aluminum ping-pong table plays meditative sounds every time the ball hits the plates

Recreating sound bath with aluminum ping-pong table

At Design Miami.Paris 2025, artist James de Wulf unveils a ping-pong table with aluminum plates that plays meditative sounds every time the ball hits the surface. On view at L’hôtel de Maisons in Paris between October 22nd and 26th, 2025, the Resonating Ping Pong Table, Song No. 1 (2025) is reminiscent of a xylophone and sound bath in one, as the project isn’t only made for playing table tennis but also doubles as a musical instrument in the form of healing vibrations. The surface is made from aluminum plates that are carefully tuned to specific musical notes.

There are six different notes, and they are tuned to the A Minor Pentatonic scale, which is a musical scale often used to create calm and balanced sounds. When a player hits the ball, the vibration from the impact makes the metal plate vibrate, producing a sound that matches one of these notes. As the game continues and the ball moves across different parts of the table, each hit creates a new tone. The sounds then form a kind of melody that changes with every rally. The idea is that while people play ping pong, they also create a piece of live sound, a rhythm that depends on the speed, position, and strength of their movements.

all images courtesy of James de Wulf | photos by Nicky Roding

Rubber and foam balls change the sound performance

The top of the ping-pong table by artist James de Wulf is made from anodized aluminum to strengthen the metal, protect it from rusting, and improve the sound quality by helping the plates vibrate more clearly. The body of the table is varnished, and the structure is stable enough for play but also has the look of a piece of modern furniture. The net in the middle is removable. When the net is taken off, the flat surface can be used as a dining table. This gives the piece a dual function: it can be a musical ping pong table or a large surface for gatherings.

James de Wulf also designed tailored rackets to work with the sound-tuned surface of his aluminum ping-pong table. The rackets are used with a rubber ball, which gives a good bounce and makes the sound vibrations clear, and for quieter use, there are also foam balls. Both types of balls change the sound performance and the way the table reacts during play. The tuning of the plates is done manually, with each of the six plates adjusted to match a specific note. After the Design Miami.Paris 2025 fair, the artist says that there are 10 aluminum ping-pong tables to be produced, with each of them having a Certificate of Authenticity signed by the artist himself.

at Design Miami Paris 2025, artist James de Wulf unveils a ping-pong table with aluminum plates

view of the table’s surface

a meditative sound plays every time the ball hits the surface

the surface is made from aluminum plates that are carefully tuned to specific musical notes

there are six different notes, and they are tuned to the A Minor Pentatonic scale

when the net is taken off, the flat surface can be used as a dining table

there are rubber and foam balls available, depending on the kind of sound perfomance desired

the tuning of the plates is done manually

project info:

name: Resonating Ping Pong Table, Song No. 1 (2025)

artist: James de Wulf | @jamesdewulf

event: Design Miami Paris 2025 | @designmiami

location: L’hôtel de Maisons at 51 Rue de l’Université, 75007 Paris, France

dates: October 22nd to 26th, 2025

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rhythmic layering of wood and fabric weaves sail-inspired installation by cheng tsung feng

Installation by Cheng Tsung FENG reimagines Roppongi’s skyline

For Roppongi Art Night 2025, Taiwanese artist Cheng Tsung FENG presents Sailing Castle: Roppongi, a site-specific wooden installation located at Tenso Shrine, one of the district’s most historic sites with a 641-year legacy. The work continues FENG’s Sailing Castle series, initiated at the Taiwan Lantern Festival in 2019, and marks its sixth iteration.

The installation takes form from the outlines of Roppongi’s iconic architecture, including the National Art Center Tokyo, Suntory Museum of Art, Tokyo Midtown, 21_21 Design Sight, Mori Tower, Sumitomo Roppongi Grand Tower, and Roppongi Crossing. These profiles are abstracted, merged, and reassembled into a singular timber structure that reflects both the city’s urban identity and the traditional craft techniques used in its making.

all images by FIXER Photographic Studio

Modular Timber and canvas Composition forms Sailing Castle

FENG’s Sailing Castle series explores the relationship between architecture, memory, and cultural symbolism. Each work interprets a city’s skyline as a collection of sails gathered in a harbor, structures that both anchor and move through time. In Sailing Castle: Roppongi, this concept is materialized through a framework of interwoven wooden components, where light and shadow define the contours of the city’s silhouette.

The installation’s structural composition recalls boat-building logic and shrine carpentry, integrating modular joints and rhythmic layering. Its lighting scheme transforms the wooden framework into a glowing form that shifts between visibility and transparency, inviting viewers to perceive Roppongi’s architecture as a fluid and collective identity. Through this installation, the artist establishes a dialogue between urban memory and ritual space, positioning Sailing Castle: Roppongi as both a temporary monument and a reflection on how architectural form can become a vessel for shared cultural narratives.

Sailing Castle: Roppongi by Cheng Tsung FENG at Tenso Shrine

wooden installation reinterprets Roppongi’s architectural silhouettes

site-specific work created for Roppongi Art Night 2025

timber framework reinterprets Roppongi’s urban skyline

outlines of iconic landmarks merge into a single wooden form

profiles of Roppongi’s architecture are abstracted and reassembled

light and shadow define the structure’s changing silhouette

boat-building logic and shrine carpentry inform its construction

a lighting scheme transforms the structure from solid to translucent

the glowing timber framework creates a dialogue between past and present

the illuminating installation forms intricate shadow patterns on the ground

project info:

name: Sailing Castle: Roppongi

artist: Cheng Tsung FENG | @chengtsungfeng

location: Tokyo, Japan 

project designer: Chan Wei HSU, Chen PENG
structural analysis: Chien Chuan Engineering Consulting Co.
woodwork: Weige Interior Design
metalwork: Yichang Laser
canvas: Meichiangkuang Advertising
lighting design: Oude Light
lighting engineer: Beamtec Lighting
international shipping: Cheng-hang Global Logistics CO., Ltd.
assembly support: Chung Sheng HSU, Kuan Chen CHEN

photographer: FIXER Photographic Studio | @fixer_photographic_studio

organizer: Tokyo Metropolitan Government, Tokyo Arts Committee (Tokyo Metropolitan Foundation for History and Culture), Minato City, Roppongi Art Night Executive Committee (The National Art Center Tokyo, Suntory Museum of Art, Tokyo Midtown, 21_21 Design Sight, Mori Art Museum, Mori Building, Ractive Roppongi）
co-organizer: Agency of Cultural Affairs, Government of Japan, MCST Ministry of Culture, Sports and Tourism, Korea, Korea Foundation for International Cultural Exchange, Korea Embassy, Korean Cultural Center, Ministry of Culture Taiwan

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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jorge garibay architects’ casa san francisco is a monolith cluster in a mexican vineyard

a vacation home on a vineyard

Casa San Francisco by Jorge Garibay Architects stands within a vineyard on the outskirts of San Miguel de Allende, in the Mexican state of Guanajuato. Conceived as a vacation home, the project draws its character from the world of winemaking and the slow transformations that occur over time.

The design reflects on San Miguel’s origins — founded in the 16th century when Franciscan friars introduced grape cultivation to Mexico — and acknowledges how imported traditions were adapted to a new environment.

Architecture and viticulture, both brought across the Atlantic, evolved differently once exposed to the local soil, light, and climate. Casa San Francisco continues that dialogue by translating the contemplative spatial order of conventual architecture into a contemporary domestic setting.

images © César Belio

Jorge Garibay’s architecture of five volumes

The team at Jorge Garibay Architects organizes its Casa San Francisco around a central corridor that runs laterally through five distinct volumes. Each volume opens onto a landscaped area, allowing uninterrupted views of the surrounding vineyard and hills. Entry occurs through a double-height vestibule that filters the transition from exterior to interior, emphasizing the progression from the openness of the landscape to the intimacy of the home.

The western side houses the communal spaces — the living room, dining room, kitchen, terrace, garage, and service areas — while the eastern wing is reserved for four bedrooms. This clear separation of uses gives the plan a sense of measured rhythm, echoing the linear geometry of vineyard rows. Movement through the corridor reveals a series of framed perspectives, each calibrated to the shifting daylight and seasonal growth beyond.

Casa San Francisco sits among vineyards near San Miguel de Allende

inside the monochromatic casa san francisco

Jorge Garibay approached materiality as a means to express the passage of time and the endurance of local craft. The construction employs stone sourced from a nearby quarry, unpolished Mexican marble underfoot, and lime-based paint applied by hand to achieve subtle tonal variations. Together, these materials form monochromatic surfaces that anchor the building to its terrain and emphasize the play of light across textured planes.

The simplicity of the palette underscores a disciplined restraint. Oak furniture complements the architecture’s tactile honesty, and the lighting design references the soft glow found in 16th-century convents. Rather than reproducing historic effects, the lighting recreates the warmth and quietude of those spaces within a modern framework.

Jorge Garibay Architects designed the house as a meditation on time

the project connects architecture to the slow rhythm of winemaking

five stone volumes are linked by a corridor aligned with the landscape

local stone and hand-applied lime finish give depth to the walls

project info:

project title: Casa San Francisco

architect: Jorge Garibay Architects | @arqjorgegaribay

location: San Miguel de Allende, Guanajuato, Mexico

photography: © César Belio | @cesarbelio

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floating oculus installation shimmers in shifting chromatic light above brooklyn’s streets

Atelier Sisu presents Splendour at The Other Art Fair Brooklyn

Atelier Sisu, led by Renzo B. Larriviere and Zara Pasfield, presents Splendour as the centerpiece of The Other Art Fair Brooklyn, NY. The installation continues the studio’s exploration of ‘art-chitecture,’ a practice that merges the principles of art and architecture through immersive, site-responsive structures.

Splendour takes the form of a large floating oculus, composed of inflatable oval segments suspended in the air. The surface is clad in dichroic material, which refracts and reflects light differently depending on the time of day and angle of view. As sunlight shifts, the sculpture’s color spectrum transitions from cool iridescence to warm tones, creating a shifting chromatic environment that evolves with its surroundings.

all images courtesy of Atelier Sisu

suspended Oculus installation explores light and material

By evening, integrated lighting transforms the installation into a luminous structure that interacts with the ambient urban context. The work by Sydney-based design studio Atelier Sisu examines how light, color, and material can define spatial perception, emphasizing the changing relationship between the natural and built environments. Through its optical and structural composition, Splendour situates itself between sculpture and architecture, inviting viewers to engage with light as both material and experience.

Splendour by Atelier Sisu anchors The Other Art Fair Brooklyn

a floating oculus installation explores the interplay of light and material

oval segments suspended in air form the structure’s core geometry

the installation transforms throughout the day as light conditions change

cool iridescence transitions to warm hues under evening light

Splendour merges sculpture, architecture, and spatial design

light and color define the installation’s spatial perception

the oculus form creates a sense of openness and continuity

reflected color shifts with the viewer’s position and perspective

dichroic film captures sunlight and diffuses it across surrounding surfaces

by night, integrated lighting redefines the structure’s visual presence

structural rhythm and chromatic variation define Splendour’s composition

project info:

name: Splendour – Atelier Sisu at The Other Art Fair Brooklyn
designer: Atelier Sisu | @ateliersisu

host: The Other Art Fair Brooklyn | @theotherartfair

location: Brooklyn, NY

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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untreated wooden cladding wraps vernacular sauna sövall on sweden’s rocky shoreline

Sauna Sövall as A Modern Take on the Swedish Boathouse

Sauna Sövall project by HelgessonGonzaga entails the design of a freestanding sauna situated on the rocky shoreline just north of Grebbestad in Sweden, conceived as a complementary structure to an existing holiday property. The timber sauna takes inspiration from the vernacular boathouses of the Swedish west coast, reinterpreted through a contemporary and sustainable architectural expression. The architectural concept draws on the character of the traditional, weather-worn architecture that defines the local context, while simultaneously establishing a distinct, modern identity.

all images courtesy of HelgessonGonzaga

HelgessonGonzaga Combines Timber Craft and Reused Materials

The dialogue between tradition and reinterpretation anchors the project by HelgessonGonzaga studio in its cultural setting. The structure rests on concrete piers cast directly into the bedrock, incorporating a series of integrated functional elements. Above, a timber frame with untreated wooden cladding is designed to weather naturally over time, gradually harmonizing with the rugged coastal environment. The roof is clad with reclaimed tiles sourced from a nearby demolition site, reinforcing the connection to local building traditions while introducing a sustainable dimension through material reuse.

Sauna Sövall by HelgessonGonzaga sits on the rocky shoreline north of Grebbestad, Sweden

the design takes cues from the vernacular boathouses of Sweden’s west coast

traditional forms are reinterpreted through a contemporary architectural lens

the sauna reflects the weather-worn character of local seaside structures

untreated timber cladding allows the building to age naturally over time

the structure is elevated on concrete piers anchored directly into the bedrock

minimal detailing emphasizes craftsmanship and local building knowledge

openings are strategically positioned to frame views of the sea and sky

project info:

name: Sauna Sövall
architect: HelgessonGonzaga | @helgessongonzaga

location: Grebbestad, Sweden

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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3D printed interlocking bricks compose earthen microclimate shelter for tree saplings

TreeSoil protective microclimate supports early growth of trees

TreeSoil is a robotic 3D printed earthen shelter designed to create microclimates that support the early growth of young trees. Developed at the Technion’s Material Topology Research Lab (MTRL) in collaboration with the Tree Lab at the Weizmann Institute of Science, the project integrates architecture, material science, and plant biology to explore how design can actively assist ecological regeneration.

The project draws on ancient agricultural techniques used in arid landscapes, where stone or earthen enclosures shield crops and saplings from wind, sun, and evaporation. TreeSoil reinterprets these methods through computational design and robotic fabrication, transforming soil into a modular, interlocking system that mediates between technology and ecology. Each structure is composed of modular bricks produced through large-scale robotic extrusion. The design uses local climatic data, including solar radiation, wind patterns, and humidity, to optimize conditions for the sapling at its center. Its porous geometry enables airflow and shading, while the thermal mass of the earthen material helps regulate temperature and moisture, supporting root establishment and early growth.

all images by Edo Asoulin

biodegradable TreeSoil system returns to earth as trees mature

The material system combines locally sourced soil with sand, clay, and bio-based binders derived from cellulose and organic fibers. In some prototypes, biochar and other waste-derived nutrients are added to enhance soil stability and structural integrity. The mixture is tested for rheological, mechanical, and erosion properties to ensure printability and environmental compatibility. Components are fabricated using a KUKA KR50 robotic arm and a WASP LDM XXXL extrusion system, built layer by layer, naturally dried, and assembled on-site without adhesives. The resulting structure is fully biodegradable and gradually disintegrates as the tree matures, returning nutrients to the soil.

TreeSoil positions architecture as a temporary, adaptive, and regenerative infrastructure rather than a permanent form. Its design emphasizes the relationship between vegetation and the land, creating a controlled microclimate while integrating technology, soil, and plant life into a responsive ecological system. The design team at Material Topology Research Lab names the project TreeSoil to reflect the fundamental relationship between vegetation and the land it emerges from. 

the completed TreeSoil shelter stands within the reforestation site, merging earthen architecture, robotics, and ecology into a living system of care

top view of the TreeSoil structure illustrating its internal cavity, where airflow, shading, and soil moisture create favorable growth conditions

close-up view of the final layers being assembled, showing the precise interlocking geometry and the protected carob sapling within

researchers assemble the modular earthen units of TreeSoil around a young sapling, forming the base structure for the microclimate shelter

carrying water and saplings to the planting site. each TreeSoil installation is positioned to respond to local topography and site conditions

project info:

name: TreeSoil
designer: Material Topology Research Lab | @mtrlab, Faculty of Architecture and Town Planning, Technion Israel Institute of Technology, Haifa Research

design team: Ofer Asaf, Aaron Sprecher

research & design lead: Ofer Asaf

academic advisors: Profs. Aaron Sprecher, Arnon Bentur, Tamir Klein

video & stills, direction, cinematography & edit: Tamir Faingold

still photography: Edo Asoulin

creative direction: Dana Zelig

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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NOA plans lush, walkable neighborhood ‘renneria’ in italian dolomites

renneria: a new neighborhood for the italian dolomites

On the edge of Bolzano, Italy a new neighborhood designed by NOA is set to take shape. Located within the South Tyrolean landscape, Renneria explores a model of development based on agricultural continuity and everyday livability. The 13-hectare site in Pineta di Laives — named after 14th-century farmstead Maso Renner — embodies respect for history and contemporary ambition.

Promoted by the Gazzini real estate group, the project transforms a formerly agricultural area bordered by existing settlements and infrastructure. It offers a considered response to one of the region’s most urgent challenges: the need for sustainable housing growth.

‘Renneria’s location makes it naturally suited to accommodate a new district,’ explain Luca and Matteo Gazzini. ‘Bordering a settlement, an artisan district, and an arterial road, it already belongs to an urbanized fabric. Renneria harmoniously completes this development.’

visualizations © Cosmoscube (unless otherwise stated)

noa plans a compact village in the mountains

NOA’s Renneria masterplan introduces around 800 residential units within a system that integrates housing, workspaces, education, and leisure. The architects‘ masterplan reflects the studio’s belief in functional proximity — a model where services are within reach, and movement occurs on foot, by bicycle, or public transport. Streets become linear gardens, courtyards encourage interaction, and the organization mimics a compact village.

‘Four words guided our vision: residential, cultural, communal, and collaborative,’ says Lukas Rungger, NOA’s founder and project architect. ‘Residential, because we offer diverse and inclusive housing typologies. Cultural, because new institutions stimulate the district’s intellectual life. Communal, because Renneria retains the scale of a village. And collaborative, with urban gardens at the core of this participatory dimension.’

NOA introduces Renneria, a new neighborhood designed for the Dolomites

a masterplan shaped by agriculture

The Renneria masterplan by NOA is centered around agriculture. Productive landscapes including urban gardens, orchards, and green roofs extend the legacy of Maso Renner while shaping new forms of social life. They function as local food systems and educational spaces where people can gather.

‘Renneria will host a one-of-a-kind agricultural school, a true open-air laboratory,’ add the Gazzini brothers. ‘The 70,000 square meters of greenery, fruit trees, herbs, and biotopes will become an integral part of the educational path, transforming the neighborhood into a distributed classroom.’

This greenery unfolds through varying topographies. To the west, a linear park buffers the traffic corridor while offering a shaded pedestrian and cycling route. Green corridors radiate outward, connecting to the panoramic Seit viewpoint, where a new belvedere will frame views across the valley and the Dolomites.

the 13 hectare site in Pineta di Laives extends Bolzanos urban edge with a mixed-use community

The neighborhood’s public life is organized between on three squares. ‘They are designed for social interaction, safety, and urban vibrancy,’ explains Andrea Dal Negro, architect at NOA. ‘Through fountains, trees, and paving variations, these spaces act as outdoor living rooms, active throughout the year.‘

Each square establishes a distinct character: the southern one for markets, the central one for cafés and shops, and the northern one for education, with student housing and workshops interwoven with play and learning.

Mobility follows a clear hierarchy. A ring road borders the site, with underground parking at key points. Inside, streets prioritize greenery and slow movement. Pedestrian and cycling paths define the internal grid, reinforced by three kilometers of bike lanes. Of course, the absence of traffic enhances air quality and reduces noise pollution.

NOA’s walkable neighborhood integrates housing, workspaces, education, and leisure spaces

Architecturally, Renneria evolves from the terrain itself. NOA’s concept of ‘extruding the landscape‘ transforms contour lines into built form. Buildings rise gently with the slope, mediating between the city and the surrounding countryside.

Facades are clad in timber slats — horizontal for residential volumes, vertical for civic buildings — creating a quiet interplay of texture and rhythm beneath the Dolomite light. Green roofs extend this dialogue, functioning as communal gardens and energy buffers.

‘The buildings vary in height to preserve panoramic views and maximize natural light and ventilation,‘ says Dal Negro. ‘For public structures on sloping ground, entrances appear on multiple levels, producing layered, engaging spaces.‘

public squares, fountains, and green corridors define a pedestrian-oriented masterplan

timber facades and green roofs merge the architecture with the landscape | image © NOA

project info:

name: Renneria

architect: NOA | @networkofarchitecture

location: Pineta di Laives, Italy

visualizations: © NOA, © Cosmoscube | @cosmoscube

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blok tattoo studio in barcelona redefines sterile spaces through concrete and steel interiors

XAARCHIVE shapes Tattoo Studio as Industrial ‘Anti-Hospital’ Space

BLOK, a tattoo studio designed by XAARCHIVE Studio in Badalona, Barcelona, reexamines the spatial and aesthetic qualities of clinical environments. Conceived under the concept ‘The Anti-Hospital: Rethinking Sterile Spaces,’ the project translates the visual language of medical precision into an industrial context.

The 80-sqm warehouse conversion employs polished concrete, locally sourced stainless steel, and handcrafted PVC curtains to define a flexible interior that shifts between transparency and opacity. The existing ceiling structure was exposed to reveal its original framework, while linear LED fixtures accentuate the geometry of the space and introduce a controlled, uniform illumination. The studio accommodates up to four artists simultaneously within a modular plan that supports multiple configurations. Mobile partitions and adjustable lighting systems enable the workspace to adapt to various functions, from tattooing to exhibition and consultation.

all images by Simone Marcolin unless stated otherwise

Industrial interiors define BLOK hybrid Tattoo Studio and gallery

Fabrication and material sourcing were carried out locally in Badalona and the surrounding metropolitan area, reinforcing the project’s commitment to regional production. Central to the space is the Canova Table, a custom piece designed by XAARCHIVE Studio through 3D scanning and binary encoding. This element extends the studio’s research into the intersections of data, materiality, and digital precision.

BLOK functions as a hybrid environment, part workshop, part laboratory, and part gallery, where architecture operates as a tool for examining the relationship between care, craft, and the human body. The project presents a systematic, locally grounded approach to spatial design that balances technical rigor with adaptability.

modular partitions allow fluid transitions between tattooing, painting, and resting

soft PVC curtains filter light and movement, transforming space through degrees of opacity

minimal furniture and polished concrete floor emphasize functional calm and precision

custom-made metal tables reflect both the technical and creative layers of the studio

tattoo station framed by translucent curtains defining intimate zones within an open plan

concrete ceiling and exposed wiring reveal the industrial shell that hosts the studio

low table made of concrete blocks and a steel top expresses the studio’s raw and modular character

custom lighting detail highlights precision and material contrast within the industrial setting

artworks and tools coexist within a mutable interior conceived for creation and rest | image by Sofía Suárez

at night, warm light softens the industrial character of the space, revealing its quiet rhythm | image by Sofía Suárez

red light diffuses through translucent curtains, softening the industrial space into a warm glow | image by Sofía Suárez

project info:

name: BLOK
architect: XAARCHIVE Studio | @xaarchive____

lead designers: Nayla Cefarelli, Sofía Lorenzo
location: Badalona, Barcelona

photographers: Simone Marcolin | @simoneemarcolin, Sofía Suárez

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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weaving light: eugene kangawa and A-POC ABLE ISSEY MIYAKE turn photograms into fabric

Eugene Kangawa and A-POC ABLE ISSEY MIYAKE’s Paris exhibition

Japanese artist Eugene Kangawa joins forces with A-POC ABLE ISSEY MIYAKE for TYPE-XIV Eugene Studio project, a collaboration debuting in Paris during Art Basel. The presentation, conceived by architect Tsuyoshi Tane and hosted at Lycée Turgot, marks a three-year exchange between Kangawa and A-POC ABLE’s designer Yoshiyuki Miyamae. Centered on a groundbreaking textile that translates the artist’s ongoing series ‘Light and shadow inside me’ (2022–), the exhibition situates the meeting point of art, design, and material research within a single woven surface. From the slow burn of sunlight on paper to the precision of woven threads, Kangawa and A-POC ABLE ISSEY MIYAKE’s collaboration transforms the immaterial into form. 

‘Light and shadow inside me’ is a body of work made entirely through light. Earlier iterations comprised sheets of paper brushed with dye, folded into geometric shapes, and left to fade under sunlight for weeks, while later versions evolved into monochrome photograms made by exposing folded photographic paper to artificial light. ‘The idea that all things, by the very fact of their existence, simultaneously possess both light and shadow — countless fronts and backs — is central to who I am and my practice,’ Kangawa explains to designboom. ‘My goal was to create a work of art that embodies and enacts this coexistence.’ The series was born from what he describes as a moment of revelation. ‘It all began one winter day when I found a sun-faded box at home. In that moment, everything connected, and the idea grew into these works,’ he tells us.

images © ISSEY MIYAKE INC.

Transforming Photographic Concepts into Fabric Form

TYPE-XIV Eugene Studio traces back to Kangawa’s solo exhibition The New Sea at the Museum of Contemporary Art Tokyo, where Miyamae first encountered the artist’s ‘green paintings’, sheets of watercolor paper coated with dye, folded like origami, and left to fade under sunlight for a month. Kangawa later adapted this technique to photographic paper, producing monochrome photograms that captured the tension between exposure and concealment. ‘These works were created by applying a single-color dye onto one sheet of paper, folding it—without cutting—and exposing it to sunlight,’ he explains. ‘When unfolded, the light had become both the brush and the memory.’

It was this process that fascinated Miyamae and his team, leading to a series of workshops and experiments at A-POC ABLE ISSEY MIYAKE. ‘What was most surprising about this collaboration was that Miyamae and his team spoke of ‘weaving a new language’ — starting completely from scratch to create the textile in an entirely new way,’ Kangawa recalls. ‘Their garments are beautiful, yet what struck me most was that they think not in terms of surface, but from structure itself.’

Eugene Kangawa joins forces with A-POC ABLE ISSEY MIYAKE

Weaving Becomes an Act of Illumination

The result is a technically groundbreaking ‘bit-level’ textile, in which tonal gradients from black to white emerge solely from variations in weave density without any dyes or colored threads. The team drew analogies between the intersection of threads and the microscopic silver particles that make up photographic paper, transforming light’s material absence into the tactility of fabric. Miyamae describes the process as a return to fundamentals. ‘We returned to the smallest unit of fabric: a single thread. Using only black and white threads, we explored light and shadow through variations in weave patterns and density, translating the phenomena of photographic paper and light into the language of cloth,’ A-POC ABLE’s designer shares.

For Kangawa, the collaboration resonates deeply with Issey Miyake’s human-centered design philosophy. ‘Issey Miyake’s philosophy connects closely with my own work, particularly in exploring existence,’ he says. ‘Light and shadow inside me began as a meditation on loss, peace, and nature—the idea that light can be both beautiful and fearsome. In Japanese sensibility and history, light has always carried this duality. Some people even say the works evoke associations with the nuclear.’

the exhibition positions the textile within a broader study of Japanese material culture

The Global Journey of a Light-Born Work

The exhibition design by Tsuyoshi Tane, renowned for his projects such as the Estonian National Museum and the Al Thani Collection at Hôtel de la Marine, positions the textile within a broader study of Japanese material culture. Alongside the new fabric, visitors encounter test pieces, tools, and archival materials, including an Edo-period book on origata (traditional paper folding) whose patterns unexpectedly echo those found in Kangawa’s photograms. ‘When we were preparing for the exhibition, we were surprised to find within the book a folding pattern strikingly similar to those created in ”Light and shadow inside me,”’ Kangawa recalls and tells us.

Following its Paris debut, the project will travel to Tokyo and Osaka, extending the collaboration across contexts. Meanwhile, ‘Light and shadow inside me’ will find a permanent home at the forthcoming Eugene Museum in Tabanan, Bali, opening in 2026. Designed by Andra Matin, the museum will host over fifteen of Kangawa’s works in a complex surrounded by UNESCO-protected rice terraces. Visitors will be invited to stay overnight and experience the shifting qualities of light that underpin the artist’s practice.

alongside the new fabric, visitors encounter test pieces, tools, and archival materials

the project will travel to Tokyo and Osaka

‘Light and shadow inside me’ is a body of work made entirely through light

the show is centered on a groundbreaking textile that translates the artist’s ongoing series

Kangawa and A-POC ABLE ISSEY MIYAKE’s collaboration transforms the immaterial into form

TYPE-XIV Eugene Studio traces back to Kangawa’s solo exhibition The New Sea

Miyamae first encountered the artist’s ‘green paintings’ at the Museum of Contemporary Art Tokyo

monochrome photograms capture the tension between exposure and concealment

project info:

name: Light and shadow inside me — Eugene Kangawa x A-POC ABLE ISSEY MIYAKE
artist: Eugene Kangawa / EUGENE STUDIO | @eugene_studio_official
designer: Yoshiyuki Miyamae, A-POC ABLE ISSEY MIYAKE | @apocableisseymiyake_official
spatial design: Tsuyoshi Tane / ATTA | @ateliertsuyoshi_tanearchitects
location: Lycée Turgot, 40 Rue Volta, 75003 Paris, France

dates: 24th – 26th October 2025

The post weaving light: eugene kangawa and A-POC ABLE ISSEY MIYAKE turn photograms into fabric appeared first on designboom | architecture & design magazine.

curved wooden frame shapes light-filled daycare center in japan encouraging playful learning

Shio Architect Design Office Creates Timber Daycare Center

The Himi Shinmachi Daycare Center, designed by Shio Architect Design Office – Ataru Shio, is a new two-story wooden facility located in the center of Himi City, Toyama Prefecture, Japan. The project replaces a nursery that had been in operation for nearly 50 years and was commissioned through a selective tender process aimed at developing high-quality public architecture at a local scale.

The design seeks to create an educational environment that supports early childhood learning while serving as a recognizable civic presence within the community. The building’s placement was determined by the constraints of the site, an elongated plot running north to south, bisected by an existing underground sewer line. To accommodate this condition, the structure is positioned to one side of the pipeline, optimizing both usable space and access to natural light. Constructed using a traditional wooden framework system, the daycare employs locally sourced timber supported by the Forestry Agency’s regional materials subsidy program. This approach not only reinforces the connection to local craftsmanship but also promotes the sustainable use of regional resources.

all images by Satoshi Asakawa

Wooden curved interior promotes safety and Tactile Learning

Given the limited number of sunny days in the Hokuriku region, the design prioritizes natural illumination. Large openings and an open spatial layout allow interior areas to remain bright even under overcast conditions, providing children with a comfortable and active indoor environment. Safety and sensory experience also guided the design: sharp corners are minimized to prevent injuries, and authentic materials such as wood and tile are used throughout, offering children direct tactile contact with natural surfaces from an early age.

The result is a community-centered public building by Shio Architect Design Office, led by architect Ataru Shio, that balances environmental responsiveness, spatial clarity, and material honesty, supporting both early education and the local built culture of Toyama Prefecture.

the Himi Shinmachi Daycare Center is located in the heart of Himi City, Toyama Prefecture

designed by Shio Architect Design Office, the project replaces a 50-year-old nursery

the two-story wooden structure serves as both an educational and civic space

authentic materials like wood and tile create a tactile learning environment

the building’s form responds to the site’s narrow, north–south orientation

a traditional wooden framework forms the building’s structural system

locally sourced timber reinforces the connection to regional craftsmanship

the design ensures bright, comfortable interiors throughout the year

the open layout encourages movement and play for young children

children experience natural textures and materials in their daily surroundings

the daycare center embodies environmental responsiveness and material honesty

project info:

name: Himi Shinmachi Daycare Center

architect: shio architect design office – Ataru Shio | @atarushio
location: Himi City, Toyama Prefecture, Japan

floor area: 982.56 sqm

construction/contractor: Higashi Kogyo, Himi Civil Engineering, and Hamai Joint Venture

photographer: Satoshi Asakawa

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 curved wooden frame shapes light-filled daycare center in japan encouraging playful learning appeared first on designboom | architecture & design magazine.