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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Twelve years after the boutique’s first transformation in Cancún, the Louis Vuitton store presents a new facade that elevates its identity through the expressive possibilities of precast concrete. The design by MATERIA + Gustavo Carmona reinterprets the brand’s iconic flower motif as a sculpted relief that shifts constantly with the play of light and shadow, turning the exterior into a dynamic, sensorial surface. At the heart of the design is a single modular unit, carefully conceived to act both as a structural element and as a vessel for light. When repeated across the facade, this module generates a continuous and vibrant skin that merges precision with rhythm.

all images by Jaime Navarro

Light and Shadow Animate Sculpted Facade of Louis Vuitton store

The composition for Louis Vuitton Cancún boutique by studio MATERIA + Gustavo Carmona creates a strong collective identity while transcending the individuality of each component. The facade recalls the memory of the earlier wooden intervention while advancing into a new material language. More than a storefront, it is an architectural experience that demonstrates how concrete can embody both emotion and detail. By engaging visitors through texture, depth, and atmosphere, the design establishes the facade not only as an element of branding but also as a living presence in the urban fabric of Cancún.

Louis Vuitton Cancún presents a new precast concrete facade

the design reinterprets the brand’s iconic flower motif

sculpted reliefs shift with light and shadow across the surface

a single modular unit forms the basis of the composition

repetition generates a continuous, rhythmic skin

dynamic textures animate the boutique throughout the day

depth and shadow transform the surface into a sensory experience

rhythm and variation emerge from repetition of the unit

the boutique’s identity is expressed through modular form

project info:

name: Louis Vuitton at La Isla
architect: MATERIA + Gustavo Carmona | @_materia

location: Cancún, Mexico

photographer: Jaime Navarro | @jaimenavarrophotography

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The Tselinny Center of Contemporary Culture has officially opened in Almaty, Kazakhstan, marking the transformation of the city’s historic Tselinny cinema into a new cultural institution. Designed by London-based architect Asif Khan, the project extends across nearly 6,000 square meters of renovated interiors and a landscaped site of equal size, signaling a new era for the region’s artistic community.

With its undulating facade, the design integrates contemporary cultural programming with the building’s Soviet-era legacy, offering a space that connects Central Asia’s history and its evolving creative future. Khan’s approach balances structural renewal with symbolic gestures, creating a destination that responds to Almaty’s layered past while welcoming a diverse public.

images © Laurian Ghinitoiu

a modernist soviet cinema revived

The Asif Kahn-converted Tselinny Center of Contemporary Culture occupies an historic site in Almaty, Kazakhstan. Built in 1964, the original cinema commemorated the Soviet ‘Virgin Lands’ campaign, a politically charged project that reshaped the region’s relationship to its steppe landscape. Over the decades, the building fell into disrepair, its monumental auditorium subdivided and its historic sgraffito — scratched or carved — artwork partially lost.

Beginning in 2017, the Tselinny Center team initiated a careful reconstruction. Khan worked closely with local architect Zaure Aitayeva to stabilize the structure, strengthen it against seismic activity, and reintroduce its original spatial clarity. The rediscovered sgrafitto by Soviet artist Evgeny Sidorkin was restored with a restrained palette, allowing the work to coexist with contemporary art installations.

the Tselinny Center opens in Almaty as a new cultural landmark

the Tselinny Center renovation by asif kahn

The renovation removes intrusive additions while revealing the auditorium’s impressive 18-meter (59-foot) height. Acoustic treatments and integrated systems now support a range of exhibitions and performances. A continuous ribbon of stainless steel and glass wraps the ground floor, introducing daylight and linking the interior to the surrounding landscape.

A new ‘cloudscape’ of embossed symbols spans the north and south facades, drawing from Kazakh ornament and ancient petroglyphs. This abstract language appears in windows, lighting, and staircases, subtly embedding cultural memory into the architecture.

Asif Khan restores a Soviet cinema into a contemporary art venue

Asif Khan retained the building’s exposed concrete, complemented by geological finishes that ground the project in Kazakhstan’s natural history. Fossil-rich limestone from the Mangystau region forms the reception desk, while earth-toned concrete floors and river stones from Almaty’s terrain extend the connection between interior and landscape.

At the entrance, a softly curving, cloud-like threshold introduces a sense of openness and movement, counterbalancing the building’s monumental frame. Inside, a lowered ground plane eliminates level changes, creating a seamless public space that flows outward to adjacent squares and parkland.

a stainless steel ribbon brings daylight and 360 degree access

The reconfigured interior accommodates a series of flexible galleries and gathering areas, including the vast Orta 3 auditorium, the white-box Capsule gallery, and a rooftop terrace with panoramic views of the Ile-Alatau mountains. A new café, learning atelier, and quiet rooms enhance the Center’s role as a community hub.

This design prioritizes adaptable, multi-format spaces, allowing the Tselinny Center to host performances, exhibitions, and interdisciplinary events without fixed orientation. The inaugural program, BARSAKELMES, sets the tone with a live performance staged in the round, drawing on ancient Kazakh traditions.

historic sgrafitto artwork is carefully revealed and renewed

cloudlike forms soften the concrete frame of the building

the project strengthens and preserves the original seismic structure

project info:

name: Tselinny Center of Contemporary Culture | @tselinnycenter

architect: Asif Khan | @asifkhan.now

location: Almaty, Kazakhstan

previous coverage: January 2025

completion: September 2025

photography: © Laurian Ghinitoiu | @laurianghinitoiu 

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Located in Morocco’s capital, Rabat, the Prince Moulay Abdellah Stadium is a 68,700-seat venue by Populous that was delivered in just 24 months and combines a parametric LED facade with a fan-centric bowl.

The stadium’s shimmering, golden facade is inspired by Rabat’s iconic palm-lined boulevards and Morocco’s artisanal heritage. Composed of 19,200 aluminum triangles, each uniquely sized, and wrapped in 70 km of LED strips, the shell transforms at sunset into a glowing spectacle. Its placement along the city’s eucalyptus-lined green belt symbolically connects the stadium to Rabat’s urban and natural landscape.

all images courtesy of Populous

a parametric led facade envelops an acoustically tuned bowl

The global architecture and design team at Populous has crafted the bowl of the Prince Moulay Abdellah Stadium to maximize crowd engagement. The dual-tiered south ‘Kop’ stand, with a cantilevered upper tier hovering eight meters above the lower, accommodates 23,000 fans in one of the continent’s largest continuous supporter sections. This arrangement turns crowd energy into a palpable sonic wall, linking fans directly to the pitch. The West and East Stands bring together hospitality and elite seating with skyboxes that form a U-shaped ring around the field.

Populous’ design strategy was highly collaborative, leveraging teams across multiple offices to deliver detailed design documentation compatible with local construction processes led by Société Générale des Travaux du Maroc. This integration enabled the rapid 24-month design-and-build timeline — a feat rarely achieved for a stadium of this scale.

With its parametric facade, acoustically tuned bowl, and public connectivity, the stadium is designed to meet FIFA specifications and is ready to host matches up to the semi-finals of the 2030 FIFA World Cup. Prince Moulay Abdellah Stadium will also accommodate the opening, semi-finals, and final of AFCON 2025. Beyond football, it serves as a civic space, with the forecourt being connected to a new railway station and urban infrastructure, embedding the stadium into Rabat’s wider urban fabric and encouraging public transport access.

a 68,700-seat venue by Populous

the Prince Moulay Abdellah Stadium was delivered in just 24 months

a parametric LED facade envelops the structure

inspired by Rabat’s iconic palm-lined boulevards

each triangle is uniquely sized and wrapped in LED strips

the bowl is crafted to maximize crowd engagement

a cantilevered upper tier hovers eight meters above the lower

project info:

name: Prince Moulay Abdellah Stadium

architect: Populous | @wearepopulous

executive architect: Urban Architecture Studio

interior architect: Yame Architecture Studio | @yamearchitecturestudio

structural engineering office: Grid

technical engineering office: Cegelec-Vinci

location: Rabat, Morocco

delegated project manager: National Agency of Public Equipment (ANEP)

client: National Agency for Public Facilities of Morocco

construction: Société Générale des Travaux du Maroc (SGTM) | @sgtm_officiel

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The Jialuo 110kV Power Substation in Juyuan New District, Jiading, Shanghai, has been reimagined by Ten Studio as Green Island, a project that integrates infrastructure, ecology, and public space. The design introduces a double-skin facade system that allows the utility building to function as both an energy generator and a civic amenity.

On the south and east facades, photovoltaic panels are installed to capture solar energy. Several of these panels are mechanically operable, adjusting their angle according to the season. During winter, they remain vertical to optimize solar gain, while in summer, they tilt open, creating shaded and rain-protected pedestrian areas. The north and west facades, which face residential zones, employ perforated aluminum cladding with built-in planting troughs. These elements form seasonal green walls that contribute to the building’s ecological performance while softening its visual impact.

aerial view | all images courtesy of Ten Studio

Ten Studio’s Green Island Substation acts as an Urban Park

The project extends beyond the building envelope to address its urban context. The southern facade projects outward, shielding the site from traffic along Jialuo Road and generating a linear street park. This park connects adjacent residential neighborhoods, a community plaza, and a kindergarten. Additional features include gabion walls with integrated seating, an inner courtyard, and landscaped edges, which transform the substation perimeter into accessible and safe public areas.

Materially, the design combines silver steel framing, aluminum alloy planters, metal mesh, and gabion stone walls to balance durability with ecological integration. More than 120% of the building’s roof area is covered by photovoltaic surfaces, paired with extensive planting systems to enhance environmental performance. Through the integration of renewable energy production, seasonal planting, and public programming, Green Island redefines the role of the substation within the city. Rather than remaining an isolated utility, the project by Ten Studio architectural practice operates as a functional, community-oriented, and ecologically active element of urban infrastructure.

street corner plaza | daytime

breathing & energy stored wall

street corner plaza

street linear open space | daytime

vehicular entrance and exit

internal vehicular road

growing wall

street corner plaza | nighttime

street linear open space | nighttime

project info:

name: Green Island | Jialuo 110kV Power Substation

architect: Ten Studio
design team: Xudong Zhu, Xingyu He, Yiqiu Wu, Jie Han
location: Shanghai, China

area: 1,012 sqm
client: State Grid Shanghai Electric Power Company Jiading Power Supply Company

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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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Tucked away in a narrow laneway of Da Nang, Vietnam, architecture practice Live Out Studio has completed Terracotta Breath, a multigenerational residence defined by its porous brick facade. Designed to accommodate two households on a modest 7 × 22-meter urban plot, the project balances intimacy and independence. At its heart lies a planted courtyard — a shared space that nurtures sunlight, greenery, and moments of togetherness.

all images courtesy of Live Out Studio

A Palette Rooted in Earth and Climate

The design by Live Out Studio embraces Vietnamese feng shui principles and a restrained budget, resulting in a home that feels both grounded and inventive. Passive climatic strategies ensure natural ventilation and shade, while a material palette of brick, bamboo, timber, clay-toned render, and corrugated roofing ties the building to its local context. This cohesive, earthy language crafted by the Vietnamese studio flows from facade to garden path, forming a thermally responsive envelope that integrates seamlessly into its dense urban surroundings.

Every detail carries the imprint of local craftsmanship. Operable brick screens filter light and airflow, handwoven rope balustrades soften circulation spaces, and the carefully patterned brickwork adds texture and rhythm to the façade. These gestures are as practical as they are poetic — ensuring comfort in the tropical climate while creating subtle layers of privacy and openness.

the multigenerational residence is defined by its porous brick facade

at the heart of the project lies a planted courtyard

passive climatic strategies ensure natural ventilation and shade

a material palette of brick, bamboo, and timber tie the building to its local context

this cohesive, earthy language flows from facade to garden path

the dwelling integrates seamlessly into its surroundings

operable brick screens filter light and airflow

the home feels both grounded and inventive

designed to accommodate two households, the project balances intimacy and independence  the design by Live Out Studio embraces Vietnamese feng shui principles     

project info: 

name: Terracotta Breath

architect: Live Out Studio | @_liveoutstudio_

location: Son Tra, Da Nang, Vietnam

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Located in the Lijia area of Yubei District, Chongqing, China, the Golden Bay Kindergarten by NAN Architects responds to both a constrained triangular site and the psychological needs of early childhood education. Positioned along the Jialing River, the project integrates spatial strategies that balance openness, play, and protection. The school’s design adopts a staggered stacking method in which each classroom unit is sequentially set back, creating terraces on every floor. These outdoor extensions function as transitional zones between inside and outside, offering continuity across levels so that each floor maintains the quality of being at ground level. This configuration encourages openness while supporting the psychological development of children through spatial variety.

The facade is defined by two complementary strategies. On the south and north elevations, large floor-to-ceiling glazing maximizes daylight and frames expansive views of the river. On the east–west axis, a permeable terracotta brick screen provides shading, reduces glare, and maintains privacy from nearby streets and villas. At night, the screen takes on a lantern-like quality, glowing softly and creating a distinctive visual presence. For children, the interplay of light and shadow contributes to an environment that is both stimulating and reassuring.

all images courtesy of NAN Architects

NAN Architects Balances Urban and Child-Centered Design

At the urban scale, the building presents different interfaces depending on orientation. The north side, facing the river and main road, houses circulation routes and auxiliary functions such as offices, meeting rooms, and stairwells, which are linked into an open walkway that doubles as a public viewing platform. The south side, oriented toward residential buildings, adopts a fragmented, playful massing that softens its visual impact and creates a more intimate relationship with the neighborhood. Through the combined use of staggered stacking and semi-transparent facades, the project reconciles site limitations with educational requirements. The concept by studio NAN Architects results in an architecture that supports children’s learning and growth while engaging with its broader urban and environmental context.

Golden Bay Kindergarten is located in the Lijia area of Yubei District, Chongqing

staggered stacking sets back each classroom unit in sequence

every level features its own terrace as an outdoor extension

floor-to-ceiling glazing on north and south facades maximizes natural light

the project by NAN Architects sits along the Jialing River

the configuration encourages openness and variety for children

terracotta brick screens define the east–west facades

at night, the facade glows like a lantern within the neighborhood

light and shadow enhance both safety and imagination for children

the building softens its presence toward adjacent residences

the design integrates educational needs with urban and environmental context

project info:

name: Chonqing Golden Bay Kindergarten
architects: NAN Architects

location: Chongqing, China

principal architect: NAN Xu

design team: ZHOU Dingqi, TANG Huilian, WANG Wenyu, YANG Huiling, CHEN Mengfan, MU Canqi, MA Qi

structural consultant: ZHANG Zhun

client: Hongkong Land, China Merchants Shekou

construction drawings: China Machinery Zhonglian Engineering Co., Ltd., China Coal Technology & Engineering Group Chongqing Design & Research Institute

materials: Reinforced concrete, terracotta brick, floor-to-ceiling glazing

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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Until September 7th, 2025, Venice’s St. Mark’s Square becomes the stage for Dreams in Transit, a large-scale installation dedicated to the stories and aspirations of migrants. Curated by the Art for Action Foundation and inspired by JR’s Inside Out Project, the work transforms the facade of the historic Procuratie with 100 oversized black-and-white portraits. Installed on one of the city’s most recognizable landmarks, the project brings the subject of migration into the symbolic center of Venice, confronting passersby with both absence and belonging.

The portraits stem from an eight-month journey across Europe by filmmaker and artist Sarah Makharine, who met with 100 recently arrived migrants, listening to their stories and collecting their dreams. Unlike conventional portraiture, each subject is photographed from behind, gazing outward. This unusual perspective shifts attention away from facial identity toward collective experience, evoking both departure and the horizon of possibility. 

The intervention forms part of After Migration, a wider program launched during the 2025 Venice Architecture Biennale, which examines the long-term social, cultural, and political dimensions of migration. It also resonates with the work of The Human Safety Net’s For Refugees initiative, which since 2017 has supported over 13,000 refugees across six countries through entrepreneurship and training.

all images by Maco Film – Leonardo Mizar, unless stated otherwise

Migration Narratives at The Human Safety Net home in venice

Beyond the public square, the exhibition extends into The Home of The Human Safety Net, where Dreams in Transit, curated by the Art for Action Foundation, continues until March 15th, 2026. Inside, artists and filmmakers expand on the themes of displacement and identity. Sarah Makharine presents the video Echoes of Dreams, while works by Ange Leccia, Lorraine de Sagazan, Anouk Maugein, and the late Leila Alaoui offer contrasting lenses on migration’s personal and collective narratives. The installations trace how stories of movement and loss intersect with resilience and creativity.

A conference, organized with the International Panel on Social Progress, is also part of the program. Associations, researchers, and experts convene at The Home of The Human Safety Net to explore the enduring consequences of migration. During the Venice Film Festival, the short film Sweet Refuge, directed by Maryam Mir and already the recipient of nine international awards, will be screened, followed by a discussion with producer and curator Anadil Hossain. 

By occupying Venice’s central square and one of its historic facades, Dreams in Transit insists that migration is a subject that shapes the shared public sphere. 

Venice’s St. Mark’s Square becomes the stage for Dreams in Transit

a large-scale installation dedicated to the stories and aspirations of migrants | image by LungoLinea Studio

inspired by JR’s Inside Out Project

the work transforms the facade of the historic Procuratie

100 oversized black-and-white portraits compose the project | image by LungoLinea Studio

installed on one of the city’s most recognizable landmarks

Dreams in Transit brings the subject of migration into the symbolic center of Venice | image by LungoLinea Studio

the portraits stem from an eight-month journey across Europe by Sarah Makharine | image by LungoLinea Studio

each subject is photographed from behind | image by LungoLinea Studio

this perspective shifts attention away from facial identity | image by LungoLinea Studio

migration is a subject that shapes the shared public sphere | image by LungoLinea Studio

project info:

name: Dreams in Transit

curation: Art for Action Foundation | @artforaction_foundation

location: Procuratie, St. Mark’s Square, Venice

dates: installation, September 3rd–7th, 2025 | exhibition until March 15th, 2026

artists: Sarah Makharine | @sarah.makharine, Ange Leccia | @ange_leccia, Lorraine de Sagazan, Anouk Maugein | @anoukmaugein, Leila Alaoui | @leilaalaoui

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OMA completes Harajuku Quest, a commercial complex in the heart of Tokyo set to open on September 11th, 2025, when the first stores welcome visitors, followed by a phased rollout from November onwards (find designboom’s previous coverage here). Designed within NTT Urban Development Corporation’s wider strategy for Harajuku, the 4,300-square-meter project bridges the two distinct contexts of the grand, tree-lined Omotesando Avenue and the dense, intimate Oku-Harajuku district.

The redevelopment, which began construction in October 2022, shapes its volume differently in each side. Toward Omotesando, the volume is pinched and pulled within its zoning envelope, resulting in a monolithic, transparent facade that recedes at both ground and roof level. The setback at the street creates a funneling passage into Oku-Harajuku, while the upper recess brings daylight deep into the block. On the opposite side, the mass steps and fans out into terraces facing Harajuku, offering open-air platforms where programs spill outward. 

images by Forward, unless stated otherwise

reinterpreting Harajuku’s Legacy Through Hybrid Hub

Since its original debut in 1988, the former Harajuku Quest has been closely tied to the evolution of the area, adapting to the shifting currents of fashion, youth culture, and urban change. The reconstruction by the team at OMA, led by Shohei Shigematsu, seeks to update the complex, reinterpreting that legacy for the present, proposing a hybrid form that mediates between globalized retail architecture and the human-scaled fabric of backstreets known for independent shops and creative subcultures. The building acts as a gateway, drawing flows of people between Omotesando’s flagship-lined boulevard and the winding alleys of Oku-Harajuku for the first time.

A second-level public plaza centers the design, conceived as a new civic datum within the district. This elevated space expands the conventional retail experience into a stage for cultural programs and gatherings, weaving local life into the site and blurring the threshold between commerce and community. Along with alleys, squares, and casual meeting spots, the project builds on NTT’s With Harajuku (2020) by extending the pedestrian network and strengthening Harajuku’s identity as a meeting and exchange point.

OMA completes Harajuku Quest

a monolithic, transparent facade that recedes at both ground and roof level

former Harajuku Quest has been closely tied to the evolution of the area | construction images by Ko Tsuchiya

the reconstruction by the team at OMA, led by Shohei Shigematsu, seeks to update the complex

the building acts as a gateway

drawing flows of people between Omotesando and Oku-Harajuku for the first time

project info:

name: Harajuku Quest

architect: OMA | @oma.eu

partner: Shohei Shigematsu | @shohei_shigematsu

location: Shibuya-ku, Tokyo, Japan

gross floor area: 4,300 square meters

client: NTT Urban Development Corporation

associates: Takeshi Mitsuda, Fernan Bilik, Tetsuo Kobayashi, Kohei Sugishita, Yuzaburo Tanaka, Timothy Tse, Chiao Yang

executive architect: NTT Facilities

structure: NTT Facilities

MEP: NTT Facilities

landscape architect: Landscape Plus

lighting design: Lighting Planners Associates

graphics, signage, wayfinding: Daikoku Design Institute, Bikohsha

general contractor: Kumagai Gumi

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