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

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

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

Reclaiming Urban Common Space Through Programmatic Zoning

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

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

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

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

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

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

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

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

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

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

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

project info:

name: UH INFONAVIT CTM Culhuacán

architect: AMASA Estudio | @amasa__estudio

location: Culhuacán, Mexico City

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

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

client: INFONAVIT | @infonavitoficial

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

structural engineer: Juan Felipe Heredia | @jfheredia

engineering: Germán Muñoz

lighting: Gabriel Briseño

landscape: Maritza Hernández | @maritzahernandez1413

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

video: Virgilio Cortés

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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

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

all images courtesy of Kosuke Takahashi/ootori

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

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

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

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

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

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

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

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

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

users can also add handles

detailed view of the handle with circular bottom plate

view of the parts’ printing process

project info:

name: Corcelain

design: Kosuke Takahashi | @ootori_t

pottery: 224 Porcelain | @224porcelain

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: matthew burgos | designboom

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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

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.

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

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

Five Climate Futures Interpreted Through Greenhouse Structures

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

the exhibition challenges viewers to rethink ecological responsibility

Broken Greenhouse installations Interpret Climate Uncertainty

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

Broken Greenhouse unfolds at Lund’s Botanical Garden

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

Bigert & Bergström collaborate with climate researchers and garden curators

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

each greenhouse embodies a different climate scenario for the year 2100

spatial design translates scientific projections into physical experience

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

architectural form becomes a tool for engaging with climate data

the installation brings abstract futures into tangible view

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

the exhibition addresses the human role in shaping climate outcomes

structures invite reflection on planetary vulnerability and resilience

project info:

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

dates: May 24th – September 20th, 2025

photographer: Jean-Baptiste Béranger | @jeanbaptisteberanger

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

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

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Positioned at Chongqing’s Liberation Monument Pedestrian Street, the CURIEL CASA Flagship Store marks the Chinese expansion of the century-old Italian fashion house CURIEL. The project, led by Liang Architecture Studio and debuting in midsummer 2024, operates as both a commercial space and a spatial interpretation of the brand’s ethos, merging Italian heritage with the cultural and topographic context of Chongqing’s mountainous landscape. The architectural concept establishes a dialogue between the refined codes of Milanese fashion and the geological narratives embedded in Chongqing’s built environment. Through a careful layering of symbolic references and material articulation, the project translates CURIEL’s philosophy of ‘feminine elegance and empowerment’ into a site-specific spatial framework. The result is an immersive sequence of architectural expressions that align brand identity with localized cultural cues.

Drawing upon the performative traditions of Italian opera, particularly the influence of Teatro alla Scala, the spatial layout follows an operatic progression, from overture to crescendo to climax. The entrance, central spiral staircase, exhibition zones, and the concluding salon are composed as sequential stages within a choreographed visitor journey. Architectural elements such as curtain-inspired drapy surfaces, theatrical lighting, and scenographic partitions reinforce this temporal and spatial structure, transforming spatial circulation into a narrative experience. Referencing Milan’s historic streetscapes and architectural vocabulary, the design integrates ornamental restraint with tectonic clarity. A deep understanding of ‘Made in Italy’ craftsmanship, particularly the tactile interplay of surface textures, structural precision, and detail-driven execution, guides the material choices. Within this framework, classical and contemporary elements are brought into balance, while Western and Eastern aesthetics are bridged through material and formal strategies.

all images by Hanmo (Hangzhou) Photography Co., LTD

Liang Architecture’s CURIEL CASA references Scenographic Spaces

From the exterior, the facade introduces the store’s narrative intent. A crimson architectural veil, designed through parametric modeling, forms a pleated surface reminiscent of an opera curtain. Made from anodized aluminum, the facade modulates shadow and reflection throughout the day, acting as both a visual overture and a spatial threshold. Inside, the spiral staircase serves as the structural and symbolic core, its tiered geometry softened by diffused light, evoking silk drapery in motion. The juxtaposition of this kinetic form with the surrounding stone elements sets up a dialogue between movement and mass, impermanence and solidity. Cultural localization continues in the VIP lounge, where parametric reinterpretation of traditional bamboo weaving techniques articulates partitions and wall surfaces. These interventions, constructed through a logic of digital deconstruction and rhythmic sequencing, embed the intangible heritage of Chongqing into the architectural language. As light interacts with the translucent bamboo matrix, the space evokes a calibrated sense of depth and material memory.

The design team at Liang Architecture Studio extends scenographic control to the selection of furnishings and environmental elements throughout the project. Referencing the iconography of La Traviata, the CURIEL Salon is designed as an immersive theatrical interior. Furniture arrangements, lighting compositions, and sensory cues, including scent, work together to construct a spatial mise-en-scène where historical narratives are recontextualized within contemporary retail experience. At a conceptual level, the flagship operates as a synthesis of cultural semiotics and spatial narrative. Through material symbolism, spatial sequencing, and local references, the architecture serves as a medium for brand expression and emotional engagement. It reconstructs the relationship between user, space, and identity, using architectural form to translate heritage into contemporary resonance.

CURIEL CASA lands in Chongqing’s Liberation Monument Street as its first flagship in China

the store merges Milanese design language with Chongqing’s mountainous urban context

a spiral staircase anchors the interior choreography of the visitor’s journey

curtain-like surfaces echo the stagecraft of Teatro alla Scala

the design draws upon operatic structure: overture, crescendo, climax

the architecture performs as much as it shelters, each element is part of a sequence

parametric pleats catch shadow and light, shifting with the time of day

tactile contrasts define the space such as stone, metal, bamboo, and silk-like forms

interior volumes balance softness and structure, lightness and mass

the project recontextualizes Milanese motifs through localized cultural expression

every detail, from furnishings to lighting, contributes to a scenographic whole

the CURIEL Salon evokes La Traviata, reimagined through a contemporary lens

architecture becomes a vessel for brand identity and emotional resonance

CURIEL CASA Chongqing blends spatial narrative with cultural continuity

project info:

name: CURIEL CASA Chongqing Flagship Store
architect: Liang Architecture Studio

location: No. 188, Minzu Road, Jiefangbei Pedestrian Street, Yuzhong District, Chongqing, China

area: 899 sqm

design director: Xu Liang

design team: Zhou Zesi, Yu Jianzhi, Ze Man, Hu Xinping, Lu Xin, Chen Weixin, Zhang Xuan, Xu Liang

construction company: Shanghai Fuji Construction Engineering Co., LTD

soft furnishing design: Hangzhou Liang Architecture Studio

photographer: Hanmo (Hangzhou) Photography Co., LTD

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

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

all images by Pirak Anurakyawachon – Spaceshift Studio

Brick and timber construct Athita Pool Villa and Spa

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

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

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

brick walls evoke the region’s ancient religious structures

circulation paths mimic the meandering alleys of local settlements

vertical wooden panels reinterpret traditional house facades

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

villas are oriented to maintain visual and acoustic privacy

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

materials reflect the character of Chiang Saen’s built heritage

the design references the organic street patterns of Chiang Saen

vernacular Thai architectural forms inform the building’s spatial logic

project info:

name: Athita pool villa and spa

architect: Studio Miti | @studiomiti_official

location: Chiang Saen, Thailand

lead architect: Mr. Padirmkiat Sukkan

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

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

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

electrical engineer: Mr. Wutthikrai Srisukho

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

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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In the village of Pererenan, just outside the bustle of Canggu in Bali, Set n Rise is a semi-open-air Asian grill designed by Studio Kota. The architects draw from the island’s iconic rice terraces, resulting in a dining experience that unfolds one level at a time, stepping gently down the sloped terrain. The design brings guests closer to the land, with open views across the fields and sunlight filtering through timber fins.

the building enjoys unobstructed views of the surrounding terraced paddy fields

four staggered platforms form the restaurant

Set n Rise is built on a narrow site with a five-meter drop from front to back. Jakarta-based Studio Kota sculpts the building to follow the slope, shaping a triangular form that naturally fits the land. Openings to the east and south let in plenty of daylight and keep the rice fields in constant view.

The restaurant is a series of four staggered platforms, each aligned with the terrain. Guests move between them along a central ramp that ties everything together and makes the space accessible. At the street-level entrance, the open kitchen and bar set the tone with cast resin and textured concrete. The next platform introduces more casual seating and hides away the restrooms. Further down, the third level invites social gatherings with a bar, DJ booth, and dining tables. The lowest platform connects to a garden and a small outdoor amphitheater, where guests find themselves at eye-level with the rice fields, one final step that brings the whole experience full circle.

the architecture moves with the land, embracing the site’s topography

Timber slats wrap the facade of the project’s boutique

Above the Set n Rise restaurant, a small boutique adds another layer to the building without taking away from the open feeling below. The material palette throughout, composed of pigmented cement, rough concrete, and locally sourced timber, feels earthy and grounded, matching the textures of the surrounding landscape. Timber slats wrap the facade, referencing the lines of the terraces and filtering in sunlight and breeze. They also provide shade and rain protection, helping the building stay comfortable in Bali’s tropical climate.

the design maintains a balance between built form and open landscape

a facade of vertical wooden fins filters sunlight

a ramp serves as the primary vertical circulation

the architects draw from the island’s iconic rice terraces

upon arrival, visitors are greeted with a dramatic vista of terracing paddy fields

visual continuity is maintained between the seating platform and the central bar

a dining experience that unfolds one level at a time

the grill station features a custom tabletop, where wood is cast in green resin to create a tactile focal point

seating platforms are unified under a single roof

project info:

name: Set N Rise Bali
architect: Studio Kota | @studio.kota

location: Pererenan, Bali, Indonesia

site area: 520 square meters

built area: 309 square meters

design team: Erick Kristanto, Gilbert Aldo, Rania Sidanta, Satrio Aulia Firdaus, Raissa Livyana Dewi, Allia Safira Pitaloka Dewi

interior design: Studio Kota & Set N Rise (Ari Triawan)

furniture design: Flowers in May

lighting design: Flowers in May

structural consultant: I Putu Agus Putra Wirawan

architecture & interior contractor: Maja Group

client: Set N Rise, Maja Group

photographer: Indra Wiras | @indrawiras

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: thomai tsimpou | designboom

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