vipp’s newest lofoten guesthouse is designed like a norwegian fishing cabin on stilts

logg arkiteketer lands in norway

Along the northern coast of Norway, the Lofoten archipelago extends into the sea, looking outward to the peaks, fjords, and inlets shaped by ice and wind. On Storemolla island, Danish design brand Vipp has unveiled its latest guesthouse — a timber structure designed by LOGG ARKITEKTER that perches lightly atop an array of stilts above the shoreline.

Part of the new True North Lofoten Village, the cabin joins a series of contemporary lodgings masterplanned by Snøhetta, where architecture and landscape coexist in deliberate balance. The project gathers a small constellation of buildings by Norwegian studios, creating a community that rethinks how visitors engage with the region’s raw and exposed environment.

images courtesy Vipp

a timber vipp guesthouse on the norwegian coast

The Vipp guesthouse continues a lineage of simple wooden structures that once supported the fishing culture of Lofoten, Norway. For centuries, Storemolla’s skippers anchored their boats beside modest one-story rorbuer cottages raised on stilts above the tide. LOGG ARKITEKTER extends that vernacular logic with a structure that reads as both cabin and boathouse, resting on slender stilts anchored in the rock.

‘The intention was to dissolve the boundary between shelter and seascape,’ explains Diederik Advocaat Clausen of LOGG ARKITEKTER. ‘Each unit is a precise timber structure, designed with minimal expression and a strong directional focus toward the sea.’ The cabin’s weathered wood exterior and sharp geometry make it appear at once transient and in place — an architecture that respects the vastness of its setting.

Vipp opens a new guesthouse by LOGG ARKITEKTER on Norway’s Storemolla island

arctic hospitality in Lofoten

True North Lofoten Village emerged from a shared ambition to create a responsible model of Arctic hospitality. Snøhetta’s Kjetil Trædal Thorsen describes the challenge as one of quiet integration: ‘Working in a place as breathtaking and ecologically sensitive as Lofoten demands a meaningful response. True North Village honors the region’s heritage by engaging in dialogue with the landscape and the local community.’

This measured approach extends to the project’s rhythm of built and unbuilt space. Between each cabin, the terrain remains untouched — moss, stone, and seaweed forming the connective tissue of the village. The architecture, intentionally sparse, acts as an invitation to inhabit the environment rather than frame it.

For Vipp, the Lofoten guesthouse represents the thirteenth entry in its growing portfolio of bookable retreats. ‘Our palette of guesthouses explores different architectural typologies,’ says Kasper Egelund, CEO and third-generation owner. ‘The products remain constant, but the surroundings transform the experience. Lofoten stands as one of the most striking natural settings in the north.’

the project is part of True North Lofoten Village masterplanned by Snøhetta

the timber cabin stands on slender legs above rock formations extending into the sea

LOGG ARKITEKTER shapes the structure as a contemporary interpretation of fishermen cottages

large windows frame uninterrupted views of the shifting Arctic light and sea

project info:

name: Vipp Guesthouse

brand: Vipp | @vipp

cabin architect: LOGG ARKITEKTER | @loggarkitekter

masterplan architect: Snøhetta | @snohetta

location: Lofoten, Norway 

completion: October 2025

photography: © Vipp

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modular delivery truck can expand, shrink or remove its body and wheels to fit any cargo

Expandable modular delivery vehicle by isuzu and UD trucks

Isuzu and UD Trucks bring out the prototype of their modular delivery vehicle that can expand or shrink with its removable body and wheels during the Japan Mobility Show 2025. Dubbed the Vertical Core Cycle Concept, the flexible vehicle, on view at the event between October 30th and November 9th, can connect with different containers or cabins depending on what is being transported, whether it is delivery, logistics, or passengers. 

The highlight of the design is the vertical frame, which allows Isuzu’s modular delivery truck to attach and detach modules in both vertical and horizontal directions. For example, a cargo box can be lifted and replaced with another one, or a passenger cabin can be mounted instead. It is this flexibility that makes it possible for the vehicle to use the same base for multiple purposes during the ride or delivery so there’s no need to use other cars or transport systems. The prototype shown at the event includes several connected units, with the front section working as the driving module and the rear part showing how the wheels with surface panels can be removed or adjusted depending on the size of the cargo to be delivered.

image © designboom

Removable cargo modules on view at japan mobility show 2025

At Japan Mobility Show 2025, visitors can see the front part of Isuzu and UD Trucks’s modular delivery truck can work on its own like a mini car. It holds the cabin with sensors, cameras, and control systems and, potentially, the electric motors that power the wheels and batteries for energy storage. Behind the front unit are cargo modules, which attach to the same vertical frame, and each module has its own wheel set that can move independently. 

This helps balance the load and allows easy connection or removal. The cargo modules are also shaped like boxes with a flat surface, so it is easy for them to hold different-sized goods, equipment, or other payloads. The car manufacturer and vehicle company may use mechanical locking joints and electronic connectors to make the modular connection setup work. So far, Isuzu and UD Trucks have made no announcements on the commercial availability of their modular delivery truck, but at the Japan Mobility Show 2025, the event serves as a platform for them to showcase how future cargo vehicles can have separate, smaller parts to produce a multipurpose ride. 

Isuzu and UD Trucks bring out the prototype of their modular delivery vehicle | image © designboom

the front part can work on its own like a mini car | image © designboom

the cargo modules are adjustable depending on the cargo being shipped | image © designboom

the wheels are connected to flat surfaces that hold the cargo | image © designboom

view of the entire vehicle and system | image courtesy of Isuzu and UD Trucks

project info:

name: Vertical Core Cycle Concept

companies: Isuzu, UD Trucks | @isuzumotors_official, @udtrucksjp

event: Japan Mobility Show 2025 | @jama_jpn

dates: October 30th to November 9th, 2025

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ceiling of recycled plastic crates expands over brutalist supermarket in mallorca

Recycled Plastic and Concrete create Brutalist Supermarket

Plastic Box, designed by Minimal Studio, reinterprets the supermarket as a site for architectural exploration, combining brutalist minimalism with circular design principles. The building in Mallorca, Spain, is enclosed within a monolithic concrete shell, establishing a clear and austere framework for the retail space. The ceiling is composed of over a thousand recycled plastic crates, arranged modularly to diffuse natural and artificial light while accommodating technical infrastructure, integrating utility and structure into a cohesive architectural element. Reused materials, sculptural counters, and indirect lighting contribute to a spatial system that emphasizes material clarity, structural logic, and functional economy.

all images by Leonardo Cóndor

Minimal Studio Translates Brutalist Principles Into a Retail Space

The project developed by Spanish practice Minimal Studio draws on minimalist brutalist precedents to redefine the urban commercial typology. The concrete envelope, articulated through geometric volumes and clean lines, conveys structural solidity and permanence. Facade openings are treated as dark portals, marking the transition from exterior to interior and emphasizing the contrast with the illuminated retail space.

The modular crate ceiling is both functional and architectural. Each crate filters light and produces geometric shadow patterns that evolve with the sun’s movement. The crates also house integrated LED lighting, ventilation systems, and rainwater collection, demonstrating the combination of aesthetic intent and practical application.

Plastic Box by Minimal Studio redefines the supermarket as a space for architectural experimentation

Steel, Concrete, and Light Shapes Minimal Studio’s Plastic Box

Within the interior, steel shelving, polished concrete floors, and monolithic sculptural checkout counters continue the brutalist design language. Indirect lighting accentuates product displays through shadow and contrast, while reclaimed and repurposed elements throughout the space challenge conventional retail norms. Minimal Studio’s Plastic Box repurposes industrial components, structurally and visually, creating a supermarket that merges sustainability, material exploration, and spatial experimentation.

the project integrates brutalist minimalism with principles of circular design

over a thousand recycled plastic crates form the modular ceiling system

each crate doubles as a housing for lighting, ventilation, and rainwater systems

the ceiling diffuses both natural and artificial light across the retail space

concrete geometry defines the building’s volumetric composition and sense of permanence

project info:

name: Plastic Box | Akelarre Supermarket
architect: Minimal Studio | @minimalstudiodesigns

lead designer: Juan David Martínez Jofre

location: Port of Pollensa, Mallorca, Spain

usable floor area: 193 sqm

client: Voramar Store

photographer: Leonardo Cóndor

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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KAWS lands in renaissance florence with large-scale timber installation ‘the message’

‘Kaws: the message’ arrives at Palazzo Strozzi

A new large-scale installation, KAWS: THE MESSAGE occupies the Renaissance courtyard of Palazzo Strozzi in Florence. The work will stand within the arcaded courtyard from October 29th, 2025 to January 25th, 2026. The installation, commissioned by Fondazione Palazzo Strozzi and Fondazione Hillary Merkus Recordati, brings a pair of monumental wooden figures into one of the city’s most ordered public spaces.

Stepping into the open-air stone-paved loggia, the two sculptures each stand over six meters tall. Their material presence is warm and tactile to contrast with the cool grey stonework of the surrounding colonnade.

‘KAWS: THE MESSAGE’, Palazzo Strozzi, Florence, 2025. photo © Ela Bialkowska, OKNO studio © KAWS

sculpted timber in florence’s renaissance-era stone

The timber installation KAWS: THE MESSAGE introduces a warmth into the courtyard’s otherwise stony atmosphere. The figures face each other across a low plinth, forming an axis aligned with the palace’s central passage. The symmetry of the courtyard amplifies their positioning: arches and windows appear to frame the dialogue between the two characters.

The artist’s use of wood rather than resin or metal allows the sculptures to absorb the light and shadow that shift throughout the day. Their smooth surfaces and minimal joints convey solidity while maintaining a subdued finish. The scale — imposing yet contained — makes the height of the loggia newly perceptible, and reveals how the architecture manages proportion and rhythm.

KAWS presents a new large-scale installation in the courtyard of Palazzo Strozzi in Florence

a reinterpretation of fra angelico’s annunciation

The installation coincides with Palazzo Strozzi’s exhibition dedicated to Fra Angelico, drawing a conceptual link between Renaissance painting and contemporary form. KAWS reinterprets the traditional theme of the Annunciation through his characters COMPANION and BFF, each absorbed by the glow of a mobile phone. The gesture translates a historic moment of revelation into a language of digital communication.

This correspondence unfolds spatially. The Renaissance courtyard, conceived as a civic meeting ground, becomes a place of suspended communication. Visitors pause under the arcades, aware of the height of the columns and the openness above. The work redefines the threshold between interior and exterior, private reflection and public encounter.

two wooden figures over six meters tall stand in dialogue within the Renaissance architecture

The initial impression is of stillness and scale. The two figures command attention but remain serene, their gestures understated. Sound gathers softly under the arcades — the scrape of shoes on stone, a faint echo that anchors the experience within the architecture. The wooden surface, faintly warm to the touch, contrasts with the cool air circulating through the courtyard.

Light defines much of the encounter. It enters from above, diffused by the surrounding loggia, casting shadows that elongate and merge with the columns. The figures catch the changing tones of day, from morning brightness to the low gold of evening. The architecture’s rhythm of arches and bays provides a slow visual cadence that complements the measured posture of the sculptures.

warm wood contrasts with the grey pietra stone and classical proportions of the courtyard

the figures reference Fra Angelico’s Annunciation through a contemporary lens

the installation is part of the Palazzo Strozzi Future Art program

project info:

name: KAWS: THE MESSAGE

artist: KAWS | @kaws

location: Florence, Italy

dates: October 29th, 2025 to January 25th, 2026

photography: photo © Ela Bialkowska, OKNO studio © KAWS © Shaniqwa Jarvis (portrait)

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netflix’s iconic VFX studio, eyeline, unveils new global rebrand by los york

Brand refresh by Los York redefines Eyeline’s visual identity

Eyeline (formerly Scanline VFX and Eyline Studios) entered a new chapter, one rooted in ambition, scale, and a renewed creative vision. As Netflix’s premiere VFX partner, the studio needed an identity that reflected both its evolution and its future. This brand refresh by Los York set out to do just that.

Eyeline partnered with Los York to help translate their vision into a modern identity. One that doesn’t lean on nostalgia or legacy, but instead signals creativity, flexibility, and a high-touch approach. The ask was twofold: create a system that could attract the world’s top filmmakers and producers, people looking for a studio capable of bringing ambitious ideas to life, and, at the same time, appeal to a new generation of VFX talent, engineers, and artists shaping the next wave of the industry. The result is a brand built for makers. Boutique in spirit. Global in scale. This isn’t a pipeline. It’s a playground.

all images courtesy of Los York and Eyeline

Eyeline reimagines pixel as the foundation of its rebrand

The creative system is anchored in a deceptively simple idea: the pixel as origin. One spark. One drop. One building block that unlocks infinite visual potential. That foundational concept inspired a modular, expressive design language. Each of Eyeline’s three divisions, VFX, Studios, and Labs, is associated with one of the RGB channels, a nod to the elemental forces behind image-making. From those three colors, an expansive system unfolds, one that flexes from micro to macro, from minimal marks to large-scale grid-based environments. Eyeline’s new identity, designed by creative company Los York, is a toolkit for creative exploration. Built around custom typographic forms, grid logic, and a dynamic palette, it was designed to adapt, not dictate. One pixel becomes a portal. One mark becomes a world. The system is built for scale but never loses its sense of wonder. It’s vivid, modern, and made for makers.

Eyeline enters a new chapter with a redefined creative identity

a new identity for Netflix’s premiere VFX partner

the pixel becomes the foundation of Eyeline’s new identity

Eyeline’s new system attracts both filmmakers and emerging VFX talent

the rebrand signals creativity, flexibility, and global scale

the design system grows from elemental color into expansive form

modular grids define the visual logic of the new identity

custom typography anchors the rebrand’s expressive structure

project info:

name: Netflix Eyeline Brand Refresh
designer: Los York | @los_york

brand: Eyeline | @eyelinestudios

CCO, owner: Seth Epstein

MD, partner: Melina Osornio

executive creative director: Scott Hidinger

head of brand partnerships: Nikki Peddie

executive producer, studio: Tita Poe

director of operations, production: Colin Rieser

brand partner: Lara Wilinksky

senior producer: Shawn Kelley

creative director: Michael Mavian

brand strategist: Ritesh Gupta

associate creative director: Radu Pose

art director: Berni Charadia

senior editor: Lin Wilde

editor: Chip Sneed

designer: Megan Ng

animator: Ha Eun Chang

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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cluster of interwoven white courtyard houses reinterprets ancient kilns for resort in china

Domain Architects’ Hermit Resort Reinterprets Ancient Kiln Forms

Located near the historic Xing Kiln Ruins in Hebei Province, China, Hermit Resort by Domain Architects draws direct inspiration from the site’s archaeological and cultural context. The project responds to its proximity to the 1,500-year-old kiln remains, where the original layout of multiple chambers arranged in a horseshoe formation around a small courtyard remains visible despite centuries of erosion.

The site itself is part of a relocated village, leaving behind fragmented stone walls and traces of settlement on a gentle slope by a stream. Domain Architects approached the project as an opportunity to create a new form of ‘relic,’ a built environment that bridges the present and the ancient, embracing the aesthetic tension between order and decay. The design references the compositional principles of the historic kilns: spatial clustering, partial enclosure, and the interrelationship of architecture and landscape.

Hermit Resort sits near the ancient Xing Kiln Ruins in Hebei Province, China | all images by ZHANG Chao

Cluster of Interwoven Courtyard buildings shapes Hermit Resort

Rather than a singular building, the resort is conceived as a collection of small, single-story structures that form a loose settlement within the terrain. Structural elements such as beams, walls, and courtyards interlace, creating an intentional ambiguity between interior and exterior spaces. Each of the 50 guest rooms includes a private courtyard. The interior spaces semi-enclose the courtyard in a horseshoe configuration, mirroring the geometry of the original kiln sites. This arrangement dissolves the clear distinction between inside and outside, allowing guests to experience the architectural space as an extension of the surrounding landscape.

Materiality and spatial composition emphasize the passage of time and the coexistence of structure and nature. The interplay of light, shadow, and texture changes with weather and time of day, reinforcing the resort’s relationship to its environment. With Hermit Resort, Domain Architects Studio introduces a model of contemporary hospitality that engages directly with historical memory, landscape, and architectural evolution, inviting occupants to inhabit a space suspended between the past and the future.

the resort draws inspiration from the 1,500-year-old kiln chambers found nearby

Domain Architects reinterprets the spatial logic of the historic kilns

each of the 50 guest rooms features its own private courtyard

architecture and terrain interweave to create a settlement-like composition

courtyards, beams, and walls merge, softening the boundary between inside and out

the resort is conceived as a modern ‘relic’ within a living landscape

a cluster of small, single-story buildings replaces the idea of one central structure

interior spaces semi-enclose the courtyards, recalling the kiln’s horseshoe form

shifting light and shadow animate the resort throughout the day

a pool at the end of the alleyway anchors the resort’s composition

project info:

name: Hermit Resort

architect: Domain Architects | @domain_architects

lead architect: Xu Xiaomeng

design team: Xu Xiaomeng, Hannah Wang, YANG Jie

location: Xingtai, Hebei, China

photographer: ZHANG Chao

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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autonomous wheelchair with foldable tentacle legs can climb stairs and sit on the floor

Toyota unveils autonomous wheelchair with foldable legs

During Japan Mobility Show 2025, Toyota reveals ‘walk me,’ a concept autonomous wheelchair with foldable tentacle legs that can climb stairs and sit on the floor. On view at the event between October 30th and November 9th, the assistive device helps people with reduced mobility to move around places where traditional wheelchairs aren’t able to, including walking up and down between floors and lifting the users to their cars. Toyota’s autonomous wheelchair replaces the traditional wheels with four robotic and foldable legs that move like animal limbs. 

Each leg can lift, bend, and adjust its position on its own, and this lets the device move across steps or rough ground. The seat has a supportive frame that holds the user in a safe and upright position, and the backrest curves to follow the shape of the user’s back. The user asks the device to move around using the small side handles or a control interface that can include buttons. The foldable legs of Toyota’s concept autonomous wheelchair also come with soft-looking outer covers to protect the inside parts as well as the sensors.

all images courtesy of Toyota

An Assistive device at japan mobility show 2025

The project was presented by Toyota during Japan Mobility Show 2025 as part of the company’s research into personal mobility solutions. It is intended for daily use by people who have limited mobility but still need to move between levels or uneven terrains. The team has studied how users transfer weight, how steps are climbed, and how the device can stay secure on different surfaces for their autonomous wheelchair with foldable legs.

Besides movement, the chair includes folding functions. The legs can retract into a compact shape for storage or transport, allowing the device to fit into cars or small indoor spaces. When activated again, the legs extend automatically, and the system stabilizes itself before movement begins. The concept is still a prototype revealed at the event, and Toyota has yet to announce its commercial production. It shows, though, how future assistive devices could help people move between surfaces, especially with an autonomous wheelchair and its foldable legs.

the concept assistive device ‘walk me’ can climb stairs on its own

the concept device can also lift the users to their cars

the legs can fold and move individually

Toyota’s autonomous wheelchair with foldable legs can even sit or kneel on the floor

the seat has a supportive frame that holds the user in a safe and upright position

project info:

name: walk me

company: Toyota | @toyota_jp

event: Japan Mobility Show 2025 | @jama_jpn

dates: October 30th to November 9th, 2025

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is this what saudi arabia’s sky stadium for 2034 FIFA world cup will look like?

AI-generated ‘Sky Stadium’ in saudi arabia goes viral

In recent days, dramatic images and videos of a football pitch hovering 350 meters above the desert have gone viral online, sparking global fascination and confusion. The visuals depict what social media users call Saudi Arabia’s Sky Stadium, a futuristic arena seemingly nestled atop a skyscraper. While many international outlets have circulated the renderings as part of the Kingdom’s World Cup 2034 preparations, sources mention that these viral visuals are AI-generated concept art, not released by NEOM or the Saudi Ministry of Sport.

The viral renderings appear to exaggerate a real project described in Saudi Arabia’s official 2034 World Cup bid (find designboom’s previous coverage here): the NEOM Stadium, planned within THE LINE megacity. Unveiled in July 2024 alongside Saudi’s formal bid submission to FIFA in Paris, the NEOM Stadium is envisioned as the world’s first sky stadium, an elevated venue suspended roughly 350 meters above ground, seating around 46,000 spectators. According to the bid book, it will run entirely on renewable wind and solar energy, and after the tournament will serve as a permanent home for a NEOM-based professional football club. Construction is expected to begin in 2027 and complete by 2032.

image via @CWMiddleEast

mega-ambitious plan for fifa world cup 2034

The NEOM Stadium forms part of Saudi Arabia’s sweeping plan for the 2034 FIFA World Cup, the largest edition ever staged in a single nation. Under the slogan Growing. Together., the country’s official bid unveiled 15 advanced stadiums across five host cities — Riyadh, Jeddah, Al Khobar, Abha, and NEOM. Eleven of these venues are entirely new, while four existing ones will be refurbished and expanded to meet FIFA standards.

Among the headline projects are King Salman International Stadium in Riyadh, designed by Populous to seat 92,000 and host the opening and final matches; Prince Mohammed bin Salman Stadium in Qiddiya, featuring a three-sided bowl overlooking the Tuwaiq cliffs; and Aramco Stadium in Al Khobar, a whirlpool-inspired design by Foster + Partners along the Arabian Gulf. Each of these projects emphasizes sustainability, accessibility, and legacy reuse — aligning with the Saudi Green Initiative and Vision 2030 goals.

While the Sky Stadium concept has been officially acknowledged through the Saudi 2034 bid documents, no separate press release or construction launch has been issued for a skyscraper-top venue like those seen in AI videos. As of late 2025, Saudi officials have not confirmed any new details beyond the bid documentation. The spectacular imagery circulating online remains fan-made speculation, visualizing the futuristic ambition of NEOM rather than depicting an approved architectural design. In other words, the NEOM Stadium is real, but the floating, city-top version trending online seems to not yet be part of its built reality. The official plan remains a conceptual proposal, awaiting further design development within the broader construction of THE LINE.

NEOM Stadium

King Salman International Stadium

Qiddiya Coast StadiumKing Fahad Sports City Stadium

King Fahad Sports City Stadium

New Murabba Stadium

King Khalid University Stadium

Aramco Stadium

South Riyadh Stadium

Prince Faisal bin Fahad Sports City Stadium

Jeddah Central Development (JCD) Stadium

King Saud University Stadium

project info:

name: Sky Stadium

event: Saudi Arabia FIFA World Cup 2034 bid | @saudi2034bid

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interview: paul smith classically twists production-ready MINI edition

MINI PAUL SMITH EDITION debuts at japan mobility show 2025

MINI and Sir Paul Smith unbox product-ready cars at the Japan Mobility Show 2025 in Tokyo. Following the minimalist MINI STRIP (2021) and the electrified MINI Recharged (2022), the MINI Paul Smith Edition infuses the celebrated British designer’s world-famous aesthetic – ‘classic with a twist’ – into the new MINI family. Available for all MINI Cooper 3-door, 5-door, and convertible models, the new edition masterfully blends shared heritage with a playful, optimistic, and independent spirit.

designboom interviews Sir Paul Smith and Holger Hampf, Head of MINI Design, to delve into the history, shared philosophies, and latest design that drive the two British brands’ enduring, long-term relationship.

MINI X PAUL SMITH HIStory

With the MINI Paul Smith Edition debuting at the Japan Mobility Show 2025, the partnership between the two British brands already holds particular significance in the country. Sir Paul Smith’s dedication to the Japanese market is evident in his respectful, committed approach, continuous visits since the 1980s, and near 140-strong shops in the country. Holger Hampf echoes MINI’s loyalty, emphasizing the Japanese influence in keeping the brand afloat in 1980 and 90s when all other global production had been halted. This mutual respect forms the bedrock of a long-term collaboration that started in 1998 with a uniquely blue Classic MINI and, over the past few years, also introduced the STRIP and Recharged.

‘Discussions about near-future collaborations started right after we finished the STRIP,‘ explains Holger Hampf, Head of MINI Design, to designboom. ‘It is my favorite show car. I love the honesty in the concept. And from there on, our conversation continued with the Recharged and now Paul Smith Edition.‘

BRITISH CLASSIC WITH A TWIST

Discussing the collaborative design process in the latest edition, Holger Hampf describes a methodology centered on provoking ideas and fostering confidence in every design decision. Sir Paul Smith’s input brings an element of irreverence and an artistic view, most notably through the use of vibrant, colorful elements – a key feature that defines his aesthetic.

‘I use the word irreverence quite a lot when I’m styling for my shows,‘ admits Sir Paul Smith. ‘In the early days, when I first started in this 1970s, men were dressing in a very classical way. It was considered really risque to wear a colorful sweater or anything. I learnt to nudge against these rules. For instance, a denim shirt with a cashmere suit is exactly wrong but that is what makes it right. The choice shows your personal confidence, artistic view or something. That is why I give the customer the ability to have a bit more fun in a quite classic outfit. Now, this irreverence is shown in production MINIs.‘

The design philosophy shared by both the fashion and automotive icons converge on minimalist and sustainable design elements. Sir Paul Smith’s long-standing use of natural materials like bamboo in his fashion designs and shop interiors is a testament to his commitment to sustainability. This is reflected throughout his MINI collaborations, starting with the STRIP and now the 100% recyclable Vescin-textile interior of the Paul Smith Edition.

‘Sustainability should be automatically considered these days,‘ clarifies Sir Paul. ‘Anyway, we do it in everything we design: we make shirting from bamboo, our in-house-designed shops include nature, and we made sure the Edition cars considered its materials too.‘

This overlap of design philosophies is crucial in realizing a new collaboration between the two brands. Sir Paul Smith  and Holger Hampf explain that three color choices are inspired by a careful observation of architecture as well as natural elements. A standout feature, however, is the specially created Nottingham Green paintwork – a deliberate tribute to Sir Paul’s hometown – which adds sophisticated accents to the side mirrors, the octagonal radiator grille, the wheel hub covers with Paul Smith lettering, and as the paintwork for one of the two roof variants. Further exterior detailing includes the ‘signature stripe,’ a central Paul Smith design feature, that colorfully adorns the roof on the driver’s side.

‘I look everywhere for inspiration about color. This is not just through very obvious artists like Matisse, but also through the Renaissance who had an amazing use of color combinations. Sunsets, shooting stars, and even my hometown lend imagination for different tones in my work,‘ notes Sir Paul.

Holger then adds: ‘Take a look at some of the details on the car. There are certain corners where materials and colors come together, such as the Nottingham Green, for example. This precision is very typical for automotive design. When different colors are applied, it creates very interesting discoveries, which we now see on the new models.‘

The British ‘classic with a twist’ character extends into the interior with a modern, elegant look. The dashboard and door panels feature black knitted surfaces, while the nightshade blue sports seats are made of Vescin with knitted textile in the shoulder and headrest areas. The steering wheel’s textile band features decorative stitching in bright colors drawn from the same signature stripe on the exterior  – quintessentially Paul Smith.

‘The features give a very MINI welcome,‘ confirms Holger. ‘Paul Smith is positive and friendly, and so the car greets drivers and passengers in a very personal way. I love the handwritten signatures throughout the interior. It is very casual – and that’s also what MINI is all about.‘

The fashion designer’s playful spirit is evident in the small, hidden details that bring an element of joy and discovery to the car: a graphic of a stylized, hand-drawn ‘rabbit’ on the floor mat, and upon opening the door, the driver and passenger are greeted with a handwritten ‘hello’ as a light projection on the floor. Sir Paul Smith’s positive motto, ‘everyday is a new beginning,’ is inscribed on the door sill. This thoughtful integration achieves the desired balance between classic and artistic elements that matches so well with the bold, playfulness of MINI.

This enduring collaboration, which began back in 1998, has consistently resulted in unique styling. From the fashion designer’s limited edition classic MINI in a specially created blue, to the 1999 one-off celebrating the classic’s 40th birthday with 86 stripes in 26 colors, the partnership is centered on friendship, fun, and creative synergy. As Holger Hampf looks forward to the next steps, Sir Paul Smith assures that the collaboration is not just creatively rewarding but grounded in a practical and sustainable long-term vision. The MINI Paul Smith Edition is thus more than just a car; it is a shared mindset that ‘everyday is a new beginning’.

project info:

brands: MINI and Paul Smith

design: MINI Paul Smith Edition

model: MINI Cooper 3-door, 5-door, and convertible

debut location: Japan Mobility Show

debut date: 29 October 2025

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studio gang completes harvard’s first mass timber building, a low-carbon landmark in boston

Studio Gang completes Harvard’s David Rubenstein Treehouse

Studio Gang completes the David Rubenstein Treehouse at Harvard University in Boston, a project that redefines the typology of the conference center through a sustainable and community-oriented lens. Open within the Enterprise Research Campus (ERC) in Allston, the 5110-square-meter building serves as Harvard’s first university-wide hub for convening and its first mass timber structure, setting a benchmark for low-carbon architecture both on campus and in Boston at large.

Designed with accessibility in mind, its ground floor features multiple entry points, a transparent facade, and a welcoming atmosphere. A double-height lobby connects to two year-round covered porches, promoting indoor-outdoor interaction. ‘As a Harvard alumna and faculty member, it’s so rewarding to help define a new chapter for Harvard’s campus,’ shares Jeanne Gang, Founding Partner of Studio Gang and Kajima Professor in Practice of Architecture at the Harvard Graduate School of Design. ‘The Rubenstein Treehouse is a building that opens itself up, welcomes all people, and serves as a visual and programmatic anchor to the ERC. Its exposed mass timber structure demonstrates Harvard’s commitment to a more sustainable future.’

all images by Jason O’Rear, unless stated otherwise

harvard’s Immersive Mass Timber ‘treehouse’

The architects at Studio Gang design the Harvard building to host meetings and events within its two upper floors, its design inspired by the experience of climbing into a treehouse. A central staircase, illuminated by skylights, highlights the natural beauty of the mass timber structure, which forms the building’s backbone. 

Visitors enter through three ground-floor entrances that lead to a double-height atrium, extending onto two covered porches that encourage year-round indoor-outdoor gathering. A central staircase illuminated by skylights evokes the experience of climbing into a treehouse, immersing guests in the warmth and tactility of the exposed timber frame.

Meeting spaces and event rooms occupy the upper floors, culminating in the Canopy Hall, a large conference space with an adjoining terrace and expansive views of Boston. The Canopy Hall is supported by branching columns and cross-bracing that frame views of treetops and the surrounding campus. The sustainably harvested timber structure, also expressed on the facade, defines the Treehouse’s identity as an innovative and environmentally conscious building.

Canted timber columns branch outward like a tree to support a cantilevered upper floor, while each facade is inflected to shape how the Treehouse engages its surroundings. The north and south elevations extend outward to welcome visitors, and the east and west fold inward to open pedestrian pathways. This rhythmic geometry gives the building a sculptural presence that simultaneously draws people in and connects to the landscape designed by SCAPE.

an inviting space that provides views to the building’s upper floors

Spaces Designed for Connection

Sustainability is central to Studio Gang’s design for its Treehouse at Harvard. Its self-shading facade minimizes energy demands while maximizing natural light, and rooftop solar panels provide clean power for the building’s all-electric systems. A combination of bioswales — landscape features that collect and filter polluted stormwater runoff — and a rooftop rainwater collection system supports irrigation, contributing to the project’s low environmental footprint. These green strategies reduce the building’s carbon impact while at once creating a vibrant, biodiverse environment that attracts wildlife.

The Treehouse is designed to encourage interaction. Informal gathering areas include open atrium landings, central stairways, and an expansive upper-level porch that offers the sensation of being among the treetops. The central elevators, integrated into the public lobby, feature shafts styled as tree trunks, adding a whimsical touch to the journey through the building while offering sweeping views from every level.

the level-two bridge appears to hover within the space

A MODEL FOR LOW-CARBON INSTITUTIONAL ARCHITECTURE

Sustainability drives every aspect of the design. The Treehouse’s embodied carbon is 55% lower than that of a comparable conventional structure, achieved through the use of responsibly sourced wood and concrete made from ground glass pozzolan, a recycled cement substitute. The building operates without on-site fossil fuel combustion and draws power from rooftop solar panels and Harvard’s District Energy Facility, which supplies heating, cooling, and electricity.

Natural daylighting and a self-shading facade reduce energy use, while a raised floor system conceals building services and enhances efficiency. Healthy interior materials and finishes, free from harmful chemical classes such as PFAS, promote occupant wellbeing and air quality. The landscape supports biodiversity and stormwater management through bioswales and a rainwater reuse system, creating a lush micro-ecosystem that attracts wildlife. The Rubenstein Treehouse is among the first completed projects of Harvard’s Enterprise Research Campus, a new mixed-use district transforming former industrial land in Allston into a dynamic center for research and innovation. 

two free-standing elevators work together with the grand stair

the timber structure emits a warm glow at night

project info:

name: Harvard Treehouse

architect: Studio Gang Architecture | @studiogang

location: Boston, Massachusetts

owner, operator: Harvard Real Estate
developer: Tishman Speyer
area: 55,000 square feet
status: under construction

landscape architect: SCAPE
contractor: Consigli and Smoot Construction
civil engineer: Nitsch
geotechnical engineer: Haley & Aldrich
structural engineering, sustainability, MEP: Arup
sustainability consultant: Perkins + Will
lighting consultant: Tillotson Design Associates
accessibility/code consultant: Code Red Consultants

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