling, switching modes, or running shortcuts. The knob is made of metal and acrylic, so it feels solid. It also lights up, continuing the team’s Tadao Ando design inspiration through the Church of the Light.

view of the star ring knob

upper view of the ATM 98 mechanical keyboard

the typing tool draws its Misty Dusk colorway from the style of Tadao Ando’s concrete Church of the Light

this version has a soft gray color and a calm, simple look

rear view of the typing tool

other colorways glow in orange

view of the Night Ink colorway

the Frost Whisper colorway is inspired by Off-White x Rimowa’s iconic translucent luggage.

the keyboard uses a 98-key layout

project info:

name: ATM 98

brand: Angry Miao | @angry.miao

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Set within a large agricultural garden in a coastal village near Lezhë, Albania, Red House by Pacarizi Studio explores how a single-family dwelling can respond to changing social structures, climatic conditions, and local building cultures. Designed by Gezim Pacarizi, the 350-square-meter home is organized around an open, partially covered courtyard with a pool at its center. The project approaches domestic architecture as a sequence of perceptual experiences shaped by light, movement, and framing, an idea articulated by the architects themselves. ‘What you see through a window can be a landscape, a tree, or architecture itself,’ they note.

Its basic structure is concrete, while the exterior walls are made of local hollow bricks. Thermal insulation is produced using a mixture of straw, sand, and lime, bound with casein, a milk protein traditionally used in natural building techniques. This same mixture is applied as plaster across the surfaces, with cement replaced entirely by casein. Red iron oxide is added directly into the material, giving the building its distinctive reddish-pink tone. The color becomes part of the material itself, intended to age without the need for repainting.

all images by Gezim Pacarizi

red house is shaped by light, time, and perception

Pacarizi Studio places the courtyard at the heart of the Red House. All major living spaces open toward this central void, transforming it into a living room on warmer days. The courtyard becomes a place for circulation, rest, observation, and gathering, mediating between the home and its surrounding orchard of olive, pomegranate, and orange trees. From here, a grand stair continues the spatial sequence upward to the roof, opening long views toward both the immediate garden and distant landscapes.

Windows reveal fragments of the house, a stair, a wall, another opening. The building becomes its own visual subject, creating layered perspectives that change throughout the day. As light shifts, surfaces deepen or flatten, shadows stretch or dissolve, and reflections appear across water and plaster. Nothing remains visually fixed. The experience of space is defined by this continuous transformation, echoing the Prizren-based architects’ reflection: ‘Nothing is ever the same because light, like water, is constantly changing, you can never bathe in the same water twice.’

wrapped around a square courtyard

Low-tech sustainability through material intelligence

Single-family houses make up more than half of Albania’s building stock. Migration, aging populations, and shifting patterns of work and mobility have redefined how these houses are occupied. Pacarizi Studio positions Red House as a response to this transformation, proposing a domestic architecture that can adapt to fluctuating patterns of use while remaining rooted in local climatic and material realities.

Lime was produced locally, and casein was sourced from nearby farms. Floors are finished in local pinkish marble and wood. The construction process generates almost no waste, relying on simplified detailing and local labor teams. Sustainability here is not framed as a matter of building culture, working with what is available, minimizing dependency on imported systems, and prioritizing long-term durability. Large fixed windows frame views and bring in daylight, while smaller operable openings regulate natural ventilation. Thick walls help stabilize interior temperatures, and the courtyard acts as a climatic buffer, collecting cool air at night and shading the surrounding rooms during the day. 

the red-toned exterior volume opens onto the surrounding orchard

a grand stair unfolds along the courtyard edge

thick walls and deep reveals create shaded thresholds between interior and exterior spaces

a pool acting as the core of the courtyard

the pool reflects the surrounding volumes

square apertures punctuate the facade

the stepped platform transforms the courtyard into a theatrical, inhabitable landscape

the central stair functions as both circulation and social seating, facing the pool

covered outdoor areas mediate between interior rooms and the agricultural garden beyond

interior circulation unfolds through a series of framed views across the courtyard

living spaces are defined by thick walls, deep window reveals, and filtered daylight

project info:

name: Red House

architect: Pacarizi Studio | @gezimpacarizi_architect

lead architect: Gezim Pacarizi

location: Lezhë, Albania

site area: 2,000 square meters

total gross floor area: 350 square meters

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Shigeya Miyata’s pause is a series of functional objects that upcycle discontinued Honda motorcycle components by casting them in concrete. The project explores the relationship between motion and stillness by deliberately immobilising parts originally engineered for movement. Through this process, mechanical elements are removed from their original context and reintroduced as domestic objects with new functions.

Automotive and motorcycle components are typically designed to operate in motion, while concrete acts as a static material that supports and contains structural systems. In pause, these opposing conditions are brought together by embedding precision-engineered parts into a solid concrete base, halting their original purpose and allowing alternative uses to emerge. Once fixed in place, components shift from concealed mechanical systems to visible elements, highlighting their material qualities, manufacturing accuracy, and formal characteristics.

all images courtesy of Shigeya Miyata

Mechanical elements are embedded into solid concrete forms

The project repositions motorcycle parts as everyday objects, including mirrors, vases, pen holders, and photo frames. Each object is produced by hand, with designer Shigeya Miyata overseeing the entire process from mould development to final casting. The series was developed as part of uppar, Honda’s upcycling initiative, which focuses on repurposing discontinued vehicle parts for non-automotive applications as part of a broader sustainability effort.

Due to the limited availability of the original components, all objects are produced in small editions. The mirror is available in two editions using VT1300CX parts, while the vase is produced in eleven editions made from CBR250RR components. The pen holder and photo frame are each limited to three editions, both created using RC213V-S parts.

Positioned between design and art, pause examines how value, function, and material identity can be redefined through stillness. By suspending motion and reframing engineered components within a domestic context, the project proposes an alternative approach to reuse that emphasizes material continuity, precision, and reinterpretation.

pause is a series of functional objects created by casting discontinued Honda motorcycle parts in concrete

the project explores the relationship between motion and stillness through material transformation

the mirror is produced in two editions using VT1300CX parts

components engineered for movement are deliberately immobilised

mechanical parts are removed from their original automotive context

hidden motorcycle components become visible domestic objects

material qualities and manufacturing precision are brought to the surface

the vase is made in eleven editions from CBR250RR components

the series includes mirrors, vases, pen holders, and photo frames

precision-engineered elements are embedded into solid concrete forms

original mechanical functions are suspended through casting

all objects are produced by hand from mould-making to final casting

the project was developed as part of Honda’s upcycling initiative, uppar

pen holders are limited to three editions

pause reframes engineered components through stillness and reuse

each object introduces an alternative use through stillness

concrete functions as a static base that halts motion

discontinued vehicle parts are repurposed for non-automotive use

photo frames come in three editions

project info:

name: pause
designer: Shigeya Miyata | @shigeya_miyata

pause mirror materials: Honda part, concrete
pause mirror dimensions: 93 x 302 mm

pause vase materials: Honda part, concrete, glass
pause vase dimensions: 72 x 272 mm

pause penholder materials: Honda part, concrete
pause penholder dimensions: 78 x 100 mm

pause photoframe materials: Honda part, concrete
pause photoframe dimensions: 150 x 102 mm

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 honda motorcycle parts are reborn as functional sculptural home objects appeared first on designboom | architecture & design magazine.

Marc Leschelier brings his practice of pre-architecture to Florence with the monumental installation Ancient / New Site. The project occupies the central square of the Fortezza da Basso with 18 monolithic structures that visitors are invited to enter, cross, and inhabit. Spread across 1,700 square meters, the structures are built from scaffolding frames clad in concrete canvas, a material that has become central to Leschelier’s work. Originally developed for infrastructural purposes such as slope stabilization and roadside reinforcement, concrete canvas is a flexible textile impregnated with cement. Once positioned and moistened, it hardens within 24 hours, forming a mineral surface capable of functioning as a load-bearing architectural element. Leschelier uses this industrial material not only for walls but also for roof-like enclosures, pushing it beyond its intended applications.

all images courtesy of Marc Leschelier

18 monoliths form the installation in venice

French architect Leschelier is known for building architectures without predefined use. Rather than responding to zoning codes or conventional programs, he works in open landscapes, sculpture parks, and temporary settings, developing what he describes as pre-architecture: constructions that exist prior to function, regulation, and typology. Drawing from performance art, vernacular forms, and industrial abstraction, his work proposes architecture as a physical language that communicates through scale, mass, and presence rather than through use. This approach positions his practice as a critique of what he sees as the discipline’s increasing sclerosis, replacing fixed systems with structures that remain open, ambiguous, and experientially driven.

At Pitti Uomo, this philosophy materializes through a field of 18 monoliths, each measuring five meters high, three meters wide, and nine meters deep. Arranged in a perimeter-like formation, the volumes recall the spatial logic of ancient ceremonial sites such as Stonehenge, forming what Leschelier describes as an almost archaeological geometry. The installation borrows the sense of enclosure, procession, and ritualized movement from the symbolic weight of historical forms. At the same time, the project asserts a contemporary presence through its construction methods and material language, staging a deliberate tension between ancient references and futuristic execution.

Ancient / New Site occupies the central square of the Fortezza da Basso

Experiencing scale inside Ancient / New Site

Ancient / New Site stages a meeting of opposites, soft and hard, temporary and permanent, archaic and futuristic. The monoliths appear massive and immobile, yet their construction is rooted in speed, lightness, and reversibility. This contradiction is not resolved but foregrounded, becoming the primary spatial narrative of the project.

Unlike conventional sculpture, the work is conceived as a site to be traversed. Visitors must enter the installation to access its underground spaces, turning spectators into participants. Bodies navigate between volumes, adjusting to shifts in light, scale, and enclosure. The installation is not meant to be observed from a distance but encountered at close range, where its physicality becomes unavoidable.

visitors are invited to enter, cross, and inhabit the 18 monolithic structures

the structures are built from scaffolding frames clad in concrete canvas

Leschelier is known for building architectures without predefined use

Ancient / New Site stages a meeting of opposites

architecture as a physical language that communicates through scale, mass, and presence

replacing fixed systems with structures that remain open, ambiguous, and experientially driven

each monolith measures five meters high, three meters wide, and nine meters deep

the volumes recall the spatial logic of ancient ceremonial sites such as Stonehenge

the project asserts a contemporary presence through its construction methods and material language

the work is conceived as a site to be traversed

project info:

name: Ancient / New Site

architect: Marc Leschelier | @marcleschelier

location: Fortezza da Basso, Florence, Italy

curator: PHILEO (guest curator, Art Program 2026)

event: Pitti Uomo 109

site area: 1,700 square meters

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Resting Loop with Views is a small pavilion project by HCCH Studio located on a stone platform within the mountainous landscape of Mount Luofu, China. Positioned between a highway and a parallel river, the site previously functioned as a buffer zone and informal parking area at a sharp roadway curve. The project redefines this residual space as a rest stop and viewing point for cyclists, providing facilities for bicycle parking and refreshments while establishing a new spatial relationship with the surrounding landscape.

The pavilion takes the form of a circular concrete ring elevated above a sunken plaza. This donut-shaped structure has an outer diameter of approximately 16 meters and is intersected by a series of vertical cuts that create oval openings oriented toward different views. These openings overlap spatially, framing perspectives of the river, surrounding hills, and sky. The design organizes two levels of circulation: a lower level that accommodates seating and café-related activities, and an upper level that functions as a continuous looped promenade offering elevated views across the site.

Resting Loop with Views sits on a stone platform within the landscape of Mount Luofu | image by ArchExist

HCCH Studio uses bamboo to cast the concrete ring’s exterior

Shanghai-based practice HCCH Studio positions three supporting concrete volumes within the sunken plaza beneath the ring. These house a small café, a public restroom, and a storage space. Openings in the volumes are aligned to create visual connections between interior and exterior spaces, reinforcing spatial continuity across the site. The volumes are finished with a dark, hammered surface that visually relates to the stone paving of the plaza and to sculptural seating elements, ‘Social Stone,’ by artist SU Chang.

Material treatment plays a key role in articulating the pavilion’s relationship to its natural context. The exterior surface of the concrete ring was cast in situ using bamboo-textured formwork, with raised bamboo sections approximately 7 centimeters in diameter. This textured finish references local vegetation and introduces a tactile quality to the exterior. In contrast, the interior surface of the ring is smooth and continuous, producing a more abstract spatial experience. The transition between these two finishes is emphasized along the edges of the oval openings, where irregular profiles accentuate the contrast between texture and smoothness.

the pavilion occupies a former buffer zone between a highway and a parallel river | image by ArchExist

Although initially conceived as a quiet intervention within the mountainous landscape, the pavilion has become a popular stop for cyclists and visitors. Its visibility from the roadway and its elevated views have transformed the former buffer zone into an active public space that accommodates movement, rest, and observation within the creekside environment.

previously used as informal parking, the site has been redefined as a rest stop for cyclists | image by ArchExist

the donut-shaped structure measures approximately 16 meters in outer diameter | image by ArchExist

the project introduces a viewing point that connects infrastructure with landscape | image by ArchExist

vertical cuts slice through the ring to create oval openings oriented toward key views | image by ArchExist

the openings frame perspectives of the river, surrounding hills, and sky | image by ArchExist

overlapping cutouts generate layered sightlines and spatial depth | image by ArchExist

the pavilion is formed as a circular concrete ring elevated above a sunken plaza | image by ArchExist

the design organizes circulation across two distinct levels | image by Fangfang Tian

the exterior concrete surface is cast using bamboo-textured formwork | image by Fangfang Tian

the upper level functions as a continuous looped promenade | image by Fangfang Tian

a smooth interior finish contrasts with the textured exterior along the oval edges | image by Fangfang Tian

three concrete volumes are positioned beneath the ring within the sunken plaza | image by Fangfang Tian

HCCH Studio’s ring pavilion has become an active public stop for cyclists and visitors | image by Fangfang Tian

the lower level accommodates seating and café-related activities | image by Fangfang Tian

the volumes house a café, a public restroom, and a storage space | image by Fangfang Tian

openings align across the volumes to create visual continuity through the site | image by Guowei Liu

dark hammered concrete finishes relate to the stone paving of the plaza | image by Guowei Liu

the public space accommodates movement, rest, and observation within the creekside | image by Qingyan Zhu

project info:

name: Resting Loop with Views, a Creekside Pavilion among Hills

architect: HCCH Studio | @hcchstudio

design team: Hao Chen, Chenchen Hu, Jiaqi Liu, Yazhou Ding, Feng Qi

structure: iStructure

contractor: Wenzhou Zhengyi Engineering

client: Fengyuzhu Culture&Tech

location: Mount. Luofu of Huizhou City, Guangdong Province, China

photographers: Fangfang Tian, ArchExist, Guowei Liu, Qingyan Zhu

videographer: Fangfang Tian

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 tubular concrete ring by HCCH studio shapes cycling rest pavilion among chinese hills appeared first on designboom | architecture & design magazine.

Set beneath a dense canopy of trees in India’s Ashoka University, The Hungry Caterpillar by Lyth Design rethinks the idea of a food street as a place of shelter, curiosity, and ecological responsibility. Designed by architect Apoorva Shroff, the project moves beyond the logic of fast consumption, proposing a child-friendly environment shaped by nature-inspired form, low-impact construction, and material efficiency.

The concept takes shape through the simple yet evocative image of a caterpillar feeding calmly within its habitat, protected by foliage and form. From this initial intuition, the bamboo structure evolves into a cocoon-like street structure that invites lingering.

Sustainability is embedded into Ashoka University’s canteen at multiple scales, beginning with its kitchens. Inspired by food trucks, the modular cooking units are 3D printed in concrete and assembled on-site. Produced by Micob Pvt. Ltd. in Ahmedabad, the printing process uses an additive method that deposits material only where needed, reducing construction waste compared to conventional building techniques. The automated fabrication shortens construction time and lowers energy demand, while the cavity between the printed walls acts as thermal insulation, limiting heat transfer and improving energy performance.

all images courtesy of Lyth Design

bamboo gridshell by Lyth Design shields the project in India

Overhead, Mumbai-based practice Lyth Design unifies the food street by a distinctive bamboo gridshell that gives the project its caterpillar-like identity. Drawing from natural geometries, the shading structure curves in two directions, achieving strength through form rather than mass. Like a leaf that folds efficiently toward sunlight, the bamboo shells use minimal material while spanning large distances. The longest gridshell extends 19 meters and is composed of four layers of bamboo poles, each measuring 30 to 50 millimeters in diameter and laid at 45-degree angles. A crushed bamboo mat completes the surface, reinforcing the structure while maintaining a low environmental footprint.

The structural system was developed by Atelier One in London, with architectural detailing by Jurian Sustainability, and construction carried out by Jans Bamboo. The use of slender bamboo sections enables the complex double curvature, resulting in a lightweight yet expressive canopy that balances craftsmanship, engineering precision, and ecological sensitivity.

Seating elements, developed by Placyle, are made from recycled plastic waste, transforming discarded material into weather-resistant pieces suited for outdoor use. Rather than treating sustainability as an abstract principle, the furniture translates it into a tangible, everyday interaction, where reuse and longevity become part of the user’s physical experience of the space.

a bamboo gridshell canopy arches over the food street

a shaded public space beneath the tree canopy

the double-curved bamboo structure frames views across the campus

woven bamboo members create a lightweight gridshell that spans the food street without heavy supports

the bamboo gridshell bends and narrows

emphasizing the caterpillar-like form that inspired the project

3D-printed concrete kitchen units sit beneath the bamboo canopy

organized as modular food stalls

outdoor seating is arranged along the shaded walkway between kitchen units

recycled plastic tables and chairs provide durable seating for everyday campus use

the bamboo canopy rests lightly on the ground

project info:

name: The Hungry Caterpillar

architect: Lyth Design | @lythdesign

location: Ashoka University, Sonipat, Haryana, India

lead architect: Apoorva Shroff

structural engineering: Atelier One, London

architectural detailing: Jurian Sustainability

bamboo construction: Jans Bamboo

fabrication: Micob Pvt. Ltd., Ahmedabad

furniture: Placyle

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