Kiddie Express is the third branch of a children’s salon brand, located within a busy shopping mall in Dubai. Designed to accommodate both children and teenagers, the project builds upon operational and technical lessons learned from the client’s earlier outlets. The design prioritizes functionality, durability, and efficient space planning within a high-footfall commercial environment.

The spatial layout is organized to ensure clear zoning and smooth circulation. Dedicated areas support simultaneous use by young children, teenagers, parents, and staff, allowing the salon to operate efficiently during peak hours. Circulation routes were carefully considered to maintain comfort and accessibility while optimizing workflow.

The design language balances playful elements with a more mature aesthetic. Yellow and green accents introduce vibrancy, while terrazzo-patterned surfaces add visual texture without overwhelming the space. This approach broadens the salon’s appeal across age groups, creating an environment suitable for both younger children and teenagers. The overall visual identity aligns with the brand while representing a progression from previous branches.

all images courtesy of Euphoria Interiors unless stated otherwise

playful accents define the children’s hair salon interiors

Euphoria Interiors, led by designer Amanda D’Souza, selects materials guided by durability and maintenance requirements. Porcelain tiles were specified for flooring due to their resistance to wear and ease of cleaning. Finishes and surface treatments were chosen for safety, longevity, and suitability for continuous commercial use. Each material was evaluated for performance within the constraints of a mall setting, where heavy daily traffic is expected.

The execution phase required coordination with contractors and mall management, particularly in relation to commercial approval procedures. Despite time constraints associated with these processes, structured planning and contractor selection supported consistent quality and project delivery. Kiddie Express demonstrates how commercial interior design can integrate operational efficiency, age-inclusive aesthetics, and material durability within a high-traffic retail environment.

the salon is designed to serve both children and teenagers within one cohesive environment

dedicated stations accommodate children, teens, parents, and staff simultaneously | image by Inn Decor LLC

yellow and green highlights introduce energy across the salon | image by Inn Decor LLC

terrazzo-patterned surfaces add texture without dominating the space | image by Inn Decor LLC

material choices respond to the operational demands of a mall environment | image by Inn Decor LLC

the interior accommodates multiple age groups without visual conflict

finishes are selected for safety, longevity, and ease of maintenance

service zones are arranged to optimize workflow efficiency

Kiddie Express occupies a high-traffic retail unit within a Dubai shopping mall | image by Inn Decor LLC

project info:

name: Kiddie Express Kids Salon

designer: Euphoria Interiors | @euphoriainteriors.ae
lead designer: Amanda D’Souza
location: Dubai, UAE

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

edited by: christina vergopoulou | designboom

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The upper arm of the monumental cross has been installed atop the tower of Jesus Christ at Antoni Gaudí’s Sagrada Família in Barcelona, marking the completion of the tower’s exterior at 176 meters above ground (find designboom’s previous coverage here). The milestone positions the cross as the highest point of the basilica and finalizes the grouping of its six central towers. Interior works within the structure are scheduled to continue through 2027 and 2028.

Conceived as the vertical and symbolic center of the Temple, the tower of Jesus Christ stands at 172.5 meters and is surrounded by the four towers of the Evangelists, each linked to it by bridges, and the tower of the Virgin Mary, connected internally. With its twelve-sided geometry and twelve levels of prefabricated panels, construction of the shaft began in October 2018 at a height of 85 meters. The final level was completed back in December 2024, reaching 142.5 meters before the pinnacle elements began to rise.

all images © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Sean Mitchell Henry, unless stated otherwise

tensioned stone and off-site assembly

The tower employs a tensioned-stone building system that has shaped much of the recent construction strategy at the Sagrada Família, combining stone and steel that allows large panels to be manufactured off-site and installed level by level. At the base of the pinnacle, a 29-meter-high element clad in white enameled ceramic and brick carries the inscription ‘Tu solus Sanctus, tu solus Dominus, tu solus Altissimus’ (You alone are the Holy One, you alone the Lord, you alone the Most High), framed by sculpted palms. Construction of this section began in May 2025.

The cross itself measures 17 meters in height and 13.5 meters in width, formed by four corrugated arms clad in glass and white enameled ceramic. Built in Germany in 2025, it was transported to Barcelona in modules and pre-assembled on a work platform 54 meters above the central nave. Installation took place in seven stages, including the lower arm, the core, four lateral arms, and finally the upper arm, positioned on February 20th, 2026.

The placement of the lower arm in October 2025 brought the tower to 162.91 meters. With the final piece now secured, the cross completes Gaudí’s envisioned silhouette. As described in the Quart Àlbum del Temple Expiatori de la Sagrada Família (1927–1929): ‘Resting on the four extremely tall columns of the crossing, the great lantern will rise up, topped at 176 metres above the ground with a magnificent cross with four corrugated arms from which to look out over the surroundings. In the middle, the Lamb of God.’  Inside the upper arm, a sculpture of the Agnus Dei by Andrea Mastrovito will be installed, while the Lamb envisioned by Gaudí will occupy the center of the cross, visible from within.

The upper arm of the monumental cross has been installed atop the tower of Jesus Christ at Antoni Gaudí’s Sagrada Família in Barcelona | image © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Pep Daudé

a centenary milestone

The culmination of the tower coincides with the centenary of Antoni Gaudí’s death, linking the latest phase of construction to the architect’s long-studied drawings and models. ‘Completion of the cross on the tower of Jesus Christ represents much more than the culmination of a phase of construction: it is the result of years of work and studying the legacy Antoni Gaudí left us. It is also a firm commitment to the future, to continue working to complete the Sagrada Família.’ head architect Jordi Faulí notes.

With the exterior of the tower of Jesus Christ now complete, attention shifts inward. The basilica’s vertical center has reached its intended height, but the project remains in motion, continuing the layered construction process that has defined the Sagrada Família for more than a century.

the completion of the tower’s exterior at 176 meters | image © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Pep Daudé

the milestone positions the cross as the highest point of the basilica | image © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Pep Daudé

conceived as the vertical and symbolic center of the Temple | image © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Pep Daudé

construction of the shaft began in October 2018 at a height of 85 meters | image © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Pep Daudé

the tower employs a tensioned-stone building system | image © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Pep Daudé

the cross itself measures 17 meters in height and 13.5 meters in width

project info:

name: tower of Jesus Christ and cross, Sagrada Família | @basilicasagradafamilia

architect: Antoni Gaudí (original design)

head architect: Jordi Faulí

location: Barcelona, Spain

client: Fundació Junta Constructora del Temple Expiatori de la Sagrada Família

The post watch: gaudí’s sagrada família reaches full height as cross tops tower of jesus christ appeared first on designboom | architecture & design magazine.

Kengo Kuma & Associates wins a competition to design a new public library in Rzeszów, Poland, with a proposal titled The Spiral of Words, or Wir Słowa. The project is designed in collaboration with Polish studio Schick Architekti, Buro Happold and MASU Planning in a scheme that at once a building and a landscape to be explored by the public.

Set within a lush park, the timber structure takes the form of a rising spiral that organizes the entire program around a central, top-lit lobby. From the air, its faceted roof planes appear as a series of shifting terraces layered with vegetation and photovoltaic panels. At ground level, the volume sits low among trees for a humble presence while still drawing visitors inward through its sheltered public forecourt.

visualizations © KIN Creatives, © VIBSU via MASU Planning

kengo kuma arrives in Rzeszów, Poland

The jury describes Kengo Kuma & Associates’ proposal as attractive and formally innovative, highlighting its city-forming quality and the strength of its interiors. At its core lies a library space that coils upward around a luminous atrium to connect all floors through a continuous path. The architects design the spiraling promenade to operate as both circulation and spatial narrative. Readers are gradually guided upward through collections, study areas and gathering spaces.

Inside, timber surfaces define the atmosphere. Floors, ceilings and structural elements read as a cohesive material field, punctuated by perforated panels that temper acoustics and diffuse light. The atrium roof opens to the sky through a faceted skylight which casts a soft glow down into the lobby. Reading terraces step back from the perimeter glazing, creating places to sit along the edges while maintaining long views across the interior.

Kengo Kuma wins the competition to design a public library in Rzeszów, Poland

luminous timber interiors

The interior organization supports varied uses without fragmenting the whole. Children’s areas are integrated into the stepped landscape of shelves and seating, where low platforms double as informal stages and reading zones. Quiet study rooms sit behind fine mesh partitions, allowing visual continuity while providing enclosure. Event spaces, including a large hall finished in warm timber, are placed within the spiral so that public programs feel connected to the daily rhythms of the library.

In the performance space, suspended wooden elements form a dense ceiling grid that modulates sound and light. The geometry of the spiral is legible here as well, expressed through subtle shifts in wall planes and balcony edges. Throughout, the material palette remains restrained, allowing structure and daylight to shape the character of each room.

the building is organized as a rising spiral that connects all floors around a central atrium

Landscape as Extension of the Library

MASU Planning’s landscape strategy extends the building into its surroundings. At street level, a network of green islands frames the site, functioning as water retention areas and habitats while guiding pedestrians toward the entrances. Planting is designed to enhance biodiversity, introducing a layered ecology directly into the urban fabric of Rzeszów.

Rooftop gardens continue this approach upward. Each level offers an outdoor terrace that changes in character as visitors ascend, from sheltered reading gardens to open platforms with views across the city. Gauthier Durey, landscape architect and associate partner at MASU Planning, describes the landscape as an outdoor extension of the indoor facilities, offering space for play, culture, contemplation and relaxation in the open air. Together, the ground and roof landscapes form an inclusive public realm where nature and culture meet within a sequence of connected spaces.

a top-lit lobby brings daylight deep into the heart of the library

timber surfaces shape the interiors and create a warm, cohesive atmosphere

a large event hall features a suspended wooden ceiling grid for acoustic performance

stepped reading terraces guide visitors upward through collections and study spaces

ground level green islands support biodiversity and manage water retention

project info:

name: Wir Słowa

architect: Kengo Kuma & Associates | @kkaa_official

location: Rzeszów, Poland

local architect: Schick Architekti | @tkholding.pl

landscape architect: MASU Planning | @masuplanning

MEP, acoustic, facade: Buro Happold | @buro_happold

structure: Structured Environment, Häring Timber Technology AG

visualizations: © KIN Creatives | @_kincreatives_, © VIBSU | @vibsu_co

The post a spiraling timber library by kengo kuma to rise in rzeszów, poland appeared first on designboom | architecture & design magazine.

New images document the Snøhetta–led Shanghai Grand Opera House as it approaches completion along the Huangpu River, with an opening anticipated in the second half of 2026. Following its winning proposal in the 2017 international competition, Snøhetta joined forces with East China Architectural Design & Research Institute, Theatre Projects, and Nagata Acoustics in 2019 to deliver the project as a consortium from concept through construction.

Positioned on the convex bank of the river, the opera house occupies a prominent site within Shanghai’s emerging cultural masterplan. Its spiraling, climbable rooftop traces a continuous sweep around the perimeter, rising from the ground in a broad arc that draws visitors upward. The gesture echoes the movement of water along the Huangpu while establishing a civic presence visible from across the waterfront.

images © Tian Fangfang, Honne Dang

snøhetta’s contextual design motifs

The roof is conceived by the architects at Snøhetta as an accessible public landscape. A helical stair links plaza and skyline to guide visitors along a steady ascent toward elevated platforms overlooking the city and riverbanks. Open throughout the day and night across the year, the roof operates as an urban stage and gathering ground, and extends the institution’s reach beyond ticketed events.

Inside, the building pairs monumentality with motion. Glazed facades introduce daylight deep into the public halls, while sculptural volumes finished in deep red curve through the interior. These forms define circulation routes and shape the sequence of arrival, framing views between foyers, stairs, and auditoriums. The experience begins well before any performance, with the dynamic architecture setting the tempo.

the Shanghai Grand Opera House rises along the bank of the Huangpu River as construction nears completion

a translucent and white material palette

The program accommodates a wide spectrum of productions, from traditional opera and orchestral repertoire to contemporary and experimental work. Multiple auditoriums of varying scale allow the institution to address different audiences and formats, reinforcing its ambition as a cultural destination across genres.

Landscape design mirrors the building’s geometry. A radial layout radiates outward from the opera house, reinforcing visual continuity between structure and site. Planting and surface treatments align with broader ecological goals within the district, contributing to a low-carbon development strategy that supports Shanghai’s long-term urban ambitions.

a spiraling roofline sweeps around the site as a continuous public promenade above the waterfront

the helical stair connects plaza and skyline to guide visitors toward elevated river views

a radial landscape layout mirrors the building’s geometry and supports low carbon goals

deep, red sculptural volumes shape circulation routes through the interior

soaring glazed facades draw daylight deep into the public halls

multiple auditoriums accommodate opera, orchestral, and experimental performances

project info:

name: Shanghai Grand Opera Hall

architect: Snøhetta | @snohetta

location: Shanghai, China
collaborators: East China Architectural Design & Research Institute (ECADI), Theatre Projects, Nagata Acoustics, schlaich bergermann partner, Meiss Architecture & Engineering Office
area: 146,786 square meters

previous coverage: April 2019, November 2023, July 2025

photography: © Tian Fangfang, © Honne Dang

The post look inside snøhetta’s spiraling shanghai grand opera house as it nears completion appeared first on designboom | architecture & design magazine.

BAZ is a front-cooking restaurant in Lisbon by XXXI.studio that stages culinary service as a live performance. Rooted in the studio’s philosophy of transparency, the spatial concept intentionally dissolves the boundary between chef and guest along a 15 meter long charred wood counter, transforming the dining room into an immersive environment. The architectural narrative begins at the entrance with a sharply incised facade. A minimalist stainless steel box marks the threshold and establishes a controlled transition from street to interior. Stainless steel surfaces meet raw wood elements in a restrained material palette, emphasizing texture, tactility, and contrast. Clean lines, exposed finishes, and the absence of decorative layers reinforce the project’s commitment to honesty in construction, allowing the identity of each material to stand on its own while setting the tone for the radically open kitchen beyond.

all images courtesy of XXXI.studio

15 meter long counter acts as interior centerpiece

Inside, XXXI.studio’s spatial concept centers on a dramatically open kitchen. Moving beyond the trend of partially visible preparation areas, the studio decides to reveal every aspect of service through a single defining element: a 15 meter long counter. Sculptural and organic in form, it stretches across the full length of the space, creating an unexpected equal division between service and dining. On one side, the bar and kitchen. On the other, the guests. The configuration ensures that both realms remain fully visible to one another. As Carlos Aragão, co founder of XXXI.studio, explains, ‘These two realities of service and guest live together at the same time, fully visible to each other.’

The counter draws inspiration from the Japanese Shou Sugi Ban technique. Its creation involved a meticulous process of sculpting, charring, brushing, washing, and varnishing wood. The resulting surface carries an organic texture marked by irregularities and traces of the handmade. Described as ‘full of accidents,’ the element becomes the soul of the space. Set against a calm and refined backdrop, the massive central object anchors the interior while allowing the restaurant’s dynamic moments to unfold around it.

the architectural narrative begins at the entrance with a sharply incised facade

15 meter long counter acts as interior centerpiece

BAZ reflects XXXI.studio’s integrated approach, with the team overseeing both design and construction. By collaborating directly with carpenters and manufacturers on site to resolve technical challenges, the studio ensured that the final outcome preserves the clarity of its concept while celebrating craftsmanship. By stripping away the superficial and embracing the raw process, BAZ demonstrates that when materials are allowed to speak for themselves, the atmosphere is not only seen but deeply felt.

a minimalist stainless steel box marks the threshold between interior and exterior

project info:

name: BAZ
architects: XXXI.studio

location: Lisbon, Portugal

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: claire brodka | designboom

The post xxxi.studio divides lisbon restaurant with 15 meter long charred wood counter appeared first on designboom | architecture & design magazine.

Located on the outskirts of Monterrey, in the colonial town of Villa de Santiago, Casa en Santiago by S-AR reinterprets the regional rural building language through a monolithic concrete structure wrapped in local stone. Conceived as a weekend residence within the mountainous landscape of the Sierra Madre Oriental, the house uses patios, terraces, and views to connect interior and terrain.

The house is formed primarily by reinforced concrete elements. Walls, corbels, floors, and roof merge into a single structural and material system. The finish reveals different explorations in the execution of concrete, allowing textures and subtle variations to register across surfaces. Only one metallic column interrupts the otherwise rocky, monolithic mass, marking a structural inflection and subtly recalling the steel embedded within the concrete frame.

As daylight shifts, shadows move across lines, grids, planes, stone, wood, steel, and ceramics.

all images courtesy of S-AR

a house between mountain and town in mexico

Villa de Santiago sits 37 kilometers from Monterrey and is a gateway to rivers, waterfalls, and forests that attract visitors for canyoning, climbing, and trekking. The site, positioned with direct views toward the nearby mountains, continues a local tradition of cottages and weekend homes embedded in nature, and the house extends the rural typology of thick stone walls and muted facades. From the street, a large stone wall shields the private areas while the whole facade remains mostly closed, allowing only the doors to punctuate the surface. Built with local stone, Villa de Santiago echoes the enduring walls of adobe and masonry that still define the area.

Behind this protective exterior, the Mexico City- and Monterrey-based architects at S-AR organize space around a generous central patio. A metallic lattice enclosure separates the private from the social areas while maintaining visual continuity toward the courtyard. The public program opens toward the garden through a covered terrace that extends daily life outdoors. This shaded platform becomes the social heart of the house, complemented by a pool and grill area that support weekend gatherings.

Casa en Santiago by S-AR reinterprets the regional rural building language

spatial axis and ascent toward the landscape

Internally, the plan is divided by a service nucleus that acts as an axis between public and private domains. Glass partitions and open patios dissolve strict boundaries, generating layered transparencies. Spaces expand and contract through controlled openings, framing fragments of sky, vegetation, and distant mountains.

Circulation is articulated through a spiral staircase and a ramp that ascend from different points of the house toward the roof terrace. This upper platform becomes the culminating spatial moment. From here, the nearby mountains dominate the horizon, encouraging pause and observation. The ascent reinforces a continuous movement between interior and exterior, house and landscape, and user and surroundings.

the house is formed primarily by reinforced concrete elements

the finish reveals different explorations in the execution of concrete

a monolithic concrete structure wrapped in local stone

textures and subtle variations to register across surfaces

walls, corbels, floors, and roof merge into a single structural and material system

spaces expand and contract through controlled openings

glass partitions and open patios dissolve strict boundaries

a timber island contrasts with exposed concrete ceilings and dark cabinetry

dining and living areas unfold beneath a textured concrete slab

a corridor lined with wooden slats and white storage panels filters light toward a rear opening

project info:

name: Casa en Santiago
architects: S-AR | @stacionarq

location: Villa de Santiago, Mexico

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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Designed in the early 1980s by John Lautner, the recently renewed Lautner’s Castle rises from a steep Los Angeles hillside, its cylindrical stone turrets marking the canyon edge. Renovation architect Conner & Perry Architects approached the project with the intention of upgrading key spaces and performance while preserving the logic and spirit of the California home.

The residence‘s south facade remains defined by its stone cylinders, each containing a distinct program — kitchen storage, bathing spaces, and circulation — within its thickened walls. Between each stone cylinder, a terrace projects outward to frame views in rhythmic intervals.

cylindrical stone turrets define the south facade and organize the interiors | images © Joe Fletcher

renewing a nautical timber roof structure

Inside Lautner’s Castle, a curving hallway follows the arc of the upper level beneath a ribbed timber ceiling. When the team at Conner & Perry Architects replaced the aging roof assembly, the diagonal board structure was briefly exposed, revealing a construction method that reads almost nautical in its precision. The rebuilt roof improves insulation and weather protection while retaining the original geometry. Copper caps now top the exterior beams, introducing a material that will patinate alongside stone and wood.

Original Douglas fir panels were stripped and refinished, restoring depth to the interior surfaces. In the living area, a suspended installation of thin wood veneer fins traces the length of the dining space, casting light across the exposed ceiling. Chrome eyeball fixtures punctuate the entry, directing attention to the grain and rhythm of the wall panels.

Conner & Perry upgrade the roof and preserves Lautner’s original structural geometry

Focused Interventions by conner & perry

The kitchen remained largely intact, its stone slab island and heavy detailing preserved. Technical upgrades were integrated discreetly, with concealed ceiling slots and a roof mounted fan addressing ventilation without disrupting sightlines. Throughout the house, flooring was replaced in kind and millwork inserted with precision, reinforcing existing lines rather than competing with them.

In the primary suite, a custom platform bed and integrated nightstands replace earlier elements while aligning with the vertical grain paneling. The bathroom received more substantial revision. A new Corian soaking tub set into a hardwood deck faces the canyon, while the cylindrical stone shower with its circular skylight continues to define the room through light and texture.

a ribbed wood ceiling and curved hallway shape the upper level experience

Extending the Terrain

Beneath the pool, Conner & Perry Architects carved out a new deck from what had been a dirt slope, revealing the underside of Lautner’s Castle’s cantilevered structure. Built-in seating and a stone fire feature establish the space as an outdoor room. Planters form a subtle edge along the drop, maintaining open views toward the canyon.

The surrounding landscape was reworked to support the architecture. A cactus garden frames the entry, while planted walkways and shaded pockets trace the hillside at the rear. These additions reinforce the dialogue between mass and terrain that has long shaped John Lautner’s work.

the kitchen retains its stone slab island and embedded storage within a turret

copper beam caps replace painted metal and will weather alongside stone and timber

copper beam caps replace painted metal and will weather alongside stone and timber

reworked landscaping strengthens the relationship between architecture and hillside terrain

a carved-out deck beneath the pool reveals the underside of the cantilever

project info:

name: Lautner’s Castle

architect (original): John Lautner | @lautnerfoundation

architect (renovation): Conner & Perry Architects | @connerperryarchitects

location: Los Angeles, California

photography: © Joe Fletcher | @joefletcherphoto

The post conner & perry reworks 1980s-built ‘lautner’s castle’ on a los angeles hillside appeared first on designboom | architecture & design magazine.

Midamo Architecture completes Montessori Universe, Georgia’s first official, licensed Montessori kindergarten in Tbilisi, designed and built from the ground up to meet international Montessori standards.

Conceived by Mr. Giorgi Chkonia, the project is the first international kindergarten in the country, housed in a building specifically developed around child-centered principles. The team positions architecture as an active framework for independence, autonomy, and early cognitive development. Scale, circulation, and material selection are calibrated to young users, while construction and renovation rely on environmentally friendly, non-toxic materials. Furniture and teaching materials are wooden and fully compliant with official Montessori standards.

all images courtesy of Midamo Architecture

child-centered space in practice

The Tbilisi-based team at Midamo Architecture designs Montessori Universe in alignment with international safety and educational requirements from the outset. The Montessori methodology is grounded in the idea that children learn best through self-directed activity within a carefully prepared environment. Here, that preparation extends to the architectural level, through a building conceived to support independence and creative development.

Spatial organization is informed by the principles of equality, respect, and responsibility. Responding to the natural interests and individual capabilities of the children, the mission of the kindergarten translates into physical form. All spaces encourage exploration without overstimulation, autonomy without isolation, and structure without rigidity.

As the first official Montessori kindergarten in Georgia and the first international kindergarten in the country constructed specifically according to child-centered standards, Montessori Universe establishes a new benchmark in early childhood educational infrastructure. Its significance lies not only in licensing status, but in the architectural decision to embed pedagogy into the DNA of the building.

Midamo Architecture completes Montessori Universe in Tbilisi

the project is designed and built from the ground up to meet international Montessori standards

the team positions architecture as a framework for independence, autonomy, and early cognitive development

scale, circulation, and material selection are calibrated to young users

architecture as an active framework for independence, autonomy, and early cognitive development 

the mission of the kindergarten translates into physical form

furniture and teaching materials are wooden and fully compliant with official Montessori standards

spatial organization is informed by the principles of equality, respect, and responsibility

construction and renovation rely on environmentally friendly, non-toxic materials

all spaces encourage exploration without overstimulation, autonomy without isolation

Montessori Universe establishes a new benchmark in early childhood educational infrastructure

project info:

name: Montessori Universe
architect: Midamo Architecture | @midamo_architecture

location: Tbilisi, Georgia

lead architect: Mr. Giorgi Chkonia

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

The post midamo architecture completes georgia’s first purpose-built montessori kindergarten in tbilisi appeared first on designboom | architecture & design magazine.

Manoj Patel Design Studio has completed a farmhouse on the outskirts of Vadodara, Gujarat, India, positioned between expanding urban development and surrounding agricultural land. Set on a 30,000 sqft plot with a built-up area of 1,500 sqft, the project explores material efficiency, climatic responsiveness, and spatial openness within a rural context.

The design adopts sustainability as a structural and material strategy rather than a stylistic approach. Exposed brick, locally sourced stone, and recycled materials form the primary construction palette. Brick cavity walls integrate ground beams, where RCC slurry is poured within the cavities to strengthen the structure. This method merges structural logic with material expression. Varied brick bond patterns contribute to self-shading performance, responding to the region’s hot and dry climate. Curved brick walls were shaped on site, reflecting the relationship between craftsmanship, geometry, and construction technique.

The built form is organized as a series of fragmented volumes. These distinct masses create interstitial spaces that allow landscape, light, and cross-ventilation to permeate the plan. Height variations across volumes assist in functional zoning while introducing vertical spatial modulation. An open central pocket operates as a landscaped courtyard, establishing a green core that supports informal gathering and play.

all images courtesy of Manoj Patel Design Studio

Sustainability informs both structure and material selection

Geometrically, the farmhouse balances curved and angular forms. Soft, curved brick surfaces contrast with sharper volumes, generating a rhythmic composition structured around courtyards and transitional zones. Circulation is conceived as a sequence of spatial shifts rather than a linear passage. Sloping roof profiles respond to climatic conditions and contribute to the silhouette of the structure. A glazed central volume functions as a visual anchor, channeling daylight deep into the interior and strengthening connections between different programmatic zones.

Manoj Patel Design Studio extends the architectural language into interior spaces through handcrafted details and material continuity. Patterned flooring, custom joinery, and artisanal finishes introduce layers of local craft. Light and shadow activate exposed textures throughout the day, reinforcing the tactile qualities of brick, stone, and reclaimed materials.

Bathrooms are treated as spatially immersive environments within the farmhouse. Stone surfaces, handcrafted tiles, reclaimed wood, and pebbled flooring contribute to a material palette that emphasizes tactility and natural reference. Fixtures are integrated within stone joinery, reinforcing material continuity. Natural light and ventilation enhance the environmental performance of these spaces while maintaining a strong connection to the surrounding landscape.

the farmhouse is located on the outskirts of Vadodara, between urban expansion and agricultural land

exposed brick, local stone, and recycled materials define the construction palette

curved brick walls were shaped on site through skilled craftsmanship

varied brick bond patterns create self-shading surfaces suited to a hot, dry climate

curved and angular geometries create a rhythmic architectural composition

height variations help define functions while modulating spatial experience

interstitial gaps allow landscape, light, and cross-ventilation to permeate the plan

patterned flooring and custom joinery extend the architectural language indoors

exposed materials interact with shifting light and shadow throughout the day

bathrooms are conceived as immersive spaces grounded in natural materials

stone, reclaimed wood, handcrafted tiles, and pebbled floors emphasize tactility

project info:

name: Recycled Material Farmhouse
architect: Manoj Patel Design Studio | @manoj_patel_designstudio

location: Vadodara, Gujarat, India

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

edited by: christina vergopoulou | designboom

The post curved brick patterned walls frame farmhouse by manoj patel in india appeared first on designboom | architecture & design magazine.

ROOVICE has renovated a two-story wooden house from the 1960s in Kajiwara, a residential area in Kamakura, Japan. Designed for a creative couple and their two cats, the project prioritizes preservation and selective intervention, maintaining the existing character and proportions of the house while improving functionality.

The renovation began with the exterior, which was repainted in black. The entrance door and window frames were finished in the same tone to establish a cohesive facade. The intervention aimed to unify the appearance of the building while retaining its original form. Inside, the entrance preserves a distinctive original detail: a narrow strip of smooth white pebbles set between reddish floor tiles and a concrete step. The pebbles remain loose, introducing a subtle tactile quality. Aging wooden wall panels were replaced, and a simple wooden fence was installed near the entrance to prevent the cats from exiting when the door is open.

ROOVICE renovates a 1960s wooden house in Kajiwara | all images by Akira Nakamura

Kajiwara House retains its original timber framework

On the ground floor, the design team at ROOVICE converts the front room into a studio and office. Original glass sliding doors from the built-in storage were repaired and retained as functional and visual features. At the rear, two garden-facing rooms were combined to form a single living area. Large windows provide daylight and establish a visual connection to the garden. Along the engawa corridor, shoji-lined walls were preserved, as were the original ceiling boards. Newly connected ceiling sections were finished with new wooden panels, creating a visible distinction between original and added elements. Continuous flooring throughout the level reinforces spatial flow.

The bathroom retains an interior window facing the hallway. The space was slightly enlarged to improve usability, while existing wall tiles were preserved where possible. Where matching tiles were unavailable, new white tiles were introduced as a deliberate contrast. The original tamaira floor tiles remain in place, maintaining the layered character of the space. In the kitchen, built-in cupboards were refreshed and retained. Only the outdated section was replaced with a custom-made wooden counter. The floor was finished in mortar at the owners’ request, acknowledging the potential for cracks to develop over time as part of the material’s natural aging process.

Upstairs, two smaller rooms were merged to create a single bedroom. Existing oshiire closets were combined into one continuous storage area. Wide windows provide natural light across the enlarged space. Although the renovation work has been completed, the owners plan to finish the walls with shikkui plaster themselves, extending the process of adaptation beyond the formal construction phase.

the two-story structure retains its original proportions and timber framework

original ceiling boards contrast with newly added wooden panels

large windows frame views and draw daylight deep into the interior

the mortar kitchen floor is designed to age and develop cracks over time

built-in kitchen cupboards are refreshed alongside a custom wooden counter

continuous flooring reinforces spatial flow across the ground level

Shoji-lined walls are preserved along the engawa corridor

garden views anchor the living area at the rear of the house

timber surfaces define the interior atmosphere across both floors

upstairs, two rooms are combined into a light-filled bedroom with continuous oshiire storage

built-in storage elements remain integrated within the walls

existing walls are preserved, with white replacements added in contrast

material continuity reinforces the house’s spatial rhythm

project info:

name: Kajiwara House

architect: ROOVICE | @roovice 

design manager: Daiki Kasagi

location: Kamakura, Japan

photographer: Akira Nakamura | @nakamamej

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edited by: christina vergopoulou | designboom

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