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

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dongqi Design has transformed three existing structures in downtown Shanghai’s Jing’an District into a mixed-use complex integrating retail, exhibition, food and beverage, and office programs. The project reconfigures a three-story brick–concrete building facing the street to the north, an 8-meter-high former factory building, and a single-story brick-concrete structure to the south into an interconnected yet functionally distinct ensemble.

The northern three-story building accommodates a leisure area on the ground floor, with office spaces on the second and third levels. A dark gray external sunshade curtain system has been added to the facade, with its tracks and electromechanical components enclosed in horizontal stainless steel tubes. These tubular elements unify the elevation and establish a consistent proportional order. The upper-floor window openings have been reconfigured with operable steel plates on the interior side and fixed glazing on the exterior, allowing the windows to function as display surfaces. Integrated lighting enhances their visibility. The varying positions of curtains and illuminated openings generate shifting facade compositions and alter the building’s presence along the street.

The ground-floor leisure space is organized around tall elm tables designed for standing use, encouraging circulation and informal interaction. Existing wall textures are retained, while a hot-rolled steel counter serves both interior and exterior areas. Large hopper windows along the street lift upward toward the ceiling, integrating the interior with the public realm when open. Their tracks are concealed within stainless steel wall and ceiling surfaces, reinforcing material continuity.

external tracks and electromechanical equipment are wrapped in steel tubes | all images courtesy of dongqi Design

Integrated Steel Systems Shape the Retail Hall by dongqi Design

The central factory building houses the primary retail and exhibition functions, along with an independent VIP room. Within the double-height volume, eleven cross-shaped display racks and a suspended overpass structure define the spatial organization. The overpass employs an ultra-thin, beamless steel system composed of a single 12-millimeter-thick stainless steel plate. It is suspended from the central columns of selected display racks using stainless steel stay cables. The cable connection fittings are folded extensions of the steel plate itself, forming an integrated structural assembly.

Each cross-shaped display rack consists of four metal frames arranged orthogonally around a central axis. Shelving elements are inserted within the frames, and in some cases, a secondary upper layer is supported by steel cables. The bases of the racks are aligned flush with the floor and connected to embedded structural beams. Together, the display racks, stay cables, and suspended overpass operate as a unified structural system. Stairs, platforms, racks, and connection fittings are designed to appear as if cut and folded from continuous steel plates, reinforcing a cohesive tectonic language.

The designers at dongqi Design select materials that emphasize exposed metal surfaces, including stainless steel plates, hot-dip galvanized finishes, and metal mesh. The partition between exhibition and bar areas is formed by a double-layer dark metal mesh that allows visual permeability while maintaining spatial separation. The mesh produces a moiré effect that changes with movement and light conditions. Doors are assembled from galvanized plates fastened with visible straight-head screws, with stainless steel inserts applied at high-contact areas for durability.

when the sunshade curtains are lowered, the building facade is enveloped in a dark veil

the design introduces Structural Rhythm and Material Contrast

Detailing reinforces structural clarity and user comfort. Wider vertical joints on the finished metal plates of the display racks establish a measured rhythm, while beveled undersides and recessed flanges of shelving components refine their profiles. Stainless steel strips are embedded along accessible mesh edges to prevent abrasion and accentuate linear continuity within the space. The overpass railing is formed from stainless steel round bars that interlock with the steel plate edges, while similar round elements are used in the suspension system and lighting supports. Linear lamp tubes are mounted to metal plates using stainless steel straps and arranged across racks and ceilings, contributing to the industrial spatial character.

The southern single-story building contains the food and beverage area. Auxiliary spaces are concealed behind metal sliding doors treated with oxidized metal powder patterns referencing traditional landscape imagery. The enclosed bar counter is constructed from hot-rolled steel plates, and seating booths are upholstered in orange fabric, introducing contrast within the predominantly metallic interior.

the oversized hopper windows along the street can be lifted upwards to be nearly flush with the ceiling

a dark gray external sunshade curtain system is added to the three-story building facade

the enclosed bar counter is made of hot-rolled steel plates, while the booths are upholstered in bright orange

the overpass adopts an ultra-thin beamless steel structure system, which is the result of precise calculation

the overpass is made of one piece of solid stainless steel plate, which is suspended from display racks’ columns

the stairs, the overpass, the display racks and the steel cable connection fittings are seamlessly integrated

the lamp tubes, with round elements as well, are fixed to metal plates with stainless steel straps

the stairs, the overpass, the display racks appear cut and folded from a single solid steel plate

straight-head screws assemble metal plates, installed at the front of the overpass steps for anti-slip purposes

the cable connection fittings on the edges of the overpass are an integral part of the overpass steel plates

metals define the material language, with stainless steel plates, hot-dip galvanized finishes, and metal mesh

racks of different heights spread out on both sides, while diagonal lamps flare like mechanical wings

project info:

name: Architectural Renovation Project in Jing’an District, Shanghai
architect: dongqi Design | @dongqi_design
location: Jing’an District, Shanghai, China

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

edited by: christina vergopoulou | designboom

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Located on the outskirts of Mayiladuthurai in Tamil Nadu, India, Paati Veedu by Koodu Architecture is a compact rural residence developed under financial constraint and material limitation. Built on a 1,200-sqft site within a neighborhood of small houses and agricultural fields, the project is defined by reuse, adaptation, and resource-conscious construction. The house was constructed using 10,000 bricks accumulated over time by the client, forming the primary material basis for the design.

The existing foundation was reinforced with a plinth beam to support new load-bearing brick walls. The plan is organized as a single-story layout comprising a veranda, living room, kitchen, bedroom, and attached toilet. Circulation follows a simple sequence: the entrance foyer, which also functions as a pooja space, leads into the living area, from which the kitchen and bedroom are accessed. This compact configuration ensures clarity of movement and efficient spatial use.

all images courtesy of Koodu Architecture

Koodu Architecture selects Context-Driven Materials

Material selection by Koodu Architecture Studio draws directly from the agrarian context of the site. Mud-plastered walls provide a textured surface that visually aligns with the surrounding soil. Green oxide flooring references the tonal qualities of nearby paddy fields, incorporating subtle variations in texture. The oxide skirting includes imprints of paddy grains, while fragments of discarded marble from a neighboring construction site were cut into geometric floral patterns and inlaid into the floor surface.

As material availability shifted during construction, the design adapted. When bricks became scarce, a large semicircular arched window was introduced in the living room. Fabricated in steel and incorporating leftover reinforcement stirrups, the opening increases daylight penetration and supports cross-ventilation. The patterned grill abstractly references natural elements such as water, sun, and trees, establishing a visual connection to the surrounding landscape.

Paati Veedu is located on the outskirts of Mayiladuthurai in Tamil Nadu, India

Paati Veedu employs Reclaimed Components

Reclaimed doors and windows were restored and fitted with stained glass, integrating reused elements into the structure. Wall niches were introduced along the exterior envelope, separated by glass to create protected nesting spaces for birds. These openings enable visual connection from the interior while maintaining separation.

The veranda roof is clad in reused Mangalore tiles and supported by a bamboo structural system in which paired poles are coupled to form a single load-bearing member. Rainwater is directed through a concrete gutter system into the garden during monsoon seasons, integrating climatic response into the architectural detailing.

Paati Veedu demonstrates how limited resources, reclaimed materials, and localized construction methods can shape a dwelling that responds to context, climate, and everyday use through careful planning and adaptive design.

reuse and resource-conscious construction guided the design process

mud-plastered walls reference the texture and color of the surrounding soil

rainwater is channeled through a concrete gutter into the garden during monsoon seasons

green oxide flooring reflects the tonal qualities of nearby paddy fields

the entrance foyer doubles as a pooja space

the openings enhance daylight penetration and cross-ventilation

reclaimed doors and windows were restored and fitted with stained glass

stained glass introduces colored illumination within the rooms

reclaimed materials and localized construction shape Paati Veedu

project info:

name: Paati Veedu
architect: Koodu Architecture | @koodu_architecture

lead architect: Arjun Govind
location: Tamil Nadu, 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

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Painter N’s House by A.CO.LAB Architects is a renovation project of a single-family residence originally constructed in 1969 in Yeonhui-dong, Seoul. Rather than demolishing and rebuilding, the project focuses on preserving the existing structure and adapting it to meet contemporary spatial requirements. The design approach treats the building’s aged and irregular condition as a record of lived experience, integrating new architectural systems within its historical fabric.

The renovation addresses both the lifestyle of an artist couple who had inhabited the house for more than a decade and the broader character of the surrounding neighborhood. Instead of erasing structural and environmental limitations through reconstruction, the project resolves them through targeted interventions. The existing building envelope is retained, and its imperfections are understood as part of a social and material archive.

To maintain the scale of the alleys and the established texture of the village, the exterior was not fully reclad. External insulation was removed to reveal the original brickwork, and missing decorative bricks were sourced from a nearby redevelopment site, dismantled and reused to complete the facade. This material continuity reinforces the relationship between the renovated house and its urban context.

all images courtesy of A.CO.LAB Architects

old and new materiality interplay in Painter N’s House

The design team at A.CO.LAB Architects inserts a new structural framework within the retained brick shell, extending from the basement to the attic. Organized as a regular three-dimensional grid based on a 田-shaped plan, the system negotiates the uneven floors and walls of the original house while enabling vertical and horizontal expansion. Wood was selected for areas of direct human contact due to its tactile qualities, while metal was used for exposed ceiling structures. The second floor was constructed entirely in wood.

Responding to the stepped topography at the foot of the mountain, the attic extension was limited in height to preserve neighboring views. The original first-floor slab, positioned above a former underground air-raid shelter, was removed and replaced with a raised wooden floor integrated into the new structural system. This intervention creates a continuous yet articulated relationship between the basement and first floor, with the raised floor extending outward to form a porch.

Interior components, including shelving, movable tables, storage units, lighting, and bathroom partitions, are organized according to the logic of the structural grid. Roof eaves and gutters protect the wooden cladding of the attic extension, while additional insulation and brass drainage elements address water infiltration between the existing outer wall and the new inset structure.

Painter N’s House is a 1969 residence renovated in Yeonhui-dong, Seoul

Constructed using accessible materials such as wood, recycled brick, metal, and standard fixtures, Painter N’s House project demonstrates how renovation can operate as a primary architectural strategy. By embedding new structural logic within an existing shell, the house negotiates continuity, material reuse, and spatial adaptation within the framework of a 1969 dwelling.

existing brick walls are preserved as part of the renovation strategy

the original building envelope remains intact

targeted interventions replace demolition and reconstruction

a new structural framework is inserted within the existing shell

wood, recycled brick, and metal shape the renovation’s material palette

a three-dimensional grid follows a square-shaped plan

wood defines areas of direct contact and the second floor

metal structures remain exposed at the ceiling

the attic extension is limited to preserve neighboring views

built-in elements align with the structural grid

the aged condition of the house is treated as a material archive

the facade maintains the scale and texture of the village

reclaimed bricks were sourced from a nearby redevelopment site

living areas open entirely to the residence’s courtyard

project info:

name: Painter N’s House

architect: A.CO.LAB Architects | @a.co.lab
lead architects: Isak Chung, Jinpyo Hong
location: Yeonhui-dong, Seoul, Korea

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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Designed by Vi.architectuuratelier, De Zwarte Fles office renovation stands on the village square of Zwijnaarde near Gent, Belgium and brings new working life to a former country house shaped by four centuries of change. The project combines a restoration with a compact office addition fronted by a decorative facade, allowing the historic building to return to a residential presence while supporting a contemporary studio program.

Dating from 1616, the house carried layers from its time as a residence and later as a café restaurant. Past alterations focused on masking wear rather than strengthening architectural coherence, while extensive paving wrapped the building to serve outdoor seating. The renovation set out to recover the original character of the house and reestablish its role within the streetscape of Zwijnaarde.

the project restores a seventeenth century house on the Zwijnaarde village square | image © Michiel Vergauwe

vi.architectuuratelier restores proportion and atmosphere

Working on the existing structure in Belgium, Vi.architectuuratelier focused on preservation paired with selective upgrades. Interior insulation improves thermal performance, while new joinery delivers contemporary comfort. Window proportions, rhythms, and color tones follow historic patterns, maintaining a visual continuity that reads clearly from the square.

Inside, material choices shape a composed atmosphere. Earthy surfaces and restrained textures support a calm spatial experience. A central fireplace volume remains a defining feature, integrated into a revised plan that supports daily use. Exterior repairs respect the house and its immediate landscape, where subtle level changes create an intimate relationship between building and ground.

the renovation returns the building to a residential presence within the streetscape | image © Michiel Vergauwe

A restrained addition for studio work

Alongside the renovation, a separate office volume accommodates Vi.architectuuratelier’s workplace. The new structure presents a measured presence through claustra brickwork that forms a perforated skin. Light and views pass through this envelope in a controlled way, keeping the historic house visually dominant within the ensemble.

Window openings sit deep within the brick lattice, creating an inward focused workspace. Only two locations reveal joinery directly, including a carefully framed view toward the village square. The building remains compact in height and footprint, ensuring a quiet dialogue with its surroundings.

historic window rhythms and colors guide the renewed facade | image © Michiel Vergauwe

a central fireplace volume shapes the internal layout | image © Annick Vernimmen

interior materials favor earthy tones and restrained textures | image © Stéphanie Mathias

material continuity links old and new architecture | image © Stéphanie Mathias

the addition remains compact in scale beside the historic house | image © Stéphanie Mathias

a new office volume introduces claustra brickwork as a filtered envelope | image © Glenn Vanderbeke

project info:

name: De Zwarte Fles
architects: Vi.architectuuratelier | @vi.architectuuratelier
location: Gent, Belgium
area: 480 square meters
completion: 2025
photography: © Michiel Vergauwe, Annick Vernimmen, Stéphanie Mathias, Glenn Vanderbeke, Koen Van Damme

lead architects: David Chatcahtrian
project architect: De Smedt Kevin
structure engineer: Igenia
landscape architect: Laurent Debaere

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Sarchina Villa is a small-scale residential project by Shomali Design conceived to minimize ground contact while strengthening the relationship between architecture and landscape. The primary volume is elevated above the site and supported by four inverted-cone white brick columns. These structural elements lift the building clear of the terrain, preserving visual and physical continuity at ground level and allowing grass, air, and movement to pass beneath the structure.

The elevation creates a shaded patio below the main volume, extending the usable space of the villa while reinforcing its lightweight presence. The overall form is defined by a simple, compact geometry, organized as a clear and balanced volume.

overall view of the elevated villa within the garden | all images courtesy of Shomali Design

pitched thatched roof defines Sarchina Villa’s upper silhouette

The concept by creative duo Yaser Rashid Shomali and Yasin Rashid Shomali of Shomali Design is inspired by vernacular building traditions and traditional shelters. A pitched thatched roof defines Sarchina Villa’s upper silhouette. The reed covering references local construction methods and climate-responsive strategies, while contributing to the building’s environmental performance. In contrast, a transparent glazed facade combined with dark structural framing emphasizes openness and establishes continuous visual connections.

three-quarter view of the elevated villa within the garden

inverted-cone white brick columns supporting the structure

white brick surfaces and thatched roof create an interplay of materiality

sculptural inverted columns lifting the main volume

contrast between the thatched roof and the transparent facade

retractable access stairs to the villa, closed position

retractable access stairs to the villa, open position

semi-open space beneath the villa for parking

visual continuity between the interior space and the landscape

overhead view of the main living area

main bedroom overlooking the surrounding landscape

project info:

name: Sarchina

architect: Shomali Design | @shomali_design

lead designers: Yaser Rashid Shomali | @yasser.rashidshomali, Yasin Rashid Shomali | @yasin.shomali

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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Standing in the Bispebjerg district of Copenhagen, Grundtvigs Kirke, one of the most singular works of 20th-century ecclesiastical architecture, is the protagonist of David Altrath’s latest photography series. Designed by Peder Vilhelm Jensen-Klint and completed in 1940, the church translates the vertical ambition of Gothic architecture into an austere expressionist language built entirely from yellow Danish brick. Structure, surface, and ornament collapse into a single architectural system, where material discipline replaces decoration.

The west facade rises as a monumental sequence of stepped gables, a sculptural composition that sets the rhythm for the building as a whole. Inside, this cadence continues through pointed arches and soaring brick vaults, forming an interior that feels both monumental and measured. Light filters gently across the textured masonry, revealing subtle shifts in tone and depth, while repetition and proportion guide movement through the nave. The absence of applied ornament sharpens attention to craftsmanship, scale, and the expressive potential of brick itself.

all images by David Altrath

stillness as a spatial condition

Altrath’s work consistently explores how built form, material, and atmosphere interact over time. Here, his lens frames Grundtvig’s Church not as a monumental icon, but as a lived space of stillness, where brick, light, and proportion quietly hold the architecture together.

In this photographic series, Hamburg-based photographer David Altrath approaches Grundtvig’s Church as an architecture of restraint and concentration. His images focus on moments of pause: light grazing a wall, the alignment of arches, the quiet tension between mass and void. Rather than dramatizing the space, the photographs emphasize its calm intensity, allowing the expressionist abstraction of the architecture to coexist with its sacred function.

a sculptural composition of yellow brick

the stepped gable west facade

a closer view reveals the layered brick relief articulating the main entrance

the church’s long side elevation unfolds through repeated vertical bays and pointed windows

repetition and vertical proportion define the church’s side facade

the rear volume presents a compact, faceted mass

rows of wooden chairs align beneath soaring arches

the central nave culminates in the monumental organ on one side

repetitive pointed vaults extend rhythmically along the side aisles

geometry and structural logic of the ceiling

the nave reads as a continuous field of brick, light, and aligned seating

hanging chandeliers punctuate the vertical brick interior

an intimate space defined by filtered light

the central nave stretches toward the altar

the church translates the vertical ambition of Gothic architecture into an austere expressionist language

precision of brickwork and proportion

project info:

name: Grundtvigs Kirke
photographer: David Altrath | @davidaltrath
location: Copenhagen, Denmark

architect: Peder Vilhelm Jensen-Klint

completion: 1940

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With its elongated facade of perforated brickwork, Zero Studio’s Haven House sits on an elevated site within a quiet neighborhood in Valiyannur, India. From the road, the dwelling reads as a low, horizontal volume that settles into the terrain and harness the trees, overgrown plantings, and sky as a lush frame.

The architects shape the project through proportion and texture over sculptural gesture. A continuous laterite wall defines the eastern edge, serving as compound and building skin at once. This dense, rust-toned plane gathers the common spaces behind it and gives the house a steady presence along the boundary, while its surfaces register sunlight across the day in small shifts of shadow.

images © Abhimanyu KV

zero studio curates a gardened threshold

Entry to the Haven House begins from the south, and is expressed by the architects at Zero Studio with a restrained palette of laterite stone and grey cement plaster. Overhead, a sloping tiled roof ties the structure to local construction practices and keeps the silhouette modest against the skyline.

To mark the threshold, a floating slab sit-out, dotted with tropical plants, serves as a small outdoor room. This space is open to breeze and street sounds and is planned as a moment of stillness that prepares the transition into the interior.

A compact doorway leads to a long axis of living and dining areas, which ultimately guide visitors toward a large kitchen at the northern end. Storage and work surfaces integrate into the walls, keeping the plan open and easy to navigate.

a long, linear volume hovers over the subtly sloping site

inside the breezy ‘haven house’

Bedrooms occupy the western side of Zero Studio’s Haven House, buffered by a family living area and the stair. While keeping everyday movement direct, this layout offers quiet separation from the social spaces.

Upstairs, a landing looks down into the double-height main room to create a visual link between levels. A casual sitting area, two larger bedrooms, and a utility room complete the floor. The material language remains consistent. Cement-finished floors, muted grey tiles, and small accents of Jaisalmer stone add warmth through tone and texture rather than decoration.

Openings are strategically placed to encourage cross-ventilation. The perforated eastern wall filters sunlight into a soft pattern that shifts across floors and walls through the day. Air moves steadily from one side of the house to the other, thus reducing dependence on mechanical cooling and ensuring a comfortable temperature throughout.

laterite brick walls define the building’s skin along the eastern edge

lush trees and overgrown plantings serve as a green frame

sliding glass panels draw daylight deep into the plan

living and dining spaces align in a simple open sequence

the sloping tiled roof references local construction traditions

a restrained palette of cement, stone, and timber shapes calm interiors

project info:

name: Haven House

architect: Zero Studio | @zerostudioofficial

location: Valiyannur, India

area: 3,263 square feet

completion: 2025

photography: © Abhimanyu KV | @abhimanyukv1

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Sordo Madaleno, working with építész stúdió and Buro Happold, has been selected as the winner of the international competition for the 43,000-square-meter New Collection Centre of the Hungarian Museum of Natural History in Debrecen (find designboom’s previous coverage here). Chosen from a shortlist of twelve teams, the project marks the first European cultural commission for the third-generation Mexican practice, which operates between London and Mexico City. The winning scheme focuses on the quieter, long-term work of conservation, research, and scientific stewardship. ‘The Centre’s staff are stewards of the objects, and the architecture becomes an extension of that stewardship. Within this layered ecology of care, the object is framed not as an isolated artefact but as an embodiment of life-worlds and landscapes that nourish reciprocal relationships,’ notes Fernando Sordo Madaleno. ‘Our building reflects this mutuality, providing a space of unity between conservator, stakeholder, architecture, and environment.’

A defining element of the project is its layered brick facade. Soils from different regions of Hungary are used in the brick production, producing subtle tonal variations across the building envelope. These shifts in color and texture reference both the geological history of the country and the museum’s disciplinary scope, spanning geology, fossils, animal life, human activity, and ecology. The monolithic structure remains visually active without resorting to overt gestures, extending the horizontal logic of the surrounding low-lying landscape.

all renderings by BsArq

a new scientific hub for an expanding museum landscape

Debrecen, Hungary’s second-largest city, is currently undergoing significant urban and academic expansion, including the relocation of the Hungarian Museum of Natural History from Budapest to the edge of the city’s Great Forest in a building designed by Bjarke Ingels Group. The New Collection Centre forms part of this broader shift, occupying a site within the University of Debrecen Science Park, approximately four kilometers from the future exhibition museum building. Its role is to store, study, and care for more than eleven million objects under strict museum-grade environmental conditions.

The design team at Sordo Madaleno likens the building to a traditional Hungarian clay vessel, an object historically used to protect and preserve. This idea translates into an elongated, rectilinear volume measuring 141 by 83 meters, conceived as a solid and deliberately restrained presence. The center is not expressive through form alone, but through material logic and internal clarity.

Across three floors and a basement, the program is divided into approximately 28,000 square meters of collection storage, 6,000 square meters of study and conservation laboratories, and a triple-height, top-lit atrium that acts as the center’s primary public interface. Within this atrium, selected collection items are displayed, accompanied by lecture halls and flexible event spaces intended for students, researchers, and visiting professionals.

the project focuses on the quieter, long-term work of conservation, research, and scientific stewardship

spaces that prioritize continuity over display

Day-to-day workspaces are carefully calibrated. Controlled light and ventilation are introduced through internal courtyards, allowing views outdoors while maintaining the strict environmental stability required for long-term preservation. Circulation, logistics, and security are tightly integrated, reflecting the function of the building as a support infrastructure.

The competition jury highlighted the spatial organization of the project and its attention to sustainability, security, and logistics. Particular emphasis was placed on the building’s capacity to support long-term research, international scientific collaboration, and the preservation of collections over time.

Located away from the spotlight of exhibition halls, the Debrecen Collection Centre foregrounds an often invisible part of museum life. Through material specificity, spatial discipline, and a deliberately subdued presence, Sordo Madaleno and its collaborators propose a building that prioritizes endurance, care, and scientific continuity over spectacle.

adefining element of the project is its layered brick facade

soils from different regions of Hungary are used in the brick production

across three floors and a basement, the program is divided into three zones

selected collection items are displayed

the Debrecen Collection Centre foregrounds an often invisible part of museum life

Sordo Madaleno and its collaborators propose a building that prioritizes endurance, care, and scientific continuity

the monolithic structure remains visually active without resorting to overt gestures

project info:

name: New Collection Centre for the Hungarian Museum of Natural History

architects: Sordo Madaleno | @sordo_madaleno, építész stúdió | @epitesz_studio, Buro Happold | @buro_happold

location: Debrecen, Hungary

size: 43,000 square meters

client: Municipality of the City of Debrecen, Hungarian Museum of Natural History

competition organiser: Debreceni Infrastructure Development Ltd

renderings: BsArq | @bs_arq

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Mexican architecture studio LANZA atelier, founded by Isabel Abascal and Alessandro Arienzo, is appointed to design the Serpentine Pavilion 2026. Titled ‘a serpentine’, the pavilion will open to the public on June 6th, 2026, at Serpentine South in London’s Kensington Gardens. The announcement coincides with the Pavilion’s 25th edition, which Serpentine will mark through a special collaboration with the Zaha Hadid Foundation, reflecting on the legacy of the inaugural pavilion designed by Hadid in 2000.

LANZA atelier’s proposal draws from the serpentine, or crinkle-crankle, wall, a historic English architectural feature composed of alternating curves. Originally developed in ancient Egypt and later introduced to England by Dutch engineers, the serpentine wall gains its structural stability from its geometry, allowing it to be only one brick thick while maintaining strength. 

Serpentine Pavilion 2026 a serpentine, designed by Isabel Abascal and Alessandro Arienzo, LANZA atelier | design renders © LANZA atelier. courtesy Serpentine

a serpentine is shaped by curves, climate, and movement

The pavilion is positioned on the northern side of the site and structured through two main walls. One traces the serpentine geometry, while the other aligns with the existing tree canopy. A translucent roof rests lightly on brick columns, evoking a grove of trees and allowing light and air to move freely through the structure. 

Brick is used as the primary material, referencing both the English garden tradition and the existing brick facade of the Serpentine South Gallery, which was originally a tea pavilion itself. Through rhythmic repetition, the brick columns transition from opaque to permeable, creating a gradient of openness. LANZA atelier frames this material strategy as a metaphorical bridge between Europe and the Americas, linking vernacular traditions through shared construction logics rather than symbolic gestures. According to the architectural duo, the project is conceived as ‘a device that both reveals and withholds,’ shaping how people move through space. They draw parallels with England’s fruit walls, which historically moderated climate and created sheltered micro-environments. From this lineage emerges a Pavilion built from simple clay brick, foregrounding what the architects describe as ‘the elemental capacity of architecture to bring people together.’

LANZA atelier’s proposal draws a historic English architectural feature composed of alternating curves

a platform for cultural exchange and experimentation

Since its inception, the Serpentine Pavilion has served as a platform for architectural experimentation, offering architects a rare opportunity to test ideas in a public, open-access context. Over time, the commission has evolved from a one-off structure into a broader cultural infrastructure, hosting lectures, performances, screenings, and interdisciplinary events. 

Serpentine CEO Bettina Korek frames the Pavilion as a structure that extends beyond its physical form, connecting people, landscape, and ideas. Artistic director Hans Ulrich Obrist emphasizes the institution’s increasing focus on younger practices over the past decade, describing LANZA atelier’s work as deeply embedded in material, context, and lived experience. Their pavilion, he notes, will function as a ‘content machine,’ hosting live events across disciplines throughout the summer and autumn.

The 2026 edition will also include a dedicated architectural program developed in collaboration with the Zaha Hadid Foundation. This initiative aims to reflect on Hadid’s legacy while fostering transnational and transgenerational dialogue around contemporary architectural questions. Former Pavilion architects will be invited to contribute, linking the Pavilion’s history to its future trajectories.

the serpentine wall gains its structural stability from its geometry

the pavilion is positioned on the northern side of the site and structured through two main walls

conceptual sketch, worm’s eye view | image © LANZA atelier. Courtesy Serpentine.

Isabel Abascal and Alessandro Arienzo of LANZA atelier | image © Pia Riverola

project info: 

name: a serpentine
architect: LANZA atelier | @lanzaatelier

lead architects: Isabel Abascal, Alessandro Arienzo
location: Serpentine South, Kensington Gardens, London, UK

event: Serpentine Pavilion | @serpentineuk
opening date: June 6th, 2026

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