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

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

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

renewing a nautical timber roof structure

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

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

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

Focused Interventions by conner & perry

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

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

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

Extending the Terrain

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

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

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

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

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

reworked landscaping strengthens the relationship between architecture and hillside terrain

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

project info:

name: Lautner’s Castle

architect (original): John Lautner | @lautnerfoundation

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

location: Los Angeles, California

photography: © Joe Fletcher | @joefletcherphoto

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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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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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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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Villa Lava is a private residence located in Santa Tecla, in the province of Acireale, on the eastern coast of Sicily. The project is a unique architectural blend of two houses in one single villa. On one side stands an old fisherman’s house dating from around 1900, completely restored by Nábito Architects, maintaining its essential character and carefully uncovering and preserving the original lava stone vaults. On the other side, the restored house connects to a contemporary extension that opens toward the sea, designed to blend seamlessly with the surrounding landscape of coastal lava stone, local vegetation and the ever-present Mediterranean horizon. One part looks inward, toward the historic heart of Santa Tecla, holding memory and tradition. The other looks outward, toward the open Mediterranean, with contemporary lines and generous openings that dissolve the boundary between interior and nature.

the architects carefully preserved the original lava stone vaults | all images courtesy of Nábito Architects

textures from local materials shape villa lava

Textures play a central role throughout the project. From rough stone exterior walls to azole plaster partitions and lava stone vaults, raw metal details and staircases to terracotta pots and micro-cement floors, materials form a natural dialogue between past and present. The architects deliberately preserved surfaces in their authentic state, allowing time and matter to remain visible. Texture here is not decoration; it is a tactile language that bridges time, place, and memory while respecting the surrounding environment. Discreet details add a handcrafted character. Mediterranean vegetation strengthens the relationship with the volcanic landscape. Original furnishings from the fisherman’s house were carefully preserved, not as nostalgic relics, but as living traces connecting the renewed home to its Sicilian roots.

all materials used in villa lava are natural and locally sourced whenever possible

sicilian landscape is reflected in contemporary residence

All materials used in Villa Lava are natural and locally sourced whenever possible: lava stone, lime-based plasters, raw metals, terracotta, and micro-cement. The construction process relied on traditional craftsmanship, carried out in close collaboration with local workers from Santa Tecla itself. The project became an exchange of knowledge: learning from local artisans, respecting inherited techniques, and allowing manual skill to shape the final architectural expression. Even selected original furnishings from the former fisherman’s house were preserved, not as decorative elements, but as tangible memories embedded within the renewed space. Villa Lava is more than a residence: it is an architectural narrative of contrast and harmony, a liveable expression of Sicilian landscape, culture, and spirit. Conceived to belong to the landscape rather than dominate it, the project is a reminder that coastal architecture must accept impermanence, listen to nature, and build with humility.

the restored house connects to a contemporary extension that opens toward the sea

textures play a central role throughout the project

the construction process relied on traditional craftsmanship

lava stone vaults, raw metal staircases, and micro-cement floors form a natural dialogue between past and present

selected original furnishings from the former fisherman’s house were preserved

villa lava is conceived as a liveable expression of sicilian landscape

project info:

name: Villa Lava
architects: Nábito Architects

location: Santa Tecla, Sicily, Italy

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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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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Haniyasu House by AATISMO overlooks a valley in Kamakura, Japan, a place shaped by earthen cliffs which hold rows of ancient cave tombs carved into the rock. The area carries a dense geological and cultural presence, and the house answers that weight with a low, grounded profile that follows the slope of the land and keeps close contact with soil and stone.

Designed for the architects themselves and their parents, both ceramic artists, the renovated dwelling supports two generations whose lives center on clay. Domestic life and making share the same territory, and the project treats this overlap as the starting point for every spatial decision. Rooms, work areas, and outdoor zones interlock so that firing, glazing, cooking, and resting occur within an open plan rather than in isolated rooms.

images © Sato Shinya

the earthen Haniyasu House shaped by its natural context

The Haniyasu House renovation by AATISMO began with a modest single story wooden structure built in 1967. All interior walls and ceilings were removed, opening the plan into a single volume that connects directly to the surrounding garden and sky. Into this open core, new rooms were inserted at the four corners. Their compact, heavy forms read as earthen masses rising from the ground, giving the composition the character of a small settlement gathered around a shared center.

This central space operates as a common plaza where meals, conversation, and everyday tasks take place. Circulation moves freely across the floor, with long views from one corner to another. Light shifts across the surfaces during the day, revealing the texture of plaster, soil, and timber. The atmosphere feels calm and tactile, with the sound of work and family life carried through the open volume.

the two-family home is designed by the AATISMO team for themselves and their ceramic artist parents

cave-like rooms for resting and making

Each of the Haniyasu House’s organic, corner addition by AATISMO provides a private, cave-like room for sleeping and work. The father’s studio to the northwest carries deep brown tones made from soil taken directly from the site. A kiln and outdoor glazing area sit close by, allowing the entire ceramic process to occur within one zone. Tools, clay, and finished pieces remain within arm’s reach.

Across the house, the mother’s room takes on a lighter presence, finished with lime mixed with bisque-fired clay and fitted with built-in cabinetry and underfloor storage. The architects’ own space, the largest of the volumes, features lowered earthen floors and cantilevered desks used to display furniture and lighting from their practice. A guest room doubles as a tea room with tatami mats, a tokonoma alcove, clay-rich walls mixed with bamboo charcoal, and soft daylight entering from above.

four new corner volumes for sleeping and work rise like earthen masses

design led by material experimentation

Material experimentation guided the construction. Soil from the site and discarded clay from the pottery studio were crushed, fired, glazed, and tested in repeated cycles. Exterior walls received layers of site soil and bisque-fired clay combined with plaster containing iron and copper powders. Oxidation slowly alters the color, so the surfaces deepen and shift with weather and time. The four corner volumes also serve as seismic reinforcement, concentrating shear walls in new foundations while preserving the original columns that hold the tiled roof.

Named after Haniyasu, the deity associated with earth and pottery, the Haniyasu House channels a close relationship between land, craft, and habitation. The work of AATISMO gives physical form to a way of living where making continues throughout the day and architecture participates in that process through weight, texture.

the father’s studio integrates a kiln, glazing, and pottery making within one continuous zone

natural materials include site soil, clay, lime, and metal powders

the 1967-built wooden house is opened into a single shared interior

the central open space functions as a communal area

the house brings living and making together through an architecture shaped by earth and craft

project info:

name: Haniyasu House

architect: AATISMO | @aatismo

location: Kamakura, Japan

photography: © Sato Shinya

The post AATISMO renovates home for ceramic artists with cavernous clay additions appeared first on designboom | architecture & design magazine.

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

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Renovated by Ateliers Mumu Tashiro, Ogikubo Bar is a modest neighborhood bar located within a residential area in Ogikubo, Suginami-ku, Tokyo, Japan. Approximately ten years after its opening, the project underwent its first architectural intervention, limited intentionally to the replacement of the entrance door. The renovation explored how a single architectural element could alter spatial perception, presence, and interaction without modifying the existing interior layout. Originally established in a domestic garage setting, the bar developed gradually into a well-used local venue. To preserve the familiarity of the interior atmosphere and avoid extended closure, the scope of renovation was constrained to the entrance. This limitation became the central design premise, positioning the door as both an architectural and spatial device rather than a purely functional threshold.

all images by SOBAJIMA, Toshihiro

Mumu Tashiro uses the door as an architectural device

Ateliers Mumu Tashiro began the design process with an investigation into the color blue. Widely present in Japanese cultural and material traditions, such as indigo and navy, blue was selected for its visibility and legibility in low-light conditions, making it suitable for a nocturnal program like a bar. Multiple pigment combinations were tested, including blends with gray, black, green, and yellow. Ultimately, a single, unmodified blue was chosen for its clarity and consistency. While appearing vivid in daylight, the color softens under street lighting and subtly shifts as it interacts with the lauan plywood substrate, allowing the wood grain to influence the surface appearance. Set against an existing concrete facade, the blue door functions as a visual marker within the residential streetscape, establishing a distinct identity while remaining limited in scale.

The door incorporates ten individual glass panes, each varying in color, texture, transparency, and origin. Sourced from a specialty glass supplier, the panels were manufactured in Japan, the United States, France, and Germany. Their placement was carefully calibrated according to height, scale, and usability, ensuring that each piece retained visual independence while contributing to the overall composition. As daylight fades into evening, interior lighting activates the glass, revealing layered reflections, silhouettes, and movement. The small apertures allow partial visibility between inside and outside, creating a mediated relationship rather than full exposure. Push-out and sliding window elements were introduced to accommodate three-dimensional interaction, with prefabricated wooden frames adjusted on site to match varying glass thicknesses. This combination of standardized components and manual adaptation reflects a pragmatic approach to contemporary craftsmanship.

the blue door acts as an architectural device rather than a functional threshold

Architecture is treated as an ongoing process

Beyond its role as an entry point, the door incorporates a fold-out bench, extending its function into seating and pause. This element draws from architectural and furniture precedents that integrate utility with spatial expression. The bench enables informal use patterns, including waiting, resting, and brief social interaction, allowing the door to operate as a small-scale public interface rather than a fixed boundary. Observed use over time demonstrated a range of behaviors not strictly prescribed by the design, reinforcing the door’s role as an adaptable object responsive to everyday life.

The Blue Door represents the first phase of a planned, incremental renovation strategy for Ogikubo Bar. Future interventions are intended to occur in stages, minimizing disruption while allowing visitors to observe the ongoing transformation of the space. Within this framework, the door functions as both an autonomous architectural element and a surface with depth, composed of color, glass, movement, and use. Rather than signaling completion, the project frames architecture as a continuous process. Through a single intervention, the renovation by Ateliers Mumu Tashiro examines how decoration, material specificity, and human interaction can expand the role of a door beyond its conventional definition, positioning it as a spatial and social device within the urban neighborhood.

the entrance features ten glass panels, each differing in color, texture, and transparency

the neighborhood bar is embedded within a residential streetscape

the bright blue surface interacts with lauan plywood grain

partial visibility mediating interior and exterior spaces

glass panel placement is calibrated by height, scale, and usability

the door is conceived as a visual marker against an existing concrete facade

project info:

name: The blue door – Ogikubo bar 1st renovation
architect: Mumu Tashiro／Ateliers Mumu Tashiro

location: Ogikubo, Suginami-ku, Tokyo, Japan

photographer: SOBAJIMA, Toshihiro | @sobajima_toshihiro

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 colored glass apertures reveal lively tokyo bar through bright blue entrance appeared first on designboom | architecture & design magazine.

Steinbauer Architektur reimagine a historic farmhouse known as HÄUSL. in the small settlement of Waidmannsbach in Lower Austria for contemporary life. The project transforms a nearly 200-year-old rural home, situated between a stream and a spruce forest in the limestone Alps. The removal of improvised additions and addition of a precise new concrete volume into the hillside stabilizes, expands, and quietly transforms the house, revealing an architectural dialogue that preserves the spirit of the original while redefining how it is lived today. Decades of improvised additions and repair attempts weaken the fabric of the house, and persistent hillside water causes serious damage. The architects aim to keep the modest and charming appearance of the original building, yet recognize the need for decisive structural intervention. Careful and precise renovation measures protect the house from the forces of the surrounding slope. 

all images courtesy of STEINBAUER architektur+design

alps serve as backdrop for contemporary extension

The current owners, who represent the third generation of residents, ask the studio to preserve the building’s character while preparing it for contemporary life. The architects define the material palette with a strong contrast between existing surfaces and new interventions. In the original structure, white lime plaster, refurbished spruce timber, and burnished steel dominate the interior and exterior. The addition introduces sandblasted concrete, black mastic asphalt, and polished stainless steel as deliberate counterpoints. A core insulation system allows the new volume to remain visible on the facade as exposed concrete. The renovation respects the past and establishes a clear contemporary identity, giving the small farmhouse a confident future in its alpine landscape.

the project transforms a nearly 200-year-old home, situated between a stream and a spruce forest

renovation in austrian countryside secures landscape

The renovation begins with the removal of all later extensions and with the demolition of the remaining longitudinal wall that faces the mountain. Erosion leaves a fragile scar in the terrain between the house and the porous rock behind it. The architects close this gap with a new addition that measures fifteen meters long, 2.4 meters wide, and 4.5 meters high. This compact volume secures the hillside, channels groundwater in a controlled way, and provides extra living space. Inside the reorganized building, the traditional farmhouse parlor remains the central heart of the home. From this room, residents reach a bedroom to the north and a second, almost identical room to the south. A clearly readable joint between old and new construction extends each existing room about two meters into the slope. The parlor receives a new kitchenette, and each bedroom gains its own bathroom. Restored box windows bring western light into the historic rooms, while orderly skylights illuminate the new addition from above. Together, these elements ensure natural ventilation and balanced daylight throughout the house.

erosion left a fragile scar in the terrain between the house and the porous rock behind it

the new volume secures the hillside, channels groundwater in a controlled way, and provides extra living space

the traditional farmhouse parlor remains the central heart of the home

from this room, residents reach a bedroom to the north and a second to the south

the parlor receives a new kitchenette

the architects define the material palette with a strong contrast between existing surfaces and new intervention

the addition introduces sandblasted concrete, black mastic asphalt, and polished stainless steel

in the original structure, white lime plaster, refurbished spruce timber, and burnished steel dominate

restored box windows and new skylights bring light into the historic rooms

the renovation respects the past and establishes a clear contemporary identity

project info:

name: HÄUSL.
architects: STEINBAUER architektur+design

location: Waidmannsbach, Austria

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

edited by: claire brodka | designboom

The post two-centuries old farmhouse and contemporary extension face off in austrian hillscape appeared first on designboom | architecture & design magazine.