Sou Fujimoto completes EARTH, a circular, green-roofed villa that seems to sink into the landscape of Okinawa’s remote Ishigaki Island, Japan, for NOT A HOTEL (find designboom’s previous coverage here). Now open and fully booked before construction even ended, the project, announced in 2022, is the largest yet in the hospitality brand’s network. Conceived as an extension of the earth, the 1,500-square-meter retreat is nestled into a 10,000-square-meter coastal site. Its curved white form is barely visible from above, disappearing under a living roof that blends with the surrounding terrain.

Fujimoto, who recently served as Site Design Producer for Expo 2025 Osaka-Kansai, designs EARTH with a focus on continuity between inside and out, architecture and landscape, sea and sky. The villa’s bowl-shaped structure draws visitors inward, while still opening outward to the ocean horizon. At the heart of the plan lies a courtyard garden by landscape designer Taichi Saito, featuring an oasis-like water basin and a children’s pool. From the firepit to the roof garden, and the way the sauna captures refracted sunlight from the pool above, guests move between elements of nature and shelter with ease.

images courtesy of NOT A HOTEL

‘earth’ accommodates up to ten occupants in its four bedrooms

The architecture of EARTH centers around a shared living-dining space that looks out directly onto an infinity pool blending into the ocean beyond. Japanese architect Sou Fujimoto designed this front-row view for watching sunsets, listening to waves, or enjoying a dinner prepared by a private chef. Adjacent to the open-plan space is a series of four bedrooms that sleep up to ten guests, each framed by full-height, bezel-less glazing. One room opens directly to a view of the sea, with a shallow water basin flowing between room and horizon.

Underneath, the first floor features a sauna where natural light filters through the water above to create a cavern-like atmosphere, mimicking the experience of being underwater. Guests can step directly from the sauna into an outdoor bath or continue into a fully equipped gym with a punching bag, Smith machine, and cardio equipment. The bathroom continues the horizontal design language of the villa, where the low-profile tub appears to merge into the seascape, following the villa’s architectural motif of vanishing edges.

Sou Fujimoto completes EARTH, a circular, green-roofed villa that seems to sink into the landscape

a private villa surrounded by nature

Originally announced in August 2022, NOT A HOTEL ISHIGAKI ‘EARTH’ was fully sold out via fractional ownership during the construction phase. 

While the villa itself feels like an escape from the world, guests are also encouraged to explore Ishigaki’s natural and cultural offerings. Activities include a traditional ‘sabani’ sailing cruise at sunset, private dinners accompanied by live sanshin music, and even custom brewing experiences of Awamori, Okinawa’s native spirit, made using copper pot distillation methods at the nearby Ikehara Brewery. For food lovers, the villa also offers a range of curated dining experiences centered around local ingredients, from premium BBQ to family-style Okinawan home cooking, always emphasizing minimal processing and deep connection to place. Located just 11 minutes from New Ishigaki Airport, EARTH situates high-end architecture within reach of nature. 

the 1,500-square-meter retreat is nestled into a 10,000-square-meter coastal site

the villa’s bowl-shaped structure draws visitors inward

a series of four bedrooms sleep up to ten guests

a sauna where natural light filters through the water above

EARTH’s architecture focuses on continuity between inside and out

guests move between elements of nature and shelter with ease

the gym is fully equipped with a punching bag, Smith machine, and cardio gear

project info:

name: NOT A HOTEL ISHIGAKI ‘EARTH’ | @notahotel_official

architect: Sou Fujimoto Architects | @sou_fujimoto

location: Miyara 120-92, Ishigaki City, Okinawa Prefecture, Japan

site area: 9,586 square meters

total built area: 1,489.13 square meters (including indoor space, terrace, pool, and water basin)

indoor area: 975.01 square meters

courtyard area: 2,066.07 square meters

construction: Maeda Toyo Construction Joint Venture

client / owner: NOT A HOTEL Co., Ltd.

operator: NOT A HOTEL MANAGEMENT Co., Ltd.

The post sou fujimoto’s circular green-roofed villa for NOT A HOTEL opens on ishigaki island, japan appeared first on designboom | architecture & design magazine.

A sweeping timber ring — the largest of its kind in the world — encircles the Expo 2025 Osaka site on Yumeshima Island, Japan, anchoring the world fair. Conceived by Sou Fujimoto, the Grand Ring serves as the Expo’s circulatory core and forms a new landmark on the island, connecting national pavilions, performance venues, and public spaces beneath an expansive wooden canopy that doubles as a skywalk. A new series of photographs by William Mulvihill captures the complete structure in striking detail, highlighting its scale, construction, lightness, atmosphere, and material elegance. Following the photographer’s visual journey capturing the Expo’s national pavilions, this new series documents the monumental structure’s vast footprint while highlighting the intricacy of its lattice of timber beams.

all images by William Mulvihill

sou fujimoto’s monumental timber ring anchors the expo

Spanning over 60,000 square meters and stretching 2 kilometers in circumference, the Grand Ring is now the largest timber structure in the world. It rises between 12 and 22 meters in height and is made from a combination of local Japanese sugi cedar, hinoki cypress, and Scots pine glulam, joined using traditional Japanese nuki joinery techniques. Built in collaboration with Tohata Architects & Engineers and Azusa Sekkei, the project exemplifies expressions of heritage craftsmanship merged with contemporary structural engineering, designed to resist earthquakes while maintaining a delicate and open character for its life during the Expo and beyond.

Fujimoto has described the ring as ‘a symbol of our times,’ shaping it as a circular space that promotes collective experience alongside ecological sensitivity. The structure shelters visitors from sun and rain below, while a continuous elevated deck above provides panoramic views of the Expo site and Osaka Bay.

William Mulvihill captures the pavilions of Expo 2025 Osaka

Sou Fujimoto’s Grand Ring becomes the protagonist of the series

the structure serves as the Expo’s circulatory core and forms a new landmark on the island

highlighting scale, construction, lightness, atmosphere, and material elegance

the Grand Ring is now the largest timber structure in the world

joined using traditional Japanese nuki joinery techniques

Fujimoto has described the ring as ‘a symbol of our times’

the project exemplifies expressions of heritage craftsmanship merged with contemporary structural engineering

atop it’s an expansive wooden canopy that doubles as a skywalk

the continuous elevated deck above provides panoramic views of the Expo site

designed to resist earthquakes

a circular space that promotes collective experience alongside ecological sensitivity

the series documents the monumental structure’s vast footprint

project info:

name: Grand Ring

architect: Sou Fujimoto | @sou_fujimoto

The post william mulvihill captures material intricacy of sou fujimoto’s grand ring at expo 2025 osaka appeared first on designboom | architecture & design magazine.

Expo 2025 Osaka opened to the public on April 13, bringing together national pavilions, public programming, art interventions, and private sector initiatives that respond to global environmental challenges. This edition is staged under the theme Designing Future Society for Our Lives, which urges the exploration of sustainable solutions through the lens of heritage, cultural identity, mobility, and technological innovations. Sou Fujimoto’s monumental ringed masterplan, now complete and officially the world’s largest timber structure, serves as the connective tissue of the Expo. Forming a circulation path, observation deck, public space, and events facility, it is surrounded by pavilions that stretch across artificial island of Yumeshima in Japan.

From Hungary’s haystack-like dome theater to Portugal’s ethereal wave of suspended ropes, each structure poses a unique story of heritage, materiality, and vision for the future. The Nordic Pavilion, built from forest-managed wood, champions circular design, while Saudi Arabia’s multi-sensory pavilion blends computational design with vernacular cooling techniques. Alongside these built interventions, Expo 2025 Osaka presents a collaborative platform for sustainability, technological innovation, and artistic engagement. Myaku-Myaku, the official mascot, is already busy garnering excitement, while initiatives such as the Future Society Showcase Project and the Art Expo’s immersive water and light performances promise to engage with pressing global, cultural challenges. Following on from our first roundup of some of the most exciting Expo pavilions, read on to learn more about what to explore at this landmark event.

image © Expo 2025, OBAYASHI CORPORATION Co., Ltd, photo by shinwa Co., Ltd

sui fujimoto’s timber masterplan as the expo’s centerpiece

Sui Fujimoto’s monumental ring is the centerpiece of Expo 2025 Osaka. Inspired by the architecture of ancient Japanese temples, the structure features intricate joinery of local sugi cedar and hinoki cypress, reinforced with metal elements for earthquake resistance. It spans 60,000 square meters and rises 20 meters high, forming a dynamic public space that shelters a circulation path beneath and hosts an elevated observatory deck overlooking the Expo site and Osaka Bay. Green roofs are woven throughout which will change with the seasons.

Within, four key event facilities tailored to diverse functions — from hosting dignitaries to accommodating performances, exhibitions, and cultural exchanges — bring the masterplan to life. The Guest House, with its Japanese-style corridor and garden, embodies the spirit of hospitality, while the EXPO Hall, inspired by the 1970 Osaka Expo’s Tower of the Sun, serves as a cultural arena. The EXPO National Day Hall celebrates international exchange through its layered indoor-outdoor spaces, and EXPO Messe provides a platform for global dialogue and trade.

As construction advances, Fujimoto, in conversation with designboom, describes the project as both an architectural and conceptual challenge that bridges historic regional timber construction with new technology. ‘This work is not only a wonderful trial for working on such a large scale but also an exciting challenge in terms of innovative construction techniques,’ the architect tells us.

national pavilions

a three-act experience for all living species at the france pavilion

The French Pavilion, Theatrum Naturae, likewise looks to the natural, weaving an experiential journey in three acts — Ascent, Discovery of Nature, and Return to the Ground. Coldefy and Carlo Ratti Associati create a looping architectural path that integrates artificial and natural ecosystems, rising via a winding staircase into an observation balcony. As they move through, visitors cross an immersive threshold before arriving at a verdant terrace resembling a slice of nature serving as a protective barrier above the building, honoring France’s rich cultural and environmental contributions in the 21st century. The design team envisions the pavilion to welcome all living species to convene throughout the Expo, extending its lifecycle beyond the event to engage in a virtuous loop of reuse and recycling.

France Pavilion | image by Julien Lanoo © Coldefy & CRA-Carlo Ratti Associati

amdl circle’s nordic pavilion utilizes forest-managed wood

The Nordic Pavilion brings together the nations of Denmark, Finland, Iceland, Norway and Sweden to shape a structure configured for easy disassembly and reuse. Michele De Lucchi’s AMDL Circle has built the structure from forest-managed wood in a nod to the material’s deep cultural and economic significance across the region. Its dark-hued exterior, treated with natural oils and pigments, references traditional wood preservation techniques while prompting reflection on climate challenges.

Inside, the open-plan space hosts an immersive exhibition showcasing Nordic innovations in sustainability. Complemented by an entrance area and rooftop terrace, the pavilion fosters dialogue and discovery, celebrating the region’s values of collaboration, trust, and forward-thinking design.

image courtesy of The Nordic Pavilion

apropos architects’ spiraling czech republic pavilion

Th Czech Republic’s pavilion designed by international studio Apropos Architects, Sculpting Vitality, is a transparent, spiraling volume that is visible on the city’s coastal promenade. The architects sought to play with the concept of vitality and movement, presenting an exhibition ramp wrapped around a central auditorium. ‘The dynamic spiral movement upwards is an allegory of the ideal life path,’ describes the team. The resulting structure sees a distinctive silhouette that fosters visitors into physical activity through continuous motion. Its glazed body that pivots upwards around itself recalls the rich history of glassmaking in the Czech Republic and provides distinctive exhibition spaces with a changing interior atmosphere. The artificial light throughout the interior gives the structure a delicate glow that makes it shine from the outside.

image © BoysPlayNice

pixelated skin wraps woo and es global’s british pavilion

Designed by WOO and delivered by ES Global, the UK Pavilion is a tribute to British creativity, delving into its heritage and innovations from the Industrial Revolution to the digital age. Clad in a pixelated skin of folded, perforated aluminium panels, the facade subtly shifts with daylight and transforms at night to reveal a glowing Union Jack. This playful surface animated by light nods to the evolution of early programmable technology, such as punch cards, looms, and binary code, linking the textile industries that fueled industrial growth with Britain’s leadership in gaming and design.

The location, set at the edge of a water plaza, enhances the narrative, with sweeping terraces and serene gardens mirroring the nation’s rolling landscape. Inside, a fluid and accessible visitor journey leads through exhibitions, gardens, tea rooms, and a terrace bar. 

image © Hufton+Crow

atelier brückner crafts deconstructable uzbekistan pavilion

ATELIER BRÜCKNER and NUSSLI’s Uzbekistan Pavilion, commissioned by the Uzbekistan Arts and Culture Development Foundation, is conceived as a dynamic and reusable architectural experiment. Built from modular wooden elements, the pavilion will be dismantled after the Expo and reconstructed in Uzbekistan, where it will serve as a studio, workshop, or school.

The design reflects Uzbekistan’s interpretation of the Expo’s theme by forming a social and educational hub. Its architectural composition revolves around three key elements: a ground-level garden representing the nation’s landscape, a forest of wooden columns inspired by traditional craftsmanship, and a central sculpture symbolizing connection and innovation.

image © ATELIER BRÜCKNER | courtesy of ACDF

lina ghotmeh’s bahrain pavilion evokes traditional dhow boats

Bahrain’s national pavilion is designed by architect Lina Ghotmeh who pays tribute to the nation’s maritime legacy through a timber structure that evokes traditional dhow boats. Facing the sea, the pavilion symbolizes the country’s historic role as a key maritime hub in the Gulf, and inside showcases its craftsmanship and natural resources.

Drawing from Japanese wood artistry, the pavilion also underscores the long-standing cultural ties between Bahrain and Japan. Heritage boat-building techniques are integrated, clad in an aluminum outer layer, while passive cooling strategies are incorporated to reduce environmental impact.

image courtesy of Bahrain Pavilion

kengo kuma draw on qatari ships and japanese joinery

Likewise drawing on maritime heritage, Kengo Kuma & Associates’ design for the Qatar Pavilion weaves together two distinct yet connected traditions: Qatar’s dhow boat-building heritage and Japan’s intricate wooden joinery. The result is a lightweight timber structure enveloped in a billowing white fabric, reminiscent of a ship’s sail — celebrating Qatar’s history and its trade routes across the Indian Ocean.

Inside, the pavilion’s exhibitions highlight Qatar’s progress under the National Vision 2030, as well as investment and development strategies shaping the country’s economic diversification.

image © Iwan Baan, courtesy of Qatar Museums

trahan architects’ two-winged USA pavilion

Trahan Architects’ two-winged USA Pavilion, delivered by ES GLOBAL, frames a central plaza with panoramic LED screens displaying various American landscapes. Inspired by ancient Japanese footbridges, the gently arched design symbolizes balance and connectivity, featuring a core suspended, translucent cube that reflects both the surrounding environment and visitors. Inside, immersive exhibits transport guests across American cities, natural wonders, and even outer space, reinforcing themes of sustainability, education, and exploration. The pavilion’s construction further aligns with the UN’s Sustainable Development Goals, incorporating repurposed materials from the Tokyo Olympics.

image © Hufton+Crow

sustainability at saudi arabia pavilion by foster + partners

Foster + Partners’ design for Saudi Arabia’s pavilion weaves a multi-sensory journey through the Kingdom’s landscapes, from vast deserts to bustling cities. Located along the Yumeshima waterfront, the structure clad in lightweight Saudi stone echoes the kingdom’s traditional villages, shaped by computational fluid dynamics to optimize natural cooling and airflow. A lush forecourt, planted with native flora, leads into narrow streets leading to the Saudi Courtyard, a central gathering space for exhibitions and cultural performances.

Inside, a network of immersive galleries highlights Saudi Arabia’s technological innovations and heritage. Built from low-carbon materials and incorporating photovoltaic panels, rainwater recycling, and energy-efficient lighting, the structure is set to achieve Japan’s highest green building rating. 

image © Nigel Young / Foster + Partners

SWITZERLAND PAVILION 

Switzerland’s presence at Expo 2025 will focus on the three thematic areas of ‘Life’ (life sciences, health, and nutrition), ‘Planet’ (environment, sustainability, climate, and energy), and ‘Augmented human’ (robotics and artificial intelligence). The teams at Nüssli, Manuel Herz Architekten and Bellprat Partner were selected to develop their proposal: an architecture composed of five spheres embedded into a green landscape.

Beyond its impressive shape, the Pavilion will also hold the smallest ecological footprint. ‘The shell of the exhibition spaces is composed of a foil supported by a lightweight construction. It weighs no more than 400kg — just 1% of a conventional building shell — and can be transported with two to three cargo bikes. The foil is recyclable and will be made into specially designed furniture after the Expo,’ writes House of Switzerland.

image courtesy of FDFA, Presence Switzerland

a visionary lighthouse by lava for kuwait pavilion

Designed by LAVA studio, the Kuwait Pavilion presents itself as a Visionary Lighthouse symbolizing the nation’s role in the Gulf region and its commitment to sustainable growth. Its striking silhouette evokes expansive wings wrapped in a luminous front that transforms at night, reinforcing its theme of illumination and knowledge-sharing. This form symbolizes Kuwaiti hospitality and a beacon guiding future progress, while a domed central space inspired by the stillness of desert nights invites reflection on Kuwait’s aspirations.

A courtyard filled with native flora adds to the immersive experience, while four exhibition rooms showcase the nation’s history, culture, and technological advancements. The experience culminates in a grand dome projection, where visitors can contribute their own visions for the future.

image courtesy of Kuwait Expo 2025

kengo kuma’s portugal pavilion is an ethereal wave

Designed by Kengo Kuma, Portugal’s pavilion recalls the nation’s deep ties to the waters under the theme Ocean: The Blue Dialogue. With suspended ropes and recycled fishing nets evoking waves, the facade appears to float and lends the impression of a wave caught in motion, symbolizing the nation’s maritime heritage. The structure’s eco-friendly materiality further champions a circular economy, highlighting Portugal’s role as a leader in addressing global challenges such as climate change, biodiversity conservation, and sustainable development.

The architects have divided the pavilion’s interior is divided in two sections. Sharing Knowledge explores Portugal’s 500-year maritime connection with Japan, showcasing historical artifacts, artistic displays, and interactive exhibits that trace the evolution of ocean sustainability technologies. The second section, Partnering for a Sustainable Future, is a multimedia experience culminating in a five-minute audiovisual installation that envisions a balanced relationship between humanity and the ocean. 

image courtesy of Portugal Pavilion

hungary pavilion hosts a theater under a haystack-like dome

Hungary’s forest-like pavilion echoes Sou Fujimoto’s circular island masterplan in its intricate materiality and experiential journey. The structure is rooted in heritage and a deep cultural connection, shaped from natural materials — namely small panels of wood and vernacular techniques shared by Hungarian and Japanese architecture. The exhibition will present a multi-sensory journey through a verdant path, enlivened with Hungarian folk melodies that begin the visitor journey, leading into a starry, atmospheric performance space that brings the tales of local legends to life. This immersive theater space is tucked beneath a wooden dome reminiscent of a haystack, alluding to rural life in Hungarian history.

image courtesy of Hungarian Pavilion and Expo 2025 Osaka

seven monumental arches nod to azerbaijani poetry

Azerbaijan’s pavilion designed by Bellprat Partner and ELEVEN intertwines storytelling with technology and architecture, drawing on the nation’s literary and cultural heritage. Titled Seven Bridges for Sustainability, it references the legendary tale of the Seven Beauties, translating its poetic themes into a sequence of monumental, perforated arches.

This spatial narrative explores Azerbaijan’s evolving identity, with each arch serving as a symbolic gateway to different aspects of the country’s history, culture, and sustainability initiatives. The metallic volume houses immersive exhibitions within, enhanced by digital installations and interactive displays that bring the nation’s stories to life.

image courtesy of Bellprat Partner

independent pavilions

shigeru ban’s blue ocean dome is a call to protect the oceans

Additional pavilions celebrating collaborative visions for the future will provide distinct perspectives on global challenges and cultural expressions. Shigeru Ban brings a statement of environmental awareness with the Blue Ocean Dome, the centerpiece of the Osaka-Kansai Pavilion. It takes on urgent themes: plastic marine pollution, the future of marine industries, and oceanic climate awareness. These are at once passive exhibits and active calls to action.

It is shaped as a trio of interconnected domes, with the first hosting a media zone within a bamboo frame. Ahead is an exhibition space within the world’s first-ever architectural dome made entirely from CFRP, culminating with a live broadcast zone within a module built from paper tubes, Shigeru Ban’s signature material. With this project, the architect — known for his humanitarian architecture and pioneering work with non-traditional materials — reminds visitors that design, like the ocean it honors, can be both fluid and forceful.

image © Hiroyuki Hirai

sANAA and takenaka corporation’s nature-inspired structures

SANAA’s Better Co-being pavilion at the Expo’s center, carrying the theme Resonance of Lives, emphasized co-creation and mutual respect among all life forms. The structure is designed without a traditional roof or walls, resembling an abstract grove of trees and seamlessly blending with the natural environment.

Also taking inspiration from nature and embodying a full-circle approach to sustainability, Takenaka Corporation’s cluster of temporary pavilions, Architecture that Becomes a Forest, is crafted from plant-based resin using 3D printing technology to serve as rest areas throughout the Expo. After the event, the structures are envisioned to biodegrade, enriching the soil and transforming the site into a flourishing forest. 

image courtesy of SANAA

women’s rights and japanese entertainment at expo 2025 osaka

Cartier will also be presenting the Women’s Pavilion, first presented at Expo 2020 Dubai, to champion the significance of gender equality and women’s contributions. Designed by Yuko Nagayama, the pavilion draws inspiration from traditional kumiko woodworking techniques, with an immersive environment curated by Es Devlin that brings together works by artists such as Naomi Kawase and Mariko Mori, exploring themes of empowerment, unity, and sustainability.

Anime enthusiasts will be drawn to the Gundam Pavilion by Bandai Namco, which, celebrating the iconic mecha series, will host interactive exhibits and showcase the cultural impact of Gundam on a global scale. Visitors can expect life-sized models, virtual reality experiences, and insights into the franchise’s history and future developments. The Yoshimoto Pavilion, hosted by Yoshimoto Kogyo, will also bring a touch of entertainment, reflecting Japan’s comedic heritage with live performances and interactive exhibits. 

image courtesy of Takenaka Corporation

myaku-myaku, the official mascot, raises anticipation

Raising festive spirits, Myakyu-Myaku was revealed as the face of Expo 2025 Osaka. With a plushy body with a sunflower-like head and rolling eyeballs, the friendly character designed by Kouhei Yamashita is born from the unification of cells and water, and will engage visitors of all ages and promote the Expo’s themes throughout its duration. Building anticipation in the lead-up, the joyful mascot has been actively participating in promotion campaigns, from dancing against picturesque backdrops and appearing in Fortnite to embarking on a national tour across Japan. Myakyu-Myaku has also found itself in the realm of fashion through collaboration with renowned brands such as sportswear company Mizuno which has introduced a special edition of its Enerzy sneakers. The shoes feature a blue upper, a red-bubble outsole, and distinctive round eyes around the base, mirroring the mascot’s playful aesthetic.

image courtesy of Expo 2025 Osaka

art, sustainability, and innovation initiatives

Alongside the architectural pavilions and the playful presence of Myaku-Myaku, Expo 2025 Osaka will host various cultural and artistic initiatives and public programming. The Art Expo in particular will feature approximately 300 fountains and water and air shows that will tell stories of the elements through light and sound performances, engaging visitors with the Expo’s sub-themes: Saving Lives, Empowering Lives, and Connecting Lives. Within the Forest of Tranquility installations will showcase the healing power of nature, allowing visitors to feel its breath of life, and at the Expo Hall, many creators have been invited to bring the exterior walls to life with projection mapping, complemented by artwork installations throughout the venue. 

Sustainability and innovation, too, will play a prominent role in the event’s agenda, with the Future Society Showcase Project Exhibition highlighting cutting-edge technologies and concepts: the Smart Mobility Expo will introduce hydrogen fuel cell ships as a cleaner transportation option for visitors; the Digital Expo plans to implement NTT’s All-Photonics Network, providing a high-speed, low-latency communication environment throughout the venue; and the Green Expo will demonstrate environmental initiatives to remove carbon dioxide from the atmosphere, and the installation of solar cells to expand renewable energy usage.

image courtesy of Expo 2025 Osaka

project info:

event: Expo 2025 Osaka | @expo2025japan

dates: April 13th — October 13th, 2025

location: Osaka, Japan

The post expo osaka opens: everything you need to know about the 2025 world fair in japan appeared first on designboom | architecture & design magazine.

Salone del Mobile 2025 in Milan introduces installations and pavilions by Sou Fujimoto, Paolo Sorrentino and more. Running between April 8th and 13th at Fiera Milano in Rho and around the city, the annual event taps four designers for the curation of site-specific installations and temporary spaces. Italian film director and writer Paolo Sorrentino brings La dolce attesa to the entrance of pavilions 22 and 24 of the fair. He collaborates with set designer Margherita Palli for the artwork, which, he says, is a project installation depicting a ‘metaphor for living.’

The French interior designer Pierre-Yves Rochon assembles Villa Héritage in a new exhibition route in pavilions 13 and 15 of the fair. He designs it in the shape of a square, a gathering place. It has design and art objects in the shared area, with several divided rooms. The ‘white room’ uses light as a cinematic projection. The ‘winter garden’ reminisces about Italian landscapes with a bright green setting. The ‘red salon’ evokes the look and theatricality of Italian opera. The plum-colored ‘library’ pays tribute to literature. At the center of the Salone del Mobile 2025 installation, there’s a patio with an Alpange piano, the designer’s dedication to music.

all images courtesy of Salone del Mobile unless stated otherwise

Sou fujimoto and robert wilson’s installative projects

Outside the Salone del Mobile 2025 fair, the site-specific installations and temporary pavilions continue. It is Robert Wilson who opens the annual fair with a light, art, and sound project at once at the Museo Pietà Rondanini in Castello Sforzesco. It’s the first installation to open to the public, which is on April 6th, as a bridge from the Milano Art Week, which then closes on May 18th, 2025. Titled ‘Mother’, the American theatre director and playwright collaborates with Estonian composer Arvo Pärt. It is a 30-minute sequence of music, light and images using Stabat Mater, a medieval prayer to the Virgin Mary. The music plays in the vocal and instrumental version by Arvo Pärt, while the staging and lighting around Michelangelo’s masterpiece is by Robert Wilson.

Then comes Sou Fujimoto’s arena for the first edition of Euroluce International Lighting Forum. Running between April 10th and 11th, coinciding with Salone del Mobile 2025, the Japanese architect creates The Forest of Space Arena, which the event uses for the masterclasses, round table discussions, and workshops. Sou Fujimoto arranges natural pine beams in vertical positions for the arena. The design draws inspiration from the layering found in forests and the wilds. The space attempts to evoke biophilic design in modular architecture. In other words, Sou Fujimoto describes it as a mobile amphitheater, which users can assemble and disassemble after the events.

Salone del Mobile 2025 hosts its press conference at Piccolo Teatro Strehler

Thought for humans as communication campaign

In other news, there are more than 2,000 exhibitors from 37 countries during the Salone del Mobile 2025. Based on the numbers provided by the organizers, 38 percent of the exhibitors are international creatives. There are 148 brands presenting, including first-timers and returnees, across 169,000 square meters of exhibition spaces. The Eurolice Biennial returns this year, as well, following the success of the 2023 edition of the City of Lights. For the event, there are over 300 brands from 25 countries showcasing projects. 

SaloneSatellite brings over 700 designers under 35 during Salone del Mobile 2025, alongside projects from 20 international schools and universities. For this edition, the annual fair focuses on Thought for Humans as the communication campaign. Devised by Dentsu Creative Italy, the campaign taps photographer Bill Durgin for the imagery, which shows how light, wood, metal, fabric, and bioplastic blend with human skin. It’s an attempt to reinterpret the body, an innovative choice for the Salone del Mobile 2025. The fair runs between April 8th and 13th.

Design Kiosk during Salone del Mobile.Milano 2024

project curated by DWA-Design Studio with editorial selection by Corraini Edizioni

Pierre-Yves Rochon. Villa Héritage at Salone del Mobile.Milano 2025 | all images © PYR

Villa Héritage has design and art objects in the shared area

there are different rooms in Villa Héritage

Robert Wilson, Mother at Museo Pietà Rondanini, Castello Sforzesco | all iamges © Archivio Change Performing Arts

Mother is a 30-minute sequence of music, light and images using Stabat Mater, a medieval prayer

Mother is the first installation to open to the public on April 6th

project info:

name: Salone del Mobile 2025 | @isaloniofficial

dates: April 8th to 13th, 2025

location: Fiera Milano Rho, Milan

The post salone del mobile 2025 unveils milan installations by sou fujimoto, paolo sorrentino and more appeared first on designboom | architecture & design magazine.

ADI Design Museum in Milan hosts the exhibition Architecture for Dogs, curated by MUJI artistic director and Japanese designer, Kenya Hara. Running between December 3rd, 2024 and February 16th, 2025, renowned architects and studios design their iteration of doghouses. It’s not just the typical V-shaped roof with an arched hole as the entrance. In the exhibition, the architecture for dogs ranges from ramps, cushions, and rugs to benches and even vertical doghouses, all of which are tailored to the usual needs of a specific breed. Kenya Hara and Hara Design Institute curates the exhibition, which marks its debut in Italy after the 2020 showcase in London, as an ‘island’.

The doghouses are spread out, so visitors can observe them individually. As they roam around, they find the architecture for dogs, built by some of the recognized architects and designers such as Kengo Kuma, Konstantin Grcic, MAD’s Ma Yansong, MVRDV, Shigeru Ban, Sou Fujimoto, Piero Lissoni, Giulio Iacchetti, Toyo Ito, TORAFU Architects, Asif Khan, Kenya Hara, Kazuyo Sejima, Reiser + Umemoto, Atelier Bow-Wow, FGMF, and Hiroshi Naito. Photos and video insights accompany the exhibition, and all of them explore the relationship between architecture and the furry pets, and how the former can serve as a language shared by all living species.

Kengo Kuma | all images courtesy of ADI Design Museum

blueprints of the showcased doghouses can be downloaded

Visitors to the ADI Design Museum in Milan can be curious as to how the architecture of the doghouses is made, or if they can build one similar to what the architects and studios created. Luckily, their blueprints and instructions for the designs are free to download online, and if they feel like doing the work, they can tweak the style to suit their dog’s needs. Many, if not all, of the architectural works are playful and fitting for the vigorous energy of the dogs. Wood becomes a primary material for some of the architects, including Kengo Kuma’s dome-shaped tent with open lattices, Shigeru Ban’s maze-like bamboo tubes, and MVRDV’s see-saw, curved home. It’s the same material that Kenya Hara and Giulio Iacchetti work with. 

The former turns wood into a tunnel box with a staircase, while the latter rebuilds it as yurt-inspired architecture for dogs. Hiroshi Naito cuts up wood into slabs to place between his tubes, creating a seemingly treadmill structure, and Toyo Ito has a toddler’s stroller in mind when he weaves wood into a basket cart. In the exhibition, other domestic textiles and materials have been transformed into structures for dogs. A furry bean bag makes up Kazuyo Sejima’s design so the dogs can cozily take their naps, and TORAFU Architects invokes a summery vibe when they hang the stretchy stripe fabric over a wooden chair frame. The exhibition is backed and supported by Imprint Culture Lab, Riva 1920, and Giorgio Armani, who created a dog-focused capsule collection in collaboration with Poldo Dog Couture.

Shigeru Ban makes maze-like path with bamboo tubes

Sou Fujimoto constructs ‘open’ house that doubles as a shelf

MVRDV elongates their curved doghouse

Konstantin Grcic reimagines a vanity mirror with lights for Architecture for Dogs at ADI Design Museum

curator Kenya Hara creates a wooden tunnel box

Hiroshi Naito puts slabs of wood between metal-like tubes

Toyo Ito conceives a stroller-like piece for Architecture for Dogs at ADI Design Museum

Kazuyo Sejima comes up with a furry bean bag

TORAFU Architects design a chair with a flexible fabric

Piero Lissoni’s Hangar has a wooden base

yurt-inspired doghouse by Giulio Iacchetti

project info:

name: Architecture for Dogs

museum: ADI Design Museum | @adidesignmuseum

location: P.za Compasso d’Oro, 1, 20154 Milano MI

dates: December 3rd, 2024 to February 16th, 2025

co-founded by: Imprint Lab / Intertrend

created by: Hara Design Institute, Nippon Design Center, Inc.

director and curator: Kenya Hara

motion graphics: Kenichi Hashimoto

music by: Suguru Yamaguchi

blueprints by: Hara Design Institute, Nippon Design Center, Inc.

exhibition supported by: Imprint Culture Lab

exhibition partner and supporter: Giorgio Armani, Poldo Dog Couture, Riva 1920

The post architecture for dogs exhibition lands in ADI design museum with works by MVRDV & more appeared first on designboom | architecture & design magazine.

After three years of renovation, Maison Ruinart’s historic address, 4 Rue des Crayères in Reims, France, has undergone a remarkable transformation and is set to reopen in October 2024. As the world’s oldest champagne house, Ruinart has long been a hub for encounters between wine, art, and gastronomy. Japanese architect Sou Fujimoto teamed up with interior designer Gwenaël Nicolas and landscape artist Christophe Gautrand to breathe new life into the property. Together, they combined centuries-old heritage with contemporary aesthetics, respecting the legacy of Nicolas Ruinart, who founded the house almost 300 years ago. 

Facade of the Nicolas Ruinart Pavilion with Modified Social Benches #44 by Jeppe Hein, 4 Rue des Crayères | image © Mathieu Bonnevie

sou fujimoto-designed pavilion combines stone and wood

Maison Ruinart houses today a newly constructed pavilion, built with stone and glass, standing opposite the historic buildings. It features a sculpture garden crafted as a biodiverse and sensory refuge for visitors. Stepping almost into a parallel world, these different levels of encounters at the property invite guests to reconnect with themselves, others, and the world around them. ‘Through the pavilion’s bay window, facing the main courtyard, you see Maison Ruinart as if in a dream,’ adds architect Sou Foujimoto.

The Nicolas Ruinart pavilion, made of local Soissons stone and topped with a wooden canopy, is an example of sustainable architecture with an artistic expression. The design also incorporates rainwater harvesting, bio-sourced materials, and a green roof. It meets the French High Quality Environmental (HQE) standards by producing 80% of its energy through geothermal and solar power. Local artisans, including renowned stonemason Léon Noël, played key roles in crafting the structure. 

facade of the Nicolas Ruinart Pavilion, facing the main courtyard | image © Chloé Le Reste

sensorial interiors by Gwenaël Nicolas

Inside the pavilion, Gwenaël Nicolas’ spatial design welcomes visitors to a sensorial journey. The space reveals a continuation of the garden’s vegetation, with natural materials and subtle artistic installations evoking the elegance of champagne. Artworks include the floating glass bubbles by Atelier Barrois, marble-powdered linen fiber sculptures, and oak and beech furniture that resemble flower petals. Visitors are also invited to explore exclusive tasting areas. In a hidden cellar, connoisseurs and collectors can discover Maison Ruinart’s rarest vintages in a unique setting illuminated by soft lighting that protects the precious bottles.

Chemin des Crayères designed by Christophe Gautrand | image © Chloé Le Reste

outdoor landscape at maison ruinart by Christophe Gautrand

The outdoor landscape, designed by Christophe Gautrand, reinforces the connection between nature and architecture. Spanning 7,000 square meters, the grounds include 5,000 square meters of listed woodland, featuring species adapted to a changing climate; the grounds showcase trees of varying ages and sizes, forming a thriving ecosystem. Cork oaks, planted on the terrace, mark a first for the Champagne region. The grounds also display contemporary artworks that interact with the natural surroundings. The site has earned the BiodiverCity® Life label. 

L’escargot, la chaussure de travail et la flûte à bec | chauvigny stone by Dewar & Gicquel, 2024 | image © Mathieu Bonnevie

Capriccio | plaster and resin by Eva Jospin, 2024 | image © Mathieu Bonnevie

The Arch | metal and vine roots by Cornelia Konrads, 2024 | image © Mathieu Bonnevie

La Pierre | limestone, marble and plants by NILS-UDO, 2024 | image © Mathieu Bonnevie

Cerf Contrôle | bronze and colored glass by Pascale Marthine Tayou, 2024 | image © Mathieu Bonnevie

Crayère Blanc de Blancs, 4 RUE DES CRAYÈRES, Ruinart | image © Grégoire Machavoine

wide view of the interior of the Nicolas Ruinart Pavilion by Gwenaël Nicolas | image © Chloé Le Reste

Ridling tables, Crayère Blanc de Blancs, 4 RUE DES CRAYÈRES, Ruinart | image © Grégoire Machavoine

bar by Ruinart at the Nicolas Ruinart Pavilion | image © Chloé Le Reste

carrousel with bottles of Ruinart Blanc de Blancs | image © Chloé Le Reste

Nicolas Ruinart Pavilion boutique by Gwenaël Nicolas | image © Chloé Le Reste

project info:

champagne house: Maison Ruinart | @ruinart

location: 4 Rue des Crayères, Reims, France

architect: Sou Fujimoto | @sou_fujimoto

landscape artist: Christophe Gautrand | @christophegautrand

interior designer: Gwenaël Nicolas

opening date: October 2024

The post maison ruinart’s historic address welcomes eco-pavilion by sou fujimoto in reims, france appeared first on designboom | architecture & design magazine.

Pace Gallery opens its Tokyo space designed by Japanese architect Sou Fujimoto. The three-story exhibition hub is part of the city’s Azabudai Hills development, taking over the lower floors of a building designed by British designer Thomas Heatherwick. With Tokyo, Pace now holds nine locations worldwide, including a European foothold in London and Geneva as well as Berlin, where the gallery established an office in 2023. An inaugural exhibition— which goes on view in September 2024 — will spotlight new paintings by Los Angeles-based artist Maysha Mohamedi in her first solo show in all of Asia. Mohamedi’s presentation will be followed by New York-based sculptor Arlene Shechet’s first-ever solo exhibition in Japan, opening at the gallery in November of this year. Ahead of the Fall program, a special summer preview of the gallery is now open to the public, running between July 6th and August 17th, 2024. 

image © Nacasa & Partners, all courtesy the gallery

unveiling a minimalist, all-white design by sou fujimoto

The interiors of Pace Tokyo —spanning three floors and approximately 511 square meters — emblematize Sou Fujimoto’s (see more here) practice which focuses on the symbiotic relationships between the human body, the natural world, and architectural design. The all-white and minimalist space gently curves at all corners and expands over three floors, with the first level centered on a staircase that seemingly floats in the middle of the room, lined on each side with a row of thin white railing. Bordering the opening above the staircase is a rectangular glass structure that reinforces Fujimoto’s ethereal aesthetic.

The glass lining highlights the natural lighting pooling down from the second floor, where an organically-shaped glazed railing delineates the entrance to this space. Combined, the first and second levels span 279 square meters of exhibition area. Completing the Pace Tokyo programmatic layout is a third floor by Sou Fujimoto, which provides room for an outdoor sculpture along with a private terrace, integrated within the building’s landscaped design concept, which evokes an image of rolling hills.

Pace Tokyo by Sou Fujimoto | image © Nacasa & Partners

the gallery’s summer and fall programs for 2024

This summer, Pace Tokyo is offering a special preview of its new space, during which the gallery will be installed with a salon-style, rotating display of artworks. Open to the public from July 6 to August 17, this preview will feature some 45 works by 20th century and contemporary artists—including Lynda Benglis, Jules de Balincourt, Tara Donovan, Jean Dubuffet, Adolph Gottlieb, Loie Hollowell, Alicja Kwade, Robert Nava, Louise Nevelson, Claes Oldenburg, and Adam Pendleton—to showcase the breadth of Pace’s program.

Meanwhile, Maysha Mohamedi’s solo show for the Fall program will spotlights new, never-before-exhibited paintings produced in 2023 and 2024. For these works, she drew inspiration from her personal diary chronicling her brief time working in Japan two decades ago. As for Arlene Shechet, her genre-defying ceramics and hybrid sculptures will take over the gallery, bringing together new and recent works that ride the edge between stillness and motion, much like that of the Japanese art and material culture that has long inspired the artist. Enactments of tilting, contorting, bending, and melting recur throughout her sculptures, which force us to sit with—and move around—their contradictions.

a summer preview is on view until August | image © Keizo Kioku

image © Keizo Kioku

all-white, minimalist design | image © Nacasa & Partners

Pace Tokyo is now open in Azabudai Hills | image © Keizo Kioku

image © Nacasa & Partners

Pace Tokyo exterior | image © Nacasa & Partners

Azabudai Hills | rendering © DBOX for Mori Building Co., Ltd

project info:

name: Pace Tokyo

location: Azabudai Hills, Tokyo Japan

architect: Sou Fujimoto | @sou_fujimoto

summer exhibition dates: July 6 – August 17, 2024

fall program date: September 2024 

artists on view: Maysha Mohamedi, Arlene Shechet

The post pace tokyo by sou fujimoto opens in azabudai hills, revealing an all-white ethereal design appeared first on designboom | architecture & design magazine.

In September 2023, construction images of the wooden ring roof in Japan by architect Sou Fujimoto had surfaced for the very first time. Designed as the master plan for the highly-anticipated Expo 2025 Osaka, the proposal reveals a 60,000 sqm green-filled structure that will serve as the international fair’s main circulation path. As we inch closer to the event, which will be held between April 13 – October 13, 2025, the Japanese architect shares new pictures showing the impressive progress happening on the ground. 

all images courtesy Sou Fujimoto via Instagram

a sweeping structure for expo 2025 osaka by sou fujimoto

Structurally, the wooden ring roof for Expo 2025 Osaka varies between 12 meters and 22 meters in height, spans about 600 meters in diameter, and stretches for two kilometers around. Construction is held jointly with  Tohata Architects & Engineers and Azusa Sekkei. Taking to Instagram, Sou Fujimoto writes: ‘This timber construction roof is part of the main circulation of the Expo master plan, providing spectacular experiences, while protecting visitors from rain and strong sunlight. People can go up to the top of the roof where is the observatory deck, can enjoy the view to the sea and sunset. This roof is covered by greens and flowers, changing its impression season by season.’

construction progress of the wooden ring roof at Expo 2025 Osaka

the structure varies between 12 and 22 meters in height

Sou Fujimoto recreates Japan’s traditional wooden construction at Expo 2025 Osaka

The post sou fujimoto shares construction progress of timber ring roof for expo 2025 osaka appeared first on designboom | architecture & design magazine.

Startup hospitality brand NOT A HOTEL has initiated sales for Ishigaki Earth, Sou Fujimoto‘s undulating green villa in Japan, one year after its debut. Situated on the serene Ishigaki Island in Okinawa, this retreat occupies an expansive 9,900-square-meter property along the island’s southwestern coast. Its circular design, crowned by a lush undulating roof, eliminates the conventional concept of a front or back, inviting nature to envelop it from all angles. Large openings in the meadowed rooftop frame picturesque vistas of the sky, blurring the lines between architecture and nature. 

all images by NOT A HOTEL

Inside fujimoto’s fluid interiors

Architect Sou Fujimoto‘s vision for the NOT A HOTEL project focused on harmonizing the villa with its pristine nature. Mimicking the gentle undulations of rolling hills, its circular structure and concave design provide residents with unobstructed views, blending the island’s lush greenery with ocean panoramas. The retreat offers practical amenities, including an infinity pool merging with the sea, unobstructed living and dining areas with expansive views, an underwater sauna, and a fully equipped gym. The living area, extending outward, features full-height glazing bringing the landscape indoors. Additionally, the villa comprises four bedrooms, comfortably accommodating up to ten people. Each bedroom is crafted for tranquility, with the waterside bedroom providing calming views of the sea, complemented by a bathroom designed to connect residents with the horizon.

atop the roof garden, there’s a pool where children can play freely and a fireplace for gathering around a warm fire

the meadowed rooftop resembles the gentle undulations of rolling hills

a tranquil space harmoniously intertwined with Ishigaki Island’s pristine nature

large openings invite the landscape indoors

a pool where the sky and water meet, creating a beautiful fusion of horizons

the living and dining rooms gaze upon the evening sky 

project info:

name: Ishigaki Earth

architects: Sou Fujimoto | @sou_fujimoto

client: NOT A HOTEL | @notahotel_official

location: Ishigaki City, Okinawa Prefecture, Japan

The post NOT A HOTEL opens sales for sou fujimoto’s undulating green villa in japan appeared first on designboom | architecture & design magazine.

The Three-Dimensional Park conceived by the acclaimed architect Sou Fujimoto, is set to transform the landscape of Fukuoka City, Japan. This urban project will breathe new life into the existing Meiji Park, situated prominently in front of the Hakata railway station in Fukuoka prefecture. With its location as the gateway to Kyushu, it aims to create a one-of-a-kind park that harmoniously blends urban elements with natural beauty, all while embracing the concept of a Three-Dimensional fusion. This ambitious undertaking is made possible through the utilization of the Park-PFI (Private Finance Initiative), a system designed to enhance user convenience and revitalize public spaces through private sector involvement.

The Park aligns with the city’s forward-thinking ‘Hakata Connected’ policy, which seeks to revamp the entire area surrounding the railway station. This comprehensive urban renewal plan encompasses the reconstruction of private buildings, the expansion of pedestrian walkways, the extension of the Nanakuma Subway Line, and the complete redevelopment of Hakata Station Street. The result sees a dynamic urban landscape characterized by its three-dimensional complexity, promising an enhanced overall experience for city dwellers and visitors alike.

all images by Sou Fujimoto

adding a new three-dimensionality to Fukuoka’s landscape

The design team aimed to imbue the park with a fresh sense of three-dimensionality, with the goal of turning it into ‘a citizens’ oasis’, as they described. The park’s central feature will be a network of floating walkways designed with gentle slopes to connect various park levels, making them accessible to all while also providing sheltering eaves to protect visitors from the elements and facilitate easy movement within the park. These ‘pathways in the air’ will provide spaces for leisurely walks, exercising, enjoying plants, and hosting events, all while outlining the park’s boundaries and ensuring a sense of cohesion.

Adjacent to the park, a four-story tenant building will stand in harmony with a subway ventilation tower, creating an inviting plaza. This will house an array of tenants, including restaurants and wellness facilities, ensuring a diverse range of activities that complement the park’s ambiance and the surrounding urban environment. The building will feature outdoor zones, such as rooftop gardens and a monumental staircase extending from the street axis, offering multiple purposes. Furthermore, the building will serve as an essential informational hub and a hub for community exchange, strengthening its role in connecting people.

barrier-free walkways welcome all visitors

While the tenant building and walkways contribute significantly to the park’s appeal, it is the landscaping that takes center stage. The existing park features a rich collection of camphor trees and ginkos, considered sacred to Hakata’s renowned Kushida Shrine, along with a charming terraced garden adorned with Japanese summer oranges. To maintain the park’s appeal and blend it with the region’s natural environment, the design will introduce more indigenous vegetation, giving it a distinctive appearance that suits the City of Hakata.

Drawing inspiration from Hakata’s historical traditions, which have flourished through the centuries on its vibrant streets, the Three-Dimensional Park pays homage to this heritage. It is deeply rooted in local history, from Toyotomi Hideyoshi’s 16th-century city layout to the colorful festivals like Hakata Dontaku and Hakata Gion Yamagasa. This landmark park project seeks to extend the city’s promenades into urban spaces that integrate buildings, city streets, parks, and the community, creating a shared three-dimensional realm that honors Hakata’s past while embracing its future. Meanwhile, by implementing the innovative Park-PFI system, the Three-Dimensional Park exemplifies modern urban planning, where both private and public interests collaborate to create a balanced and welcoming environment.

a shared three-dimensional realm

floating three-dimensional walkways connect the ground level to the second and third floors

introducing a dynamic and inclusive community space that bridges the past, present, and future

project info:

name: Three-Dimensional Park

architects: Sou Fujimoto | @sou_fujimoto

location: Fukuoka City, Japan

initiation of the construction process: 2024

The post sou fujimoto weaves a network of floating walkways into new multilayered park in fukuoka appeared first on designboom | architecture & design magazine.