Poppins Nursery School Karuizawa Kazakoshi, designed by NIKKEN SEKKEI, is a single-story wooden nursery school in Japan. Located in a highland resort area of Karuizawa, near Lake Shiozawa and Kazakoshi Park, the structure overlooks Mount Asama. The building is positioned diagonally at the center of the site to naturally separate the south-facing playground from the north-facing parking area, making use of the site’s existing slope and minimizing the need for new barriers along the western retaining wall.

The project is defined by two leaf-shaped roofs of different heights. Childcare rooms are placed beneath the lower roof, while the higher roof covers the hall and staff facilities. The floor plan is designed so that all childcare rooms face the outdoor garden, and the hall functions as the central gathering space where children engage in group activities. Large windows introduce daylight and provide views of the surrounding landscape throughout the year.

Spatial divisions rely on wooden columns rather than enclosed walls, creating a continuous interior environment that supports movement and visual connection across age groups. The six nursery rooms, grouped into zones for ages 0-2 and 3-5, feature lower ceiling heights and a smaller spatial scale suited to young children. Each room connects to the hall through column-defined openings, allowing for gradual transitions between spaces and enabling interaction between different age groups.

all images by Norihito Yamauchi

NIKKEN SEKKEI employs Timber framework and Dual Roof Planes

The design team at NIKKEN SEKKEI opts for material and environmental strategies that emphasize wood as the primary interior finish. This approach aims to create a unified atmosphere across childcare rooms, circulation zones, and the hall. High-side windows located between the two roofs supply natural light and support gravity-based ventilation during mild seasons, reducing dependency on artificial lighting and mechanical cooling.

Structurally, the project employs two simple, untwisted roof planes cut into organic, leaf-like geometries that taper toward the eaves. These roof surfaces were constructed using standard laminated timber without special curved components. Columns are slightly angled along the curve of the plan so that their intersections with beams remain nearly vertical, allowing the use of common connection hardware and reducing the need for custom structural fittings. Double timber columns (120 × 240 mm European red pine) are arranged at regular 1,820 mm intervals, corresponding to plywood module dimensions and creating a rhythmic structural grid reminiscent of loosely defined forest-like zones.

By standardizing short-span joint details and optimizing material use, the project maintains a clear structural expression while remaining efficient to construct within a limited schedule and budget. The spatial volume beneath the high roof accommodates the hall, kitchen, and staff areas, while mechanical equipment is placed in the ceiling space under the low roof to maximize usable interior area.

a leaf-shaped roof defines the low, child-scaled volumes of the nursery

the building sits on a highland site overlooking Mount Asama

organic roof geometries taper toward the eaves

wooden columns replace walls to create an open interior flow

large windows bring natural light into the hall

laminated timber is used to form the untwisted roof planes

column-defined openings allow gentle transitions between spaces

wood surfaces unify the childcare rooms and circulation areas

double timber columns create a rhythm across the interior grid

all childcare rooms face the outdoor garden

nursery rooms are divided into zones for ages 0-2 and 3-5

structural spacing corresponds to standard plywood module dimensions

mechanical equipment is placed beneath the low roof to maximize space efficiency

high-side windows between the two roof levels channel light in and out of the interior

project info:

name: Poppins Nursery School Karuizawa Kazakoshi
architect: Nikken Sekkei Ltd | @nikkensekkei_global
location: Karuizawa, Kitasaku-gun, Nagano Prefecture, Japan

site area: 2699.04 sqm

total floor area: 494.46 sqm

contractor: Seibu Construction Co., Ltd.

photographer: Norihito Yamauchi

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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ITM Yooehwa Architects completes this ‘Heaven’s Voice’ prayer room at South Korea‘s Handong University, bringing a compact place for reflection shaped by its hillside site and minimalistic concrete expression. The project occupies a small rise at the center of campus, a location the architect immediately recognized for its symbolic nature.

The commission emerged from a donation by an elder of a local church, and the brief invited a chapel that was both modest and purposeful. ‘The site revealed itself,’ lead architect Yoo Ehwa shares. She describes perceiving the contours of the campus as resembling a sheep, with the chosen hill forming its heart. This elevated position allows the subterranean structure to be read from surrounding buildings, with the form of its rooftop cross visible only from the sky and the interior.

images © Yongkwan Kim

meditative interiors by ITM Yooehwa Architects

A very limited budget guided the earliest decisions, leading ITM Yooehwa Architects to eliminate applied finishes and instead focus on the power of form, volume, and light. ‘We had to let meaning come from structure,’ the architect explains. This approach sharpened the emphasis on the building’s core purpose as a prayer room and allowed the design to evolve with a directness that suits the quiet atmosphere the project seeks to create.

The entrance begins at the base of the hill along a sweeping footpath. The sequence rises slowly toward the chapel, with ramps tracing the exterior to maintain a continuous connection between inner and outer experience. These circulatory elements draw from the site’s topography and shape an intentional transition from campus life into a more meditative space.

ITM Yooehwa’s prayer room is compact place for reflection shaped by its hillside site

the symbolic structure and skylight

The prayer room’s entrance maintains the dimensions of a corridor, a deliberate gesture which ITM Yooehwa employs to encourage individuals to enter in solitude. Yoo Ehwa goes on: ‘I wanted people to arrive one by one, as if preparing their hearts.‘ This scale sets the tone for the interior, where simplicity guides the spatial character.

Inside, the room stands free of columns. A cantilevered structural strategy supports the roof and reinforces the symbolic weight of the cross, which anchors the central axis. Seating is arranged to encourage horizontal awareness of the landscape beyond the long window, while a skylight above the cross introduces a vertical beam of daylight.

the prayer room’s entrance maintains the dimensions of a corridor

a prayer room sliced with sunlight

The interplay of horizontal and vertical light creates a shifting atmosphere across the prayer room’s surfaces. Sunlight entering from above draws attention to the cross throughout the day, shaping an experience that evolves with changing conditions. ‘The light gathers and traces the passage of time,’ she continues, describing an intentional engagement with daily rhythms.

This luminous register gives the space a sense of presence despite its compact footprint. ITM Yooehwa’s design frames light as a core architectural element, allowing it to express both orientation and spiritual focus. The simplicity of the envelope heightens this reading, as the absence of finishes foregrounds texture, shadow, and structure.

the rooftop is sliced with a narrow skylight in the form of a cross

the symbolic skylight emphasizes the building’s core purpose as a prayer room

the project occupies a small rise at the center of campus

seating is arranged to exaggerate the landscape’s horizonality

sweeping footpaths shape an intentional transition from campus life into a more meditative space

project info:

name: Handong University Prayer Room ‘Heaven’s Voice’

architect: architect | @ehwayoo

location: Pohang, South Korea

area: 190 square meters
completion: 2023
photography: © Yongkwan Kim

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MA.DE Bistro is a contemporary complex by AN NAM Design and Build located within the pine forest of Mang Den in Vietnam’s Central Highlands. The restaurant design incorporates regional cultural references, drawing from the traditional Rông house to establish its architectural identity. A roof composed of three interlinked peaks forms the primary visual element, creating a rhythmic profile that echoes the surrounding mountain landscape.

The 1,000-sqm site is bordered on three sides by forest, influencing the project’s spatial arrangement and environmental response. Instead of replicating vernacular structures, the design adapts their principles. The roof acts as a unifying canopy, while the internal walls remain independent from it, creating intentional gaps that allow daylight and ventilation to enter the interior. Functional areas are distributed beneath this large spanning structure, maintaining cohesion through consistent material and spatial transitions. The main circulation route passes through an open-air circular courtyard, establishing a threshold before leading into interior spaces that gradually step down toward the forest. These subtle level changes guide movement and frame controlled views, producing alternating zones of openness and enclosure.

all images by Trieu Chien

AN NAM employs Local Materials and Construction Traditions

Material choices reference the site and local construction traditions. Masonry walls finished in a deep red plaster recall the basalt-rich soil of the region. Concrete ceilings retain the texture of pinewood formwork used during construction. Flooring materials vary according to program: terracotta tiles define the central hall, terrazzo marks transitional paths, and irregular natural stone is applied in secondary areas. Each surface contributes to a layered sensory environment. The roof structure consists of a primary steel frame lined with timber on the underside for visual warmth. Externally, lightweight bitumen shingles in neutral tones provide durability suited to the highland climate. Steel elements were prefabricated off-site and assembled on location to ensure accuracy and streamline the building process.

For MA.DE Bistro, Studio AN NAM Design and Build employs spatial configuration, construction techniques, and a defined material palette to create an environment that reflects local cultural characteristics while responding to the surrounding landscape.

three peaked roofs form MA.DE Bistro’s defining architectural profile

a circular open-air courtyard forms the project’s main entry threshold

alternating zones of openness and enclosure shape movement through the interior

functional areas are arranged beneath a large unifying canopy structure

forest edges on three sides guide the project’s spatial layout

interlinked roof volumes create a rhythmic silhouette across the site

a steel frame supports the roof and provides structural clarity

neutral-toned bitumen shingles on the exterior roof respond to the regional climate

timber lining beneath the roof adds visual warmth to semi-outdoor spaces

the design references the traditional Rông house through form and proportion

the complex sits within the pine forest of Mang Den in Vietnam’s Central Highlands

project info:

name: MA.DE Bistro
architect: AN NAM Design and Build | @annam.designandbuild

location: Mang Đen, Kon Tum, Vietnam

lead architects: AN NAM Architect, Vo Quang

design team: Phan Thanh Nam, Tran Dinh Hung, Le Hong Phong, Nguyen Quang Hau

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TETRO completes Casa Tangram in Lagoa Santa, Brazil, situating the 1,450-square-meter residence at the highest point of its 5,000-square-meter lakeside plot so it reads from the street as a thin, horizontal line. Conceived by architects Carlos Maia, Débora Mendes, and Igor Macedo, the project uses topography, massing, and material weight to create a sense of disappearance through retaining walls, stone embankments, and the built volume itself, which form a visual shield so that, once inside, the city recedes entirely and the house turns its body toward trees, grass, and water.

The dwelling is organized around a triangular form that lends the project its name. The architects extend it into a glued-laminated timber roof made from a sequence of folded, triangular planes. This roof becomes the main spatial device of the project, acting as a protective canopy toward the street and compressing the facade into a discreet profile, while toward the lake it opens completely.

Zenithal openings slice through the timber geometry, introducing controlled daylight into living spaces and the upper-floor circulation. The structure itself is hybrid, with timber roofs and porches paired with exposed concrete slabs and walls. The stone retaining walls anchoring the house to the slope act as structural armature and landscape threshold, reinforcing the sense of the home being partially carved from the terrain.

all images by Manuel Sá

embedded programs shape an inhabited landscape

Casa Tangram’s structural system is paired with the gentle contours of its setting, behaving as a passage, protected on one side, open on the other, filtering movement from street to lake. By stretching its roofline along the horizon and unfolding its triangular planes toward the water, the Brazilian team at TETRO shapes a home that recalibrates domestic space around light, topography, and an uninterrupted relationship with the natural world.

The lower level concentrates the social life of the house: the living room, kitchen, gourmet area, wine cellar, and swimming pool all face the lake through floor-to-ceiling glazing and outward-drifting terraces. A portion of this program is tucked into the retaining wall, where the auxiliary kitchen, bathroom, and wine cellar are embedded, transforming the interface between architecture and earth into a thick, occupiable zone. Here, the pool’s water visually merges with the lake, blurring distinctions between built edges and the wider natural environment.

Above, the private wing gathers a family room and five bedrooms, the master suite, two children’s rooms, and two guest rooms. Every space opens toward the view, sheltered by the roof’s generous eave and insulated by distance from the street below.

TETRO completes Casa Tangram in Lagoa Santa, Brazil

the residence reads from the street as a thin, horizontal line

the architects situated the 1,450-square-meter residence at the highest point of its 5,000-square-meter lakeside plot

the project uses topography, massing, and material weight to create a sense of disappearance

the dwelling is organized around a triangular form that lends the project its name

a glued-laminated timber roof made from a sequence of folded, triangular planes

this roof becomes the main spatial device of the project

a protective canopy

compressing the facade into a discreet profile

stone retaining walls anchor the house to the slope

zenithal openings slice through the timber geometry

the structure itself is hybrid

timber roofs and porches paired with exposed concrete slabs and walls

project info:

name: Casa Tangram / Tangram House

architect: TETRO | @tetro.architecture

location: Lagoa Santa, Minas Gerais, Brazil

architects in-charge: Carlos Maia, Débora Mendes, Igor Macedo

plot area: 5,000 square meters

built area: 1,450 square meters

contributors: Bianca Carvalho; Bruno Bontempo; Bruna Maciel; Saulo Saraiva; Carolina Amaral; Ana Flávia Corrêa; Sabrina Freitas; Márcia Aline; Matheus Rosendo; Luisa Lage

construction: TSV Engenharia

structure: MV Projetos

wooden structure: Timbau Estruturas

hydraulic & electric: Rafael Cardoso

lighting design: Iluminar

windows, skylights & brises: Júnior Mesquita Esquadrias

cladding, finishing, floors & countertops: GMZ Mármores e Granitos

woodwork: Júnior (Casttini)

air conditioning: TSV Engenharia

pool installation: SolViver

automation: Control Automação

furniture: São Romão, Jader Almeida

landscaping: Flávia D’Urso

photographer: Manuel Sá | @omanuelsa

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A new project dubbed Laoyuting Pavilion has been completed by Atelier Deshaus and rises among a wetland park in China. Standing on the southern side of the Water-Forest Art Zone, the project served as the entryway to the 2024 Dianchi Art Season before remaining in place as a permanent waypoint for visitors arriving to the wetland.

The pavilion sits among a grove of cypress trees which filter water before it reaches Dianchi Lake, and the area is frequented by residents who come to catch small fish among the reeds. Atelier Deshaus builds the pavilion as a space for pause in this setting, mediating between the movement of people and the slow work of the wetland.

The structure creates an artificial ‘forest’ of slender steel columns that marks the transition from city to waterborne woodland. A fragmented roof hovers above these dense vertical elements, shaping shade and framing slivers of sky. From inside, the staggered columns open two subtle paths that draw visitors toward deeper areas of the park.

images © WangCe

atelier deshaus’ fragmented rooftop

While the Laoyuting Pavilion’s roof appears irregular at close range, its overall silhouette by Atelier Deshaus recalls the four-sloped hipped forms found in traditional Chinese architecture. The team‘s fragmentation of the steel plates shifts the reading of the material, giving them a softened presence and allowing the pavilion to settle into its surroundings with restraint. Light filters through the gaps in shifting patterns, producing a quiet sense of enclosure.

Environmental requirements shaped the project’s assembly. The wetland surface could remain untouched, so the foundation was conceived as a steel plate placed directly on the ground, with each column perched on a ten-centimeter steel block. These small bases act as micro-foundations, lifting the structure above the terrain and signaling an effort to protect the site.

Laoyuting Pavilion stands at the edge of a lake as a permanent threshold to a wetland

the modular logic of the Laoyuting Pavilion

Atelier Deshaus composes its Laoyuting Pavilion as an array of repeated modules that combine six columns with flat or sloped steel plates. As modules overlap, some columns are removed, and loads shift to short, thin elements that rise between roof plates. This produces varying densities of vertical supports and a spatial rhythm that feels carefully calibrated. Ninety-three cantilevered steel columns meet the ground, while an additional network of smaller round bars supports the upper layers of the roof.

These structural decisions give the pavilion a measured lightness. Atelier Deshaus explores the relationship between trees and columns so that the project might echo the earliest forms of shelter through a contemporary lens. This way, the space gives visitors a place to pause within the filtered light of the roof and the ambient sounds of the wetland.

Atelier Deshaus organizes the pavilion as a field of slender steel columns

fragmented roof plates filter daylight and shape a calm, shaded interior

prefabricated components reduce disturbance to the sensitive wetland terrain

structural modules overlap to create varied densities of vertical elements

micro foundations lift each column above the ground surface

two gentle paths extend from the interior toward deeper areas of the park

project info:

name: Laoyuting Pavilion

architect: Atelier Deshaus | @atelierdeshaus

location: Dianchi Laoyu River Wetland Park, Kunming, Yunnan Province, China

design team: Liu Yichun, Shi Yujie, Ji Hongliang
collaborator: Zhang Zhun, Pan Jun (AND Office); RoboticPlus

photography: © WangCe

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The Sekiyuan Waiting Area, located in Ichihara City, Chiba, Japan, functions as a small structure where guests briefly wait before entering the adjacent tea room. Designed and built by Kurosawa Kawara-ten in collaboration with an architect and an artist, not professional builders, through the DIT (Do It Together) approach, the project explores how informal building practices can contribute to contemporary architectural culture.

The structure introduces a deformed single-slope roof supported at three points. Its surface is finished with mortar mixed with soil excavated from the foundation, extending across the gables and eaves for a unified appearance. No waterproofing was applied, allowing the surface to retain moisture and eventually support moss growth. The roof’s intentionally low point at the rear subtly encourages visitors to bow as they enter, contributing to the tea ceremony’s spatial etiquette while reducing hierarchical distinctions among guests. The diagonal opening of the roof establishes a clear directional gesture, guiding movement through the alleyway.

all images by Masato Chiba

raw earthen materials sculpt Sekiyuan teahouse’s Waiting Area

The project responds to the site’s existing garden layout. The landscape plan, developed by Takeda-ya Sakuteiten, introduced new paths and a bench-like waiting area using irregularly placed bricks and tiles. These elements informed the building’s informal composition and its focus on reinterpreting conventional forms. Constructed without professional builders, the project uses its small scale and non-essential program to foreground the act of making. Tasks such as cutting timber, carving components, excavating soil, and mixing mortar become central to the project’s intent, highlighting building as a hands-on, responsive process. The structure’s suspended mortar-and-earth roof introduces a slight sense of instability, heightening spatial awareness and anticipation as visitors approach the tea room.

By relying on accessible materials and manual techniques, the project reflects on the diminishing role of amateur participation in contemporary construction. It demonstrates how small, non-urgent structures can reintroduce flexibility, experimentation, and a sense of agency in shaping one’s environment. The Sekiyuan Waiting Area by studio Kurosawa Kawara-ten positions this approach not as nostalgic reconstruction but as a pathway to restoring forms of conviviality and fundamental understandings of how spaces can be made.

small waiting structure marking the approach to the Sekiyuan tea room

a single-slope roof supported at three key points

mortar mixed with excavated soil forms the roof’s textured surface

unwaterproofed roof designed to retain moisture and encourage moss growth

timber cutting and carving contributed directly to the construction process

low rear roof height prompts visitors to bow on entry

roof opening creates a diagonal gesture that guides movement

suspended roof introduces a controlled sense of instability

earth-based materials connect the structure to its immediate site

manual techniques emphasize accessible, low-impact construction

structure positioned within the garden path leading to the tea room

approach path heightens anticipation before the tea ceremony

project info:

name: Sekiyuan waiting house

architect: Kurosawa Kawara-ten | @kurosawakawara_ten

lead architect: Atsushi Ikeda

location: Ichihara City, Chiba, Japan

photographer: Masato Chiba

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ASWA designs HEYDAY, a new community hub for Bangkok University in Thailand, defined by three asymmetrical volumes. The project combines a co-working space, a food court, and future restaurants all within one building, making it the latest destination for students. Located next to the university campus, the site is situated between blocky apartments that line both sides of a 1-kilometer street. The building features three asymmetrical volumes with curved gable roofs, designed to break the monotony of the surrounding blocky apartments. This energetic and distinctive shape is intended to attract students and faculty, encouraging them to utilize the new hub.

all images by Soopakorn Srisakul

Curved interiors and playful architecture shape HEYDAY hub

To strengthen the connection between the campus and the adjacent apartments, ASWA design studio organizes the site’s accessibility plan. The two-story student hub features a food court and rental spaces on the first floor. A blue staircase leads to the co-working area on the second floor, which includes a mezzanine on one side. The interior of this area features a wavy, curved design that interacts with the various volumes throughout the space, mirroring the exterior’s form. Additionally, the second floor contains two large rental spaces intended for future restaurants or cafes. With its playful, vibrant architecture, the HEYDAY aims to be a welcoming, joyful space where students, faculty, and university personnel can gather frequently, serving as a common area for the entire community. 

HEYDAY introduces three asymmetrical volumes beside Bangkok University’s campus

curved gable roofs define the building’s distinctive silhouette

the asymmetrical rooflines break the monotony of the surrounding urban fabric

HEYDAY sits between long rows of blocky apartment buildings

the hub is designed to attract students and faculty along a busy campus street

the building integrates multiple programs within a compact two-story layout

ASWA organizes site accessibility to connect the campus with nearby apartments

a blue staircase leads visitors to the co-working area on the upper level

the second floor includes a mezzanine overlooking the central space

interior spaces feature wavy, curved forms that echo the exterior volumes

curved surfaces create a continuous dialogue between inside and outside

the co-working space features a double-height area that interacts with the external volumes

the building’s ground floor features a food court and flexible rental spaces

the exterior form is intended to energize the student district

ASWA’s design establishes a playful, community-focused addition to the campus edge

project info:

name: HEYDAY

architect: ASWA (Architectural Studio of Work – Aholic) | @aswa_bangkok

location: Bangkok, Thailand

area: 1,200 sqm

photographer: Soopakorn Srisakul | @soopakornsrisakul

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The new Hamburg State Opera by Bjarke Ingels Group (BIG) will establish a contemporary home for the State Opera and Hamburg Ballet. The project is set to be located on the Baakenhöft peninsula in HafenCity — a sprawling waterfront development — and will replace the company’s mid-century house on Dammtorstraße. It will extend the German city’s long tradition of pairing cultural architecture with the harbor’s open horizon.

Imagined as both a working opera house and a civic landscape, the 45,000-square-meter building combines production, rehearsal, and performance spaces with a new public park that reaches to the river’s edge.

BIG’s proposal was selected by unanimous jury decision, recognizing its ability to synthesize the demands of a major cultural institution with the fluid urban fabric of HafenCity. The opera is envisioned as an island structure of terraced green roofs and a new hinge in Hamburg’s waterfront transformation.

the design forms a terraced landscape that links city and water | visualizations © Yanis Amasri

BIG’s landscape of concentric terraces

Architect Bjarke Ingels describes the design as ‘a landscape of concentric terraces,’ expanding outward from the main hall like ripples on the surface of the water. The building’s roofline forms a continuous, circular geometry that opens toward the harbor, creating a sequence of terraces accessible from multiple directions.

These landscaped paths weave between gardens, plazas, and lookout points, turning the entire site into a three-dimensional park open to residents and visitors throughout the day.

The transition from exterior to interior is fluid. Stone pavements from the park extend into the foyer, unifying ground and building. This large, timber-lined hall functions as an urban living room, animated by two central staircases that rise toward upper levels. Every main floor connects directly to outdoor terraces, which can host events or serve as informal gathering spaces overlooking the Elbe and the city skyline.

a continuous circular roofline shapes a walkable topography across the building

an auditorium of sculptural wooden layers

At the heart of the Hamburg State Opera, the main auditorium is enveloped in bands of horizontally layered timber that modulate both sightlines and sound. The wood surfaces create a warm tonal register, visually linking balconies and walls into a single flowing form.

BIG partner Jakob Sand says: ‘The main hall is the heart of the project – — space with state-of-the-art acoustics and perfect sightlines to the stage.’ Concentric wooden rings shape the hall and its balconies and dissolve the divide between performers and audience.

the foyer acts as an urban living room animated by central timber staircases

Landscape as infrastructure

Supporting spaces — including a smaller studio stage, rehearsal rooms, and workshops — are organized directly behind the main hall, enabling seamless movement between preparation and performance. The plan reflects BIG’s ongoing exploration of buildings as networks of connected activity rather than fixed hierarchies of front and back.

Partner David Zahle emphasizes this openness: ‘Visitors can move along the facades and glimpse into the foyer, rehearsal rooms, backstage areas and offices, revealing the complexity behind a working opera house.’

BIG Landscape’s design extends the opera’s design language into the surrounding park. Flood management is integrated through a system of terraces, planted dunes, and wetlands that absorb and slow water flow. Rain basins collect and filter runoff, creating habitats for local flora and fauna. This way, a resilient ecological zone is created which responds to the tides of the Elbe while framing the opera as a living landscape shaped by natural movement.

the main hall features layered timber surfaces that guide acoustics and sightlines

visitors can move along the facades and see into working areas of the opera

wetlands, terraces, and rain basins form a resilient landscape that adapts to the tides of the Elbe

stone paths from the waterfront park flow directly into the foyer to create a unified ground plane

project info:

name: Hamburg State Opera

architect: Bjarke Ingels Group (BIG) | @big_builds

location: Hamburg, Germany
client: Kühne Foundation, The Free and Hanseatic City of Hamburg represented by the Ministry of Culture and Media, Hamburgische Staatsoper GmbH

collaborators: Theatre Projects, Bollinger + Grohmann, Transsolar, K+H, Duschl, Yanis Amasri

size: 45,000 square meters

visualizations: © Yanis Amasri

project team:
partner-in-charge: Bjarke Ingels, Jakob Sand, David Zahle
design lead: Sarkis Sarkisyan, Michael Leef
team: Mariia Nakonechnaia, Carlos Ramos Tenorio, David Benjamin Wilden, Jianuo Xuan, Jacob Engelbrecht Ødum, Celia de la Osa Muñoz, Gilana Antonova, Giovanni Vergantini, Mathis Paul Gebauer, Hou Ming Ng, Martino Hutz, Veronica Hamilton
BIG landscape: Giulia Frittoli, Ulla Hornsyld, Gaspard Del Marmol, Lucia Ayala

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Villa Omah Prana by Alexis Dornier unfolds as a circular retreat that feels absorbed into the landscape of Payangan’s forested slopes, just north of Ubud, Bali. The 475-square-meter residence adopts a compound-like arrangement organized around a lush internal courtyard. Its low, continuous timber roofline and radial plan echo local vernacular geometries.

The project sits like a ring placed over the terrain, with the broad, funnel-like roof forming a shaded perimeter walkway and an introverted core. The shingle texture and earthy tonality of the roof make the building blend with its tropical context, while the inner void admits daylight and natural ventilation.

all images by KIE

curving interiors and crescent pool shape Villa Omah Prana

For the interior of Villa Omah Prana, Alexis Dornier picks herringbone brickwork and deep-toned timber ceilings sitting atop curving circulation routes that mirror the form of the building. Sliding openings allow entrance to the garden, while the central planted disk becomes a meditative anchor, echoing Bali’s traditional compounds, reinterpreted through the German architect’s design. Moments of transparency toward the valley merge the sheltered interior with the expansive forest canopy.

Along the outer arc, a crescent-shaped infinity pool slips between the edge of the villa and the descending landscape, framing the view while preserving the circular geometry. The roof, courtyard, and pool generate a sense of retreat, a house that bends with the land and gathers its volumes under one unifying roof.

the circular residence sits low against the forested hillside

the shingled roof forms a continuous ring

timber ceilings curve with the building’s form

the planted courtyard forms a green void at the center of the plan

soft curves, timber ceilings, and natural materials reinforce the villa’s meditative atmosphere

the infinity pool traces the villa’s outer arc

herringbone walls and timber ceilings define the covered circulation route

choing the geometry of traditional balinese compounds

the inner courtyard acts as the home’s calm core

bringing natural light and ventilation into the ring

large openings dissolve the threshold between indoor spaces and the central garden

the continuous roofline shelters a series of rooms

the courtyard garden becomes a climatic buffer

project info:

name: Villa Omah Prana

architect: Alexis Dornier | @alexisdornier

location: Payangan, Bali

area: 475 square meters

contractor: Bali Construction 

interior: BARES, AD

photographer: KIE | @kiearch

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Located along the Zhujia River in Jiang’an District, Wuhan, LuxeIsland Farm, designed by Various Associates, forms the core of the 230,000-sqm LUXEOASIS development. Positioned between northern hillsides and a southern pier, the project is conceived as a small-scale retreat that combines ecological recreation, educational programs, retail, and cultural activities within a unified landscape framework. Commissioned for both architectural and interior design, Various Associates developed LuxeIsland Farm as a spatial experiment in community interaction and environmental integration. The project explores the themes of ‘Future, Fun, and Interaction’ through an architectural language that juxtaposes geological massing with craft-based detailing.

The farm masterplan adopts a circular layout that connects animal enclosures, creative workshops, retail spaces, and dining areas. New structures are embedded within the terrain, creating a continuous rhythm across the valley. Volumetric forms resembling scattered stones or meteorites emerge from the ground, interwoven with misting systems and vegetation. Semi-submerged animal enclosures with green roofs reduce visual impact while enhancing the sense of immersion in the landscape. Each building is characterized by the use of natural materials such as bamboo, timber, and stone. Bamboo weaving, referencing local craft traditions, is reinterpreted as a structural and aesthetic device, forming roofs and facades that mediate light and shadow across the site.

all images by SFAP

Bamboo pavilions and earthen forms shape LuxeIsland Farm

Set against the hillside, the animal enclosures are designed with minimal intervention to preserve the existing terrain. Their partially earth-sheltered configuration blends the farm into its surroundings, while open paddocks and shaded frameworks create varied environments for alpacas, deer, and other animals. The design emphasizes both safety and proximity, encouraging educational and recreational interaction between visitors and animals.

The creative workshop is a lightweight bamboo-woven pavilion composed of a domed canopy and stone-like supports. Triangular perforations in the bamboo surface allow filtered daylight to create dynamic shadow patterns. The open layout functions as a café, rest area, and flexible workspace, with operable facades connecting directly to surrounding greenery. A secondary pavilion, a ‘silver disc,’ houses an ice cream and donut station. Its metallic surface contrasts with the earthy tones of adjacent structures, serving as a visual focal point within the site. A nearby feed house encourages closer interaction between visitors and animals, reinforcing the site’s social and experiential role.

The feed barn and washroom are designed as a paired composition, characterized by bamboo-and-metal roofs that appear to float above textured stone and cement finishes. The design team at Various Associates uses artisanal coatings and muted color palettes to emphasize material honesty and spatial coherence across programmatic functions. At the Forest Star Stage, a flexible outdoor area supports events and performances. Defined by sawdust flooring, hay bale seating, and ambient lighting, it transforms from a daytime resting area into an evening gathering space.

LuxeIsland Farm by Various Associates anchors the LUXEOASIS development along Wuhan’s Zhujia River

LuxeIsland Farm integrates ecology, leisure, and rural urbanism

Material selection reflects ecological awareness and formal precision. Bamboo, timber, and red earth establish a connection with the regional landscape, while metal and concrete articulate a contemporary contrast. Through these combinations, LuxeIsland Farm demonstrates how natural materials and constructed form can coexist within a performative and educational setting.

By blending architectural form, environmental design, and cultural programming, Various Associates positions LuxeIsland Farm as both a functional agricultural environment and an evolving social landscape, an example of how contemporary rural architecture can integrate ecology, leisure, and urban experience.

the project integrates ecology, recreation, and cultural activities within a unified landscape framework

Various Associates designed both the architecture and interiors as a spatial experiment in environmental integration

the masterplan adopts a circular layout linking animal enclosures, workshops, and dining spaces

scattered, stone-like structures emerge from the terrain, blending architecture with the valley landscape

semi-submerged animal enclosures reduce visual impact while enhancing immersion in nature

natural materials such as bamboo, timber, and stone define the farm’s architectural language

set against the hillside, the animal zones preserve the existing topography with minimal intervention

open paddocks and shaded frameworks create diverse environments for alpacas, deer, and other animals

bamboo weaving is reinterpreted as a structural and aesthetic device throughout the project

a silver disc pavilion houses an ice cream and donut station, contrasting with the site’s earthy tones

the creative workshop features a lightweight bamboo-woven dome supported by stone-like columns

the design encourages close, educational interaction between visitors and animals

material choices reflect ecological awareness, combining bamboo, timber, and red earth with concrete and metal

triangular perforations in the bamboo canopy filter natural light into dynamic shadow patterns

the feed barn and washroom pair share bamboo-and-metal roofs that appear to float above stone surfaces

artisanal coatings and muted materials create a consistent and tactile interior palette

LuxeIsland Farm operates as both an agricultural landscape and a social environment rooted in ecology and design

project info:

name: LuxeIsland Farm
architect: Various Associates | @various_associates

location: Wuhan, China

area: 500 sqm

interior area: 150 sqm

client: Luxelake’s Cultural Tourism

lead designers: Lin Qianyi, Yang Dongzi

design team: Hou Jinwang, Li Min, Zhang Junbiao, Pan Baizhen, Li Zebing, Lin Liangji, Huang Yongliang

structural design: UDG

landscape design: WTD

photographer & videographer: SFAP

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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