porous white brickwork facade enfolds renovated 1980s terrace house in kuala lumpur

6IX Design Office Reconfigures a Kuala Lumpur Terrace House

Teresformasi is a renovation project of a 1980s terrace house in Melawati, Kuala Lumpur, designed by 6IX Design Office. Positioned near the Bukit Tabur Quartz Ridge, the project reinterprets a common intermediate-lot terrace home through spatial reprogramming and material continuity. Its name combines teres (terrace) and transformasi (transformation), reflecting its focus on updating an existing typology for contemporary Malaysian living.

The design centers on an airwell that acts as the primary organizing element, distributing daylight and natural ventilation throughout the interior. Circulation and room arrangements are structured around this void, employing a clear served-and-servant hierarchy. Communal areas such as the living room and kitchen are configured as open, interconnected spaces, while private and service areas remain compact and efficient.

Teresformasi renovates a 1980s terrace house in Melawati, Kuala Lumpur | all images courtesy of 6IX Design Office

6IX Uses Brick, Timber, and Concrete for the transformation

The design team selects the materials for both their environmental performance and spatial coherence. Brick, timber, and concrete form the main palette, with recycled chippings incorporated into the brickwork to create a terrazzo-like finish. These materials allow for durability and contribute to passive thermal moderation. A secondary facade skin further reduces heat gain while maintaining access to natural light.

The project maintains the character of the original terrace-house form while addressing contemporary functional requirements. Its approach demonstrates how existing housing stock can be adapted through targeted spatial adjustments rather than expansion. For 6IX Design Office, Teresformasi serves as an exploration of incremental transformation and the architectural potential of everyday residential structures.

the project reinterprets a typical intermediate-lot terrace home

material choices contribute to passive thermal moderation

porous white brickwork filters tropical light into a play of breeze and shadow

an airwell forms the central organizing element of the house

daylight and natural ventilation circulate through the interior via the airwell

brick, timber, and concrete define the project’s material palette

open communal spaces connect the living room and kitchen

the customized dining table becomes a refined centerpiece

6IX Design Office positions the renovation as a model for contemporary living

project info:

name: Teresformasi

architect: 6IX Design Office | @6ixdo

lead architect: Suffian Shahabuddin, Wani Khairi

location: Melawati, Kuala Lumpur, Malaysia

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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natural history museum abu dhabi by mecanoo opens with world-first dinosaur displays

Natural History Museum Abu Dhabi by mecanoo welcomes visitors

Natural History Museum Abu Dhabi opens its doors tomorrow, November 22nd, 2025, in the Saadiyat Cultural District, marking a major moment for the UAE’s cultural and scientific landscape. Designed by Mecanoo, the 35,000-square-meter museum traces 13.8 billion years of cosmic and earthly evolution while casting natural history through an Arabian lens. Inaugurated by His Highness Sheikh Khaled bin Mohamed bin Zayed Al Nahyan, the institution positions itself as the largest natural history museum in the Middle East and introduces a rare set of world-first paleontological displays, including two Tyrannosaurus rex skeletons locked in a prehistoric battle and the first-ever exhibition of a five-species sauropod herd (find designboom’s previous coverage here).

Mecanoo’s design takes direct cues from the geological forms that structure the region. The architecture is conceived as a cluster of sculpted volumes that echo eroded rock formations, using geometry as the underlying language of the project. Pentagonal shapes, reminiscent of cellular structures and naturally occurring crystal patterns, repeat across the exterior and interior surfaces, setting up a visual system that links micro and macro scales of the natural world.

all images © Natural History Museum Abu Dhabi

an immersive journey through deep time

The narrative unfolds from the origins of the universe to the ecological futures we are shaping today. Early galleries spotlight the natural history of the Emirates and surrounding region, reconstructing a seven-million-year-old savannah-like environment once populated by now-extinct species, including a four-tusked giant elephant, which is displayed as part of the permanent collection. These scenes anchor the global story of natural history within the specific climatic shifts and geological legacies of the Arabian Peninsula.

At the entrance atrium, visitors are met by the unprecedented sauropod herd, featuring five distinct long-necked giants arranged as if frozen mid-migration. Deeper inside, the dramatic T. rex encounter stages two fossil specimens, among them the 67-million-year-old Stan, one of the most complete T. rex skeletons ever found, locked in confrontation over a Triceratops carcass. Bite marks and fossil evidence preserved across the scene offer one of the most detailed reconstructions of predation behavior currently on public view.

the entrance plaza is framed by indigenous trees

built around research and long-term knowledge production

While the galleries deliver spectacle, the institution places equal emphasis on scientific inquiry. Integrated research facilities will support studies in palaeontology, earth sciences, biodiversity, and conservation, strengthening the UAE’s growing ecosystem of knowledge production. The museum aims to act as a hub for interdisciplinary collaboration, from lab-based investigations to community science initiatives, and positions youth engagement as central to its mission. Workshops, public programs, and educational labs are designed to encourage future generations to pursue scientific fields and environmental stewardship.

The museum aligns its programming with the UAE’s climate commitments, foregrounding biodiversity, conservation, and environmental literacy. Exhibitions invite visitors not only to observe but to think critically about the long arc of planetary change and the responsibilities that come with it.

Natural History Museum Abu Dhabi joins a constellation of major institutions, including Louvre Abu Dhabi, teamLab Phenomena Abu Dhabi, and the forthcoming Zayed National Museum and Guggenheim Abu Dhabi, shaping the Saadiyat Cultural District as a global destination for cross-disciplinary exchange.

sculptural forms by Mecanoo reflect Abu Dhabi’s ambition to connect the world with life’s story

white facades and native greenery express Mecanoo’s architectural vision for the museum

distinctive modules reflect the dedication of the museum to celebrating Earth’s natural wonder

Arabia’s Climate with Act 1B – The Evolving World – Cenozoic

Brydes Whale: an endangered species of whale often found in the Atlantic, Pacific, and Indian Oceans

female blue whale skeleton measuring 25 metres in length and consisting of 189 bones

a herd of five Triceratops considered the first Triceratops herd to ever be discovered in one nest

Ash Shaqqah 002 Meteorite, a dark-greyish rock showcasing a fusion crust

project info:

name: Natural History Museum Abu Dhabi | @nhm_abudhabi

architect: Mecanoo | @mecanoo_

location: Saadiyat Cultural District, Abu Dhabi, UAE

size: 35,000 square meters

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paper folding informs folio bridge’s steel span over water path in china

Folio Bridge explores structural potential through paper crease

FAR Workshop’s Folio Bridge in Huzhou, China, draws its concept from the structural behaviour of a folded sheet of A4 paper. The project examines how a simple crease can reinforce a lightweight material while retaining its inherent thinness and visual delicacy. After testing multiple folding configurations, the design team focused on a single-crease strategy to achieve the required span. The bridge form was defined by fitting three construction curves and one construction point to the crease line. Working closely with Zhang Zhun’s Structural Research Institute, the team iteratively adjusted the curvature of these lines and the position of the construction point to optimise force distribution across the structure.

Because the resulting form created a steeply sloped bridge surface, the design no longer accommodated direct pedestrian circulation along the primary structure. Instead, the curved surface was treated as a landscape-like element. A narrow elevated path was introduced, allowing users to cross the bridge as if traversing a mountain ridge, contrasting the bridge’s substantial presence with its paper-inspired thinness.

all images by ©Biosphere unless stated otherwise

FAR Workshop’s elevated steel path curves like a mountain ridge

To minimise the visual impact of this secondary circulation element, FAR Workshop’s design team constructed the path from slender, high-strength threaded steel bars, used consistently for the support, treads, and handrail. This single-material approach maintains the clarity of the overall form. The bridge spans 15.825 meters. Given the complexity of its curved geometry, the construction team produced a full positioning frame based on sectional drawings. The bridge was fabricated from multiple steel plates, each with a distinct curvature, manually bent and adjusted using a press machine. These components were then spatially positioned within the frame and welded into a single continuous structure, followed by installation of the steel-bar pathway.

The project explores the spatial experience generated by an extreme structural gesture, folding a thin ‘sheet’ into a substantial architectural volume and introducing a narrow path across it. The contrast between mass and lightness defines the bridge’s visual identity and shapes the way users perceive and inhabit the structure.

Folio Bridge takes its concept from the fold of an A4 sheet

the design studies how a single crease can create structural strength

a thin, paper-like form becomes a load-bearing span

the main structure is treated as a landscape element rather than a walkway

a narrow elevated path follows the curve like a mountain ridge

a single-material strategy preserves visual clarity

the walkway contrasts with the thin, folded form beneath it

threaded steel bars form the support, steps, and handrail of the path

mass and lightness are juxtaposed through form and material

project info:

name: Folio Bridge
architect: Far Workshop
location: Huzhou, China

lead architects: Mangyuan Wang
design team: Mangyuan Wang, Yang Yang, Rui Li
structure designer: Zhun Zhang, Chongchong Zhang, Xiaojie Hu
project planning: urbaneer
design manager: ConCom

photographer: Biosphere

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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first 3D printed tiny house in luxembourg aims to solve the housing crisis in the country

3D printed tiny house uses solar panels for low-energy use

The Tiny House project in the commune of Niederanven marks the first use of 3D printing for a full residential structure in Luxembourg. Designed by ODA Architects in collaboration with Coral Construction Technologies, the structure covers 47 square meters of usable space, with each printing phase lasting less than 28 hours. The main purpose of the project is to test how 3D printing can produce housing in a faster and more affordable way in hopes of relieving the housing crisis that the country has been confronting.

The 3D printed Tiny House also shows how a structure can work with low energy use by installing solar panels on the roof to power up the home. The electricity also supplies energy to the film-based heating system under the floor, eliminating the need for water pipes or radiators. The architect’s goal is to keep the house simple to run and maintain, and in fact, the team has filled the walls with insulation made with low-impact materials after printing to reduce the energy use in the long term.

image courtesy of Coral Construction Technologies

Green areas surround the cement structure

Going through the design of the 3D printed Tiny House, the interior has clear zones for different activities. When a person enters the house from the south side, they arrive in a small entrance hall, where a corridor starts. It connects the entrance with all the main rooms, which leads to the bathroom, a technical area, and at the end, the bedroom. To the left of the entrance is the living space combined with the kitchen and dining room in one continuous area. 

This construction also has a door that opens to the terrace on the south side to give access to the outdoor space and connects the interior to the surrounding open areas. A main design idea is to connect the 3D printed Tiny House by ODA Architects with nature around it. The entrance in the center of the south wall gives quick access to the garden, and the structure has openings that face the north and northeast green areas to fulfill this design vision.

all other images courtesy of ODA Architects, unless stated otherwise

prototype can show potential affordable housing in europe

The company Coral Construction Technologies says that the project shows how 3D printing is used to build residences in a market with high housing costs. It adds that Luxembourg requires around 7,000 new apartments per year, but current output delivers under 4,000, and this gap produces high prices and long development timelines. A small 47 m² apartment in Luxembourg City costs more than EUR 560,000, but the 3D printed Tiny House runs an estimated cost of about one-third less and can be placed on sites not suitable for larger construction. 

The construction reduces the need for manual labor, but on the upside, there’s less use of heavy machinery and decreased waste because the printer follows exact digital instructions. The municipality of Niederanven integrates the 3D printed Tiny House into the Hei wunne bleiwen program, which aims to provide starter housing for young residents who take part in community programs. The house is expected to  be rented to its first tenant for a ten-year lease, and in addition, the project includes a plan to plant 21 trees to offset emissions from the production process. So far, the current structure stands as a prototype, with the goal to use it to inform future decisions about whether this method can support larger programs for affordable housing in Luxembourg and other European countries.

the 3D printed Tiny House project is located in the commune of Niederanven

the structure covers 47 square meters of usable space

each printing phase lasts less than 28 hours

corridor view inside the structure

project info:

name: Tiny House

architecture: ODA Architects | @odaarchitects.lu

construction: Coral Construction Technologies | @coral_3dcp

collaboration: ICE Industrial Services, HSF System

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crosby studios restores 17th-century tuscan farmhouse with metallic and sculptural details

crosby studios transforms historic farmhouse in italy

Crosby Studios completes the renovation of a 17th-century farmhouse in Roccalbegna, Tuscany, turning the once-neglected rural structure into a family retreat and the operational center of La Terra di Neena, an emerging olive oil and home goods brand. The project began as a personal search for heritage, expanding into a long-term restoration of both building and landscape, and later into the development of a full design identity.

La Terra di Neena founder Tyler Billinger and Crosby Studios founder Harry Nuriev first encountered the property while traveling with Billinger’s family through Tuscany. The farmhouse, set within a wild olive grove on a 52-hectare site, carried its age visibly with intact timber beams, thick masonry walls, and traces of long-paused agricultural life. Crosby Studios approaches the renovation by preserving this architectural character while inserting elements drawn from its own material vocabulary. Metallic finishes, graphic forms, and sculptural interventions appear throughout the interior. Conventional upper-floor wood planks are replaced with hand-laid river stones, introducing a tactile, irregular surface crafted in place. Gutted headlights are reassembled into chandelier-like pieces, and clusters of rearview mirrors are arranged across the walls, a nod to historic mirror-making traditions.

all images by Matteo Capirola, unless stated otherwise

restoring the landscape and rebuilding the olive groves

Crosby Studios brings utilitarian ‘back-of-house’ materials into a domestic setting. In communal areas, stainless steel anchors the rooms, from a four-meter dining table and benches to a custom island. Harry Nuriev’s creative practice introduces a canopy bed in the primary bedroom constructed from 120 repurposed red T-shirts, each carrying its own anonymous provenance. Textiles throughout the house continue this study of translation, from AI-assisted velvet patterns reinterpreting tapestry motifs to Mylar-like fabrics adopting industrial textures in soft form.

The architectural renovation developed in parallel with a larger ecological effort. Working with landscape architect Anna Andreyeva of Planting Strategies, the team undertook a multi-year restoration of the overgrown olive fields,  clearing the land, pruning and rehabilitating ancient trees, stabilizing soil conditions, and reintroducing plantings that support long-term agricultural health. By the time the family hosted their first informal harvest, the farmhouse had become both a gathering place and the center of a revived rural ecosystem, setting the foundation for what would become La Terra di Neena.

Crosby Studios completes the renovation of a 17th-century farmhouse in Roccalbegna, Tuscany

transformism as the conceptual framework

For Nuriev, the project embodies his ongoing manifesto, Transformism. ‘Transformism is the act of turning one thing into another—not by denying its origin, but by illuminating it,’ he notes. ‘The conceptual framework isn’t only about material manipulation — it’s about seeing the potential for new life in an object, whether that be a tattered old sofa or a neglected olive tree.’

Billinger adds that working on the land has shifted their sense of pace: ‘It’s forced us to disconnect from the instant gratification of the digital realm and embrace a slower, more intentional way of living — one that’s deeply rooted in process, tradition, and patience.’

turning the once-neglected rural structure into a family retreat | image by Jenia Filatova

crafting the brand identity of la terra di neena

After four years of architectural and landscape work, Billinger asked Crosby Studios to extend its design approach into the brand itself. The studio developed an identity based on distinct graphic lines, mirrored surfaces, and a sculptural reading of utilitarian forms.

‘Named after my mother, La Terra di Neena is a marriage between new family harvest traditions and a longstanding dialogue with my partner Harry and his creative practice,’ says Billinger. The collection spans olive oil, home goods, and collectible furniture that draw directly from the domestic and agricultural context of the estate: dented tins translated into vases and candles, glycerin soaps cast with olives and branches, mirrored dishware engraved with La Terra di Neena and Crosby Studios motifs, and seating made from unused olive oil cans.

The first iteration of La Terra di Neena’s collection appeared earlier this year at Capsule Plaza during Milan Design Week, where the team presented 200 chromatic laser-engraved canisters, sculptural household objects, and a chair constructed from unused tins from the previous harvest. The brand recently made its US debut at the inaugural edition of Basic.Space NY, unveiling new monumental pieces, including a dining table, stools, and a sculpture resembling oversized dented oil canisters, alongside miniature cooking-pot candles and engraved mirrored dinner plates.

a long-term restoration of both building and landscape | image by Jenia Filatova

set within a wild olive grove on a 52-hectare site | image by Jenia Filatova

Crosby Studios approaches the renovation by preserving its architectural character

metallic finishes, graphic forms, and sculptural interventions appear throughout the interior

upper-floor wood planks are replaced with hand-laid river stones | image by Jenia Filatova

gutted headlights are reassembled into chandelier-like pieces

clusters of rearview mirrors are arranged across the walls | image by Jenia Filatova

Crosby Studios brings utilitarian ‘back-of-house’ materials into a domestic setting | image by Jenia Filatova

project info:

name: La Terra di Neena farmhouse renovation

architect: Crosby Studios | @crosbystudios

location: Roccalbegna, Grosseto, Italy

founder, La Terra di Neena: Tyler Billinger | @tylerbilly

collaborators (landscape): Anna Andreyeva / Planting Strategies

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concrete towers, water gardens and elevated paths: the barbican through david altrath’s lens

david altrath reveals the atmospheres that animate the barbican

Photographer David Altrath walks the Barbican Centre, tracing how elevated walkways, heavy concrete masses, and layered water landscapes shape one of Britain’s boldest experiments in high-density urban living. Designed by Chamberlin, Powell, and Bon and completed in 1982, the estate rises from post-war London. Altrath focuses on the constant shifts of light, weather, and movement that animate the megastructure of the Brutalist icon.

The scale of the estate is felt in the sweeping view of its terrace blocks rising over the central green. Narrow balconies wrap the long facades, filled with red flowers, potted plants, and the everyday objects of residents. Below, a lawn dotted with picnics and a small playground softens the geometry, revealing the original intention of the architects to merge high-density housing with generous public space. Behind the horizontal stack of apartments, the crisp verticality of newer office towers reminds viewers of the role of the estate as a cultural enclave carved into the commercial center of the city.

all images by David Altrath

elevated paths and water gardens shape the brutalist landmark

Moving into the complex, Hamburg-based photographer Altrath focuses on its elevated pedestrian routes, the system of brick-tiled walkways that binds the estate together. One corridor curves under a low concrete canopy, framed by slender black steel posts and lit by a soft glow that pushes the eye outward toward surrounding trees. Another walkway runs straight into a thicket of cylindrical columns, their rough-cast surfaces catching the daylight. A painted yellow line down the center subtly hints at the estate’s circulation logic, a city built for walkers above the traffic of the ground plane.

At the water gardens, layered terraces, fountains, and planted islands unfold in a slow gradient toward the lake. Altrath catches families perched on a circular brick island feeding ducks, reeds rustling in the wind, and sunlight flickering through the surface of the ponds. The rhythm of the fountains runs parallel to the long reflections of the residential towers, tying the vertical and horizontal scales of the Barbican into one continuous landscape.

David Altrath walks the Barbican Centre

london’s urban past through concrete, water, and film

From beneath the terrace blocks, the camera turns to the estate’s undercrofts, vast yet quiet spaces where columns descend straight into the water and the echoes of the city fade. Altrath frames these supports as sculptural elements, highlighting the surprising delicacy in their arrangement despite the weight they carry overhead.

Throughout the series, fragments of older London appear between concrete planes through church windows, pale stone facades, and medieval remnants peeking through the estate’s elevated pathways. These juxtapositions underline the Barbican’s layered history, a reconstruction of a bombed district, a proclamation of modernist ideals, and now a cultural landmark continuously reshaped by its users.

Shot on Kodak Vision3 250D and 500T, the photographs embrace the warmth, grain, and atmospheric softness of film. Altrath uses the medium to pull out the shift of color across aggregate surfaces, the texture of water meeting brick, and the way planted edges soften the monumental presence of the estate.

elevated walkways, heavy concrete masses, and layered water landscapes shape the complex

one of Britain’s boldest experiments in high-density urban living

Altrath focuses on the constant shifts of light, weather, and movement that animate the megastructure

the scale of the estate is felt in the sweeping view of its terrace blocks rising over the central green

the camera turns to the estate’s undercrofts

brick-tiled walkways bind the estate together

rough-cast surfaces

the photographs embrace the warmth, grain and atmospheric softness of film

Altrath uses the medium to pull out subtleties often overlooked in Brutalist structures

the cultural landmark is continuously reshaped by its users

a cultural enclave carved into the commercial center of the city

project info:

name: Barbican Centre

photographer: David Altrath | @davidaltrath

architects: Chamberlin, Powell and Bon

location: London, Great Britain

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NYC streets to be transformed with new scaffolding sheds for better safety and modularity

fresh scaffolding designed for pedestrians

A new vision for New York City‘s familiar sidewalk sheds, or scaffolding, has been unveiled, and will bring a fresh approach to a bright and safe sidewalk life for the city. The arrival of these sheds was spurred by the city’s ‘Get Sheds Down’ initiative, which promises a shift toward more open and lightweight construction zones across all five boroughs.

For decades, the familiar pipe-and-plywood assemblies have had a heavy presence on the city’s sidewalks. Stepping under them brings a drop in brightness and a compressed sense of movement, conditions that shape how people navigate storefronts and building entries. New systems are proposed by Arup and PAU to counter that pattern with designs that open views outward and let daylight reach the pavement and bring a gentler transition between sidewalk and shed.

While each system responds to different construction scenarios, they share a modular logic. Components adjust to irregular facades and complex curb conditions, allowing building owners to scale structures up or down with relative ease. Their lighter frames allow the sidewalks of New York to better function during repair periods that, in many cases, can last years.The Rigid Shed, Arup

arup’s vision for new york’s sidewalks

The Rigid Shed is the most robust of Arup’s trio, built for major construction work. Slimmer columns and a compact footprint clear room for foot traffic, reducing the spatial drag often associated with long-term projects. Overhead, the structure maintains a durable surface capable of handling substantial loads while preserving clear lines of sight along the block.

The Air Shed introduces a lifted, cantilevered approach anchored directly to the building. By pulling supports off the pavement, it frees the sidewalk entirely, turning the covered zone into an unobstructed passage. Its elevated stance changes the usual relationship between pedestrians and protection, allowing the underside to read almost as an extension of the facade above.

For maintenance tasks and shorter intervals, the Flex Shed operates with adjustable platform heights and precise column placement. It shifts around bus shelters, street signs, and projecting architectural elements, creating a more forgiving edge condition where construction meets daily circulation. The resulting space feels less compressed, particularly along narrow corridors where standard sidewalk sheds tend to overwhelm the cross-section.

Air Shed, Arup

three alternative systems by pau

Three additional systems by Practice for Architecture and Urbanism (PAU) approach the same challenge from a different angle. The Speed Shed responds to short-duration work and emergency conditions with a light frame that can be installed quickly and shifted as needed.

For larger construction efforts in busy corridors, the Wide Baseline Shed introduces a sturdier configuration scaled for heavier loads and sustained street activity. The Baseline Shed, meanwhile, is an adaptable platform that can be assembled in lighter or more durable variants, depending on the demands of the site.

Each design incorporates an angled overhead cover with calibrated perforations, directing daylight onto the pavement and reducing the dim, cramped conditions that New York City’s scaffolding commonly creates. Upon unveiling these plans, PAU founder Vishaan Chakrabarti emphasized the scale of the effort, noting that more than 400 miles of existing scaffolding currently covers the sidewalks.

Speed Shed, PAU

Wide Baseline Shed, PAU

Baseline Shed, PAU

project info:

architecture: Arup, Practice for Architecture and Urbanism (PAU)

location: New York, NY

initiative: Get Sheds Down

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heatherwick studio plans birmingham stadium around twelve chimney-like towers

A NEW STADIUM FOR BIRMINGHAM CITY FOOTBALL CLUB

Heatherwick Studio and MANICA Architecture introduce their design for a new stadium for Birmingham City Football Club at Bordesley Green in East Birmingham. The announcement has come in time for the club’s 150th anniversary and will be the centerpiece of an ambitious plan for the wider Birmingham Sports Quarter.

The scheme positions the stadium as a central civic element for the district, drawing from the city’s material heritage and industrial landscape. Early images show a structure shaped by mass and texture rather than surface expression, bringing a clear architectural identity to the project.

visualizations © MIR

HEATHERWICK STUDIO DRAWS FROM THE CITY’S INDUSTRIAL HERITAGE

The design by Heatherwick Studio and MANICA Architecture orients the stadium in Birmingham around twelve chimney-like towers that rise from the ground plane and support the roof. Heatherwick Studio draws from Birmingham’s history of brickmaking, using reclaimed bricks where possible to give these structural elements a layered, tactile presence. Their scale defines the outer form while shaping light, airflow, and movement inside the building.

Each chimney accommodates circulation or environmental functions. Some contain lifts and staircases, while others contribute to passive ventilation. One tower will carry visitors to an elevated bar with panoramic views across Birmingham, carving a vertical public room into the stadium’s profile.

Heatherwick Studio and MANICA Architecture introduce their design for Birmingham City Football Club stadium

INTERIORS BY MANICA

Inside, MANICA guides the bowl configuration with a steep arrangement that brings supporters close to the pitch. The geometry creates a cohesive enclosure intended to concentrate sound and energy. The roof, engineered for adaptability, retracts when required, while the moveable pitch extends the venue’s use beyond football.

Acoustics played a central role in the design process. The chimney structures shape the movement of sound, lifting crowd noise upward while reducing its reach into nearby neighborhoods. The result is a controlled, resonant environment that prioritizes matchday atmosphere while remaining sensitive to the surrounding district.

the centerpiece of an ambitious plan for the wider Birmingham Sports Quarter

Around the stadium, Heatherwick Studio develops a ground-level environment conceived as an active civic space throughout the week. The plan includes food markets, cafés, informal seating, and children’s play areas, giving the site the character of a local gathering place rather than a closed sports venue.

Paths, shaded pockets, and open surfaces guide movement toward the entrances while encouraging visitors to linger. The ambition is to create a continuous public realm where the stadium acts as a social anchor for East Birmingham and not just a destination on matchdays.

drawing from the city’s material heritage and industrial landscape

MANICA guides the bowl configuration with a steep arrangement

the plan includes food markets, cafés, informal seating, and children’s play area

project info:

name: Birmingham City FC New Stadium

location: Bordesley Green, East Birmingham, UK

architect: Heatherwick Studio | @officialheatherwickstudio

stadium design + bowl: MANICA Architecture | @manicaarchitecture

client: Birmingham City Football Club / Knighthead

collaborator: Steven Knight

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MVRDV’s residential tower ‘the island’ to bring a curving vertical landscape to taiwan

a 21-story tower of gardens to rise in taiwan

The Island by MVRDV is a forthcoming residential tower in Taichung, Taiwan, designed as a dense vertical neighborhood shaped by greenery and curved geometry. The project occupies a central urban site at the meeting point of the city’s North and Beitun districts and aims to bring a lushly planted presence within the surrounding commercial blocks.

Construction permission enables the 21-story tower, with its organically-shaped facade, to move forward, bringing a distinct approach to urban living. The Island responds to Taichung’s liveable building regulations, which encourage large swaths of outdoor space and plantings. MVRDV uses this framework to form a building that supports community, with elevated gardens, shared terraces, and a ground-level public area shaded by trees.

visualizations © Antonio Luca Coco, Luana La Martina, Angelo La Delfa, Lorenzo D’Alessandro, Ciprian Buzdugan, Stefano Fiaschi

MVRDV’s facade of glimmering ceramic tiles

The architects at MVRDV make use of ceramic tiling to shape the exterior identity of The Island tower in Taiwan. The facade uses a mosaic of irregular white pieces, with larger tiles across flat planes and finer patterns applied where the curves tighten. This system helps the envelope adjust to every bend, creating a smooth, continuous surface with a level of craft that aligns with the studio’s interest in adaptable material expression.

Soft edges define balconies, openings, and planters throughout the project. These profiles establish a clear departure from the rectilinear surroundings, giving the residential tower a gentle presence in the city. The Island uses curvature as an organizing strategy which guides the way that outdoor rooms and planted pockets are arranged along the facade.

The Island by MVRDV will introduce a curving residential tower to central Taichung

the island will bring 76 apartments to taichung

MVRDV’s The Island will bring 76 apartments to Taiwan, all elevated over two floors of shared amenities and commercial space. Residents gain access to a series of outdoor areas, including five communal balconies distributed across the height of the tower. Each one forms a three-story recess that creates spatial depth and daylight access while offering planted terraces with views over Taichung.

At the peak of the tower, a garden terrace wraps a layered green crown that functions as a multi-purpose shared space. The design encourages casual gathering and daily use, extending the building’s landscape experience into a high vantage point with breezes and expansive city views. A street-level planting strategy complements this upper zone with greenery that meets the sidewalk and frames the tower’s entrance sequence.

the project integrates extensive greenery across balconies, terraces, and a rooftop garden

104 planted balconies

The Island includes 104 private balconies with planted areas and 38 standalone facade planters. Combined with the building’s communal gardens, this system introduces a cross-section of plant species selected to reflect the variety found across Taichung’s wider region. The strategy enhances biodiversity and creates a consistent green presence that becomes part of the building’s expression from every angle.

A 13-story structure currently occupies the site and requires removal due to outdated seismic regulations. MVRDV outlines a plan to reuse material from the existing building where feasible. Stone elements from its walls and floors will be saved and employed as floor finishes within the new project, reducing construction waste and grounding the tower in the material history of its location.

a ceramic mosaic facade adapts to the tower’s soft geometry with varied tile sizes

‘The design of The Island brings a soft touch in a city full of boxes‘, says MVRDV founding partner Jacob van Rijs. ‘As with other residential buildings in Taiwan, the building’s underlying layout had to follow a fairly standardised and highly efficient approach. The building’s character therefore has to come from its details, from the soft curves, from the Gaudí-inspired facade finish, and from the way greenery is integrated as if the building is part of the same organic system.’

the building will bring 76 apartments along with two floors of amenities and commercial use

project info: 

project title: The Island

architect: MVRDV | @mvrdv

location: Taichung City, Taiwan

client: Cheering Zu

size: 9,000 square meters

visualizations: © Antonio Luca Coco, Luana La Martina, Angelo La Delfa, Lorenzo D’Alessandro, Ciprian Buzdugan, Stefano Fiaschi; Teresa Papachristou (Graphic Design)

founding partner in charge: Jacob van Rijs

director: Gideon Maasland

head of taiwan: Hui Hsin Liao

design Team: Laura Petroncini, Mark van Wasbeek, Herng Tzou, Veronica della Ventura, Piotr Janus, Francesca Cambi, Olly Veugelers, Lorenzo Mennuti, Joyce de Louw, Nicola Panico

collaborators:

co-architect: Sd-Haus, Taichung City, Taiwan

landscape architect: Ele-Garden Landscape Design

structural engineer: Dayan Engineering Consultant

MEP: Songlin Engineering Consultant

lighting consultant: LHLD Lighting Design

The post MVRDV’s residential tower ‘the island’ to bring a curving vertical landscape to taiwan appeared first on designboom | architecture & design magazine.

vo trong nghia builds school from rammed earth and bamboo in mountain region of vietnam

School by VTN Architects Opens in Vietnam’s Mountain Region

Vo Trong Nghia Architects – VTN has completed Nuoc Ui School in Tra Mai commune, Nam Tra My district, a remote mountainous region in Central Vietnam. The project provides an educational facility for an ethnic minority community living across steep terrain and a climate characterized by frequent storms and heavy rainfall. Funded primarily by the Midas Foundation, with windows and doors sponsored by Tostem, the school is conceived as a durable and locally adapted structure. The design prioritizes the preservation of the existing landscape and establishes a clear relationship between the built environment and the surrounding forested mountains. Classrooms and supporting buildings are arranged to open toward these natural views, while a central courtyard is oriented to overlook the valley. The architectural layout emphasizes openness, natural light, and environmental responsiveness.

Built from rammed earth and bamboo, the project embraces local materials and the surrounding forested landscape, opening its classrooms toward sweeping valley views. Simple yet robust, the architecture forms a sheltered courtyard and a semi-indoor playground that support learning in all seasons. With passive ventilation, deep eaves, and a layout shaped by nature, the school stands as a quiet but powerful response to place, a modest structure with an enduring spirit.

all images by Trieu Chien

Nuoc Ui School Establishes Nature-Connected Educational Space

Architectural practice Vo Trong Nghia Architects – VTN positions locally sourced materials at the foundation of the school project. Rammed earth walls and bamboo roofing reduce transportation demands and environmental impact while maintaining a direct connection to regional building traditions. These materials also support the structural requirements of the sloped site and provide resilience against heavy rainfall. Deep roof eaves are incorporated to protect the earthen walls and extend the building’s lifespan. The school is organized around an internal courtyard, with classrooms connected to a forecourt through a semi-indoor playground. This arrangement forms a continuous sequence of spaces for learning, play, and group activities. The semi-indoor playground, located between two classrooms, offers a sheltered play area that remains usable during rainy periods.

Large, symmetrically placed windows provide natural ventilation and daylighting, reducing reliance on mechanical systems. Combined with buffer zones such as covered corridors and deep eaves, the ventilation strategy helps maintain a stable indoor environment suited to the region’s humid tropical climate. These transitional spaces also function as areas for informal activities and interaction. Nuoc Ui School presents an architectural approach grounded in local materials, climatic conditions, and community needs. Its modest scale and clear structural system support long-term durability, while its arrangement of interconnected indoor and outdoor spaces establishes a learning environment closely aligned with its natural context.

Nuoc Ui School sits within a remote mountainous region of Central Vietnam

the school is designed to withstand frequent storms and heavy rainfall

classrooms open toward surrounding forested mountains

deep eaves protect earthen walls from rain and extend the structure’s lifespan

local materials reduce environmental impact and support regional building traditions

large, symmetrical windows provide daylight and natural ventilation

project info:

name: Nuoc Ui School
architects: Vo Trong Nghia Architects VTN | @vtnarchitects_votrongnghia

lead architect: Vo Trong Nghia

location: Nam Tra My, Quang Nam, Vietnam

area: 295.5 sqm

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 vo trong nghia builds school from rammed earth and bamboo in mountain region of vietnam appeared first on designboom | architecture & design magazine.