KOGAA’s redesign of a municipally owned ground-floor unit in Brno’s historic center establishes a new model for tourist information facilities as adaptable civic infrastructure. The project, TIC Brno, is situated on Zámečnická Street, a high-footfall pedestrian corridor connecting Náměstí Svobody and Dominikánské náměstí, and engages with both heritage constraints and contemporary urban needs. More than a point of orientation, it functions as a cultural interface: hosting micro-exhibitions, showcasing locally made products, and offering space for smaller events and launches.

Externally, the intervention introduces a new travertine stone base and a lightweight signage hood that collectively bring cohesion to a fragmented facade. These elements were developed in dialogue with preservation authorities, including the National Institute of Historical Preservation and Brno’s Department of Historical Preservation, and were designed for gradual implementation to minimize disruption to surrounding active units. The design aligns with the ‘Manual of Good Practice for Advertising and Marking of Establishments’ (2018), integrating signage into a unified and restrained visual language. In a visually saturated urban context, this approach reinforces architectural clarity and public legibility. The travertine base references materials found throughout Brno’s architectural history, while the hood introduces a lighter counterpoint, reducing visual noise and offering a calm interface at street level. Openings along the facade were adjusted to reestablish transparency and align with the building’s original tectonic logic, contributing to a more coherent relationship between interior and exterior.

all images by BoysPlayNice

Chromatic panel structure fabricates TIC Brno’s Interior

Inside the compact footprint, the spatial organization centers around a single multifunctional insert that consolidates core functions: reception, workspace, storage, product display, and public interaction zones. Designed and fabricated by KOGAA Studio in collaboration with DURO Design, a local metalwork studio, the insert is composed of iridescent titanium-clad panels applied using a Physical Vapor Deposition (PVD) process. This surface treatment produces subtle chromatic shifts in response to daylight, creating a nuanced, dynamic interior quality.

The monolithic insert also acts as a spatial device, structuring circulation and defining user interactions. Lowered portions accommodate staff and visitor desks, recessed volumes serve as display areas, and integrated storage maintains functional efficiency. A bespoke connector system developed by DURO ensures seamless assembly while preserving the sculptural continuity of the installation.

a single multifunctional insert defines the compact interior

Balancing Heritage and Change in Brno’s Civic Landscape

Beyond its informational role, TIC Brno serves as a venue for micro-exhibitions, product showcases, and smaller cultural events. The programmatic flexibility of the space allows it to evolve in step with the city’s cultural landscape, supporting Brno’s strategic goals of promoting local creativity and participatory engagement. Its content is curated in collaboration with local designers and institutions, maintaining relevance through ongoing rotation.

The project demonstrates how limited spatial interventions can carry broader urban significance. By combining material precision, contextual responsiveness, and programmatic adaptability, the design addresses the intersecting demands of heritage preservation, civic representation, and everyday usability. The juxtaposition of the ephemeral titanium finish and the grounded travertine base encapsulates the architectural intent to balance permanence with transformation. TIC Brno is part of a wider urban strategy that positions Brno as a city rooted in cultural authenticity and civic innovation. Although modest in scale, the project contributes to the redefinition of public infrastructure, establishing a replicable approach to civic architecture that prioritizes design quality and urban continuity.

iridescent panels shift color with changing daylight conditions

the monolithic insert organizes circulation and spatial use

integrated volumes accommodate display, storage, and workspaces

the titanium-clad insert was fabricated by local studio DURO Design

lowered surfaces support staff and visitor interaction

the PVD titanium coating introduces a subtle chromatic variation

the insert balances sculptural form with functional clarity

programmatic adaptability allows the space to evolve over time

travertine stone base and signage hood unify the fragmented street facade

openings were adjusted to restore transparency and align with original facade rhythms

project info:

name: TIC Brno: The Civic Counter
architect: KOGAA | @kogaa_studio

location: Zámečnická 90/2, 602 00 Brno, Czech Republic

lead architects: Tomáš Kozelský, Viktor Odstrčilík, Alexandra Georgescu

design team: Kateřina Baťková, Josef Řehák, Markéta Landová, Nikola Linhartová, Kristián Zámečník

client: TIC Brno, Centrála cestovního ruchu – Jižní Morava

bespoke construction and finish: DURO DESIGN

illustrations: Laura Emilija Druktenyte

passport: Plancraft 

consultant: Michal Doležel, Veronika Rút

lighting supplier: London Light

photographer: BoysPlayNice | @boysplaynice

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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The Czech Pavilion at EXPO 2025 Osaka, designed by Apropos Architects, is structured around the concept of a continuous spatial spiral. The pavilion is composed primarily of wood and glass and includes a 260-meter visitor path that gradually ascends through four levels, ending at an observation deck 12 meters above ground level. The form references traditional Czech architectural elements and responds to the Expo’s theme of ‘life energy’ through its physical and conceptual emphasis on movement and transformation.

The translucent glass facade functions both as an enclosure and a light-modulating surface. Made of artistic glass plates, it draws on the Czech tradition of glassmaking while facilitating varied lighting conditions throughout the day. These changes affect the interior experience and contribute to the atmosphere of the exhibition spaces. At the building’s core lies a multifunctional cylindrical auditorium, a black box space structurally and programmatically entwined with the surrounding gallery. Within, large-scale works by Czech creatives, including Rony Plesl, Jakub Matuška (Masker), Lasvit, and Lunchmeat Studio, construct a layered visual narrative in dialogue with the pavilion’s spatial choreography.

all images by BoysPlayNice

Cross-laminated timber and glass plates shape the exterior

For the structural system, Apropos Architects’ design team uses cross-laminated timber (CLT) panels made from spruce. These panels form the primary load-bearing framework, including the embedded staircases and elevator shaft. Horizontal slabs connect and support both the outward-facing exhibition spiral and inward-facing balconies of the auditorium. The full structure reaches a height of 16 meters and is segmented into 36 parts. The lower levels form a circle, gradually transitioning into an elliptical footprint at higher elevations. The interior finishes emphasize exposed wood elements and restrained material palettes. A skylight at the roof level provides views of the auditorium from above, while large-scale glass openings allow for outward views of the surrounding sea and cityscape. Accessibility is ensured via a lift located on the western side of the structure. The architectural design facilitates physical circulation, passive environmental modulation, and integration of exhibition content, aligning with the Expo’s broader thematic focus.

The pavilion’s external space is finished with wooden decking and integrated seating areas. These outdoor elements accommodate resting and gathering for both visitors and passersby. Inside the pavilion, the gallery features a sequence of large-scale artistic installations. These include a crystal sculpture by Rony Plesl, a continuous wall painting by Jakub Matuška (Masker), and a multimedia installation by Lunchmeat Studio. Additional works include a bronze sculpture by Alfons Mucha and a glass piece titled ‘Herbarium’ by Lasvit.

spiral path wraps around the pavilion, guiding visitors through four levels

pavilion structure composed of cross-laminated timber and glass

spiral design reflects the pavilion’s central concept of continuous motion

large artistic glass plates form a translucent facade

the glass facade references Czech glassmaking traditions

a 260-meter route leads to a rooftop deck 12 meters above ground

wall painting by Jakub Matuška follows the ascending path

skylight above auditorium introduces daylight and vertical views

art installations integrate with architectural flow

crystal sculptures by Rony Plesl displayed inside the gallery

spiral walkway interacts visually with the auditorium core

wooden exterior decking and benches support outdoor use

pavilion footprint shifts from circular to elliptical across levels

project info:

name: Czech Pavilion EXPO 2025 Osaka
architect: Apropos Architects | @apropos.architects

location: Osaka, Japan

photographer: BoysPlayNice | @boysplaynice

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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Amid growing interest in sustainable construction, CHYBIK + KRISTOF is advancing the position of timber architecture in Central Europe. Titled Forestry in the Forest, the project will serve as the new headquarters for the Czech National Forestry in Hradec Králové and become the Czech Republic‘s largest wooden structure in an effort to shift industry norms and position timber as a viable material for large-scale development.

The complex is envisioned as a cluster of five elongated timber volumes — each serving a different department — connected through a central hall. As the modules extend outward, drawing views of the foliage in, planned courtyards are woven through providing additional functional and transitional spaces that strengthen the connection between the offices and the surroundings. Within, a multidimensional ‘learning landscape’ is configured, comprising workspaces that foster both open and quieter collaboration.

all images courtesy of CHYBIK + KRISTOF

CHYBIK + KRISTOF embrace timber’s efficiency and durability

While wooden buildings are common in Northern and Western Europe, the Czech Republic has been slow to adopt timber on this scale, largely due to regulatory constraints. CHYBIK + KRISTOF’s use of timber here, aligned with the  Lesy sobě (Forests to Yourself) ethos embraced regionally, seeks to challenge that hesitation. The approach urges the country to capitalize on its own natural resources rather than exporting raw materials abroad in order to support the domestic economy while reducing carbon emissions linked to transportation.

Forestry in the Forest’s structure then makes use of a combination of timber construction methods combined with a pragmatic yet functional program to demonstrate wood’s capacity to deliver efficient, durable, and engaging design solutions. ‘The walls are constructed in the two-by-four system; the ceilings, horizontal slabs, built-in subcenters and railings are made of CLT panels; and for the large-span structures wooden glued trusses are used,’ says Jan Stolek, Design Director at CHYBIK + KRISTOF. To further reduce the structure’s carbon footprint while enhancing internal comfort, the architects have integrated passive design strategies, including natural ventilation and daylight optimization. Smaller details supplement this commitment to sustainability, for instance with the inclusion of rubber flooring, self-adjusting LED lighting systems, and green roofs that retain rainwater for reuse in the garden atriums.

CHYBIK + KRISTOF to build Forestry in the Forest

the complex is envisioned as a cluster of five elongated timber volumes

set to become the Czech Republic’s largest wooden structure

office spaces are configured into a multidimensional ‘learning landscape’

as the modules extend outward, drawing views of the foliage in, planned courtyards are woven through

green roofs retain rainwater for reuse in the garden atriums

project info:

name: Forestry in the Forest

architect: CHYBIK + KRISTOF | @chybikkristof

location: Czech Republic

The post CHYBIK + KRISTOF’s ‘forestry in the forest’ to be czech republic’s largest timber structure appeared first on designboom | architecture & design magazine.

Petr Hájek ARCHITEKTI has reimagined the atrium of the Imperial Spa in Karlovy Vary, the Czech Republic, as a multifunctional concert hall. Equipped with adaptable acoustics and cutting-edge scenic technology, the new venue breathes new life into the 19th-century architectural landmark. Inspired by the building’s original mechanism for processing and distributing peat, the hall functions as a ‘musical transformer,’ capable of adjusting its spatial and acoustic properties to suit various events — from concerts and dance performances to conferences and film screenings.

The hall’s adaptability is its defining feature. A retractable orchestral shell directs sound towards the audience, while rotating triangular panels above the stage can reflect, absorb, scatter, or direct sound energy. Wooden panels embedded in a steel framework on the orchestra floor serve as resonators, enhancing the harmony between space and performance.

all images courtesy of Petr Hájek ARCHITEKTI

Petr Hájek ARCHITEKTI integrates ‘musical transformers’

The historic Imperial Spa, completed in 1895, was remarkable in its time for both its architecture and spa technologies. The building featured an advanced system for processing and distributing peat, which allowed up to 2,000 guests per day to utilize its 100 baths. At the turn of the 20th and 21st centuries, it was used only occasionally for cultural events and gradually fell into disrepair. A meaningful purpose was sought to justify the costly reconstruction, with the situation persisting even during the preparation phase for the building works. Eventually, the investor decided to transform the Imperial Spa into a cultural institution, with a concert and multifunctional hall as its central feature.

This hall was located in the structure’s core, within the atrium, which had previously functioned as a utilitarian machine room with the peat conveyor. The historical ‘peat machine’ became the inspiration for Petr Hájek ARCHITEKTI’s design. Since the restoration of spa operations was not planned and only a few cast-iron columns from the original structure had been preserved, there was an opportunity to introduce a new ‘machine’.

Petr Hájek ARCHITEKTI reimagines the atrium of the architectural landmark

adaptable acoustics and cutting-edge scenic technology

The Czech architects also compare the hall to a Swiss army knife, offering a variety of functions, equipped with elements that adjust reverberation time, as well as the direction and intensity of sound energy. The orchestral shell features a retractable screen that reflects sound towards the audience, while rotating triangular panels above the stage can reflect, absorb, scatter, or direct sound. Wooden panels on a steel framework in the orchestra’s floor serve as resonators, harmonizing with the musicians’ instruments.

Further, a heavy blackout curtain allows the space to be completely darkened and acoustically dampened. All scenic and acoustic technologies are integrated into the hall’s structure, while ventilation and fire safety systems are housed in a block above the main staircase roof. The construction of the hall was challenging, the architects say, as large structural components could not be transported into the atrium. Thus, all parts had to be assembled from smaller elements transported through an opening in the roof.

from imperial spa to multifunctional concert hall

inspired by the building’s original mechanism for processing and distributing peat

rotating triangular panels above the stage can reflect, absorb, scatter, or direct sound energy

a retractable orchestral shell directs sound towards the audience

a splash of red enlivens the historic setting

the space hosts various events, from concerts and dance performances to conferences and film screenings

the hall functions as a ‘musical transformer’  capable of adjusting its spatial and acoustic properties

wooden panels embedded in a steel framework on the orchestra floor serve as resonators

the Czech architects also compare the hall to a Swiss army knife

only a few cast-iron columns from the original structure had been preserved

project info:

name: Concert Hall in the Imperial Spa

architect: Petr Hájek ARCHITEKTI | @petr_hajek_architekti
design team: Petr Hájek, Martin Stoss, Nikoleta Slováková

location: Karlovy Vary, Czech Republic

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: ravail khan | designboom

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Architecture studio ika.architekti transforms salvaged materials into Upcycled Sauna, a functional six-square-meter sauna, designed as a weekend DIY project and located inside a garden in Brno, Czech Republic. The Upcycled Sauna began with a simple goal: to create a space for relaxation using second-hand finds. Tomáš Dvořák and Lenka Bažík, the duo behind ika.architekti, collected leftover materials from construction sites, friends, and local sources. The foundation is built with wooden sleepers, while the load-bearing structure comprises wooden pallets reinforced with hardware plates and brackets. Mineral wool and cement-bonded particle boards form the flooring, which was pieced together from various offcuts.

all images by Tomáš Slavík, courtesy of ika.architekti

reclaimed wood adds warmth to the structure

The Brno-based architects took a hands-on approach, cleaning and stuffing raw sheep wool from a local shepherd into the walls and ceiling for insulation. Reflective foil and facade foil provide additional thermal protection. The exterior is clad with a wooden grid overlaid with second-hand corrugated fiberglass panels, arranged like shingles. Curved corners soften the angular form of the ika.architekti’s structure, adding a sleek detail to its utilitarian design.

Inside, the sauna features wooden planks for a warm, natural aesthetic, while cement-bonded particle boards line the area behind the stove for enhanced heat resistance. The roof, constructed from leftover beams and pallets, slopes gently to facilitate rainwater drainage. Every element is crafted with resourcefulness in mind, showcasing the potential of upcycled materials.

ika.architekti transforms salvaged materials into Upcycled Sauna

the functional six-square-meter sauna was designed as a weekend DIY project

located inside a garden in Brno, Czech Republic

ika.architekti, collected leftover materials from construction sites, friends, and local sources

creating a space for relaxation using second-hand finds   

the load-bearing structure comprises wooden pallets reinforced with hardware plates and brackets

mineral wool and cement-bonded particle boards form the flooring

stuffing raw sheep wool into the walls and ceiling for insulation

reflective foil and facade foil provide additional thermal protection

project info:

name: Upcycled Sauna
architect: ika.architekti | @ika.architekti
location: Brno, Czech Republic
dimensions: 2.3 m x 2.5 m x 2.5 m
usable floor area: 4 square meters
built-up area: 6 square meters

lead architects: Tomáš Dvořák, Lenka Bažík
photographer: Tomáš Slavík | @tomasslavik_photography

The post second-hand materials shape compact sauna by ika.architekti inside czech garden appeared first on designboom | architecture & design magazine.

In 2024, the architectural world has brought forth a thought-provoking array of residential projects that redefine how we live and interact with our environments. Whether it’s a house without angles in Prague or a toy-laden facade in India, designboom’s top 10 private houses of the year celebrate diversity with a particular penchant for indoor-outdoor connectivity and a balance between privacy and openness.

Emerging themes unite these explorations — some subtly rooted in their landscapes and vernacular, with others boldly adopting sculptural approaches. Fran Silvestre Arquitectos carves a geometric home into the contours of a Spanish hillside, while Iván Bravo draws from poetic writings to create a concrete monolith in Chile. Sustainability efforts too have introduced some noteworthy architectural expressions, as with nendo’s integration of CO2 absorbing concrete blocks that shape a house that breathes along with its woodland setting. Read on to learn more about our favourite projects of the year as we continue our annual BIG stories roundup.

NENDO SCREENS JAPANESE HOME WITH WORLD’S FIRST CO2-ABSORBING CONCRETE BLOCKS

image © Masahiro Ohgami

Japanese practice nendo introduces dynamic screening walls to a private residence in Karuizawa, Nagano, using CO2-SUICOM, an eco-friendly carbon removal concrete. Along the road lies the distinctive triangular property extending 110 meters in length, pushing the design studio to concoct a creative solution for securing privacy from passing traffic and pedestrians while acting as a foil for basking in the natural surroundings.

With the stacking of concrete, nendo orchestrates the line of sight by adjusting the angles of each block, fine-tuned by occasionally overlapping two rows of CO2-SUICOM. The view is set in one direction in areas with a single row. With two rows, the view on the other side opens up only when the angles in the front and back rows align; otherwise, the view gets obstructed.  

read more here

CHRISTIAN KEREZ’S HOUSE OKAMURA UNFOLDS AS A CLUSTER OF CIRCULAR BRICK VOLUMES IN CZECHIA

image © Maxime Delvaux

In Prague 6, within close proximity to Villa Müller by Adolf Loos, architect Christian Kerez completes House Okamura as a clear example of a very traditional, almost archaic method of constructing brick ‘circles’. The project, designed as an aggregate of column-like volumes, hosts three apartments with 39 rooms, combined. Kerez omitted dividing walls from the interior layout, making the outline of every single space visible from the outside. More so, thanks to their unique configuration, the apartments shift positions from floor to floor so that rooms in the vertical shafts belong to different owners. All spaces within one apartment of House Okamura are open to each other, with the different sizes of the overlapping circular rooms creating unpredictable changes in the direction of these openings.

read more here

OFIS UPLIFTS 1930S MODERNIST DWELLING WITH A CURVED AND FLOATING PAVILION IN SLOVENIA

image © Janez Martincic

Slovenian practice OFIS Architects takes us to the former suburbs of Ljubljana, where the curious Ring House finds shelter amid middle-class villas erected between the wars. The project revitalizes a 1930s modernist dwelling with a light and floating pavilion that follows the cubic building’s original curvatures. While touring the house, one notices semicircular fringes and subtle detailing extending towards the garden, as well as a slanted roof that crowned the originally flat top following a 1980s intervention. In light of that, OFIS sought to restore the building’s original qualities. The first step involved omitting the added roof and introducing a smaller terrace that effortlessly completes the existing volume and features. 

read more here

WALLMAKERS WEAVES RECYCLED PLASTIC TOYS INTO THE EARTHEN FACADE OF THIS HOME IN INDIA

image © Syam Sreesylam

Responding by the ubiquitous presence of toys and the lingering pain of stepping on a LEGO brick, Wallmakers‘ Toy Storey Residence in Vadakara, North Kerala, reimagines plastic waste into a sculptural and sustainable home. ‘Have you ever stepped on a LEGO block?’ asks Vinu Daniel, lead architect at Wallmakers. This seemingly ordinary experience sparked a deeper exploration of the overuse of plastic, particularly in toys, and its potential for repurposing. The resulting home takes shape with a complex, latticework facade of earthen tiles which integrate over 6,200 discarded toys. ‘Plastic has managed to snake its way into almost every aspect of our daily lives,’ Daniel observes, highlighting the stark contrast between traditional wooden toys and the current reliance on non-biodegradable materials.

read more here

FRAN SILVESTRE SHAPES CASA SABATER BY ITS SLOPING COASTAL SITE IN SPAIN 

image © Fernando Guerra

This newly completed home has been designed by Fran Silvestre Arquitectos to descend gradually down a grassy hillside in Alicante, Spain. Casa Sabater’s origins lie in its thoughtful integration with the environment. Departing from the conventional, familiar housing typology, the building unfolds with a clear geometry shaped by the landscape. This coupled with the slender proportions of the construction, extends the dwelling’s perimeter, giving rise to a series of terraced courtyards that lend a unique living experience proudly connected with the outdoors.

The home is designed to navigate the hillside and the existing trees on the site, furthering drawing inspiration from terraces seen commonly among rural landscapes. This logic thus takes shape as an aggregated system ready for potential expansion based on the occupant’s needs.

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STUDIO COCHI ARCHITECTS’ HOUSE IN NISHIZAKI STANDS AS A WINDOWLESS CONCRETE BLOCK

image © Studio Cochi Architects

Designed for a couple and a child, House in Nishizaki by Studio Cochi Architects sits as a concrete monilith in a newly developed residential area in the southern part of Okinawa‘s main island, which was reclaimed by landfill. The site is surrounded by a mix of commercial, residential, and industrial facilities, requiring the architects to find a balance between the chaotic landscape with Okinawa’s natural charm while addressing noise, dense housing, and the constant threat of typhoons to create a comfortable indoor environment. 

With that in mind, the client requested a home that acts as a visual buffer from the surrounding area yet brings in as much daylight and wind as possible. Studio Cochi Architects translates these wishes by crafting a rectangular concrete building that matches the shape of the site.

read more here

LIJO RENY FRONTS THE STOIC WALL RESIDENCE WITH FLUTED TERRACOTTA BLOCKS IN KERALA

image © Turtle Arts Photography

The Stoic Wall Residence in Kadirur, Kerala, was built by LIJO RENY architects for a hot, humid climate with heavy monsoon rains. The dwelling with terracotta blocks hosts courtyards, landscaped areas, and biophilic design elements that connect the house to its surroundings, imbuing its occupants with a holistic sense of wellbeing.

The extensive footprint, exceeding 680 square meters, carefully accommodates the site’s irregular contours, existing trees of varying sizes, a subtle northeastern slope, and accessibility from two main roads. This intricate interplay of natural and physical elements, along with considerations like solar path and seasonal wind patterns, eventually informed the precise positioning of the house.

read more here

‘NEST HOUSE’ FLOATS IN VIETNAM WITH BREEZY, MINIMALIST DESIGN BY ARCHITECT HO KHUE

image © Trieu Chien

Hòa Khánh Nam, Vietnam, is now home to the recently completed Nest House, a project by architect Ho Khue that embodies the dreams of a young couple. This new residence is designed to suit the clients’ professional aspirations while serving as a welcoming, plant-filled retreat for their children to grow in the city.

The project stemmed from the needs of the young clients, a journalist and a teacher, who had outgrown their existing one-story home and sought a more inspiring space that would fuel their creativity and productivity. The artistic husband, who shared his passion for music with the architect, particularly resonated with a heartwarming moment, a piano duet with his daughter. This scene sparked the concept of a ‘bird’s nest,’ a warm environment where the family could grow and pursue their passions, and so the concept of a welcoming ‘grove’ emerged.

read more here

MONOLITHIC ‘HUMO HOUSE’ RISES IN RURAL CHILE WITH FOLDING ARCHITECTURE BY IVÁN BRAVO

image © Marcos Zegers

Humo House completed by Iván Bravo in collaboration with associate architect Martín Rojas and Juan Oyarzún, is located in the rural landscape of Futrono, Chile. The inspiration for this unique residence comes from the verses of Pablo Neruda’s Crepusculario: ‘That nothing binds us / that nothing unites us.’ These lines resonate deeply with the couple for whom the house was built, who despite having a stable relationship, had always lived in separate but nearby apartments in Santiago, Chile.

The house’s exterior and interior are unified by the use of rough wooden slats, creating a cohesive spatial sequence. The pronounced roofs enhance this unity, leading from a spacious living room to the bedrooms. These rooms are symmetrically positioned at the end of a hallway, allowing the inhabitants to enjoy both independence and the feeling of jointly forming their residence.

read more here

CURVILINEAR SOLAR ROOFS OUTLINE POSITIVE ENERGY HOUSE IN COASTAL SHENZHEN

image © People’s Architecture Office

Sited in the Longgang District of Shenzhen, the Positive Energy House is inspired by nature’s resilience and rejuvenation. People’s Architecture Office took on the project back in 2021, transforming an existing dwelling into a net-positive energy building, powered by layers of solar roofs. This new renovation renovation involved adding two additional layers to the existing structure, enveloping it with a well-sealed and insulated skin for better energy efficiency. This new layer creates an interstitial atrium space on the south side of the Positive Energy House, beyond the original building but within the insulated shell. Enclosed with a triple-glazed glass facade, the atrium incorporates operable windows and doors for passive ventilation during mild weather.

read more here

see designboom’s TOP 10 stories archive:

2023 — 2022 — 2021 — 2020 — 2019 —  2018 — 2017 — 2016 — 2015 — 2014 — 2013

The post TOP 10 private houses of 2024 appeared first on designboom | architecture & design magazine.

Czech studio Malý Chmel has completed a new residential project, the House with Seven Floors, designed for a young family with two children. The home is designed to reflect the active lifestyle of its residents, who are passionate athletes and lovers of contemporary architecture. The design challenge lay in creating a functional and complex space on a limited budget, resulting in a concrete ‘cave of light’ that balances comfort, playfulness, and affordability.

The house is built on a sloped suburban lot, offering expansive views of the surrounding landscape. Its irregular pentagon footprint, measuring approximately 63 square meters, sets it apart from traditional neighboring structures. The vertical orientation maximizes space efficiency, leaving ample room for a garden. This design creates a visual sense of spaciousness, despite the compact physical footprint. The structure follows the sloping terrain, allowing the house to adapt to its site while maintaining a volume informed by its interior spaces.

images © Alex Shoots Buildings

Minimalist, Raw Interiors across seven floors

The architects at Malý Chmel designs its House with Seven Floors as a ‘vertical cave of light,’ a concept that organizes the interior between staggered levels, each with distinct lighting and privacy conditions. This layout creates a dynamic and open interior that encourages exploration and interaction. Each floor presents a different perspective, either of the exterior landscape or various parts of the house. Adjustable curtains allow the family to control light and privacy in each space, adapting the ambiance throughout the day.

Organized across seven vertical levels, the design optimizes the compact space for various family activities. The ground floor houses the main communal area, featuring the kitchen, dining, and living spaces that form the social hub of the home. The entrance is located on the second level, while the third and fourth levels are dedicated to the children’s bedrooms, offering private areas for play and rest. The fifth level contains the bathroom, followed by a home office on the sixth level. The seventh and topmost level is reserved for the master bedroom, providing maximum privacy and panoramic views. A central, triangular staircase acts as both a functional and visual element, connecting all floors without the need for hallways.

Malý Chmel’s House with Seven Floors is designed for an active young family

The Vertical Cave of Light

Designing the interiors of the House of Seven Floors, Malý Chmel follows a minimalist approach, with exposed concrete walls serving as both structural and sculptural elements. These surfaces contribute to the ‘cave’ theme, evoking a sense of stability and protection. The play between natural light and raw concrete creates dynamic shadow patterns, adding depth and texture to the space. This experimental approach evolved alongside the construction process, with insights gained from the raw structure informing the final interior design. The result is a space that feels secure yet inviting, characterized by a blend of exposed concrete, large windows, and strategic lighting.

The compact and vertical design also offers energy-efficient benefits. The thermal mass of the concrete helps maintain a stable indoor temperature, minimizing the need for heating. In winter, the house benefits from passive solar heating, while cooler nighttime air is sufficient to maintain comfort during summer. Thoughtfully placed windows provide generous natural light, reducing the dependence on artificial lighting during the day. Built with durability in mind, the house features low-maintenance materials that ensure long-term sustainability and minimal environmental impact.

the house features an irregular pentagon shape along a 63 square-meter footprint

the concept is a ‘vertical cave of light’ with levels offering unique lighting and privacy

natural light interacts with raw concrete to lend dynamic light and shadow effects

the minimalist, cavernous interiors feature exposed concrete walls

a central triangular staircase connects all floors and eliminates the need for hallways

the design optimizes energy use with concrete’s thermal mass and strategically placed windows

project info:

name: House with Seven Floors

architect: Malý Chmel | @malychmel

location: Czech Republic

design team: Miroslav Chmel, Petr Malý

structural engineer: Stanislav Barák

built area: 63 square meters

usable floor area: 143 square meters

completion: 2023

photography: © Alex Shoots Buildings | @alex.shoots.buildings

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Villa Sidonius by Stempel & Tesar Architekti, located in the Central Bohemian Region of the Czech Republic, has taken shape as a unique addition to its residential context. Known for its early 20th-century Art Nouveau and First Republic villas, the area has become a showcase for distinctive architecture, blending history with contemporary design. Villa Sidonius follows this tradition, standing out for its bold structure of concrete and steel, and its unique response to its challenging terrain.

The property is situated on a steep, shaded northern slope, offering both advantages and challenges. The most prominent feature of the site is the expansive view of the Berounka Valley, the Bohemian Karst hills, and the Prague skyline. Capturing this view became a primary design goal, with Stempel & Tesar orienting the villa to bring the landscape into every living space. However, the north-facing slope presented a sunlight limitation, with direct sunlight reaching only the highest part of the property. Thus, the architects sought to maximize sunlight while ensuring accessibility to the upper sections of the site.

images © Filip Šlapal

bridging architecture inspired by hanging houses

In response to the challenges of the site, the architects at Stempel & Tesar Architekti conceived Villa Sidonius with inspiration from hanging houses. The architecture takes the form of a bridge, elevated on concrete pillars, resembling a steel footbridge that stretches across the slope. This structural design allows the villa to face both the panoramic northern view and the southern sun, optimizing both aspects of the location.

The villa’s construction is based on a prefabricated steel structure, making use of wide-flange steel beams to bridge the 18-meter span between the supporting concrete pillars. Inside, smaller I-Beams form the load-bearing framework for the windows, roof, and floors. This approach allowed the architects to push the boundaries of traditional residential design, embracing forward-thinking construction techniques and materials.

Villa Sidonius is located in the Czech Republic’s Central Bohemian Region

technological experimentation by stempel & tesar

Villa Sidonius is at once an architectural and technological experiment by Stempel & Tesar Architekti. The project incorporates cutting-edge innovations, such as Swiss air-lux windows with patented air-assisted seals, and a heating and cooling system powered by heat pumps. These systems ensure a comfortable living environment throughout the year, despite the villa’s relatively low heat retention due to its steel framework.

The house is entered through an underground tunnel connected to the garage, which also houses a studio and fitness area. This tunnel leads to an elevator at the base of one of the supporting pillars, providing access to the living areas. The main floor includes a living room, kitchen, and dining area, opening onto a south-facing terrace that connects the house to the upper garden, complete with a swimming pool. The villa’s design features two distinct wings — one for children’s rooms and the other for the primary bedroom suite.

the villa is situated on a steep northern slope with views of the Berounka Valley and Prague Skyline

the design takes inspiration from hanging houses with its bridge-like structure and concrete pillars

access to the villa is through an underground tunnel leading to an elevator at the base of a pillar

the house incorporates innovative technologies, including air-lux windows and heat pump systems

living spaces include a central area with terrace, with separate wings for children and the main bedroom

prefabricated steel framework forms the core of the villa’s construction

project info:

name: Villa Sidonius

architect: Stempel & Tesar Architekti | @stempel_tesar

location: Central Bohemian Region, Czech Republic

completion: 2024

photography: © Filip Šlapal | @slapalfilip

landscape architect: Vladimír Sitta
main project engineer: Aleš Herold
structural engineers: Valbek (Jiří Chodora and Jan Vesecký)
sun shade supplier: APAGON

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Malý Chmel studio’s competition proposal envisions the new art museum for Aleš South Bohemian Gallery in the South Bohemian Region of the Czech Republic. The concept presents a contemporary design that integrates with the historical and cultural fabric of its site. The modern gallery complements the Museum of South Bohemia and Slavia cultural house, designed to face the city with only its front facades, and no backside, establishing a strong connection with its urban context. The building’s geometry takes inspiration from the triangular bastions that once formed the fortifications of the city, merging historical references with modern architectural language.

the design draws from the triangular bastions that once fortified the city | all visuals by ZAN studio

five cores interweave into dynamic bastion floor plan

For the floor plan, the design team at Malý Chmel follows a geometric principle of interwoven cores and free in-between open spaces. Four of the five cores are dedicated to service and communication functions, while the fifth, which rises above the roofline, houses the primary exhibition area. The exhibition spaces are organized into a series of interconnected pentagonal rooms that flow into a central orthogonal hall, allowing visitors to experience a journey through dynamic, unfolding spaces. The uppermost level concludes the visit with a larger exhibition room illuminated by northern daylight, which connects to a rooftop bar and terrace offering views of the city.

the gallery faces the city with only its front facades, creating a strong urban connection

historical elements are merged with modern architectural language in the building’s geometry

the entrance hall with a reception desk is oriented towards the square and the city center

the exhibition rooms are pentagonal and connected to a central orthogonal hall

four of the five cores serve service and communication functions

visitors experience a dynamic journey through interconnected spaces

the uppermost floor features a large exhibition room with northern daylight

project info:

name: The new Aleš South Bohemian Gallery – competition proposal
architect: Malý Chmel studio | @malychmel

design team: Zdeněk Chmel, Gabriela Sládečková, Miroslav Chmel, Jana Trunda, Jitka Vančurová, Klára Ligasová, Vojtěch Vysloužil

visualization: ZAN studio | @zan_studio

location: České Budějovice, Czech Republic

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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Czech architecture studio RCNKSK takes to a small village in southern Moravia to design a contemporary chapel, bringing to the community a place for spiritual reflection and community gathering. The project has been a twelve-year endeavor, as the team worked closely with the parishioners, who hoped for not only a place of worship but for a structure that would shape both the landscape and the local cultural heritage. At last, Our Lady of Sorrows Chapel has completed, punctuating the gently undulating landscape and vast open fields.

The village, with its baroque-era layout, has remained largely unchanged over the centuries. The site selected for the chapel is a hilltop visible from afar. It was seen as an ideal location, as the spot aligns with baroque ideals of cultivating the land and celebrating its vastness. The use of rare natural materials such as stone and wood was integral to the chapel’s design, symbolizing the introduction of faith into this seemingly parched landscape.

images © Ondřej Bouška

a beacon in the rolling landscape

Studio RCNKSK dedicated the chapel to Our Lady of Sorrows, ‘symbolizing the suffering she endured.’ The architects explain: ‘Her story and emotions are reflected in the space. Upon the dust and soil of this place, which form the floor, we build a temple.’ The stone base of the structure, made from rough-hewn gneiss, represents human stubbornness and imperfection. Rising from these stones are seven beams, reaching toward the sky, which the team claims to symbolize the ‘Seven Sorrows of Mary’ and serves as a ‘connection between the earthly and the divine.’ Above, a delicate wooden structure, interwoven with windows, allows natural light to flood the chapel’s interior, creating an ethereal atmosphere. Surrounding the chapel is a path marked by the Stations of the Cross, framed by apple trees that lead visitors to the building, with an orchard behind it extending into the surrounding fields.

the hilltop chapel serves as both a spiritual and visual landmark in the landscape

rcnksk uses both traditional and modern techniques

The architectural design of the chapel by RCNKSK integrates traditional techniques with modern technology. The construction methods are inspired by medieval building practices, yet executed with contemporary tools. The floor is made of compacted, rammed earth, while the walls are constructed from locally quarried stone. A thousand wooden elements, joined by traditional pegs and wedges, form the lamellar structure that supports the building. These fifteen-meter-long beams were hand-carved and arranged to traverse the interior space, culminating in a steel spire atop the roof. The craftsmanship and attention to detail evoke a timeless quality, while modern techniques such as CNC milling were used to ensure precision.

Visitors to the chapel are greeted by imposing five-meter-high doors, which open into a dynamic interior space. The perspective of the wooden beams and the interplay of natural light draw the eye upward, encouraging contemplation. The tactile materials — stone, wood, and earth — were chosen for both their beauty and for their ability to age gracefully, enhancing the chapel’s presence over time.

seven symbolic wooden beams rise from the stone foundation

the use of stone, wood, and rammed earth reflects a deep connection to the land

the chapel’s construction blends medieval techniques with modern CNC milling

crafted with natural materials, the chapel is designed to age beautifully, enhancing its character over time

the space encourages ‘reflection and spiritual transcendence’ as visitors are drawn to gaze upward

the chapel is encircled by apple trees, forming a natural walking path for visitors

project info:

project title: Our Lady of Sorrows Chapel

architecture: RCNKSK | @rcnksk.arch

location: Těšany, Czech Republic

architects: Jan Říčný, Michal Říčný

completion: 2024

photography: © Ondřej Bouška | @ondrejbouskaphotography

collaborators:

structural engineering: Vít Mlázovský, Filip Chmel
landscape planning: Eva Wagnerová
carpentry, stonework, EPDM: David Šebesta
CNC production: Karel Hrdlička
metalwork, steel tower construction: Zámečnictví Fiala, Kovopoláček
substructure/foundation: Miroslav Klein
design, production of chancel elements: Dominik Fiala
rammed earth floor construction: Hanno Burtscher, Matěj Janský
furniture: Pavel Abrahámek
oak gates carpentry, steelwork: Daniel Golík and Jakub Jarcovják
lighting design: ETNA
quarry stone supplier: HUTIRA
landscape installation: Jiří Dohnálek
electrical installation: ELSTAR PLUS
heating, water supply, sewerage: František Ryšavý
photovoltaic system installation: Svoboda a syn
security systems: MAXPROGRES

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