La Mécanique de Noël is a 20-meter interactive installation designed by Hellène Gaulier and Gwénolé Gasnier of Agence GG for the refectory of Fontevraud Abbey, in France. Conceived as a large communal table, the project explores the sensory and mechanical dimensions of festive gatherings through an assemblage of interactive devices, blown glass elements, lighting, sound, and scent.

The installation draws reference from both lived and imagined Christmas meals, translating familiar rituals into a spatial and mechanical composition. Rather than focusing solely on food, the table incorporates the broader environment of a festive dinner, including decoration, movement, sound, and atmosphere. A series of mechanical systems animates glass objects, triggers light sequences, and releases scents, creating a layered sensory experience distributed along the length of the table.

Visitors are invited to engage directly with the installation through buttons, levers, and handles embedded within the structure. These controls activate different elements of the table, producing variations in sound, light, and motion. The interaction introduces unpredictability, allowing the environment to shift continuously as multiple participants contribute to the sequence of events. The installation thus operates as a collective mechanism, shaped in real time by visitor participation.

blow a name into the microphone to light a candle | all images courtesy of Agence GG

Blown Glass and Mechanics adorn the festive table by Agence GG

Set within the historic context of Fontevraud Abbey, the project establishes a dialogue between contemporary mechanical design and the architectural setting of the refectory. References to traditional winter imagery, such as fireplaces, festive lighting, and ceremonial table settings, are abstracted into mechanical and sensory cues rather than literal scenography. Blown glass components play a central role, functioning as both decorative and interactive elements within the system.

Developed by Hellène Gaulier and Gwénolé Gasnier of Studio Agence GG in collaboration with the Abbey of Fontevraud and the CIAV of Meisenthal, the project is the result of a year-long process involving partners across several regions of France. By combining mechanics, glassmaking, and interactive design, La Mécanique de Noël constructs an immersive environment that examines collective rituals through participation, material experimentation, and controlled sensory complexity.

overview of the 20-meter table in the heart of the refectory of the Royal Abbey of Fontevraud

blown glass Snowstorm to be operated with cranks

grilled chicken odor diffusion device

crane for micro glass fly feast

blown glass Snowstorm to be operated with cranks

sand lock carafe, making life gluttonous

machine to toast glasses

take a seat to put on the suit

Hellène Gaulier and Gwénolé Gasnier of Agence GG with La Mécanique de Noël Christmas table

project info:

name: La Mécanique de Noël – Interactive Christmas Table
designer: Agence GG | @agencegg
lead designers: Hellène Gaulier & Gwénolé Gasnier

location: Fontevraud-l’Abbaye, France

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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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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Stratos Beer’s concept spider-like MK1 drone delivers canned drinks anywhere and drops them on-site using individual mini parachutes. Comprising a central keg-looking body for storage and a series of foldable propeller arms, the beer delivery drone with parachutes can land on different types of surfaces using the controlled electric motors powered by a rechargeable battery system. Since it is a drone, sensors for navigation and automatic stabilization during flight are included to make sure that users safely receive their cans of beers and drinks.

The beer delivery drone with parachutes works using the dedicated Stratos App, which lets users place orders. It locates them using GPS and sends flight instructions to the drone. Once a location is confirmed, the flying device departs from a distribution point carrying either cans or a mini keg. The app also includes tracking and status updates so the user can see when the drone is approaching, and the navigation is based on autonomous drone mapping systems that calculate flight paths and avoid obstacles. The beer delivery drone with parachutes is made of aerospace-inspired materials and carbon fiber, and its parts are molded and combined with aluminum joints. The internal cooling system inside the storage bay keeps the cans of beer cold during flight.

all images courtesy of Stratos Beer

Autonomous flying device with foldable propeller arms

The MK1 flying device by Stratos Beer can deliver canned drinks in two formats. The first option is for individual cans, with each drone able to carry up to eight cans at once. These containers are held in a custom-built internal compartment that releases them one by one. When the drone reaches the delivery point, the cans are dropped using mini parachutes, slowly coming down to allow the cans to land without damage. The system also includes sensors that calculate height and wind direction before release to make sure each lands near the user. The second delivery format is designed for events or gatherings. In this case, the drone carries a 5-liter mini keg instead of cans.

The barrel is locked into a circular mount that keeps it steady during flight. When it arrives, the device lands instead of dropping the keg, then the folding arms of the beer delivery drone with parachutes adjust to form a stable base so it can rest on uneven surfaces. The keg itself is cylindrical and includes a small internal pump and rotating handles for easy pouring, made from stainless steel with reinforced side brackets for secure attachment during flight. Once on the ground, the keg can be detached and used immediately. After the event, the drone is programmed to collect the empty keg and return it to the distribution point. So far, there’s no news yet on the commercial and prototype production of Stratos’ beer delivery drone with mini parachutes.

the central body follows the shape of a keg

there are four foldable propeller arms installed

surface view of the flying device

the foldable arms double as a stand when the device is not in use

detailed view of the device

the beer delivery drone with parachutes can land on different types of surfaces

there’s a handle on top so users can carry it

the flying device can also deliver a keg for parties

so far, there’s no news yet on the device’s prototype or commercial production

project info:

name: MK1 Drone

design: Stratros Beer | @stratosbeer

designers: Benjamin Miller, Mason Watson, Tyler Bask

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: matthew burgos | designboom

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At the Morris Houses in the Bronx, an underutilized concrete bleacher has been transformed into a vibrant hub of activity known as the Common Corner. Co-designed by multidisciplinary studio The Urban Conga in collaboration with the New York City Housing Authority (NYCHA) and, most importantly, the residents themselves, the project breathes new life into a space that had fallen into disuse over decades. This community-led revitalization serves as a flexible gathering place designed to foster multigenerational connection and open-ended play.

the installation encourages social connection within the space

community-led design process in the bronx

The Urban Conga facilitated the design through a series of workshops using play methodologies, creating a safe environment for residents to share their dreams and stories. This participatory process ensured the final design was a direct reflection of the community’s identity. The site is now organized into three interconnected zone — social, active, and fantasy play — each catering to different needs. From accessible seating with grab bars to a stage-like platform for storytelling and performance, the space balances physical exercise with social rest and imaginative expression.

the project is intended to spotlight the space and catalyze further investment in the surrounding space

art and design playscape

Visually, the Common Corner is tied together by a forced-perspective mural that wraps around the structure, signaling a growing and evolving vision for the development. The upper section features reflective, color-changing mirrors and perforated panels for community-created paracord art, making the environment dynamic and shifting. Adding a layer of local pride, the risers are inscribed with affirmations chosen by the residents, such as ‘Dream Big’ and ‘Stronger Together,’ turning the site into a permanent source of encouragement.

an open-ended design allows the space to adapt to a range of activities

Part of NYCHA’s Connected Communities program, the Common Corner is a testament to the power of resident-led design. By transforming a static piece of infrastructure into a social landmark, the project demonstrates how public-private partnerships can modernize open spaces while strengthening the social fabric of the neighborhood.

‘Common Corner represents what we can achieve when residents’ voices are truly heard,‘ said Regina Carter, President of the Morris Houses Residents Association. ‘For years, these bleachers sat empty, but through this project, they’ve been transformed into something beautiful and meaningful for everyone. A place where young people, older adults, and families alike can meet and play. For us, this is more than a space to sit; it’s a space to come together, to play, and to celebrate our community.‘

zones for active play, including a climbing wall

the installation is organized into zones that encourage social, active, and imaginative play

reflective color-changing mirrors reflect and refract the surrounding environment

phrases of affirmations chosen by the community line the work

perforated panels wrap the existing fence, creating a framework for future paracord artworks

the mural guides movement across the steps, encouraging varied paths and ways of experiencing it

the space serves as an entryway into the Morris House community

the design wraps up and over the existing steps to encourage more is to come to the space

project info:

name: Common Corner
designer: The Urban Conga

The post the urban conga revitalizes common corner playscape in bronx, NYC appeared first on designboom | architecture & design magazine.

Eden – Abu Dhabi Edition is a large-scale installation by artist Pamela Tan of Poh Sin Studio that examines the relationship between constructed environments and natural forms. Drawing conceptual reference from the mythical Garden of Eden, the project presents an abstracted landscape composed of organic structures and controlled material language.

The pavilion is conceived as an immersive, all-white environment that emphasizes form, texture, and spatial sequence. Through the enlargement and repetition of natural motifs, the work encourages close observation of subtle details and alters conventional perceptions of scale. The restrained palette and sculptural composition create a calm spatial atmosphere, defined by continuity rather than enclosure.

image by Nada Alkarra

Eden airy installation emerges from the Desert Context

For its Abu Dhabi edition, Eden extends beyond an indoor exhibition context and is situated within the desert landscape. Positioned directly on sand, the installation introduces a contrasting spatial condition, where a garden-like structure emerges within an arid environment. The work appears as a temporary presence, shifting in perception between visibility and disappearance as lighting and atmospheric conditions change from night to day. This juxtaposition between a constructed landscape and its desert setting establishes a dialogue between abundance and scarcity, permanence and impermanence.

The installation by artist Pamela Tan of Poh Sin Studio is experienced outdoors under the open sky. At night, its white structural elements reflect artificial light, forming a luminous field against the surrounding darkness. Organic passages and vine-like arches guide movement through the space, while the overall composition maintains a low, horizontal profile that responds to the stillness of the desert context.

image by Poh Sin Studio

Suspended system constructs a Temporary open canopy

Structurally, Eden is defined by a suspended, cloud-like canopy composed of hanging vine elements. This canopy acts as both the primary architectural feature and the main structural system. The form originated through an intuitive design process and was later refined through engineering analysis, in which its curvature was translated into a truss-based framework. Computational simulations were used to ensure structural stability under desert conditions while maintaining visual lightness. The installation operates as a hybrid between sculpture and architecture, where form and structure are developed simultaneously. Hanging vines, arched elements, and dispersed glass spheres contribute to a spatial environment that responds to light, movement, and viewpoint, producing a variable sensory experience throughout the day and night.

All steel components are designed as a flat-pack system, allowing for efficient transportation, installation, dismantling, and reassembly in different locations. The modular construction employs interlocking joints, slip-lock connections, and bolt-and-nut assemblies, enabling precise on-site assembly while supporting flexibility and reuse. This approach addresses logistical constraints associated with remote sites and reinforces the project’s adaptability as a temporary spatial installation.

image by Nada Alkarra

image by Poh Sin Studio

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

image by Lancer Gerber, courtesy of Department of Culture and Tourism Abu Dhabi & Public Art Abu Dhabi

project info:

name: Eden – Abu Dhabi Edition (2025)
designer: Pamela Tan – Poh Sin Studio | @pohsin_studio

location: Abu Dhabi, UAE

photographer: Lancer Gerber, Nada Alkarra, Poh Sin Studio

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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Ground Studio de Arhitectură designs the new north-side departures extension at Avram Iancu International Airport in Cluj-Napoca, Romania. The structure is set to accommodate increasing passenger volumes while redefining the architectural presence of the terminal. Conceived as both an infrastructural expansion and a design intervention, the project positions the terminal as a clearly legible component of the city’s evolving urban framework.

The primary extension is located on the northern side of the terminal, projecting approximately 18 meters toward the runway to provide additional passenger regrouping areas in response to the growing number of boarding gates. A secondary expansion on the eastern side extends roughly 17 meters and aligns with the northern addition. Together, these interventions establish a cohesive architectural composition that unifies the existing structure with the new volumes.

all images courtesy of Șumlea Marius

Ground Studio de Arhitectură’s design ensures Vertical Rhythm

The design strategy followed by Ground Studio de Arhitectură’s team emphasizes visual continuity across the terminal while introducing a distinct formal language for the extension. A series of semi-transparent metal arches defines the main facade, creating a repeated vertical rhythm that contrasts with the building’s elongated horizontal profile. This interplay between vertical and horizontal elements contributes to a balanced overall composition and reinforces the legibility of the extension within the airport complex.

The arched elements also mediate between interior and exterior spaces, framing views toward the surrounding landscape and allowing light to filter into the terminal. Their semi-transparent construction supports visual permeability while maintaining a consistent architectural identity when viewed from both near and distant perspectives.

the north-side departures extension is designed by Ground Studio de Arhitectură

the project combines infrastructural expansion with architectural design

natural light filters into the interior through the facade

vertical rhythms contrast with the terminal’s horizontal form

framed views connect the terminal to the surrounding landscape

semi-transparent metal arches articulate the main facade

the design maintains visual continuity across the terminal

the project is located at Avram Iancu International Airport in Cluj-Napoca

project info:

name: North-Side Departures Terminal Expansion at Avram Iancu International Airport
architect: Ground Studio de Arhitectură | @groundstudioarh

design team: Roxana Rotaru, Catinca Joița, Mihai Giurgiu, Adelina Andrei
location: Cluj-Napoca, Romania

photographer: Șumlea Marius | @sumleamarius

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post semi-transparent yellow metal arches frame airport’s terminal extension in romania appeared first on designboom | architecture & design magazine.

Animator Masanobu Hiraoka presents a new hand-drawn animated film created in response to On Being, a track and album by electronic musician and creative Max Cooper. The album explores personal reflection, inner experience, and the shared nature of human thought. The film approaches these themes through an intimate visual language rooted in drawing, movement, and transformation, allowing sound and image to exist in quiet dialogue.

Masanobu Hiraoka: On Being | all images courtesy of © Masanobu Hiraoka, 2025

On Being: Exploring Perception Through Drawing and Sound

Masanobu Hiraoka is a Tokyo-based animator known for his hand-drawn films. Working primarily with pencil and frame-by-frame animation, his practice foregrounds the physical act of drawing and embraces imperfection as a record of time and thought. His work often moves between figuration and abstraction, using transformation as a way to reflect inner experience rather than narrative structure. The animation unfolds with pencil lines forming figures and abstract structures that shift gradually, as human gestures appear momentarily before dissolving into organic forms, while biological patterns echo bodily systems and natural processes. Throughout the film, the hand of the animator remains present, with visible lines and subtle imperfections reinforcing the physical act of drawing and the passage of time.

Max Cooper is a London-based electronic artist whose work sits at the intersection of music, science, and visual art. With a background in computational biology, his compositions often explore patterns, systems, and emotional states beyond language, frequently extending into collaborative visual projects. His practice treats sound as a tool for inquiry, using music to investigate perception, identity, and what it means to be human.

animator Masanobu Hiraoka presents a new hand-drawn animated film

Hiraoka and Cooper in exploring perception beyond language

Hiraoka’s process is grounded in frame-by-frame hand-drawn animation, favouring spontaneity and intuition over strict planning. Rather than mapping images directly to musical cues, the artist responds to the emotional tone of the composition, allowing imagery to surface from memory and internal sensation. This approach results in a visual rhythm that feels measured and reflective, closely aligned with the pacing of the music without attempting literal translation.

Personal experience plays a central role in the film’s imagery. Scenes suggest childhood, family, and human connection, while remaining intentionally open-ended. Contemplating personal interpretation, these moments are interwoven with abstract sequences that reference growth, decay, and regeneration, creating a visual continuum between individual memory and universal biological patterns. This collaboration reflects a shared interest between Hiraoka and Cooper in exploring perception beyond language. The music itself is rooted in collected human reflections on existence and emotion, while the animation responds through drawn movement rather than symbolic explanation. Together, sound and image operate as parallel investigations into what it means to experience memory and presence. The result is a quietly immersive work that presents being not as a defined state, but as something continuously unfolding.

the film responds to On Being, a track and album by Max Cooper

the film explores themes of reflection and inner experience

the animation is created using pencil and frame-by-frame techniques

figures emerge and dissolve through gradual transformation

the imagery responds to the emotional tone of the composition

biological patterns echo bodily systems and natural processes

human gestures appear briefly before shifting into organic forms

project info:

name: On Being: Masanobu Hiraoka translates memory into hand-drawn motion for Max Cooper
animator: Masanobu Hiraoka

musician: Max Cooper | @maxcoopermax

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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A synthesis of traditional woodcraft and silent robotics, Phantom reimagines the chessboard as a self‑playing heirloom. Phantom is the world’s first robotic chessboard crafted from solid wood. A masterful blend of engineering, design, and woodwork has re‑engineered one of the oldest strategic objects: the chessboard. Phantom Chess features a hidden, silent drive system that allows pieces to move autonomously, while its exterior remains pure walnut and maple, eliminating the visible motors and toy‑like aesthetic that have defined automated chess until now. Drawing on precision sensor grids and ultra‑quiet linear actuators, Phantom turns the board itself into an intelligent interface, creating an entirely new category of connected chess experience.

where tradition meets innovation | all images courtesy of Phantom Chessboard

Phantom chessboard introduces patented layered architecture

Unlike conventional electronic boards, Phantom Chessboard uses a patented layered architecture that conceals all technology beneath a veneer of natural wood. The playing surface is a matrix of magnetic sensors that detect piece movement, while an array of sub‑18dB linear actuators provides autonomous motion with no audible mechanical noise. The system requires only a single Bluetooth‑pairing step, after which the board operates as a silent physical terminal for digital chess.

In addition to its mechanical innovation, Phantom integrates seamlessly with the digital chess ecosystem. Through its companion app, the board syncs in real time with Lichess and Chess.com, allowing online matches to be played out physically move‑for‑move. It also hosts adaptive AI opponents, from the tactical precision of Stockfish to the human‑like intuition of the Maia neural network, and features a Sculpture Mode that autonomously replays historic games or personal analyses. Four pending patents cover the sensor‑actuator array, the silent drive mechanism, the magnetic piece‑recognition system, and the software architecture that ties physical play to digital platforms.

a natural wood chessboard where pieces glide autonomously, powered by a completely hidden mechanism

By dissolving the boundary between the tangible tradition of wood and the limitless potential of connected play, Phantom does not replace the chessboard; it completes it. The first production units are shipping now, marking the first time a robotic chess system has been conceived not as a gadget, but as a crafted object meant to last generations.

crafted from solid American Dark Walnut and Maple, each board is a unique piece of natural craftsmanship

Phantom is the result of a philosophy that respects materiality while embracing silent technology

in sculpture mode, the board autonomously replays historic games or personal analyses as a kinetic sculpture

the board syncs in real time with Lichess and Chess.com, allowing online matches to be played out physically

the CNC‑milled pieces come in tournament dimensions, designed for balance and tactile satisfaction

a masterful blend of engineering, design, and woodwork has re‑engineered the chessboard

hidden architecture introduces a magnetic sensor grid and silent linear actuators beneath the wooden surface

project info:

name: Phantom Chess | @phantom_chess
designer: Eduardo Cano, Osmar Martinez

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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Tent House is a private family residence designed by Nha Dan Architects, characterized by a spatial concept inspired by the structure of a voluminous tent. The project explores continuity between interior and exterior spaces while addressing environmental conditions within Vietnam’s dense urban setting.

The design is organized around a series of roof planes spanning between two primary structural walls. This approach minimizes the need for interior columns and enables an open, flexible floor plan. The roofs extend over both indoor and outdoor areas, creating a continuous spatial sequence that connects the ground-level garden with the upper-level study. Circulation is arranged so that family members enter directly into a shared, multi-story living space when moving from private rooms, reinforcing visual and spatial connections throughout the house. The layered roof configuration supports natural ventilation and daylighting, with the building orientation and roof geometry optimized to enhance environmental performance.

all images by Hiroyuki Oki

Overlapping roof planes give the residence its tent-like form

Openings between the roof planes frame views of surrounding greenery and the urban context while allowing daylight to penetrate deep into the interior. Operable glass louvers regulate airflow, facilitating cross-ventilation during warmer months and providing protection from heavy rainfall during the monsoon season.

Through its structural strategy, environmental responsiveness, and spatial organization, Tent House by Studio Nha Dan Architects establishes a continuous living environment that integrates domestic life with natural light, air, and landscape. The completed form, defined by overlapping roof planes, recalls the image of a large tent, which gives the project its name.

Tent House is a private family residence by Nha Dan Architects

the design is inspired by the structure of a voluminous tent

the project emphasizes continuity between interior and exterior spaces

the house responds to environmental conditions in a dense urban setting

the structure’s district configuration supports natural ventilation

the house responds to environmental conditions in a dense urban setting

the ground-level garden links directly to the interior living spaces

the resulting floor plan is open and flexible

the structural approach reduces the need for interior columns

a series of roof planes span between two primary structural walls

roofs extend over both indoor and outdoor areas

visual connections are maintained across multiple levels

operable glass louvers enable cross-ventilation

the design integrates light, air, and landscape into daily living

daylight penetrates deep into the interior spaces

circulation leads from private rooms into a shared, multi-story space

project info:

name: Tent House
architect: Nha Dan Architects

location: Vietnam

photographer: Hiroyuki Oki

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post tent house expands under overlapping angular roof planes in vietnam appeared first on designboom | architecture & design magazine.

Gabriel Faria Lima Corporate is a single-occupancy office building in São Paulo, designed by Perkins&Will, that proposes an alternative to conventional high-rise corporate typologies. Rather than adopting a vertical glass tower model, the project responds to the scale, regulations, and residential character of its surroundings, establishing a low-rise architectural presence integrated with the urban landscape.

The building is located on Alameda Gabriel Monteiro da Silva, a street recognized as a central hub for Brazilian design, connecting the financial corridors of Avenida Paulista and Avenida Brigadeiro Faria Lima. The neighborhood is predominantly residential and subject to strict limitations on building height and typology, making contextual integration a key factor in the design approach.

The project consists of two upper floors supported by a permeable ground level defined by concrete pilotis and glass panels. This configuration strengthens visual and physical connections between interior and exterior spaces while allowing landscaping to extend through the site. Large, uninterrupted floor plates provide flexibility for office layouts and maintain a continuous relationship with the surrounding vegetation.

all images by Pedro Mascaro unless stated otherwise

a context-driven alternative to high-rise office typologies

Privacy and solar control are achieved through Corten steel brise-soleils, which also define the building’s edge along the sidewalk. Studio Perkins&Will utilizes these elements to establish a consistent facade rhythm through vertical metal fins that frame expansive windows and regulate daylight entry. Soft stone walls further articulate the building envelope, contributing to material continuity and referencing local architectural traditions.

Landscaping plays a central role in the project, reinforcing the integration of the building with its context and enhancing the environmental quality of the site. The garden areas contribute to thermal comfort and visual continuity between the building and the neighborhood.

Designed as a corporate boutique, the project reinterprets the corner lot by aligning architectural scale, materiality, and spatial organization with the surrounding Jardins district. The result is a contemporary office building that prioritizes contextual response, flexibility, and integration with nature while meeting the functional demands of a corporate environment.

Gabriel Faria Lima Corporate is a single-occupancy office building by Perkins&Will

the project proposes an alternative to conventional high-rise office typologies

a low-rise volume responds to the scale of the surrounding neighborhood

a permeable ground level is defined by concrete pilotis and glass panels | image by Pablo Castro

interior and exterior spaces are visually and physically connected | image by Pablo Castro

tthe building is integrated into the existing urban landscape | image by Pablo Castro

corten steel brise-soleils provide privacy and solar control | image by Pablo Castro

vertical metal fins establish a consistent facade rhythm | image by Pablo Castro

soft stone walls and columns articulate the building envelope | image by Pablo Castro

landscaping extends through the site at ground level | image by Pablo Castro

large, uninterrupted floor plates allow flexible office layouts | image by Pablo Castro

architecture, materiality, and landscape align with the Jardins district context

project info:

name: Gabriel Faria Lima Corporate

architect: Perkins&Will | @perkinswill_br

client: Jaguari

location: São Paulo, Brazil

photographer: Pedro Mascaro | @pedro.mascaro, Pablo Castro | @pcastrophoto

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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