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dancing translucent cubes shape modular colombia pavilion for osaka expo 2025

MORF’s Narrative-Driven Pavilion for Colombia at Expo 2025

 

MORF designs the Colombia Pavilion for Expo 2025 Osaka as a temporary national exhibition space that combines narrative-driven design with modular, sustainable construction. The design draws conceptual inspiration from the opening lines of One Hundred Years of Solitude by Gabriel García Márquez. Referencing the moment a young boy encounters ice for the first time, the design interprets this narrative through an architectural motif titled ‘ICE CUBE.’

 

The pavilion’s facade is composed of numerous translucent cubes, oriented in varying directions to create a sense of motion and texture. These cubes are constructed from semi-transparent polycarbonate panels and equipped with programmable lighting. This feature enables the facade to shift in appearance over the course of the day and night, serving as both a visual marker and a platform for presenting Colombian culture within the Expo context.

all images by Forward Stroke Inc., Koji Okumura, Susumu Matsui

 

 

adaptive design and visual storytelling define Colombia Pavilion

 

MORF’s design team organizes the structure around a prefabricated light steel frame system, selected to accommodate the short construction timeline and environmental considerations typical of Expo buildings. The frame sits on a floating foundation system, allowing construction to adapt to the site’s soil limitations. Excavated portions of this foundation are utilized to create a mezzanine level for back-of-house operations, optimizing the spatial configuration within the pavilion’s limited footprint.

 

Visitors enter through a central hall that includes a Colombian coffee bar, highlighting a key cultural product. The open and adaptable interior space supports various exhibition layouts, ensuring flexibility throughout the event duration. The exhibition narrative presents Colombia as ‘the Country of Beauty’ through the conceptual lens of Magical Realism. The Yellow Butterfly, drawn from García Márquez’s novel as a symbolic bridge between reality and imagination, acts as a guiding motif throughout the pavilion’s immersive environments. In addition to its role during Expo 2025, the pavilion has been designed with a post-event lifecycle in mind. Its modular steel structure allows for easy disassembly and reconstruction in a new context. Discussions are currently underway regarding its future use after the Expo concludes.

translucent cubes form the dynamic facade of the Colombia Pavilion

the ‘ice cube’ concept organizes the pavilion’s outer skin into shifting geometries

polycarbonate panels allow light to transform the building throughout the day

programmable lighting animates the facade with subtle color transitions

the structure’s light steel components can be reused after the Expo

the pavilion demonstrates how storytelling informs architectural form

sustainable materials and modular planning shape the pavilion’s life cycle

 

project info:

 

name: Colombia Pavilion Osaka Expo 2025

architect: MORF Inc. | @a.morf.jp

location: Osaka, Japan

client: ProColombia

site area: 875,89 sqm

footprint area: 513,42 sqm

total floor area: 584,44 sqm

 

project director: Karim Chahal

principal architect: Ko Oono

lead architect: Masaki Suzuki

project architects: Won Sungmin, Gen Kurokawa

assistant project manager: Maki Nomura

 

associate architect: AA-DC

project architect: Nicole Del Santo

structural design: Ando Imagineering Group (AIG)

lead structural designer: Kosaku Ando

structural designer: Toshiki Tanabe

 

general contractor: Sakane Sangyou Inc.

construction manager: Tsunehiko Muroi

modular structure contractor: NS Hi-Parts

representative director: Atsushi Morioki

landscape design & construction: 1moku Landscape Design & Research

lead landscape architect: Hirofumi Suga

exhibition design & construction: Sigongtech

general managers: Junseok Kang, Karen Ko

lead designer: Hansol Lee

senior designers: Hanna Lee, Sohee Jang

photographer: Forward Stroke Inc., Koji Okumura, Susumu Matsui

 

 

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 dancing translucent cubes shape modular colombia pavilion for osaka expo 2025 appeared first on designboom | architecture & design magazine.

‘social sustainability is just as critical’ state iF DESIGN AWARD jurors durst & sablan

IF DESIGN AWARD JURY INSIGHTS ON SOCIAL IMPACT

 

In an exclusive interview with designboom, iF DESIGN AWARD 2025 jury members Cheryl Durst and Pascale Sablan share their unique insights on the growing role of social impact in design. As part of the 2025 iF DESIGN AWARD jury, both Durst, Executive Vice President and CEO of the International Interior Design Association (IIDA), and Sablan, a Fellow of the American Institute of Architects (FAIA), Council Member of the National Organization of Minority Architects (NOMAC) CEO of Adjaye Associates New York, and founder of the Beyond the Built Environment (BBE), bring invaluable experience in promoting equitable, sustainable, and community-driven design. Held online and later in Germany, the two-step jury process brings together 130+ global experts to evaluate over 11,000 submissions across nine design disciplines, including architecture and interior architecture. Durst and Sablan emphasize that beyond aesthetics, today’s design must address urgent societal issues, fostering inclusivity, resilience, and sustainability.

 

‘Design now has the responsibility to be more than just beautiful or functional. It must be relevant to the world and contribute to a better society. As jurors, we have the opportunity to champion projects that amplify voices, foster equity, and genuinely transform communities. What excites me is the possibility to elevate those projects that would not normally be recognized, and to provide visibility to those doing transformative work. The power of design is in its capacity to not just serve but to heal, to bring people together, and to address complex social challenges. It’s also a chance to reinforce that design should be a necessity, not a luxury,’  begins Cheryl Durst, Executive Vice President and CEO of the International Interior Design Association (IIDA), in an interview with designboom.

iF DESIGN AWARD 2025 jury members Cheryl Durst (fourth from left) and Pascale Sablan (seventh from left) explain the growing role of social impact in design | all images courtesy of iF DESIGN AWARD

 

 

BEGINNINGS OF PURPOSE WITH CHERYL DUST & PASCALE SABLAN

 

Both Cheryl Durst and Pascale Sablan were invited to their iF DESIGN AWARD jury roles with a wealth of experience and personal histories that deeply inform their design philosophies. For Sablan, her formative experience came during an internship when she worked on the African Burial Ground National Monument in New York City. This project signified how architecture should honor history, empower communities, and tell untold stories. It highlighted the profound responsibility architects hold in shaping spaces that preserve memory and elevate the identities of communities, especially marginalized ones. Sablan recalls the community involvement in the design process as revelatory, reinforcing the importance of making architectural language accessible so that all stakeholders can understand, contribute, and feel ownership. The experience further deepened her commitment to advocacy, justice, and a people-first approach to design, where social narratives are intentionally embedded into the core of every project.

 

‘We are seeing a shift in the way we assess projects that are about the story, the process, and the community impact. The value is both in the object and in the way that it uplifts people and improves environments. Sustainability is essential, but social sustainability is just as critical. It is about understanding who is being served, who is included in the conversation, and ensuring that the benefits of design are accessible to all. Designers must think holistically, considering the ripple effects their work will have on future generations and the social fabric of our communities,’ continues Pascale Sablan FAIA, CEO of Adjaye Associates New York and Beyond the Built Environment founder.

the second stage of the jury process (the physical Final Jury) convened experts together for three days in Hamburg, Germany to decide the 2025 award winners

 

 

ADVOCATING THROUGH EDUCATION WITH IF DESIGN AWARD

 

Cheryl Durst and Pascale Sablan bring unique expertise to the iF DESIGN AWARD jury table. Durst, with her leadership at IIDA, has consistently championed diversity and equity in interior design, focusing on creating spaces that reflect and serve all users. Sablan, through Beyond the Built Environment, actively challenges systemic inequities in architecture by spotlighting the work of Black and underrepresented designers globally. Both their experiences go beyond individual practice; they represent an ongoing commitment to pushing the design industry towards inclusion and equality. Together, they bring to the jury a strong, shared understanding that diversity is essential in evaluating what constitutes design excellence.

 

‘My career has been about opening doors and expanding perspectives. Being part of this jury allows me to elevate work that might otherwise be overlooked—projects that address real social issues and offer meaningful change, especially in communities that need it most. It’s about amplifying work that speaks to the dignity of people and the power of design to uplift. It’s not just about what is seen, but about what is felt, what is remembered, and who gets to be a part of that narrative,’ adds Durst.

jury members were split into expert fields to assess specific categories of submissions

 

 

Both jury members observe that social impact in design is no longer a niche consideration but a primary focus and a defining metric of success across the industry. Sablan notes that the global design community is becoming increasingly aware of its power to shape more equitable, inclusive societies and that designers are stepping up to this responsibility with intention, consistency, and depth. The universal qualities that now distinguish exceptional design are clear: cultural sensitivity, authenticity, transparency, sustainability, functionality, and measurable social benefits. This shift is evident in the submissions seen at the iF DESIGN AWARD, where jurors actively champion designs that demonstrate social and environmental accountability, and intentionally move away from superficial or purely decorative solutions that fail to engage with deeper, real-world needs.

 

‘Designers are becoming more intentional about creating solutions that are inclusive and that address social disparities. We are not only asking “is this beautiful?” but “who does this serve, who does this empower?” asks Sablan. ‘This level of awareness is essential for the future of design. We are also paying attention to the process, considering whether the community was engaged and local voices considered. It’s about ensuring that design is created with and for people. This kind of engagement leads to solutions that are more meaningful, more sustainable, and more equitable.’

‘We are seeing a shift in the way we assess projects that are about the story, the process, and the community impact,’ notes Pascale Sablan in an interview with designboom

 

 

Durst and Sablan underscore that the iF DESIGN AWARD’s international platform carries a significant responsibility to set benchmarks for socially and environmentally responsible design and to actively shape the direction of the industry. With participants and submissions spanning the globe, the award brings together a diversity of categories – from architecture and urban planning to product design, mobility, fashion, UX and cultural exhibitions. This broad spectrum of entries showcases how impact and excellence can manifest across disciplines and at every scale. Equally important is the diversity of the iF DESIGN AWARD jury, composed of global experts who bring unique cultural, technical, and social perspectives to the evaluation process. This diversity enriches the selection, encourages bolder conversations, and opens space for creative risk-taking that pushes the boundaries of what design can achieve. Jurors advocate through their respective lenses while challenging each other to think beyond conventional measures of success. Durst and Sablan believe this collective, inclusive approach ultimately drives better innovation and ensures socially and environmentally impactful projects rise to the forefront.

 

‘Being part of the iF DESIGN AWARD is powerful because it sends a message about what matters in design today. It’s about raising the standard—prioritizing empathy, responsibility, and global impact. This platform allows us to amplify what design can truly achieve for society. It also fosters an incredible community of jurors across disciplines, who bring unique lenses and collaborate to advocate for projects. It changes how we show up in our day-to-day work, reminding us to champion people-first design and interconnected solutions beyond traditional boundaries,’ expresses Cheryl Durst.

‘Being part of this jury allows me to elevate work that might otherwise be overlooked,’ Cheryl Durst tells to designboom

 

 

Looking ahead, both Cheryl Durst and Pascale Sablan are optimistic about the continued evolution of design evaluation and the direction the global design community is taking. They envision future juries placing even greater emphasis on social narratives, community engagement, and cultural authenticity as critical elements in defining design excellence. The evolving criteria will demand that designers approach their work with deeper responsibility, moving beyond the pursuit of form, profit, or surface innovation. Instead, design will be increasingly expected to address systemic inequities, environmental resilience, and the preservation of cultural identities. As the expectations grow, both the responsibility and the opportunity for designers and jurors will expand, requiring thoughtful, conscientious decision-making that directly impacts real-world communities and contributes to long-term societal well-being. The future of design, as they see it, is rooted in purpose, collaboration, and sustained social transformation.

 

‘The future of design is deeply connected to the stories we tell and the people we serve. Evaluation must go deeper—looking at how projects can heal, empower, and bridge divides. I see this as a critical moment where we can redefine success in design for the betterment of all. We need to remain consistent in asking tough questions about community impact and to embrace the opportunity to lead with purpose. For me, the iF DESIGN AWARD experience reaffirmed that community-centered design is the standard, not the exception,’ concludes Pascale Sablan.

each jury member brings unique cultural, technical, and social perspectives to the evaluation process

jurors advocate through their respective lenses while challenging each other to think beyond conventional measures of success

social impact in design is no longer a niche consideration but a primary focus and a defining metric of success across the industry

the future of design is rooted in purpose, collaboration, and sustained social transformation

 

 

project info: 

 

organization: iF DESIGN AWARD | @ifdesign

jury members: Cheryl Durst | @cheryldurst; Pascale Sablan | @pascalesablan

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numen/for use suspends walkable net and string worlds in taiwan’s CMP inspiration museum

Numen/For Use presents two large-scale installations in taiwan

 

For their first-ever dual presentation in a single venue, Numen/For Use unveils two immersive, large-scale installations, Net Taichung and String Taichung, at the newly inaugurated CMP Inspiration Museum in Taichung, Taiwan. On view through November 2nd, 2025, the temporary works – one a kinetic, climbable web, the other a silent, geometric grid – transform Kengo Kuma’s softly lit interiors into an unfolding spatial narrative. Linked through translucent corridors, the installations invite visitors to move between two interconnected spatial and physical experiences.

 

Initially a deflated shell, each volume expands as air pressure inflates it, stretching the outer membrane and pulling the internal web of nets or ropes into tension. This self-contained technique bypasses any need for rigid framing or scaffolding. Visitors are encouraged to enter and interact with these suspended worlds. In Net Taichung, they climb, balance, and crawl through a network that sways gently with their movements. Meanwhile, String Taichung invites a slower gaze through a tight, white, three-dimensional grid that hovers in space, its calm order broken only by the shifting perspective of those who walk within.

all images courtesy of Numen/For Use

 

 

collapsible nets enable flexibility in Net and String Taichung

 

The exhibition space inside the CMP Inspiration Museum, designed by Japanese architect Kengo Kuma, contributes in shaping the experience of the visitor. Its pale surfaces and controlled lighting enhance the dreamlike quality of the projects by the design collective Numen/For Use. Wrapped in a thin white membrane, the inflated skins act like giant soft boxes that diffuse light into a glowing haze that flattens shadows and makes it unclear where the surface ends and depth begins. This creates a puzzling experience where you feel like you’re inside a place that seems vast and unreal, yet at the same time solid and intangible.

 

Both works are designed to be completely collapsible, so when deflated, the nets and rope grids fold into themselves and shrink to a much smaller size, making them easy to store, transport, and set up again later. When reinflated, they quickly regain their full strength and tension, able to support the movement and weight of people. With Net & String Taichung, Numen/For Use encourages us to think about impermanence, touch, and the quiet but important role air plays in their design.

Numen/For Use unveils two immersive, large-scale installations, Net Taichung and String Taichung

on view at the newly inaugurated CMP Inspiration Museum in Taichung, Taiwan

the temporary works transform Kengo Kuma’s softly lit interiors into an unfolding spatial narrative

a kinetic, climbable web

each volume expands as air pressure inflates it

a tight, white, three-dimensional grid that hovers in space

the installations are wrapped in a thin white membrane

the inflated skins act like giant soft boxes

a glowing haze flattens shadows and makes it unclear where the surface ends and depth begins

 

 

project info:

 

name: Net Taichung & String Taichung

artist: Numen/For Use | @numenforuse

location: CMP Inspiration Museum | @cmpinspiration, Taichung, Taiwan

 

architect of venue: Kengo Kuma and Associates | @kkaa_official

curator: CMP Group 

The post numen/for use suspends walkable net and string worlds in taiwan’s CMP inspiration museum appeared first on designboom | architecture & design magazine.

harry nuriev remixes CDs, rave culture and steel into a pop-up sound installation in berlin

ALL IS SOUND. ALL IS TRANSFORMATION AT 032C WORKSHOP BERLIN

 

To celebrate the 25th anniversary of Telekom Electronic Beats and Berlin-based media and fashion company 032c, the two have joined forces to present ‘All is Sound. All is Transformation,’ a pop-up installation by artist and designer Harry Nuriev of Crosby Studios. On view from July 1–8, 2025 at 032c Workshop in Berlin, the work reflects on the materiality of music through a sculptural intervention that blurs the lines between archive, club culture, and social sculpture.

 

At the core of Nuriev’s installation is a stainless steel structure, displaying sequentially arranged CDs — a nod to the now-obsolete format and the spaces where music was once physically discovered. A CD player and repurposed car speakers are integrated into the work, activating it as a listening station. Complementing the installation, a limited capsule collection designed by 032c Creative Director Maria Koch further extends the project’s themes. designboom was invited to join Harry Nuriev and Maria Koch for a listening session inside the installation, where we talked about the depth of curated listening and how the energy of rave culture continues to shape their creative work.

images by Alejandro Arretureta (@alexberlinetta), unless stated otherwise | above and banner © designboom

 

 

IN CONSERVATION WITH HARRY NURIEV AND MARIA KOCH

 

designboom (DB): This installation celebrates the 25th anniversary of Telekom Electronic Beats and 032c. Maria, could you take us back to the beginning of 032c and how it evolved into the brand it is today?

 

Maria Koch (MK): 032c began as a gallery space my husband opened with friends. To promote what was meant to be a digital magazine, he decided to print its first issue — and that’s how 032c was born. When we met, we started working together and launched the simplest thing you could imagine: a bootleg T-shirt for a Sade concert. The shirt became a huge success — even Sade’s team reached out because they loved it. That moment set everything in motion and brought us to where we are now.

 

DB: Harry, could you tell us about your connection to the brand, and then walk us through the concept and key elements of this installation, giving us insight into what visitors are about to experience?

 

Harry Nuriev (HN): 032c was always my, I would say, ‘coffee table book’ — my favorite magazine for many reasons, but mainly because it was ahead of the curve. It was the first magazine that didn’t just publish content but built a real community around itself, and that idea of community has always been central to my work.

 

So this installation is a three-way collaboration between Electronic Beats, 032c, and myself. We’ve worked together before, and I hope it won’t be the last time. The concept here is very simple: I wanted to create a space where people feel compelled to put their phones down. The installation turns the table into a physical desktop — a literal playlist — where visitors can pick up a CD and play it.

Harry Nuriev designs pop-up installation for Telekom Electronic Beats and 032c collection launch

 

 

DB: The installation prominently features CDs, a medium that feels very nostalgic. In an age dominated by digital music, what is your core intention behind highlighting this “nearly obsolete medium,” and how does it speak to the concept of transformation and the curated experience?

 

HN: The beauty of curating a CD library today lies in the limitations. You’re working with an existing archive, and that restricts your options — but in a way that’s freeing. It reconnects you with original, culture-defining music. Since the selection reflects a specific era and place — like Berlin, in this case — it forces a kind of localized curation. You don’t have unlimited access like you would on your phone. And that’s the interesting part: we’ve come full circle to appreciating the value of being limited.

 

MK: What’s fascinating is that, unlike the endless options on your iPhone, this physical selection really makes you focus. Even if you want to listen to something else, you can’t — so you end up going deeper into what’s available. You hear tracks again, discover new layers, and engage more thoughtfully. That’s the strength of this kind of curation: it’s slower, more intentional, and opens you up to a completely different experience. It’s not fast or flashy — and that’s exactly what makes it so compelling.

featuring repurposed car speakers

 

 

DB: Maria, when you first reached out to Harry, what was it about his artistic vision and approach that made you feel he was the perfect artist to create this installation for 032c x Electronic Beats?

MK: There were a few reasons I reached out to Harry. The first was when I saw this stainless steel restaurant installation he designed in Paris — with everything from the plates to the dishwasher setup made from stainless steel. I was so impressed, I immediately wanted to collaborate with him on my first project. Timing didn’t work out then because I contacted him too late, but that was the initial connection. Since then, we’ve worked together on other things. For this project, the link came through Electronic Beats, who knew we already had a creative relationship.

 

DB: Harry, on your side, what specifically attracted you to this opportunity, and how did their vision resonate with your own creative interests?

HN: Where do I even start? The magazine is a cultural icon, and Maria’s creative and fashion direction constantly pushes my boundaries. I’ve known about the 032c family for a long time and when Maria calls, you just don’t say no.

a close-up look at the stainless steel sculpture showcasing a curated selection of CDs

 

 

DB: Maria, can you tell us about the inspiration behind the capsule collection, and how does it tie together with the theme of sound and transformation that runs through this anniversary project?

 

MK: The collection is a capsule of just three pieces — a cap, a bag, and a shirt. The idea is simple but deeply emotional for me. I was a real rave kid and partied hard, especially close to the music of The Prodigy. There’s one song, “No Good,” with a music video that stuck with me. Back then, music videos were everything — I hardly listened to the radio and watched videos all day. In this one, the band walks through a chalky, dusty bunker, mixing punk outfits with some bling. The energy was incredible. I wanted to capture that feeling, that chalky, dusty vibe, as a visual memory on the garments — chalk on the bag, on the cap, on the shirt. When we shared this with Harry, he immediately connected with the idea and brought The Prodigy’s spirit to life in the design.

 

DB: Harry, Maria mentioned she was a “classic rave kid.” Do you share the same passion for rave culture or do you find a similar resonance with specific music genres that influence your work?

HN: Absolutely. I’m not really into vinyl — it’s a cool format, but it wasn’t part of my personal experience growing up. That was more my parents’ thing. For me, CDs have the same role as vinyl does for others. I really want to keep that in my life. Honestly, I was just thinking I want to recreate the same table setup at home, invite my friends over, and listen to music together — even if it’s on some crappy car speakers that actually sound pretty good.

 

MK: Techno was really the last truly innovative youth culture in music. I remember it feeling so brave, wild, and somewhat untamed. It wasn’t dangerous, but it was like these hidden clubs where we all went. Even though my parents were open-minded and smart, they couldn’t really understand what we were into or what we were listening to. I think that energy of being different, being out of reach from the conventional — that’s what made that electronic scene so beautiful to me back then.

capsule collection designed by 032c, Maria Koch

 

 

DB: What is the most important message or feeling you hope visitors take away from stepping into this experience?

 

NH: Put your phone down. 

 

MK:  I would just say the same — put your phone down and give yourself the chance to listen again, and again, to a song. Honestly, I still do this. I love listening to a favorite track 10 or 12 times a day. Everyone around me gets annoyed, but I just want to be fully immersed. It’s intense. Even if it’s like elevator music, then I discover something new — another drum, another layer, another scenario.

the curated CD library reflects the spirit of Berlin’s club culture and musical archives

a limited-time installation combining club culture, archives, and design

 

 

project info: 

 

name: All is Sound. All is Transformation

artist: Harry Nuriev | @harrynuriev

collaborators: 032c | @032c and Telekom Electronic Beats | @electronicbeats 

dates: July 01-08, 2025

opening hours: 11:00–19:00

location: 032c Workshop, Berlin, Germany

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tatiana bilbao shapes rammed earth preschool in mexico around central tree

tree centers rammed earth preschool in mexico by Tatiana Bilbao

 

Architect Tatiana Bilbao and her team’s preschool extension for the Liceo Franco Mexicano in Zapopan, Mexico, is a place where early childhood education is grounded in nature, tactile experience, and flexible learning. Built using rammed earth and organized into a series of compact modules, the École Maternelle is conceived as a small world tailored to the scale and imagination of children aged three to six. At the center of the complex, a single tree serves as both landmark and anchor, radiating spatial and emotional continuity across the campus.

images courtesy of Tatiana Bilbao

 

 

exploring architecture’s role in early childhood education

 

Tatiana Bilbao’s Liceo Franco Mexicano extension rethinks what a learning environment can be when architecture becomes a sensory tool. From the start, the design team approached the project as a chance to explore how materiality, form, and spatial rhythm could directly support early childhood development. ‘We understood this as an opportunity to explore how architecture could respond to early childhood through materiality, form, and connection to the environment,’ the Mexico-based architects share. In response, they worked almost exclusively with locally sourced materials, integrating vernacular techniques with a commitment to sustainability and environmental performance.

a place where early childhood education is grounded in nature, tactile experience, and flexible learning

 

 

Each classroom in Liceo Franco Mexicano has its own patio

 

The campus spreads across 2,468 square meters as a series of 8×8-meter modules, each placed to shape a sequence of indoor classrooms and outdoor patios. This modular rhythm allows for fluid transitions between inside and outside, where outdoor spaces are not just auxiliary but pedagogical, offering opportunities for play, discovery, and direct interaction with the landscape. The walls, built with compacted layers of earth, radiate warmth and texture, encouraging touch and exploration. The changing light, natural shadows, and earthy hues all work together to create a calm, immersive environment for young learners.

 

Every classroom opens onto a patio, a move that erodes the conventional boundary between nature and building. This connection to the outdoors was not a peripheral decision but central to the educational philosophy behind the project. ‘Our intention was to encourage direct contact with nature through a palette of textures, colors, and shifting light,’ the architects note. The layout promotes flexible configurations, able to adapt to different activities and seasons, while always maintaining a sense of orientation around the central tree, an organic axis that ties the whole together.

the École Maternelle is organized as a small world tailored to the scale and imagination of children

Tatiana Bilbao’s preschool extension for the Liceo Franco Mexicano is built using rammed earth

the team worked almost exclusively with locally sourced materials

changing light, natural shadows, and earthy hues work together to create a calm environment

outdoor spaces are not just auxiliary but pedagogical

 

project info:

 

name: École Maternelle

architect: Tatiana Bilbao Estudio | @tabilbaoestudio

location: Zapopan, Jalisco, Mexico

area: 2,468 square meters

 

client: Liceo Franco Mexicano

principal: Tatiana Bilbao Spamer

project manager: Juan Pablo Benlliure

partners: Catia Bilbao, David Vaner, Juan Pablo Benlliure, Alba Cortés, Mariano Castillo, Soledad Rodríguez

design team: Ludwig Godefroy, Eliza Figueroa, Edward O’Donnell, Erika Alfaro, Damian Figueras, Vanessa Guckel

landscape design: TOA

structural engineer: Jorge Cadena

constructor: Enrique Cabrera

model workshop manager: Isaac Monterrosa

model workshop team: Víctor Castañeda, Verónica Nazar, Eliana López, Ángela Silva, Patricia Morales

The post tatiana bilbao shapes rammed earth preschool in mexico around central tree appeared first on designboom | architecture & design magazine.

vietnam architects fill a narrow plot with stacked volumes to shape ‘titi’s house’

Compact Living in Ho Chi Minh City

 

TiTi’s House is a newly completed residence by NAQI & Partners in Vietnam’s Ho Chi Minh City, situated in the dense fabric of District 10. Designed for a young couple and their three children, the project transforms a narrow fifty-square-meter site into a calm, cohesive living space that balances privacy and shared connection.

 

From the street, the facade appears modest — white walls set behind a simple metal gate. Early in the day, when the sun is still low, the slanted rooftops cast thin diagonal shadows across the entry steps. A small garden sits to one side of the threshold, softening the line where concrete meets tile. These understated gestures hint at the project’s underlying ambition to provide each family member a sense of individual retreat while maintaining the closeness that comes with living in close quarters.

images © Nguyễn Nhật Anh Chương

 

 

Spatial Strategies and Daily Life

 

The Vietnam-based architects organize the layout of TiTi’s House to unfold vertically across four levels. A central atrium rises through the middle of the plan, drawing daylight deep into the home and allowing air to circulate freely. This void functions as both light well and acoustic bridge. The open-plan layout helps mitigate the constraints of the site. Shared spaces flow into one another without abrupt divisions, while sliding panels and built-in storage provide options for delineating zones when needed. In the evenings, the family gathers on the first floor around a low dining table, the atrium above lending a quiet sense of expansion.

the compact, four-story home is designed by NAQI & Partners in Ho Chi Minh City

 

 

Material Palette and Architectural Character

 

Curating the interiors of TiTi’s House, the team adopts a restrained material and color palette to amplify the perception of space within the dense neighborhood in Vietnam. White walls reflect daylight, complemented by pale grey ceilings and warm timber floors. Where the atrium walls meet the floors, slim steel railings preserve sightlines, making each level feel visually connected to the next.

 

NAQI & Partners’ custom cabinetry features pitched tops that echo the roofline, a detail inspired by childhood drawings of houses — simple forms with peaked silhouettes. Beds integrate into these built-ins and incorporate storage drawers beneath the mattresses. Throughout the house, there is no unnecessary ornament. Instead, each detail reflects the studio’s commitment to clarity and purpose.

the house occupies a narrow site surrounded by dense urban development

 

 

The architects note that in Ho Chi Minh City, rapid urbanization has made narrow tube houses a common typology. TiTi’s House acknowledges this context without surrendering to it. By introducing an internal void and prioritizing adaptable spaces, the design resists the sense of enclosure often associated with constrained footprints. On humid afternoons, the stack effect draws cooler air through operable openings. Even when all five residents occupy different floors, voices and movement remain perceptible as a reminder of shared presence.

 

The project is described as a study in proportion and perception. Small shifts in ceiling height, combined with carefully placed windows, create moments of openness and enclosure that adjust to the family’s rhythms across the day.

white walls and pale grey ceilings reflect light and enhance the perception of openness

the design prioritizes flexible spaces that support privacy and connection for the family of five

a central atrium brings daylight and ventilation into every level of the interior spaces

 

project info:

 

name: TiTi’s House

architect: NAQI & Partners | @naqi.partners

location: Ho Chi Minh City, Vietnam

lead architect: Nguyễn Minh Nhựt

design team: Nhựt Nguyễn, Quỳnh Phan, Hà Tấn Phát, Thơm Nguyễn, Duy Khánh

area: 50 square meters

completion: 2025

photography: © Nguyễn Nhật Anh Chương

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