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

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The Catalan Department of Culture has formally confirmed that Antoni Gaudí is the author of the project for the Xalet del Catllaràs in La Pobla de Lillet in Catalonia, resolving a long-standing attribution question surrounding the industrial-era chalet. The conclusion follows a scientific study led by Galdric Santana Roma, director of the Gaudí Chair at the Universitat Politècnica de Catalunya (UPC), which identifies geometric, structural, and compositional evidence consistent with Gaudí’s methodology, including funicular arch calculations and the use of a 45-degree interior distributor. 

Designed between 1901 and 1908 to house engineers working in the nearby Catllaràs mines, part of the industrial network supplying the Asland cement factory, the 396-square-meter chalet was embedded within a broader productive landscape. While the research affirms Gaudí as the designer, it also clarifies that he did not direct the building’s execution, which diverged structurally from the original proposal and may explain why he never publicly claimed the work.

all images via Turisme Lillet, unless stated otherwise

research by galdric santana clarifies long-debated attribution

Commissioned in 2023 by the Generalitat de Catalunya’s Directorate General for Cultural Heritage, the study situates the design of the chalet between 1901 and 1908, coinciding with the construction of the nearby Asland cement factory. During this period, Gaudí was simultaneously engaged in multiple commissions for Eusebi Güell. According to the report, it was not uncommon at the time for architects to refrain from signing works that were not executed faithfully to their plans. This context may explain why Gaudí never publicly claimed authorship of the Catllaràs project.

Beyond the recent confirmation of authorship, the Xalet del Catllaràs emerges from a clearly defined industrial logic. Located in La Pobla de Lillet and measuring 396 square meters, the building was commissioned by Spanish entrepreneur Eusebi Güell and Bacigalupi to house engineers working in the Serra del Catllaràs mines. The extracted material supplied the kilns of the Asland cement factory at Clot del Moro, the fourth cement factory built in Spain in 1901. The chalet was therefore not conceived as an isolated architectural experiment, but as infrastructure embedded within an expanding industrial network. Its program responded to the logistical and geographic demands of a mountainous mining environment, a condition that may have influenced later structural adjustments.

the Catalan Department of Culture has formally confirmed that Antoni Gaudí is the author of the Xalet del Catllaràs

analysis reveals divergence between design and built form

Santana’s investigation combines archival documentation with advanced constructive analysis, including 3D surveys and comparative drawings aligned with other verified works by Gaudí. Particular attention is given to the transverse section of the building and the geometry of its principal arch, where the study distinguishes between parabolic and catenary forms, closely associated with Gaudí’s structural language. The report also examines the now-lost cloister vault annexed to the chalet, described as typologically characteristic of Gaudí, as well as the use of 45-degree interior distributors, a spatial strategy present in contemporaneous works such as Bellesguard.

Despite this alignment, the constructed building departed from the original design. The study concludes that the execution and subsequent modifications were carried out by third parties, potentially including Gaudí collaborator Juli Batllevell. Over time, additional alterations further transformed the structure, contributing to the ambiguity surrounding its authorship.

the study identifies evidence consistent with Gaudí’s methodology | image via ROA Arquitectura

restoration and historical reconstruction by ROA Arquitectura

The contemporary understanding of the building is also shaped by early 21st-century restoration efforts. In 2001, research led by Roger Orriols, founder of ROA Arquitectura, in collaboration with the municipality of La Pobla de Lillet and Barcelona’s University of Building Engineers, brought renewed attention to the house and framed it as an unpublished Gaudí work.

Subsequent documentation describes a historical and constructive study aimed at reconstructing the original state of the building through plan restitution. ROA Arquitectura identifies the property as a patrimonial intervention commissioned by the municipality, centered on archival analysis and structural interpretation.

The first phase of restoration was completed in 2016, marking a critical step in stabilizing and re-reading the structure. These efforts repositioned the chalet within heritage discourse years before the current scientific confirmation of authorship.

the Xalet del Catllaràs emerges from a clearly defined industrial logic

new attribution framework emerges amid 2026 commemorations

‘Today we celebrate news of enormous value for our cultural heritage,’ states Sònia Hernández, Catalonia’s Minister of Culture, presenting the findings. ‘This academic research enriches the legacy of our most universal architect, who continues to surprise us a century after his death,’ she adds, emphasizing the importance of methodological rigor in attribution processes. 

For Santana, the study extends beyond a single case. In the absence of technical precedents for architectural attribution, unlike in painting, the research proposes a method adaptable to other works whose authorship remains unverified. Each case, he notes, requires singular analysis grounded in documentary and constructive evidence.

The announcement forms part of the official Gaudí 2026 commemorations, marking the centenary of the architect’s death. The program aims to foreground the scientific and interdisciplinary dimensions of Gaudí’s work, expand awareness of lesser-known projects, and foster unified approaches to conservation and interpretation. With the confirmation of the Xalet del Catllaràs project, the Berguedà region enters the broader map of Gaudí’s architectural legacy.

the building was commissioned to house engineers working in the mines | image via Catalan Department of Culture 

over time, additional alterations further transformed the structure

the constructed building departed from the original design | image via ROA Arquitectura

the research proposes a method adaptable to other works | image via Catalan Department of Culture 

the announcement forms part of the official Gaudí 2026 commemorations | image via ROA Arquitectura

project info:

name: Xalet Del Catllaràs

architect: Antoni Gaudí 

restoration architect: ROA arquitectura | @roa_hub

location: La Pobla de Lillet, Berguedà, Catalonia, Spain

researcher: Galdric Santana Roma 

research: here

The post antoni gaudí is author of industrial-era miners’ chalet in catalonia, scientific study confirms appeared first on designboom | architecture & design magazine.

BOS Arquitectes completes a 745-square-meter nursery school in Muro, Mallorca, between the town’s edge and open agricultural fields. Set on elevated ground, the building overlooks familiar landmarks, which include the Marés stone windmill, the football field stands, and the skyline punctuated by the Church of Sant Joan Baptista and the Convent of Santa Anna. The single-story structure settles into the landscape through a sequence of low-rise vaults that trace a continuous, undulating roofline along the horizon.

Visible from multiple vantage points, the ceramic-tiled roof becomes the defining gesture of the project. Finished in a restrained yellow-ochre glaze, it resonates with the local chromatic palette of sand-colored marés stone and clay roof tiles, allowing the building to register as present but not dominant.

all images by Del Río Bani

Compact plan organizes classrooms

The Palma-based team at BOS Arquitectes conceives the project through a passive design strategy. The nursery organizes its compact volume to reduce energy demand while structuring the daily life of children aged 0 to 3. The access facade defines a small public square, mediating between the school and the town. On the opposite sides, the building encloses south-facing classroom patios, a shared patio to the east, and a service strip along the northern edge.

At its center, a courtyard allows cross ventilation and daylight deep into the plan while remaining fully visible from the interior spaces to facilitate supervision. This open-air void becomes not only a climatic device but also a place where outdoor space is integrated into the daily routine. Solar control is addressed through classroom porches and planted areas within the courtyard. Cross ventilation operates both in plan and section, with large openings on the south facades and smaller, higher apertures to the north, reinforcing airflow across the building.

BOS Arquitectes completes a 745-square-meter nursery school in Muro, Mallorca

Ceramic roof and timber beams shape the project

The construction of the building is organized into six seven-meter-wide bays, defined by curved laminated timber beams that generate the vaulted profile. The repetition of these concave forms evokes a primal sense of shelter while resolving the slope of the roof in structural terms. The ceramic covering articulates the path of rainwater, transforming drainage into an architectural narrative. As the facades guide light inward, the roof guides water outward, integrating environmental performance into form.

Internally, the spatial configuration produces a sheltered, warm atmosphere. The building is arranged in three longitudinal strips around a continuous circulation loop that wraps the courtyard. This clarity of organization supports both orientation and daily rhythms.

Exposed structures, textures, and natural finishes avoid superfluous layers, turning the building itself into a didactic tool. Concrete slabs, stone walls, and brick masonry concentrate thermal mass where the building meets the ground, while the roof, more exposed to solar radiation, is conceived as a lightweight, ventilated system with low thermal inertia. Its light-colored ceramic tiles reduce solar absorption during summer months.

Low-impact, locally sourced materials and efficient construction systems reduce the environmental footprint of the building across its life cycle. Active systems complement the passive strategies, supporting performance without becoming visually dominant.

the building overlooks familiar landmarks

the single-story structure settles into the landscape

the ceramic-tiled roof becomes the defining gesture of the project

a sequence of low-rise vaults that trace a continuous, undulating roofline

the access facade defines a small public square

BOS Arquitectes conceives the project through a passive design strategy

resonating with the local chromatic palette of sand-colored marés stone and clay roof tiles 

the building registers as present but not dominant

a place where outdoor space is integrated into the daily routine

solar control is addressed through classroom porches and planted areas within the courtyard

the spatial configuration produces a sheltered, warm atmosphere

the building is arranged in three longitudinal strips around a continuous circulation loop

locally sourced materials reduce the environmental footprint of the building across its life cycle

project info:

name: Muro Nursery School for Children Aged 0 to 3

architects: BOS Arquitectes SLP | @bosarquitectes

lead architects: Miquel Barceló Ordinas and Margalida Seguí Tugores

location: C/Maria i Josep S/N, 07440 Muro, Mallorca, Spain

built area: 745 square meters

technical architect: Antoni Arqué Garrofé

engineer: Javier Vela Rodríguez

client: Ajuntament de Muro

main contractor: Obras y Promociones Comas SA

structure: Ejestru SL

roof construction: Madergia SL

photographer: Del Río Bani | @delriobani

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zU-studio led the reconstruction of the ground floor and first-floor common areas of Lasala Plaza Hotel in San Sebastián, Spain, as part of a broader repositioning of the property. The intervention redefines the shared spaces through a contemporary architectural language while acknowledging the character of the historic building.

The hotel’s entire ground floor has been reorganized as a lounge-bar environment designed to function throughout the day, accommodating activities from morning use to evening gatherings. The layout emphasizes openness and flexibility, allowing the space to adapt to different configurations and levels of occupancy.

Material selection plays a central role in shaping the atmosphere. Dark wood and light beige tones establish a restrained palette that supports spatial continuity across the ground floor. This neutral framework allows key architectural and sculptural elements, including the bar, reception desk, alabaster wall surfaces, and a suspended installation of thirteen oars, to define focal points within the interior.

main entrance to the hotel | all images by Pedro Pegenaute

clear lines and restrained material palette define the renovation

Visual reduction was a primary objective of the renovation, developed by zU-studio architecture practice. The design minimizes ornamental distraction in favor of clear lines and controlled material transitions. The sculptural installation of thirteen wooden and copper oars welcomes guests upon arrival. Abstracted in form, the twisted elements reference the motion of rowing and the reflective qualities of the sea, establishing a conceptual link to the city’s maritime identity.

The refurbishment integrates contemporary spatial organization with the existing historic structure. The building’s dual orientation, toward the old town on one side and the harbor on the other, is reinforced through clear axial alignments that enhance both physical circulation and visual connectivity.

Through spatial clarity, material restraint, and the integration of site-specific references, the project redefines the hotel’s common areas while maintaining continuity with its urban and historical context.

hotel lobby

hotel lobby

bar in brass and wooden shelves

lounge area

lounge area

wooden space with three round windows

lounge area with view to the harbour of San Sebastian

sculpture designed by Javier Zubiria, built by carpenter Aitor Muñoz

sculpture designed by Javier Zubiria, built by carpenter Aitor Muñoz

sculpture designed by Javier Zubiria, built by carpenter Aitor Muñoz

sculpture designed by Javier Zubiria, built by carpenter Aitor Muñoz

project info:

name: Lasala Plaza Hotel in San Sebastian

architect: zU-studio | @zustudioarchitecture

design team: Javier Zubiria, Joaquin Zubiria

technical architect: Aitor Alcelay

mechanical engineering: IDZ Ingenieria

constructor: Irureta

carpenter: Alai Carpinteria, Aitor Muñoz

steel work: Ibarkalde, Jorge Ibarkalde

client: Lasala Plaza Hotel / SADE

location: San Sebastian, Spain

photographer: Pedro Pegenaute | @pedropegenaute

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 sculptural installations animate zU-studio’s hotel redesign in spain appeared first on designboom | architecture & design magazine.

In Gijón, Spain, HANGHAR completes Casa Guadalupe, a 120-square-meter single-family home fabricated entirely off-site and assembled within 48 hours. The house translates industrialized construction into a contemporary domestic setting, combining a lightweight steel structure, ventilated facade, and corrugated metal roof into a precise, workshop-controlled system. The project positions prefabrication as a calibrated architectural tool grounded in the Asturian landscape.

Fully fabricated in a workshop, the house was transported by semi-trailers and assembled on-site in a short timeframe, with the main structure erected in two days. This process reduces construction time and limits disturbance to the plot. Raised on a system of piers, the building adapts to the irregular topography and minimizes earthwork, allowing it to touch the ground lightly rather than overwrite it.

all images by Rory Gardiner

reinterpreting asturian typologies through prefabrication

Casa Guadalupe draws from the agricultural shed and the casa mariñana, two figures deeply embedded in the territory. In the suburban edge of Gijón, described as more rural than residential, these types continue to shape scale, plot occupation, and the relationship between buildings and land. The Madrid-based architects at HANGHAR reinterpret their clear volumetric logic and direct engagement with climate through a restrained contemporary language.

A lightweight steel frame supports a ventilated facade composed of sandwich panels and an insulated air cavity, while the corrugated metal roof completes a coherent envelope designed for thermal performance and fabrication control. Casa Guadalupe frames prefabrication as flexibility, using an industrialized system that supports detailing and spatial quality while maintaining replicability and cost control.

assembled within 48 hours

the house translates industrialized construction into a contemporary domestic setting

combining a lightweight steel structure, ventilated facade, and corrugated metal roof

the project positions prefabrication as a calibrated architectural tool grounded in the Asturian landscape

the house was transported by semi-trailers and assembled on-site in a short timeframe

the main structure was erected in two days

the building adapts to the irregular topography

Casa Guadalupe draws from the agricultural shed and the casa mariñana

these types continue to shape scale, plot occupation, and the relationship between buildings and land

timber-clad volumes articulate storage and program beneath the pitched ceiling

white interiors create a serene atmosphere

timber-lined interiors contrast with the home’s industrialized exterior system

project info:

name: Casa Guadalupe

architect: HANGHAR | @hanghar.llc

location: Gijón, Spain

area: 120 square meters

contractor: Room2030 | @theroom2030

photographer: Rory Gardiner | @arorygardiner

The post HANGHAR assembles steel-framed prefab residence in 48 hours on sloped spanish plot appeared first on designboom | architecture & design magazine.

Forestone Cabin is a 20-sqm experimental wooden dwelling designed and built by the 2025 cohort of IAAC – Institute of Advanced Architecture of Catalonia’s Master in Ecological Architecture and Advanced Construction, as part of the Bio for Piri initiative. Led by the Fundació Catalunya La Pedrera and funded by the Biodiversity Foundation with European Next Generation funds, this initiative promotes regenerative forestry and the sustainable use of local timber from Pyrenean forests, specifically in Alinyà (Lleida). Located at MónNatura Sort, in the Pyrenees, the cabin sits on a sloping site just a few steps from the existing hostel, offering temporary accommodation for two people, with a sleeping area, workspace, and bathroom.

The cabin’s sculptural form is inspired by the rocky terrain of the Pyrenees. Conceived as a block of stone that appears to have rolled down the mountain and come to rest naturally on the site, its faceted geometry is composed of inclined walls and a sloping roof that respond to programmatic needs, climatic conditions, and solar exposure. The geometry subtly adjusts ceiling heights and spatial proportions to accommodate different uses within a compact footprint, while carefully positioned openings frame views of the surrounding mountains and enable cross-ventilation. Operable wooden shutters ensure complete darkness at night, preventing light pollution and supporting the site’s astronomical activities. The exterior facade is made of pine boards with natural edges that have been charred following the Japanese Yakisugi or Shou Sugi Ban (焼杉) technique, which involves burning the surface layer of the wood to protect it from insects, water, fire, and mold. These boards, cut to size and charred by the students themselves, not only increase the durability of the material but also symbolically evoke fire management and prevention, an essential aspect of regenerative forestry in the Pyrenees, the mountain range that separates Spain and France, and whose name, Pyros, comes from Greek and means fire.

all images by Adrià Goula unless stated otherwise | full header image by Alexander Herbig

a student-built Prototype for Low-Impact Forest Habitation

Inside, the cabin becomes a fully integrated wooden space. Custom-made CLT elements, including the bed, built-in furniture, washbasin counter, and seating, were designed and fabricated by IAAC students at Valldaura Labs, reinforcing a hands-on approach in which architecture, structure, and furniture form a single material system. The cycles of local materials extend beyond wood. During an annual wool festival in the nearby town of Sort, students collaborated with local farmers to collect sheep’s wool, which was later washed, dried, and transformed into felt at Valldaura, with the help and support of Dutch artist Rian van Dijk. The resulting blankets, rugs, and pillowcases furnish the cabin, integrating local craftsmanship and agricultural by-products into the project. On the same visit, students brought back a stone from the surrounding landscape, which they manually carved using power tools to create a unique washbasin, further consolidating the project’s connection to its geographical and cultural context.

From the outset, the project was conceived with an emphasis on replicability. Forestone was designed as a prototype demonstrating how small-scale architecture can be built using local timber, regional knowledge, and low-impact construction methods, while inhabiting forest landscapes without altering existing ecosystems. The use of modular CLT elements, dry-assembly techniques, and locally available materials allows the cabin to be adapted, replicated, or dismantled as needed, offering a model of sustainable forest habitation that aligns architectural production with long-term environmental stewardship. Forestone exemplifies the integration of education, local industry, craftsmanship, and regenerative forestry. Through its careful detailing, layered construction, and deep connection to place, the project proposes an alternative approach to building in sensitive landscapes, grounded in local resources, knowledge transfer, and ecological responsibility. From January 2026, the cabin is open to guests at MónNatura Pirineu, in Planes de Son, offering visitors the opportunity to inhabit the prototype and experience firsthand its relationship with the landscape, materials, and climate.

Forestone Cabin is a 20-sqm experimental wooden dwelling in the Pyrenees

the cabin is located at MónNatura Sort on a sloping mountain site | image by Alexander Herbig

the cabin’s form is inspired by the rocky terrain of the surrounding landscape | image by Alexander Herbig

local timber from Pyrenean forests in Alinyà was used in the construction | image by Nina Poort

the cabin is part of the Bio for Piri initiative promoting regenerative forestry | image by Nina Poort

the project was designed and built by IAAC’s Master in Ecological Architecture and Advanced Construction cohort

the exterior is clad in charred pine boards to improve durability and weather resistance

interior spaces are constructed entirely from custom CLT elements

built-in furniture is integrated into the structural system

all CLT components were designed and fabricated by IAAC’s Master students

a hand-carved stone washbasin was made from locally sourced rock

project info:

name: Forestone Cabin

designer: IAAC – Institute for Advanced Architecture of Catalonia | @iaacbcn

location: Pyrenees, Spain

directors: Vicente Guallart, Daniel Ibáñez, Michael Salka

students: Alexander Bruce Herbig, Ateet Singh, Atticus Cummings, Breno Teixeira Martinelli, Dammes de Zoeten, Georgia Ann Hoyer, Isabel Flores, Jasper Runge, Magdalena Kurdzialek, Nina Poort, Pragyna Madhav Thondapu, Reuben Diamond, Shivani Edukulla, Shanon Shahan, Santosh Shyamsundar, Sipan Celiker Sporidis

volunteers: Andrew Cardona, Grace Yang, Maeve Daley, Sam Hoshin

Valldaura manager: Laia Pifarré

project coordinator: Esin Aydemir

assisted by: Bruno Ganem, Oliver Needham, Alkis Avarkiotis

structural assembly: Fustes Sebastià (Sergi Sebastià, Emma Sebastià Sarroca, Estel Arnal Llunell), Tallfusta (Ignasi Caus, David Valldeoriola)

advisors: Miquel Rodriguez, Elena Orte, Guillermo Sevillano, Firas Safieddine, Rian van Dijk

host: MónNatura Pirineu, Fundació Catalunya La Pedrera

communication: Pati Núñez Agency

photographers: Adrià Goula | @adriagoulaphoto, Alexander Herbig, Nina Poort

with the support of: Fundació Catalunya La Pedrera

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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Nestled within a pine forest on the coast of Tarragona, Spain, Casa CLO by Alventosa Morell Arquitectes is a lightweight timber house that gently steps down a steep, rocky site. The structure sits on a sloping plot, adapting to the topography and existing wood to create comfortable living spaces among the tree canopies. The site has rocky ground and a very steep slope, with access only from its lowest point. From the highest part of the site, the sea can be glimpsed in the distance, filtered through the pine forest. The clients, a family from Barcelona, acquired this plot to build their second home, with the intention of gradually spending more time in the tranquillity of the forest and close to the sea. They were looking for a house that could engage with its surroundings and, being familiar with the studio’s philosophy, gave the design team the freedom to define both the design strategy and the material approach. The existing trees, the slope, and planning regulations shaped the proposal. Any significant earthworks would have been extremely costly, and for this reason, the program was organized into three elevated volumes arranged at different levels in the upper part of the plot, in order to take advantage of the sea views.

all images by José Hevia

Casa CLO’s vertical structure echoes the rhythm of the forest

The placement of these volumes responds to the position of the existing trees to avoid felling them, resulting in a slight rotation in plan that gives the overall composition a more organic configuration. The designers at Alventosa Morell Arquitectes worked with a timber structure in which the entire load is transferred to ten columns, allowing the intervention on the ground to be limited to just ten-point foundations. This lightweight structure echoes the verticality of the forest and brings it into the interior of the house. Planning regulations required an excavation along the street edge, which was used to accommodate the parking area. From there, a stair along the side of the plot leads up to the upper part of the site, first reaching the swimming pool and finally the entrance terrace. Upon entering the house, one arrives at a double-height dining space and kitchen. This large space visually connects the shared areas of the three volumes. A metal staircase provides access to the remaining levels, first leading to a second floor with a double-height study and a bedroom, and finally to two additional bedrooms on the top floor.

Casa CLO is a lightweight timber house set within a pine forest on the coast of Tarragona, Spain

the house steps down a steep, rocky site, adapting closely to the natural topography

planning regulations and existing trees directly shaped the building layout

the layout organizes common areas toward the forest views

a metal staircase links the study, bedrooms, and upper living levels

a large skylight invites ample daylight within the study area

timber interiors define Casa CLO’s material palette

the vertical timber structure echoes the rhythm of the surrounding forest

the main bedroom frames views toward the surrounding pine forest

wooden surfaces extend to the minimal bathroom on the upper level

the central kitchen and dining space visually connects all three volumes

three separate volumes organize the program across different levels of the slope

project info:

name: Casa CLO

architect: Alventosa Morell Arquitectes | @alventosamorell

location: Tarragona, Spain

area: 140 sqm

photographer: José Hevia

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 lightweight timber house in spain interlaces three raised volumes within tree canopy appeared first on designboom | architecture & design magazine.

Perla house is a sculptural residence in in Marbella, Spain, where fiber concrete, light, and curvature shape a calm yet expressive living environment. The architectural concept by Stipfold draws inspiration from a single frozen moment of a breaking wave. This idea translates into a sculptural exterior formed from fiber concrete, where flowing curves and soft transitions suggest motion captured in stillness. The white exterior surface enhances the perception of lightness and reflects the coastal context, while natural stone elements anchor the building to the terrain, creating a balance between expressiveness and stability. 

the white exterior reflects the coastal context | all images courtesy of Stipfold

Stipfold use custom elements to reinforce formal language

The architects approached the transformation as a conceptual and formal refinement rather than a complete redesign, focusing on sculpting form, surface, and spatial continuity. Inside, the project continues the dialogue between movement and calm through material continuity and parametric geometry. Beige fiber concrete walls are shaped with subtle flowing lines that echo the exterior form, allowing the architecture itself to become the primary spatial element. A restrained palette of white, sand tones, and pale wood is used throughout the interior, reducing visual noise and allowing natural light to define the atmosphere of each space. Custom-designed elements play a key role in reinforcing the architectural language. The kitchen island, built-in furniture, wall niches, and bathroom elements are conceived as monolithic components that follow the same wave-inspired geometry. Ceiling curves and integrated lighting further emphasize spatial continuity, guiding movement through the interior without relying on conventional partitions.

the sculptural exterior is shaped as a frozen wave, overlooking the hillside of Marbella

natural stone elements anchor the building to the terrain, creating a balance between expressiveness and stability

curved terraces and a compact pool extend the living spaces toward the surrounding landscape

perched on the hillside of marbella, perla reinterprets the movement of the sea through architecture

living spaces flow seamlessly through curved walls and a restrained neutral palette

parametric wall textures in fiber concrete translate the movement of the exterior into the interior

circulation spaces are treated as sculptural elements, connecting rooms through curvature and light

the dining area is defined by a continuous curved ceiling and integrated lighting

a custom kitchen island echoes the wave geometry through a soft, monolithic form

the bedroom continues the fluid architectural language with integrated lighting and soft forms

built-in furniture and wall niches reinforce the project’s sculptural interior language

custom bathroom details combine fiber concrete surfaces with transparent basins

the architectural form derived from the frozen motion of a breaking wave

form studies exploring wave-inspired geometries through iterative physical models

project info:

name: PERLA
architects: Stipfold | @stipfold

location: Marbella, Spain

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

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Together with Frade Arquitectos, Luca Poian Forms envisions this EMT Museum as a landmark building dedicated to the transit history of Madrid. Conceived as a large civic presence on the site of the former Vicente Calderón Stadium, the project approaches its setting with measured geometry and a lightweight facade. Its scale reads as infrastructural, yet its profile and materiality remain soft.

The exterior is wrapped in a translucent ETFE skin that tempers the building’s physical weight. Daylight filters through the envelope, softening edges and producing shifting interior atmospheres across the day. From the river path, the museum appears permeable and luminous, its surface responding to changing weather and light rather than asserting a fixed image.

visualizations © Filippo Bolognese Images

a home for Madrid’s public transport history

The EMT Museum is planned by Luca Poian Forms and Frade Arquitectos as an institutional home for Madrid’s public transport history. It has been designed as part of an international competition, with a program to focus on movement, logistics, and collective memory. Industrial references drawn from depots and hangars inform the spatial organization, translated into a contemporary architectural language centered on efficiency and long-term adaptability. The building supports public exhibition areas alongside operational zones, arranged through clear circulation routes that support smooth daily use.

Visitors enter at ground level onto an open, flexible floor that can accommodate exhibitions, workshops, conferences, and civic gatherings. Circulation paths remain legible and generous, encouraging slow movement through the galleries while maintaining operational efficiency behind the scenes. The museum functions as an active public interior, capable of shifting with changing curatorial needs and public programming.

this EMT Museum is proposed for the site of a former stadium in Madrid

industrial durability balanced by visual lightness

At the heart of the EMT Museum, Luca Poian and Frade Arquitectos plan column-free exhibition halls to house historic buses at full scale. A reinforced concrete bridge system spans these spaces, supporting the loads required for both display and movement while maintaining spatial continuity. Above and around this structure, a lightweight metal framework supports the ETFE envelope to lend a contrast between industrial durability and visual lightness.

Material choices emphasize durability and performance. Concrete surfaces provide thermal mass and a tactile sense of permanence, while the ETFE facade introduces softness and translucency. The interplay between these systems produces interiors that feel expansive and calm, shaped by diffuse light and long sightlines across the exhibition floor.

a lightweight ETFE facade softens the industrial urban fabric

environmental approach and future use

Environmental performance is integrated directly into the building’s systems. The ETFE air-cushion facade functions as a passive climatic layer, regulating light and heat while reducing energy demand. Its lightweight and recyclable nature supports long-term sustainability goals without compromising spatial quality or durability.

Digital tools form a parallel layer within the physical architecture. Augmented reality and interactive media are embedded throughout the museum to support interpretation and engagement, and are integrated to extend the visitor experience beyond static displays. 

the ground level opens onto a flexible space for exhibitions and conferences

column-free exhibition halls will house historic buses at full scale

the ETFE air-cushion facade regulates light and heat while reducing energy demand

project info:

name: EMT Museum

architecture: Luca Poian Forms | @lucapoianforms, Frade Arquitectos | @fradearquitectos

location: Madrid, Spain

engineer: PROINTEC

area: 10,620 square meters

visualizations: © Filippo Bolognese Images | @filippobolognese.images

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Incubazul Base Area by Carquero Arquitectura takes shape inside the Zona Franca de Cádiz, Spain, as a high-tech incubator designed to trigger the transformation of one of the most entrenched industrial zones in the city. The 1,955-square-meter administrative building occupies a strategic site on C/ Gibraltar, positioning itself as an operational workplace and a catalyst for urban renewal.

The architects build directly from the industrial identity of the site. The project is structured around the reuse of shipping containers as a systemic decision. Containers become part of a broader architectural logic that treats sustainability as a holistic framework. Energy self-sufficiency, spatial efficiency, and material reuse operate together, with the building conceived as a balance between solid volumes and deliberate voids. 

all images by Jesús Granada

urban acupuncture within cádiz’s zona franca, spain

The Cádiz-based team at Carquero Arquitectura frames Incubazul as a form of urban acupuncture. The building is intentionally compact yet expressive, aiming to generate social and economic synergies that extend beyond its footprint. Its role is to activate the district that surrounds it, offering a recognizable and legible presence that draws attention to the broader regeneration of the Zona Franca. The incubator becomes a connective node between emerging technological enterprises and the existing productive networks of the city.

The fragmented volumetric composition creates a sequence of interconnected spaces. A permeable facade and strategically placed openings allow daylight to enter the workspaces and support a fluid internal circulation, encouraging informal encounters.

reused shipping containers stack into a fragmented volume

Incubazul Base Area balances focus and collaboration

Incubazul Base Area addresses a central tension of contemporary work environments regarding the coexistence of concentration and interaction. Enclosed spaces prioritize acoustic control and privacy for focused tasks, while shared areas are designed for flexibility and adaptability. Collaborative workstations, meeting and training rooms, and communal zones are distributed to support varying modes of work throughout the day. A shared relaxation area, café, bicycle parking, and outward-facing views contribute to a work environment that emphasizes comfort without resorting to spectacle.

The spatial richness of the incubator lies in how its parts relate to one another. Circulation areas double as social connectors, creating a network of shared elements that foster exchange and movement. This configuration supports the development of a shared economy within the building, positioning Incubazul as a platform for talent, skills, and collaboration rather than a conventional office block. 

the container-based building meets the industrial street edge while opening inward

a shaded courtyard emerges between reused containers

red-painted ground surfaces and container walls define shared work areas

a deep red passage carved through reused shipping containers frames the central courtyard

the fragmented massing allows light, air, and movement to flow through the incubator

bridges and walkways connect container volumes across multiple levels

the internal courtyard organizes circulation while bringing daylight deep into the building

elevated walkways connect container volumes and organize movement across levels

container volumes frame views across the courtyard

circulation paths double as social spaces within the incubator’s layout

reused shipping containers form flexible workspaces around a central void 

project info:

name: Incubazul Base Area

architect: Carquero Arquitectura | @carquero_arquitectura

location: Cádiz, Spain

area: 1,955.33 square meters

lead architects: Carlos Quevedo Rojas, Carlos Peinado Madueño, Fernando Prieto Coronel

promoter: Delegación Especial del Estado en el Consorcio de la Zona Franca de Cádiz

collaborators: 180º Norte / Calconsa Estructuras / Abima Instalaciones

technical architects: Pardo y Asociados

construction: Manzano Obras

photographer: Jesús Granada | @jesusgranada

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