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

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Love Hultén introduces a custom wooden music cabinet that plays vinyl records vertically as well as cassette tapes without any covers. A commission by a client, the owner originally asked the sound artist to create his own version of the Rosita Commander Luxus from 1970. The original device was made by Rosita, a German company that produced high-quality stereo systems in the 1960s and 1970s. These systems were often large wooden cabinets that combined a record player, radio, and speakers in one piece of furniture. In Love Hultén’s take, the design keeps the spirit of the 1970 model but adds modern ideas and new functions.

The wooden music cabinet has a warm-looking frame and a clean metal front panel. The wood gives a classic and homey feeling, while the metal and buttons give a modern vibe to it. The record player sits at the top. The turntable sits vertically on the upper panel, accompanied by a slim tonearm. The front panel around the record player is light gray metal, a hint at the old view of futurism, and there are small round knobs at the top for sound control. These knobs are labeled for high, mid, and low sound, all sitting close to the small speaker holes pictured on both sides of the panel and made in a grid pattern.

all images courtesy of Love Hultén

Cassette tapes stacked vertically like the turntable

Below the record player on the wooden music cabinet by artist Love Hultén is a section for cassette tapes. Several colorful cassette tapes are placed neatly in rows, all stacked vertically too, like the turntable. In the center, there is a cassette deck where the owner can insert and play a tape. There are square buttons in red, green, blue, and gray for controlling the tape player, and the buttons are large and easy to press. The assigned colors also help the user understand which button to use to control the recording. The tape storage also allows them to read the labels and titles of the objects easily because they’re slotted just midway, with the upper half peeking into view.

There’s another feature in the wooden music cabinet that Love Hultén has added, and that’s a ‘secret’ storage space for vinyl records. It has a hidden lift system on the top of the device, and when the owner opens it, they can store 10 to 12 records inside, keeping them safe and clean from dust. The design is inspired by 1970s home stereo furniture, when music systems were large and part of the living room. They were not just machines. They were furniture pieces. In fact, one could say that the Rosita Commander Luxus was known for having been a furniture design and high-tech audio piece forged in one product. Love Hultén’s version through the wooden music cabinet respects this history, a modern take that shows how old design ideas can be used again, all refreshed.

there’s even a tape player on deck

there’s a hidden storage for the vinyl records

the storage can hold up to 12 records

side profile of the device

the high chair-like gadget revives the design of the Rosita Commander Luxus from 1970

detailed view of the turntable buttons

project info:

artist: Love Hultén | @lovehulten

model: Rosita Commander Luxus

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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

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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Datça Summer Workshop 2025, titled Lightweight Structures in Vernacular Agroscapes II, was organized by Istanbul Bilgi University, Muğla Sıtkı Koçman University, and İzmir Ekonomi University, in collaboration with Erazo Pugliese and Erginoglu & Çalışlar Architects. The two-week design-build program resulted in a lightweight timber structure installed in the village square of Hızırşah on the Datça Peninsula, Turkey. The intervention references the vernacular ‘çardak,’ a temporary agricultural structure once common across the region, and repositions it within a contemporary rural public setting.

The 2025 workshop extended research initiated in 2024 on Mediterranean rural landscapes and lightweight agricultural typologies. During the first week, held at Istanbul Bilgi University’s Santral Campus, participants revisited archival material, drawings, and lectures related to the historic çardak. Oral histories collected from Datça villagers contributed additional insight into the structure’s spatial organization, construction logic, and seasonal use.

all images courtesy of Erazo Pugliese

Reinterpreting Lost Vernacular Structures in Hızırşah Village

Historically, the çardak functioned as a reversible and demountable timber structure erected directly in agricultural fields. It accommodated multiple uses within a compact footprint, serving simultaneously as shelter, workspace, and storage. Positioned between cultivated land and domestic life, it provided shade and climatic protection through minimal material means. These characteristics informed the 2025 design workshop organized by Istanbul Bilgi University, Muğla Sıtkı Koçman University, and İzmir Ekonomi University, in collaboration with architect Erazo Pugliese and Erginoglu & Çalışlar Architects. The design exercise emphasized low-tech construction, tectonic clarity, and adaptability.

The second week of the workshop took place in Hızırşah, an agriculture-based settlement where the schoolyard operates as the primary public square. Supported by Datça Municipality, which allocated the site, and Asmaz Ahşap Karkas Yapılar, which supplied timber materials, the team prefabricated and assembled a 22-square-meter wooden structure at the edge of the square.

Organized around a long built-in table, stepped seating platforms, and shaded thresholds, the structure introduces an open-air room that supports multiple activities, including gatherings, play, informal teaching, and celebrations. The repetitive timber frame, reed infill panels, and agricultural fabric shading reference the material logic of the historic çardak while allowing for future modification. Its open configuration maintains flexibility for evolving uses within the village.

Datça Summer Workshop 2025 resulted in a lightweight timber structure in Hızırşah village square

The workshop brought together students and recent graduates from the participating universities, alongside collaborators from Wentworth Institute of Technology. Led by faculty members Burcu Kütükçüoğlu and Elif Kendir Beraha from Istanbul Bilgi University’s Faculty of Architecture, the program integrated research, design development, and hands-on construction.

Throughout the building process, villagers, particularly children, interacted with the site, observing and engaging with the emerging structure. The workshop format positioned the project as both educational exercise and community-oriented intervention. As with the vernacular çardak, the long-term relevance of the structure will depend on how it is appropriated, adapted, and maintained by Hızırşah’s residents over time.

the intervention reinterprets the vernacular agricultural structure known as the çardak

historically, the çardak functioned as a reversible timber shelter in agricultural fields

the pavilion is organized around a long built-in table and stepped seating platforms

reed infill panels and agricultural fabric reference vernacular material logic

the repetitive timber frame allows for future modification and adaptation

the open configuration supports gatherings, play, and informal teaching

archival drawings and oral histories informed the reinterpretation of the çardak typology

villagers, particularly children, engaged with the structure during the building process

the two-week workshop combined academic research with on-site construction

the long-term relevance of the project depends on its continued use and adaptation by the community

project info:

name: Datça Summer workshop 2025 – Lightweight Structures in Vernacular Agroscapes II | @datcasummerschool
universities: Istanbul Bilgi University | @bilgiofficial, Muğla Sıtkı Koçman University | @muglaedutr, İzmir Ekonomi University | @izmirekonomiuni

architects: Erazo Pugliese | @erazo_pugliese, Erginoglu & Çalışlar Architects | @ecarchitects

tutors: Burcu Kütükçüoğlu, Istanbul Bilgi University Elif Kendir Beraha, Istanbul Bilgi University Kerem Erginoğlu, Erginoğlu Çalışlar Architectural Office Sebastian Erazo, erazo-pugliese Stefano Pugliese, Faculty of Fine Arts and Design, IEU, Izmir

workshop assistant: Gizem Cömert

contributors: Bora Özkuş, Muğla Sıtkı Koçman University Can Kaya, Kıyıda Architectural Office İlke Tekin, Muğla Sıtkı Koçman University Mark Mulligan, Wentworth Institute of Technology SoAD Sameeta Ahmed, National Academy of Performing Arts (NAPA), Karachi

participants: Miray Baş / Yağmur Danışoğlu / Aydoğan Dağlı / Cengiz Kaan Dursun / Hüseyin Bozkır / Damla Köseoğlu / Aylin Akay / Bade Sarıkuş / Verda Mumtaz / Raşithan Karabıyık / Ecem Kıvanç / Abdullah Abdelrahman

sponsors: Datça Municipality Asmaz Ahşap Karkas Yapılar, Milas Kavakdibi Cafe, Datça Taş Apart, Datça Egeden Hotel, Datça Maya Hotel & Apart, Datça Kaptan Apart, Datça

location: Hızırşah, Datça Peninsula, Turkey

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 Museum Oberamteistrasse by Wulf Architekten in Reutlingen brings a contemporary timber structure into dialogue with one of the German city’s oldest streets. The museum project restores a sequence of medieval houses and completes the corner with a new volume that traces the footprint of the former Stone House.

The surrounding fabric dates to the 12th and 13th centuries, and the surviving basements and timber frames carry more than seven centuries of construction history. The rehabilitation treats these buildings as both exhibition spaces and primary artifacts. Walls and beams are expressed and are shrouded in a dramatic facade and rooftop of translucent glass shingles.

images © Brigida González

wulf architekten’s shimmering facade of glass shingles

On the corner plot where the Stone House once stood, the team at Wulf Architekten introduces the Museum Oberamteistrasse intervention to reestablish the street edge without imitating the historic fabric. The volume follows the scale and roof geometry of its neighbors, while its surface announces a glowing, contemporary intervention. Cast glass shingles, shaped like traditional beaver-tail tiles, form a continuous skin across roof and facade.

The glass cladding shifts in tone with the light. In overcast conditions the envelope appears pale and matte, while interior illumination reveals the geometry of the timber structure behind it. This layered effect gives the project a changing presence within the tight grain of Reutlingen’s old town.

the contemporary Museum Oberamteistrasse occupies a medieval street in Reutlingen

the exposed timber truss system

The structural design by Str-ucture centers on an exposed timber truss system that defines the Museum Oberamteistrasse’s interior volume. Large triangular frames span the height of the building, bracing the envelope and supporting adjacent historic walls. Their rhythm is legible from both inside and outside, where the grid reads faintly through the glass shingles.

Within, the timber structure forms a spatial framework that guides circulation. A broad stair rises alongside the trusses, offering views across excavated stone foundations below. The preserved basement walls of the former Stone House remain in situ, their rough masonry contrasting with the precise joinery of the new wooden members above.

Light filters through the glass tiles and washes the interior with a soft glow. The timber takes on a warm tone against the diffuse exterior brightness, and the triangular geometry casts a shifting pattern across floors and walls.

translucent cast glass shingles form a continuous roof and facade surface

restored houses from the 12th and 13th centuries are both exhibition space and artifact

preserved stone foundations remain visible beneath the new construction

the structural design by Str-ucture supports historic walls and frames circulation

cast glass shingles are shaped like traditional beaver-tail tiles

old and new construction techniques are presented as legible architectural layers

project info:

name: Museum Oberamteistrasse

architect: Wulf Architekten | @wulfarchitekten

location: Reutlingen, Germany

structure: Str-ucture | @str.ucture.gmbh

photography: © Brigida González | @brigidagonzalezwork

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In a dense residential pocket of Tokyo’s Setagaya ward, naf architect & design completes Wall Ajar House, a two-story wooden dwelling defined by a carefully cut perimeter wall and a horseshoe-shaped courtyard. Designed by Akio Nakasa and Takumi Hara, the 108-square-meter residence occupies its 115-square-meter site almost entirely at ground level, securing a 17-meter uninterrupted visual axis from garage to washroom while filtering light through calibrated openings.

On first visiting the site, Akio Nakasa was struck by the greenery to the left and rear, visible from the street instead of the typical boundary walls. The architects wrap the plot in a continuous wall that is slightly opened on one side, as if peeling back packaging. That small incision becomes the facade and the primary gesture of connection.

Inside the perimeter, a courtyard is carved out. The roof that shades it is cut into a horseshoe form to frame the sky and adjacent trees; the courtyard floor mirrors the same geometry. This opening directs views upward and sideways, allowing light to enter at shifting angles throughout the day while maintaining enclosure from the surrounding density.

all images by Toshiyuki Yano

a 17-meter interior horizon

The site stretches 19 meters deep. On the first floor, the team at naf architect & design establish a 17-meter-long unobstructed sightline running from the garage at the street edge to the washroom at the back of the living, dining, and kitchen area. The garage, courtyard, and LDK (living-dining-kitchen) read as one space.

Walls on this level are painted a pale gray. Above, the second floor, roughly half the footprint, extends as another continuous zone from stairwell to bedroom, finished in a slightly darker gray. Inserted within these larger volumes are more private rooms with rounded corners and deeper gray tones, subtly distinguishing degrees of intimacy without fragmenting the plan. Sunlight enters through the slightly opened exterior wall and the horseshoe roof cut, producing gradients of brightness that interact with the layered gray surfaces. Rather than relying on partitions, depth is registered through tonal shifts and shadow.

the street-facing perimeter wall peels back at one edge

the garage as tool chamber

The garage operates ambiguously, externally from the perspective of the LDK, yet spatially continuously in daily use. Floor levels are aligned closely, and full-height glazing separates the two, allowing the garage to function as an extension of the interior.

The client, who works in automotive design, collaborated closely with the architects on color, material, and pattern decisions, including the selection of a slightly reddish-brown exterior finish. The garage houses cars, motorcycles, bicycles, and even a large mirror, described as ‘tools’ that connect the family outward. A booth-like study is also positioned within the garage, conceived as another tool, enabling remote work without transmitting domestic noise or movement on screen. When the large double doors are opened, the connection to the street intensifies. The house can remain guarded, slightly ajar, or fully open, offering adjustable thresholds between domestic life and neighborhood presence.

revealing a curved white inner surface and a glimpse of greenery beyond

calibrated privacy in a dense context

The family previously lived nearby in a skip-floor house composed as a one-room-like interior with multiple level changes. While spatially autonomous, it proved less suitable for raising an infant. In this new dwelling, floor levels and steps are minimized to bring daily life closer to the ground and to ease movement.

From the small opening in the perimeter wall, through the garage and courtyard, and into private rooms, each layer can be modulated. Lighting traces the courtyard and garage walls, anticipating future displays of art. The architects imagine the space evolving into a small gallery for gatherings with friends. Shortly before completion, the family announced they were expecting another child. The courtyard now anticipates use as a safe play area, for sunbathing, small pools, reading, or outdoor dining. 

set within a dense Tokyo neighborhood

the compact volume asserts itself through a reddish-brown facade

the courtyard’s curved ceiling edge directs views upward

casting a soft arc of light onto the grass below

the reddish-brown facade folds back along the boundary

full-height glazing connects the living space to the courtyard

minimized level changes and built-in storage integrate the staircase into the open-plan living area

a compact study niche curves gently overhead

at dusk, concealed lighting traces the courtyard walls and curved soffit

maintaining the 17-meter visual axis toward the street at dusk

the curved roof cut reveals a deep blue evening sky

a concealed light line traces the curved inner wall

project info:

name: Wall Ajar House

architect: naf architect & design Inc. | @akionakasa_naf_architect_tokyo

location: Setagaya Ward, Tokyo, Japan

lead architects: Akio Nakasa, Takumi Hara

maximum height: 5.734 m

maximum eave height: 5.217 m

site area: 115.050 square meters

building area: 67.330 square meters

total floor area: 108.090 square meters

structural engineer: Yosuke Misaki / EQSD

contractor: J Homes

photographer: Toshiyuki Yano

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Meet Wingcube, a foldable tent box that transforms from a wooden cabinet-like structure into a wing-looking mobile shelter. Combining the structure of a tent with the concept of a compact cabin, the project, which is till in development, focuses on being modular so users can transport it anywhere with their vehicles. It can be towed easily, and once it finds its spot, the structure extends outward like a fan, creating a raised mini cabin.

From the outside, the foldable wooden tent box looks soft and rounded as the roof curves gently like an arc, and the material appears to be made from weather-resistant canvas in a neutral beige tone. Large transparent plastic windows are integrated into the sides, allowing light inside while protecting against wind and rain. The foldable wooden tent box stands slightly above the ground, with a small ladder leading up to the platform. In this way, the structure is suspended from the ground.

all images courtesy of Wingcube

Compact kitchenette with vertical storage system

In front of the open entrance, an outdoor table and folding chairs are arranged, extending the living space into the dining and gathering area. From here, the interior is seen, with walls and built-in furniture made of light wood panels. Grain patterns appear visible on the wooden surfaces of the foldable tent box, giving Wingcube a warm and natural feel. There’s also a contrast between the soft textile exterior and the solid wooden interior. A built-in shelving unit is hung onto the main frame of the cabinet-looking structure, where the shelves are divided into square compartments, holding books, baskets, and small personal items.

Below the shelves sits a mattress with two pillows. The bed platform is flush with the wooden floor, creating a simple sleeping area without extra frames, and the edges are rounded to match the curved opening of the tent. On the other side of the foldable wooden tent box, the prototype showcases a kitchenette with a small refrigerator and vertical storage compartments. Everything is integrated into the wooden structure to avoid loose furniture, making the storage and function built directly into the walls. Although still in the prototype phase, the Wingcube aims to create a mobile shelter and mini cabin that unfolds like a fan to save space and that users can bring to their camping.

the foldable wooden tent box looks soft and rounded as the roof curves gently like an arc

large transparent plastic windows are integrated into the sides and on the roof

there’s a mini fridge and storage next to the extendable dining table

there’s a wooden shelf inside the mini cabin

view of the structure when folded

the mini cabin is suspended from the ground

so far, there’s a prototype, and there’s no news yet on its release

project info:

name: Wingcube

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Prism Shelter is a viewing pavilion by Space10 Studio located at the foot of Changbai Mountain, conceived as an inhabitable optical installation within a winter landscape defined by snow, wind, and low temperatures. Positioned to frame views of the mountain massif, the structure provides a sheltered point from which visitors can pause and observe the surrounding terrain. The project combines the typology of a small timber cabin with a calibrated visual device that alters the perception of the distant ridgelines. While the exterior reads as a compact black volume, the interior introduces a contrasting spatial condition centered on a red chamber and an optical mechanism that refracts and reconfigures the mountain view.

The design draws on the regional tradition of raw timber cabins once common in the forests around Changbai Mountain. Although large-scale logging has ceased for environmental protection, timber construction remains embedded in the area’s building culture. Prism Shelter references this context through a direct construction logic and the use of reclaimed wood sourced from nearby cities. The timber cladding is treated through charring, increasing its resistance to moisture, snow, and low temperatures. The resulting blackened surface forms a durable outer shell suited to harsh climatic conditions. Its coarse texture and linear grain reinforce the building’s orientation toward the mountain, visually directing attention to the landscape beyond.

all images courtesy of Space10 Studio

a small timber cabin turns into a calibrated optical device

Inside, the pavilion shifts from dark exterior enclosure to an intense red interior chamber. This chromatic contrast establishes a distinct spatial atmosphere within the compact volume. At the center of the installation, a calibrated optical device refracts the view of Changbai Mountain. The mechanism fractures and recomposes the distant ridgelines, transforming a familiar panorama into a dynamic visual field. Through this system, the act of viewing becomes mediated and spatially embedded. The shelter functions simultaneously as refuge and perceptual instrument, structuring both bodily occupation and visual engagement.

Prism Shelter forms part of the participatory art experiment site for the Yuxing MARIE DALGAR Nature Theater. Installed within a snow-covered environment, it operates as a small-scale architectural intervention within a broader artistic and environmental context. Through this project, Space10 Studio explores the relationship between human presence and natural cycles under extreme climatic conditions. By situating a compact, materially grounded structure within the expansive landscape of Changbai Mountain, the pavilion frames seasonal change and encourages direct, embodied interaction with the environment.

Prism Shelter by Space10 Studio stands at the foot of Changbai Mountain as a compact viewing pavilion

the black timber volume is positioned to frame views of the surrounding mountain massif

the structure provides shelter from snow, wind, and low winter temperatures

from the outside, the building reads as a compact, darkened volume in the landscape

the charred timber cladding forms a weather-resistant outer shell

inside, the dark exterior gives way to an intense red chamber

the coarse blackened surface directs attention toward Changbai Mountain

the red interior establishes a contrasting spatial atmosphere within the compact volume

a calibrated optical mechanism refracts the mountain view

the device fractures and recomposes the distant ridgelines

vhe device fractures and recomposes the distant ridgelines

the pavilion operates as both refuge and perceptual instrument

the structure forms part of the Yuxing MARIE DALGAR Nature Theater site

the shelter explores the relationship between human presence and natural cycles under extreme climate conditions

project info:

name: Prism Shelter – Seeing the Mountain, Seeing the Self

architect: Space10 Studio

location: Huamei Shengdi Resort, Changbai Mountain, China

area: 98 sqm

lead architect: Yuan Jiang
design team: Zhou Chenhao, Wang Yuehui, Sang Maosen, Gao Pengfei

implementation: Shandong Senwei Exhibition & Display Co., Ltd.

curators: Masa Cui & Jiang Jian

photographers: Penn; Wang Wei; space10; MARIE DALGAR；

commissioned by: MARIE DALGAR; JV Communication

video music song: Weiwei WU Music ‘Silver Wings Symphony’ – Chen Mulian, Zhang Jiangfu

video music vocals: Ling Xi

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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PnP Furniture (Plank and Point) introduces the Cabinet Collection, a series of storage pieces constructed through a modular system of planks and exposed screw connections. The series draws on the logic of wooden fences, where evenly spaced vertical boards create rhythm, order, and enclosure through simple modular components.

The arrangement of regularly dimensioned planks establishes a consistent visual cadence. This ordered framework provides a structured setting for the objects stored within, addressing the need for coordination as personal belongings accumulate over time. Rather than concealing storage, the system defines it through visible construction and measured spacing.

The material approach begins with cut timber in its sectional state. By standardizing dimensions and reorganizing wooden elements according to a defined assembly rule, the collection reframes wood as both structural unit and surface. The process emphasizes the inherent qualities of timber while introducing a new configuration that differs from its natural form.

PP1 Cabinet (storage), 475(W) x 410(D) x 1505(H) | all images courtesy of PnP Furniture (Plank and Point)

Rhythm, repairability, and modularity define the collection

The Cabinet Collection also reconsiders the role of the cabinet within contemporary interiors. As built-in storage is typically integrated into walls, freestanding cabinetry often recedes from attention. This project restores its physical presence, treating the cabinet as an independent architectural element within the room.

Construction is based on a system that increases the number of connection points while reducing rigidity between parts. Instead of relying on fixed joints, adhesives, or concealed fasteners, the components are segmented and connected in a way that allows for measured flexibility. This method enables individual elements to be replaced if damaged, supporting maintenance and long-term use.

By prioritizing assembly over seamless enclosure, the designers of PnP Furniture position the cabinet as an open system composed of distinct yet coordinated parts. The result is a modular structure that emphasizes rhythm, repairability, and an ongoing relationship between material, object, and space.

PP2 Cabinet (box), 520(W) x 455(D) x 1670(H)

PP5 Cabinet (drawer), 1115(W) x 365(D) x 1055(H)

PP11 Cabinet, 1145(W) x 255(D) x 1820(H)

PP14 Shelf / Divider, 473(W) x 340(D) x 1865(H)

PP15 Floor lamp, 270(W) x 270(D) x 1600(H)

PP6 Chair, 385(W) x 425(D) x 750(H)

PP11 Cabinet, 1145(W) x 255(D) x 1820(H)

project info:

name: Cabinet Collection

designer: PnP furniture (Plank and Point) | @pnp_furniture

lead designers: Kim Hunkyung, Yoo Jiung

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 PnP’s cabinet collection builds modular storage from planks and exposed screws appeared first on designboom | architecture & design magazine.

Wave is a dining chair, developed by Delo Design, constructed from moulded laminated plywood. The design is based on an integrated approach in which visual identity, material behavior, manufacturing technology, construction, and production strategy are developed as a unified system.

The project is informed by the technical constraints and possibilities of moulded plywood. Design development focused on pressing techniques, allowable bending radii, CNC machining tolerances, fastening systems, and surface finishing. The restriction of bending plywood along a single axis eliminated multi-planar geometries and established a clear formal direction.

Proportions were carefully calibrated to balance comfort, structural performance, and material efficiency. The resulting wave-like profile is derived from both ergonomic requirements and production logic, defining the chair’s overall form and name.

all images courtesy of Delo Design

Birch plywood core and wood veneer finish define Wave chair

The chair consists of two primary components: a combined seat-and-leg element and a separate backrest. The backrest is produced as a single-piece element of moulded laminated plywood, featuring a complex geometry specific to this design. Assembly is intentionally simplified. The backrest is mounted onto the base from above and secured using a custom-designed plastic connector that ensures accurate alignment and long-term durability. Fastening is completed with bolts positioned within the internal frame.

Manufacturing is carried out using hot pressing in moulds developed specifically for the chair. Laminated layers are pressed under heat and subsequently trimmed to final shape using CNC machining. Birch plywood is used for the internal layers, while the exterior surfaces are finished with engineered wood veneer supplied by Alpi. Delo Design, led by designer Arseny Brodach, selects this material for its dimensional stability and ability to withstand the stresses of pressing complex forms, where natural veneer proved unsuitable.

The chair is designed with logistical efficiency in mind. Two disassembled chairs fit into a single box measuring 50 × 50 × 50 cm, allowing up to 16 chairs to be packed within one cubic metre. This configuration reduces transportation volume and storage requirements. Wave is available in four finishes: oak, cherry, rosewood, and dark rosewood. The chair has been presented at international exhibitions in Dubai and Milan, where it received professional recognition.

Wave dining chair developed by Delo Design

constructed entirely from moulded laminated plywood

wave-like geometry derived from ergonomics and technology

complex geometry achieved through controlled pressing

backrest formed as a single-piece moulded plywood element

proportions calibrated for comfort and structural efficiency

birch plywood core with engineered wood veneer finish

form driven by material behavior and manufacturing logic

hot-pressed laminated layers shaped in custom moulds

compact flat-pack system reduces transport and storage volume

project info:

name: Wave chair
designer: Delo Design – Arseny Brodach | @delodesign.eu

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 moulded birch plywood bends and curves to shape wave dining chair appeared first on designboom | architecture & design magazine.