6,500-Year-Old Earthworks in Austria Are Thousands of Years Older than Stonehenge

6,500-Year-Old Earthworks in Austria Are Thousands of Years Older than Stonehenge

Around 10,000 years ago, a paradigm shift in human history began to unfold. Prior to this transitional period, which archaeologists refer to as the Neolithic Revolution—the final phase of the Stone Age—small societies were organized around hunting and gathering for sustenance. During the Neolithic period, the gradual adoption of agricultural practices forever changed the way we live.

Over the next few thousand years, humans began domesticating plants and practicing animal husbandry in different parts of the world. And with less time needed for farming than for nomadically searching for food, ancient people could enjoy other activities that led to economic, political, religious, and artistic developments.

people working on a grassy earthwork
The excavation follows the future layout of the walking path in the park, which will lead from the visitor pavilion to the circular ditch. The excavations are based on geomagnetic ground surveys by GeoSphere Austria

The Neolithic period saw the very first civilizations. It’s also when iconically old structures like Ireland’s Newgrange passage tomb and England’s Stonehenge complex were built, the latter of which was begun around 3100 B.C.E. and finished around 600 years later. For context, when Stonehenge was in its final phase, construction of the Pyramids of Giza was likely in progress. Recently, a series of circular earthworks dating to the 5th millennium B.C.E. (5000 to 4001 B.C.E.) in Burgenland, Austria, may predate much of Stonehenge by a remarkable 2,000 years.

At the newly excavated site, three monumental structures sit in close proximity to one another near the town of Rechnitz. The earthworks were initially discovered via aerial and geomagnetic surveys between 2011 and 2017. A total of four were found, three of which are ring-shaped structures that were previously invisible to the naked eye.

Known as circular ditch systems, the structures were built in the Middle Neolithic period—sometime between 4850 and 4500 B.C.E.—making them at least 6,500 years old.

“The Rechnitz site can be considered a supra-regional center of the Middle Neolithic period,” says Nikolaus Franz, the director of Burgenland Archaeology, in a statement. In the ditches measuring as much as 340 feet across, archaeologists have documented pits containing ceramic finds and post holes that indicate where timber beams in the ground once supported shelters.

a drawing and excavation of a grassy earthwork

Circular ditch monuments of this type, known as Kreisgrabenanlagen in German, are consistently found throughout Central Europe. While their intended function remains unknown, researchers generally believe they held an ancient religious, or cultic, purpose. Similar to Stonehenge, their orientation includes openings that align with the solstices and seem to correspond to an astronomical calendar.

“The excavations open a veritable window into the Stone Age,” Franz says. “We are learning a great deal about the Neolithic settler clans who found this a favorable location to establish the cultural techniques of agriculture and livestock farming in what is now Burgenland…After centuries of hunting and gathering, the gradual settlement of humans was truly revolutionary.”

You might also enjoy exploring the phenomenal complex of more than 10,000 earthworks made by prehistoric Indigenous societies in the Amazon basin.

an aerial view of a round earthwork

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article 6,500-Year-Old Earthworks in Austria Are Thousands of Years Older than Stonehenge appeared first on Colossal.

floating concrete structure by moguang studio anchors guesthouse complex in china

floating concrete public amenities building emerges in hubei

 

Moguang Studio has completed a ‘floating’ concrete structure that anchors a new guesthouse complex in Longwanggou Village, Hubei Province, China. Serving as a multifunctional amenities building with café, dining, and gathering spaces, the suspended project inserts a striking horizontal volume into a terraced valley near the Danjiangkou Reservoir. Inspired by the accidental horizon created by a temporary blue construction fence on site, the architects translated this fleeting gesture into a permanent architectural intervention — one that stitches together the surrounding hills while redefining the relationship between landscape and built form.

wudang mountain visitor center reconfiguring the terrace lines 3
the suspended structure | all images courtesy of Moguang Studio

 

 

a horizon reimagined by moguang studio

 

The design by Moguang Studio began with the terrain’s transformation into artificial terraces during preliminary site works, a move that altered the valley’s natural topography. When encountered by the architects, the bright construction barricade cutting across the slope suggested an accidental but powerful horizon. Rather than conceal this incision, the studio amplified it with a precise concrete volume that extends laterally across the site, echoing the fence’s graphic clarity while introducing a functional landscape corridor. The textured concrete, cast using standard decking boards, preserves the imprint of wood grain, softening the geometry with tactile detail.
wudang mountain visitor center reconfiguring the terrace lines 8
the reflecting pool echoes the horizontal abstraction of the architecture

 

 

voids and light

 

Spatially, the building is organized around three light courts carved into the concrete mass. Openings and voids frame elements of the natural environment, resetting orientation as users move through the structure. At the core is a 7.5-meter cubic court that vertically links sky and ground while horizontally connecting dining, kitchen, and meeting areas. This interplay of solidity and void establishes a rhythmic, layered experience where interior and exterior blur.

To achieve long spans with minimal supports, the roof and floor are constructed as ribbed concrete slabs forming a structural shell. Full-height windows reduce visual mass and maximize transparency, while cross-ventilation is enabled through operable openings. A thin reflecting pool atop the roof lightens the building’s presence, mirroring distant mountains and the reservoir. Cast in a single pour with subtle cambering to prevent cracking, the shell stands as a precise geometric insertion in the valley — both grounded in material tactility and floating in abstraction.

wudang mountain visitor center reconfiguring the terrace lines 5
behind the main facade lies a spatial system of vertical light courts and orderly openings

wudang mountain visitor center reconfiguring the terrace lines 9
sculpting structural tension through reflection and shadow

wudang mountain visitor center reconfiguring the terrace lines 10
ground level shear walls are abstracted into geometric installations

wudang mountain visitor center reconfiguring the terrace lines 4
main entrance

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the view outside the meeting room

wudang mountain visitor center reconfiguring the terrace lines 6
looking toward the light court from the dining area

wudang mountain visitor center reconfiguring the terrace lines 1
the architecture anchored in the geohydrological system of Danjiangkou

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the reflective roof water mirrors the rugged mountain texture and echoes the distant reservoir

 

project info:

 

 

name: Wudang Mountain Visitor Center
designer: Moguang Studio

location: Longwanggou Village, Hubei Province, China

 

 

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: myrto katsikopoulou | designboom

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perforated metal panels clad office floating above st. louis’s century-old columbia building

Studio Yione Reimagines St. Louis’s Columbia Building

 

Studio Yione, led by architect Yi Wang, has developed Fluxwork, a proposal for an office addition above the historic Columbia Building in downtown St. Louis. The project introduces a cantilevered, lightweight volume suspended above the truncated remains of the 1892 landmark, supported by three slender columns and an elevator shaft. The preserved base is reprogrammed as a public hub, containing a lobby, auditorium, and rooftop garden, while the new structure above accommodates a flexible, data-driven workplace.

 

Originally designed by Isaac Taylor, the Columbia Building was completed in 1892 as a nine-story Romanesque structure at 8th and Locust Streets. Named to commemorate the 400th anniversary of Christopher Columbus’s arrival in North America, it reflected the optimism of St. Louis’s late-19th-century growth. Following economic decline and widespread demolitions in the mid-20th century, the building was truncated in 1976, leaving only a two-story fragment. Fluxwork seeks to reengage this architectural history while introducing a model for the future of work. The design creates a visual dialogue between the solidity of the historic base and the openness of the new cantilevered addition. The lower portion is anchored in community use, while the suspended volume houses adaptable workspaces. The lower four floors are organized for individual, focus-oriented work, while the upper three levels are designed with open layouts that encourage collaboration. Intermediate mezzanine areas adjacent to a scissor stair provide informal gathering points and circulation flexibility.


all images courtesy of Studio Yione

 

 

Historic Base Meets Floating Volume in Fluxwork Office

 

Material strategies followed by Studio Yione’s architectural team emphasize contrast and performance. The structure uses a hybrid steel-and-concrete system, with high-strength steel columns and a reinforced elevator shaft carrying the cantilevered floors. The exterior is clad in perforated metal panels that filter daylight and views, producing a sense of lightness. Interior finishes balance exposed structural expression with warmer elements such as wood ceilings and retractable curtains, enabling spatial adaptability between open and enclosed configurations. Landscape and environmental integration form another layer of the proposal. The rooftop garden and terraces extend workspaces into outdoor environments, contributing to thermal comfort and social interaction while reconnecting the site to nature.

 

Fluxwork incorporates a performance-responsive office model, using behavioral simulations and network analysis to study workplace interactions. These insights inform real-time spatial adjustments, allowing layouts to shift in response to evolving organizational structures. This approach positions the project as both a memorial to St. Louis’s architectural heritage and a prototype for adaptive workplaces. Through the juxtaposition of preserved history and experimental office design, Fluxwork proposes a new relationship between cultural memory, urban context, and the changing conditions of work.


facade pattern follows the structure, with gaps at column points to suggest the ‘ghost’ of the original building


Fluxwork Office proposes a future workplace vision by implementing a data-driven, performance-responsive model atop the century-old Columbia Building remnant

fluxwork-office-columbia-building-addition-proposal-studio-yione-designboom-1800-2

perforated metal panels vary in density, denser above and more open below, responding to solar exposure


upper floors provide open office space, with furniture layouts adapting to collaborative performance


lower floors offer private individual workstations and dedicated team areas designed for distraction-free focus

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interiors balance raw structure with wood ceilings and retractable curtains


the Columbia Building was once a proud landmark of downtown St. Louis

 

project info:

 

name: Fluxwork Office – Columbia Building Addition Proposal

architect: Studio Yione
lead architect: Yi Wang
location: St. Louis, Missouri, US

 

 

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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plan C opens ‘frame’ concept store in milan as hybrid venue for fashion, design and culture

red staircase anchors Plan C Frame concept store in milan

 

Carolina Castiglioni, founder of high-end women’s and accessories label Plan C, expands the presence of her brand in Milan with the opening of Plan C Frame, a retail-meets-culture concept. The project introduces a layered experience where visitors encounter Plan C’s signature womenswear and also jewelry, homeware, printed matter, and art exhibitions under one roof.

 

At the heart of the space is a bold red spiral staircase that leads to the Reading Room, a curated corner that gathers contemporary magazines across fashion, design, art, and culture.


all images via @plancframe

 

 

Collaborations and Creativity Take Center Stage

 

The opening of Plan C Frame concept store also marks new collaborations. Jewelry brand Aliita, founded a decade ago, inaugurates its first dedicated retail space inside Frame, offering an intimate environment for its colorful and playful designs. Meanwhile, Plan C Silos, a homeware capsule developed with Belgian design company Serax, makes its debut exclusively at the Milan venue. The series of vases and candles draws inspiration from industrial storage structures, translating Plan C’s bold language into the domestic sphere.

 

Art anchors the launch as well, with the debut exhibition showcasing the work of illustrator and visual storyteller Christoph Niemann. Known for his witty ink drawings and covers for The New Yorker, Niemann features original works, prints, and editions that embody his unique way of turning everyday moments into reflections on perception and meaning.


Jewelry brand Aliita inaugurates its first dedicated retail space inside Frame

 

 

A New Chapter in Material and Color Experimentation

 

Plan C, established in 2018 by Carolina Castiglioni after a decade of developing projects at her family’s house, Marni, is defined by its distinctive play of masculine and feminine codes, expressive color, and experimentation with materials. Headquartered in the historic site of her great-grandmother’s fur atelier, the brand creates long-lasting garments designed for women with a clear and independent sense of identity. With distribution across leading international stores and flagships in Tokyo, Plan C now establishes Frame in Milan as a platform that extends beyond clothing.


at the heart of the space is a bold red spiral staircase


the project introduces a layered experience


this curated corner gathers contemporary magazines


the debut exhibition showcases the work of illustrator and visual storyteller Christoph Niemann


Plan C Silos is a homeware capsule


developed with Belgian design company Serax


the series of vases and candles draws inspiration from industrial storage structures

 

 

project info:

name: Plan C Frame | @plancframe
location: Milan, Italy

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louis vuitton’s cancun boutique unveils concrete facade with sculpted flower motif

MATERIA + Gustavo Carmona designs Louis Vuitton Cancún store

 

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


all images by Jaime Navarro

 

 

Light and Shadow Animate Sculpted Facade of Louis Vuitton store

 

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


Louis Vuitton Cancún presents a new precast concrete facade


the design reinterprets the brand’s iconic flower motif


sculpted reliefs shift with light and shadow across the surface


a single modular unit forms the basis of the composition

louis-vuitton-store-cancun-facade-concrete-materia-gustavo-carmona-designboom-1800-2

repetition generates a continuous, rhythmic skin


dynamic textures animate the boutique throughout the day


depth and shadow transform the surface into a sensory experience


rhythm and variation emerge from repetition of the unit

louis-vuitton-store-cancun-facade-concrete-materia-gustavo-carmona-designboom-1800-3

the boutique’s identity is expressed through modular form

 

project info:

 

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

location: Cancún, Mexico

photographer: Jaime Navarro | @jaimenavarrophotography

 

 

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 louis vuitton’s cancun boutique unveils concrete facade with sculpted flower motif appeared first on designboom | architecture & design magazine.

vibrant blue facade brings new life to the monk retreat on leros island, greece

a+ architects Create a Minimalist Retreat in Leros

 

In the heart of the Aegean, on the island of Leros, Greece, The Monk by a+ architects emerges as a sanctuary that redefines the meaning of hospitality through architectural simplicity and an atmosphere of serenity. The residence, carefully revived with respect for local tradition, blends elements of island modernism with clean, minimalist lines.

 

The interiors follow a restrained aesthetic, where white light, natural textures, and linen fabrics highlight the essence of the place: authenticity, calmness, and timelessness. The choice of materials, stone, wood, linen, and handcrafted objects, serves as a bridge between the island’s environment and a universal language of contemporary design. The space conveys a sense of ‘monastic’ simplicity, translated into a form of luxury that is rooted in experience rather than display.


all images by Vice Versa Photography

 

 

The Monk Blends Island Tradition with Contemporary Design

 

The architecture of The Monk is not just a shelter; it is a narrative. A story of light shifting through the day, of tactile sensations unfolding in linen, of silence embracing the guest. A house that reflects the dialogue between the island’s history and today’s quest for depth and essence. The design team at a+ architects considers The Monk as not a hotel, but a living organism of hospitality, an experience shaped by space and detail, ultimately leaving guests with the feeling of having stayed in a house with a soul.


a distinct bright blue color defines the exterior


The Monk by a+ architects stands on the island of Leros


island modernism is blended with minimalist lines

leros-greece-monk-a-plus-architects-designboom-1800-3

respectful revival of local tradition

leros-greece-monk-a-plus-architects-designboom-1800-2

white light enhances natural textures


linen fabrics emphasize authenticity and timelessness


stone, wood, and linen connect design to landscape

 


handcrafted objects anchor the space in tradition


monastic simplicity redefined as experiential luxury


a dialogue between island history and contemporary design


a house with the essence of soul and memory

 

project info:

 

name: The Monk Leros
architects: a+ architects | @alta_plus_architects

lead architect: Ioannis Zacharakis

location: Leros, Greece

photographer: Vice Versa Photography | @viceversa.gr

 

 

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 vibrant blue facade brings new life to the monk retreat on leros island, greece appeared first on designboom | architecture & design magazine.

leinemann | ortiz learns from termite mounds with ‘solum’ garden office in brazil

A Living Urban Oasis in brazil

 

Solum, a new concept by Leinemann | Ortiz, introduces a garden-office typology to Cuiabá, Brazil. Conceived as the first building within the GS Headquarters masterplan, the project extends the ambition of transforming an arid site into a thriving urban ecosystem that merges workspace with public green space.

 

The design brings a natural landscape to the city center, embedding native flora to attract birds and small wildlife alongside daily visitors. Commercial floors, co-working areas, restaurants, a gym, and an event space are organized around a public park, allowing work and leisure to flow into one another while supporting a diverse community of users.

leinemann ortiz solum
images © Mir.no

 

 

Leinemann | Ortiz learns from termite mounds

 

With the design of its project, Solum, the architects at Leinemann | Ortiz form draw from the self-ventilating structure of termite mounds. A tall central atrium functions as a shaded chimney, channeling air to enhance cross-ventilation and reduce heat gain. This passive system creates a cooler microclimate, encouraging people to spend time outdoors even in Cuiabá’s intense heat.

 

The building employs a hybrid construction of cross-laminated timber and concrete, reducing embodied carbon while maintaining structural efficiency. This material strategy supports the broader environmental goals of the GS Headquarters masterplan and sets a precedent for green buildings in the region.

leinemann ortiz solum
Solum introduces a garden office concept in Cuiaba, Brazil

 

 

connection to the gs headquarters masterplan

 

As the first of three planned structures, Solum defines the character of the overall development led by Victor Ortiz and Obreval Arquitetura. Together, these mixed-use towers will create a self-sustaining ecosystem with a central lake that moderates temperature and brings a calming place for both workers and visitors.

 

Inside, the atrium offers filtered sunlight and a direct visual link to surrounding gardens, while offices and public areas open onto shaded terraces. The spatial sequence reinforces the sense of working within a landscape, framing views of native plantings and the evolving city beyond.

 

With its biomimetic ventilation strategy and layered public amenities, Leinemann | Ortiz demonstrates how architecture can restore ecological balance while shaping a contemporary workplace. As the GS Headquarters masterplan advances, this first building signals a shift toward resilient, nature-integrated urban design in Brazil.

leinemann ortiz solum
Leinemann | Ortiz leads the first phase of the GS Headquarters masterplan

leinemann ortiz solum
a central atrium channels air to enhance natural ventilation


native flora will draw local fauna to create a living ecosystem

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programming includes offices, co-working, restaurants, and a gym


cross laminated timber and concrete reduce embodied carbon

VBO-cuiaba-project-designboom-08a

the design takes inspiration from termite mounds for passive cooling

 

project info:

 

name: Solum, by Scheffer
architect: Leinemann | Ortiz
location: Cuiaba, Mato Grosso, Brazil
client: Grupo Scheffer
area: 35.500 square meters (382,120 square feet)
completion: 2025
visualizations: © Mir.no | @mir.no

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asif khan converts modernist soviet cinema in kazakhstan into tselinny center

a new landmark opens in almaty, kazakhstan

 

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

 

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

tselinny center almaty kazakhstan
images © Laurian Ghinitoiu

 

 

a modernist soviet cinema revived

 

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

 

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

tselinny center almaty kazakhstan
the Tselinny Center opens in Almaty as a new cultural landmark

 

 

the Tselinny Center renovation by asif kahn

 

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

 

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

tselinny center almaty kazakhstan
Asif Khan restores a Soviet cinema into a contemporary art venue

 

 

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

 

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

tselinny center almaty kazakhstan
a stainless steel ribbon brings daylight and 360 degree access

 

 

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

 

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

tselinny center almaty kazakhstan
historic sgrafitto artwork is carefully revealed and renewed

asif-khan-studio-tselinny-center-contemporary-culture-soviet-cinema-kazakhstan-designboom-06a

cloudlike forms soften the concrete frame of the building

tselinny center almaty kazakhstan

asif-khan-studio-tselinny-center-contemporary-culture-soviet-cinema-kazakhstan-designboom-08a

the project strengthens and preserves the original seismic structure

 

project info:

 

name: Tselinny Center of Contemporary Culture@tselinnycenter

architect: Asif Khan | @asifkhan.now

location: Almaty, Kazakhstan

previous coverage: January 2025

completion: September 2025

photography: © Laurian Ghinitoiu | @laurianghinitoiu

The post asif khan converts modernist soviet cinema in kazakhstan into tselinny center appeared first on designboom | architecture & design magazine.

parametric batik patterns trace indonesian consulate building’s facade in jeddah, saudi arabia

Ibrahim Joharji designs Indonesian Consulate Building in Jeddah

 

The Indonesian Consulate Building in Jeddah by Ibrahim Joharji Architects contributes to the architectural landscape of diplomatic facilities in Saudi Arabia, where design carries both functional and symbolic roles. Diplomatic buildings are not only workplaces but also representations of national identity, requiring architecture to mediate between protocol, security, and cultural expression. The project is structured around a hierarchy of use, organizing spaces for diplomats, administrators, and staff through layered circulation systems. This spatial framework embeds distinctions of function and authority into the overall plan.

 

Navigating multiple regulatory frameworks, the design responds to the Saudi Building Code and incorporates references to Indonesia’s architectural heritage, which spans 28 recognized styles. Elements of the Rumah Gadang roofline were reinterpreted in a contemporary form, while triangular geometries derived from the peci, an Indonesian headpiece, were integrated as motifs of dignity and structure.


Indonesian Consulate in Jeddah by Ibrahim Joharji Architects | all images courtesy of Ibrahim Joharji Architects

 

 

Architecture as a framework for diplomacy and urban presence

 

The facade design combines cultural influences from both Indonesia and Saudi Arabia. Parametric patterns inspired by Indonesian Batik were interwoven with Islamic geometric references, producing a layered skin that operates as both shading and cultural signifier. Material choices were evaluated for their environmental impact. Reinforced concrete provides the necessary security measures, while facade systems, finishes, and mechanical components were selected to improve energy performance and reduce the building’s carbon footprint.

 

The Indonesian Consulate in Jeddah, by Ibrahim Joharji Architects Studio, illustrates how diplomatic architecture functions at the intersection of culture, regulation, and sustainability. By combining symbolic references with practical performance, the building establishes a framework where architecture supports diplomatic presence while contributing to the urban and environmental context.


a diplomatic building balancing function and cultural identity


triangular geometries inspired by the peci headpiece


facade patterns draw from Indonesian Batik traditions


islamic geometric references integrated into the skin

indonesian-consulate-building-jeddah-ibrahim-joharji-architects-designboom-1800-2

the facade operates as both cultural and climatic mediator

 

project info:

 

name: Indonesian Consulate Building – Jeddah
architects: Ibrahim Joharji Architects | @inj_architect

lead architect: Ibrahim Nawaf Joharji

client: Consulate General of the Republic of Indonesia – Jeddah

location: Jeddah, Saudi Arabia

built area: ~5,800 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

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house in oia by kapsimalis architects embeds white prisms along greek volcanic landscape

White plaster prisms shape KAPSIMALIS ARCHITECTS’ HOUSE IN OIA

 

Located on the outskirts of the traditional village of Oia in Santorini, Greece, this residence by Kapsimalis Architects overlooks the surrounding vineyards and the Aegean Sea. The site is accessed via a narrow pedestrian path connecting the village’s main street on the caldera ridge to the cultivated hillside below.

 

The design responds to both the settlement and the rural landscape. A slim rectangular plot with an existing stone berm informed the composition, which combines subterranean spaces with freestanding volumes. White plaster prisms of varying dimensions are arranged across the ground and upper levels, referencing the island’s cubistic architectural tradition. These structures contain the private and semi-private areas of the house, while the voids between them form shared spaces linked to outdoor courtyards. Patios and skylights enhance natural light and create continuity across horizontal and vertical planes.


all images by Giorgos Sfakianakis

 

 

Kapsimalis Architects Draws from Santorini’s cave typology

 

For the lower level, the design team at Kapsimalis Architects adopts the typology of Santorini’s cave dwellings. Subterranean rooms are positioned side by side, extending inward and opening only through the existing stone wall. This floor accommodates a sitting area, office, wine cellar with bar, gym with sauna and bathroom, and two guest suites.

 

On the ground floor, spaces include an entrance hall, dining and living areas, kitchen, bedroom with en-suite bathroom, guest WC, library corner, and an internal stair. This level connects to multiple outdoor zones: a courtyard with water surface and floating dining table to the north, a protected patio with barbecue to the west, a smaller lounge with fireplace to the east, and a private yard with plunge pool further north. The upper floor houses two bedrooms with en-suite bathrooms and private terraces. Outdoor areas continue across the site with Mediterranean planting, herbs, and vines, framing the residential complex. A larger swimming pool and lounge areas are integrated into the main yard.


the residence sits on the outskirts of the traditional village of Oia in Santorini

 

 

House in Oia is defined by Light tones and clean lines

 

Materials emphasize continuity with local building traditions: volcanic stone from the site is reused for the facade and perimeter walls, complemented by white plastered surfaces, white-painted timber for windows, iroko wood pergolas, and marble paving in beige and grey tones. Bioclimatic strategies were applied throughout. These include planted roofs, water features, thick masonry walls, high-performance insulation, and strategically placed openings based on orientation.

 

The interior reflects the architectural language of the exterior. Light tones, clean lines, and built-in furniture define the ground and upper levels, while the subterranean spaces adopt curvilinear geometries with darker, earthy colors. Materials such as natural stone, wood, and metal-glass elements are used consistently across levels, establishing cohesion while allowing subtle contrasts between spaces.


House in Oia by Kapsimalis Architects overlooks vineyards and the Aegean Sea


the ground floor contains living spaces arranged around courtyards


subterranean rooms reference Santorini’s cave dwelling typology


skylights and patios enhance natural light throughout the house


a plunge pool is positioned within a private enclosed patio

house-oia-santorini-greece-kapsimalis-architects-designboom-1800-2

white plaster prisms reinterpret Santorini’s cubistic architecture


freestanding volumes and voids define private and shared spaces

house-oia-santorini-greece-kapsimalis-architects-designboom-1800-3

a narrow pedestrian path links the site to the village above the caldera

 

project info:

 

name: House in Oia

architect: Kapsimalis Architects | @kapsimalisarchitects

location: Oia, Santorini, Greece

photographer: Giorgos Sfakianakis | @g_sfakianakis

photography stylist: Katia Maria Sarantidou

 

 

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edited by: christina vergopoulou | designboom

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