The Qasr AlHokm metro station in Riyadh, designed by Snøhetta, brings a vast reflective canopy and a shaded underground garden to the city’s historic center. Conceived as one of four primary hubs within the new network, the station connects two major lines while functioning as an open urban plaza within walking distance of the old palace grounds and the Al Daho district.

From the plaza, a 360-degree stainless steel canopy hovers above the main entrance, its underside polished to a mirror finish. The structure operates as an urban periscope, drawing the city into its surface while casting shade across the terrazzo plane below. The gesture establishes the metro station as both infrastructure and civic ground, a place of arrival and gathering in central Riyadh.

the Qasr AlHokm metro station brings a reflective canopy to the historic center of Riyadh | image © Iwan Baan

snøhetta drops a monumental mirror over a saudi metro station

The team at Snøhetta developed the competition-winning concept in 2012, imagining a transit space where orientation begins with reflection.

‘When you come off the train and look up, you see a 360-degree view of the city reflected on the underside of the canopy. So, you get an immediate picture of where you are in the city,’ Robert Greenwood, Partner and Project Lead, explains. ‘Likewise, if you’re coming from the city, you look up into the canopy, and it mirrors everything that happens below.’

The canopy’s outer skin is formed from 8 millimeter double-curved stainless steel panels, fully welded and polished to achieve a continuous surface. A lightweight steel spaceframe with adjustable tie rods supports the skin, allowing the form to extend beyond a massive concrete cone that houses the vertical circulation below. On its upper surface, photovoltaic panels contribute to on-site energy production.

a polished stainless steel overhang mirrors the city in a 360 degree surface | image © Iwan Baan

glass-enclosed platforms view an underground garden

Below ground, the two lines traverse the atrium within glazed tubes that project into the open void. Each platform is encapsulated in glass, creating a clear visual connection between moving trains and the broader interior. For passengers waiting inside the atrium, the trains appear suspended within transparent volumes; for those passing through, the station reads as a luminous landmark embedded in the historic fabric of Riyadh.

The sloping interior walls are finished with rendered surfaces inspired by local architectural traditions, lending texture to the expansive volume carved beneath the plaza. Light filtered from above washes these surfaces, guiding movement toward escalators and transfer levels. The visual continuity between levels reinforces legibility across the large subterranean space.

At the base of the atrium, around 35 meters below city level, a garden offers a shaded retreat for travelers, with plantings and seating at the heart of the infrastructure. Even during peak summer heat, the depth of the station maintains a stable environment. Water collected from the plaza and canopy is even reused for irrigation.

a terrazzo civic plaza connects the station with a reconstructed mosque and Eid field | image © Iwan Baan

architecture drawing from its context

The station sits beside an important Eid prayer field capable of accommodating thousands of worshippers. The terrazzo plaza extends to the edges of the site to create a unified surface shared by the metro entrance and a reconstructed mosque. This way, the space functions as an outdoor extension of the mosque during large gatherings.

Within the atrium, patterned openings inspired by Najdi motifs puncture the inner walls. Formed from hundreds of triangular carvings in varying sizes, the apertures filter light and create controlled visual connections between levels. Outside the concrete cone, a media wall stretching more than 100 meters incorporates acoustic, lighting, and video panels. Its evolving light sequences provide a measured counterpoint to the movement of trains and passengers, reinforcing orientation within the main circulation space.

the canopy extends from a concrete cone that houses circulation below the plaza | image © Iwan Baan

collected water from the plaza and canopy irrigates the shaded planting below | image © Iwan Baan

an underground garden sits 35 meters below ground | image © Iwan Baan

rendered interior walls draw on traditional Najdi architectural motifs | image © Iwan Baan

the architecture stands as a mirrored bowl | image © Iwan Baan

project info:

name: Qasr AlHokm Metro Station

architect: Snøhetta | @snohetta

location: Riyadh, Saudi Arabia

completion: 2025

photography: © Iwan Baan | @iwanbaan

client: Royal Commission Riyadh City (RCRC)
executing consortium: ArRiyadh New Mobility (ANM)
collaborators: Cremonesi Workshop (Crew), One Works
structure: Akt
services: Hilson Moran
lighting consultants: dpa lighting consultants

The post snøhetta drops monumental mirrored bowl over gardened metro station in riyadh appeared first on designboom | architecture & design magazine.

The Gare de Mons has opened in Belgium, marking the culmination of nearly two decades of design and construction led by Santiago Calatrava. Located near the French border, the multi-modal station connects local and international train lines while uniting the city’s historic center to the south with the residential area to the north. The project represents a major infrastructural and civic investment for Mons, creating a symbolic and physical bridge across previously divided districts.

From the street, the building’s sweeping white form commands attention through its precision and scale. A vast glass canopy extends outward in a continuous curve, shading the grand staircase and escalators that rise toward the main concourse. The structure’s rhythm of ribs and light evokes Calatrava’s consistent dialogue between architecture and engineering that’s rhythmic and expressive.

images © Danica O. Kus

Santiago Calatrava’s luminous station

Inside Santiago Calatrava’s Gare de Mons, the Galerie de la Reine serves as the station’s luminous core. The hall is framed by a sequence of branching supports in steel and concrete, and channels natural light across its polished floor and translucent ceiling panels. The architect‘s geometry produces a space that feels at once weightless and orderly, encouraging the steady flow of commuters while maintaining visual calm.

Architectural photographer Danica O. Kus captures the building’s tonal precision — the way daylight filters through the roof lattice, reflecting across the concourse and accentuating the structural pattern. Her images highlight the clarity of construction and the measured transitions between glass, steel, and timber accents along the interior frame.

Gare de Mons has opened in Belgium designed by architect Santiago Calatrava

an expressive structure for fluid movement

Beyond its sculptural form by Santiago Calatrava, Gare de Mons establishes a civic continuity that had long been missing in the city’s urban fabric. The raised gallery spans the tracks, linking the two sides of Mons with generous pedestrian access. To the south, at Place Léopold, Calatrava integrated a bus terminal and underground parking for approximately 500 vehicles. To the north, more technical facilities and parking spaces connect to the new urban plaza at Place des Congrès.

The design embraces infrastructure as an urban catalyst — an approach consistent with Calatrava’s broader body of work. The architect creates a sense of progression that is both spatial and social. For Mons, the station becomes an symbol of renewal, and serves as a gathering of people as much as for trains bound for Brussels, Paris, and beyond.

a sweeping glass canopy defines the building’s entrance and public presence

the new station connects the historic city center with the residential north of Mons

Calatrava’s rhythmic structural ribs frame movement and light throughout the concourse

the Galerie de la Reine interior creates a bright and continuous civic passage

glass, steel, and timber materials interact to create warmth within the monumental frame

photographer Danica O. Kus captures the precision of form and the clarity of daylight

the station integrates bus lines, parking, and pedestrian access on both sides of the tracks

Gare de Mons stands as a symbol of connection and renewal

project info:

name: Gare de Mons

architect: Santiago Calatrava | @calatravaofficial

location: Belgium

completion: 2025

photography: © Danica O. Kus | @danica_o_kus_photography

The post new photos show rhythmic structure of belgium’s ‘gare de mons’ by santiago calatrava appeared first on designboom | architecture & design magazine.

A sculptural steel monolith by Anish Kapoor now marks the entrance to a subway station in Naples, Italy. The project at Monte Sant’Angelo Subway Station, which first began in 2003, is set to officially open on September 11th, 2025. Integrating sculpture and architecture into a singular environment, the work has been conceived by the celebrity artist as part of a larger regeneration of the city’s Traiano district.

Anish Kapoor explains: ‘In the city of Mount Vesuvius and Dante’s mythical entrance to the Inferno, I found it important to try and deal with what it really means to go underground.’

images by Amedeo Benestante © Anish Kapoor

two sculptural entrances

With his newly completed intervention, artist Anish Kapoor introduces to the station two distinct points of entry, each designed as sculptural thresholds into Naples’ metro network. The university entrance, formed from weathering steel, swells from the plaza in a way that is ‘archetypal, raw and labial.’ The artist’s team explains: ‘It appears to offer a descent into the underworld.’

The Traiano entrance presents a contrasting language. Here, a tubular opening of smooth steel is precise and brushed. The team continues: ‘As in so much of Kapoor’s work, interior space is turned inside out, he reverses upwards and downwards in a sculptural work that is not an object in the landscape, but rather is joined, rooted and part of the landscape.’ Together, the two entrances frame travelers’ movements through sculpture. The familiar thresholds are no longer secondary details, but are defining elements of Naples’ urban experience.

Naples opens Monte Sant’Angelo Subway Station, designed with Anish Kapoor

infrastructure becomes public art

Anish Kapoor collaborated with Jan Kaplický and Amanda Levete of Future Systems to build these new sculptures for the Naples subway station. The trio together worked to maintain a sense of raw continuity — the tunnel walls are kept raw, allowing for an expressive material honesty. The team concludes: ‘This is an architecture embodied with the porosity of the body — a collision of the functional and formal with the aesthetic and the mythic. It is art as architecture as never seen before.’

While the station arrives as a functional addition to Naples’s expanding metro system, it is also a cultural statement as the southern Italian city creates a dialogue between its infrastructure and the realm of public art. The opening marks the culmination of two decades of work.

Kapoor designs two sculptural entrances that act as thresholds to the underground

the university entrance swells from the ground in weathering steel 

the Traiano entrance forms a smooth, tubular opening which reverses interior and exterior

the project began in 2003 as part of Naples’ metro expansion and cultural regeneration

inside the station, rough tunnel walls are designed with Future Systems

the new station is set to be inaugurated on September 11th, 2025

project info:

name: Monte Sant’Angelo Station

artist: Anish Kapoor | @dirty_corner

location: Naples, Italy

collaborators:

photography: Amedeo Benestante © Anish Kapoor

The post anish kapoor draws from dante’s inferno to sculpt new subway station in naples appeared first on designboom | architecture & design magazine.

Joby Aviation and Virgin Atlantic team up to bring electric air taxis in the UK with flights to London in as little as eight minutes. The teams expect to launch ‘zero-emission’ and short-range journeys. The first operation starts within Virgin Atlantic’s hubs at Heathrow and Manchester Airport. There’s no news yet on when the first flights are set to take off. So far, the electric air taxis in the UK include a 15-minute flight from Manchester Airport to Leeds.

On top of that, a trip from Heathrow Airport to central London can also take as little as 8 minutes. The same goes from Heathrow Airport to Canary Wharf with the aircraft, instead of 80 minutes by car. Joby Aviation and Virgin Atlantic eye to expand the network of landing locations across the cities and even communities in the UK. They aim to offer ‘prices that are comparable with existing premium ground ridesharing options at launch.’ The partnership builds on an existing agreement between Joby and Delta Air Lines, which owns a 49 percent stake in Virgin Atlantic.

all images courtesy of Joby Aviation

joby aviation and virgin atlantic to offer back-to-back flights

Design-wise, Joby Aviation’s electric air taxis can carry a pilot and up to four passengers at once. They fly at a speed of up to 200 miles per hour. There are six tilting propellers around the aircraft, helping it take off and land vertically. The aviation company says the noise they produce is a fraction of those produced by today’s helicopters. The design of the electric air taxis set to appear in the UK for to-and-from flights can conduct rapid, back-to-back flights. So far, the expected deployment on routes is up to 100 miles. 

Joby Aviation has completed thousands of test flights, including exhibition flights in New York City, Japan, and Korea at the present time. The company exhibited its aircraft in the UK at the 2024 Farnborough International Airshow. Then in July 2022, it formally applied to have its aircraft validated for use by the UK Civil Aviation Authority (CAA). With Virgin Atlantic, customers can book their flights on the aircraft using the airline’s app. Presently, the teams are developing the electric air taxis, with news about the operation in the UK and London yet to be announced.

Joby Aviation and Virgin Atlantic team up to bring electric air taxis in the UK with flights to London

the teams expect to launch ‘zero-emission’ and short-range journeys

the first operation starts within Virgin Atlantic’s hubs at Heathrow and Manchester Airport

so far, the electric air taxis in the UK include a 15-minute flight from Manchester Airport to Leeds

a trip from Heathrow Airport to central London can also take as little as 8 minutes

there’s no news yet on when the first flights are set to take off

project info:

name: Electric air taxis

companies: Joby Aviation, Virgin Atlantic | @jobyaviation, @virginatlantic

The post joby and virgin atlantic to bring electric air taxis to the UK with flights to london in 8 minutes appeared first on designboom | architecture & design magazine.

Japanese studio nendo, together with AREP, unveils its river-inspired design for SNCF Voyageurs’ fifth-generation TGV train. Since it began operation in 1981, the train has redefined high-speed rail travel across France and beyond, and the latest iteration, co-developed with ALSTOM, builds on this legacy to reach speeds of 300 km/h while accommodating up to 1390 passengers in its most high-density configuration.

nendo and AREP’s design concept, here rooted in minimalism and efficiency, draws from the natural flow of water to envision this double-decker vessel as an entity that moves smoothly across the landscape. Its external body features abstract semi-circles in white and gray over a warm gray base, subtly evoking the ripples and waves of flowing water. The use of dark horizontal lines helps integrate technical components like inspection ports and exhaust vents into the overall aesthetic, while the doors, painted in SNCF’s signature Bordeaux hue, provide high-contrast visibility for accessibility.

all images by Yann Audic

the river-inspired design embraces fluidity

Inside the train, nendo and AREP extend the river concept through color, form, and materiality. The seating arrangement fosters a sense of spatial continuity, with horizontal color divisions that align between the seats and walls, reinforcing the feeling of openness. In first class, a palette of Bordeaux and dusky brick red with mustard yellow accents creates warmth, while second-class seating shifts to a cooler spectrum of navy and blue-gray. A subtle gradient effect darkens the seats toward the base in both segments, mirroring the visual depth of a river.

The seats themselves embody the natural softness of water-polished pebbles. Designed as shell-like enclosures, they include vertically adjustable headrests and lumbar support, their rounded forms echoing smooth river stones. Upholstered in Octaspring, a lightweight and breathable 3D-knitted fabric, the seats offer both durability and comfort. The design team has also integrated tables that can be adjusted for various uses, from compact smartphone surfaces to wider set ups for working or eating, while foldable footrests and armrests enhance wheelchair accessibility during boarding and disembarking.

nendo and AREP unveil design for SNCF Voyageurs’ fifth-generation TGV train

the double-decker train hosts various social atmospheres

nendo and AREP’s new TGV also reimagines the onboard café experience with a double-decker bar carriage designed to accommodate different social atmospheres. The train’s lower deck functions as a café-bar serving snacks and beverages, while the upper deck offers a lounge space with informal seating arrangements. Echoing the train’s overall aesthetic, the lower deck carries the same horizontal color split found in the passenger cabins, with soft, undulating counters and shelving that evoke the feeling of floating. The upper lounge takes the riverbed analogy further, featuring benches and cushions of various sizes and orientations, arranged like scattered pebbles. It features a mix of seating styles, from intimate corners to more open, casual spaces suited for groups. Perforated metal sheets, used in luggage racks and vent covers throughout the train, reinforce the sense of lightness and suspension.

Throughout, accessories such as reading lights, coat hooks, and assist grips continue the motif of rounded, organic shapes. Lighting plays a central role in shaping the ambiance, with three distinct models — tall versions for seating areas, compact fixtures for bar carriages, and wall-mounted options for corridors — all sharing a cohesive design language. The overhead luggage racks, too, with built-in lighting, emphasize softness, featuring anti-fall bars that appear to gently touch, reinforcing the theme of weightlessness and floating. 

the design concept is inspired by the natural flow of rivers

integrated seating capacity for up to 1390 passengers

a subtle gradient effect darkens the seats toward the base, mirroring the visual depth of a river

a palette of Bordeaux and dusky brick red in first class

the train can reach speeds of 300 km/h

tables can be adjusted for various uses, from compact smartphone surfaces to wider sets up for working or eating

mustard yellow accents create warmth

second-class seating shifts to a cooler spectrum of navy and blue-gray

upholstered in Octaspring, a lightweight and breathable 3D-knitted fabric, the seats offer durability and comfort

project info:

name: SNCF Voyageurs TGV train

designer: Nendo | @nendo_official, AREP | @arep_group

The post nendo & AREP draw on natural flow of rivers for france’s next-generation TGV train design appeared first on designboom | architecture & design magazine.

Think tank 21st Europe proposes Starline, a high-speed train that travels and stops across different cities in the continent, like a metro. It’s a way to connect the European countries, regardless of borders and political divides. It relies on existing and planned infrastructure and travels at 300–400 km/h. With this in mind, the high-speed train in Europe can take passengers from Helsinki to Berlin in over three hours instead of a full day. Going from Kyiv to Berlin, which has historically been an overnight trip, takes less time as well as from Milan to Munich.

The 21st Europe team – led by Kaave Pour, the co-founder, CEO, and Creative Director at SPACE10 – designs the high-speed train network in Europe as a metro system. It stops at different cities across the continent. In this case, every country has at least one station for the Starline system. The design team says the network even extends beyond Europe, going to and from England, Turkey, and Ukraine. Aside from travelers, this high-speed train in Europe can also transport time-sensitive goods, such as medical supplies, fresh produce, and manufacturing components.

all images courtesy of 21st Europe

Stations that double as landmarks and artistic venues

Starline, the hopeful high-speed train network by 21st Europe, has a clean design. It’s neither industrial nor futuristic. Instead, it leans towards simple and functional. It’s main color is deep blue, chosen to create a distinct identity and reference the European flag. The color helps set it apart from typical metallic trains. The high-speed train in Europe comes with an interior designed to accommodate different travel needs without traditional class divisions. It includes quiet zones for focus, open areas for work and conversation, and family-friendly sections for those traveling with children. There are also café areas provided for snack and meal times.

In addition to passenger travel, the design team says Starline includes dedicated cargo capacity. This allows for the transport of time-sensitive goods. It reduces reliance on short-haul freight flights and congested road networks. The rail system proposes a new network of train stations built outside major cities instead of updating older stations. The design team says each station serves as a national landmark, designed by architects and designers from its respective country. These Starline stations then function as cultural hubs. They include public spaces, cultural institutions, and venues. Unlike traditional stations, these stations could incorporate concert halls, museums, and event spaces for exhibitions, performances, and sporting events.

21st Europe proposes Starline, a high-speed train that travels around the continent like a metro

AI-driven, sensor-based security on-board

For the project, 21st Europe plans an open ticketing platform for Starline. It integrates multiple providers and third-party services, so passengers can buy tickets either through Starline or existing platforms. The goal is to standardize rail access across the continent rather than centralize sales under a single operator. The high-speed train in Europe also expects AI-driven, sensor-based security that monitors passenger flows in real time without creating delays.

Instead of static checkpoints, the system uses biometric verification and automated threat detection. Renewable energy powers Starline, incorporating solar, wind, and battery storage across its stations and network. A smart energy system stores excess power during low demand and optimizes usage in real time, reducing costs and increasing energy resilience. At the present time, the high-speed train in Europe is a proposal and concept project.

it’s a way to connect the European countries, regardless of borders and political divides

it relies on existing and planned infrastructure and travels at 300–400 km/h

the sunroofs on the ceilings provide natural light and views

the transport’s main color is deep blue as a reference to the European flag

the interior is neither industrial nor futuristic, but clean

the train stops at different cities across the continent

proposed train lines across the continent

presently, Starline is a proposal and concept project

project info:

name: Starline

design: 21st Europe | @21st.europe

The post high-speed train ‘starline’ by 21st europe travels and stops around the continent like metro appeared first on designboom | architecture & design magazine.

East Japan Railway Company (JR East) gears up to launch the E10 Shinkansen bullet train in the country, with an exterior design inspired by cherry blossom petal. In collaboration with the UK-based design consultancy Tangerine, there’s a continuous line along the side of the bullet train that keeps the signature Shinkansen aesthetic. Then, this line creates a flowing curve between the cars, embedding a refreshed motif inspired by the shape of the cherry blossom petals. Outside Japan’s E10 Shinkansen bullet train, the livery is a mix of green color schemes. 

The green on the top is ‘Tsugaru green’ while the dark green at the bottom is ‘Evening Elm.’ Both of their shades mimic the natural scenery as well as the mountains of the Tohoku region that the bullet train passes on its way to its destination. The East Japan Railway Company begins designing the E10 Shinkansen bullet train, which is set to succeed the E2 and E5 series. The company expects its completion in the fall of 2027, following test runs, with commercial operations in the country starting or by 2030. Japan’s E10 Shinkansen bullet train links Tokyo with the Tohoku region, and each production transport consists of 10 cars.

all images courtesy of East Japan Railway Company (JR East) and Tangerine

Wheelchair spaces for persons with reduced mobility

So far, the East Japan Railway Company says the team, in collaboration with the design consultancy Tangerine, expects to incorporate L-shaped vehicle guides. It’s to make sure that Japan’s E10 Shinkansen bullet train doesn’t derail from the tracks during earthquakes. The transportation also features lateral dampers to reduce shaking, minimize damage, and prevent derailment. There’s also an improved braking system on board to shorten stopping distances. The company runs these all through ALFA-X, which is the company’s development test platform.

The design also comes with the ‘train desk’ service. This means there’s more space for storing large luggage pieces as well as installation power outlets at all seats. Wheelchair spaces by the train windows are dedicated to persons with reduced mobility. Then, the seating arrangement only has two seats per row to create more comfortable space for the passengers. Japan’s E10 Shinkansen bullet train also uses a blowerless induction motor, which doesn’t require a cooling motor. The transportation also supports flexible cargo transport. It can minimize space adjustments for when the company plans to convert the train for autonomous operations.

East Japan Railway Company gears up to launch E10 Shinkansen bullet train

the design team led by Tangerine draws inspiration from cherry blossom for the exterior look of the train

the livery and interiors are a mix of green-color schemes

these shades are called ‘Tsugaru green’ and Evening Elm’

wheelchair spaces by the train windows are dedicated to persons with reduced mobility

view of the interiuors

for the upgraded class, there are only two seats per row

the upgraded class’ color scheme mimics the colors of the Japanese seascapes

the company expects the transportation’s completion in the fall of 2027

project info:

name: E10 Shinkansen bullet train

company: East Japan Railway Company (JR East) | @jreast_official

design: Tangerine | @tangerinelondon

The post japan railway unveils E10 shinkansen bullet train, with design inspired by sakura flowers appeared first on designboom | architecture & design magazine.

Atelier Bugio designs the iconic Graça Funicular in Lisbon following a typological continuity, integrating the cable railway into the city’s network of transport mechanisms adapted to its hilly terrain. Lisbon has a long-standing tradition of funiculars, elevators, and escalators facilitating movement across its steep streets. This project references the Bica Elevator, adopting a similar approach to functionality and urban integration.

At the lower level, on Rua dos Lagares, the funicular is accessed through a station building that extends the existing street facade. This building houses the equipment when not in operation and serves as a transition space for passengers. The funicular has two stops: one at the lower level on Rua dos Lagares and another at the upper level, near the end of Calçada da Graça. The upper stop is positioned slightly below the viewpoint, allowing the funicular to integrate into the street before beginning its descent.

all images by Alexander Bogorodskiy

Atelier Bugio’s design serves as continuation of the urban fabric

The lower station, designed as a continuation of the urban fabric, connects the funicular to the street through a double-height space. The funicular cabin is structured with two distinct sections: an opaque section containing the operational doors and an emergency exit, and a transparent section offering views of the adjacent convent enclosure, which is being transformed into a public garden. The route follows the convent’s boundary, ascending through the new green space before entering a curved tunnel beneath the viewpoint. Upon reaching Calçada da Graça, the funicular emerges onto the street, orienting its view toward Jardim Augusto Gil and the Tagus River.

This intervention by architectural studio Atelier Bugio establishes a connection between Graça Hill and the lower city while integrating with Lisbon’s historical and topographical context through careful spatial sequencing and material continuity.

the Graça Funicular integrates into Lisbon’s network of hillside transport

designed by Atelier Bugio, the funicular follows the city’s tradition of cable railways and elevators

the upper stop is positioned just below the viewpoint for smooth urban integration

the project establishes a new urban link between Graça Hill and the lower city

a curved tunnel allows the funicular to pass beneath the viewpoint

the station building serves as both storage and a reception space for passengers

a double-height entrance space serves as a transition point for passengers

the design balances functionality, material continuity, and historical context

the funicular enhances accessibility while preserving the site’s historical character

spatial sequencing ensures seamless movement between urban levels

the funicular follows the convent boundary, offering a unique visual connection

the convent grounds are being transformed into a public garden along the funicular route

Atelier Bugio’s design prioritizes integration with Lisbon’s topographical identity

project info:

name: Graça Funicular
architect: Atelier Bugio | @atelierbugio

location: Lisbon, Portugal

photographer: Alexander Bogorodskiy | @photoshootportugal

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 atelier bugio adapts graça funicular railway to lisbon’s hilly terrain appeared first on designboom | architecture & design magazine.

Dominique Perrault Architecture unveils the Villejuif-Gustave Roussy metro station, an essential part of the Grand Paris Express. The large-scale infrastructure project is designed to improve connectivity across the metropolitan region, linking the suburbs together without crossing Paris. With 200 kilometers of automated metro lines and 68 new stations, the project is currently the largest infrastructure project in Europe, aiming to enhance mobility, urban development, and social integration.

Designed by Dominique Perrault Architecture, the Villejuif-Gustave Roussy station is a deeply embedded transport hub, located 50 meters below ground. Its design prioritizes spatial fluidity, creating a transition between the city and its subterranean infrastructure. The station is structured around a vast cylindrical central shaft, which allows natural light to penetrate the underground levels, enhancing visibility and openness. The absence of traditional walls and facades fosters continuity between urban and transit spaces. The station’s materials—concrete, stainless steel, and glass—contribute to durability and energy efficiency, ensuring minimal environmental impact while maintaining a contemporary aesthetic.

image by Arthur Jan, courtesy of Dominique Perrault Architecte

reflective and perforated surfaces optimize light distribution

The station plays a significant role in the broader urban transformation of the Grand Paris area. Located in the ZAC Campus Grand Parc, it facilitates connections between the Institut Gustave Roussy hospital, surrounding residential developments, and public spaces. Integrated commercial spaces and services on the first two levels reinforce its function as a social and economic hub, extending its influence beyond transportation. By linking Line 15 South with the extended Line 14, the station supports intermodal connectivity, enabling smoother transitions between metro, RER, tramway, and bus networks. Dominique Perrault Architecture studio‘s architectural approach aims to create a user-friendly and inclusive space that enhances accessibility and urban interaction.

Energy efficiency and sustainability are central to the station’s design. The use of natural underground resources regulates internal temperatures, reducing the need for artificial heating and cooling. A strategic ventilation system eliminates the need for smoke extraction, further improving energy efficiency. Material selection supports the station’s long-term resilience, with robust, low-maintenance components ensuring durability. The integration of reflective and perforated surfaces optimizes light distribution, enhancing user comfort while reducing reliance on artificial lighting.

image by Michel Denancé, courtesy of Dominique Perrault Architecte

Dominique Perrault incorporates public art into the station

The station also serves as a cultural landmark, incorporating public art to enrich the commuter experience. As part of the Grand Paris Express’ broader artistic initiative, Chilean artist Iván Navarro’s installation, Cadran Solaire, introduces a starry sky of neon lights and mirrors, creating an immersive visual environment.

As one of the 68 stations in the Grand Paris Express network, Villejuif-Gustave Roussy exemplifies the integration of architecture, infrastructure, and urban planning. Through its functional design, territorial impact, and sustainable approach, it sets a precedent for future transit-oriented developments, reinforcing the transformation of Greater Paris into a more connected and dynamic metropolis.

image by Michel Denancé, courtesy of Dominique Perrault Architecte

image by Michel Denancé, courtesy of Dominique Perrault Architecte

image by Michel Denancé, courtesy of Dominique Perrault Architecte

image courtesy of Dominique Perrault Architecte

image courtesy of Dominique Perrault Architecte

image by Arthur Jan, courtesy of Dominique Perrault Architecte

image by Michel Denancé, courtesy of Dominique Perrault Architecte

project info:

name: Villejuif-Gustave Roussy metro station – Grand Paris Express

architect: Dominique Perrault Architecture | @dominiqueperrault

location: Paris, France

client: Société des grands projets (SGP)

engineering project management: SETEC

AMO: Artemis (groupement Artelia + Arcadis + BG)

project management: Dominique Perrault Architect

engineering: SETEC TPI (civil engineering), SETEC bâtiment (construction engineering), Ingérop (coordination, interfaces), TESS (special structure, façades, roofing ETFE), AXIO (economist), Jean-Paul Lamoureux (acoustics and photometrics), Denis Thélot (fire safety and accessibility)

entreprises: Groupement CAP (Vinci construction, Spie Batignolles), Systra, Artelia, Bouygues bâtiment IDF, AXIMA, INEO

site surface area: 7,500 sqm

project surface area: 15,364 sqm

built volume: 203,771 cbm

well diameter: 70 m

depth of moulded walls: 42 m

depth of line 15 South platforms: 49 m

depth of line 14 South platforms: 37 m

number of escalators: 32

studies begin: 2013

works begin: April 2017

completion: December 2024

The post dominique perrault completes sunlit villejuif-gustave roussy metro station in paris appeared first on designboom | architecture & design magazine.

Ginga Architects, led by Koji Takeda, completes a 3.3-square-meter bus stop in the rural landscape of Ninomiya City, Tomiya, Miyagi Prefecture. Inspired by the architecture of traditional Japanese tea houses, the project reimagines a space for the local community, particularly children, who use it daily to commute to and from school.

The facade of the structure is shaped like an open fan facing the street, featuring glass fittings and carefully angled woodwork that allows clear visibility of the interior. Inside, a U-shaped bench creates an ergonomic seating arrangement. The front of this bench is tall enough for adults to comfortably stand against, while its back section is positioned for seated users, offering just enough clearance for the head when leaning back.

images courtesy of Ginga Architects

replacing an uninviting shed with a children-friendly structure

With this bus stop, the Japanese team of Ginga Architects replaced an aging 5-square-meter shed, which had a dark and uninviting atmosphere. Many children were hesitant to use the previous structure, prompting a local carpenter to develop a small, handcrafted, functional, and inviting alternative. By retaining the existing foundation, the design optimizes the two-tatami mat footprint, splitting it into two distinct zones: a covered interior space occupying two-thirds of the area, and a semi-exterior space protected by deep eaves. This arrangement allows users to stay dry while waiting for the bus, even if they prefer to remain outside.

a 3.3-square-meter bus stop in the rural landscape of Ninomiya City

Handcrafted details and a training ground for carpenters

One of the standout features of the bus stop is its handcrafted construction, which incorporates traditional carpentry techniques. Unlike prefabricated or machine-cut woodwork, the intricate diagonal axis and rafter details were meticulously chiseled by hand. Ginga Architects’ approach ensures a high level of craftsmanship but also acts as a valuable training exercise for young local carpenters, who honed their skills in handcarving during the project. The rafters, which converge at the base of the fan-shaped facade, were individually crafted, adding a tactile, human element to the small structure.

inspired by the architecture of traditional Japanese tea houses

the project reimagines a space for the local community

the facade of the structure is shaped like an open fan facing the street

featuring glass fittings and carefully angled woodwork

many children were hesitant to use the previous structure

a U-shaped bench creates an ergonomic seating arrangement

this bus stop replaces an aging 5-square-meter shed

project info:

name: Tomiya Ninoseki bus stop
architect: Ginga Architects – Koji Takeda | @takeda_k07
location: Ninomiya City, Tomiya, Miyagi Prefecture, Japan
area: 4.9 square meters

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

edited by: thomai tsimpou | designboom

The post fan-shaped bus stop by ginga architects welcomes schoolchildren in rural japan appeared first on designboom | architecture & design magazine.