buried souvenir shop on japanese shoreline reflects on tourism, land, and memory

Naoshi Kondo buries a souvenir shop in Atami’s sandy beach

Buried Souvenir Shop is a temporary commercial structure designed by Naoshi Kondo as part of the ATAMI ART GRANT 2025, supported by Pasona Art Now. Located directly on the sandy beach of Atami, Japan, the project reinterprets the familiar typology of the souvenir shop by partially embedding it in the ground.

The installation operates as a functioning retail space while simultaneously serving as a spatial study of tourism’s relationship to land and memory. Its tilted form is half-buried in the sand, recalling the act of concealing and revealing objects, a gesture drawn from childhood play at the beach. Through this gesture, the project transforms an everyday commercial building into an architectural exploration of perception and site.

all images courtesy of Naoshi Kondo

Buried Souvenir Shop merges commerce and installation art

Inside, the shop sells real souvenirs, but its orientation and placement make the surrounding landscape part of the visitor experience. The ocean is framed through a single large opening, turning the view itself into a component of the retail environment. Constructed under temporary-building regulations and assembled directly on-site, the project merges pragmatic and conceptual objectives. By situating a working shop within the shifting terrain of the beach, designer Naoshi Kondo questions conventional boundaries between architecture and land use, tourism and place-making, commerce and installation art.

Buried Souvenir Shop by Naoshi Kondo, part of the ATAMI ART GRANT 2025

the shop’s tilted form appears half-buried in the sand

the structure recalls the childhood act of hiding and uncovering objects

project info:

name: Buried Souvenir Shop – ATAMI ART GRANT 2025
designer: Naoshi Kondo

location: Atami beach, Japan

supported by: Pasona art now

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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tunnel-shaped snow park that lets users ski all year round set to open in australia

Australia to welcome rotating snowtunnel park

Snowtunnel Park is dubbed the world’s first indoor skiing structure that rotates, has its own downhill slopes, and lets users glide around it all year round. Set to inaugurate in 2027, the design team, consisting of snow and action sports entrepreneurs, plans to install the structure around Australia, starting in Melbourne, Sydney, and Brisbane. Its main feature is the rotating tunnel that recreates the movement and surface of real snow slopes. The tunnel is 12.5 meters high and 16 meters long, lined with real snow made from water and air. The snow is groomed into smooth ridges so that users can ski or snowboard continuously, as if on an endless slope.

The Snowtunnel Park that will open in Australia rotates with variable speed control. The surface moves under the riders at controlled speeds, allowing beginners, learners, and experienced users to ride safely. The rotating system creates what the designers call an endless mountain. Riders stay in place while the snow moves below them, making it possible to ski or board without needing a large mountain or long track. The Snowtunnel is built with a metal frame that holds the rotating inner cylinder. The inner tunnel is covered with panels that hold real snow, cooled by built-in refrigeration systems that keep the snow frozen. Snow is made daily using water and air through a snowmaking system provided by TechnoAlpin, a company that specializes in snow production technology.

all images courtesy of Snowtunnel

Continuous rideable snow surface without long slopes

Sensors and motors control the rotation speed of the Snowtunnel Park that is set to welcome skiers in Australia. The surface speed can be adjusted for different skill levels, and the tunnel structure is enclosed inside a large insulated building to control temperature and humidity. Specs-wise, each structure covers around 3,000 square meters of space, with the main one offering more than 600 square meters of rideable snow surface. The snow play and learning areas use an additional 900 cubic meters of snow. The park is designed to fit in city areas. It takes up less space than a traditional indoor ski center because the tunnel creates continuous motion without needing long slopes. The smaller space also reduces the amount of building materials and energy needed for cooling.

The Snowtunnel Park is designed for all ages and skill levels. It includes rental areas for ski gear, learning zones for first-time users, and a lounge with food and drinks. Visitors can watch others ride through glass viewing panels. Snowtunnel technology was developed and tested in Australia, with the prototype tunnel having a diameter of 10 meters. The design has been refined to reach its full 12.5-meter size for the first park. The founders plan to expand to cities such as Melbourne, Sydney, and Brisbane after its 2027 opening. The company also plans to set up its global headquarters in Australia and then open parks in other countries where natural snow is limited.

Snowtunnel Park is dubbed the world’s first indoor skiing structure

set to inaugurate in 2027, the design team plans to install the structure in Melbourne, Sydney, and Brisbane

the rotating tunnel recreates the movement and surface of real snow slopes

view of the tunnel

the company also plans to set up its global headquarters in Australia

project info:

name: Snowtunnel Park

company: Snowtunnel | @snow_tunnel

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BACH converts reina sofía’s auditorium into red-velvet cinema beneath blue vault in madrid

BACH Transforms Historic Auditorium into Contemporary Cinema

In Madrid, the Museo Nacional Centro de Arte Reina Sofía inaugurates the former auditorium in the Sabatini building, now reimagined by BACH as a contemporary cinema and performance hall. The 520-square-meter project reinterprets the geometry and atmosphere of the 1987 design by Jaume Bach and Gabriel Mora, introducing new acoustic and visual technologies.

Jaume Bach, Anna & Eugeni Bach retain the two defining triangular geometries of the original structure, including the angular projection booth that organizes circulation at the entrance and the suspended triangle above the stage that once functioned as a reverberation device. The latter element is now reborn as a large acoustic screen concealing the central speaker. Meanwhile, the translation booths, once essential, are now obsolete and removed, and the slope of the seating is increased to improve sightlines and audience experience.

all images by Eugeni Bach

Red-and-Blue hues saturate the renewed Reina Sofía Auditorium

Materially, the intervention deepens the atmospheric qualities of the hall. The vaulted ceiling, formerly neutral, is now painted a deep blue, a ‘night sky’ that envelops the space, while the floors and walls are dressed in shades of red that recall the classical tradition of theater interiors, from Erik Gunnar Asplund’s Skandia Cinema in Stockholm to Madrid’s own Cine Doré. Between these dominant hues, the window niches become softly illuminated volumes, their absorbent surfaces evoking the sensation of looking outward, as if the audience were seated beneath an open, starlit sky.

In the entrance lobby, the Barcelona-based architects introduce a triangular storage unit that echoes the projection booth’s form and subtly directs circulation toward the rear of the hall. They preserve the existing Serliana, a characteristic arched composition, and unite all surrounding surfaces in a single, velvety red tone. Behind heavy curtains, the new cinema is revealed, its color palette and spatial composition conjuring cinematic worlds that stretch from Luis Buñuel and Pedro Almodóvar to David Lynch and Aki Kaurismäki.

the Museo Nacional Centro de Arte Reina Sofía inaugurates the former auditorium in the Sabatini building

An 18th-century space in Madrid reawakens

Located within the 18th-century General Hospital of Madrid, an iconic neoclassical structure by José de Hermosilla and Francisco Sabatini, the Reina Sofía has undergone successive transformations since its conversion into a museum in 1992 and its expansion in 2005. The original auditorium of the Sabatini building, designed by Bach and Mora, had long served as the venue for lectures and events. With the construction of two new auditoriums in the expansion, the institution was able to reconceive this earlier hall as a dedicated cinema. Through layering of form, color, and memory, BACH revamps the Reina Sofía’s original auditorium without erasing its past. 

the space is reimagined by BACH as a contemporary cinema and performance hall

reinterpreting the geometry and atmosphere of the 1987 design by Jaume Bach and Gabriel Mora

Jaume Bach, Anna & Eugeni Bach retain the two defining triangular geometries of the original design

the vaulted ceiling, formerly neutral, is now painted a deep blue

the Barcelona-based architects introduce a triangular storage unit that echoes the projection booth’s form

the angular projection booth organizes circulation at the entrance

preserving the existing Serliana

BACH unites all surrounding surfaces in a single, velvety red tone

the window niches become softly illuminated volumes

the original auditorium of the Sabatini building had long served as the venue for lectures and events

project info:

name: Reina Sofía Museum Cinema and Auditorium

architect: BACH / Jaume Bach, Anna & Eugeni Bach

location: Museo Nacional Centro de Arte Reina Sofía, c. Santa Isabel 52, Madrid, Spain

built area: 520 square meters

collaborators: Roger Molas, Silvia Ripoll, Evangelos Evangelou (architects Bach)

sound & image engineering: Provitec, Juan Manuel Martín

engineering: PRC Ingeniería, Pere Ramis

quantity surveyor: BetArq, Helena Roca

construction management: Tecnics G3, Victor Martín

project management: Segipsa, Rubén Rodríguez

promoter: Museo Nacional Centro de Arte Reina Sofía

constructor: Elecnor

photographer: Eugeni Bach | @eugenibach

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step inside new york’s narrowest townhouse, measuring under nine feet wide

a slender west village landmark is listed

Among the 19th-century rowhouses of Bedford Street in New York‘s West Village its enduring, the city’s narrowest townhouse stands that just 8 feet, 7 inches wide. Fronted by a three-story brick facade, the unusual home at 75 1/2 Bedford Street was built in 1873. Now listed by Sotheby’s International Realty, the renovated residence distills a century and a half of adaptation into a vertical sequence of precisely composed domestic spaces.

The townhouse’s slender proportions heighten visitors’ sense of spatial awareness. Sunlight and circulation take precedence over volume. A Dutch door opens directly into the kitchen, which shows custom millwork and Italian marble surfaces. Floor-to-ceiling French doors extend the interior toward a small, landscaped garden, creating a rare moment of openness amid the dense urban fabric of lower Manhattan.

images © Sotheby’s Realty

vertical living in new york

Inside, the plan unfolds as a continuous stair sequence that links intimate rooms arranged along the narrow footprint. Each level is anchored by working wood-burning fireplaces framed in travertine. Oak floors run the length of the home, emphasizing its linear geometry, while a large skylight floods the upper story with daylight that filters through the stairwell.

The primary suite on the second level balances simplicity and comfort. A small balcony overlooks the rear garden, and the bathroom, finished in mosaic tile with marble sinks and Lefroy Brooks fixtures, shows the same attention to scale and proportion that guides the rest of the renovation. All throughout, modern interventions remain secondary to the townhouse’s historic structure, and create a sense of continuity between eras.

75 1/2 Bedford Street is recognized as NYC’s narrowest townhouse at just under nine feet wide

the star-studded past of NYC’s narrowest townhouse

The narrow house has long captured the imagination of the city’s creative community. In the 1920s, it was occupied by a group of actors performing at the nearby Cherry Lane Theater, among them Cary Grant and John Barrymore. Anthropologist Margaret Mead, cartoonist William Steig, and poet Edna St. Vincent Millay — whose residency gives the building its nickname, the Millay House — each left their imprint on its history. The modest scale, paired with its setting along one of the West Village’s most intact blocks, has made it a small but lasting emblem of residential architecture in New York.

the three-story, 1873-built home stands on one of the most historic blocks in the West Village

a Dutch door opens directly into a marble-lined kitchen that connects to a small garden

the primary suite includes a balcony and a mosaic-tiled bathroom

light filters through floor-to-ceiling French doors and a large skylight that crowns the upper level

project info:

address: 75 1/2 Bedford Street

listing: Sotheby’s Realty

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interlocking bamboo and cedar frames shape wild boar nest installation by cheng tsung feng

Cheng Tsung Feng reimagines wild boar nests as an installation

At Danongdafu Forest Park in Guangfu Township, Hualien, Taiwan, artist Cheng Tsung FENG designs Nesting Plan VII: Formosan Wild Boar. The outdoor installation translates the nest-building behavior of the native Formosan wild boar into architectural form. The project is part of FENG’s ongoing Nest Plan series, which investigates the construction practices of animals and reinterprets them through human craftsmanship and building materials. By studying the boar’s instinctive nesting methods, FENG develops a structural system that reflects both the animal’s habits and its spatial logic.

Constructed from locally sourced Japanese cedar and Makino bamboo, the installation draws from two behavioral patterns: the piling of dry grass and branches to form a protective enclosure, and the animal’s tendency to rest inside the nest while facing the entrance, a posture of alertness to the external environment. These observations are translated into a series of interlocking pentagonal and hexagonal frames that overlap from front to back, forming a semi-spherical enclosure reminiscent of a curled body at rest.

all images by FIXER Photographic Studio

Layered bamboo and wood structure shapes FENG’s installation

Around the wooden framework, bamboo branches wrapped in white tape create a layered surface that references the texture of wild grasses. The interplay between the rigid geometric structure and the loose, fibrous exterior gives the work both architectural order and organic fluidity. Inside, a circular arrangement of benches defines a shared central space. The interior provides shade and seating, while encouraging visitors to experience the sense of concealment and attentiveness found in the animal’s nest. The installation serves as both a small gathering point for outdoor activities and a quiet resting place within the forest park. Through Nesting Plan VII, artist Cheng Tsung FENG continues his exploration of how natural behaviors can inform spatial design, positioning the work as a study in coexistence between human architecture and animal habitats.

Nesting Plan VII: Formosan Wild Boar by Cheng Tsung FENG at Danongdafu Forest Park, Hualien

the installation translates the nest-building behavior of the Formosan wild boar into architectural form

the work is part of FENG’s ongoing Nest Plan series exploring animal construction and spatial intelligence

constructed from locally sourced Japanese cedar and Makino bamboo

interlocking pentagonal and hexagonal frames form the structure’s geometric framework

the form is inspired by the way wild boars pile grass and branches to build protective enclosures

reflecting the boar’s instinct to rest inside its nest while facing the entrance in alertness

visitors experience the spatial logic of concealment and attentiveness found in the animal’s nest

the bamboo exterior is wrapped in white tape, evoking the texture of wild grasses

the layered bamboo skin softens the precision of the wooden framework

the design creates a dialogue between rigid geometry and organic material expression

project info:

name: Nesting Plan VII Formosan Wild Boar

artist: Cheng Tsung FENG | @chengtsungfeng

location: Danongdafu Forest Park, Hualien, Taiwan

adviser: Forestry and Nature Conservation Agency, Hualien Branch
curator: Sen Shen Studio, Kao Kung Chi Studio

project designers: Ching Cheng CHANG, Chan Wei HSU
structural analysis: Jian Quan Engineering Consultants
woodwork: Yi Chuang Timber Structure
metal work: Rui Yang Laser
lighting design: OuDe Light
lighting engineer: Beamtec Lighting

photographer: FIXER Photographic Studio | @fixer_photographic_studio

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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adaptable building conference gathers change-makes to enable future-proof dwellings

THE Nieuwe Instituut HOSTS INAUGURAL ADAPTABLE BUILDING CONFERENCE

The Adaptable Building Conference (ABC) is set to land at the Nieuwe Instituut in Rotterdam on 22 January 2026, g gathering a critical mass of thinkers to enable a new generation of buildings. As the national museum for architecture, design, and digital culture, the Nieuwe Instituut offers the perfect launchpad for this international symposium, which aims to fuse insights across the entire value chain – from political and financial frameworks, architecture and design, engineering and construction to operation and maintenance in order to enable buildings that can adapt to changing needs and requirements without adversely affecting our planet.

Secure your place at the Adaptable Building Conference 2026 today – here.

image © Panels by Knauf, Max Guther

A forum to foster and drive change

The Adaptable Building Conference challenges how we imagine, design, construct, fitout and operate buildings. In an era defined by rapid technological evolution, shifting societal needs, and ecological crisis, the status-quo in the built environment is increasingly becoming an obsolete model. The ABC aims to champion a future where

buildings can evolve and transform. This means designing for user-driven adaptable housing, workplaces that fluidly respond to hybrid models, and urban ecosystems that integrate flexibility from the blueprint to the block. The conference asks its speakers and guests one question: how to future-proof our dwellings against inevitable change.

image © Panels by Knauf

The status-quo underscores the immediate necessity of the conference’s guiding question. Global climate targets demand a massive reduction in construction and demolition waste, while chronic housing shortages and rapidly evolving work/living patterns apply intense pressure to our existing infrastructure. Modular construction, circular systems, and design-for-disassembly are no longer niche concepts; they are essential, actionable tools and serve as foundation for a sustainable and resilient industry. The ABC’s program prompts and highlights discussions about approaches, concepts and proven solutions that blend ecological responsibility with socio-economic viability.

image © Superlofts by Marc Koehler Architects

Moving beyond isolated discussions, the ABC – the first international conference fully dedicated to adaptable building initiated by leading companies including Knauf, Hettich and Tesa forges a cross-sector dialogue that is both deep and practical. Its program combines visionary talks, provocative panel debates, and in-depth case studies to present new, tested models for housing, workplaces, and entire urban developments. It is a gathering designed not just to inspire, but to equip attendees with the business and policy models required to reward flexibility and drive long-term value creation in the market.

image © Superlofts by Marc Koehler Architects

The day’s agenda features a powerhouse lineup of industry leaders. Attendees can expect essential insights from speakers like Marc Koehler (Superlofts) on the cutting edge of user-driven adaptable housing, and Steven Paynter (Gensler) on the increasingly vital practice of office-to-residential transformation. Policy and large-scale strategy will be covered by Paco Bunnik (Amsterdam Municipality) discussing adaptable urban planning, while technical innovation takes the stage with Daniel Veenboer (Ramboll, Copenhagen) on sustainable systems design and Lukas Kauer (Panels by Knauf) exploring modular wall systems for true circularity. These discussions will be moderated by Robert Thiemann (BETTERNESS / Frame).

Register now to join the conversation and shape the future of adaptive architecture – book here.

image © Superlofts by Marc Koehler Architects

image © Panels by Knauf

image © Panels by Knauf

Pilot Installation for Adaptable Office Space in Partnership with UBM Development AG

image © Panels by Knauf

the conference includes a powerhouse lineup of industry leaders, moderated by Robert Thiemann | image © Nieuwe Instituut

image © Nieuwe Instituut

event info:

event name: Adaptable Building Conference

speakers: Marc Koehler (Superlofts), Steven Paynter (Gensler), Paco Bunnik (Amsterdam Municipality), Daniel Veenboer (Ramboll, Copenhagen), Lukas Kauer (Panels by Knauf), and Robert Thiemann (BETTERNESS / Frame)

date: 22 January 2026

location: Nieuwe Instituut, Rotterdam, Netherlands

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curved electric motorcycle ‘outlier’ comes with hooded front panel and bucket-style seat

Honda reveals electric motorcycle EV Outlier Concept

During Japan Mobility Show 2025, Honda presents its EV Outlier Concept, an electric motorcycle with a sloping front panel and a bucket-style seat. Instead of the typical short or frontless face, the concept two-wheeler puts an umbrella at the front, a semi-translucent hooded panel, which makes the body look flowy. This theme continues through the seat, and if viewers look closely, the seating and the engine panel are merged into one, as the designer only places bucket-style backrests to complete the setup.

The project is part of Honda’s entry into the electric motorcycle market, led by designer Yuya Tsutsumi, who worked on the idea, the structure, and the production model. The EV Outlier Concept follows the earlier Honda electric models called the EV Fun Concept and EV Urban Concept, which were announced and shown at the international motorcycle exhibition EICMA in 2024.

all images courtesy of Honda, unless stated otherwise

Low-height seat to make the rider closer to the ground

The design of the EV Outlier Concept follows a Honda design theme called Precision of Intrinsic Design, which focuses on making the shape of the electric motorcycle match its function. In this case, the battery is placed in the center black section of the frame while other electronic components are kept separate. This design gives a clear layout and shows how each part works. The vehicle has in-wheel motors on both front and rear wheels so the motors are built directly inside the wheels instead of being in the center, giving more control to the rider and using the power of the motors directly on the road.

The frame and body use a mix of lightweight metal and plastic materials. Then, the horizontal suspension is placed under the main body to allow a lower seat height and change how the rider feels when sitting on the bike. The front area has added volume to highlight the low seating position, and the body panels use smoked transparent material that reveals the inside parts. If viewers take a closer look, the seat height is lower than on normal Honda motorcycles because the designer wants the rider to be close to the ground when riding the electric motorcycle EV Outlier Concept, changing their overall view and control. 

the rear light is attached to the backrest of the seat

Side mirrors replaced by cameras in the concept two-wheeler

The steering area includes a thin, wide digital meter, and the mirrors are replaced by cameras. The display shows riding information, with two separate screens: the upper display shows regular driving data, while the lower display shows motor power, front and rear torque balance, and riding modes. The rider can switch between driving modes. When doing so, the sub-display shows how the motors change power in real time. 

The design team used trial models to test proportions because electric motorcycles have different internal parts and old design rules for gas bikes couldn’t apply. The wheelbase, seat height, and overall size were tested repeatedly to find the right balance. For the electric motorcycle EV Outlier Concept, the Honda team uses modular components for the body to make the vehicle flexible for future development or maintenance. While the company plans to expand its electric motorcycle lineup, the EV Outlier Concept is not (yet) a production model but a test for future designs. 

there’s a singular frame connecting the front and the seat

the hooded panel at the front gives Honda’s concept electric motorcycle a flowing look

side view of the vehicle

the company reveals the vehicle at Japan Mobility Show 2025 | image © designboom

view of the bucket-style backrest

detailed view of the hooded panel at the front

designer Yuya Tsutsumi leads the Honda team for the creation of the concept model

project info:

name: EV Outlier Concept

company: Honda | @honda

event: Japan Mobility Show 2025 | @jama_jpn

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carbon-negative bamboo pavilion by cave urban gives new life to disused car park in bali

BALEBIO PIONEERS CARBON-NEGATIVE ARCHITECTURE IN BALI

BaleBio, a bamboo pavilion designed by Cave Urban for Bauhaus Earth’s ReBuilt initiative, pioneers carbon-negative architecture in Bali while reimagining the traditional communal spaces of the island for a changing climate. Rising above the sands of Mertasari Beach in Denpasar, the 84-square-meter structure transforms a disused car park into a living community hub, an open meeting space that merges environmental performance with social purpose.

In a city where coastal construction is often driven by tourism, BaleBio serves as a prototype for buildings that store carbon instead of emitting it and that house collective needs. Its design draws on the Bale Banjar, the traditional village hall central to Balinese social life, reinterpreting its open and inclusive layout through contemporary engineering and a new understanding of ecological responsibility.

all images by Iwan Sastrawan for Bauhaus Earth

barrel-vaulted roof shades the BAMBOO PAVILION

The sweeping, barrel-vaulted roof of the pavilion rises 8.5 meters above the beach. Crafted by the multidisciplinary design studio Cave Urban for the Bauhaus Earth research institution from slender bamboo rafters and clad in pelupuh (flattened bamboo), the canopy offers natural ventilation and passive cooling. Beneath it, a structural frame of laminated petung bamboo, locally sourced, resin-bonded, and compressed, delivers the strength and precision of steel or timber without the associated carbon cost.

All components were grown, processed, and assembled in Indonesia, establishing a circular supply chain. Construction combined traditional joinery techniques with precision-engineered fittings. Locally sourced volcanic rock, lime plaster, and repurposed terracotta roof tiles contribute to thermal mass and reduce embodied energy, integrating bio-based, geo-based, and reused materials into a coherent system.

designed by Cave Urban for Bauhaus Earth’s ReBuilt initiative

from cradle to construction: beyond zero emissions

A life cycle assessment conducted by environmental engineering consultancy Eco Mantra confirmed BaleBio as verifiably carbon-negative from cradle to construction. The project records an 110% reduction in embodied carbon compared with a conventional build, saving over 53 tonnes of carbon dioxide emissions, equivalent to planting more than 2,400 trees. In quantitative terms, its carbon outcome stands at –5,907 kilograms of carbon dioxide equivalent against a baseline of nearly 60,000 kg.

This rigorous evaluation extends the impact of the project beyond aesthetics or symbolism. By treating the building itself as a test case for a new value chain, Bauhaus Earth and its partners demonstrate the feasibility of carbon-negative construction at an architectural, social, and industrial scale.

this bamboo pavilion pioneers carbon-negative architecture in Bali

a regenerative anchor for local life

Since opening, BaleBio has become a gathering point for residents and visitors alike. What was once a neglected urban plot has turned into a public stage, classroom, and meeting place, reactivating local participation through design. The project’s collaborative process, with contributions from Warmadewa University, community organizations, and local artisans, makes sure that the pavilion remains rooted in its cultural context even as it experiments with global standards of sustainable construction.

For its combined achievements in material innovation, carbon performance, and civic value, BaleBio received three major international distinctions in 2025: the Australian Good Design Award for Social Impact, a commendation from the Built by Nature Prize, and Gold in Excellent Architecture at the German Design Award in the Circular Design and Fair & Exhibition categories.

These accolades highlight the broader ambition of the project to redefine what good design means in an age of climate urgency. BaleBio is part of Bauhaus Earth’s ReBuilt initiative, which seeks to catalyze systemic change in the construction industry through applied research, bio-based materials, and the development of cities as natural carbon sinks.

the sweeping, barrel-vaulted roof of the pavilion rises 8.5 meters above the beach

the design draws on the Bale Banjar

reimagining the traditional communal spaces of the island for a changing climate

crafted from slender bamboo rafters and clad in pelupuh

BaleBio positions itself as a prototype for buildings that store carbon instead of emitting it

a structural frame of laminated petung bamboo delivers the strength and precision of steel or timber

all components were grown, processed, and assembled in Indonesia

locally sourced volcanic rock, lime plaster, and repurposed terracotta roof tiles contribute to thermal mass

integrating bio-based, geo-based, and reused materials into a coherent system

project info:

name: BaleBio Pavilion

concept: Bauhaus Earth | @bauhaus_earth

design: Cave Urban | @caveurban

location: Mertasari Beach, Denpasar, Bali, Indonesia

area: 84 square meters

structural engineering: Atelier One

project management: Bamboo Village Trust

community engagement: Kota Kita, Warmadewa University

government engagement: Gamalaw

LCA analysis: Eco Mantra

manufacturing: Indobamboo, Kaltimber, Bhoomi, Bamboo Pure, Wedoo, Rothoblaas

materials: structural laminate bamboo (Dendrocalamus asper), reclaimed volcanic rock, recycled terracotta tiles, lime-plastered earth

carbon outcome: –5,907 kg CO₂e vs conventional baseline (~59,722 kg CO₂e)

funding: German Federal Ministry for the Environment, Climate Action, Nature Conservation and Nuclear Safety (BMUKN)

photographer: Iwan Sastrawan 

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vertical cuts split monolithic ‘cube within a cube’ suburban residence in cyprus

Kyriakos Miltiadou sculpts an Introverted Concrete home

Situated near a sparse forest with intriguing vistas over the suburbs of Nicosia, Cyprus, stands AER, a suburban residence by Studio Kyriakos Miltiadou. Rather than adopting a conventional residential typology that opens outward to offer uninterrupted views of the surrounding landscape, it rises as an austere, introverted box.

The architectural proposal constitutes a systematic elaboration of the primordial dwelling-box and its reinterpretation in relation to contemporary modes of domestic living. The design begins with a three-dimensional grid, a lattice of points forming the rudimentary outline of a box with a 14×17-meter plan. Fragments of the natural landscape gradually infiltrate the box, triggering its progressive fragmentation. Through this systematic process of erosion, a complex prismatic composition of voids and solids emerges. Four vertical concrete walls, six meters high, wrap around the fragmented box, holding its split volumes within a coherent yet fluid whole. Carved with vertical cuts, these walls act as mediators between the inside and outside world: filtering, protecting, framing, and revealing, fostering in this way a dialectical relationship with the forest, the city, and the sky.

The residence rises within its surroundings as an austere, sculpted box.

AER Residence unfolds in ‘A Cube Within a Cube’ formation

Acting as a ‘collector,’ the box absorbs both tangible and intangible layers of its surroundings, reinterpreting them in relation to the family’s domestic life. What emerges morphologically is at first unfamiliar and deeply primal: a cube nested within a cube. An austere yet perforated shell is encased within another, standing as an archaic stone within its context. A vertical slit on the east facade serves as the entrance, marking arrival and emphasizing the transition from the exterior to the inner world of the building, designed by Studio Kyriakos Miltiadou. The first encounter is with an open yet sheltered garden, a central space that becomes a key compositional element around which the family’s daily life unfolds. This focal point is part of a continuous network of outdoor spaces, passages, and courts that surround the built mass of the house vertically and horizontally. Planted with local vegetation and filled with abundant natural light from above, they form a unique inner ‘garden’ nestled within the broader landscape ‘garden.’

The building is monolithic, constructed entirely from exposed concrete.

AER’s design Blurs Boundaries Between Living and Landscape

Internally, the house is organized across four distinct levels, always in relation to the surrounding network of outdoor spaces. On the ground floor lie the public areas, the kitchen, dining room, and living space. On the upper level, the private rooms unfold across two different planes. Intermediate spaces are used to provide a fluid arrangement between the functional units of the house, softening the boundaries between the public and private spheres of domestic life. A hidden external staircase leads to a small rooftop terrace above. Here, the roof dissolves into the intense Mediterranean blue of the sky, while much of its surface is planted with natural vegetation, fostering unique conditions for the creation of a microclimate. A horizontal aperture at the far end frames a captivating view of the forest and the distant mountain ranges.

The structural and architectural design operates as a unified entity. The building is monolithic, constructed entirely from exposed concrete. The sculpted surfaces envelop human activity, transforming it into a dwelling space. Over time, vegetation climbs and gradually softens the monolithic presence of the structure. The interplay between human activity, architecture, and nature becomes continuous and inseparable.

Carved with vertical cuts, the concrete walls frame and highlight intriguing views of the surrounding environment.

A continuous network of outdoor spaces and pathways surrounds the interior spaces of the building.

An external staircase leads to a hidden rooftop terrace.

Part of the building’s roof is planted with native vegetation, enhancing its bioclimatic performance.

Planted with local vegetation and filled with abundant natural light from above, they form a unique inner ‘garden’ nestled within the broader landscape ‘garden’.

All functional areas of the residence are organized around a central atrium space.

The interior spaces of the residence are organized on four distinct levels, always in relation to the enclosed outdoor garden.

Large sliding glass doors blur the boundaries between the interior and exterior spaces of the residence.

Acting as a ‘collector’, the box absorbs both tangible and intangible layers of its surrounding, reinterpreting them in relation to the family’s domestic life.

Four vertical walls, each six meters high, surround the main volume of the building, creating a dialectical relationship between the interior and exterior of the residence.

project info:

name: AER

architect: Kyriakos Miltiadou | @kyriakos.miltiadou
design team: Kyriakos Miltiadou, Maria Tsoupani
location: Nicosia, Cyprus

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 vertical cuts split monolithic ‘cube within a cube’ suburban residence in cyprus appeared first on designboom | architecture & design magazine.

red bivouac shelter in the alps becomes high-altitude base for bergamo’s modern art gallery

Aldo Frattini Bivouac: high-altitude base for GAMeC in Orobie Alps

GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo and the Bergamo Section of the Italian Alpine Club (CAI) unveil the new Aldo Frattini Bivouac, designed by EX. for The Orobie Biennial: Thinking Like a Mountain. Located at around 2,300 meters above sea level along the Alta Via delle Orobie Bergamasche in Val Seriana, Bergamo, Italy, the structure acts as both a mountain refuge and a cultural outpost. It is not conceived as a gallery or exhibition space but as a permanent shelter that offers a place of protection and rest, while establishing a dialogue between architecture, landscape, and contemporary culture.

The project is part of a wider exploration of the relationship between art, territory, and ecological systems. Developed with the support of Fondazione Cariplo and Fondazione della Comunità Bergamasca, the bivouac extends GAMeC’s cultural network into the alpine environment, proposing architecture as a medium of presence and observation rather than display.

GAMeC – EX._New Frattini Bivouac_Ph. T. Clavarino

a Lightweight, Reversible refuge Engineered for Alpine Conditions

Designed by EX., a design laboratory founded by Andrea Cassi and Michele Versaci working at the intersection of architecture, landscape, and technology, the bivouac adopts a lightweight and reversible construction system intended for minimal environmental impact. Its form recalls a classic alpine tent, referencing early mountaineering structures while integrating contemporary engineering and materials.

Developed in collaboration with Ferrino, a company known for outdoor equipment, the shelter features a technical textile skin engineered to withstand severe weather conditions. The structure is among the first permanent textile-based emergency shelters in an alpine setting, an experimental prototype combining sustainability, rapid assembly, and spatial efficiency. Weighing approximately 2,500 kilograms and occupying a footprint of around 2.5 sqm, the bivouac is compact (3.75 × 2.60 × 2.60 m) and optimized for ease of installation in remote contexts. The interior is lined with natural cork, offering thermal and acoustic insulation while maintaining a warm, tactile environment.

GAMeC – EX._New Frattini Bivouac_Ph. T. Clavarino

Dual-Function Shelter: Refuge and Environmental Observatory

The layout accommodates up to nine people, with perimeter benches and foldable beds inspired by climbing portaledges that can also serve as emergency stretchers. This dual-purpose design underscores the bivouac’s functional flexibility as both a place of refuge and a survival station. A skylight and two porthole windows introduce natural light, while the cork surfaces and contained acoustics create a calm, introspective atmosphere. The design references Shelter (1973) by Lloyd Kahn and Bob Easton, a study of self-built and temporary dwellings, and applies the ‘shearing layers’ theory by Stewart Brand and Frank Duffy, viewing architecture as a dynamic system capable of adaptation.

Beyond its role as a refuge, the Aldo Frattini Bivouac also functions as a scientific monitoring station. Integrated sensors collect environmental data on local climatic and ecological conditions, transmitting real-time information to GAMeC’s headquarters in Bergamo. Through this dual function, as both a shelter and an environmental observatory, the project redefines the idea of permanence in high-altitude architecture. It proposes a form of construction that listens to the landscape rather than imposing upon it, aligning with Thinking Like a Mountain’s broader exploration of sustainability, cultural presence, and the fragile balance between human activity and the natural environment.

GAMeC – EX._New Frattini Bivouac_Ph. T. Clavarino

GAMeC – EX._New Frattini Bivouac_Ph. T. Clavarino

GAMeC – EX._New Frattini Bivouac_Ph. T. Clavarino

GAMeC – EX._New Frattini Bivouac_Ph. T. Clavarino

GAMeC – EX._New Frattini Bivouac_Ph. T. Clavarino

GAMeC – EX._New Frattini Bivouac_Ph. T. Clavarino

GAMeC – EX._New Frattini Bivouac_Ph. T. Clavarino

GAMeC – EX._New Frattini Bivouac_Ph. T. Clavarino

GAMeC – EX._New Frattini Bivouac_Ph. T. Clavarino

project info:

name: Aldo Frattini Bivouac
architect: EX. | @studioex.space

lead architects: Andrea Cassi, Michele Versaci

organizers: GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo | @gamec_bergamo, Bergamo Section of the Italian Alpine Club (CAI)

program: The Orobie Biennial: Thinking Like a Mountain

location: Alta Via delle Orobie Bergamasche in Val Seriana, Bergamo, Italy

photographer: Tomaso Clavarino | @tomasoclavarino

supported by: Fondazione Cariplo and Fondazione della Comunità Bergamasca

thanks to: Sacbo S.p.A.; Abitare Legno S.r.l.; Ferrino S.p.A.; Tecnosugheri S.r.l.

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 red bivouac shelter in the alps becomes high-altitude base for bergamo’s modern art gallery appeared first on designboom | architecture & design magazine.