Behind several of the most anticipated pavilions at EXPO 2025 Osaka lies BeWunder’s expertise in turning architectural visions into captivating, multisensory realities. The World Expo is a dynamic stage where architecture, design, and technology converge to create compelling narratives about the future. The pavilions act as canvases where abstract ideas are brought to life through an orchestration of light, sound, and interactive technology. designboom takes a look at pavilions, created in collaboration with BeWunder, pushing the boundaries of spatial design and turning a passive visit into an active, immersive multimedia journey.

USA Pavilion | image ©Hufton+Crow, all images courtesy of ​​BeWunder

FROM STAGED EXPERIENCES TO FULL-SCALE EVENT PRODUCTION

As a specialist in museums, exhibitions, and brand pavilions, BeWunder serves as a turnkey partner for creating unforgettable spatial experiences. The company‘s passion lies in producing multisensory visitor experiences that combine multimedia technology, content, staged lighting, interactive elements, and scenery. With an end-to-end approach, BeWunder’s team is expertly positioned to bridge the gap between creative vision and its physical reality. Their proven international track record in both live events and permanent construction has positioned them to deliver exceptional projects, regardless of scope, scale, or location.

designed as an architectural homage to openness and progress, the Kuwait Pavilion features bold open wings

TURNKEY PROJECTS AND HIGHLIGHTS FROM BEWUNDER

For the USA, Netherlands, and Philippines Pavilions, BeWunder served as a turnkey design and build contractor, taking full responsibility for the final design and delivery. Their scope encompassed an integrated approach, covering everything from initial concept development and feasibility studies to the final delivery of multimedia and lighting systems, interactive elements, scenic fit-out, exhibit fabrication, graphics, print, and signage. 

Each project was uniquely defined by its architectural and cultural narrative. Inspired by the Japanese concept of wabi-sabi, the USA Pavilion’s architectural form consists of two triangular wooden structures contrasted by a suspended, illuminated cube. BeWunder supported the exhibition design team by further developing the concept, ensuring that technology, storytelling, and spatial design worked hand-in-hand to create a compelling and immersive experience for visitors. Similarly, for the Philippines Pavilion, whose design pays tribute to Filipino heritage and features over 200 handwoven textiles, BeWunder managed the installation of the exterior facade and coordinated all artworks to bring the creative vision to life with precision. A highlight of the Netherlands Pavilion was the design and manufacturing of a bespoke interactive sphere system, enabling visitors to engage with content in dynamic, personalized ways.

BeWunder was responsible for the complete multimedia and lighting systems inside the Kuwait Pavilion exhibition

BeWunder also applied its specialized skills in audio-visual and lighting systems to achieve the vision for a number of other pavilions, including the Kuwait, Luxembourg, and Germany Pavilions. The Kuwait Pavilion, with its distinctive open wings, was brought to life with comprehensive interior multimedia and lighting systems. This expertise extended to the exterior as well, with the team designing and installing the façade and landscape lighting to highlight the structure’s unique architecture, especially at night.

From a monumental spiral sculpture of the Austria Pavilion to a moving stage in the Uzbekistan Pavilion, BeWunder created standout features, designed for unforgettable, multisensory journeys. A groundbreaking 100-channel audio system in the Austria Pavilion enables visitors to collaboratively create music, turning the inside into an active and participatory experience. For the Switzerland Pavilion, BeWunder’s expertise was focused on an integrated lighting setup that animated the pavilion’s iconic bubble effects. Meanwhile, a standout feature of the Uzbekistan Pavilion was a moving stage that transports visitors between floors while being fully immersed in projection content. For the Luxembourg Pavilion, a key highlight of their scope was the development and delivery of custom-made LED screens, manufactured specifically for the project to meet unique design and spatial requirements.

Switzerland’s Pavilion is driven by three key themes: life, planet, and augmented human

Beyond full-scale delivery, BeWunder’s partner mindset allowed them to provide targeted technical and consultancy services. For the Portugal Pavilion, they acted as a consultant, offering feasibility studies and value engineering to align design intent with budget and technical feasibility. Similarly, for the UAE Pavilion, BeWunder served as a media hardware planner, responsible for the design and specification of all AV technology. This comprehensive range of services ensures that every client, regardless of their specific needs, can bring their creative vision to life.

the Portugal Pavilion offers an interactive experience, inviting visitors to explore the ocean as a life-giving resource

BeWunder served as the turnkey design & build contractor for the visitor experience at the Philippines Pavilion

with its theme of common ground, the Netherlands Pavilion aims to foster openness and cooperation

for the UAE Pavilion, BeWunder ensured the AV system fully supports and enhances the creative vision

the Germany Pavilion centres on the theme of circular economy, with the title Wa! Germany

the European Union Pavilion highlights the EU’s commitment to building a sustainable, inclusive, and secure future

the USA Pavilion invites visitors to imagine a future where collaboration and creativity lead global progress

project info:

name: Turnkey Projects at Osaka Expo 2025

company: BeWunder | @bewunder_expierences

location: Osaka, Japan

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Qatar Foundation is set to open a cultural landmark dedicated to the life and work of Maqbool Fida Husain, one of the most influential modernist artists of the 20th century. Titled Lawh Wa Qalam: M. F. Husain Museum, the institution will open on November 28th, 2025, in Education City, Doha, and is designed to be the first and largest museum worldwide devoted to Husain’s art. Its collection spans six decades of practice across painting, film, tapestry, photography, poetry, and installation.

The concept of the building is closely tied to the artist’s vision, taking shape from a 2008 sketch Husain made of how he imagined the museum. The project reflects Husain’s commitment to experimentation and to dissolving boundaries between disciplines. 

all images courtesy of Qatar Foundation

spanning 60 years of the indian artist’s work

Covering more than 3,000 square meters, the museum brings together a permanent collection and immersive displays that retrace Husain’s career from the 1950s until his death in 2011. Highlights include a cycle of paintings commissioned by Her Highness Sheikha Moza bint Nasser, inspired by Arab civilization and completed in the artist’s final years in Qatar. The galleries will also incorporate Seeroo fi al Ardh (2009), Husain’s last major work, a multimedia installation that depicts humanity’s technological and cultural progress.

Born in India in 1913, Husain became a founding member of the Progressive Artists Group in 1947, breaking away from academic traditions and shaping a modern Indian visual language. His work traversed oil painting, serigraphy, sculpture, and cinema, with themes ranging from mythological epics and rural life to postcolonial realities and religious diversity. Celebrated internationally, his career spanned exhibitions from the Venice Biennale (1952) to the Victoria and Albert Museum in London (2014). Husain described himself as a ‘global nomad,’ forging strong ties with Europe, the United States, and the Arab world, particularly Qatar, where he spent his final years and held citizenship.

Within Education City—already home to public art installations, research centers, and universities — the new museum situates Husain’s work in dialogue with broader questions of creativity and cultural exchange. As Kholoud M. Al-Ali, executive director of community engagement and programming at Qatar Foundation, notes, the space is designed for exploration and critical engagement, connecting audiences with Husain’s art as a living legacy rather than a static archive.

Lawh Wa Qalam: M. F. Husain Museum will open on November 28th, 2025, in Education City, Doha

designed to be the first and largest museum worldwide devoted to Husain’s art

its collection spans six decades of practice across painting, film, tapestry, photography, poetry, and installation

Zuljanah Horse (2007), Maqbool Fida Husain

Sketch by Maqbool Fida Husain (2008)

project info:

name: Lawh Wa Qalam: M. F. Husain Museum
location: Education City, Doha, Qatar
opening: November 28th, 2025

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In the Cour Jardin of the Hôtel Plaza Athénée, Paris, France, Univers Uchronia has unveiled Daybed, a large-scale installation that reinterprets the hotel’s garden through materiality, color, and form. The temporary work, on view until 11th November, 2025, functions as both sculptural object and inhabitable space, establishing a dialogue between contemporary design and the historic setting of the Plaza Athénée.

At the center of the project is a ceramic surface designed in collaboration with Dutch brand Palet. The installation is clad in Palet’s glazed tiles, whose dimensions (149 x 149 mm) and color flexibility formed the basis for Uchronia’s architectural composition. The palette, dominated by greens and reds, references the hotel’s signature tones, including the red geraniums that line the Cour Jardin. Produced in the Netherlands, each tile is glazed to order from Palet’s library of more than 100 colors, which can be combined into over 300,000 possible variations. The reflective surface changes character under different light conditions, giving the installation a shifting visual presence throughout the day.

all images by Felix Dol Maillot

Uchronia’s Daybed Combines Ceramics, Textiles, and Furnishings

The ceramic assembly by creative studio Univers Uchronia is complemented by additional crafted elements: a custom-designed headboard by Treca, bed linens by Le Jacquard Français, floral curtains and cushions by Misia, and painted finishes by Seigneurie. Together, these components extend the project beyond surface design, integrating textiles and furnishings into a cohesive environment.

Palet, founded in 2021 by Jaap Giesen, Gilles de Brock, and Niels Monsieurs, operates at the intersection of digital design and ceramic craftsmanship. Its platform allows designers and clients to configure bespoke color and pattern combinations at varying scales, bridging industrial repeatability with artisanal variation. The collaboration with Univers Uchronia continues a partnership that has evolved from small-scale interiors to more ambitious site-specific installations. Daybed at the Plaza Athénée exemplifies this ongoing exchange, presenting ceramic tile as both material and medium for architectural experimentation within a public-facing context.

Daybed installation in the Cour Jardin of Hôtel Plaza Athénée, Paris

Univers Uchronia reinterprets the garden through form, colour, and material

the installation functions as both sculpture and inhabitable space

textiles, floral curtains, and cushions enhance the composition

Palet’s glazed ceramic tiles form the surface of the installation

greens and reds echo the hotel’s iconic geraniums and palette

the reflective ceramic surface shifts character with changing light

Uchronia and Palet’s collaboration extends from interiors to large-scale work

Daybed explores ceramic tile as both material and medium of architecture

project info:

name: Daybed
designer: Uchronia | @uchronia_world

location: Hôtel Plaza Athénée, Paris, France

photographer: Felix Dol Maillot | @felixdolmaillot

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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The Tianfu Habitat Pavilion, designed by China Southwest Architectural Design and Research Institute (CSWADI), stands as one of the main exhibition venues of the International Horticultural Exhibition 2024 Chengdu. Located on a gently sloping site, the design draws from the city’s cultural heritage and geography, using circular rooftops to shape its architecture and frame the visitor experience.

Rather than dominating the landscape, the low-lying pavilion integrates with the terrain, organizing the program through interlocking courtyards that emphasize Chengdu’s traditions of gathering and shared ritual.

images © Arch-Exist

Circles as Cultural Framework

The circle is central to the Tianfu Habitat Pavilion’s concept, reflecting Chengdu’s cultural identity as well as its natural setting in the Sichuan Basin. Circular geometries — seen in communal dining, tea rituals, and traditional residential layouts — are reinterpreted as architectural devices that structure movement and define zones of activity.

The design is organized into three overlapping rings, each symbolizing a distinct aspect of the city: courtyard, lotus pond, and bamboo hills. These forms create immersive environments that reference both domestic scale and landscape typology, translating familiar cultural symbols into a contemporary setting.

the Tianfu Habitat Pavilion integrates with the hillside in Chengdu

the courtyard

The courtyard is a symbolic element which establishes Chengdu’s Tianfu Habitat Pavilion as an archetype of Western Sichuan residential life. Here, the arrangement accommodates a sequence of experiences — viewing, listening, tasting, and ascending — that layer together cultural traditions with architectural clarity. A fan-shaped exhibition hall, supported by a steel framework, allows flexible configurations for future use. Its ceiling references Sichuan bamboo weaving, expressed through folded aluminum panels that connect interior and exterior spaces with a continuous texture.

Adjacent to the hall, a dual-sided stage provides a platform for Sichuan opera and storytelling. Its open orientation extends performances into the courtyard, allowing audiences to gather indoors or in the open air. Along the perimeter, a bamboo-framed tea room modeled on Chengdu’s historic Heming Teahouse offers visitors the opportunity to sit, drink, and observe performances, reinforcing the social and contemplative role of the courtyard. A gently inclined path rises along the circular edge, inviting visitors to ascend to a rooftop promenade with panoramic views across the site.

circular geometries organize the pavilion into interconnected courtyards

lotus pond

Water is introduced as a second defining element through the lotus pond, which mirrors the agricultural and cultural significance of Chengdu’s rural landscapes. A slender walkway crosses the water, creating vantage points for observing the pond under shifting light conditions.

Floating platforms, designed as stylized lotus leaves, serve as dining spaces where visitors can gather for hotpot meals, extending the theme of communal life into the aquatic setting. The pond operates both as a symbolic reference and as a functional environment, emphasizing Chengdu’s tradition of linking food, water, and social ritual.

a dual-sided stage extends Sichuan Opera into the open air

Bamboo Hills

Beyond the pond, the pavilion extends into the hillside, where bamboo groves and small inns create a retreat-like environment intended for long-term use after the exhibition concludes. The integration of bamboo as both cultural emblem and ecological material reinforces the local character of the site. Guest rooms open toward dense green slopes, framing uninterrupted views of the forested terrain.

Below, a stream threads its way downhill, feeding a series of outdoor pools and indoor hot springs designed to host year-round bathing rituals. These elements give the pavilion a lasting function, allowing it to evolve into a destination for cultural and ecological tourism in Chengdu.

Through its interlocking geometry, the Tianfu Habitat Pavilion translates the abstract motif of the circle into built form. Each programmatic zone — courtyard, lotus pond, bamboo hills — symbolizes a particular tradition of Chengdu

the exhibition hall ceiling recalls traditional bamboo weaving

a rooftop path provides panoramic views across the site

floating platforms resemble lotus leaves in the pond

the tea house references Chengdu’s historic Heming teahouse

project info:

name: Tianfu Habitat Exhibition Hall

architect: CSWADI

location: Chengdu, China

photography: © Arch-Exist | @archexist

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The MoMA Design Store in Soho, New York, has reopened following a renovation by Brooklyn-based Peterson Rich Office. Built in 1884, the cast iron and masonry building has been carefully restored to its original footprint, a move that re-centers circulation and opens views into the interior from Spring Street. The updated store creates a contemporary new framework which celebrates the 19th-century ‘messiness’ of its historic home at 81 Spring Street.

designboom attended a preview ahead of the public opening on September 27th, 2025, where lead architects Miriam Peterson and Nathan Rich spoke about the design process and goals for the project.

‘We got a wonderful brief from MoMA,’ says Nathan Rich. ‘The first goal was to create a meaningful dialogue between the Design Store and this historic building. The second was to connect with the public, literally bringing the street in. And the third was to showcase the products themselves in special ways.‘

windows reopened to Spring Street create a stronger dialogue with Soho | images © Eric Petschek

historic details revealed

The MoMA Design Store renovation emphasizes the building’s authentic details, exposing cast iron columns, brickwork, and even portions of the original tin ceiling. Layers of later alterations were stripped back to allow the historic textures to read clearly against new interventions.

‘What we love about working in older buildings is peeling back the layers,’ explains Miriam Peterson. ‘The ceiling had been dropped, columns were covered, and the facade was blocked off. One of the first things we did was reveal the brick and arches and look at archival drawings to relocate the entrance to its original center position.’

The facade, once painted a muddy brown color called Afternoon Tea, has been restored to black with approval from the Landmarks Commission. ‘That subtle change reframed the interior from the street,’ Peterson adds. ‘It creates a stronger frame through which to view the store, while resonating with the masonry context of the neighborhood.‘

perforated steel shelving in MoMA’s signature blue brings a flexible backdrop for products

a contemporary framework

Inside the MoMA Design Store, the 6,600-square-foot space is organized through a system of flexible casework and display structures. Perforated steel shelving finished in MoMA’s signature blue, vitrines, and movable islands establish rhythm and variety, while casters allow the lower level to be cleared for talks and gatherings. A new perimeter shelving system by Rareraw, a Korean family business making its U.S. debut, integrates lighting into a versatile framework.

The architects emphasized adaptability and narrative potential. Nathan Rich describes the approach: ‘Everything here was made by brilliant creators. The store itself should help tell those stories — signage, displays, and layout all work to feature the products in meaningful ways.‘

historic cast iron and masonry details are revealed throughout the space

connecting store, street, and museum

The reopened windows and re-centered entry reinforce the link between the store and the streetscape, creating transparency and drawing the public in. This connection extends to the north wall, now home to a rotating Modern Mural program. The opening installation, LOVE NYC by Nina Chanel Abney, echoes Soho’s urban fabric while referencing MoMA’s collection, turning the wall into both an interior focal point and a street-facing canvas.

‘The mural announces from the moment you walk in that this is MoMA,’ Peterson says. ‘It frames the threshold between street and store, reinforcing the connection between the Design Store and the museum.’

The renovation balances a reverence for the building’s industrial heritage with the precision required of a retail environment. Exposed tin ceilings and rough masonry contrast with crisp steel shelving and controlled lighting. Peterson notes: ‘We embraced the messiness of the old building and saw it as part of the palette that directly engages with the new products.‘

the north wall features Nina Chanel Abney’s Love NYC mural

The news comes shortly after the opening of MoMA’s bookstore in Seoul. Residents and visitors in the Korean city will find the new space in the Dosan Park area of Gangnam, the fast-growing and now-iconic neighborhood south of the Han River. See designboom’s coverage here.

project info:

name: MoMA Design Store | @momadesignstore

renovation architect: Peterson Rich Office | @peterson_rich_office

location: 81 Spring Street, New York, NY

client: Museum of Modern Art (MoMA) | @themuseumofmodernart

mural artist: Nina Chanel Abney | @ninachanel

completion: September 27th, 2025

photography: © Eric Petschek | @cb

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Situated within the Maison des Champs Elysées hotel, Frivole is a new restaurant designed by Maison Malapert in the heart of Paris’s Golden Triangle, close to the Champs Elysées, Avenue Montaigne, and the Grand Palais. The project integrates the hotel’s discreet green courtyard with references to couture, creating an environment that bridges natural elements and the surrounding fashion context.

The interior is characterized by warm amber tones that shift in intensity throughout the day, subtle at midday and more vibrant in the evening, when the restaurant transitions into a bar and event space. Materials and fabrics, sourced from Parisian fashion houses, introduce a couture sensibility, while custom-designed furniture and controlled lighting contribute to a refined yet adaptable atmosphere.

all images by Nicolas Anetson

Warm Amber Interiors Define Maison Malapert’s Frivole design

The design team at Maison Malapert organizes the spatial layout around a central bench that anchors the room and faces the garden. To the right, a marble bar accommodates cocktail service, while the dining area extends toward more intimate seating options, including two tent-like niches inspired by Napoleonic references. A DJ station is integrated into the center of the space, supporting the venue’s dual role as restaurant and nightlife setting.

Architectural details include built-in mirrors, wood paneling, and integrated lighting that establish rhythm across the walls. At the rear, guests access the courtyard terrace, an enclosed garden outfitted with striped umbrellas and lattice patterns that echo the winter garden theme. Throughout, striped and patterned textiles extend the dialogue between indoor and outdoor references, reinforcing the connection to couture and the fashion district. Maison Malapert’s design balances function and atmosphere, creating a space where dining, leisure, and performance coexist within a setting that reflects both the history of the hotel and the cultural identity of its surroundings.

dramatic sofa in the middle of the room

napoleonic tent

main room view

front cocktail bar view

backlighting mirrors on the walls

view of the tent

large bar view

hidden garden terrace

terrace detail

project info:

name: Restaurant Frivole – Paris

designer Maison Malapert | @michael_malapert

location: Paris, France

photographer: Nicolas Anetson | @nicolasanetson

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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Mexico City welcomes Museo Casa Kahlo, a new museum located in Casa Roja, the historic home of Frida’s sister Cristina Kahlo, transformed into a museum by architect Mariana Doet Zepeda Orozco, with experience and exhibition design by Rockwell Group and graphic design by Pentagram.

Dedicated to exploring the private life, family relationships, and early inspirations of Frida Kahlo, the venue occupies the same neighborhood where the artist and her family lived for over a century. Far from the public eye of Frida’s more famous blue house, Casa Azul, this intimate residence offers a glimpse into the domestic world that shaped her life and work.

all images by Rafael Gamo for Rockwell Group, unless stated otherwise

an Intimate Journey Through the artist’s Private World

The museum experience, designed by the team of Rockwell Group, is deliberately personal and reflective. Visitors move through preserved domestic spaces that include a kitchen containing Frida’s only known mural, a candlelit basement that once served as her private retreat, and rooms dedicated to family initiatives like La Ayuda, a charity for single mothers. Museo Casa Kahlo foregrounds Frida’s roles as sister, aunt, and friend, illuminating the networks of support and inspiration that fueled her artistic life.

Mexico City welcomes Museo Casa Kahlo | image courtesy of the Museo Casa Kahlo

Courtyards, Corridors, and Hidden Rooms

Visitors arrive through a narrow corridor that traces the historic driveway of Casa Roja, lined with historical photographs and hand-crafted signage, before stepping into a restored courtyard. Here, a large grapefruit tree that references Frida’s kitchen mural sits in a hand-carved cantera stone pot, surrounded by planters in green clay from Oaxaca, red clay from Guadalajara, and monumental Purépecha vessels from Michoacán. Native plantings and locally sourced cast-iron benches evoke the feeling of a lived-in home, and a curved corner stair reintroduced from historic photos recalls the family gatherings once staged here.

Descending into the basement, Rockwell Group recreates Frida’s hidden studio, a quiet room filled with personal objects, dolls, paintings, and her microscope for studying insects. The space is intimate, almost secretive, with soft candlelight and tactile displays that invite slow observation. With wood, stone, and ceramics at its core, the design radiates warmth and reflects the region’s artisanal heritage, grounding Frida’s story in the textures of her family home.

the museum is located in Casa Roja, the historic home of Frida’s sister Cristina Kahlo

The Next Chapter of frida’s Story

The museum also foregrounds contemporary artistic voices, with rotating exhibitions of Mexican, Latin American, and female artists who echo or challenge Kahlo’s vision. As Mara Romeo Kahlo, Frida’s grandniece, notes, the museum is a family project. ‘To welcome the public into these spaces is, for us, a tribute to the Kahlo family’s tradition of hospitality,’ she shares. ‘This museum honors the spirit of family, generosity, and creativity that has been passed down to us.’

Museo Casa Kahlo is administered by director Adán García Fajardo with chief curator Adriana Miranda and represents the most significant expansion of the Kahlo family’s cultural footprint in decades. For visitors, it offers a rare chance to inhabit the domestic spaces that nourished the artist’s creativity, revealing a side of the artist rarely seen by the public.

a large grapefruit tree that references Frida’s kitchen mural sits in a hand-carved cantera stone pot

exhibition design by Rockwell Group and graphic design by Pentagram

Rockwell Group recreates Frida’s hidden studio in the basement

Museo Casa Kahlo foregrounds Frida’s roles as sister, aunt, and friend

revealing a side of the artist rarely seen by the public | image courtesy of the Museo Casa Kahlo

project info:

name: Museo Casa Kahlo

architect: Mariana Doet Zepeda Orozco

exhibit & experience design: Rockwell Group | @RockwellGroup

location: Casa Roja, Coyoacán, Mexico City, Mexico

client: Fundación Kahlo

director: Adán García Fajardo

chief curator: Adriana Miranda

graphic & creative direction: Pentagram | @pentagramdesign, Ileen Gallagher

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With just months remaining before the Milano-Cortina 2026 Winter Olympics, construction of the Milan Olympic Village wraps up in the city’s former Porta Romana railway yard. The project, designed by Skidmore, Owings & Merrill (SOM) and delivered under the general and architectural supervision of Progetto CMR, marks Italy’s first use of the ‘partnering’ contract model for a major public development. This collaborative, efficiency-driven approach allowed the 50,000 square-meter complex to be completed ahead of schedule, with official handover to COIMA real estate taking place in July 2025. During the Games, the site will host 1,300 athletes; after the closing ceremony, it will be transformed into Italy’s largest publicly supported student housing community, offering 1,700 beds, shared services, and green spaces (find designboom’s previous coverage here).

UPDATE September 30th, 2025: COIMA officially delivers the Olympic Village at Porta Romana to Fondazione Milano Cortina 2026, marking a major milestone ahead of the Winter Games. From October 1st, 2025, the complex will serve as the athletes’ residence before being converted in just four months into Italy’s largest publicly supported student housing community.

At the same time, reservations are now open for the 1,700 student beds available from the 2026/27 academic year. The project will meet around 6% of Milan’s student housing demand, with 450 units offered at subsidized rates.

COIMA officially delivers the Olympic Village to Fondazione Milano Cortina 2026 | image by Donato Di Bello

A fast-track conversion for a post-Olympic legacy

As of February 2025, all six residential buildings that make up the Olympic Village have been structurally completed, alongside the restoration of two historic railway buildings: the Squadra Rialzo and the Basilico warehouse, named after photographer Gabriele Basilico. Designed by the international architecture firm SOM with conversion in mind from the outset, the village will be handed over to Fondazione Milano Cortina 2026 six months ahead of the Games and returned immediately afterward for transformation into student housing – a record-setting turnaround for an Olympic facility.

The future student village will offer 1,700 beds, with 30% at subsidized rates. Thanks to support from COIMA’s ESG City Impact Fund and the Fondo Nazionale Abitare Sociale (FNAS), 450 of these units will be available at an average of €430/month, roughly 25% below market. The development has already been pre-qualified by the Italian Ministry of Universities as eligible for public funding under the National Recovery and Resilience Plan (PNRR), potentially reducing rents even further for up to 12 years.

the complex will serve as the athletes’ residence | image by Donato Di Bello

A climate-conscious village for future generations

The Olympic Village is one of Italy’s most sustainable residential developments to date. Certified LEED Gold, the buildings achieve zero operational emissions thanks to advanced energy systems consisting of no fossil fuels, high-efficiency heat pumps, LED lighting, and a rooftop photovoltaic array producing 1 MW of power. Prefabricated timber facade panels reduce both construction time and environmental impact. Public green areas, designed by Desvigne, are fully integrated into the neighborhood network, promoting walkability and ecological continuity.

The internal programming, including fitness facilities, coworking areas, dining, and healthcare, will be converted into community-serving spaces after the Games. This approach ensures the Olympic legacy contributes directly to long-term social infrastructure.

reservations are now open for the 1,700 student beds | image by Donato Di Bello

Public and private alignment

Located between Via Ripamonti and Corso Lodi, in the Fondazione Prada district, the disused Porta Romana scalo was once a vast infrastructural void dividing Milan’s southern sector. The site is currently undergoing one of the most ambitious regeneration initiatives in Europe, coordinated by COIMA SGR and its institutional partners through the Porta Romana Fund. The wider redevelopment began in 2005 as part of the Scali Milano initiative, which sought to convert over one million square meters of obsolete railway land into new urban centralities. The Olympic Village, a key anchor within the masterplan by Outcomist and Michel Desvigne, marks a milestone in this decades-long process.

The project is supported by a wide consortium of institutional stakeholders, including Cassa Forense, ENPAM, Fondazione Compagnia di San Paolo, Intesa Sanpaolo, and CDP Real Asset SGR. The residential component of the Porta Romana site will also include 320 affordable housing units, covering the housing needs of over 2,500 residents and aligning with Milan’s municipal housing strategies and Confindustria’s national sustainable housing program.

As Italy eyes its post-pandemic urban future, the Olympic Village at Porta Romana stands as an example of infrastructure designed to serve beyond spectacle. 

the project will meet around 6% of Milan’s student housing demand | image by Donato Di Bello

Italy’s first use of the ‘partnering’ contract model for a major public development | image by UDB Studio

8th March 2025, The Basilico building | image by Donato di Bello

during the Games, the site will host 1,300 athletes | image by UDB Studio

construction of the Milan Olympic Village wraps up | image by UDB Studio

5th February 2025, corner of the construction site between Ripamonti and Lorenzini Streets | image by Donato di Bello

8th March 2025, the West courtyard and building A | image by Donato di Bello

8th March 2025, the South facade of the A building and the mezzanine | image by Donato di Bello

8th March 2025, the South facade of the D building | image by Donato di Bello

8th March 2025, Olympic Village, the east facade of the construction site | image by Donato di Bello

8th March 2025, the ex-Squadra Rialzo Building, train maintenance depot | image by Donato di Bello 

project info:

name: Olympic Village Milano-Cortina 2026

architect: Skidmore, Owings & Merrill (SOM) | @skidmoreowingsmerrill

location: Porta Romana, Milan, Italy (more info here)

site area: 46,620 square meters

building gross area: 53,380 square meters

masterplan: Outcomist

developers: COIMA SGR, Covivio, Prada Holding

project partners: COIMA ESG City Impact Fund, CDP Real Asset SGR, Fondo Nazionale Abitare Sociale

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ABRA is a Parisian patisserie, conceived by chef Tal Spiegel, with a vibrant interior designed by Ron From with architect Nicolas Frances. The material and color palette draw on Bauhaus and modernist precedents. Ron From clads surfaces in wood and combines it with strong accents in primary blue, red, and yellow, creating a contrast between warmth and graphic clarity. The patterned tile floor introduces repetition and depth, while shelves along the wall display prints and geometric objects that align the project with ideas of modularity and composition.

The project establishes this conceptual framework through a deliberate division of space and shifts away from the conventions of display, where windows are usually filled with rows of ornate cakes, and instead reduces the focus to a series of singular objects. Each pastry is positioned to be read almost as a prototype, inviting comparison with design processes rather than with culinary excess. 

images by François Fonty, unless stated otherwise

The shop frames the journey from kitchen to street

Located on Rue des Mauvais Garçons in Paris, ABRA pastry shop is organized in two clear zones, divided into a compact retail space at the street front and a working kitchen behind the partition. Ron From and Nicolas Frances install a semicircular aperture between the two spaces that acts as both window and frame, allowing the pastries to remain visible, while the display surface directly beneath acts as a threshold between making and consuming. 

The overall impression is of a space that treats food and design as parts of the same process. The shop is small but carefully structured, with the openness of the glazed facade to the street on one side and the framed view of the kitchen on the other.

ABRA is a Parisian patisserie, conceived by chef Tal Spiegel

color, material, and process shape the visitor’s experience

Bauhaus and modernist references are legible in the restricted palette of primary blue, red, and yellow, which is layered against a white backdrop, warm wood cabinetry, and metal details. Geometric repetition in the patterned tiles underfoot and the framed graphics on the wall lends the room a rhythm and creates a space that feels warm and inviting but that also sparks curiosity. 

The street view roots the project in the city, while the open lab window invites visitors to peek behind the scenes. It’s a place where one can enjoy pastries but also explore how they’re made and what they mean.

the interior is organized in two clear zones

a semicircular aperture between the two spaces acts as both window and frame

edible studies in form, color, and proportion | image by Nathanaël Djimbilth

bauhaus and modernist references are legible in the restricted palette of primary blue, red, and yellow

shelves along the wall display prints and geometric objects

each pastry takes on a graphic, geometric composition | image by Nathanaël Djimbilth

the visual identity of ABRA aligns with the ideas of modularity and composition

pops of color are layered against a white backdrop, warm wood cabinetry, and metal details

Ron From clads surfaces in warm wood

the patterned tile floor introduces repetition and depth

brand identity and interior design are unified through a cohesive color palette | image by Florian Domergue

the overall impression is of a space that treats food and design as parts of the same process

the shop is small but carefully structured

blue, yellow and red details complete the facade

located on Rue des Mauvais Garçons in Paris

project info:

name: ABRA patisserie | @abra.patisserie.paris

location: 1 Rue des Mauvais Garçons. Paris, France

concept & chef: Tal Spiegel | @tal.spiegel

interior design: Ron From | @ronfrom

architect: Nicolas Frances | @icnos_architecture

studio design: Roof Studio | @roof_studio_telaviv

boutique photographer: François Fonty | @Francoisfonty

cake photographer: Nathanaël Djimbilth | @aeternopraesenti

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Red Bull constructs a temporary curved skate ramp onto the facade of the Centro Administrativo Fernando Ferrari building in Porto Alegre, Brazil. A site to one of the largest skateboarding projects, the structure dubbed Red Bull Building Drop is for Brazilian skateboarder Sandro Dias, who broke two Guinness World Records after dropping in from the curved façade of the 22-story building.

During the project, the skateboarder hit a speed of 103 kph, skating from a height of 70 meters with a drop of 60 meters, measured from the lowest point of the ramp to the platform. Safety was integrated into the ramp design. At the end of the ramp, MotoGP crash pillows were installed, and these devices, normally used in motorcycle racing, helped stop a speeding Sandro Dias after hitting above 100 kilometers per hour. In addition to the crash pillows, the skateboarder wore a spine protector as part of his equipment to make sure that the risks of such a descent were reduced as much as possible while still allowing for world record speeds.

all images courtesy of Red Bull | photo by Fabio Piva

Concrete structure onto Centro Administrativo’s building

Red Bull’s skate ramp on the Centro Administrativo Fernando Ferrari building took around one month of preparation and another month for actual building. The original building façade, made of concrete, was unsuitable for skating because of the cracks and surface wear, so the brand’s team had to install a plywood overlay across the building’s curve. Around 800 wooden boards created a continuous surface that allowed Sandro Dias to move from the 70-meter starting platform down to the temporary quarter pipe at ground level.

The skate ramp itself was temporary, with the plywood surface mounted onto the building’s exterior curve, cladding the concrete in a smooth finish. Metal components supported the wooden panels, and after the Red Bull event, around 115 tonnes of material were planned for repurposing. The wooden boards would be donated to local non-governmental organizations or used as biomass, while the scrap metal would be recycled to make sure that the ramp construction would not contribute significantly to landfill waste.

Red Bull builds a skate ramp onto the Centro Administrativo Fernando Ferrari | photo by Marcelo Maragni

Dubbed largest temporary skate ramp constructed

The skate ramp’s significance lies in both its scale and its cultural context. It became the largest temporary skate ramp ever constructed, one done by Red Bull, with a height and slope never attempted before (towering 88.91m-high structure). For decades, local skaters had joked about the Centro Administrativo Fernando Ferrari building being a skateable surface, even creating digital mock-ups of someone riding down it. 

A structure honoring the economist and politician Fernando Ferrari, the concrete office building was completed in 1987 and designed by architects Charles René Hugaud, Leopoldo Costanzo, Ivanio Fontoura, and Luis Carlos Macchi. At the present time, Red Bull has temporarily turned it into a Building Drop, making the urban legend a real physical structure, and in doing so, it created a new benchmark for what can be achieved in skateboarding design.

the building becomes a site to one of the largest skateboarding projects

view of Sandro Dias preparing for his descent | photo by Marcelo Maragni

view of the temporary concrete structure in Porto Alegre, Brazil | photo by Joerg Mitter

the iconic CAFF building has been turned into the dubbed world’s biggest skate ramp | photo by Fabio Piva

the final drop-in was set at 70m | photo by Marcelo Maragni

detailed view of Sandro Dias’ descent | photo by Joerg Mitter

view of Sandro Dias after his descent, breaking two Guiness World Records | photo by Marcelo Maragni

Sandro Dias has now gone higher and faster than any skater in history | photo by Joerg Mitter

project info:

name: Red Bull Building Drop 

brand: Red Bull | @redbull

architecture: Centro Administrativo Fernando Ferrari | @governo_rs

location: Avenida Borges De Medeiros, 1501, Porto Alegre, Brazil

skateboarder: Sandro Dias | @diassandro

photography: Fabio Piva, Marcelo Maragni, Joerg Mitter | @pivaphoto, @marcelomaragni, @joergmitter

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