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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

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kale elevates cersaie 2025 with large-format porcelain slabs turning material into expression

KALE AT CERSAie 2025 presents INNOVATION, DESIGN and SUSTAINABILITY

At Cersaie 2025 in Bologna, KALE, a leading name in ceramics from Türkiye, unveiled its latest products under the theme ‘Material as an Expression: Earth Refined. Life Redefined’. The event took place from September 22–26 and introduced breakthrough products such as Türkiye’s first 120×280 cm large-format porcelain slabs, the 2025 Panorama Collection, as well as the award-winning Constantinople countertop from the T-ONE brand. With a strong focus on sustainability through its #CareForYourWorld vision, KALE invited visitors to explore how ceramics go beyond surfaces to define entire spaces.

at Cersaie 2025, KALE unveiled its latest innovations under the theme ‘Material as an Expression’ | all images courtesy of KALE

KALE’S durable, high-performance solutions

KALE, the leader of the ceramics industry in Türkiye, is a growing value that has made production in these lands for 68 years and transformed what it has gained into the investment for these lands as Kale of ceramics. Leading the industry with more than 4,500 different products in product groups of ceramic tile, ceramic sanitary ware, faucets, and bathroom furniture, the company offers the market around 200 new products every year. The company delivers its products to its customers in over 80 countries abroad alongside the national market.

KALE’s large-format porcelain slabs, inspired by nature’s textures and tones, combine technical excellence with aesthetic versatility. From interiors to façades, they offer durable, high-performance solutions that balance form and function. The Cersaie 2025 theme positions KALE’s porcelain slab as more than a functional element, but as a language of identity, shaping architectural experiences both indoors and outdoors. 

the Panorama Collection, launched in 2025, embodies KALE’s motto, ‘Infinite possibilities for every space’

Infinite possibilities for every space

The Panorama Collection, launched in 2025, embodies KALE’s motto, ‘Infinite possibilities for every space’ and with its wide range of thicknesses and formats gives designers unprecedented creative freedom. Among the highlights, the Intonaco series features earthy tones that blend with diverse design languages, bringing warmth and character to contemporary spaces.

Under the T-ONE Porcelain Countertop Brand, the Constantinople surface, crafted with advanced V-Intech technology, ensures the veining continues seamlessly from surface to body. Recognized with the 2025 EDIDA Kitchen Category award and NSF certification, it offers a combination of elegance, hygiene, and durability for modern kitchens. With thickness options ranging from 2 mm to 20 mm, KALE’s portfolio adapts to projects of every scale. The ultra-thin 3 mm flexible porcelain slabs add lightness without compromising strength, making them ideal for architectural façades and lightweight applications.

Cersaie 2025 included KALE’s award-winning Constantinople countertop from the T-ONE brand

from 2 mm to 20 mm, KALE’s extensive range provides adaptable solutions for projects of every scale

project info:

name: Material as an Expression: Earth Refined. Life Redefined

company: KALE | @kaleinternational

event: Cersaie 

products: 120×280 cm large-format porcelain slabs from Kalebodur; Intonaco from Panorama Collection by Kalebodur; Constantinople from T-ONE porcelain countertop; Flexible porcelain slabs (3 mm thickness) Kalebodur

dates: September 22–26, 2025

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glass blocks and marble surfaces illuminate the renovation of 1960s athens penthouse

Christina Iliopoulou & Aspassia Mitropapa revamp house in athens

Architects Christina Iliopoulou and Aspassia Mitropapa reimagine a 1960s penthouse that still bears the hallmarks of Greek craftsmanship in their An Athenian Way of Life project. The residence, positioned on a corner with sweeping views over the Acropolis, Mount Lycabettus, and the city’s coastline, acts as a time capsule. The architects treat the apartment as a material archive, preserving its marble, wood, and hand-painted details, completing them with renewed clarity and openness.

The transformation begins in the kitchen, which once stood enclosed and disconnected. Now it is lined with glass blocks that filter light and frame glimpses of the Acropolis beyond. This gesture turns the kitchen into a spatial filter, where transparency and reflection articulate the apartment’s new sense of continuity. The use of Didyma marble across the counters echoes the travertino marble facade of the building.

images by Lea Martin, unless stated otherwise

Restoring the Craftsmanship of 1960s penthouse through reuse

Throughout An Athenian Way of Life, Iliopoulou and Mitropapa maintain the original Tinos marble flooring, its natural patina allowed to speak of time, and complement it with green Cipollino marble in the guest bathroom. The hand-painted ceiling and oak cabinetry of the living room are also restored, while contemporary lighting and discreet details introduce a modern rhythm without disturbing the historical composition. In the bathrooms, colorful tiles recall the era’s expressive spirit, while the expansion of the herringbone parquet from the bedrooms into other areas brings a new cohesion to the layout.

The architects’ approach reflects a broader philosophy of reuse rooted in the material culture of 1960s Athens. Every preserved element serves as both artifact and active participant in the renewed design. ‘The craftsmanship of 1960s Athens formed the foundation of our architectural intention: to respect it, preserve it and reinterpret it,’ note the architects. 

didyma marble defines the kitchen counters

glass block partition creates transparency between the kitchen and living areas

dining area features restored ceiling medallions

hand-painted ceiling and green marble flooring frame views toward the acropolis from the living area

oak cabinetry and marble fireplace preserved from the 1960s

travertine-clad terrace reveals original facade details | image by Costas Papapanagiotou

these preserved elements highlight the craftsmanship of mid-century Athens | image by Costas Papapanagiotou

original travertine facade and turquoise tiles | image by Costas Papapanagiotou

earthy marble surfaces and brass fittings

custom oak joinery integrates display, storage, and warmth into the private areas

bathroom interior in didyma marble bathed in natural light

recalling the color and material palette of the 1960s

project info:

name: An Athenian Way of Life

architects: Christina Iliopoulou & Aspassia Mitropapa

location: Athens, Greece

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used batteries from electric vehicles return to greener life as fertilizers

Recycling used batteries from electric vehicles as fertilizers

Engineers at the University of Wisconsin–Milwaukee have developed a way to recycle used lithium iron phosphate batteries from electric vehicles into crop and plant fertilizers. These materials, commonly used in EVs, delivery vans, and buses, are just disposed of when they reach the end of their life, usually after ten years. The researchers hope that by repurposing these used batteries as fertilizers, they can help the agriculture industry and reduce using the traditional recycling methods, which are considered costly and complicated, given that the recovered materials from the process, like iron and phosphate, don’t cost much and make the battery recycling more expensive than it is.

The engineers, led by Dr. Deyang Qu, the Department Chair of Biomedical Engineering at the University of Wisconsin–Milwaukee, use a chemical method called ion exchange, a process already used in many industries, such as water purification. In this recycling system, the IX process helps replace lithium ions with hydrogen or potassium ions using resin, which works like a filter that can swap certain elements for others. Two types of resins are used to recycle the used batteries from electric vehicles: strong acid cation resins and K-form (potassium-based) resins.

photo by Vladimir Srajber, via Pexels

Resin helps repurpose discarded batteries

When the used batteries from electric vehicles are placed in the ion-exchange system, lithium ions move out of them and attach to the resin. At the same time, potassium ions from the resin replace the lithium in the material, so the exchange allows more than 90 percent of the lithium to be recovered efficiently. The leftover solution after the lithium is removed still contains phosphorus and other elements from the battery, and it is these parts that can be recycled into fertilizers. It means that one recycling process produces two useful results: the recovery of lithium for new batteries and the creation of fertilizer ingredients for agriculture. The ion-exchange and regeneration reactions can reach balance in as little as 20 minutes, making the method efficient. The entire process is also commercially mature, so the equipment and technology already exist and can be scaled up for industrial use.

Dr. Deyang Qu, who leads the university research, says that the high cost of current recycling systems has inspired his team to look for a new approach. Instead of focusing only on recovering battery materials for reuse in electronics, they explored how these materials could serve a new purpose in agriculture. Their tests have shown that the recycled used batteries from electric vehicles can function as fertilizer, depending on how they are processed. The study has already been tested at laboratory scale with support from the University of Wisconsin–Milwaukee’s internal Discovery and Innovation Grant and collaboration with the Department of Agriculture in the US. The next stage is to produce larger amounts of fertilizer to compare its performance with regular ones in farming tests. The researchers plan to conduct a one-acre tomato crop trial to study how well the fertilizer works. If the results are successful, they expect to present the findings to major fertilizer manufacturers and explore large-scale production.

engineers can recycle used batteries from electric vehicles into fertilizers | photo by Vladimir Srajber, via Pexels

the process replaces lithium ions with hydrogen or potassium ions using resin | photo by Teona Swift, via Pexels

Deyang Qu holds a lithium iron phosphate battery | image courtesy of the University of Wisconsin–Milwaukee

project info:

institution: University of Wisconsin–Milwaukee | @uwmilwaukee

lead engineer: Dr. Deyang Qu

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DATALAND by refik anadol to open in LA, spring 2026, as the world’s first museum of AI arts

first look at DATALAND, set to open at the Grand LA in spring 2026

Refik Anadol Studio presents DATALAND, the world’s first Museum of AI Arts, opening in spring 2026 at The Grand LA, a Frank Gehry-designed development in the heart of downtown Los Angeles. The project features art experiences blending human imagination and artificial intelligence, establishing a new model for artistic expression at the onset of the digital age.

The 2,320-square-meter institution is designed to feature five distinct galleries and serve as a hub for exploring the creative potential of data and generative systems. In anticipation of its opening, Refik Anadol Studio unveils a first look at Gallery C – Infinity Room, an evolved iteration of one of the studio’s most iconic installations. 

The museum marks a full-circle moment for Refik Anadol and Efsun Erkılıç, who founded Refik Anadol Studio in Los Angeles over a decade ago and have since exhibited their works in more than 80 cities on six continents.

all images courtesy Refik Anadol Studio

a groundbreaking proposal by Refik Anadol studio

Establishing DATALAND at The Grand LA, in the heart of Los Angeles’ cultural corridor, marks a symbolic homecoming for Refik Anadol, Efsun Erkılıç, and the studio. The business center is situated directly across the street from Gehry’s Walt Disney Concert Hall, where, in 2018, the team presented one of their defining projects to date, the ambitious and groundbreaking WDCH Dreams, celebrating the Los Angeles Philharmonic’s Centennial. Using 42 large-scale projectors, the nightly live performances featured machine dreams of the LA Phil’s 100 years of digitized memories, mapped directly onto the undulating stainless-steel exterior of the iconic building. The museum will unfold steps from renowned cultural institutions: The Broad, MOCA, The Music Center, Walt Disney Concert Hall, REDCAT, and The Colburn School in the cultural epicenter of Los Angeles.

Developed by Related Companies, The Grand LA is home to the award-winning 305 room Conrad Los Angeles luxury hotel, more than 436 residences including affordable housing and will feature a collection of chef-driven restaurants, shops, and art-driven experiences anchored by DATALAND. As the world’s first Museum of AI Arts,  its opening follows a series of presentations from Refik Anadol Studio, including Living Paintings at Jeffrey Deitch Gallery, in Los Angeles; Machine Hallucinations at The Sphere, in Las Vegas; Living Architecture: Casa Batlló at Antoni Gaudí’s famed building, in Barcelona, Spain; Living Archive: Nature at the World Economic Forum, in Davos, Switzerland; Echoes of the Earth at London’s Serpentine Galleries; and Living Arena at the Intuit Dome, in Inglewood, CA.

DATALAND by Refik Anadol Studio is designed in collaboration with architecture firm Gensler and global sustainable development consultancy Arup. Earlier in 2025, DATALAND introduced its founding digital collection, Biome Lumina, a series of 1,000 unique AI data sculptures that sold out in 34 minutes. The inaugural exhibitions at the museum will be expressed through the studio’s Large Nature Model, the world’s first open-source AI model trained exclusively on natural data.

a first glimpse at Gallery C – Infinity Room

INFINITY ROOM OFFERS FIRST GLIMPSE INTO the project

Originally conceived in 2014 at UCLA as Anadol’s first immersive data sculpture, Infinity Room envisioned a future for the Light and Space movement through the lens of media architecture. The work debuted physically in 2015 as a 3.66 × 3.66-meter mirrored cube animated by undulating black-and-white projections, transforming light into material and data into pigment.

Over the past decade, Infinity Room has traveled to 35 cities worldwide and been experienced by more than 10 million visitors. The new version at DATALAND incorporates AI-generated scents derived from the studio’s Large Nature Model and becomes the first immersive space to employ World Models, an advanced form of generative AI capable of understanding real-world physics and spatial dynamics. This multisensory environment offers a first glimpse into the perspective-altering experiences that will define the Museum of AI Arts.

Infinity Room has traveled to 35 cities worldwide and been experienced by more than 10 million visitors

ARTIST RESIDENCY WITH GOOGLE ARTS & CULTURE

Los Angeles has long held Anadol’s fascination, beginning when he was eight years old with the discovery of Ridley Scott’s Blade Runner, set in a futuristic reimagining of the city. He first ventured there in 2012 to attend a graduate program in Design Media Arts at the University of California Los Angeles, where he has taught for the last ten years. In 2014, Erkiliç joined Anadol in Los Angeles to establish Refik Anadol Studio permanently in the city. The Studio’s works have been exhibited worldwide in more than 70 cities on six continents and are beloved by millions of ardent fans. DATALAND brings this future-forward vision to a permanent home.

In alignment with DATALAND’s mission to expand public understanding of artificial intelligence and its creative applications, the museum announces the launch of its inaugural Artist Residency Program, in partnership with Google Arts & Culture.

Over six months, three selected artists will explore new frontiers of human–machine collaboration, supported by mentorship, funding, and technical resources. Their projects will culminate in a public showcase at DATALAND, featuring immersive installations, artist talks, and lectures examining AI’s evolving role in art and culture.

establishing a new model for artistic expression

DATALAND is set open in spring 2026

Refik Anadol and Efsun Erkılıç | image © Dustin Downing

The Grand LA | image © Weldon Brewster

project info:

name: DATALAND

location: The Grand LA, Dowtown Los Angeles | @thegrandla

artist: Refik Anadol Studio | @refikanadol

architects / collaborators: Arup, Gensler 

opening year: 2026

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mini wooden robots nod and tilt their heads when users receive notifications on their phones

Botties are the physical versions of app notifications

Swift Creatives unveils the prototypes of Botties, a series of wooden robots that nod and tilt their heads to let the users know they’ve received a notification. Named Beamer, Hover, and Bot, these small devices are made from Danish wood and offer another way to tell people about their digital notifications at home. Instead of making noise or flashing lights like smartphones or smart speakers, these wooden robots by Swift Creatives move quietly and use physical gestures to give alerts. Each of them has its own kind of movement: Beamer tilts its head on the sides, Bot bobs its head up and down and pushes its wooden ear in and out, and Hover rotates and stops at one point.

Each robot has a small body made from soaped or smoked oak wood, a material often used in Danish furniture and crafts. Inside each wooden form are sensors and small software systems that allow the mini robots to react to signals from connected devices. When a notification arrives, – say a message, a reminder, or even when the food delivery has arrived at the doorsteps – the Botties react by tilting their heads, nodding, or moving slightly, and this becomes a quiet form of communication that relies more on visual cues instead of sounds.

view of Beamer | all images courtesy of Swift Creatives

Wooden robots by swift creatives are made with 3D printing

The wooden robots named Botties were developed in the Danish design studio’s Innovation Lab. The project began with hand sketches and then moved to 3D printed prototypes before the team finalized the oak versions. The creative process helped them test how the robots could move, respond, and fit into real environments, as Innovation Lab focuses on making new technologies that feel practical and understandable rather than experimental or abstract. The three models differ slightly in height and proportion. Beamer is 153 millimeters tall, Bot is 164 millimeters tall, and Hover is 170 millimeters tall, yet their sizes are small enough to place on a desk, table, or shelf. The movement and behavior of each bot replace typical sounds and notifications with visible gestures. 

For example, if a food delivery arrives or if an electric car is ready to drive, the robot can move or light up gently to show the update. This way, everyone at home can notice it without needing to check their phones. Lars Lynggard, Lead Designer at Swift Creatives, says that the project’s idea builds on Denmark’s design culture shaped by figures like Kay Bojesen, who’s known for wooden toys and crafted objects. These bots follow that same path but digitally with sensors and patterned movements. Each wooden robot by Swift Creatives comes with a compact wooden body, where small motion sensors detect signals, programmed motors create slight, natural gestures, and the electronic parts are hidden inside the bodies to keep the exterior polished and clean-looking. So far, there’s no news yet on when Swift Creatives plans to commercially release the wooden bots named Botties.

Bot bobs its head up and down and pushes its wooden ear in and out

Hover rotates and stops at one point

Swift Creatives unveils the prototypes of Botties, a series of moving wooden robots

these small devices are made from Danish wood

instead of making noise or flashing lights, these gadgets use physical gestures to give alerts

they naturally blend at home, doubling as a decorative object

the sensors are hidden inside the bodies for a cleaner exterior look

view of Botties’ gestures

project info:

name: Botties

studio: Swift Creatives | @swiftcreatives_portfolio

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curved stone pavilion encloses circular reflecting pool for clubhouse in mexico

Clubhouse’s Circular Design blends with the Landscape in Atlixco

La Pedrera by Taller Ezequiel Aguilar Martínez is the clubhouse of the Cola de Lagarto development, located on the outskirts of Atlixco, Puebla, about two hours from Mexico City. The project is set within the Tentzo mountain range, a semi-desert landscape primarily featuring acacias, yuccas, and wild grasses. The design occupies a hill within the development, offering panoramic views of the golf courses, Atlixco valley, and the majestic Popocatepetl and Iztaccihuatl volcanoes. This privileged setting shapes the project’s circular layout, which opens the building to its surroundings while housing activities such as a restaurant, leisure rooms, restrooms, and general amenities. Conceptually, the project is organized through a series of concentric skins arranged around a central space that features a reflecting pool. The project’s materials palette includes stone, wood, and concrete elements.

all images by Amy Bello

La Pedrera’s Layered Circular Design Integrates Stone and Wood

The exterior ring, made of curved, locally sourced stone walls, emerges from the slope, supporting the platform that holds most of the program and allowing part of the structure to be partially underground, leveraging the hillside’s natural slope. The program is resolved on the ground and underground levels, while the roof slab serves as a 360-degree viewing deck with a multipurpose area for temporary events. A perimeter corridor between the outer and second ring functions as a balcony and service area. The second ring, with a glazed facade, connects interiors with the surrounding landscape and optimizes natural light. Finally, the third and innermost ring consists of rotating wooden doors, allowing spaces to be as open or closed to the exterior as necessary. A large oculus in the concrete slab at the building’s center frames the landscape elements that rise, subtly marking the structure’s presence. For Taller Ezequiel Aguilar Martínez studio, a fundamental aspect of the building’s concept was maintaining a scale that respects the surroundings while using materials that age gracefully, blending the building seamlessly into its natural context.

La Pedrera circular clubhouse sits within the Tentzo mountain range near Atlixco, Mexico

designed by Taller Ezequiel Aguilar Martínez, the building embraces its hillside setting

a circular layout opens the clubhouse to panoramic mountain views

stone, wood, and concrete form the project’s restrained material palette

a reflecting pool anchors the heart of the structure

a perimeter corridor connects the outer and inner rings like a continuous balcony

rotating wooden doors modulate openness and privacy throughout the inner ring

materials chosen to age gracefully allow the clubhouse to merge with its context

the structure partially embeds into the hill, blending architecture and terrain

project info:

name: La Pedrera Clubhouse

architect: Taller Ezequiel Aguilar Martínez

location: Atlixco, Mexico

area: 1503 sqm

lead architect: Ezequiel Aguilar Martínez

manufacturers: CEMEX España, Helvex, Iluminamos , Interceramic, Tecnolite, Ternium Hylsa

collaboration and execution: Néstor Ramón Zarate Ibarra, Federico de Zatarain Dach

project management: Triplet Arquitectura

construction: AZ Construcciones

interior architects: Penélope de la Madrid (Ábaka Interiores)

landscape architects: Roberto Villareal (UPAstudio)

photographer: Amy Bello

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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