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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Shanghai-based studio Archi-Union designs this landmark Linpan Cloud Eye as a community center in Qingxia Town, a rural village of China‘s Sichuan Province. The three-level building can be found about an hour’s drive from Chengdu. Surrounded by bamboo forest and mountain streams, the project serves as a cultural and community health hub while embracing the site’s natural topography.

The center is tucked into a hillside clearing where a stream enters from the east. Archi-Union retained the dense bamboo grove and arranged the program around a small courtyard that steps upward with the slope. Activity spaces occupy the lower two floors, and a third-floor terrace opens to mountain views. This vertical layering creates a parallel relationship with a nearby cliffside and frames distant fields through roof apertures, inspiring its name, ‘Cloud Eye.’

images © Ke Wang

archi-union’s digitally-designed rooftop

Visitors enter along a bamboo-lined path, which the team at Archi-Union designs to conceal the Linpan Cloud Eye until the last turn. A flowing roof canopy guides them into a series of outdoor platforms that link interior and exterior spaces. Three primary courtyards — a bamboo entry, a central green, and a roof terrace — are open for community gatherings and everyday use. Wide openings and covered walkways reflect traditional Sichuan typologies while maintaining clear circulation.

The building can be recognized by its dramatic rooftop, whose sculptural construction is supported by three curved steel beams. The precise geometries of these beams were generated through digital modeling, then rationalized into straight segments for efficient fabrication. A skin of locally-crafted bamboo finishes the ceilings and handrails, bringing an element of regional craft to the contemporary architecture. These natural textures soften the concrete and steel structure and reinforce the center’s dialogue with its environment.

Linpan Cloud Eye sits within a bamboo forest in China’s Sichuan Province

robotic craft for a rural site

A key interior feature of the Linpan Cloud Eye is its ‘water wall,’ a 3D-printed element created by Archi-Union to capture the movement of nearby creek water in sculpted folds. The architects used algorithmic design to translate the water’s shifting surface into machine-readable code, allowing robots to fabricate the panels with precision. The result brings a digital logic to a project otherwise defined by its handcrafted bamboo work and rural design language.

Elevated ground-floor areas hover over the bamboo grove, while upper levels offer quieter spaces and panoramic platforms. By combining advanced construction methods with vernacular forms and local craft, the project establishes a contemporary precedent for rural development that honors its landscape and lends a space for the community.

the building follows the natural slope with three vertically-stacked levels

the flowing rooftop guides visitors through courtyards and terraces

traditional bamboo weaving softens the concrete and steel structure

three curved steel beams, generated by digital modeling, support the continuous roof

a 3D-printed water wall echoes the motion of nearby creek water

the project hybridizes advanced fabrication methods with regional craft

project info:

name: Linpan Cloud Eye

architect: Archi-Union | @archi_union

location: Chengdu, China

area: 868 square meters

completion: 2022

photography: © Ke Wang

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Cossement Cardoso wins second prize in the international competition for the new Architecture and Design Museum along Helsinki’s historic South Harbour. JKMM Architects designed the winning proposal among 624 entries (find designboom’s previous coverage here), including Luca Poian Forms’ Väkkärä concept. Cossement Cardoso’s design emerges as a dialogue between nature, history, and urban transformation. Set within a layered context shaped by centuries of maritime and urban activity, the building both respects and reinterprets its surroundings.

Drawing inspiration from the Finnish landscape and architectural heritage, from birch forests to crystalline ice formations, the museum blends organic forms with geometric precision, creating softly curved facades that invite exploration from all angles. Evolving from an initial solid concrete mass into a translucent fortress of textured glass, the project balances protection and openness. The glass facades filter light while preserving a sense of security, transforming the museum into a cultural beacon at the threshold between land and sea. The undulating roof, reminiscent of billowing sails, resonates with Helsinki’s skyline, offering a subtle but distinctive landmark that bridges the city’s past and future.

all visuals by Imagens do Bernardo

Textured Glass and Curved Roof Define Helsinki Museum

The materiality of the building, chosen by the architectural team at Cossement Cardoso, reflects an experimental and sustainable approach. Recycled glass is heated and poured into wooden molds, where the interaction of molten glass and charred timber creates unique textured panels. This process embeds traces of the landscape and craft into the façade, while the repurposed timber enhances the interior’s warmth and tactile quality. The calibrated variation between textured and smooth glass provides visual permeability where needed, balancing enclosure and openness throughout the building.

Ultimately, the project is a holistic response to context, culture, and craft. It merges architecture and design, material experimentation, and sustainability, offering a contemporary interpretation of Finnish heritage. The result is a building that is at once protective and inviting, sculptural yet permeable, rooted in memory while embracing light, transparency, and the ever-changing relationship between land, sea, and city.

the project responds to Helsinki’s layered history and maritime context

organic forms merge with geometric precision in the museum’s design

an undulating roof recalls the movement of billowing sails

softly curved facades invite exploration from every angle

repurposed timber enriches the museum’s warm interiors

smooth and textured glass alternate to control transparency

sustainable processes underpin the design’s material choices

the architecture reflects Finnish landscapes and traditions

a sculptural yet permeable landmark anchors Helsinki’s South Harbour

the building evolves from solid concrete to a translucent glass fortress

models | image by Cossement Cardoso

conceptual model | image by Cossement Cardoso

casted epoxy model | image by Cossement Cardoso

project info:

name: Museum of Architecture and Design | @admuseo

architects: Cossement Cardoso | @cossement_cardoso

location: South Harbour, Helsinki, Finland

visuals: Imagens do Bernardo | @imagens_do_bernardo

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Our Forest by CTAA ARCHITECT / LAB explores how a single expansive roof can unify diverse spatial functions. The building in Taiwan employs exposed concrete load-bearing walls combined with cypress CLT (cross-laminated timber) roof panels. A large curved roof, rotated 45 degrees, interacts with the orthogonal interior layout to generate varied double-pitched roof forms. This creates dynamic visual effects, with shifting patterns of light and shadow across the spaces.

The design introduces new material applications and construction techniques using both CLT and GLT (glued laminated timber). These methods allow for extended cantilevers and greater roof curvature, producing a roof that spans 16 meters by 18 meters. The approach redefines conventional timber construction, combining architectural expression with structural performance. To address site conditions, the single-story volume is kept slightly lower than surrounding houses, but the roof is raised to 5.8 meters. Different roof heights and layered eaves add vertical depth, ensuring the structure maintains presence without appearing diminished. Exposing the wooden framework further emphasizes the scale and craftsmanship of the roof.

all images courtesy of CTAA ARCHITECT / LAB

diverse spaces are formed beneath a hyperbolic timber roof 

The hyperbolic GLT roof is constructed from 396 individual timber pieces, each with a unique curvature, and connected by over 3,000 steel joints. Supported by 46 CLT pitched roof segments measuring 2 by 3 meters, the structure achieves a balance between linear and planar elements. The bowl-shaped canopy rests on the perimeter roof edges without additional columns, creating multiple shaded zones and framing distinctive spatial experiences beneath.

The design team at CTAA ARCHITECT / LAB conceived the structure as an interconnected environment, in which the expansive roof links the building’s different areas into a cohesive whole. Its scale and geometry establish a sense of continuity, while its materiality and construction techniques demonstrate the potential of contemporary timber architecture.

Our Forest by CTAA ARCHITECT / LAB explores the unifying potential of a single expansive roof

the building combines exposed concrete walls with cypress CLT roof panels

a curved roof, rotated 45 degrees, intersects with the orthogonal plan to create varied roof forms

layered eaves and varied roof heights add vertical depth and presence

the exposed timber framework highlights structural scale and craftsmanship

the hyperbolic GLT roof consists of 396 uniquely curved timber pieces

the design balances linear and planar elements within a unified geometry

multiple shaded spaces are formed beneath the expansive roof

distinct spatial experiences emerge from the intersections of roof and plan

the roof links all areas of the building into a cohesive whole

scale and geometry establish continuity across the project

shifting patterns of light and shadow animate the interiors beneath the roof

plan

project info:

name: Our Forest

architects: CTAA ARCHITECT / LAB
lead architect: Cha Shao Yu

location: Taiwan 

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The Terminal BTG Pactual at Guarulhos International Airport in São Paulo is the first exclusive airport terminal in Latin America. Developed by Perkins&Will São Paulo with interiors by Pascali Semerdjian Arquitetos, the project combines architectural and interior strategies that balance efficiency, comfort, and environmental integration. The building is defined by inverted roofs that evoke the geometry of open wings, symbolizing flight while providing practical structural and environmental benefits. These roofs rest on a double-height framework of metal, wood, and glass, balancing transparency with solidity. Large window surfaces bring in natural light and maintain continuous visual connections to the sky, while a solid base grounds the structure and incorporates the main circulation, drop-off, and operational areas.

A central garden organizes the terminal’s interior and functions as both a circulation divider and a biophilic feature. It links the check-in lounge with boarding and arrival areas, while introducing native Brazilian species such as sibipiruna, white ipê, and brazilwood. These choices emphasize ecological value, respect biodiversity, and comply with aviation safety standards by avoiding species that attract birds. This strategy allows the building to operate as a functional terminal while simultaneously reinforcing its connection with the local environment.

all images by Fran Parente

Custom Interiors and Furniture decorate Terminal BTG Pactual

For the interior, studio Perkins&Will São Paulo collaborates with practice Pascali Semerdjian Arquitetos, creating a strategy that emphasizes scale, materiality, and continuity. While the double-height volumes express openness, half-height wooden panels introduce a more intimate scale in lounges and waiting areas. This balance ensures that large operational spaces retain a welcoming quality. Materials are central to the atmosphere. Wood surfaces are used extensively for warmth and consistency, while stone details add contrast and identity. The combination creates a sequence of spaces that are both operationally efficient and visually distinctive.

All furniture was custom-designed specifically for the terminal through artisanal processes. Carpentry techniques were employed to produce elements such as bars, shelving, sinks, private room fittings, armchairs, chaises, coffee tables, and lighting fixtures. These pieces establish a coherent dialogue with the architecture, reinforcing the integration between structure, interior, and furniture. Lighting plays both a technical and expressive role. Fixtures are positioned to emphasize the floating quality of the roof while meeting airport safety and operational standards. By day, natural light dominates through expansive glazing, while at night, controlled artificial illumination highlights the building’s architectural rhythm and creates a sense of continuity with its surroundings.

the BTG Pactual Terminal is the first exclusive airport terminal in Latin America

Airport Hub Aligns Architecture and Environment in São Paulo

The terminal accommodates a full range of processing, circulation, security, and hospitality functions, distributed across a continuous plan. Spaces include lounges, meeting rooms, and suites, which are designed to support both privacy and efficiency. The layout organizes these programs with circulation flows, ensuring clarity and comfort for travelers.

Through the collaboration of Perkins&Will and Pascali Semerdjian Arquitetos, the Terminal BTG Pactual reinterprets the conventional air travel environment. By combining symbolic form, biophilic strategies, tailored interiors, and operational precision, the project establishes a landmark in Latin American aviation design, aligning functionality with architectural and environmental intent.

the building’s form is shaped by inverted, wing-like roofs

a double-height structure frames the terminal with metal, wood, and glass

large window surfaces maximize natural light

interior spaces maintain clear visual connections to the sky

project info:

name: Terminal BTG Pactual
architect: Perkins&Will | @perkinswill_br

interior designer: Pascali Semerdjian Arquitetos | @pascalisemerdjian

location: São Paulo, Brazil

photographer: Fran Parente | @franparente

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The Sijing Town Sports Center, designed by Spanish architecture studio Selgascano, has won second prize for a site on the outskirts of Shanghai and conceived as a sustainable, human-scale landmark. Planned between transport routes and green corridors, the project emphasizes accessibility and active mobility, linking jogging paths, bike trails, and nearby parks into a wider network of wellness-focused public space.

In contrast to the surrounding high-density developments, the sports center introduces an architectural language rooted in openness and landscape integration. The design avoids vertical dominance, instead dispersing its program across a series of low, transparent pavilions with voluminous ETFE rooftops. Each volume is enveloped in greenery, aligning the project with the natural environment and creating a calm counterbalance to the speed and scale of the skyline beyond.

visualizations © Playtime

learning from the heritage of Sijing Town

With the layout of the Sijing Town Sports Center’s pavilions, Selgascano draws inspiration from traditional Chinese water towns. Here, bridges, courtyards, and walking paths structure daily life. These elements appear here as spatial rhythms that connect interior activity with outdoor circulation, reinforcing cultural continuity while supporting community use. By embracing the ground plane, the architects prioritizes human scale and sensory engagement over a monumental form that feels unwelcoming from the street.

Still, two sculptural and organic volumes serve as the project’s focal points. Their fluid geometry and bold presence establish a recognizable identity while remaining consistent with the horizontal composition. This balance allows the sports center to act as a landmark without relying on size, instead generating resonance through materiality, proportion, and atmosphere.

the sports center is located in Sijing Town, on the outskirts of Shanghai

the luminous etfe rooftop

The Sijing Town Sports Center is organized into distinct zones for swimming, multi-sport courts, and badminton, each designed with strong indoor-outdoor connections. Passive strategies and smart technologies support climate control and operational efficiency, while the material palette foregrounds environmental performance. ETFE membranes, recycled tartan, timber elements, and low-VOC finishes all contribute to the project’s sustainability goals.

Daylight is carefully integrated into the design, creating bright and animated interiors during daytime use. At night, artificial illumination transforms the pavilions into glowing beacons within the landscape. This duality reinforces the building’s civic role, ensuring that the center remains a visible and accessible point of orientation throughout the day.

Selgascano designs the proposal as a sustainable human-scale landmark

the complex integrates with jogging paths, bike trails, and nearby parks

the architecture consists of low, transparent pavilions surrounded by greenery

the bridges, courtyards, and walkways reference Chinese water towns

swimming, multi-sport courts, and badminton halls are linked with outdoor spaces

daylight and night lighting animate the interiors and define the building as a beacon

project info:

name: Sijing Town Sports Center

architect: Selgascano | @selgascano

location: Songjiang District, Shanghai, China

design team: Leandra Matas, María Andrés, Fabiana Perrogón, Juan Múzquiz, Iñigo Riveira, Paolo Tringali, Inés Olavarrieta

area: 14,500 square meters (156,000 square feet)

status: competition, second-prize

visualizations: © Playtime | @playtime.barcelona

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Located in a landmark 1980s building near Praça da Liberdade, Belo Horizonte, Brazil, the revitalized Magnum Lourdes College by BIRI + Chico Albano adapts a former bank into a contemporary educational facility. The project retains the building’s architectural character while introducing design strategies that optimize natural light, acoustic performance, and spatial organization. Key interventions include a rooftop sports and social plaza, color-coded floors for wayfinding, restored original furnishings, and a dedicated early childhood education wing.

The design process addressed the challenge of preserving historical and architectural value while meeting the functional requirements of a modern school. Social and leisure areas were integrated to connect the building with the surrounding urban context while maintaining safety for students and staff. Fixed glass panels placed in the upper sections of classroom partitions allow daylight to reach hallways and internal courtyards. Acoustic performance was improved through the installation of acoustic ceilings and double wallboards.

all images by Jomar Bragança

Color-Coded Layered Spaces Define Magnum Lourdes College

Each floor was assigned a specific color, applied to both walls and exposed plumbing, to support navigation and reinforce identity. The collaborative team between BIRI + Chico Albano maintained exposed structural elements, aligning with the concept of the environment as a ‘third teacher,’ where spatial qualities contribute to the learning experience. In the auditorium, seating stringers by Sérgio Rodrigues were preserved and restored, and new carpeting and ceiling finishes enhanced acoustic conditions and accessibility.

In the basement, laboratories and early childhood classrooms incorporate openings of varying sizes to maintain visual connection between spaces without disrupting circulation. A covered sports court for early childhood education is positioned adjacent to classrooms for direct access. The early childhood wing is distinguished by a blue volume marking its independent entrance, with accessible ramps and outdoor plateaus for play, gardening, and sunlight exposure. The library is defined by yellow woodwork framing, which creates a transition from the main circulation space. Its furniture arrangement supports reading and rest during breaks. The rooftop was converted into a multifunctional plaza with city views, natural light, and facilities for sports and social activities. Through these interventions, the Magnum Lourdes College project preserves the building’s architectural heritage while introducing adaptable, functional, and contextually integrated spaces for education.

former bank transformed for educational use

rooftop plaza combines sports and social activities

rooftop offers city views and natural light

design retains original architectural character

outdoor plateaus for play and gardening

rooftop features an open-air cafeteria

rooftop offers city views and natural light

staircase wrapped in perforated metal sheets

blue volume marks the early childhood entrance

restored original furnishings in learning spaces

library framed with yellow woodwork

reading spaces integrated into circulation areas

color-coded floors aid navigation and identity

typical classroom with city views

dedicated early childhood education wing

exposed structure as part of the teaching experience

1980s building on Bernardo Guimarães Street adapted into a modern school

project info:

name: Magnum Lourdes College
architects: BIRI | @biri.arq + Chico Albano | @chicoalbano.arq
location: Belo Horizonte, Minas Gerais, Brazil

area: 4,320 sqm

lead architects: Marcos Franchini and Nattalia Bom Conselho (BIRI), Francisco Albano

collaboration: Gabriella Sevilha, Júlia Galindo, Tiago Nogueira

landscaping project: Juliano Borin

signage project: Lucas Machado Design

acoustic project: JBARROS Architecture and Acoustics

lighting project: Atiaîa Lighting Design

architectural measurement: Ariwá Topografia

construction execution: Qualis Engenharia

corporate furniture and puffs: Tablo Corporativo

educational furniture: Metadil Móveis

furniture for squares and terrace: Novidário

photographer: Jomar Bragança | @jomarbraganca

illustration: Marcos Franchini | @mfranchini

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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In central Tokyo’s Koishikawa district, architectural studio AOIM completes a three-story residence, shaped around a softly curving roof that gathers, reflects, and diffuses daylight into the interiors. Hemmed in by factories, apartment buildings, and commercial blocks, the plot is long and narrow, with the only two sources of openness being its depth from the street and the strip of sky overhead. The roof forms an inverted arc, a smooth, semi-cylindrical curve reminiscent of the traditional Japanese fish cake kamaboko, to admit light while also modulating its character. As the sun shifts across the day, the curve scatters direct rays into a gentle, even glow, altering in brightness and hue with the weather outside. Morning meals unfold beneath a glow that feels like a spotlight, while throughout the day, the interiors absorb variations in tone that anchor the occupants to seasonal change.

all images by Akira Nakamura

raw concrete interiors meet borrowed views

At the rear of the House in Koishikawa, where visibility to the outside is both a gift and a risk, the Tokyo-based architects at AOIM insert an atrium and terrace as a threshold between domestic life and the city that doubles as an atelier, capturing greenery from borrowed views while opening onto an exterior staircase. The stair acts as a screen and extension, offering partial shelter and encouraging residents to step out and engage with the neighborhood on a terrace designed to be used as casually as a bench.

The House in Koishikawa is modest in scale, just 56.43 square meters of building area across three floors, totaling 157.84 square meters of interior space. The reinforced concrete structure is insulated externally, leaving interior walls raw and unfinished. Without topcoat or polish, the exposed concrete retains a hand-formed quality that contrasts with the precision of its geometry. Its roughness softens under natural light, lending a gentle warmth to otherwise stark surfaces.

AOIM completes a three-story residence in Tokyo

a softly curving roof that gathers, reflects, and diffuses daylight

the roof forms an inverted arc

the curve scatters direct rays into a gentle, even glow

a smooth, semi-cylindrical curve reminiscent of the traditional Japanese fish cake kamaboko

morning meals unfold beneath a glow that feels like a spotlight

interiors absorb variations in tone

the House in Koishikawa is modest in scale

the reinforced concrete structure is insulated externally

interior walls are left raw and unfinished

the exposed concrete retains a hand-formed quality

the lighting anchors occupants to seasonal change

AOIM inserts an atrium and terrace as a threshold between domestic life and the city

capturing greenery from borrowed views while opening onto an exterior staircase

project info:

name: House in Koishikawa

architect: AOIM | @aoim_gallery

location: Tokyo, Japan

site area: 82.01 square meters

building area: 56.43 square meters

total floor area: 157.84 square meters

structure: Ohga Architectural Structural Design Office Ltd.

construction: Hokuto Construction Co., Ltd. 

photographer: Akira Nakamura | @nakamamej

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Archermit completes Buzzy Sunny: Stone Kiln in the Valley, a small bakery and café at the entrance of Lihua village in Luzhou, China. Designed as a community gathering place, the project draws inspiration from the valley’s pear blossoms and monumental stone formations, translating their forms into a single sculptural structure.

The design is shaped by repeated visits to the site, where the architects observed the dramatic seasonal changes of Lihua village. In winter, skeletal pear trees and scattered boulders framed the valley paths, while in spring, blossoms filled the air and gathered underfoot. The design team describes the fleeting scene of petals drifting among scurrying ants as a formative image, one that later guided the conception of the Stone Kiln in the Valley.

From these impressions, the building takes shape as a petal resting on a stone. The curved white rooftop appears delicate against the weight of the valley’s terrain, while the base reads as a grounded mass. The project is guided by Archermit’s ‘Imagery Architecture’ approach, where form is generated from visual and cultural memory.

images © Archermit and HereSpace

archermit’s sculptural rooftop

Designing its Stone Kiln in the Valley, the architects at Archermit make use of a steel frame with a simplified network of petal-like veins, supported by five slender steel columns arranged in a circle. A single shear wall encloses the bathroom, hidden within the stone base. To achieve the thin, curling roof, the architects employed two layers of 3mm galvanized steel panels filled with rock wool insulation. The surface is coated with decorative cement paint, producing a matte, petal-like whiteness that is both waterproof and lightweight.

The use of layered steel panels allowed the roof to remain under 160mm (6.3 inches) thick, maintaining the intended sense of lightness. The structural clarity of the system underscores the sculptural expression, ensuring that the form’s apparent fragility rests on precise engineering.

Archermit completes Buzzy Sunny: Stone Kiln in the Valley in Luzhou

inside the stone kiln in the valley

Archermit’s Stone Kiln in the Valley sits on a site defined by farmland to the east and a road to the west, with jacaranda trees enclosing the north and south edges. The west-facing side of the roof is closed, shielding the interior from afternoon sun and traffic noise, while the open eastern side embraces the morning light. This orientation creates a semi-enclosed courtyard that blends with the trees, extending the project’s program into the surrounding landscape.

Inside, the near-elliptical plan and vaulted ceiling create distinct acoustic conditions. Sounds reverberate across the curved surfaces, producing clarity and resonance well-suited to music. Following its completion, the space has hosted small performances where children and visitors experienced its acoustic qualities firsthand.

The program includes a bakery, baking room, café, and cultural display space, unified under the petal-like roof. Large glass openings connect these interiors to the exterior courtyard, reinforcing the sense of permeability.

the design is inspired by pear blossoms and the valley’s stone formations

the structure appears as a petal resting on a stone in the landscape

a steel frame supports the petal shaped roof with slender columns

galvanized steel panels form the thin white roof surface

the project orients eastward to embrace morning light and create a courtyard

the building connects closely with farmland, jacaranda trees, and village paths

project info:

name: Buzzy Sunny: Stone Kiln in the Valley

architect: Archermit | @archermit_architects

location: Lihua Village, Danlin Town, Luzhou, Sichuan, China

area: 148 square meters (1,593 square feet)

photography: © Archermit, © HereSpace | @here_space_photography

lead architect: Pan Youcai
design director: Yang Zhe (partner)
technical director: Chen Renzhen (partner)
design team: Yang Rui, Hu Qinmei, Gou Yuanjun, Zhao Yaxian
construction drawing team: Chengdu Meixia Architectural Design Co., Ltd.
construction: Luzhou Xingyang Jianchuan Industrial Co., Ltd.
client: Lihua Village Collective Asset Management Co., Ltd., Jiangyang District, Luzhou

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A new Museum District and Park of Arts & Culture in Podgorica, Montenegro is set to transform the city’s relationship with its riverfront. Designed by Milan- and London-based a-fact architecture factory, in collaboration with LAND, Maffeis Engineering, and Charcoalblue, the competition-winning project will consolidate cultural institutions within a landscape that strengthens the link between the city and the Morača River.

The masterplan brings together the Museum of Contemporary Art, the Natural History Museum, and the House of Architecture. These institutions are arranged within a public park that doubles as civic terrain, extending cultural life beyond enclosed galleries. Programs include permanent and temporary exhibition halls, research facilities, educational laboratories, and social spaces, all of which flow outward into terraces, a botanical garden, and a flexible plaza for events.

The layout establishes a porous boundary between indoors and outdoors, ensuring that exhibitions, gatherings, and everyday encounters unfold across both architectural and landscaped settings. This approach positions the district as a civic hub as much as a museum destination.

two monumental volumes frame a new public landscape | images © EmmeWorks

monolithic design by a-fact architecture factory

Three sculptural volumes designed by a-fact architecture factory will emerge from the riverbank museum masterplan of Podgorica, Montenegro. Their boulder-like massing is conceived as a continuation of the topography. Designed by the team to be clad in stone, the buildings recall the mountains that surround Montenegro while introducing a precise and contemporary architectural language. The material strategy ties the complex to its geographical setting while projecting an image of cultural renewal for Podgorica.

Inside, circulation is organized to encourage fluid movement between galleries and shared spaces. The design anticipates varied programming, allowing institutions to function independently or converge for larger cultural events.

a green roof merging with the landscape overlooks the riverwalk

green roofs project over Podgorica riverbank

One of the defining elements of the museum masterplan is its treatment of the roofscape. The excavated ground is returned in the form of planted, accessible roofs that merge with the landscape and extend public space upwards. These green surfaces enrich biodiversity, create shaded outdoor meeting places, and offer elevated views across the river and city.

The surrounding park, developed by LAND, employs a blue-green infrastructure approach. It preserves 290 existing trees while introducing over 500 new ones alongside 900 shrubs, reinforcing ecological continuity. This strategy strengthens Podgorica’s biodiversity while providing shaded pedestrian routes and comfortable outdoor areas.

Environmental responsibility is integral to the project. Passive design methods minimize energy demand, while advanced engineering reduces heating, cooling, and water consumption. The use of local materials supports a low-carbon construction process, and the integration of vegetation enhances thermal comfort and resilience.

roof vegetation blurs the line between building and landscape, while fostering local biodiversity

between stone, light and water, the new museums create a fluid threshold between city and landscape

the museum interior becomes a stage for art and encounter, open to the sky and the landscape above

project info:

name: The new museum district and the park of arts & culture of Podgorica
architect: a-fact architecture factory | @afact_architecturefactory

location: Podgorica, Montenegro

client: Ministry of Spatial Planning, Urbanism and State

landscape design: LAND Italia Structural and Facade

engineering: Maffeis Engineering

experience design: Charcoalblue

status: international competition, 1st Prize

completion: 2024

visualizations: © EmmeWorks | @emme.works

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