brick architecture | designboom.com

undulating brick facade wraps studio miti’s athita pool villa and spa in thailand

Studio Miti — Tue, 08 Jul 2025 10:30:47 +0000

studio miti’s design draws from vernacular Thai architecture

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

The post undulating brick facade wraps studio miti’s athita pool villa and spa in thailand appeared first on designboom | architecture & design magazine.

hundreds of robots relocate entire shikumen complex in shanghai by lifting it off the ground

matthew burgos I designboom — Tue, 01 Jul 2025 10:30:27 +0000

moving buildings to make way for underground development

432 small robotic movers have lifted off and relocated an entire Shikumen complex in Shanghai, China, to make way for the construction of a three-story underground development. Temporarily moved from its original site, the cluster of brick buildings’ location allows the developers to build commercial and cultural facilities, underground parking, and connections to three metro lines (Lines 2, 12, and 13) across more than 53,000 square meters.

To move the buildings, the engineers used 432 small robotic movers, which slowly transported the 7,500-ton complex around 10 meters per day starting May 19th, 2025. It was not a rapid relocation to reduce the structural stress and damage to the historic architecture during transit, and on June 7th, 2025, the complex was already brought back to the original site. The Shikumen complex in Shanghai, China, that was moved by the developers is the Zhangyuan block. The construction of the spaces, parking lots, and Metro connections under it has begun.

image stills via Shanghai Municipal People’s Government

Bringing back Shikumen complex in Shanghai, China

For the relocation and underground project, the engineers use mini robots designed to work in confined spaces. The first set is for drilling: a series of remote-controlled robots that can move through narrow corridors and doorways within the Shikumen complex in Shanghai, China. The next set is the one for the soil excavation, equipped with folding mechanical arms so these robots can operate in narrow passages. These robots use deep learning algorithms to identify the soil types and detect any underground and earth obstacles during the excavation process.

The construction company of Shanghai Construction No. 2 (Group), the one leading the underground development as well as the relocation of the complex, uses point-cloud scanning to capture a 3D model of the site. These scans were then integrated into Building Information Modeling software, and in return, it gave detailed blueprints that showed them any possible problems with the relocation. Bringing back the Shikumen complex in Shanghai, China, to its original site was completed on June 7th, 2025, and the engineers have now begun the construction of the underground project. So far, there’s no news yet on its completion date.

the mini robots under the Shikumen complex in Shanghai, China move the entire cluster of buildings

view of the original site of the block

relocated site of the complex | photo provided to chinadaily.com.cn

project info:

developer: Shanghai Construction Group (SCG)

The post hundreds of robots relocate entire shikumen complex in shanghai by lifting it off the ground appeared first on designboom | architecture & design magazine.

brick walls and perforated jali screens enclose training hub by codec in coastal bangladesh

Wafiq — Wed, 25 Jun 2025 10:10:46 +0000

CODEC Design crafts A Climate-Responsive Training Facility

The Kuakata Training Center by CODEC Design is a purpose-built educational facility designed to support capacity building and skill development for coastal communities in Bangladesh. Located near fishing settlements, ecological zones, and tourist routes, the center provides space for residential training programs on topics such as coastal resource management, sustainable tourism, and disaster preparedness. The project follows a phased construction approach, emphasizing quality, environmental performance, and contextual relevance. Local contractors and laborers were engaged throughout the process, contributing to both construction and community skills development. This participatory method fosters long-term local ownership of the facility.

Climate resilience has played a central role in the architectural strategy. Elevated structures address the site’s vulnerability to flooding and seasonal surges, while passive cooling methods reduce reliance on mechanical systems. An elongated water body positioned on the southern side functions as both a freshwater reservoir and a passive cooling element. Air passing over the pond helps lower indoor temperatures, further supported by jali screens that introduce ventilation and filtered daylight while minimizing heat gain. The structural system combines locally-produced brick load-bearing walls with reinforced concrete beams and roofs, providing stability suitable for cyclone-prone environments. Material selection prioritizes durability, ecological responsibility, and regional identity. Features such as solar power systems and rainwater harvesting units further reduce the building’s environmental footprint.

all images by Asif Salman

Kuakata Training Center is a platform for experiential learning

The interior layout accommodates various programmatic needs. In addition to classrooms and seminar spaces, the center includes residential units for trainees and facilitators, as well as dining facilities that emphasize the use of locally sourced ingredients. Outdoor spaces, including open courtyards, shaded walkways, and planted green zones, are integrated to encourage informal gathering and relaxation, enhancing the overall learning environment. The facility is also intended to serve as a platform for experiential education. Its proximity to the coastal ecosystem enables training modules and excursions that connect participants with the region’s environmental, economic, and cultural contexts. The Kuakata Training Center by CODEC Design Studio reflects an approach that integrates education with environmental awareness, community participation, and sustainable design practices.

the Kuakata Training Center supports skills development for coastal communities in Bangladesh

local contractors and laborers were engaged throughout the building process

elevated structures provide protection against flooding and seasonal surges

the structural system uses locally-produced brick load-bearing walls with reinforced concrete roofs

open courtyards and shaded walkways create spaces for informal interaction and rest

Jali screens promote ventilation while minimizing heat gain and allowing filtered light

passive cooling strategies reduce reliance on mechanical ventilation systems

solar power systems contribute to the center’s low environmental footprint

the design follows a phased construction approach to ensure quality and contextual relevance

the design addresses cyclone resilience through material and structural choices

planted green zones enhance comfort and microclimate conditions throughout the site

the interior layout includes classrooms, seminar spaces, and residential units for trainees

project info:

name: CODEC-Kuakata Training Center
architect: CODEC Design

location: Kuakata, Bangladesh

lead architect: Quazi Wafiq Alam

design team: Hossenur Rahman Juwel, Nowshin Matin

structural engineer: Sauban Masud

photographer: Asif Salman | @salarchman

edited by: christina vergopoulou | designboom

The post brick walls and perforated jali screens enclose training hub by codec in coastal bangladesh appeared first on designboom | architecture & design magazine.

curved brick wall envelops volume matrix studio’s multi-functional art space in bangkok

thomai tsimpou I designboom — Thu, 19 Jun 2025 02:30:41 +0000

volume matrix studio composes ‘brick journey’ in Bangkok

In Bangkok, Volume Matrix Studio completes Brick Journey, a 600-square-meter building that houses a private home, art galleries, and a café.

The layout of the building is organized around a curved brick wall that runs through the entire site and connects the different spaces. This wall guides how people move through the building, creating a winding path that slows the rhythm of the movement and invites people to explore at their own pace. The experience of moving through the space reflects the owner’s own journey through life as a traveler and collector of art.

images courtesy of Volume Matrix Studio

various brick styles create a sense of ancient ruins

Thailand-based Volume Matrix Studio created this project for a doctor who also collects ancient art with a vision to create a space that would serve as a place to display his growing collection and share it with others. The architecture reflects this idea by guiding visitors through a series of spaces shaped by memory and art.

Brick is the main material used throughout the project, chosen for its connection to ancient architecture and its ability to express texture and depth. The architects used several types of brick and construction techniques to create a variety of surfaces, evoking the feeling of both old ruins and carefully crafted spaces.

The entrance to Brick Journey is deliberately small and tucked away, framed by the curved wall to create a sense of curiosity. Above it, there’s an observation point, symbolizing both the beginning and end of the visitor’s path. After stepping inside, visitors encounter a small pond and an empty frame placed by the owner as a reflective pause in the experience. This leads to a flexible space used for temporary exhibitions and small events, connected to a courtyard that brings in natural ventilation and views of the surroundings.

the layout of the building is organized around a curved brick

steel bridge connects the residence to the café gallery

To the left of the site is the café and reception area, which opens up to a large courtyard shaded by a mature tree that has been on the site for many years. Floor-to-ceiling windows offer views of this garden space, while objects from the owner’s collection, including antique doors, are integrated into the Brick Journey building.

On the second floor, the architects of Volume Matrix Studio divide the galleries into different areas for various types of artwork. A stairway leads to a smaller exhibition room ideal for paintings, while a steel bridge connects the main house to the upper level of the café, where another gallery displays works from the Indian subcontinent. Visitors can then either return to the entrance area via a historic Art Nouveau staircase or continue forward to the observation point, completing a full loop through the building.

this wall guides how people move through the building

a winding path that slows the rhythm of the movement

the architecture reflects this idea by guiding visitors through a series of spaces

after stepping inside, visitors encounter a small pond and an empty frame

a flexible space used for temporary exhibitions and small events

a steel bridge connects the main house to the upper level of the café

the architects divide the galleries into different areas for various types of artwork

several types of brick and construction techniques create a variety of surfaces

evoking the feeling of both old ruins and carefully crafted spaces

the entrance to Brick Journey is deliberately small and tucked away

project info:

name: Brick Journey

architect: Volume Matrix Studio | @volume_matrix_studio

location: Bangkok, Thailand

area: 600 square meters

The post curved brick wall envelops volume matrix studio’s multi-functional art space in bangkok appeared first on designboom | architecture & design magazine.

OYO architects carves triangular incision into belgium farmhouse to form luminous courtyard

ravail khan I designboom — Wed, 18 Jun 2025 09:50:42 +0000

oyo architects revitalizes lyco house in belgium

A sharp triangular void cuts into the heart of a former farmhouse in rural Belgium. The incision brings light, air, and spatial clarity into a previously dark, enclosed volume, which OYO Architects has revitalized with minimal interventions to create a contemporary family home. Located on a quiet estate in Pepingen and surrounded by open green fields, LYCO House still presents itself as a modest brick barn from the outside.

Stepping through to the garden side, its geometry shifts and the new courtyard — carved directly from the barn’s existing structure — reorganizes the plan and movement through its clean angles, drawing the eye across diagonal sightlines and down toward the greenery. Inside, domestic spaces are gathered around this cut, with double-height ceilings, layered floor levels, and a palette of pine, steel, and muted concrete lending the interiors both texture and softness.

all images by Karen Van der Biest

minimal interventions infuse the farmhouse with light

Without altering the original barn’s street-facing facades, OYO Architects has carved a triangular void from the structure’s center, inserting a light-filled courtyard that now forms the project’s spatial and symbolic core. This cutaway defines the intervention’s character, reorienting the house toward the landscape and drawing daylight deep into the space. Inside, the circulation is anchored by a bespoke green steel staircase fabricated by Atelier Manus, winding past an elevated terrace and leading up to a mezzanine under the gable roof, connecting bedrooms and shared living areas through a rhythm of open landings and sheltered nooks.

In the kitchen, the Ghent- and Barcelona-based studio has positioned a salmon-toned island at the center of the plan as a counterbalance to the home’s neutral tones. Custom joinery in dark finishes, grey cement floors, and pale timber ceilings round out the palette, creating a sequence of spaces that feel grounded and adaptable.

OYO Architects transforms a former farmhouse in rural Belgium

enhanced energy performance

As the architects describe it, the approach to LYCO House was primarily about working closely with what already existed and uplifting the house to meet modern energy standards. Much of the original barn volume has been preserved as a frame to be carefully repaired and reinhabited. Alongside this, insulation, solar panels, and updated energy systems are woven into the fabric of the building for visually discrete enhanced performance. OYO Architects has also integrated generous, deep windows which, alongside the glazed cuts, introduce daylight into the core of the home and invite cross-ventilation. As almost porous boundaries, these also create soft transitions between interior and exterior, taking advantage of the quiet, natural setting.

This care extends outwards into the garden where landscape architect Denis Dujardin has shaped a calm terrain of native vegetation, winding footpaths, and a shallow rain-fed pond that slowly returns water back into the soil.

a sharp triangular void cuts into the volume

the incision forms a courtyard infused with light and air

located on a quiet estate in Pepingen and surrounded by open green fields

the intervention reorganizes the plan and movement through clean angles

a salmon-toned island at the center of the plan as a counterbalance to the home’s neutral tone

the circulation is anchored by a bespoke green steel staircase

connecting bedrooms and shared living areas through a rhythm of open landings and sheltered nooks

light-infused bedroom

insulation, solar panels, and updated energy systems are woven into the fabric of the building

deep windows alongside the glazed cuts introduce daylight into the core of the home and invite cross-ventilation

the original brick structure

project info:

name: LYCO House

architect: OYO Architects | @oyoarchitects

location: Pepingen, Belgium

photographer: Karen Van der Biest | @karen.vanderbiest

The post OYO architects carves triangular incision into belgium farmhouse to form luminous courtyard appeared first on designboom | architecture & design magazine.

henning larsen builds brick-clad church in denmark as open pavilion for gathering

thomai tsimpou I designboom — Thu, 12 Jun 2025 19:00:00 +0000

henning larsen opens first church in skanderborg in 500 years

At a time when more churches in Denmark are closing their doors than opening them, Henning Larsen’s Højvangen Church, set on the edge of Skanderborg, is the first to rise in the parish in over 500 years. The 1,500-square-meter structure sidesteps the conventional idea of a church as a singular, front-facing monument, unfolding like an open-ended, approachable pavilion in the landscape. Developed in collaboration with architect Espen Surnevik and landscape studio Schul Landskab & Planlægning, the project rethinks this site for worship as a place for gathering, pause, and shared experience.

The brick-clad church is built into a gentle slope, with a low profile and a shifting facade that helps it blend into the landscape. A partially sunken corridor connects it to the existing parish center, reinforcing this quiet presence. Inside, the space avoids the traditional church layout, with no central aisle or fixed orientation. Instead, the baptismal font is placed at the center of the building and serves as its anchor point. From here, views extend out in multiple directions, toward the forest, the cemetery, and the old church tower. This setup reflects the idea of the church as a shared, inclusive space, intentionally flexible, that allows the interior to adapt to different uses such as concerts, services, farewells, and community events.

all images by Rasmus Hjortshøj

light sets the atmosphere inside Højvangen Church in sweden

Light plays an essential role in the design of Højvangen Church, shaping both the atmosphere and the overall experience of the space. ‘Light was a central design driver,’ says Eva Ravnborg, director at Henning Larsen. ‘It’s more than a physical element – it brings a calm, almost spiritual quality to the space, lifting the experience of the church room beyond the everyday.’ The architects’ team supports this idea through the use of perforated brick walls and brass details, which allow natural light to filter in gently. The subtle curves of the facade help modulate the light further, while the colonnaded rear includes small niches that offer spots for reflection or informal conversation.

Henning Larsen’s Højvangen Church in Skanderborg is the first to rise in the parish in over 500 years

stackable Ekko chair marks its debut in this project

Furniture also plays an intentional role in the project. With the introduction of the Ekko chair, designed in collaboration with Danish furniture maker Brdr. Krüger, Henning Larsen returns to furniture design for the first time in 60 years. The chair is stackable, durable, and sleek, made to meet the standards of public use while harmonizing the calm atmosphere of the space.

For Henning Larsen’s global design director Greta Tiedje, the church reflects a shift in how society relates to sacred space. ‘A place of worship is a civic anchor,’ she says. ‘We designed it to be part of the everyday, a space where people can gather across generations and beliefs and find meaning through shared experience. That’s where real life happens.’

the 1,500-square-meter structure sidesteps the conventional idea of a church

unfolding like an open-ended, approachable pavilion in the landscape

the brick-clad church is built into a gentle slope

a low profile and a shifting facade helps the building blend into the landscape

a partially sunken corridor connects it to the existing parish center

the space avoids the traditional church layout

there’s no central aisle or fixed orientation

this setup reflects the idea of the church as a shared, inclusive space

the interior can adapt to different uses

the baptismal font is placed at the center of the building

project info:

name: Højvangen Church

architect: Henning Larsen | @henninglarsenarchitects, Espen Surnevik | @espen.surnevik

location: Skanderborg, Denmark

area: 1,500 square meters (16,146 square feet)

landscape architecture: Schul Landskab & Planlægning

engineering: Ramboll

furniture design: Brdr. Krüger + Henning Larsen

photographer: Rasmus Hjortshøj | @rasmus_hjortshoj

The post henning larsen builds brick-clad church in denmark as open pavilion for gathering appeared first on designboom | architecture & design magazine.

studio sangath uses recycled brick and terracotta to shape artists’ refuge in india’s alloa hills

kat barandy I designboom — Fri, 30 May 2025 16:30:55 +0000

studio sangath’s Courtyard as Compass

Just outside Gandhinagar, India, the Alloa Hills Weekend House folds gently into the land, allowing the terrain to dictate its rhythm. Studio Sangath approached the residential project with quiet attentiveness, designing a retreat that prioritizes stillness and intimacy with the surrounding topography. Tucked into a bend in the Sabarmati River’s landscape, the house offers its residents a reprieve from the acceleration of city life, but also extends its welcome to artists, writers, and filmmakers seeking time away to create.

At the core of the brick and terracotta residence is a courtyard that both divides and anchors the interior spaces. The inner garden draws the horizon inward, reframing nature as a constant companion rather than a distant view. This spatial arrangement extends outward into a stepped terrace that spills into the surrounding terrain, intended to host everything from quiet evenings under the sky to informal performances. Studio Sangath’s design orients the home to receive the landscape with open arms, dissolving barriers between shelter and scenery.

images © Vinay Panjwani

a house shaped by Recycled Earth

Designing its Alloa Hills Weekend House, the architects at Studio Sangath choose materials with consideration for the natural context. Beginning with compressed bricks composed of recycled brick kiln waste, the team brings a tactility to the structure and grounds the project in its environment. This thoughtful approach lends a sense of stewardship to the project, as the walls themselves seem to speak to the layers of earth they emerged from. The result is a home whose material story resonates with the cycles of renewal around it.

Along its longitudinal axis, the home is bordered by wide verandahs that mediate between enclosure and exposure. These shaded galleries soften the edges of the building, giving the living spaces breathing room to interact with sun, wind, and rain without confrontation. When the doors are left open, the home becomes a quiet pavilion, with air and light moving unimpeded through its rooms. Morning enters with a softness, while the evening light brushes the courtyard from within, establishing a rhythm of illumination that changes by the hour.

Studio Sangath sites its Alloa Hills Weekend House near Gandhinagar, India

A Language of Terracotta in alloa hills

Material continuity defines the sensory experience of Studio Sangath’s Alloa Hills Weekend House. Terracotta finds its way into nearly every surface, from the pigmented concrete walls to the red-toned brick floors and sun-warmed pavers. This shared language of texture and tone allows the architecture to unfold slowly and cohesively, offering a lingering, tactile warmth. In the Alloa Hills, the architects craft a home that moves with the day, is generous with its thresholds, and is fluent in the language of the land.

the open terrace extends the interior outward and creates space for stargazing or small gatherings

a central courtyard brings the surrounding landscape into the heart of the home

the home welcomes not only its owners but also artists and creatives seeking quiet inspiration

recycled compressed bricks reduce the building’s environmental impact and ground it in its setting

deep verandahs offer protection from the sun while promoting natural ventilation and shade

when the doors are open, the home becomes a breezy pavilion connected to the outdoors

project info:

name: Alloa Hills Weekend House

architect: Studio Sangath | @studio_sangath

location: Alloa Hills, Gandhinagar, India

principal architects: Khushnu Panthaki Hoof, Sönke Hoof
built area: 600 square meters

The post studio sangath uses recycled brick and terracotta to shape artists’ refuge in india’s alloa hills appeared first on designboom | architecture & design magazine.

stepped brick layers of MUFU archlab’s cultural space hosts festival traditions in china village

ravail khan I designboom — Fri, 30 May 2025 00:45:07 +0000

shanxia cultural station backdrops the village’s yearly festival

Set at the foot of Houyanta Hill in Zhejiang Province, the Shanxia Cultural Station by MUFU ARCHLAB is informed by its proximity to landscape and ritual. Located directly across from the open field where Shanxia Village’s centuries-old Bench Dragon Lantern ceremony unfolds each year, the project functions as a cultural threshold, bridging everyday life and the temporality of celebration.

The Chinese practice’s design approach responds closely to spatial context and local identity, resting the building on a former residential plot, with a scale and orientation that subtly signals its public intent. To its north, the ceremonial field remains untouched; behind it, the unique rock formations of the hills form a natural backdrop. This pairing of geological and cultural terrain informs the stepped brick layers of the facade, as well as the project’s logic which reinforces patterns of movement.

all images courtesy of MUFU ARCHLAB

mufu archlab rests the structure with a subtle presence

The decision to locate a new public building here is inseparable from the village’s long cultural trajectory. Historically known as Shiyou (travel-friendly), Shanxia has produced notable scholars and retained strong ritual traditions despite recent urban encroachment. The Bench Dragon Lantern, held on the seventeenth day of the first lunar month, is its most visible expression, a vivid procession in which villagers shoulder wooden benches arranged to form the body of a dragon. Each family contributes a segment, and each new marriage extends the dragon’s length, turning the ritual into a living diagram of kinship, growth, and shared presence.

MUFU ARCHLAB’s design is shaped by this annual convergence, with the Cultural Station becoming an instrument in the festival’s perpetuation. The tiered brick structure supports its performance logistically while reinforcing its spatial centrality in village life. Further, it provides infrastructure through a subtle framing. In this way, the project reflects a larger sensibility in the architects‘ work to treat architecture as one of the ongoing mediums of culture-making.

Shanxia Cultural Station is informed by its proximity to landscape and ritual

located across from the field where Shanxia Village’s historic Bench Dragon Lantern ceremony unfolds each year

the Cultural Station becomes an instrument in the festival’s perpetuation

layers of bricks echo the contours of the hills

a quiet public space

the project reflects a larger sensibility of the architect to treat architecture as an ongoing mediums of culture-making

set at the foot of Houyanta Hill in Zhejiang Province

project info:

name: Shanxia Cultural Station

architect: MUFU Arch Lab

location: China

The post stepped brick layers of MUFU archlab’s cultural space hosts festival traditions in china village appeared first on designboom | architecture & design magazine.

red brick and black basalt wrap abhishek ajmera’s house in india with tactility

Abhishek ajmer — Sun, 25 May 2025 10:30:53 +0000

brick house sits on a modest lot in indore, india

Abhishek Ajmera Architects’ Brick House is a modest dwelling in Indore, India. Set on a 6,500-square-foot plot, it spans 8,000 square feet and accommodates four bedrooms, a basement office, common areas, and an activity room. True to its name, the project celebrates exposed brick as both a material and a design language, articulating spatial transitions, filtering light, and tying the interiors to their architectural shell.

The entrance is a considered experience: a sculpted mound, floating steps, and a suspended I-beam resting on a boulder collectively form a threshold that dissolves typical boundaries between landscape and built form. Inside, the material palette — primarily brick, metal, wood, and black basalt — establishes a consistent visual language across interior and exterior spaces.

all images courtesy of Abhishek Ajmera Architects

abhishek ajmera architects creates a fluid, open interior

The interiors are organized with flexibility in mind. Instead of conventional walls, the plan uses partitions to maintain openness and fluidity. A double-height living room with a sloped ceiling forms the spatial core of the house, opening toward the north-facing pool and a southeast garden. Full-height sliding glass doors tuck into brick walls, merging indoor and outdoor zones, and above the dining area, a mezzanine level with a bold blue panel functions as a reading nook or workspace, adding depth and overlooking the space below.

A solid wood dining table anchors the area beneath a cantilevered lighting element and exposed I-beam. The kitchen, adjacent to this space, features an island designed to appear suspended, with dark veneer finishes that echo the home’s overall materiality. Throughout the house, Abhishek Ajmera Architects punctuate the palette with color — green, yellow, blue, and red surfaces enliven rooms and prevent monotony.

Abhishek Ajmera Architects completes Brick House

a hanging staircase becomes the focal point

A hanging staircase, made of solid wood and metal, rises beside a black basalt wall, all under a vaulted ceiling. Its adjacent window is positioned to cast shifting patterns of light and shadow throughout the day, an effect repeated across the house through slit windows, skylights, and carefully framed openings.

On the first floor, two bedrooms, an activity room, and a dressing area are arranged with access to natural light and ventilation. The daughter’s bedroom includes a private balcony overlooking the pool, while her dressing room is lit by a skylight that minimizes the need for artificial lighting. The master bedroom, set in a quiet corner, features a vaulted brick ceiling and views to the east and west. A terrace accessible from the eastern side extends the living space outdoors, while the west facade features planters and brick louvers that temper sunlight and enhance privacy.

set on a 6,500-square-foot plot in Indore, India

A yellow spiral staircase leads to the terrace, adding a sculptural gesture that complements the exposed brickwork. In the master suite, the ensuite bathroom incorporates vegetation and natural light, with windows that ventilate and reduce the reliance on mechanical systems. A walk-in wardrobe and central island complete the suite, flooded with daylight from an east-facing slit window. In the basement office, exposed brick and concrete walls, a Jaisalmer stone floor, and glass partitions create a warm, naturally lit work environment. Vertical ducts and well-positioned windows bring sunlight to indoor plants, mitigating the usual drawbacks of subterranean spaces. Minimal decor and raw materials, such as reclaimed rods, brick, wood, and glass, allow the architectural textures to take center stage.

the project celebrates exposed brick as both a material and a design language

brick articulates spatial transitions, filtering light, and tying the interiors to their architectural shell

the material palette primarily comprises brick, metal, wood, and black basalt

it accommodates four bedrooms, a basement office, common areas, and an activity room

a double-height living room with a sloped ceiling forms the spatial core of the house

a mezzanine level with a bold blue panel functions as a reading nook or workspace

a solid wood dining table anchors the area beneath a cantilevered lighting element and exposed I-beam

project info:

name: The Brick House
architect: Abhishek Ajmera Architects | @abhishekajmeraarchitects

location: Indore, India

edited by: ravail khan | designboom

The post red brick and black basalt wrap abhishek ajmera’s house in india with tactility appeared first on designboom | architecture & design magazine.

alex chinneck’s monumental brick facade sculpture slides and sits down in a london garden

matthew burgos I designboom — Wed, 21 May 2025 20:01:14 +0000

A week at the knees by Alex Chinneck shows up in london

At the Clerkenwell Design Week 2025, Alex Chinneck’s monumental brick facade sculpture slides and sits down in London’s Charterhouse Square. Named ‘A week at the knees,’ the public art, on view at the square until early July 2025, looks like it has gotten weary, so it slides down onto the grass to take a break. It raises its knees, creating an arch over the gravel path and allowing the visitors to pass through it like a temporary underpass. At first glance, the monumental brick facade sculpture seems made of lightweight materials. That is, until Alex Chinneck tells visitors the sculpture comes to life using real bricks, 7,000 in total.

Under the red bricks lies 4.6 tons of reused steel, salvaged from the demolition of the former American Embassy in London and provided by Cleveland Steel. The step has allowed the artist to reduce the artwork’s footprint by around 9.3 tons of carbon emissions. The 7,000 bricks are a combination of First Quality Multi Bricks and Floren Albion bricks, provided by the Michelmersh Group and precision cut by FabSpeed. There are seven recycled steel windows with four bending frames, courtesy of Crittal Windows, alongside one bending door and drainpipe. Visitors can see the artwork for free from today until early July 2025 at Charterhouse Square, London.

all images courtesy of Alex Chinneck | photos by Charles Emerson

monumental brick facade sculpture that has slid down

‘A week at the knees’ is a freestanding monumental brick facade sculpture. At the present time, it stands at 5.5 meters tall and is 13.5 meters long. It’s not the first time Alex Chinneck made his public art slide down. He did it in 2013 with the sliding house in Margate, which first brought him global attention. In this artwork, the facade seems to peel off from the house. In ‘A week at the knees’, a slope emerges, the knees of the sculpture, depicting a local or tourist who’s resting in the garden during summertime. It’s more physical, more human, more alive.

While it’s almost impossible not to see the monumental brick facade sculpture, there’s still a chance some might think a building’s walls have peeled off if they’re looking at it. That’s because the public art, when viewed from afar, mimics the Georgian architecture that surrounds it, making the temporary sculpture seemingly part of the rows of houses. The artist has been doing his practice for a long time. He has completed close to twenty public artworks already. He has made buildings that melt, hover, bend, and unzip, and even tied street furniture in knots. Safe to say that he’s just getting started. Even more follows after the brick facade sculpture at Clerkenwell Design Week.

Alex Chinneck’s monumental brick facade sculpture slides and sits down in London’s Charterhouse Square

named ‘A week at the knees,’ the public art is on view until early July 2025

it has raised ‘knees’ to allow visitors to pass through it

the sculpture comes to life using real bricks, 7,000 in total

in detail, there are 4.6 tons of reused steel under the red bricks

visitors can evidently walk through it like an underpass

overall, there are seven steel windows with four bending frames

as seen, Alex Chinneck sitting next to his monumental brick facade sculpture named ‘A week at the knees’

the steel used for the most part is from the demolished parts of the former American Embassy in London

so far, the sculpture is on view until early July 2025

project info:

name: A week at the knees

artist: Alex Chinneck | @alexchinneck

collaboration: Chiltern GRC, Cleveland Steel, Crittall Windows, FabSpeed, Michelmersh Brick Holdings PLC | @chilterngrc, @Crittall_windows_uk, @mbhplc

event: Clerkenwell Design Week 2025 | @clerkenwelldesignweek

on view: May 20th to early July, 2025

location: Charterhouse Square, London, EC1M 6AN

photography: Charles Emerson | @charlesemerson_

The post alex chinneck’s monumental brick facade sculpture slides and sits down in a london garden appeared first on designboom | architecture & design magazine.