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dessert-shaped sculptures in marble and wood ornament ice cream shop in argentina

Foguel Studio turns ice cream shop into sculptural setting

 

In Tandil, Argentina, Foguel Studio transforms an ice cream shop into a temple of fantasy, where marble turns to cream, cones to columns, and childhood wonder becomes architecture. For the Figlio ice cream shop, Foguel Studio conceives a space that ventures far from traditional architecture. The project unfolds as an artistic statement, one that drifts among drama, romanticism, irreverence, exaggeration, and irony. While architectural in function, the project’s spirit is sculptural.

 

Foguel, an industrial designer and artist trained in scenography and costume design, brings a theatrical sensibility to the space, where materials and symbols play equally important roles. The interior combines marble ‘cream’ moldings and capitals, solid-wood ‘cone’ tables, resin ‘cocoa flowers,’ and cement ‘bonbons,’ along with vases showcasing 3D printed reliefs that reinterpret each ice cream flavor.

all images by Dagurke unless stated otherwise

 

 

Figlio ice cream shop’s interiors resemble sweet treats

 

At the heart of the space, a seven-meter hybrid effigy revisits Greco-Roman masterpieces through a contemporary, ironic lens. This ornamental excess, rich in intertextuality, evokes references to Michelangelo, the Colossus of Rhodes, and Sorrentino’s ‘The Great Beauty,’ all while dialoguing with postmodernism and its unapologetic motto: ‘Less is boring.’ The result is both commercial and monumental, a dreamlike temple where state-of-the-art screens, raw stone claddings, marble sculptures, and even tiramisu textures coexist. Foguel, founder of the Buenos Aires-based studio, has recently received awards for her ephemeral works in ice. With Figlio, she turns into stone what usually melts away. The project ultimately celebrates architecture as fiction, a playful, instinctive, and intellectual operation that transforms fantasy into form.

Foguel Studio transforms an ice cream shop into a temple of fantasy in Tandil

the project’s spirit is sculptural, drawing from theater scenography

solid-wood tables take the shape of ice cream cones

the sculpture revisits Greco-Roman masterpieces through a contemporary, humorous lens

the space blurs boundaries between art, architecture, and set design

the interior combines marble ‘cream’ moldings and cement ‘bonbons’

the composition turns decoration into narrative

vases showcase 3D printed reliefs that reinterpret each ice cream flavor

the vases stand on stone-textured wall recessions

ornamental excess becomes a deliberate design language

commercial interior and monumental sculptures meet in one environment

 

project info:

 

name: Figlio By Foguel
designer: Foguel Studio | @foguelfoguel

location: Tandil, Argentina

photographers: Dagurke | @dagurke, Felix Niikado

 

 

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 dessert-shaped sculptures in marble and wood ornament ice cream shop in argentina appeared first on designboom | architecture & design magazine.

farshid moussavi shapes houston’s upcoming ismaili centre with perforated screens

A new cultural center for Houston

 

Set to open in November 2025, the new Ismaili Centre in Houston, Texas introduces an architectural presence of quiet strength and civic openness. Designed by London-based studio Farshid Moussavi Architecture, the 150,000-square-foot complex will be the first Ismaili Centre in the United States and the seventh in a global network of architecturally significant institutions located in London, Lisbon, Dubai, Dushanbe, Vancouver, and Toronto.

 

The center is located near Houston’s Museum District and engages with its surroundings through a measured composition of stone, perforated metal, and glass. The design reflects the Ismaili community’s long tradition of building spaces that embody pluralism, learning, and cultural exchange.

the Ismaili Centre will be a new civic landmark for Houston, Texas | visualizations courtesy the Ismaili Centre

 

 

Farshid Moussavi’s luminous structure

 

The architecture of Farshid Moussavi’s Ismaili Centre is defined by its balance of openness and enclosure. At its center is a five-story atrium, framed by stepped staircases in textured stone and wrapped in geometric perforations that diffuse daylight across interior surfaces. The upper volumes are clad in delicately patterned metal screens, creating a soft interplay between solid and void that shifts with the sun’s movement.

 

From the exterior, the design team sculpts a composition which reads as a series of interlocking planes — horizontal eivans extending outward to form shaded terraces and verandas, a recurring motif in Persian and Islamic architecture. These transitional spaces, lined with slender columns, temper the Houston sun while framing long views across the nine-acre landscape designed by Nelson Byrd Woltz.

Farshid Moussavi designs the first Ismaili Centre in the United States

 

 

light geometries of perforated screens

 

Farshid Moussavi curates a material palette to emphasize tactile precision throughout its Ismaili Centre. Pale limestone masonry grounds the building, its rhythm broken by areas of subtle relief. The upper screens introduce a lighter register which evoke the fine geometric order characteristic of Islamic architectural ornament. Inside, the surfaces shift between smooth stone, finely grained wood, and perforated metal panels, establishing a continuity between the sacred and the civic spaces within.

 

Light enters through clerestory openings and skylights, filtering downward through layered planes. This controlled luminosity animates the central atrium — a generous, processional space that serves as both circulation and gathering zone, where shifting daylight brings the geometry to life.

slender columns line shaded verandas that extend the building into the surrounding gardens

 

 

Beyond its architectural qualities, the Ismaili Centre Houston is conceived as a public institution. The program includes an exhibition gallery, black box theatre, educational rooms, café, banquet halls, and a prayer hall. These spaces will host cultural, intellectual, and community-oriented events, and will expand the center’s role beyond worship to include gathering and shared learning.

 

Farshid Moussavi describes the project as embodying ‘His Highness the Aga Khan’s vision of a space that welcomes all, fostering dialogue, learning, and cultural exchange.’ The design’s openness, both physical and social, encapsulates that intention, and uses architecture as a medium for connection rather than separation.

geometric perforations and patterned metal screens define the building’s luminous surfaces

 

 

Set within nine acres of gardens, the complex is framed by carefully choreographed plantings that reinterpret Islamic garden traditions through a Texan lens. Nelson Byrd Woltz’s landscape integrates native species and water features to create a calm, restorative environment. Reflecting pools extend from the main facade, reinforcing symmetry and emphasizing the building’s quiet monumentality.

 

The Center’s proximity to Houston’s cultural institutions — the Menil Collection, Rothko Chapel, Asia Society Texas, and the Museum of Fine Arts — places it within a broader dialogue of civic architecture. Its measured form, rooted in Islamic geometry yet contemporary in execution, offers a new architectural landmark for the city — one that speaks through proportion, craft, and light.

the five-story atrium forms the heart of the center with daylight filtering from above

 

project info:

 

name: Ismaili Centre

architect: Farshid Moussavi Architecture | @farshidmoussavi

location: Houston, Texas

landscape: Nelson Byrd Woltz | @nelsonbyrdwoltz

visualizations: courtesy the Ismaili Centre

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BIG wins congress center competition in france with roofline echoing waves of the seine

big’s Winning Design Brings Flowing Timber Landmark to france

 

Bjarke Ingels Group (BIG) is selected to design Rouen’s new congress center, nicknamed The Sail, a landmark project that is set to rise along the banks of the Seine in northern France. The 11,500-square-meter complex introduces a striking roofline that crests and dips like waves above the river. The building is designed to serve as a civic gathering point and an international events venue and seeks to reconnect the city to its waterfront.

 

Commissioned by Métropole Rouen Normandie, the project includes two auditoriums, exhibition halls, meeting rooms, a restaurant, and support spaces. Designed in collaboration with BLP & associés, The Sail aims to achieve Passivhaus certification, setting a new benchmark for energy-efficient public architecture in France. The timber structure and facades of the building reinterpret Rouen’s vernacular of half-timbered houses.

all images by Atchain & BIG

 

 

rainwater collecting roof tops ‘the sail’

 

From the river, The Sail appears as a light, horizontal volume rising gently above the landscape, while from the city, its photovoltaic roof hovers over a new public forecourt that extends the urban fabric to the water’s edge. In this area, the international architecture firm combines open stone-paved plazas with clusters of trees and planting, forming shaded gathering areas and green buffers around the site. Rainwater collected from the roof irrigates these planted zones, and a network of pedestrian paths connects the center seamlessly to its surroundings.

 

‘Rising along the Seine, The Sail introduces a new silhouette to Rouen with its sweeping roofline paying tribute to the city’s naval heritage and historic skyline of spires,’ says Jakob Sand, partner at BIG. ‘The building greets visitors from the highway with a vertical facade, while on the city side, the roof creates sheltered canopies extending the foyer into a human-scaled public landscape. Built with mass timber construction, daylight-optimized interiors and an energy-producing roof, it is both a low-impact infrastructure and a cultural hub — offering an inclusive space for Rouen and its visitors.’

 

Inside, a spacious, light-filled foyer functions as the central social space, linking all program areas. A grand staircase leads to the main auditorium, and the overlapping levels connect the public and professional zones inside The Sail.

a striking roofline that crests and dips like waves above the river

Bjarke Ingels Group (BIG) is selected to design Rouen’s new congress center

open stone-paved plazas with clusters of trees and planting form shaded gathering areas

the timber structure and facades of the building reinterpret Rouen’s vernacular of half-timbered houses

a spacious, light-filled foyer functions as the central social space

the building is designed to serve as a civic gathering point and an international events venue

rainwater collected from the roof irrigates the planted zones

 

 

project info:

 

name: The Sail

architect: Bjarke Ingels Group (BIG) | @big_builds

location: Rouen, France

area: 11,500 square meters

 

client: Métropole Rouen Normandie

collaborators: BLP & associés | @blpassocies, Egis, Ducks Scéno | @ducks_sceno, Elioth | @elioth.byegis, Bloom Landscape | @bloomholding, Marshall Day Acoustics, 8’18 lumière | @818lumiere, BMF, Nicolas

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BRICK AWARD 26 reveals 50 architectural works redefining the use of brick

BRICK AWARD 26 showcases bold visions in brick

 

The international shortlist for BRICK AWARD 26 has been announced, showcasing 50 of the world’s most inspiring brick buildings from 21 countries across the globe. Selected from 849 submissions, the projects represent originality and excellence in contemporary brick architecture. The biennial prize, hosted by wienerberger yet independently judged, spans five categories, including small house projects and commercial buildings, highlighting the versatility of brick as a timeless material. The awards ceremony is taking place in Vienna on 11 June 2026, announcing the winners selected by an international jury of renowned architects and designers including Gabriela Carrillo, Christine Conix, Jens Linnet, Traudy Pelzel and Eduardo Mediero.

 

From Kengo Kuma and Associates’ sculptural UCCA Clay Museum in Yixing, China to the glass-brick Melbourne Holocaust Museum in Australia by KTA, Brazil’s Bloco Arquitetos’ White Bricks House, and the expressive Shafagh Tomb in Iran by 35-51 Architecture Office, the 2026 shortlist celebrates how brick continues to bridge culture, craft and contemporary design.

UCCA Clay Museum in Yixing, designed by Kengo Kuma and Associates | all images courtesy of wienerberger

 

 

from brazil to china, the prize celebrates the potential of brick

 

Launched in 2004, the BRICK AWARD has grown into a leading international prize that celebrates architectural innovation and the creative potential of brick. Presented every two years, it highlights projects that combine craftsmanship, sustainability and design excellence. Organized by wienerberger yet judged independently, the award ensures recognition is given purely on merit, with winning and shortlisted works published in the official BRICK book and honoured at a ceremony in Vienna.

 

Behind the initiative is wienerberger, a leading international provider of innovative ecological solutions for the entire building envelope, in the fields of new build and renovation, as well as infrastructure in water and energy management. With more than 20,000 employees worldwide and over 200 production sites, the company is the world’s largest producer of bricks and market leader in clay roof tiles in Europe. Through the BRICK AWARD, wienerberger underlines its commitment to supporting architecture that is both forward-looking and firmly rooted in material tradition.

White Brick House by Bloco Arquitetos | image © Joana Franca

 

 

brick award 26 spans five categories in five continents

 

The shortlist is divided into five categories: Feeling at home for residential houses, Living together for urban housing, Working together for commercial and industrial projects, Sharing public spaces for civic and cultural architecture, and Building outside the box for experimental and innovative works. Together, these categories form a panorama of architectural approaches, from intimate dwellings to monumental public landmarks.The selection spans five continents, from a white brick house in Brazil built using artisanal methods to a sculptural tomb in Iran with inscriptions flowing across its surface.

 

In Asia, highlights include the Aga Khan Academy in the Bangladeshi capital, Dhaka, that comprises a series of four-storey brick-clad buildings that nestle within a highly developed urban site bordered by a large motorway. Arranged around green outdoor spaces, the project offers relief from these built-up surroundings, creating external areas for both play and education.

Aga Khan Academy by Shatotto and FCB in the Bangladeshi capital, Dhaka | image © Asid Salman

 

 

Still in Asia, highlights from China include the UCCA Clay Museum in Yixing, designed by Kengo Kuma and Associates, whose distinctive roof is defined by a series of peaks that reference the nearby Shushan mountain. Described by the studio as “an inverted shell structure carved by virtual spheres”, the framework has been cloaked with 3,600 handmade ceramic tiles glazed in dark and light brown tones, evoking the colour changes that occur in pottery as it is fired.

 

Further north towards Bejing, the shortlisted Tianjin Zhongshuge bookstore is a three-storey building featuring a design with ‘waves’ of custom-designed bricks and ironwork, creating a unique, immersive space for visitors.

Tianjin Zhongshuge by X+ Living Architecture | image ©SFAP

 

 

Additionally, in Chennai, India, the Metallic Bellows factory office by KSM Architecture, is a single-storey brick structure inspired by local brick kilns and clay-rich soil, with a focus on reducing CO2 emissions by minimising concrete use. The design features a traditional jack arch system, with downstand and peripheral beams, giving the locally sourced brickwork a light, floating appearance and an artisanal character.

 

Shortlisted entries from the Middle East include the Shafagh Tomb in the small city of Ardakan, in central Iran, which features an inverted dome and inscriptions flowing freely across its surface, transforming the architecture into a canvas that celebrates freedom of expression. Acting as a gateway to the cemetery, the Shafaq Tomb redefines a traditionally private space as a monument for all – a place where the sacred meets the everyday.

Shafagh Tomb by 35-51 Architecture Office | image © 35-51 Architecture Office

 

 

Moving to Europe, Dutch architecture practice Studio RAP has designed a ‘wave-like’ facade completely clad with 3D-printed ceramic tiles fronting onto Amsterdam’s historic Hooftstraat shopping street. While in Germany, working on a much larger canvas, fired clay, in the form of glazed panels with a fine, irregular vertical structure, was used for the facade of the plant buildings at Leipzig Cogeneration Plant. And in Slovenia, the transformation of a former industrial hall in Ljubljana into a temporary theatre focused on recycled and reusable materials, with the visible clay blocks painted silver.

 

Reuse by Michail Riches Architects was also a theme at Park Hill in Sheffield in the United Kingdom, where a Brutalist housing estate featured board-marked concrete infilled with fine-grain domestic brickwork. The reinvigorated bricks denote each ‘street in the sky’ and the colours of the balconies were chosen to complement the tones of the brickwork.

Ceramic House by Studio RAP | image ©Riccardo De Vecchi

 

 

All the way to the Melbourne Holocaust Museum in Australia, an estimated 25,000 bricks were reportedly incorporated into the facade, comprising a combination of clay bricks in Ceniza and Poesia glass bricks. Arranged in a refined ‘hit and miss’ pattern, the design carefully balances transparency and security, serving as a powerful expression of remembrance and resilience and establishing visual and physical connections to activities, daylight and the community.

 

Right across, through the Pacific Ocean, Aatequila facility provided a notable entry from Mexico, where warehousing and offices for Clase Azul La Hacienda Jalisco used local ceramics and stone from the site excavation to anchor the buildings in their volcanic topography. Meanwhile, in Brazil, the White Bricks House was built using artisanal techniques and exposed solid bricks painted white. Varying brick spacing creates different levels of openness and privacy for each room. Careful study of the brickwork produced unique patterns and finishes, giving the project a timeless, handcrafted character. 

Among other entries from the USA, 64 University Place by Kohn Pedersen Fox Architects is an 11-storey residential building in Greenwich Village, New York, distinguished by its hand-laid brick masonry facade, arched windows and a grid of pilasters. The design blends historic references from the surrounding neighbourhood with contemporary details. The brick facade showcases skilled craftsmanship, relying both on expert bricklayers and thoughtful detailing.

 

Crossing continents, Set on a 4,000m² site on the slopes of Steenberg Ridge in Cape Town, South Africa, Mountain House by Chis van Niekerk sits lightly within its semi-rural landscape. The design uses a restrained palette of materials that express the earth’s colours and textures, allowing the building to age gracefully. Rooted in a primordial sense of shelter, it embraces simple, unadorned materials to create a timeless sense of enclosure.

Slovenian National Theatre by Vidic Grohar Arhitekti | image © Maxime Delvaux 

Melbourne Holocaust Museum (MHM) by KTA | image © L Showell

 

 

project info:

 

name: BRICK AWARD | @brickaward

organizer: wienerberger | @wienerberger.de

award ceremony: June 11, 2026

location: Marx Halle, Vienna

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waste-eating mushrooms digest plastic & become ingredient to make chocolate protein bars

chocolate protein bars made of plastic-eating mushrooms

 

Odette Dierkx transforms waste-eating mushrooms that eat plastic into a powdered ingredient to make chocolate protein bars. Named Plastik Protein, the edible waste-eating product starts its process with mycoremediation, a biological method where fungi digest harmful materials and eat plastic waste such as PET bottles, polyurethane foam, and LDPE plastic bags. They then grow by using plastic as their food source, and during this stage, the mycelium breaks the plastic into smaller, harmless organic compounds. 

 

Once the plastic is fully digested, the clean mycelium remains, which is then collected, dried, and turned into a protein-rich powder. The dried material contains amino acids, fiber, and nutrients that can be used as food ingredients. The protein powder is later formed into the edible chocolate Plastik Protein Bar, made from the mycelium of the mushrooms that once consumed a specific type of plastic. The concept project by Odette Dierkx trails behind the fungi-made prosthetic organ that extracts and breaks down microplastics inside human bodies.

all images courtesy of Odette Dierkx

 

 

fungi convert plastic molecules into carbon-based compounds

 

The concept product and project uses several species of mushrooms, each matched with a type of plastic: the Oyster Mushroom (Pleurotus ostreatus) digests PET plastic, often found in bottles and packaging; the Turkey Tail Mushroom (Trametes versicolor) eats LDPE plastic, commonly used in grocery bags; and the Split Gill Mushroom (Schizophyllum commune) dissolves PUR plastic, used in foams and coatings. These fungi convert plastic molecules into simple carbon-based compounds. After decomposition, they leave no toxic waste behind, and the result is clean, organic matter suitable for cultivation and food production. The chocolate Plastik Protein Bar made from plastic-eating mushrooms is designed as a functional food product. 

 

Each bar is made from processed mycelium powder mixed with natural flavoring, such as cocoa, nuts, or fruit extract, and its texture is dense and protein-rich, designed to provide energy and nutrients. The bar contains no remaining traces of plastic because the fungi completely digest the material before harvest. The designer’s foundation for the project stems from findings of the Yale University students back in 2011. In their study, they documented how they found out that a fungus called Pestalotiopsis microspora, discovered in the Amazon rainforest, could digest polyurethane plastic even without oxygen using the process known as mycoremediation. From here, Odette Dierkx expands the research by turning the biomaterial into a multipurpose and edible project.

this bar has split gill mushroom, which degrade PUR plastic such as synthetic kitchen sponges

this bar contains oyster mushroom (Pleurotus ostreatus), which digest PET plastic such as plastic bottles

the edible waste-eating product starts its process with mycoremediation

the pattern on each bar is inspired by the organic lines found on each mushroom

the concept product and project uses several species of mushrooms

even the wrapper is made of the plastic-eating mushrooms

the bar contains no remaining traces of plastic because the fungi completely digest the material

the fungi convert plastic molecules into simple carbon-based compounds

 

project info:

 

name: Plastik Protein

design: Odette Dierkx | @oddddesigns

 

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: Matthew Burgos | designboom

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snaptrude uses AI to generate editable 3D architectural models from simple text descriptions

Architecture at a Turning Point, working smarter with ai

 

While a book or piece of music can be easily set aside if it doesn’t capture our interest, architecture is different. A building endures for decades, and it shapes the landscape and influences the lives of its occupants for years to come. This permanence brings with it a unique set of challenges: architects must design spaces that impact collective life, often under tight deadlines, limited budgets, and significant pressure. In addition to navigating complex regulations and coordinating construction, architects face the misconception that design is simple, or that anyone could do it. The constant balancing act between quality, cost, and speed often leads to sacrifices — whether in time, health, or the integrity of the project itself. This cycle not only wears down the profession but diminishes society’s understanding of the true value of design.

 

The well-known “good, fast, and cheap” triangle is rarely resolved without the architect sacrificing their own time, health, or even the quality of the project. Repeated for decades, this equation fuels a cycle of wear that not only undermines the profession but also depreciates the value of design in society, even diminishing the role of such a beautiful and important discipline.

Courtesy of Snaptrude

 

 

And if the cultural and economic context already exerts pressure, the technology available has offered little relief. The Architecture, Engineering, and Construction (AEC) sector still relies on fragmented software and workflows, many conceived in another era, demanding exhaustive attention at every stage of the process. Although these tools have been used to build some of the most advanced structures in the world, they have not kept pace with the growing complexity of projects or the urgency of contemporary deadlines. The result is all too familiar: long working hours, overburdened teams, and little room for creative reflection.

 

Artificial intelligence emerges in this scenario not as a threat of replacement, but as a strategic collaborator. Its impact is particularly evident in the early stages, when architects spend valuable time on repetitive tasks or data gathering. Generating a layout from program requirements, cross-checking codes in real time, running early energy simulations, or producing reference images in seconds reduces friction and creates room for more critical design decisions. Instead of reinforcing the logic of “working more hours to compensate,” AI points toward a shift: working more intelligently and strategically, focusing on what truly matters.

Courtesy of Snaptrude

 

 

The Case of Snaptrude

 

Among the emerging platforms, Snaptrude has stood out for integrating AI directly into the early phases of design. Unlike software that requires the manual construction of masses or layouts, the tool allows a project to begin from textual descriptions, simply indicate building type, site, and program, and the system generates an initial spatial proposal.

 

From there, the model remains fully editable and can be refined by the architect at any time, ensuring creative control without wasting hours on repetitive tasks. In addition, Snaptrude incorporates AI-assisted research, integrating building codes, accessibility standards, and cost benchmarks directly into the design environment; real-time analysis, which automatically cross-checks information such as program areas, flows, and spatial proportions to reduce errors; and instant rendering and visualization, eliminating the need to export models to other software and enabling rapid testing of materials, openings, or urban contexts without breaking the creative flow.

Courtesy of Snaptrude

Courtesy of Snaptrude

Courtesy of Snaptrude

 

 

Instead of spending days structuring a preliminary study, teams can arrive at a solid concept in just hours, validated by data and ready to be refined alongside clients and other stakeholders. These functions have a direct impact on productivity by easing the burden of repetitive work, and AI can give architects back something fundamental, that is time to think, to investigate materials, refine solutions, and defend the value of their ideas. More than a promise of productivity, artificial intelligence can help revalue the intellectual work of architecture, which has always gone beyond the mere delivery of technical documents.

 

Artificial intelligence does not eliminate the complexity of architecture, nor does it guarantee shorter workdays. But it opens the possibility of reorganizing daily practice, reducing mechanical tasks and freeing energy for what truly demands critical and creative attention. The issue is not producing more in less time, but working more strategically, no longer absorbing alone the costs of an imbalanced system. Perhaps therein lies the opportunity to redefine, more fairly, the impossible equation of the profession.

Courtesy of Snaptrude

Courtesy of Snaptrude

 

 

 

Guest Feature by Eduardo Souza / ArchDaily

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parabolic structures painted in burgundy stucco outline stockholm flagship for chimi eyewear

CAMPUS designs CHIMI’s new Stockholm flagship

 

CAMPUS completes CHIMI’s new Stockholm flagship eyewear store with an approach grounded in reduction, clarity, and sustainable practice. The design process began by removing accumulated additions to uncover the site’s original architecture, allowing the new interventions to emerge through precision and restraint. The architects treat the act of reduction as a design tool rather than an aesthetic gesture. By peeling away non-essential layers, they reveal the inherent character of the space, balancing material honesty with environmental responsibility. Subsequent additions are deliberate and minimal, each serving to enhance circulation, function, and brand identity. A central parabolic counter defines the spatial organization, while a preserved staircase, refined with burgundy stucco side walls, acts as both structural and visual anchor. Together, these elements illustrate the project’s guiding principle: to achieve expression through measured subtraction rather than addition.

store facade | all images by Mikael Olsson

 

 

CAMPUS utilizes subtraction as a design principle

 

The parabolic curve, first introduced in CHIMI’s New York flagship, reappears here as a key spatial motif. In Stockholm, this geometry is developed through the sweeping central counter, which unifies display and customer interaction within a single form. The staircase, with its warm, mineral finish, complements this curve to create a visual dialogue between the existing and the new. Lighting plays an equally structural role in the design. A four-meter-wide circular luminaire and five-meter ribbon-like ceiling lights define the ceiling plane, offering both illumination and acoustic softness. Their presence forms a counterpoint to the tactile, mineral palette below, reinforcing the spatial hierarchy without dominating it.

 

The CHIMI Stockholm flagship demonstrates how a process of careful subtraction and targeted refinement can produce a space of clarity and coherence. Through this balance of material reduction and formal precision, CAMPUS architectural studio redefines retail architecture as an exercise in restraint and environmental consideration.

the parabolic cashier’s desk and the staircase

a staircase leads up to the mezzanine

store overview

 

project info:

 

name: CHIMI’s new Stockholm flagship
architect: CAMPUS | @campus_architects

client: CHIMI | @chimi

location: Stockholm, Sweden

photographer: Mikael Olsson | @mikaelolsson_

 

 

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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green timber curves sculpt rhythmic facade for office building in norway

Oslotre builds Six-Story Timber Office Building in Kristiansand

 

Lumber 4 by Oslotre studio is a commercial and office building in Kristiansand, Norway, spanning six floors. A recessed ground floor constitutes the commercial level, with the five floors above dedicated to office spaces. The structure is composed of a mass timber construction with columns and beams made of glued laminated timber. The floors are constructed using a composite structure of CLT and concrete, creating a slim and efficient floor system that spans long distances while also addressing fire and acoustic requirements. Diagonals on the ground floor facilitate better vehicular access around the building. The existing communication core from adjacent building phases contributes to lateral stability and access to the office floors. Between the third and fourth floors, an atrium with an internal staircase made of masstimber has been introduced. Wood elements are prominently displayed in the interior, providing warmth in winter and cooling in summer.

all images by Kyrre Sundal

 

 

Green Curved Pine Facade Defines Lumber 4 Office Building

 

The facade is composed of prefabricated curved wooden elements in pine, treated with green paint. The eaves above the curved elements are straight, creating a curved shadow on the panel. Over time, the paint under the shadow will weather, leading to a changing facade with lighter and darker curved sections. For the insulation, Oslotre’s design team uses wood fiber throughout. The cladding consists of fire-treated pine. All load-bearing structures are exposed, and exterior walls are clad with white-pigmented spruce panels. Wood wool acoustic panels are used in concealed service areas and meeting rooms. Visible conduits are painted in a light beige color. The large floor-to-ceiling windows open up to the view and provide ample natural light. The construction of the building was completed in record time, with detailed planning and construction taking only 12 months. Lumber 4 demonstrates that it’s possible to construct competitive timber buildings when compared to the same technical standard concrete and steel structures. The building was 90% leased upon completion. Oslotre served as the architect, interior architect, and timber structural engineer for the project.

Lumber 4 by Oslotre Studio is a six-storey commercial and office building in Kristiansand, Norway

 

straight eaves cast curved shadows that will gradually weather, creating a dynamic surface

diagonal supports at ground level improve vehicular access around the site

exposed timber slats painted in light beige integrate into the material palette

floors combine cross-laminated timber and concrete for strength, fire safety, and acoustic performance

exposed timber interiors provide thermal comfort, cooling in summer and warmth in winter

large floor-to-ceiling windows provide generous daylight and outward views

 

project info:

 

name: Lumber 4
architects: Oslotre | @oslotre

lead designers: Jørgen Tycho, Christoffer Imislund

client: Skeie Eiendom

area: 3890 sqm

location: Kristiansand, Norway

materials: CLT and Glulam construction
photographer: Kyrre Sundal | @kyrresu

 

 

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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