Ayoub Ahmad designs a concept 3D printed titanium watch named STRACTRA with the hours placed over a geometric, 180-degree arc. Inspired by nature, seemingly tree branches slither around the frame, forming uniform lines on the said arc on the right side of the timepiece. Between the gaps of these coffin-shaped structures, the numbers depicting the hours are shown, colored in sunset orange. Even the hand pointing at the hours is in orange, standing out among the color scheme of titanium. For the minutes, there’s a 360-degree ring just below the hand, going in a full circle to complete the time-telling of the concept 3D printed titanium watch.

all images courtesy of Ayoub Ahmad

Organic lines around 3D printed titanium watch STRACTRA

Unlike traditional round or square-shaped timepiece designs, the frame of the concept 3D printed titanium watch STRACTRA appears organic, as the case displays smooth and flowing lines as if they were branches of trees or just natural curves. Designer Ayoub Ahmad imagines his design to use 3D printing for production, with titanium as the main material throughout the watch. The technology can allow him to realize the design of the arc for the hours, the disc for the minutes, and the hexagonal shape of the timepiece’s body.

On the left face of the concept 3D printed titanium watch STRACTRA, there’s a seemingly grille design that may have bumps for tactility, and the creeping lines cross over the minute disc in the middle to demonstrate the growth of tree branches. The arc continues from the hours to the disc in the middle, allowing the wearer to see the gears inside the watch. Next to the ring, the name of the concept 3D printed titanium watch STRACTRA appears engraved. At the time of publishing, the timepiece design is a concept project, and Ayoub Ahmad says the watch is his entry to Dubai Watch Week, which is set to return for its seventh edition between November 19th and 23rd, 2025. 

the timepiece design has the hours placed over a geometric, 180-degree arc

there’s a seemingly grille on the left side for tactility

smooth surface for the rear of the timepiece

detailed view of the minute disc

the name of the timepiece sits next to the minute disc

the lines of the design cross over the dial

at the moment, the timepiece is a concept project

project info:

name: STRACTRA

design: Ayoub Ahmad | @ayoub_ahmad_

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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Siroko, the Asturian sportswear and accessories brand, has opened its first concept store in Barcelona in collaboration with architecture and interior design studio El Departamento. Located at 113 Rambla de Catalunya, the 149-square-meter space explores the relationship between natural environments and sports technology through a series of spatial and material transitions. This is the second collaboration between Siroko and El Departamento, following the brand’s flagship store in Madrid. The Barcelona project continues the established design direction while introducing new conceptual and material strategies. The store is organized as a sequence of interconnected rooms, each treated as a discrete volume that accommodates a specific part of the retail program. These spaces are defined by their independent lighting schemes and distinct atmospheres, creating a spatial rhythm that supports the brand’s narrative.

El Departamento’s approach references elemental natural forms, such as ice, stone, earth, and vegetation, and translates them into a spatial language informed by sports technology. This creates a continuous dialogue between organic textures and synthetic materials. The palette relies on earthy tones, with an emphasis on blue, and includes modular, reconfigurable display systems that balance adaptability with visual coherence.

all images by Jonathan Ristagno

Modular Systems and Lighting schemes Shape the space

Lighting plays a central role in defining the spatial experience. Each room is equipped with ceiling-mounted light panels operating independently, reinforcing the segmented structure of the space. Integrated lighting within the display cabinetry further supports visual continuity and enhances product presentation. At the core of the store is the ‘Siroko Custom’ zone, which reprises elements from the Madrid location. The space features an open-grid ceiling (tramex) supported by a structural system that also functions as a vertical product display. Materials such as micro-perforated metal sheets and stainless steel contribute to a tactile and technical visual identity, while also allowing textures to shift under changing light conditions.

Ultimately, this project encapsulates studio El Departamento’s vision of contemporary retail, where spatial experience transcends traditional commercial function to become a full immersion into Siroko’s values. Through the interplay of material, light, and spatial sequence, the store presents a considered response to contemporary retail design. With this opening, Siroko expands its physical presence in Spain, reinforcing a brand image defined by technical precision and engagement with the outdoor environment.

Siroko opens its first concept store in Barcelona in collaboration with El Departamento

a sequence of rooms creates a rhythm of distinct spatial experiences

each room functions as an individual volume within the retail journey

independent lighting schemes define atmosphere and orientation

modular display systems adapt to different product arrangements

ceiling-mounted light panels operate independently in each room

organic textures are combined with synthetic materials

integrated lighting enhances product presentation and material depth

a distinctive open-grid ceiling links this store to its Madrid counterpart

micro-perforated metal sheets contribute to a technical visual identity

the design balances retail functionality with brand storytelling

Siroko’s Barcelona store strengthens its identity through spatial design

project info:

name: Siroko Concept Store Barcelona

architect: El Departamento | @eldepartamento.estudio

area: 149 sqm

location: 113 Rambla de Catalunya, 08008, Barcelona

lead architects: Alberto Eltini & Marina Martín

construction company: Triangular

lighting: Ilumisa

furniture design: El Departamento

mirrors: El Departamento

textiles: Deco&You

screens: Mood Media

photographer: Jonathan Ristagno | @jonathanristagno

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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This summer, designboom is spotlighting a curated lineup of design competitions from around the globe. From envisioning the most unique staircase to designing the Digital Heritage Museum of Egypt, each competition offers a global platform for creative excellence. Through our platform, we invite architects, designers, institutions, and brands to share their own competitions with our worldwide audience of design professionals, students, and enthusiasts. By featuring your open call on designboom, your project can gain visibility among a vibrant, engaged community always seeking new challenges, inspiration, and opportunities to shape the built and designed environment.

Promote your competition with designboom and reach the world’s creative forefront!

five competitions calling for entries

Discover five global designboom competitions that are calling for entries this summer.

LA MADRESELVA by TerraViva

Organization: TerraViva
Competition name: LA MADRESELVA
Early registration: July 1 – September 19, 2025

Submission deadline: December 5, 2025

La Madreselva is a historic countryside property near San Antonio de Areco, known as the ‘Cradle of Argentine Tradition’. The competition invites participants to design a series of small-scale lodging units and communal spaces, expanding the site’s capacity to host up to 20 guests without compromising its rural soul. Designers are encouraged to develop a project that merges architecture, landscape, and cultural identity: an intervention that enhances the quiet presence of the original structures while providing new experiences for contemporary travellers seeking disconnection and immersive tradition.

The Architect’s Stair Edition #2 by Buildner

Organization: Buildner
Competition name: The Architect’s Stair Edition #2
Last Minute Registration: July 9 – July 24, 2025

Submission deadline: July 24, 2025

From ancient stone steps carved into cliffs to futuristic floating staircases in contemporary design, the stair has served far more than a functional role. This competition invites architects, designers, and creative thinkers to explore the stair as a pure expression of architectural language. Participants are asked to reflect on its symbolism, geometry, movement, and potential—free from constraints of program, material, or scale. There are no limitations on style, function, context, or dimension. Whether monumental or minimal, abstract or inhabitable, real or speculative—what matters is the clarity and creativity of the concept.

Dewan Award for Architecture by Dewan Architects + Engineers and Tamayouz Excellence Award

Organization: Dewan Architects + Engineers, in association with the Tamayouz Excellence Award
Competition name: Dewan Award for Architecture
Last Minute Registration: July 9 – July 24, 2025

Submission deadline: September 30, 2025

Dewan Architects + Engineers, in association with the Tamayouz Excellence Award, announces the launch of the Dewan Award for Architecture 2025. The award invites architects, students, designers, and studios from around the world to participate. Participants are asked to reimagine Baghdad Central Railway Station, a historic landmark in the heart of Iraq’s capital. Once a vital transport hub, the station now features limited services, outdated infrastructure, and minimal public engagement. The structure remains sound and presents an opportunity for architectural renewal.

The Digital Heritage Museum by Design Unlimited

Organization: Design Unlimited
Competition name: The Digital Heritage Museum
Standard Registration: Jun 26 – August 21, 2025

Submission deadline: September 14, 2025

The Digital Heritage Museum proposes a bold architectural response: a new kind of cultural institution that uses emerging technologies to digitally preserve, reconstruct, and reinterpret Egypt’s vast and diverse cultural legacy. This competition invites architects, designers, and students to envision a site-specific, technologically-forward, and culturally-sensitive museum that bridges the past with the future, positioning Cairo as a global leader in the preservation of digital heritage.

The London Design Awards by International Awards Associate (IAA)

Organization: International Awards Associate (IAA)
Competition name: 2025 London Design Awards
Standard Registration: July 26 – September 4, 2025

Submission deadline: December 5, 2025 

The 2025 London Design Awards is an international competition celebrating creative excellence across a wide spectrum of disciplines, from product and architectural design to UX, packaging, and newly introduced fashion design. Open to professionals and emerging talents alike, this global platform invites designers, studios, manufacturers, and students to showcase work produced in the last five years. With blind judging by an esteemed panel of industry experts, winners can earn prestigious titles including Design of the Year, and receive exclusive trophies, certificates, press opportunities, and global exposure.

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The Nakagin Capsule Tower returns to public view in a new light, as MoMA in New York opens an exhibition centered on its half-century lifespan. Built in Tokyo’s Ginza district in 1972 and dismantled in 2022, the structure was once among the clearest architectural expressions of Metabolism in Japan, a movement that sought to mirror natural growth and transformation in the built environment. Now, through a single, fully restored capsule and a constellation of archival materials, MoMA reactivates that legacy with the goal of inspiring inquiry over nostalgia.

Presented in the exhibition is capsule A1305, originally situated on the uppermost floor. For its display, it has been returned to near-original condition. Fragments of other salvaged units complete the restoration, from its modular furnishings to the audio controls and Sony color TV that defined its compact domesticity. Surrounding the capsule are more than 40 materials drawn from the tower’s five-decade history — models, promotional leaflets, film reels, and interviews that reveal how these micro-units adapted to lives far beyond their initial purpose. In a city shaped by constant renewal, this retrospective probes what it means to preserve an architectural concept. The Many Lives of the Nakagin Capsule Tower is on view at MoMA from July 10th, 2025 until July 12th, 2026.

installation view of The Many Lives of the Nakagin Capsule Tower, on view at The Museum of Modern Art, New York, from July 10th, 2025, through July 12th, 2026 | photo by Jonathan Dorado

kishō Kurokawa’s Unfolding Vision

MoMA exhibits The Many Lives of the Nakagin Capsule Tower as an investigation into the iconic structure, which was originally imagined by architect Kishō Kurokawa as a machine for living that could regenerate itself. While the concrete towers were to remain as infrastructural anchors, the capsules were intended to be swapped out as needs evolved. While that replacement never came, the life of the tower defied stillness. The museum’s curatorial team, led by Evangelos Kotsioris and Paula Vilaplana de Miguel, foregrounds the tower’s informal transformations — capsules turned into galleries, DJ booths, or quiet spaces of solitude — bringing a portrait of architecture shaped by use that transcends its intended programming.

By acquiring capsule A1305 in 2023, MoMA ensured a rare physical survival of a building long dismissed as unmaintainable. It is one of just fourteen capsules worldwide to have been carefully reassembled in original form. Visitors will be able to experience the unit in full during selected member activations, reinforcing the tower’s original intent as a space to be inhabited. The Nakagin Capsule Tower’s presence at MoMA sits within the museum’s wider ambition to question permanence, authorship, and the mutable nature of design.

Kishō Kurokawa in front of the completed Nakagin Capsule Tower, 1974. image by Tomio Ohashi

Extending the Conversation around nakagin capsule tower

MoMA’s exhibition The Many Lives of the Nakagin Capsule Tower extends beyond the gallery. A companion book authored by Kotsioris for the MoMA One on One series explores the structure’s life cycle, from its speculative roots to its final days. With rarely published documents and firsthand accounts from the building’s last residents, the volume deepens the narrative around this experimental habitat. A suite of programs in partnership with Japan Society will also unfold throughout the exhibition’s yearlong run, framing the project within both its original context and its new American audience.

Kisho Kurokawa, Architect & Associates (Tokyo, est. 1962). Nakagin Capsule Tower, Tokyo. 1970–72. exterior view. 1972. image by Tomio Ohashi

installation view of The Many Lives of the Nakagin Capsule Tower, on view at The Museum of Modern Art, New York, from July 10th, 2025, through July 12th, 2026 | photo by Jonathan Dorado

installation view of The Many Lives of the Nakagin Capsule Tower, on view at The Museum of Modern Art, New York, from July 10th, 2025, through July 12th, 2026 | photo by Jonathan Dorado

images from Nakagin Capsule Style (Tokyo: Soshisha, 2020), showing Wakana Nitta (aka Cosplay Koe-chan) in her capsule, which she uses as a DJ-booth. courtesy Tatsuyuki Maeda / The Nakagin Capsule Tower Preservation and Restoration Project, Tokyo, Japan

night time at the Nakagin Capsule Tower, with Mr. Takayuki Sekine seen through the window of capsule B1004, 2016. image © Jeremie Souteyrat

Kisho Kurokawa, Architect & Associates (Tokyo, est. 1962). Capsule A1305 from the Nakagin Capsule Tower. 1970–72; restored 2022–23. Steel, wood, paint, plastics, cloth, polyurethane, glass, ceramic, and electronics, 8′ 4 3/8″ × 8′ 10 5/16″ × 13′ 10 9/16″ (255 × 270 ×423 cm). The Museum of Modern Art, New York. Gift of Jo Carole and Ronald S. Lauder, Alice and Tom Tisch, and the Nakagin Capsule Tower Preservation and Restoration Project, Tokyo

installation view of The Many Lives of the Nakagin Capsule Tower, on view at The Museum of Modern Art, New York, from July 10th, 2025, through July 12th, 2026 | photo by Jonathan Dorado

Noritaka Minami. B1004 I, from the series 1972 (2010–22). 2011. archival pigment print, 20 × 25″ (101.6 × 127 cm) image © Noritaka Minami

Noritaka Minami. A503 I, from the series 1972 (2010–22). 2017. archival pigment print, 20 × 25″ (101.6 × 127 cm) image © Noritaka Minami

‘A twenty-first century home that thoroughly pursues functionality: Nakagin Capsule Manshon (Ginza),’ cover of promotional brochure for the Nakagin Company, 1971. image courtesy Tatsuyuki Maeda / The Nakagin Capsule Tower Preservation and Restoration Project, Tokyo, Japan

Kiyoshi Awazu. poster included with Kurokawa Kishō no sakuhin (Kisho Kurokawa’s work) (Tokyo: Bijutsu shuppan-sha, 1970). 1970. screenprint, 40 3/16 × 28 9/16″ (102 × 72.5 cm). image © Kiyoshi Awazu

project info:

name: The Many Lives of the Nakagin Capsule Tower

museum: Museum of Modern Art (MoMA) | @themuseumofmodernart

on view: July 10th, 2025 — July 12th, 2026

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Benthem Crouwel Architects and Snøhetta have teamed up to complete a hybrid civic complex in the Netherlands, recently revealing its gently sloping design. The upcoming House of Culture and Governance in Delfzijl will bring together a theater, library, and town hall under one roof. Its form is conceived to respond directly to its urban and cultural context. A soft curve along the facade embraces the public square, while the structure gently tapers into the existing street pattern on the opposite side. The roofline also traces a rhythmic silhouette against the sky, undulating ‘like a piece of music,’ says Saartje van der Made, architect and partner at Benthem Crouwel.

The aim, she notes, is to create a building that feels ‘rooted in the landscape and community of Eemsdelta.’ In line with this, the project is the result of a fast-paced but deeply participatory design process, taking into consideration input from future users, local residents, council members, and youth groups.

all images courtesy of Benthem Crouwel Architects and Snøhetta

Snøhetta & Benthem Crouwel Architects consider local identity

The teams at Snøhetta (see more here) and Benthem Crouwel Architects (see more here) looked closely at Delfzijl’s historical and urban fabric when shaping the building’s massing and material expression. The final design aims to fit seamlessly into its surroundings while also standing out as a contemporary civic landmark. The surrounding area will also be significantly upgraded as part of the project, continuing the municipality’s recent efforts to revitalize the urban fabric, extending from the city beach and boulevard to Damsterkade and Vennenplein.

The House of Culture and Governance is intended to function as a civic and social hub, designed with and for the community. This focus was integral to its identity, as its program has evolved from an initial plan for a theater and library into a multifunctional facility where people can meet, learn, and engage with culture and government. Notably, the heart of the building will be a shared central space, where the library is prominently located and conceived as an open and accessible environment. While the first phase of the design has been completed, the City Council of Eemsdelta is expected to finalize the structural design by October 2025.

a soft curve embraces the public square, while the structure gently tapers into the street pattern on the other side

the roofline also traces a rhythmic silhouette against the sky, undulating ‘like a piece of music,’

project info:

name: House of Culture and Governance
architect: Snøhetta | @snohetta, Benthem Crouwel Architects | @benthemcrouwelarchitects
location: Molenbergplein, Eemsdelta region, the Netherlands

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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

The post meet corcelain, a series of ceramic cups with customizable 3D printed feet and screws appeared first on designboom | architecture & design magazine.

Enel, a global leader in renewable energy, launched ‘WinDesign,’ an international contest where talented professionals and students, in the domain of engineering, architecture and design, are invited to imagine and design new wind turbines. The goal is to develop turbines projects that blend more seamlessly into the landscapes that host them, thereby supporting a wider role for them in the energy transition.

A Contest for Win(d)-designers

Wind turbines are widely recognized as a symbol of clean, renewable energy; nevertheless, there is growing interest in reimagining their design to further harmonize with the surrounding landscape. In response to this challenge, Enel is launching a forward-thinking initiative aimed at transforming the visual and functional design of next-generation wind turbines. The WinDesign contest seeks to engage top-tier talent from around the world, offering financial incentives to encourage innovative solutions. The competition is open to seasoned professionals in architecture, engineering, and design, as well as to companies, start-ups, research institutions, universities, and students.

The Quest for “Innovability®”

The current competition is being managed through the Open Innovability Enel’s website, a platform specifically set up to attract innovative ideas from outside the company. The word Innovability®, combines innov-ation and sustain-ability, thereby highlighting the two essential ingredients to build tomorrow’s energy world.

Tech specs, and more

The competition calls for wind turbines that of course comply with the industry’s technical regulations and standards: three-blade rotor turbines, combining the most efficient and suitable solution with the least environmental impact. But the contest asks for more: in addition to their innovation and sustainability, proposals will be evaluated in terms of their design, technical and economic feasibility.

running tor rewards

The competition will be divided into two phases.

In Phase 1, participants-whether individuals or teams-are invited to submit their preliminary ideas on the Open Innovability platform by August 30, 2025. In September, Enel will announce the selected participants who will advance to Phase 2. Each shortlisted proposal at this stage will receive a reward of €5,000.

Phase 2 will remain open until November 29, 2025, and will focus on more detailed submissions, including full technical and economic feasibility studies. A jury-composed of academic experts and Enel representatives-will evaluate the final proposals, with winners to be announced between December 2025 and January 2026.

The first-place winner will receive €250,000, the second-place entry €150,000, and the third-place project €50,000. There will also be special awards of €15,000 for the best projects in terms of Design, Technical and Economic Feasibility, and, needless to say, Innovation and Sustainability. However, it is not possible for any single proposal to receive more than one award.

Beyond the contest

In addition to looking for brilliant, innovative ideas for the wind turbine of tomorrow, Enel is also keen to highlight innovation as the driver of the energy transition, to show that technology and sustainability must go hand in hand, and to demonstrate that global challenges, like the decarbonization process, can only be met by working together.

Enel SpA generates, delivers, and sells energy in 28 countries on five continents, serving 55 million customers, while 72% (63 GW out of 87 GW) of its installed capacity comes from renewable sources: not only wind, but also hydroelectric, photovoltaic, geothermal power plants, and storage plants. Enel is also leading the way in electric mobility, with some 29,600 public charging stations worldwide.

Guest Feature by Tatevik Avetisyan / ArchDaily

The post spin it to win it: deadline extended for the global winDesign challenge appeared first on designboom | architecture & design magazine.

Located on a coastal stretch in Sicily, the Patio House by SOLUM Studio is set within a narrow, elongated plot that extends toward the sea and ends on a rocky cliff. The house fully occupies the buildable area of the site, responding with a compact yet layered architecture that privileges privacy and orientation over outward display.

At the heart of the project is a series of thick, continuous walls that define both interior and exterior spaces. These structural elements serve to organize movement and visual rhythm along the building’s length. Five independent bedrooms and a sea-facing living area are spaced along the perimeter, each arranged to maximize autonomy and visual quiet.

Full-height walls form intimate patios adjacent to each bedroom, introducing natural light while shielding the interiors from direct views. The living spaces, in contrast, are defined by openness. At the end of an internal open-air corridor, large sliding windows retract fully into the masonry, giving the living room a direct and unobstructed relationship with the horizon.

images © Nicolò Panzeri

solum studio curates A Sequence of Outdoor Rooms

Circulation throughout the Patio House unfolds through a narrow, uncovered corridor conceived by the architects at SOLUM Studio as a private alley. This outdoor path connects the bedrooms to the shared living spaces in a progression of tight passages and wider moments of pause. The route ends at the sea, turning movement into a spatial narrative that is at once choreographed and visually understated.

Adjoining the kitchen, another patio and flooded with daylight and houses a staircase that leads to the roof terrace. From above, the plan reveals itself as a maze of solids and voids, a geometric interplay that modulates openness and enclosure across the floor-plate. The roof terrace offers panoramic views of the Sicilian landscape and draws attention to the relationship between the house and its cliffside context.

the Patio House is located in the province of Syracuse on the coast of Sicily

an intricate floorplan realized with simple materials

The material palette by SOLUM Studio reinforce the sense of groundedness throughout the Patio House. Walls are rendered in textured earth-toned plaster, while warm-toned concrete floors extend the chromatic language indoors. The outdoor terraces are constructed from dry-stacked Noto stone, a traditional local material, and the pool is finished in lava stone, visually anchoring it in the region’s volcanic geology.

The landscape design reinforces this continuity, allowing native vegetation to grow in a restrained but intentional way. The green areas act as buffers between built elements, strengthening the sense of a secluded compound while avoiding the appearance of manicured artifice.

Patio House reads as an abstract interpretation of vernacular forms. Its façade, largely closed and windowless, reveals little of the spatial richness inside. This reticence is deliberate, a way of engaging with the landscape through orientation, materiality, and inner openness rather than panoramic gesture.

it occupies a narrow plot that stretches from the access road to a seaside cliff

the design is structured by a sequence of thick walls that shape both rooms and patios

each bedroom opens onto a private patio enclosed by full-height walls

sliding windows in the living room fully retract to frame the coastal horizon

a second patio adjacent to the kitchen includes a stair to the panoramic rooftop

the material palette evokes a contemporary take on vernacular architecture

project info:

name: Patio House

architect: SOLUM Studio | @solum.studio

location: Avola, Sicily, Italy

design team: Lorenzo Campagna, Filippo Gismondi, Mattia Agates, Alessandro Loda
completion: 2025
photography: © Nicolò Panzeri | @nicolopanzeri

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Anadu Pine Villa is situated in a secluded valley a two-hour drive from Shanghai, China, enveloped by pine forests and shielded by a mountain draped in bamboo. This boutique resort by Studio8 Architects comprises three elegantly designed guest suites, complemented by a refined wine and cigar bar. In line with Anadu’s philosophy of ‘Find yourself in nature,’ the practice’s objective — from planning to architectural design — was to showcase and harmonize with the unique beauty of the forests.

The buildings are thoughtfully positioned along the valley’s contours, each oriented to capture unique views. At the entrance, a bamboo-textured, concrete and charred black wood L-shaped gate harmoniously merges with the landscape, welcoming guests with open arms while embracing the greenery on one side.

Anadu Pine Villa is enveloped by pine forests and shielded by a mountain draped in bamboo

studio8 architects’ design echoes the old structure’s character

Originally, an abandoned old house stood where Anadu Pine Villa’s wine house now sits. To honor the site’s history, Shanghai-based Studio8 Architects’ new building echoes the old structure’s gabled roof, redesigned into a four-sloped form that creates a harmonious, tranquil scale from every angle. In pleasant weather, glass doors can be fully opened to integrate the plaza into the indoor space. The walls are entirely glass, maximizing the views, while the northeast dining area faces a quieter hillside, and the semi-enclosed lounge provides a more private atmosphere.

A curved bamboo-textured wall leads guests from the wine house to the guest area, where the hard ground transitions into soft gravel paths, evoking a vacation atmosphere. At the path’s end, a small plaza provides a moment of pause before entering the guest area, enhancing the sense of seclusion. The three minimal standalone structures sit quietly in the valley, surrounded by the forest. Facing staggered walls that obscure the rear of the space, guests are invited to imagine what lies beyond.

two concrete slabs face the valley with no obstructions

the concrete villas frame views of the valley

As guests walk through the courtyard and winding paths, they experience a series of mysterious moments before reaching the guest rooms. Upon entering, the view dramatically opens up — two concrete slabs face the valley with no obstructions. The interior flows seamlessly with 270-degree panoramic views, offering a fully immersive experience. The rooms are embraced by nature on three sides, each framing its own unique view. To keep the structure minimal, Studio8 Architects cast the buildings from exposed concrete with integrated beams and embedded piping, ensuring no visible ceiling beams, lighting fixtures, or suspended structures. The clean concrete slabs unify the space. The floor slab floats above the valley, respecting and connecting with the terrain, while appearing to hover above it.

Through the glass doors, each room opens onto a private backyard in the pine forest — a floating outdoor deck, offering a further connection to the valley. The eaves extend into a shaded area, blending the indoors with nature. Further, the landscape design softens the boundaries between the estate and its surroundings, using native valley plants to integrate seamlessly into the environment. Discreet lighting, resembling fireflies, dots the pathways and grounds, enhancing the serene, secluded atmosphere.

the boutique resort comprises three elegantly designed guest suites, complemented by a refined wine and cigar bar

Much of the woodwork is crafted from reclaimed wood sourced from local markets, with 80% of the pieces handcrafted by skilled artisans. This repurposed wood is meticulously shaped to harmonize with the scale and spirit of its surroundings, subtly enhancing the preservation and continuation of local craftsmanship. The estate’s design balances privacy with openness, providing a joyful and surprising spatial experience. With just one valley and three exclusive retreats, whether for a gathering with friends or a solo escape, the serene power of the pine forest and the architectural simplicity create a harmonious connection. The buildings quietly retreat into the landscape, offering a peaceful, secluded getaway.

to honor the site’s history, the new building echoes the old structure’s elements

Studio8 Architects thoughtfully positions each building along the valley’s contours

much of the woodwork is crafted from reclaimed wood sourced from local markets

the interior flows seamlessly with 270-degree panoramic views, offering a fully immersive experience

through the glass doors, each room opens onto a private backyard in the pine forest

the estate’s design balances privacy with openness

discreet lighting, resembling fireflies, dots the pathways and grounds, enhancing the secluded atmosphere

situated in a secluded valley a two-hour drive from Shanghai, China

project info:

name: Anadu Pine Villa
architect: Studio8 Architects | @studio8.architects

location: China

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