At UH INFONAVIT CTM Culhuacán, one of Mexico City’s largest housing developments, AMASA Estudio has completed the rehabilitation of a deteriorated public plaza. The intervention addresses long-standing spatial and maintenance challenges common to mid-20th-century housing typologies, focusing on programmatic clarity, material efficiency, and community-responsive design.

Located in the southeast of the city within the borough of Coyoacán, CTM Culhuacán comprises approximately 15,000 housing units built beginning in 1974. Initially intended to serve over 100,000 residents from Mexico’s working and middle classes, the development reflects the social housing strategies of the era. However, as in many large-scale complexes of its kind, shared public areas have since suffered from insufficient maintenance, largely due to jurisdictional ambiguity and administrative complexity. These conditions have led to a fragmented landscape of informally appropriated, neglected, or underutilized spaces. One such space, a plaza near the complex’s tenth section, became the site for a targeted intervention. In June 2023, INFONAVIT launched a design-build tender across four sites in Mexico City. AMASA Estudio, led by Andrea López and Agustín Pereyra, submitted a winning proposal for the Culhuacán location.

rehabilitation of a public plaza at CTM Culhuacán by AMASA Estudio | image by © Andres Cedillo

Reclaiming Urban Common Space Through Programmatic Zoning

The pre-existing site featured aging recreational infrastructure: worn courts, obsolete gym equipment, and peripheral spaces with low visibility. The area was bounded by perimeter walls of two adjacent schools, creating residual zones vulnerable to informal and antisocial use. The design centers on a gabled roof structure positioned at the site’s core. This architectural element introduces spatial order and visual identity while preventing potential future encroachments and maintaining clear sightlines across the plaza. Around this organizing spine, AMASA Estudio reconfigured the site into a series of clearly defined zones: two multipurpose courts, a calisthenics area, a covered forum with seating, a children’s play area, and a 600-meter running track embedded within the pedestrian paths. These components respond to the original brief and were refined through community consultation.

Key to the project was the strategic optimization of resources. The design team’s collaboration with Desarrolladora de Ideas y Espacios enabled cost-effective implementation without compromising design intent. Shared elements, such as structural steel profiles, pigmented concrete, and corrugated metal roofing, were coordinated across all four INFONAVIT commissions, allowing for material standardization and streamlined construction. Landscape improvements integrate permeable surfaces for rainwater infiltration and align with existing pedestrian flows. Accessibility was prioritized by avoiding grade changes and using material contrasts to define circulation and program areas. Color, paving texture, and modular curb transitions help delineate functional zones and improve legibility across the site. This intervention re-establishes the public plaza as a usable and maintained civic space within a historically significant housing development. By addressing spatial neglect through design, the project demonstrates a model for reclaiming underused public infrastructure in similar urban contexts.

new program includes courts, calisthenics area, and children’s play zone | image by © Andres Cedillo

the intervention reorders circulation and visibility across the site | image by © Zaickz Moz

a gabled roof structure anchors the redesigned civic space | image by © Andres Cedillo

covered forum with lateral seating enables shaded community use | image by © Zaickz Moz

central structure introduces spatial definition and visual identity | image by © Zaickz Moz

design prioritizes legibility through color and material contrasts | image by © Gerardo Reyes Bustamante

modular curbs and paving textures articulate spatial boundaries | image by © Gerardo Reyes Bustamante

site reconfigured to discourage encroachment and enable openness | image by © Andres Cedillo

pigmented concrete and corrugated metal define the material palette | image by © Andres Cedillo

project info:

name: UH INFONAVIT CTM Culhuacán

architect: AMASA Estudio | @amasa__estudio

location: Culhuacán, Mexico City

lead architects: Andrea López | @androide08, Agustín Pereyra | @a_pereyra

design team: Luis Flores, Gerardo Reyes, Roxana León, Cesar Huerta, Yanahi Flaviel

client: INFONAVIT | @infonavitoficial

construction: Desarrolladora de Ideas y Espacios, Alberto Cejudo | @tallercd_mx

structural engineer: Juan Felipe Heredia | @jfheredia

engineering: Germán Muñoz

lighting: Gabriel Briseño

landscape: Maritza Hernández | @maritzahernandez1413

photographers: Zaickz Moz | @zaickz.moz, Andrés Cedillo | @pavelin, Gerardo Reyes Bustamante | @gerardorbustamante

video: Virgilio Cortés

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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Kosuke Takahashi and 224 Porcelain release Corcelain, a series of ceramic cups and vessels with mountable 3D printed feet and screws. Dubbed the world’s first customizable porcelain vessel, each object comes with a screw hole at the bottom, so users can add vibrant legs, handles, lids, and more under every homeware piece. The design is inspired by a term in traditional Japanese ceramics called Kodai, which is the raised circle shape on the bottom of cups and bowls that allows the homeware to be more stable. In Corcerlain, the ceramic cups and vessels make use of Kodai for the 3D printed feet and parts, raising the objects while giving them a more playful yet functional look.

Because the parts are 3D printed, the users can customize the kind of mountable objects for their ceramic cups and vessels. ‘As a maker and 3D printer user myself, it’s hard to make things safe for food or drink,’ Kosuke Takahashi shares with designboom. ‘Standard materials like PLA and ABS aren’t food-safe, and even with safer filaments, the layered surfaces trap food particles. That’s where the idea of a modular vessel came from. You could mix and match ceramic bases with whatever extensions you dream up. That way, we solve the hygiene issue and, at the same time, give anyone the power to customize everyday objects like cups and plates. Corcelain became a reality thanks to a collaboration with 224 Porcelain, which is a traditional kiln in Yoshida – Saga, Japan.’

all images courtesy of Kosuke Takahashi/ootori

corcelain’s ceramic cups come with custom 3D printed parts

There’s a backstory to why the maker Kosuke Takahashi started Corcelain with pottery manufacturer 224 Porcelain. He tells us that traditional craft industries in Japan are facing a crisis, so he wants to bridge this with the use of current technologies like mountable 3D printed parts for the ceramic cups. He worked with a craftsman named Mr. Tsuji, who has been trained in traditional porcelain techniques that have been around for 400 years. ‘The idea of adding a screw hole to the base only worked because of Tsuji-san’s touch, combining technology with delicate, hands-on adjustments from his artisanal intuition,’ Kosuke Takahashi explains.

This is how he conceived the name Corelain for the series of ceramic cups and vessels with 3D printed feet and screws. It is a blend of ‘co-creation’ and ‘porcelain’, a hint at the use of traditional craftsmanship techniques with present technologies. The manufacturer 224 Porcelain steps in here, too, through its use of machines like CNC and 3D printers in their pottery works, which has allowed Kosuke Takahashi to realize his series. For Corcelain, the inventor also draws inspiration from the Japanese word ‘utsuwa’ which translates to ‘vessel’ or ‘container.’ But this word has its roots in the term ‘utsuho’ which means ‘emptiness’, but one that is waiting to be used. At the bottom of the Corcelain’s ceramic cups, it comes through as the kodai, the hollow bottom, allowing the users to bolt in the custom 3D printed feet, screws, and parts they have designed in varying colors.

Kosuke Takahashi and 224 Porcelain release Corcelain, a series of ceramic cups with 3D printed feet

the design is inspired by a term in traditional Japanese ceramics called Kodai

each object comes with a screw hole at the bottom, so users can add vibrant legs

in Corcerlain, the ceramic cups and vessels make use of Kodai for the 3D printed feet and parts

because the parts are 3D printed, the users can customize the mountable objects for the ceramic cups

the series’ name is a portmanteau of ‘co-creation’ and ‘porcelain’

users can also add handles

detailed view of the handle with circular bottom plate

view of the parts’ printing process

project info:

name: Corcelain

design: Kosuke Takahashi | @ootori_t

pottery: 224 Porcelain | @224porcelain

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: matthew burgos | designboom

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In summer of 2025, Swedish artist duo Bigert & Bergström present Broken Greenhouse / Embodied Climate Futures in Lund’s Botanical Garden. The site-specific installation explores projected climate pathways through five sculptural greenhouses. The exhibition is a collaboration between the artists, climate researchers from Umeå University, and the Botanical Garden, using architectural form to visualize the UN’s Shared Socioeconomic Pathways (SSPs) for the year 2100. Each structure represents a different SSP scenario, translating scientific data into spatial and material experiences.

The Redhouse SSP2, 2025. 360 x 400 x 320 cm | all images by Jean-Baptiste Béranger

Five Climate Futures Interpreted Through Greenhouse Structures

SSP1 takes the form of a tube-shaped green greenhouse designed for circular living. Its systems are synchronized with diurnal rhythms, turning the space into a functioning environmental clock. SSP2 is materialized as an inverted red greenhouse resembling a cottage, where visitors can suspend themselves in a flagpole hammock. A third structure, SSP3, uses the shape of a rising line graph to structure a walk-through installation. Beaded glass curtains represent climate data, allowing visitors to physically engage with abstract metrics. SSP4 is embodied in a fractured greenhouse located in a more isolated section of the garden. Its cracked surfaces evoke a dried-out desert. The final installation, designed by Bigert & Bergström Studio, SSP5, is a brown greenhouse emitting smoke, symbolizing stagnation and high-emission trajectories.

the exhibition challenges viewers to rethink ecological responsibility

Broken Greenhouse installations Interpret Climate Uncertainty

The title Broken Greenhouse references both environmental degradation and the fragile state of current systems. The idea that climate change is beyond human control has been overturned, and the effects of greenhouse gas emissions are now firmly acknowledged. Bigert & Bergström’s installation invites reflection on these realities while exploring how future scenarios might be understood, anticipated, or reshaped. The subtitle Embodied Climate Futures reflects the project’s aim to visualize multiple scenarios, offering physical spaces that invite reflection on climate trajectories and potential responses.

Broken Greenhouse unfolds at Lund’s Botanical Garden

The Linechart Greenhouse SSP3, 2025. 400 x 750 x 300 cm

Bigert & Bergström collaborate with climate researchers and garden curators

The Pipedream SSP1, 2025. 310 x 600 x 300 cm

each greenhouse embodies a different climate scenario for the year 2100

spatial design translates scientific projections into physical experience

A Road Divided SSP4, 2025. 350 x 465 x 460 cm

architectural form becomes a tool for engaging with climate data

the installation brings abstract futures into tangible view

Preppers Delight SSP5, 2025. 200 x 400 x 240 cm

the exhibition addresses the human role in shaping climate outcomes

structures invite reflection on planetary vulnerability and resilience

project info:

name: Broken Greenhouse / Embodied Climate Futures
designer: Bigert & Bergström | @studiobigertbergstrom

dates: May 24th – September 20th, 2025

photographer: Jean-Baptiste Béranger | @jeanbaptisteberanger

production experts: Fredrik Eriksson, Queenning Zhao, Zoltan Schnierer, Jakob Niemann, Lars Hässler
models: Queenning Zhao
upholsterers: Mills Tapetserarateljé och Stén Möbeltapetsering
mechatronics: Björn Anéer
assistants: Tom Bigert, Liv Lemoyne
intern: Hektor Jonsäter
Soundwalk – production: Tim Bishop
Soundwalk – narrator: Robert Fux

supported by: Swedish Postcode Lottery Foundation​, Formas, Längmanska, Arctic Centre at Umeå University, Climate Impacts Research Centre at Umeå University, Lund University Botanical Garden, Konstnärsnämnden

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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FusionFlight’s jet-powered personal VTOL Axion can be reconfigured into a flying racecar, an air ambulance, or a heavy-lift drone. Designed for a single pilot, the flying vehicle takes off with eight small jet engines instead of propellers. They use fuel rather than electricity, and for the design team, it gives the flying racecar slash air ambulance-suitable VTOL more power. The frame has a flat design to help the personal aircraft fly quicker while using less fuel, and this shape also allows the pilot to carry cargo or medical equipment either with them or below the flying vehicle since there’s a large space here dedicated for attachable tools and packages.

Axion’s tank can hold up to 30 gallons, giving it a long-range flight, and all the engines of the aircraft are placed inside the body of the vehicle rather than exposed. In this way, it keeps the engines safe and the flight quieter, especially with the jet engines. The team says that an important part of the flying racecar or air ambulance-suitable VTOL is the thrust vectoring system, which controls the direction of the jet engines and their power. It allows the vehicle to take off and land, even in rough or small spaces.

all images courtesy of FusionFlight

VTOL that can be turned into flying racecar or air ambulance 

FusionFlight’s Axion can drift in the air at up to 200 miles per hour, and the team says it is faster compared to other electric aircraft that use propellers. Another comment from the team is the fact that the vehicle uses fuel, which means the pilot doesn’t have to charge it and wait for hours before taking off again since filling the tank only takes a few minutes. In terms of size, the flying racecar or air ambulance-suitable VTOL can fit in a regular parking spot or even on top of a truck. Because it doesn’t use propellers, it can fly in narrow spaces like between trees or cliffs.

When it is on the ground, the VTOL’s engines send hot air to the front and back to keep the ground from getting damaged and make it safe for people to stand beside the aircraft even when the engines are running. The flying racecar or air ambulance-suitable Axion has eight engines built in pairs, so if one engine stops working, it can still fly safely using the other seven. The pilot can choose between manual or automatic control. In manual mode, the pilot uses joysticks to fly, while in automatic mode, the pilot picks a location on a screen, and the Axion will fly there by itself. So far, the VTOL is built on-demand, and the pilot can request to reconfigure it into a flying racecar, an air ambulance, or a heavy-lift drone, while still keeping the eight small jet engines around it.

side view of the flying vehicle

the personal aircraft has eight small jet engines around it

the frame has a flat design to help the personal aircraft fly quicker while using less fuel

this flat body shape also allows the pilot to carry cargo or medical equipment

project info:

name: Axion

company: FusionFlight | @fusionflight

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Athita Pool Villa and Spa, designed by Studio Miti, draws upon vernacular Thai architectural principles to inform its layout and material choices. Located in Chiang Saen, a historic town along the Mekong River, the project adopts traditional design language to integrate with its surrounding context while maintaining a clear programmatic organization. The architectural layout references the organic structure of local settlements, particularly the irregular yet navigable street patterns of Chiang Saen. This approach is applied to the hotel’s internal circulation, where pathways echo the community’s meandering alleys, enhancing spatial continuity without imposing symmetry. The arrangement intentionally avoids strict formalism, instead favoring a system that supports spatial layering and calm movement throughout the site.

The design is divided into two main architectural typologies: brick volumes and timber-clad structures. The brick volumes, placed at the front of the site, house public functions including the spa and massage facilities. These elements act as a buffer between the street and the more private pool villas located deeper within the property. The use of brick references ancient city walls and religious structures found throughout the region. These walls also provide visual and acoustic insulation, contributing to the retreat-like character of the site.

all images by Pirak Anurakyawachon – Spaceshift Studio

Brick and timber construct Athita Pool Villa and Spa

The private villas are enclosed by vertical timber louver panels, an adaptation of traditional Chiang Saen house facades. These panels enable controlled privacy while allowing filtered light and ventilation. The semi-open character of the villas supports a connection to the exterior environment, offering views of the sky and maintaining a quiet atmosphere. Both brick and timber elements are constructed using updated methods, allowing traditional materials to be expressed through a contemporary architectural lens. Rather than replicating historical styles, Studio Miti’s design team employs these elements as frameworks for reinterpretation, aligning the building with its historical and cultural setting while maintaining functional clarity.

Athita Pool Villa and Spa extends the architectural direction of ‘Athita: The Hidden Court Chiang Saen Boutique Hotel’ and continues its emphasis on spatial calm and contextual relevance. The project situates new construction within a landscape of continuity, reinforcing material familiarity and formal restraint.

brick volumes mark the public-facing edge of Athita Pool Villa and Spa

brick walls evoke the region’s ancient religious structures

circulation paths mimic the meandering alleys of local settlements

vertical wooden panels reinterpret traditional house facades

public areas are positioned as a buffer along the site’s front edge

villas are oriented to maintain visual and acoustic privacy

the spa and massage areas occupy the site’s brick volumes

materials reflect the character of Chiang Saen’s built heritage

the design references the organic street patterns of Chiang Saen

vernacular Thai architectural forms inform the building’s spatial logic

project info:

name: Athita pool villa and spa

architect: Studio Miti | @studiomiti_official

location: Chiang Saen, Thailand

lead architect: Mr. Padirmkiat Sukkan

design team: Mr. Thanwa Chantarasena, Ms. Suchanat Konggamnert, Mr. Thanai Mahakaew

interior team: Ms. Narinrat Chaichat, Ms. Praphavaree Khongchum

structural engineer: Mr. Chiwat Kaewkam, Mr. Phitsanu Bumroong

electrical engineer: Mr. Wutthikrai Srisukho

sanitary engineer: Ms. Siriluk Konkaew
photographer: Pirak Anurakyawachon – Spaceshift Studio | @spaceshiftstudio

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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CCA | Bernardo Quinzaños has developed a masterplan for La Paz, Baja California Sur, in Mexico, aimed at transforming El Cajoncito, a seasonal stormwater channel, into integrated public infrastructure. The proposal reconfigures the site as a continuous public corridor, enhancing urban connectivity, mobility, and flood resilience. Key interventions include a new sports complex, a pedestrian and cycling path, and a vehicular bridge.

The existing dry riverbed currently acts as a major physical barrier between two urban districts, extending over approximately eight kilometers. During the rainy season, this area becomes impassable due to flooding. The new plan introduces infrastructure that both mitigates these hydrological challenges and improves day-to-day circulation for pedestrians, cyclists, and vehicles. The project connects La Paz’s waterfront malecón to peripheral neighborhoods through green infrastructure, improving accessibility and contributing to long-term urban resilience. The proposed bridge is engineered to maintain structural stability during extreme weather and seismic events, integrating flood-control measures into its drainage design. Alongside it, a dedicated pedestrian and cycling path supports non-motorized transport and includes shaded rest areas and public transit stops. Approximately 40% of the masterplan has been implemented to date, with the cycling path partially constructed and the sports complex fully completed.

all images by Jaime Navarro

Community input shaped the design of Masterplan La Paz

Located within the El Cajoncito zone, the new Sports Complex responds to a need for athletic infrastructure in La Paz. Developed through community engagement, the facility provides accessible amenities for various sports and recreational activities. It features baseball and softball fields, soccer pitches, basketball and tennis courts, a skate park, and tracks for running and cycling. The design by CCA | Bernardo Quinzaños architectural practice includes four modular baseball pavilions, allowing for standardized construction and clear user orientation via color coding. Each field accommodates different age groups and skill levels, from youth to adult users, and supports athletic progression. Supporting infrastructure includes shaded seating and integrated furniture designed to address local climatic conditions and enhance user comfort.

A key component of the complex is a multipurpose building consisting of two gabled volumes on a shared steel frame. The open structure incorporates passive ventilation strategies and provides flexible indoor-outdoor space for physical and cultural activities. The ground level includes a shaded double-height gathering area, while internal spaces host administrative functions, music classrooms, a café, and a library. The building supports simultaneous programming and community events. The project decentralizes public services traditionally concentrated along the city’s waterfront, bringing recreational and cultural infrastructure to underserved areas. It offers accessible programming for youth and adults during non-working hours, contributing to community well-being and public engagement.

masterplan La Paz reimagines El Cajoncito as a linear public corridor

the dry riverbed is transformed into resilient green infrastructure

a new sports complex anchors the regeneration strategy

the masterplan addresses seasonal flooding with integrated infrastructure

shaded seating areas address local climatic conditions

open-air structures use passive ventilation for climate responsiveness

pedestrian and cycling paths improve non-motorized mobility

color-coded fields assist with wayfinding across the complex

the bridge and paths reduce travel distances for residents

the sports complex includes baseball, soccer, tennis, and basketball facilities

modular baseball pavilions support standardized construction and use

a decentralized approach brings new amenities to underserved districts

project info:

name: Masterplan and Sports Complex La Paz
architect: CCA | Bernardo Quinzaños | @cca.mx

area: 22,727 sqm

location: La Paz, Baja California Sur, Mexico

lead architect: Bernardo Quinzaños 

design team: Santiago Vélez, Begoña Manzano, Andrés Suárez, Carlos Molina, Cristian Nieves, Miguel Izaguirre, Sara de la Cabada, André Torres, Abigaíl Zavaleta, Víctor Zúñiga, Pablo Ruiz, Scarlett Díaz

client: SEDATU, Municipality of La Paz

builder: HABA, Alan Haro

photographer: Jaime Navarro | @jaimenavarrophotography

video: Jaime Navarro Studio, Ricardo Esquivel, Fernanda Ventura

model photographer: Arturo Arrieta, Centro de Colaboración Arquitectónica (CCA)

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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Designed by Louisa Graupe and Julika Schwarz, Water from Air is a mobile device that extracts potable water directly from the atmosphere using advanced material technology. The prototype addresses the increasing global demand for accessible drinking water by employing Metal-Organic Frameworks (MOFs), a class of materials known for their high porosity and capacity for selective absorption. These materials are capable of capturing water molecules from ambient air and releasing them as usable freshwater. Research into MOFs is currently underway at institutions including the Institute for Materials Chemistry at the University of Vienna and the University of California, Berkeley.

At any given time, the atmosphere holds more water than all of Earth’s rivers combined. Water from Air is a design response that translates this scientific potential into a functional product. While MOFs have predominantly been studied in laboratory contexts, this project proposes a real-world application through a compact, scalable, and energy-independent form.

all images courtesy of Louisa Graupe and Julika Schwarz

Water Production under Changing Climate Conditions

The prototype functions as a self-contained water production and storage unit. It is designed to operate autonomously and adapt to diverse geographic and socio-economic environments. With a daily yield of approximately 6 liters of water over a 24-hour cycle, the system is optimized for household use and can be scaled for larger demands. The device’s housing was primarily fabricated using 3D printing, enabling efficient production of customized parts and modular components. The design prioritizes mobility, ease of use, and independence from existing water infrastructure, making it suitable for decentralized deployment in both urban and rural contexts.

By integrating material research with product design, Water from Air, developed by designers Louisa Graupe and Julika Schwarz, explores how atmospheric resources can be harnessed to address water scarcity under changing climate conditions. The project presents a viable framework for decentralized, off-grid water access through material innovation and spatial adaptability.

opening the valve allows the water to drain downwards

filling containers

100% clean drinkable water

attending to the global demand for accessible drinking water

3D printed prototype from recycled filaments

easy transport

all parts of the device

autonomous water harvesting cycle

project info:

name: Water from Air
designers: Louisa Graupe, Julika Schwarz

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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At 2,300 meters above sea level in the highlands of Wuliang Mountain, a delicate steel pavilion, designed by Kong Xiangwei Studio, shimmers above a tea garden. The open-air Camellia Theater in Dali, Yunnan, China, emerges from the mists of Fenghuang Mountain as a weightless structure that frames the land and sky. Its purpose is to host cultural performances, quiet contemplation, and everything in between as part of a larger transformation of this historic tea estate into a tea-tourism destination.

Inspired by the form of a camellia flower, the structure was not conceived through formal drawings but emerged on-site through hand-weaving steel bars, an approach developed by the studio in close collaboration with local workers. The initial form, determined in a single day, takes shape through seven slender steel arcs that resemble petals, streamers, or even celestial tassels. ‘They are both petals and streamers,’ the designers explain, ‘like silver tassels shaken down from the sky.’

all images by Archi-translator Photography and Kong Xiangwei Studio

Kong Xiangwei Studio create petal-like canopy for performance

Part of a wider homestay renovation and cultural upgrade of the estate, the Camellia Theater sits on a natural platform recommended by the head of Huilong Village, an already beloved scenic overlook between Fenghuang Mountain and the Lancang River. The architects at Kong Xiangwei Studio opt for an intuitive intervention that blends almost invisibly with its surroundings. ‘The tea garden is a wordless poem,’ they share. ‘Human intervention should be as light as dewdrops on leaves.’

Beneath its delicate, petal-like canopy, the structure curves into the shape of a circular bench that wraps around a central clearing. It avoids disturbing the surrounding tea trees, creating a space that functions as a stage and audience seating. When a singer or storyteller stands in the middle, they’re performing to a crowd, and at the same time they’re enveloped by the landscape itself. 

a delicate steel pavilion, designed by Kong Xiangwei Studio, shimmers above a tea garden

the form of the structure reflects local legend

That immersive effect is constantly in flux, thanks to the mountain’s unpredictable microclimate. At times, the theater floats in clear sunlight; at others, it disappears into mist. These conditions are part of the experience. When the sun sets, the sky often fills with glowing cloud formations, transforming the entire scene into a quiet spectacle. Even when there’s no scheduled performance, the environment itself puts on a show.

And seen from the other side of the forest, something interesting happens: the theater’s form, those seven petal-like arcs, begins to resemble a crown. Whether coincidence or subconscious intuition, the image connects to local legend, evoking the mythical queen of Caowang Mountain, weaving folklore into the architectural gesture. 

a weightless structure that frames the land and sky

its purpose is to host cultural performances

inspired by the form of a camellia flower

the structure emerged on-site through hand-weaving steel bars

the initial form was determined in a single day

the seven slender steel arcs resemble petals, streamers, or even celestial tassels

Kong Xiangwei Studio opts for an intuitive intervention

beneath its delicate, petal-like canopy, the structure gently curves into the shape of a circular bench

the structure avoids disturbing the surrounding tea trees

a space that functions as a stage and audience seating

the immersive effect is constantly in flux, thanks to the mountain’s unpredictable microclimate

at times the theater floats in clear sunlight, while at others, it disappears in the mist

project info:

name: Camellia Theater

architect: Kong Xiangwei Studio

location: Fenghuang Mountain Tea Estate, Bixi Township, Nanjian County, Dali Prefecture, Yunnan Province, China

design team: Kong Xiangwei, Cui Jun, Gao Zhuojian

photographer: Archi-translator Photography, Kong Xiangwei Studio

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The Grid, designed by Trung Mai / Ad hoc Practice, is an adaptive reuse project situated within the former Gia Lam Train Factory in Hanoi. Presented at the Venice Biennale 2025, curated by Carlo Ratti, the intervention reinterprets the site’s industrial remnants into an exhibition space, framing the existing structure as a repository of spatial and cultural memory. Rather than introducing new architectural elements, The Grid exposes the site’s latent formal logic, treating it as a spatial archive. This approach aligns with the principles of behavioral archaeology, wherein the built environment is studied through the material traces of human activity. The design strategy emphasizes recontextualization, both conceptually and materially, positioning reuse as a form of dynamic preservation that engages with contemporary questions of urban development and memory.

all images by Trieu Chien

Ad hoc Practice Reimagines Gia Lam Factory’s Layered History

Hanoi’s ongoing urban expansion has led to the relocation and decommissioning of several socialist-era factories, placing their architectural and cultural legacies at risk. The Gia Lam Train Factory, formerly a mechanical hub at a key railway junction, has become emblematic of this transitional condition. The structure’s layered past, which spans colonial, wartime, and reformist periods, provides the backdrop for a design inquiry into Vietnam’s industrial narrative. The exhibition space within the factory is conceived as both an archaeological site and a testing ground for new forms of spatial engagement. By occupying part of the abandoned structure, The Grid reflects on the site’s transformation from production facility to cultural artifact. Through systematic reconstruction, the project, developed by architects at Ad hoc Practice, led by Trung Mai, frames the factory not only as a container of industrial materials but also as a repository of memory, labor, and ideology.

The grid-based design draws from two key references: the 19th-century urban planning principles of Ildefons Cerdà’s Eixample district in Barcelona, and the internal ceiling structure of the warehouse itself, a product of mid-20th-century engineering. This dual reference reinforces themes of order, equality, and modularity, principles foundational to Vietnam’s post-war industrialization. Sunlight filtering through the original ceiling panels creates dynamic light conditions across the exhibited objects and architectural fragments. This quality of light reinforces the project’s temporal focus and enhances the spatial reading of the factory’s preserved form.

The Grid reactivates the abandoned Gia Lam Train Factory through adaptive reuse

Collective Memory Transforms the Factory’s Spatial Future

Structurally, the project maintains and adapts the existing building framework. The design incorporates participatory construction methods, including collaborations with students and community members, to explore alternative futures for the site. The exhibition encourages dialogue on retrofitting strategies, slow construction, and site-responsive design, offering a critical perspective on contemporary development practices that prioritize rapid turnover and high-density production.

The Grid by Trung Mai / Ad hoc Practice positions adaptive reuse as a method of cultural inquiry. By transforming the factory into a site for reflection and experimentation, the project engages with Vietnam’s urban condition while foregrounding the role of collective memory in shaping spatial futures.

latent architectural forms are revealed rather than replaced

traces of Vietnam’s industrial legacy become spatial anchors within the former factory

The Grid treats the site as a spatial archive of cultural memory

the former mechanical hub now becomes a platform for cultural reflection

layers of history, from colonial to post-reform, inform the spatial logic of the intervention

exhibited fragments and artifacts reflect labor, ideology, and material memory

order and modularity frame the project’s formal and conceptual structure

the intervention avoids spectacle, focusing instead on subtle spatial reactivation

the space operates as both exhibition and research platform

architecture becomes a tool for reading and writing the city’s industrial past

retrofitting strategies are tested on site, advocating for slow, responsive design

the preserved ceiling structure acts as a light modulator across the space

the factory is reframed as a living document of urban transformation

project info:

name: The Grid
architect: Ad hoc Practice – Ha noi Ad hoc | @hanoiadhoc_adhocpractice

lead architect and curator: Trung Mai 

design team: Viet Phung, Trang Pham, Duong Nguyen, Ha Hoang, Lauren Lu, Ngoc Nguyen, Linh Tang

guest artists: Vy Trịnh, Jennifer Vanderpool
location: Hanoi, Vietnam

photographer: Trieu Chien | @trieuchien

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 the grid by ad hoc practice repurposes former train factory in hanoi as exhibition space appeared first on designboom | architecture & design magazine.

The ITSUMO Dessert Shop in Batam, Indonesia, designed by kousou inc. Jakarta, in collaboration with Svetlin Petrov, represents an architectural intervention within the typical ruko (shop-house) typology of the city’s commercial areas. The project introduces a spatial and material strategy that contrasts with the surrounding built environment, known for its utilitarian structures and rapid-development aesthetics. Located in a busy port city context, the shop responds to its surroundings with a minimalist white facade, offering a visual counterpoint to Batam’s typically colorful and artificial material palette. This exterior treatment signals a shift in spatial experience, moving toward interior calm and spatial restraint.

A key feature of the design is an interior courtyard, integrated to bring natural light and controlled exposure to rain into the building. The courtyard acts as both a spatial and environmental element, supporting ventilation and creating a sensory connection to weather conditions. Hidden rain gutters, placed between the facade wall and skylight, allow rainwater to enter the courtyard during storms while controlling drainage through a secondary concealed channel.

all images by Kung Photograph

interior design focuses on a monochromatic material palette

Internally, the design moves away from decorative complexity, focusing on a monochromatic material palette dominated by black. To prevent the dark tones from creating a somber atmosphere, the interior incorporates variations in texture and finish. Materials such as natural stone, stained wood, and metal contribute to a layered and tactile quality. Exposed gray concrete surfaces and brown-toned elements provide contrast and depth within the overall composition. The interior layout positions a central work and display area while preserving and exposing parts of the original building structure. This approach creates continuity between past and present states of the site. The decision to leave portions of the original structure visible reflects an interest in material honesty and site-specific adaptation.

The design process followed an iterative model, with continuous dialogue between the architects at kousou inc. Jakarta, client, and construction team. The project required extensive material research and sample production to achieve the desired tactile and visual effects, particularly for the facade textures and interior finishes.

minimalist white facade contrasts with Batam’s colorful commercial streetscape

kousou uses Architecture as a Tool for Urban Reframing

In contrast to ITSUMO’s other locations, the Batam project employs stricter geometry and sharper formal language. This decision aligns with the project’s goal of creating site-specific identities for each ITSUMO outlet while maintaining brand consistency.

The project positions architecture as a tool for spatial transformation within dense, function-driven urban contexts. Through restrained material selection, attention to detail, and integration of environmental factors such as rain and light, the ITSUMO Dessert Shop presents an example of how commercial spaces can adopt a design-driven approach to reframe user experience and architectural presence in a rapidly developing urban setting.

the shop reinterprets the ruko typology through spatial and material restraint

interior calm is signaled by a clean, monochromatic architectural language

an inward-facing courtyard brings daylight deep into the building’s core

controlled rainwater enters the space via concealed gutters at the skylight edge

black-dominated palette softened by textured surfaces and warm wood tones

the central courtyard doubles as a ventilation and sensory element

exposed concrete and stone elements reinforce the sense of material honesty

interior spaces use natural materials to build tactile depth and contrast

dark materials are balanced with natural light and reflective textures

the interior design emphasizes sharp geometry and linear clarity

the shop demonstrates how commercial design can elevate everyday contexts

project info:

name: Itsumo Dessert Shop, Batam
architect: kousou inc. Jakarta | @kousou_inc

lead architect: Svetlin Petrov | @svetlin__petrov

location: Kecamatan Lubuk Baja, Batam, Indonesia

area: 300 sqm

general constructing: Room Studio

engineering, consulting, lighting: ERRELUCE

photographer: Kung Photograph | @kungphotograph

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 light and rain pour through internal courtyard within monochrome dessert shop in indonesia appeared first on designboom | architecture & design magazine.