In a lively corner of Psyrri, one of Athens’ most characterful and fast-changing neighborhoods, 314 Architecture Studio introduces EteroLukumas, a compact dessert shop that feels more like a sculptural installation than a typical storefront. Just 20 square meters in size, the space serves Greek donuts, known as ‘loukoumades’ and ice cream behind a facade lined with ceramic tiles.

images courtesy of 314 Architecture Studio

EteroLukumas channels mid-century athenian homes

The shop sits in a spot that’s tucked away and highly visible at the same time. Rather than competing with the noise and texture of the area, a mix of small shops, bars, workshops, and pedestrian routes, the Athens-based architects introduce soft, curved forms that feel calming. Materials were chosen with care and memory in mind. The ceramic tiles, for example, echo those found in many Athenian homes from the 1950s and ’60s. That nod to the past is intentional, a way of quietly honoring the city’s built heritage, especially the handmade details that are becoming rarer in new construction.

314 Architecture Studio draws loosely from the flowing lines of Art Nouveau as a starting point for shaping the space. Inside, there are no hard corners or partitions, with a central column blending into the ceiling and walls, creating a fluid surface that feels carved. From the street, EteroLukumas‘ openings are shaped in such a way that they invite people in without fully revealing the interior.

This small project puts emphasis on mood, texture, and atmosphere over big gestures, offering a soft counterpoint to the city’s usual intensity.

314 Architecture Studio introduces EteroLukumas

a compact dessert shop that feels more like a sculptural installation than a typical storefront

just 20 square meters in size, the space serves Greek donuts

314 Architecture Studio draws loosely from the flowing lines of Art Nouveau

materials were chosen with care and memory in mind

a central column blending into the ceiling and walls

project info:

name: EteroLukumas

architects: 314 Architecture Studio | @314architecturestudio

location: Athens, Greece

The post tiny dessert shop by 314 architecture studio brings flowing forms to central athens appeared first on designboom | architecture & design magazine.

A series of colorful solar facades and photovoltaic murals give the SunRise tower in Alberta, Canada, renewable energy. Once an aging, 12-story residential building, the retrofit by Mitrex with murals by indigenous artist Lance Cardinal can help reduce carbon emissions by using the building-integrated photovoltaics. These are solar panels that don’t look like the regular ones with a bluish tint. Instead, they resemble tiles or panels, with the energy-absorbing technology hiding underneath them. 

The building-integrated solar facades and photovoltaic murals in Alberta, Canada, work as the sunlight hits the surface of the panels. During the retrofit, the company made sure that the system was large enough to meet the energy goals of the project, so they improved the original plan, which was only for a 60 kW system, and increased it to 267 kW. That big jump can help the building exceed the 50 percent carbon reduction target.

all images courtesy of Mitrex

solar facades and photovoltaic murals in alberta, canada

The colorful solar facades and photovoltaic murals outside of the SunRise tower in Alberta, Canada, double as street art. The building-integrated panels come in a mosaic of granite tones and bright orange, yellow, blue, and purple accents. The murals are found on the northern wall of the building, standing tall at 85 feet, by the Edmonton-based Indigenous artist Lance Cardinal. These photovoltaic murals next to the solar facades in Alberta, Canada, are a tribute to First Nations and Chinese cultures, which are part of the history of the area. It is dubbed the world’s largest BIPV mural, and at the time of publishing, it is being officially recognized by the Guinness Book of World Records. The system is not painted but built directly into the solar panel system. 

Mitrex and the building team, including the architect MBC Group and the contractor Chandos Development, worked carefully to make sure the project would be realized. Before the renovation, the energy company studied the aging building’s needs, created energy models, tested panel colors, and planned a rainscreen system to keep the building safe from different weather conditions. In the end, Mitrex’s solar facades and photovoltaic murals were installed on all four sides of the building in Alberta, Canada (the murals being on the northern wall). The total system is 267 kilowatts, enough to create around 180,000 kilowatt-hours (kWh) of energy per year, and it is equal to the amount of power used by 23 homes in one year.

these solar facades and murals in Canada resemble tiles or panels with the energy-absorbing technology

they cover the four sides of the building

construction view of the solar facades and murals of SunRise tower in Canada

the retrofit by Mitrex with murals by indigenous artist Lance Cardinal can help reduce carbon emissions

view of the the retrofit by Mitrex with murals by indigenous artist Lance Cardinal

project info:

name: SunRise Retrofit

company: Mitrex | @mitrex_solar

artist: Lance Cardinal | @lancecardinal75

architect: MBC Group

contractor: Chandos Development | @chandosltd

location: Edmonton, Alberta, Canada 

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In Xiamen, China, OMA completes a new headquarters for JOMOO, the country’s largest sanitaryware manufacturer. Marking the transition of the company from national supplier to global brand, the project redefines the conventional office typology through a sculptural volume that bridges city and nature. On one side, dense high-rises of the emerging central business district press in, while on the other, forested hills rise above the coast. Responding to these contrasts, OMA’s design combines a multi-functional base with a 230-meter tower, anchoring JOMOO’s identity. White vertical ceramic stripes compose the facade, a detail that references both the company’s industrial roots in ceramics and traditional window patterns found in Fujian’s vernacular houses. These stripes shift orientation across the surface of the building, creating a pattern that gives the headquarters a distinct presence. 

Led by OMA partner Chris van Duijn, with project architects Chen Lu and Lingxiao Zhang, the building is the firm’s first realized high-rise in China, a precursor to several ongoing commissions in Hangzhou, Shenzhen, and beyond. ‘Located in rapidly growing cities,’ van Duijn notes, ‘these projects explore new connections to their immediate urban context, reinterpreting the prevailing tower typology that has shaped much of China’s recent urban expansion.’

images courtesy of OMA

rocky topography inspires the irregular form of the tower

The OMA-designed structure houses JOMOO’s offices and showroom, along with public-facing spaces like a lobby, multipurpose hall, and recruitment and conference rooms. The design team embeds all these areas within a monolithic base volume, whose irregular form draws from the rocky topography of the surrounding landscape. This base anchors the campus in its natural setting, while establishing a civic presence along the urban front.

The system of the facade eliminates the need for interior columns, allowing flexible and open floor plans throughout the tower, an architectural choice aligned with JOMOO’s modular, future-oriented production ethos. The project is the result of a close collaboration between OMA and local architect Huayi Design, which also handled structural and mechanical engineering. 

OMA completes a new headquarters for JOMOO

the project redefines the conventional office typology through a bold sculptural volume

OMA’s design combines a multi-functional base with a 230-meter tower

vertical ceramic stripes compose the facade

the detail references the material expertise of the company and traditional window patterns

these stripes shift orientation across the surface of the building

the OMA-designed structure houses JOMOO’s offices and showroom

project info:

name: JOMOO Headquarters

architect: OMA | @omanewyork

location: Xiamen, China

client: JOMOO | @jomoointer

partner-in-charge: Chris van Duijn

project architects: Chen Lu, Lingxiao Zhang

design team: Mark Bavoso, Slava Savova, Sebastian Schulte, Ricky Suen, Gabriele Ubareviciute, Yue Wu, Adisak Yavilas, Pu Hsien Chan, Alan Lau, Cecilia Lei, Kevin Mak, Connor Sullivan

local architect: Huayi Design

structural & mechanical engineering: Huayi Design

facade consultant: VS-A

photographer: Xia Zhi, Chen Hao

The post OMA completes JOMOO headquarters in china with sculptural white-striped tower appeared first on designboom | architecture & design magazine.

Located on a corner lot in the Moema neighborhood of São Paulo, Ibaté by Studio Arthur Casas unfolds as a monolith of exposed concrete softened by vertical landscaping and human-centric design. With just one spacious unit per floor, the 21,000 square-meter residential building offers privacy and openness in equal measure, integrating cross-ventilation, solar orientation, and generous terraces.

Studio Arthur Casas chooses to leave the concrete frame of the tower fully exposed. The facades are made of ribbed, warm-toned concrete that isn’t clad or painted, allowing the raw material to speak for itself. Built into the grid are vertical planters, which soften the strong, sculptural presence but also help regulate temperature and connect the building more closely with its tropical surroundings. 

all images by Fran Parente

ibaré opens up to the street with public-facing design

Each 450-square-meter apartment in Ibaté spans an entire floor and is accessed via dual elevator cores. The São Paulo- and New York-based architects at Studio Arthur Casas clearly divide public, private, and service areas while maintaining fluid transitions between them. Perimeter terraces wrap around each unit, acting as outdoor extensions of the living spaces. Their design is subtly modulated with staggered planters that shift floor by floor, breaking visual monotony, with large glass openings and brass-finished aluminum guardrails completing the envelope.

The interface between the building and the street departs from São Paulo’s typical urban defensiveness. At ground level, Ibaté resists heavy gates or walls, offering instead a glazed enclosure that works as a threshold to the city. This open, landscaped plaza connects with the sidewalk and includes furniture, a steel sculpture by Túlio Pinto, and communal areas such as the pool and elevator lobby. 

a monolith of exposed concrete softened by vertical landscaping

wood, glass, and metal finishes complete the interiors

Studio Arthur Casas balances Ibaté’s raw concrete with the warmth of wood, glass, and brushed metal finishes. Technical components are concealed behind wooden panels that maintain visual clarity, while curated furniture by Brazilian designers, including Jorge Zalszupin, Guilherme Wentz, and Arthur Casas himself, brings heritage and contemporaneity into conversation. 

Sustainability is integrated into the building from the start with solar panels heating the pool, a graywater system allowing for water reuse, and EV charging points built in. Cross-ventilation and dense greenery help reduce the need for air conditioning, improving energy efficiency while keeping the spaces comfortable.

the 21,000 square-meter residential building offers privacy and openness in equal measure

integrating cross-ventilation, solar orientation, and generous terraces

Studio Arthur Casas chooses to leave the concrete frame fully exposed

the facades are made of ribbed, warm-toned concrete

the raw material speaks for itself

at ground level, Ibaté resists heavy gates or walls

each 450-square-meter apartment in Ibaté spans an entire floor

Studio Arthur Casas clearly divides public, private, and service areas

raw concrete balances with the warmth of wood, glass, and brushed metal finishes

vertical planters are built into the grid

a glazed enclosure that works as a threshold to the city

project info:

name: Ibaté

architect: Studio Arthur Casas | @studio.arthurcasas

location: Moema, São Paulo, Brazil

built area: 21,082.02 square meters

land area: 2,162 sqm

co-arch: Gabriel Ranieri

landscaping: Arterra

developer: Cáucaso

project management – architecture: Cadu Vilela

project management – interiors: Mariana Santoro

project management – decoration: Fabiola Andrade

decoration coordinator: Paulina Tabet

acoustics: Harmoni

structure: Roberto Leme

concrete: Gabriel Regino

foundations: MG&A

frames (windows/glazing): Crescêncio

partitions/walls: Paula Vianna

waterproofing: Proasp

lighting design: Ilumination

visual communication: Nitsche

carpentry: Inovart

window frames & guardrails: Luxalum

lighting fixtures: Elight, Lumini, LD Arti, Luxsim

furniture & objects: +55design, By Kamy, Studio Objeto, Lattoog, Boobam, Vallvé, Srta Galante, Wentz, L’oeil, Pair Store, Herança Cultural, Etel, Micasa, Jorge Zalszupin

visual communication: F Teo Design

collaborators: Adriano Bergemann, Marcelo Beretta, Luciano Sessa, Rodrigo Carvalho, Beto Cabariti, Reginaldo Machado, Yuri Chamon, Beatriz Costa, Renan Prandini, Vinicius Bazan, Alessandra Mattar, Giuliana Maia, Luisa Mader, Raul Valadão, Marcelo Melo, Marcela Du Plessis, Rafael Palombo, Camilla Dall’Oca, Paulina Tabet, Marcella França, Virginia Fornari, Leonardo Navarro, Amanda Tamburus, Conrado Almeida, Natalia Lorenzoni

photographer: Fran Parente | @franparente

The post studio arthur casas wraps ribbed concrete tower with vertical gardens in são paulo appeared first on designboom | architecture & design magazine.

C+A – Coelacanth and Associates renovates KUBO-BLDG, a small four-story tenant building in downtown Nagoya, Japan. The architects’ team gives the building a new identity, more than fifty years after it was first built, with a seismic upgrade using asymmetric oval-shaped structural elements and a new concrete column-beam frame. The project transforms the aging structure into something that is at once safer, more expressive, and in tune with its urban context.

Instead of hiding the building’s new structural components, C+A chooses to highlight them by embedding oval-shaped seismic elements on the facade. These large, asymmetrical ‘icons’ visibly wrap around a triangular bracing system and frame, reinforcing the building while helping it stand out in the dense, often chaotic streetscape. The ovals are carefully arranged to strengthen the structure while still allowing generous openings throughout the facade.

all images by ToLoLo studio

Asymmetric Oval-Shaped Elements define KUBO-BLDG facade

Japanese architecture firm C+A – Coelacanth and Associates reimagines the facade of KUBO-BLDG with function in mind. The new structure creates space for balconies on each floor, semi-outdoor zones that encourage natural ventilation, and support airflow throughout the building. These additions speak directly to lessons learned from the pandemic, offering better air quality and a stronger connection to the outside. The balconies also animate the street, adding a more social and open layer to the building’s edge.

Inside, the renovation refreshes the common areas and upgrades outdated systems, while in the tenant spaces, the architects keep things intentionally raw. They preserve as much of the existing structure as possible, exposing utility lines and simplifying the layout so that future tenants can shape their spaces as needed. 

With a total floor area of just over 350 square meters, C+A’s retrofit shows how seismic safety can also drive creativity, turning technical requirements into forms of expression.

C+A – Coelacanth and Associates renovates KUBO-BLDG

C+A choose to highlight the structural elements of the building

these large, asymmetrical ‘icons’ visibly wrap around a triangular bracing system

reinforcing the building while helping it stand out

C+A – Coelacanth and Associates reimagines the facade of KUBO-BLDG with function in mind

these additions speak directly to lessons learned from the pandemic

C+A’s retrofit shows how seismic safety can also drive creativity

the renovation refreshes the common areas and upgrades outdated systems

they preserve as much of the existing structure as possible

exposing utility lines and simplifying the layout

the architects’ team gives the 50-year-old building a new identity

the upgrade inncludes asymmetric oval-shaped elements and a new concrete column-beam frame

project info:

name: KUBO-BLDG

architect: C+A – Coelacanth and Associates | @coelacanth_and_associates

location: Nagoya City, Aichi Prefecture, Japan

site area: 108.66 square meters

building area: 98.82 square meters

total floor area: 353.17 square meters

project team: Susumu Uno, Yasuharu Rachi

photographer: ToLoLo studio | @tololostudio

The post sculptural ovals shape seismic retrofit of 50-year-old building in japan by C+A appeared first on designboom | architecture & design magazine.

MORF designs the Colombia Pavilion for Expo 2025 Osaka as a temporary national exhibition space that combines narrative-driven design with modular, sustainable construction. The design draws conceptual inspiration from the opening lines of One Hundred Years of Solitude by Gabriel García Márquez. Referencing the moment a young boy encounters ice for the first time, the design interprets this narrative through an architectural motif titled ‘ICE CUBE.’

The pavilion’s facade is composed of numerous translucent cubes, oriented in varying directions to create a sense of motion and texture. These cubes are constructed from semi-transparent polycarbonate panels and equipped with programmable lighting. This feature enables the facade to shift in appearance over the course of the day and night, serving as both a visual marker and a platform for presenting Colombian culture within the Expo context.

all images by Forward Stroke Inc., Koji Okumura, Susumu Matsui

adaptive design and visual storytelling define Colombia Pavilion

MORF’s design team organizes the structure around a prefabricated light steel frame system, selected to accommodate the short construction timeline and environmental considerations typical of Expo buildings. The frame sits on a floating foundation system, allowing construction to adapt to the site’s soil limitations. Excavated portions of this foundation are utilized to create a mezzanine level for back-of-house operations, optimizing the spatial configuration within the pavilion’s limited footprint.

Visitors enter through a central hall that includes a Colombian coffee bar, highlighting a key cultural product. The open and adaptable interior space supports various exhibition layouts, ensuring flexibility throughout the event duration. The exhibition narrative presents Colombia as ‘the Country of Beauty’ through the conceptual lens of Magical Realism. The Yellow Butterfly, drawn from García Márquez’s novel as a symbolic bridge between reality and imagination, acts as a guiding motif throughout the pavilion’s immersive environments. In addition to its role during Expo 2025, the pavilion has been designed with a post-event lifecycle in mind. Its modular steel structure allows for easy disassembly and reconstruction in a new context. Discussions are currently underway regarding its future use after the Expo concludes.

translucent cubes form the dynamic facade of the Colombia Pavilion

the ‘ice cube’ concept organizes the pavilion’s outer skin into shifting geometries

polycarbonate panels allow light to transform the building throughout the day

a prefabricated steel frame system supports fast, efficient construction

programmable lighting animates the facade with subtle color transitions

a layered facade conveys movement and complexity in form

the structure’s light steel components can be reused after the Expo

the pavilion demonstrates how storytelling informs architectural form

sustainable materials and modular planning shape the pavilion’s life cycle

project info:

name: Colombia Pavilion Osaka Expo 2025

architect: MORF Inc. | @a.morf.jp

location: Osaka, Japan

client: ProColombia

site area: 875,89 sqm

footprint area: 513,42 sqm

total floor area: 584,44 sqm

project director: Karim Chahal

principal architect: Ko Oono

lead architect: Masaki Suzuki

project architects: Won Sungmin, Gen Kurokawa

assistant project manager: Maki Nomura

associate architect: AA-DC

project architect: Nicole Del Santo

structural design: Ando Imagineering Group (AIG)

lead structural designer: Kosaku Ando

structural designer: Toshiki Tanabe

general contractor: Sakane Sangyou Inc.

construction manager: Tsunehiko Muroi

modular structure contractor: NS Hi-Parts

representative director: Atsushi Morioki

landscape design & construction: 1moku Landscape Design & Research

lead landscape architect: Hirofumi Suga

exhibition design & construction: Sigongtech

general managers: Junseok Kang, Karen Ko

lead designer: Hansol Lee

senior designers: Hanna Lee, Sohee Jang

photographer: Forward Stroke Inc., Koji Okumura, Susumu Matsui

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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Following his groundbreaking Bosco Verticale in Milan and the social housing version in Eindhoven, Stefano Boeri Architetti‘s Wonderwoods Vertical Forest blossoms in Utrecht (find designboom’s previous coverage here), the tallest of its kind in the Netherlands. Rising 104 meters above the Beurskwartier district, the green tower is described by the studio as a ‘building/city’ and a complex ecosystem. The project continues Boeri’s decade-long pursuit of architecture that nurtures biodiversity, public life, and environmental responsibility.

Located near Utrecht’s central station, Wonderwoods is part of a two-tower development designed in collaboration with MVSA Architects. Stefano Boeri Architetti’s Vertical Forest tower is an evolving habitat made of 360 trees and 50,000 plants across its terraces and balconies. ‘Our Vertical Forest in Utrecht is a fundamental stage in the research we are carrying out all over the world,’ says Boeri. ‘The building hosts a combination of considerable vegetal biodiversity and a wide range of functions, including exhibitions, commercial, tertiary, and residential uses, as well as hospitality options. It will be a real building/city as well as a rich and complex ecosystem.’

all images by Lorenzo Masotto, unless stated otherwise

Wonderwoods is a living tower that breathes

True to its name, Stefano Boeri’s Vertical Forest building actively supports non-human life. The Milan-, Shanghai- and Tirana-based architecture studio punctuates the facades with circular openings that are used as nesting spaces for native bird species. The selection of 30 local plant species changes the appearance of the facades over the course of the year. This living skin responds to light, temperature, and plant growth, making the tower an expressive participant in the urban environment rather than a static object.

Constructed using a novel prefabrication system for both balconies and facades, the tower marks a first for this typology. It rotates along its vertical axis in four superimposed ‘orders’, aligning with sunlight and views rather than the rigid street grid of Croeselaan. This gesture enables a physical connection at the seventh floor with the neighboring MVSA building, where a green pedestrian bridge hosts restaurants and panoramic views. Below, a water management system reclaims and filters rainwater for sustainable reuse.

Stefano Boeri Architetti’s Wonderwoods Vertical Forest blossoms in Utrecht | image ©Milan Hofmans

part of a broader architectural vision

The building’s ground floor and basement host public spaces and ample bicycle parking, while its upper levels combine offices, fitness areas, and a network of duplex apartments that double as residential ateliers. Designed as a fully pedestrian zone, the surrounding area integrates sustainable systems such as a subterranean reservoir that captures, reclaims, and manages rainwater. Following the Trudo Vertical Forest social housing project in Eindhoven, Wonderwoods becomes the first of Boeri’s green towers in the Netherlands to include public-facing amenities, advancing his vision for accessible, ecologically engaged architecture as part of the city’s everyday life.

Inside, more than apartments, many of them duplexes, are designed for diverse occupants, with generous outdoor spaces and smart greenery management systems that monitor irrigation and schedule pruning. The lower floors accommodate public amenities, including bicycle parking, fitness areas, and commercial spaces, reinforcing the building’s role as a vertical neighborhood.

The Wonderwoods Vertical Forest, in line with Stefano Boeri Architetti’s broader architectural vision, represents a new way of thinking about how cities and nature can coexist. By winning the MIPIM Award, the project has been recognized for its forward-thinking approach to sustainable urban living. A decade after Milan’s Bosco Verticale showed the world that greenery can be an integral part of high-rise architecture, Wonderwoods carries that idea forward. 

rising 104 meters above the Beurskwartier district | image ©Milan Hofmans

a green pedestrian bridge hosts restaurants and panoramic views

the green tower is described by the studio as a ‘building/city’ | image ©Milan Hofmans

an evolving habitat made of 360 trees and 50,000 plants | image ©Milan Hofmans

30 local plant species change the appearance of the facades | image ©Milan Hofmans

lush terraces and balconies | image ©Milan Hofmans

Wonderwoods is part of a two-tower development

this living skin responds to light, temperature, and plant growth

an expressive participant in the urban environment

Wonderwoods becomes the first of Boeri’s green towers in the Netherlands to include public-facing amenities

project info:

name: Wonderwoods Vertical Forest

architect: Stefano Boeri Architetti | @stefanoboeriarchitetti

location: Utrecht, the Netherlands

height: 104 meters

partner + project director: Francesca Cesa Bianchi

developer: G&S& | @gensamsterdam

local architect: INBO | @inboarchitects

collaborating tower design: MVSA Architects | @mvsa_architects

landscape design (facades): Laura Gatti | @studiolauragatti

landscape design (roofs): ARCADIS Landschapsarchitectuur

structural engineering: Van Rossum

general contractor: Boele & van Eesteren

landscape contractor: Koninklijke Ginkel Groep

The post stefano boeri’s vertical forest blooms in utrecht with 50,000 plant facade appeared first on designboom | architecture & design magazine.

Casa Batlló, one of Antoni Gaudí’s most emblematic residential works, has been undergoing an ambitious process of restoration over the past year, led by architect Xavier Villanueva. The project, now set to open to the public on June 19th, focuses on returning the vivid intricacy of the building’s rear facade, private courtyard, and garden to their original condition as first designed in 1906. This period marked Gaudí’s mature phase within the Catalan modernisme movement in which he began synthesizing structural experimentation, ornamental craft, and spatial poetry into unified architectural compositions.

Over the years, the iconic dragon-scaled elevation has continued to draw crowds as it animates the Passeig de Gràcia in Barcelona, while also becoming a platform for key cultural initiatives, from Sofia Crespo’s projection-mapped facade to Kengo Kuma’s shimmering staircase and Refik Anadol’s digital interventions. While that elevation has evolved into an icon of modern Barcelona, the lesser-seen rear facade remained largely hidden from view as its character gradually faded with time and became obscured by later additions over the past century. Now, as Casa Batlló marks 20 years as a UNESCO World Heritage Site, the concealed domestic spaces are set to reemerge with the clarity and vibrancy Gaudí intended.

Restoration teams uncovered the original hues of the stucco, ironwork, and carpentry hidden beneath layers of pale repainting, while discovering previously unseen spatial and structural features such as a spiral-shaped vaulted support system of brick and iron beneath the balconies. Mosaic patterns, parabolic pergolas, handcrafted planters, and original Nolla tilework were also reassembled with the help of skilled artisans, bringing back texture, rhythm, and intention. ‘When we discovered the original colors, we couldn’t believe it, The facade as it stands is now like the photographic negative of the original by Gaudi,’ says Villanueva. ‘The discoveries we made relate in shapes, colors, and materials to the rest of Casa Batlló.’

pergola after restoration | image © Claudia Mauriño

hidden Color, craftsmanship, & structure return to Casa Batlló

Casa Batlló was designed as a private garden space for the Batlló family, and its courtyard was conceived as a place of retreat from the city’s bustle, amid tiled paths, parabolic pergolas, and handmade planters. This restoration is the first full intervention on the courtyard and back facade since its completion, recovering lost elements while reinterpreting them through an exacting study of archival drawings and photographs, stratigraphic testing, and material research.

The interventions seem to foster a dialogue between the building’s past and present through a particular focus on materiality. Over 85,000 pieces of Nolla mosaic, originally laid at the start of the nineteenth century in the courtyard, have been restored or replicated by hand, using enhanced materials to ensure durability outdoors. The trencadís mosaics, Antoni Gaudí’s signature patchwork of ceramics and glass, were largely preserved in situ where possible, or carefully reproduced using 3D scans and high-resolution archival imagery, keeping their original patterns intact.

facade after restoration | image © Claudia Mauriño

Ironwork, including railings and pergola structures, has been restored by Enric Pla Montferrer’s workshop in Alpens. Where previous repairs had introduced welds, the team reinstated Gaudí’s original bolted modular system that was discovered thanks to original construction markings found on site. During the restoration, the team found that even the hidden structure supporting the balconies revealed surprises, such as a spiraling system of brick and reinforced vaults, radical for its time, and undocumented until this recent intervention.

Wooden elements, from the original muntins to balcony doors, were restored or recreated by heritage carpenter Josep Bartolí. Crucially, the original hues — long buried under decades of repainting — were uncovered through stratigraphic analysis, revealing a palette that echoes the green tones of Casa Batlló’s main facade. The stucco too revealed a dramatic shift from a bold black that had faded to a warm cream, reshaping how the entire rear facade is perceived in contrast to the theatrical flourish the building is otherwise celebrated for.

courtyard after restoration | image © Claudia Mauriño

the landmark celebrates 20 years as UNESCO heritage site

For the restoration team, the project forms part of a broader five-year initiative to reframe Casa Batlló as a living cultural space. Now marking its 20th anniversary as a UNESCO World Heritage Site, the building is celebrated as an architectural landmark — a pivotal work within Gaudí’s built legacy — as well as an evolving site of public engagement. This approach stretches the impact of conservation beyond historical fidelity, and considers it in the context of public access, education, and craft.

To realize this vision, the team brought together a multidisciplinary group of artisans including ceramicists, carpenters, ironworkers, and glaziers, who worked collaboratively to recover Gaudí’s original materials and techniques. Their work is being documented and shared through a short film and accompanying on-site exhibitions, allowing visitors to understand the process and labor behind the final restoration. These efforts speak to a broader goal to make the house more accessible and legible, inviting the public into Gaudí’s world by illuminating the layers of experimentation, technique, and creative labor that continue to define it more than a century on.

ironwork after restoration | image © Pere Vives

trencadís after restoration | image © Casa Batlló

mosaic restoration process | image © Casa Batlló

mosaic restoration process | image © Casa Batlló

trencadís restoration process | image © Casa Batlló

ironwork restoration process | image © Óscar Rodbag

trencadís restoration process | image © Casa Batlló

project info:

name: Casa Batlló restoration | @casabatllo

location: Barcelona, Spain

lead restoration architect: Xavier Villanueva

The post mosaics, ironwork, and pergolas of gaudí’s casa batlló in barcelona restored after a century appeared first on designboom | architecture & design magazine.

Elmaghraby Design House, in collaboration with Professor Dr. Gamal El-Kholy, takes over the rehabilitation of a disused lecture hall at Ain Shams University in Cairo, Egypt. The project has resulted in a significant addition to the campus, a multi-functional theater that introduces a new architectural identity through adaptive reuse. The architecture demonstrates a sustainable approach by reactivating an existing structure rather than initiating new construction, aligning with broader goals of resource efficiency and architectural preservation.

At the center of the design concept is the metaphor of the theater curtain, which informs both the programmatic transition and the architectural expression. The new facade, composed of a transparent glass curtain wall system and a series of parametric aluminum louvers, embodies this idea. The louvers, configured to respond dynamically to light and perspective, modulate transparency and shadow, giving the building a variable presence depending on time and viewpoint. This facade system also provides environmental performance by offering solar shading while maintaining visual openness. The glass curtain wall establishes visual continuity with the campus environment, reflecting adjacent structures and reinforcing contextual integration. Simultaneously, the parametric aluminum elements introduce a contemporary architectural language that distinguishes the theater from its more conventional surroundings.

contextual view blending new and existing elements | all images courtesy of Elmaghraby Design House

Ain Shams University Theater stands as the campus landmark

Internally, Elmaghraby Design House’s architectural team reorganizes the program to support dual academic and cultural functions. A fully equipped theater with a 550-seat capacity has been introduced, designed to accommodate a wide range of performances and events. In addition, two-tiered lecture halls, with a combined capacity of 1,200 students, extend the building’s usability for educational purposes. This hybrid configuration enables the structure to serve as both a learning environment and a cultural venue, fostering interdisciplinary interaction and community engagement.

By retaining the original structure and reimagining its function, the project minimizes material waste and conserves embedded energy. The intervention reinforces the role of architecture in evolving institutional identity, where form, function, and context are reassessed to meet contemporary needs. The Ain Shams University Theater now stands as a campus landmark, articulating a renewed commitment to cultural expression, academic versatility, and sustainable transformation through architectural design.

revitalized landscape creating vibrant campus edges

main entrance framed by dynamic aluminum fins

louver detail contrasting with soft landscape elements

the facade design draws from the metaphor of a theater curtain

vertical louvers animate the facade with movement

glass reflects the surrounding buildings, bridging old and new

close-up of louvers revealing layered depth and texture

aluminum louvers modulate shadow and light based on orientation and time of day

detail of parametric louvers casting rhythmic shadows

elevation reflecting the new architectural identity

at night, the facade opens like a stage curtain

project info:

name: Ain Shams University Theater Rehabilitation
architects: Elmaghraby Design House | @designed.by.elmaghraby

lead architect: Ahmed El-Maghraby

collaborator: Prof. Dr. Gamal El-Kholy

client: Ain Shams Government
location: Cairo, Egypt

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 undulating aluminum curtain facade drapes over ain shams university theater in egypt appeared first on designboom | architecture & design magazine.

On the outskirts of Gradačac, a town in northern Bosnia and Herzegovina, The House for Five Women, a vibrant residence by architecture studio TEN, rises from the countryside to defy conventional housing models through an architecture of care, resilience, and collective authorship.

Designed in collaboration with local activist Hazima Smajlović, NGO Naš Izvor, Engineers Without Borders, and the Gradačac municipality, the project provides a permanent home for five single women who have survived war, displacement, and systemic neglect. Positioned between privacy and solidarity, the house proposes a new paradigm for cohabitation with five individual living units clustered around communal spaces for gathering, working, and growing food.

Artist Shirana Shahbazi shaped the striking facade of the building, composing a vibrant arrangement of large, colored aluminum panels in shades of pink, red, green, and deep blue. Though seemingly spontaneous, the composition is carefully calibrated, with each panel being custom-made in a local car painter’s workshop. Their rippled, high-gloss surfaces catch and distort reflections, transforming the shell into a shifting, almost liquid canvas that responds to light, weather, and movement.

all images by Maxime Delvaux, Adrien de Hemptinne

Shirana Shahbazi composes colorful aluminum facade

Rather than imposing an external vision, the project, developed by Zurich-based collective TEN, emerged through years of on-site dialogue and intergenerational exchange. Each design decision, down to the textures of the floors and the species of trees planted, was made in close collaboration with local tradespeople, volunteers, and craftspeople, embedding the house deeply into both its physical and social context. Working in parallel with TEN, landscape architect Daniel Ganz orchestrated the integration of the site with the topography, planting trees sourced from the area and designing a garden meant not only for food production but also as a space of care, ritual, and shared activity.

One of the most striking elements of The House for Five Women is its facade, a lively surface orchestrated by Iranian photographer Shirana Shahbazi using vibrant color compositions and material contrasts. Shahbazi’s interventions turn the building into a living tapestry, changing with the light, the seasons, and the daily rhythms of its inhabitants. This visual dynamism signals the presence of life, creativity, and shared purpose in a landscape marked by both beauty and historical trauma.

The House for Five Women, a vibrant residence by architecture studio TEN

collaborating with local workers for solidarity design

Beneath this expressive crown, the ground level contrasts with radical clarity. A continuous band of vertically aligned glass doors and fixed windows runs the length of the elevation, framed by raw concrete volumes at either end. This transparency anchors the building to the ground and opens the communal interior to the outside world.

The process of building the house, as much as the final structure, reflects TEN’s ethos. The team approaches design as a relational practice. Collaborations with local metalworkers, car painters, and carpet repairers brought knowledge and resources together across social and cultural divides. In doing so, the project acts as a micro-institute where design, art, and social work converge to imagine new infrastructures of care. TEN sees this as a prototype for what design can become when it abandons spectacle in favor of solidarity.

The House for Five Women builds a foundation for dignity, autonomy, and interconnected living. In a region where the aftermath of war still shapes daily life, the project reclaims the built environment as a site of healing. 

a vibrant arrangement of large, colored aluminum panels fronts the building

the composition is carefully calibrated, with each panel being custom-made in a local car painter’s workshop

each design decision was made in close collaboration with local tradespeople, volunteers, and craftspeople

the project emerged through years of on-site dialogue and intergenerational exchange

the project provides a permanent home for five single women who have survived war and displacement

concrete, wood and tiles clad the interior

The House for Five Women builds a foundation for dignity, autonomy, and interconnected living

reclaiming the built environment as a site of healing

the project acts as a micro-institute where design, art, and social work converge

project info:

name: The House for Five Women

architect: TEN | @ten_studio

location: Gradačac, Bosnia and Herzegovina

collaborators: Hazima Smajlović, NGO Naš Izvor, Engineers Without Borders, Municipality of Gradačac, Bessire Winter (initial phase)

structure: Dr. Miodrag Grbić

landscape architect: Daniel Ganz

facade artist: Shirana Shahbazi | @shiranashahbazi

supporter: foundation Naš Izvor

photographer: Maxime Delvaux | @maxdelv, Adrien de Hemptinne | @adriendehemptinne

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