MACDOLPHINS

crosby studios composes bright yellow alien habitat for dessert shop in jakarta

Crosby Studios’ butter-yellow world for dessert shop in jakarta

Crosby Studios creates a surreal, monochromatic interior for Butter Baby, a dessert shop in Jakarta inspired by a whimsical alien narrative. The space immerses visitors in the glowing world of Butterlandia, the fictional planet from which Butter Baby, a plump, soft-cheeked alien, has crash-landed to share his intergalactic desserts with humans.

Inside, the pastry shop unfolds as a yellow landscape, through which the architects translate Butter Baby’s world into a spatial experience defined by organic geometry, glossy surfaces, and diffused light. Walls, lighting, and furnishings are coated in a saturated butter-yellow hue. The curved, cocoon-like walls and built-in seating evoke an alien habitat designed to transport visitors into another dimension of sweetness.

all images by Vasiliy Hurtin

Fluid forms visitors in Butter Baby’s otherworldly habitat

The main dining area flows through a series of fluid chambers, softly lit by oversized circular ceiling fixtures that resemble suns or planetary discs. The Paris- and New York–based designers punctuate the space with rounded windows and niches, offering glimpses into the kitchen or display counters, while mushroom-like stools and amorphous tables continue the shop’s biomorphic language. The glossy finish reflects light in soft gradients, amplifying the feeling of weightlessness and warmth.

Within this surreal topography, design elements nod to the character-driven brand’s animated backstory. A bubble-shaped display dome at the center houses small objects like artifacts from Butterlandia, while built-in alcoves contain collectible figurines of the Butter Baby character.

The alien protagonist, on a mission to find butter rich with feeling to save his fading home planet, now bakes on Earth to restore warmth and glow through his creations. The Jakarta flagship embodies that same spirit, combining storytelling and pop culture with Crosby Studios’ futuristic visual language.

Crosby Studios wraps the entire interior in a single butter-yellow hue

the pastry counter appears like a sculptural landscape

fluid forms, reflective surfaces, and monochromatic tones come together

oversized circular ceiling lights resemble suns or planetary discs

rounded niches and framed openings offer glimpses into the kitchen

curved built-in seating and rounded tables evoke an alien habitat

casting diffused illumination across the space

linking the physical space to the brand’s fictional universe

creating a dreamlike atmosphere throughout the shop

the glowing yellow interior provides a soft backdrop for Butter Baby’s desserts

Crosby Studios translates Butter Baby’s cosmic story into architecture

Butter Baby is a plump, soft-cheeked alien

a fluid facade shields the store

project info:

name: Butter Baby | @butterbaby

architect: Crosby Studios | @crosbystudios

location: South Jakarta, Indonesia

photographer: Vasiliy Hurtin | @vs_hrt

The post crosby studios composes bright yellow alien habitat for dessert shop in jakarta appeared first on designboom | architecture & design magazine.

IDIN architects elevates home in thailand to shelter a garden for client’s cows

A Raised Home Among the Mountains

W House II by IDIN Architects rises above the landscape of Nakhon Ratchasima, a region of Thailand framed by open fields and distant hills. Conceived as an evolution of the owner’s original home, W House I, the new residence extends both the living space and the experience of the site. It serves as the family’s main dwelling, while the first house remains as a guest retreat below.

The design brief began with a desire for togetherness, which translated into a single-story home where the family could remain visually connected throughout the day. Yet the owner also wished to preserve the elevated mountain views once enjoyed from the rooftop of W House I. The solution was to lift the entire concrete house seven meters above the ground to the height of that former rooftop, thus creating an elevated plane that combines open sightlines with a sense of refuge.

images courtesy IDIN Architects

a garden for the family cows

With the W House II’s raised configuration, the team at IDIN Architects creates a covered garden and grazing space for the family’s two cows, while the living quarters and swimming pool occupy the upper level. The balcony wraps continuously around the house, allowing for long views that shift subtly with light and time. From this perimeter, the horizon feels close enough to touch yet far enough to frame a quiet distance.

Inside, the living spaces sit slightly higher still — forty centimeters above the balcony — so that when the glass doors slide open, residents can sit at the edge with their feet suspended above the view. The gesture turns the entire facade into a threshold between home and landscape.

W House II rises seven meters above the ground in Nakhon Ratchasima, Thailand

idin architects’ waffle slab structure

The form of W House II is carried by two long concrete walls that anchor the building while freeing the plan from unnecessary supports. Between them, the floor plate adopts a Waffle Slab structure, which resolves the span while giving the underside of the house a patterned relief. The rhythm of the slab is both technical and expressive, echoing IDIN’s interest in structural clarity as an architectural language.

A double-skin facade extends this logic of precision. The inner layer is glass, and the outer consists of operable wooden screens that filter light and adjust to the family’s need for privacy. When closed, the house reads as a muted volume of concrete and timber; when opened, it becomes permeable to the landscape, its edges dissolving into air and foliage.

the raised structure preserves mountain views once enjoyed from the rooftop of W House I

inside W House II

Exposed concrete continues from exterior to interior surfaces, unifying the volume and anchoring it to the site. Against this neutral backdrop, maple wood introduces warmth and a finely grained tactility. The material palette remains disciplined — wood, concrete, and stone — but its interplay creates a calm domestic atmosphere that feels both grounded and open.

In the kitchen, slabs of Green India stone add depth and color, catching daylight in their polished surface. Throughout the house, the natural tones of the materials reflect the shifting palette of the surrounding terrain — subtle greens, dry earth, and the pale gray of distant mountains.

At the center, a large modular sofa defines the living area as the home’s gathering point. Designed to be reconfigured for reading, conversation, or rest, it captures the spirit of the owner’s wish for shared space. From this vantage, the family remains connected across the open plan, with sightlines extending toward the pool and the landscape beyond.

a continuous balcony wraps around the house for shifting views throughout the day

the ground level serves as a garden and grazing area for the owner’s two cows

two long concrete walls support the house while freeing the plan from interior columns

interior floors are lifted slightly higher, creating an intimate connection between inside and landscape

maple wood and exposed concrete create a warm and unified material atmosphere

project info:

name: W House II
architect: IDIN Architects | @idinarchitects
location: Nakhon Ratchasima, Thailand
completion: 2024
photography: courtesy IDIN Architects

The post IDIN architects elevates home in thailand to shelter a garden for client’s cows appeared first on designboom | architecture & design magazine.

curved urban skatepark set within floating glass volume overlooks shanghai’s skyline

Moreprk Skyline: A Vertical urban Skatepark in Xuhui, Shanghai

Located within Shanghai’s Xuhui district, Moreprk Skyline skatepark by AAN Architects introduces a new typology for urban sports spaces. Described as a ‘three-dimensional theater open to the city,’ the project expands the role of the skatepark beyond recreation, positioning it as an active social and architectural interface.

Elevated 20 meters above ground, the structure appears as a floating glass volume attached to a building facade overlooking the city’s highway. This suspended configuration reinterprets the skatepark as part of the vertical cityscape rather than its ground-level infrastructure.

all images by Lv Xiaobin

AAN Architects reimagines Shanghai’s skyline as skate contours

For the design, studio AAN Architects takes formal cues from Shanghai’s skyline, translating its contours into a series of curved banks, rolling slopes, and continuous surfaces that accommodate movement and flow. Fluidity forms the project’s main design language, expressed through fluid transitions between planes and edges that support various trajectories of skate and pedestrian activity.

Through this integration of form, structure, and movement, Moreprk Skyline explores how architectural design can transform urban sports facilities into spatial frameworks for interaction, visibility, and community engagement.

the project by AAN Architects redefines the skatepark as a vertical public space

located in Shanghai’s Xuhui district, the structure integrates sport and city life

the skatepark is described as a ‘three-dimensional theater open to the city’

the skatepark attaches to a building facade overlooking the city’s highway

suspended 20 meters above ground, the structure forms a floating glass volume

the design takes inspiration from the contours of Shanghai’s cityscape

curved banks and rolling slopes define the space’s movement-driven geometry

continuous surfaces create fluid transitions between skate zones

Moreprk Skyline introduces a new typology for urban sports architecture

project info:

name: Moreprk Skyline

architects: AAN Architects
lead architects: Junjie Yan, Yuxing Yi

location: Xuhui, Shanghai, China

photographer: Lv Xiaobin

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 curved urban skatepark set within floating glass volume overlooks shanghai’s skyline appeared first on designboom | architecture & design magazine.

two 3D printed ceramic walls by studio RAP rise like sculpted waves at dubai hotel’s entrance

Blue Voyage by Studio RAP Forms Wave-Like Ceramic Entrance

At the entrance of Dubai’s Jumeirah Marsa Al Arab hotel, two large-scale ceramic walls by Studio RAP define the spatial experience of arrival. Titled Blue Voyage, the installation explores the potential of 3D printed ceramics in architectural surfaces, combining computational design with material precision.

Positioned on either side of the main lobby entrance, the walls measure six meters in height and nine meters in length, creating a sculptural threshold between the exterior and interior. The project draws from the movement of the nearby Gulf, translating the dynamics of water into a series of fluid, wave-like forms. Each surface is composed of thousands of flowing lines that shift in density and depth, producing a tactile gradient that interacts with natural and artificial light throughout the day.

Dubai’s Jumeirah Marsa Al Arab hotel exterior | all images by Riccardo De Vecchi unless stated otherwise

900 Unique 3D Printed Ceramic Tiles shape the installation

In total, around 900 unique ceramic tiles were designed, generated parametrically, and 3D printed at Studio RAP’s facility in Rotterdam. The production process ensured precision in fit and consistency in surface quality while allowing variation across each module. The installation’s corner tiles were developed to wrap the patterns seamlessly, emphasizing continuity and minimizing visual interruption.

Blue Voyage represents one of the largest 3D printed ceramic architectural installations completed to date. The project continues the studio’s exploration of how computational tools and digital fabrication can extend the expressive and technical possibilities of ceramics within contemporary architecture.

two 3D printed ceramic walls by Studio RAP define the entrance of Jumeirah Marsa Al Arab in Dubai

the installation, titled Blue Voyage, explores the architectural potential of 3D printed ceramics

ach wall measures six meters high and nine meters long

positioned on either side of the main lobby, the walls frame the hotel’s entry sequence

thousands of flowing lines create a sense of motion across the ceramic surface

the density and depth of the lines shift to form a tactile gradient

around 900 unique tiles make up the complete installation

project info:

name: Blue Voyage
architect: Studio RAP | @studio.rap

location: Jumeirah Marsa Al Arab, Dubai (UAE)

client: Dubai Holding Real Estate

architect (main building): Killa Design

3D ceramic printing: Studio RAP

firing and glazing: Royal Tichelaar

photographer: Studio RAP, Riccardo De Vecchi | @riccardodevecchi.photo

edited by: christina vergopoulou | designboom

The post two 3D printed ceramic walls by studio RAP rise like sculpted waves at dubai hotel’s entrance appeared first on designboom | architecture & design magazine.

summer residence’s sharp geometry emerges from greek seaside slope

Ovidium summer residence overlooks the Argosaronikos Gulf

The Ovidium, a summer residence by Hive Architects, is located on a peninsula overlooking the Argosaronikos Gulf in Greece. The project is conceived as a study in proportion, rhythm, and material coherence, where architectural clarity defines both structure and experience.

The design is organized around a sequence of covered spaces supported by evenly spaced columns, forming a balanced geometric composition. This spatial rhythm establishes continuity between interior and exterior areas, emphasizing openness and measured scale. Material selection plays a central role in the architectural expression. White plaster, metal columns, rammed earth, and travertine are combined to create a unified palette of textures and tones.

all visuals by IDAA – Nikos Mathioudakis

Hive Architects aims for volumetric clarity and material balance

The rammed earth integrates the structure with the natural landscape, while travertine introduces a durable material reference to classical architecture. The interplay between smooth and rough surfaces enhances tactile perception and reinforces the building’s volumetric clarity. For the landscape, the design team at Hive Architects follows the site’s geometry and natural morphology. Low Mediterranean shrubs and selective plantings frame the architecture, maintaining visual coherence between built and natural elements.

Through its ordered layout, restrained materiality, and sensitivity to light, Ovidium establishes a dialogue between architecture and landscape. The project aims for an enduring spatial quality, one that connects human presence with the surrounding environment through simplicity, proportion, and light.

Ovidium by Hive Architects overlooks the Argosaronikos Gulf in Greece

the summer residence occupies a peninsula site defined by open vistas and coastal light

evenly spaced columns establish a balanced geometric composition

white plaster, metal, rammed earth, and travertine form a unified palette

material selection anchors the project’s visual and structural language

contrasting textures emphasize tactility and spatial depth

a sequence of covered spaces defines the residence’s architectural rhythm

smooth and rough materials interact to define the building’s character

the residence maintains visual harmony between built form and nature

project info:

name: The Ovidium

architects: The Hive architects | ©thehivearchitects

location: Argosaronikos Gulf, Greece

design team: Michail Xirokostas, Theodoros Panopoulos, Alexandra Mitsakaki, Theofilos Papageorgiou, Giorgos Telmetidis, Anna Grigoriadou, Filio Sampsaki

3D visualizing: IDAA – Nikos Mathioudakis

edited by: christina vergopoulou | designboom

The post summer residence’s sharp geometry emerges from greek seaside slope appeared first on designboom | architecture & design magazine.

eduardo souto de moura and OODA propose ‘oricon tower’ for tirana, albania

eduardo souto de moura and ooda take to albania

This proposed Oricon Tower introduces a new landmark for Tirana, Albania conceived through the collaboration of Pritzker Architecture Prize-winning Portuguese architect Eduardo Souto de Moura and Porto-based OODA. Designed as a gateway to the Albanian capital, the fifty-story tower stands at the threshold between the city’s historic grid and its expanding western edge, where infrastructure, housing, and commerce meet.

From the outset, the project is guided by proportion, structure, and material. Souto de Moura’s disciplined approach to form meets OODA’s generational emphasis on adaptability and urban engagement, resulting in a work that feels both grounded and forward-looking. The tower aligns with the rhythm of the avenue while anchoring the skyline with a quiet authority that stems from its geometry rather than its scale.

visualization © Plomp

Urban Presence and Context

Positioned beside the Bond Tower in Tirana, Albania, Oricon Tower by OODA and Eduardo Souto de Moura establishes a dialogue with its surroundings through calibrated massing and a deliberate treatment of the base. The lower levels form a porous interface with the street, opening toward the city through glazed facades and deep recesses that temper light and define thresholds. This base gives way to a vertical composition where repetition, shadow, and reflection lend a measured continuity to the facade.

Its placement along the primary axis connecting the airport to the city center underscores its role as an urban threshold. Rather than presenting a single facade to the city, the building modulates its expression according to orientation, solid toward the approach from the airport, more permeable toward the inner city. This allows the structure to mediate between movement and arrival.

visualization © Plomp

Material and Structure

The architectural identity of Albania’s Oricon Tower by Eduardo Souto de Moura and OODA emerges from its material construction. Concrete, marble, and glass are handled with restraint, emphasizing continuity and texture over surface effect. These materials reference regional building traditions while supporting the tower’s structural clarity: vertical load-bearing elements frame broad spans that open the interiors to natural light and long views.

Detailing is purposeful throughout. Marble panels articulate the tower’s middle section, lending weight and permanence, while lighter glazing at the upper levels enhances transparency and luminosity for the hotel floors. The building’s structure — refined through close coordination between architects and engineers — balances expressive simplicity with technical rigor, ensuring stability without excess.

visualization © Plomp

Interior Organization and Experience

The functional gradient of the Oricon Tower mirrors the city’s layered activity. Shops and offices occupy the base, giving the ground plane a civic presence and extending the commercial energy of Dritan Hoxha Avenue. Mid-level apartments are arranged around the central core, with layouts that prioritize privacy and views toward the surrounding mountains.

The upper levels house a hotel and a restaurant that crowns the building. Here, the spatial character shifts from compressed circulation spaces to open volumes, where daylight and panorama define the atmosphere. Circulation remains direct and efficient, an aspect integral to Souto de Moura’s practice, and is supported by the core that links the separate lobbies for residential, commercial, and hospitality uses.

The design of the Oricon Tower rests on the principle that architecture and construction are inseparable. Each decision, from facade modulation to structural span, reflects the logic of how the building stands and breathes within its environment. The collaboration between Eduardo Souto de Moura and OODA synthesizes experience and experimentation into a coherent statement.

visualization © Plomp

visualization © OODA

project info:

name: Oricon Tower

architect: OODA | @oodaarchitecture, Eduardo Souto de Moura

local architect: Artech Studio | @artech_al

visualizations: © OODA, © Plomp | @plo.mp

The post eduardo souto de moura and OODA propose ‘oricon tower’ for tirana, albania appeared first on designboom | architecture & design magazine.

circular timber pavilion with voids and slits displays variety of veneer textures and finishes

Openness and restraint define Timber Pavilion by ISSO Architects

ISSO Architects designed A Nest in the Tree for MUKA’s exhibition at IndoBuildTech 2025, Indonesia’s largest architecture and interior design fair. Occupying an 11-by-17-meter plot, the project rethinks the conventional trade fair booth, prioritizing openness and spatial clarity within the visually dense exhibition environment.

While exhibition halls often favor maximum density, A Nest in the Tree introduces restraint as a design strategy. By stepping back from the aisle and allowing the space to breathe, the booth establishes a clear threshold, inviting visitors to experience it as a unified spatial composition before entering. The layout follows a simple program, a single counter for welcoming guests, and a gallery for displaying MUKA’s wooden veneer products. The design draws conceptual and material inspiration from the process of veneer making, where thin layers are peeled from solid timber. Similarly, the booth is formed through an approach of carving and hollowing, subtracting and opening volumes within a solid mass. This operation produces a sequence of interconnected spaces for gathering, viewing, and rest.

all images courtesy of ISSO Architects

A Nest in the Tree features network of voids and framed openings

From the exterior, the booth appears as a grounded timber structure, but its interior reveals a network of voids and framed openings that encourage movement and visual exploration. Narrow slits along the facade allow glimpses of the interior, establishing a subtle boundary between privacy and display. For studio ISSO Architects, color and materiality play a central role. Departing from the natural tones typically associated with wood, the design showcases MUKA’s distinctive veneer colors through a layered chromatic experience. A muted grey facade opens to a vivid red central counter and a surrounding green wall. This gradient highlights the range of veneer textures and finishes while guiding visitors through distinct zones of the installation.

Each spatial element, like the veranda, foyer, nook, and courtyard, serves a specific function within the compact footprint. Together, they define a small architectural system that balances openness with enclosure. The result is a booth that functions both as a display environment and a temporary architectural installation, demonstrating how material experimentation and spatial restraint can transform exhibition design into a cohesive architectural experience.

ISSO Architects designs A Nest in the Tree for MUKA at IndoBuildTech 2025

the booth reinterprets exhibition design through openness and restraint

a setback from the aisle allows the space to breathe within a crowded hall

inspired by the process of veneer making, the booth emerges through carving and subtraction

the layout centers on a single counter and a veneer display gallery

the structure evokes layers peeled from timber, transforming solid mass into space

interconnected voids form zones for gathering, pause, and display

the exterior presents a grounded timber volume within the exhibition hall

inside, voids and framed openings invite gradual exploration

color and material define the spatial rhythm of the installation

the design balances visibility and enclosure through controlled openings

narrow facade slits reveal glimpses of interior activity

a muted grey facade opens to a vivid red counter at the core

veneer surfaces highlight texture, color, and light variation

View this post on Instagram
A post shared by MUKA (@muka_surface)

project info:

name: A Nest in the Tree
designer: ISSO Architects | @issoarchitects

lead architects: Wibisono Soegih, Stephanie Tatimu

design team: Rangga Cakra Birawa, Arini Zairina Putri, Nabila Rachmasari Putri

location: ICE BSD City, Indonesia

host: IndoBuildTech 2025

brand: MUKA | @muka_surface

edited by: christina vergopoulou | designboom

The post circular timber pavilion with voids and slits displays variety of veneer textures and finishes appeared first on designboom | architecture & design magazine.

pleats please issey miyake store glows with colorful display in tokyo’s aoyama district

a study in light and material for issey miyake

In Tokyo’s Aoyama district, the new PLEATS PLEASE ISSEY MIYAKE store by Japanese designer Tokujin Yoshioka + TYD transforms a compact site into a vibrant retail space. The interior unfolds as a dialogue between aluminum and glass, materials that both absorb and reflect light. Every surface, from the glimmering frames to the translucent displays, is precisely measured to resonate with Issey Miyake’s pursuit of functional beauty.

The atmosphere is serene, defined by clean lines and even illumination. Light moves across metallic planes and diffuses through transparent partitions, softening the space without diminishing its structural rigor. As a result, each room feels both grounded and weightless, an environment where architecture and garment share the same disciplined sense of rhythm.

images © ISSEY MIYAKE INC.

the pleats wall

At the center of the store in Aoyama, Tokyo, the ‘Pleats Wall’ acts as a vivid representation of designer Issey Miyake’s innovative production process. Sheets of color echo the brand’s textile transformations — fabric folded, pressed, and shaped into sculptural form. Displayed along the ground floor, freshly pleated textiles from the factory introduce a visual pulse to the otherwise minimal space.

Rather than functioning as simple decoration, the wall offers insight into the making of the garments. Each fold and chromatic shift mirrors the precision of the design process, creating an architectural parallel to the pleating technique itself. Interior designer Tokujin Yoshioka’s use of repetition and alignment emphasizes the connection between craft, material intelligence, and the controlled expression of movement.

Tokujin Yoshioka designs a luminous new store for PLEATS PLEASE ISSEY MIYAKE in Aoyama

Tokujin Yoshioka’s transparent structure

Glass and aluminum define the structure of the Issey Miyake store, their pairing producing an environment that feels permeable yet deliberate. Glass display cases — constructed through a specialized bonding technique — are joined edge to edge, forming transparent enclosures that blur the line between furniture and architecture. Within these, pleated garments are rolled and arranged in chromatic gradients, which lends a playful contrast to the calm restraint of the surrounding surfaces.

Every fitting and fixture was designed specifically for this project. Aluminum hanger racks, precisely milled and aligned, suspend garments so they appear to hover in space. The hangers themselves maintain their orientation through an engineered system, ensuring the pleated pieces remain flat and evenly spaced, a reflection of the brand’s disciplined aesthetic.

The attention to continuity extends to the smallest details. A ‘Pleats Sofa,’ developed exclusively for this store, carries the same lightweight and structured visual DNA as the garments.

interiors unfold in aluminum and glass

light moves through the space, revealing the structure of each pleated garment

the Pleats Wall centers the ground floor with color and rhythmic precision

freshly made pleats from the factory are displayed as part of the space

custom glass cases use edge bonding to heighten a sense of transparency

aluminum hangers and racks suspend garments with weightless precision

project info:

name: PLEATS PLEASE ISSEY MIYAKE / AOYAMA

brand: ISSEY MIYAKE INC. | @isseymiyakeofficial

store designer: Tokujin Yoshioka + TYD | @tokujin_yoshioka

location: Tokyo, Japan

completion: October 17th, 2025

The post pleats please issey miyake store glows with colorful display in tokyo’s aoyama district appeared first on designboom | architecture & design magazine.

‘design comes alive when it touches people’: studio empathy’s iF DESIGN AWARD library

VISITORS AS PROTAGONISTS OF ARCHITECTURAL DESIGN

The iF DESIGN AWARD celebrates design that goes beyond aesthetics to solve problems and enrich human experience. In its Architecture discipline, the 2025 award recognized Studio Empathy, a New York-based firm, for the Assembled Void, Library at New York Korea Center. This project powerfully exemplifies architecture designed not just for function, but for feeling, showcasing a commitment to sensory engagement and cross-cultural dialogue.

designboom talks to Studio Empathy to explore their unique philosophy: how they design spaces that deliberately engage the senses, how visitors are cast as protagonists in their award-winning project, and what winning the iF DESIGN AWARD means for their mission to transform everyday life into something extraordinary.

Studio Empathy’s Assembled Void, Library won an iF DESIGN AWARD 2025 in the Architecture discipline

iF DESIGN AWARD-WINNER STUDIO EMPATHY

Founded in 2022 by Changhaak Choi, Studio Empathy is driven by a desire to reconnect people, environments, and cultures. This philosophy is evident in the studio’s name and its core mission. Choi explains his interest lies in how man-made objects become meaningful and sustained through a network of emotions. He asserts that design isn’t a unilateral expression or an exact science, but that a space only truly comes alive when its design touches people. This focus on emotional connection is the foundation of their practice.

‘As a designer, while shaping environments where we live, I have always been interested in how man-made ordinary objects become meaningful and sustained, remaining as heirlooms. I think this is enabled by certain networks of emotion among people, environments, and cultures,’ begins Changhaak Choi, founder of Studio Empathy, to designboom. ‘Design is to create an identity for a space, building, and city, but eventually the real identity is achieved by the people who visit and live there. It becomes a place once it touches people. Design is neither math nor art. There is no clear answer and it is not working by one-way expression.’

the studio engages users with the design through overlapping functions, circulation, and unexpected sequences

This philosophy manifests in the core concept of Reciprocal Consequence. The notion is rooted in the belief that everything is constantly evolving and improving through mutual interaction. Choi’s design inspiration often comes from observations of this principle in the real world. He uses a methodology called Indexing, which involves analyzing and reinterpreting cultural clues or architectural archetypes into new, contemporary prototypes. By practicing across architecture, interiors, and furniture, the studio ensures a high level of consistency across all scales, allowing every detail to contribute to a unified, holistic environment.

‘The notion of reciprocity in my design starts from my recognition that everything is already everywhere and could be evolved more when interacting with each other. This is in respect to human achievements, and it is why I am interested in reinterpreting phenomena and archetypes into design ideas.’ The designer continues to add, ‘The idea of indexing during the design process, and working in an interdisciplinary way, originates from this notion. Even though there are more complex and programmatic approaches to designing a project, indexing allows us to create a unique as well as intimate, form-adaptable space that resonates more closely to inhabitants and users.’

the heart of the library adds a biophilic connection to visitors, much like a traditional Korean courtyard

When it comes to the user experience, Studio Empathy views visitors as protagonists. Choi notes that as individuals are now ‘socio-cultural protagonists’ in the age of digital technology, designers must respond by infusing more freedom into a space. This active engagement is achieved through strategic architectural planning, such as overlapping functions, continuous circulation, and unexpected sequences. Crucially, natural light is treated as a dynamic artistic element that reacts with the forms and shapes of the space.

‘These days, people are already socio-cultural protagonists, and designers need to respond to them. Previously, designers tried to control people in a space by way of programmatic planning defined by conventional rules. Providing more freedom in a space is important to promote people’s engagement. I focus on mingling spaces beyond their functions, planning flows of continuous circulation and setting up a series of unexpected sequences people can encounter while exploring,’ adds Choi. ‘From these adjustments, people can find their favorite spot to enjoy and find out what to do as a protagonist of the space.’

the library’s design references a Han-Ok, a traditional Korean housing type, for its archetype

AWARD-WINNING ASSEMBLED VOID LIBRARY

The Assembled Void, Library at New York Korea Center demonstrates how Studio Empathy successfully applied its philosophy to create a culture-bridging space in Midtown Manhattan. Tasked with designing a Korean cultural venue, the team looked to the Han-Ok, a traditional Korean housing type, for its archetype.

‘The design was inspired by a traditional Korean housing type, called Han-Ok,’ explains Changhaak Choi. ‘The Han-Ok’s enclosed courtyard acts as a multipurpose communal space in the middle surrounded by functional rooms. The composition of rooms are layered in parallel and wrapped around with aisles providing continuous circulation. Because the boundary between in and out is very flexible, the spaces can easily be expanded and overlapped with each other while using. We tried to realize those spatial advantages for the library in order to make a place with more flexible interaction among its functions, spaces, and visitors.’

the wooden shelving units are arranged in a single rectangular loop to create a void in the middle

They specifically referenced the spatial principles of the Han-Ok’s enclosed courtyard and flexible circulation into the design. By arranging the wooden shelving units in a single rectangular loop, a void in the middle is created. This space, together with an adjacent terrace garden, functions as the inclusive heart of the library, much like a traditional Korean courtyard. This layout ensures visitors have both visual and physical connection to greenery. This strong biophilic connection sets up a unique sensory experience.

‘The reading zone, unlike conventional libraries, is integrated into the middle of the wooden shelving loop, forming a void that serves as the heart of the library together with the terrace.’ The designer continues to say, ‘Surrounded by book stacks, the terrace is covered with stone panels and designed to be an inclusive space hosting multiple functions, including reading, gathering, and occasional events. Wooden stools, designed in a cubic module, and herb planters enhance the communal and comfortable atmosphere. Scattered throughout the courtyard, it facilitates and drives diverse group or individual activities.’

the layout ensures visitors have both visual and physical connection to greenery

Winning the iF DESIGN AWARD proved to be a transformative moment for the young studio. This library was Changhaak Choi’s first experimental design under his own practice and first public project in metropolitan New York. The award provides a lasting validation and places the new firm on a global stage alongside luminaries like Foster + Partners.

‘It means a lot to me, as my practice’s first project. It is also fascinating that the award was given to a public space. This enables the library to amplify its own powerful cultural message to the community. It accelerates the role of this institution to the city of New York,’ confirms Choi. ‘The iF DESIGN AWARD plaque, engraved with the team and my name, is proudly on display at the library’s entrance.’

Studio Empathy plans for a furniture product line based on the library’s successful storage system

Choi notes that the award empowers the library’s own story, communicating and building an even more powerful cultural message. The international recognition has also helped prove the studio’s design methodology and approach. He encourages other emerging designers to challenge themselves, use the award platform as a peer assessment, and guide them into the future.

‘The iF DESIGN AWARD lets studios see where they are and where they are heading. It made me confident in my approach to design and has pushed me to continue exploring design methodologies and language,’ explains the designer. ‘It also provides access to colleagues in the design industry, to not only promote your work but also contribute and connect with the creative world. Our studio, as well as a relatively low-budget project, has been picked up by the media now, including designboom.’

the shelving displays the books to visitors inside and outside its courtyard

Looking ahead, Studio Empathy is preparing to extend its practice, with plans for a furniture product line based on the library’s successful storage system and pursuing new projects in New York and Seoul. Their core mission remains constant: to use design as an agent of empathy to create spaces that improve our everyday lives and transform them into something extraordinary.

‘I am preparing to extend my practice beyond field and country, as we have diverse projects ongoing in both NYC and Seoul.’ Choi concludes, ‘We will keep looking into past archetypes to reinvent and customize homes, forms, and spaces that contain people’s life, because I believe that we are very good at empathy-ing.’

the library was Changhaak Choi’s first experimental design under his own practice and first public project in metropolitan New York / image © Michael Moran, courtesy of Studio Empathy

the iF DESIGN AWARD has helped prove the studio’s design methodology and approach

the studio continues to use design as an agent of empathy to create spaces that improve our everyday lives / image © Changhaak Choi, courtesy of Studio Empathy

natural light is treated as a dynamic artistic element that reacts with the forms and shapes of the space

project info:

organization: iF DESIGN AWARD | @ifdesign

award category: Architecture

project name: Assembled Void, Library

design team/designer: Studio Empathy/Changhaak Choi | @studio.empathy.ny and Praxes/Ji Young Kim

venue: New York Korea Center

location: New York, New York, USA

The post ‘design comes alive when it touches people’: studio empathy’s iF DESIGN AWARD library appeared first on designboom | architecture & design magazine.

SANAA, sou fujimoto, and DS+R among five teams shortlisted for the louvre’s transformation

five finalist teams revealed for the louvre competition in paris

France’s Ministry of Culture unveils the five finalist teams competing to reimagine the most visited museum in the world as part of the ambitious Louvre – Nouvelle Renaissance project (find designboom’s previous coverage here). Following an international call that attracted more than a hundred submissions, two-thirds of which came from abroad, the shortlist announced marks a milestone in the transformation of the museum.

The jury of twenty-one members reviewed the proposals before naming the five finalist teams. These are Amanda Levete Architects (AL_A) with NC Nathalie Crinière, Carole Bénaiteau, VDLA, and Atelier SOIL; Architecture Studio with Diller Scofidio + Renfro, Atelier Brückner, LAMA YA, and TER; Dubuisson Architecture with SANAA and Dan Pearson Studio; Sou Fujimoto Ateliers Paris with Sou Fujimoto Architects, Ducks Scéno, and Vogt Paysage; and STUDIOS Architecture with Selldorf Architects, Scénarchie, and BASE.

reimagining the most visited museum in the world | image courtesy of Musée du Louvre

Nouvelle Renaissance reimagines the museum’s visitor experience

Announced by Emmanuel Macron in January 2025, Louvre – Nouvelle Renaissance represents a vast scientific, cultural, architectural, and environmental undertaking. The project envisions a renewal of the museum’s infrastructure and the creation of new spaces and access points that will redefine how visitors experience the Louvre.

The first component, titled Louvre – Grande Colonnade, focuses on creating new public entrances through the eastern section of the palace, restoring the original intent behind Louis XIV’s monumental facade.

These new access points will ease congestion at I. M. Pei’s glass pyramid and improve circulation throughout the museum, while offering visitors a more comfortable and inclusive welcome. Beneath the Cour Carrée and the surrounding gardens, a new underground expansion will introduce an additional museum wing, including a dedicated gallery for the Mona Lisa. This so-called Parcours Joconde aims to recontextualize Leonardo da Vinci’s masterpiece and to redistribute the intense flow of visitors that currently converges on the Denon Wing.

A new grand exhibition hall will also be built, enabling the Louvre to host larger and more varied temporary shows and strengthening its role as a contemporary cultural venue. The broader aim is to reconnect the museum with its surrounding urban landscape, from the moats of the Grande Colonnade to the facades overlooking Place du Louvre.

the shortlist announced marks a milestone in Louvre’s transformation | image courtesy of Musée du Louvre

preserving heritage while building for the future

The second component, Louvre Demain, introduces a long-term masterplan for renovating the infrastructures and technical systems of the museum, ensuring that the monumental site meets 21st-century standards of sustainability and accessibility. The architectural interventions will be carried out under the supervision of François Chatillon, Chief Architect of Historical Monuments.

Through Louvre – Nouvelle Renaissance, the museum seeks to balance historic grandeur with contemporary needs, expanding the legacy of Pei’s Grand Louvre project of the 1980s and 1990s, which transformed the Cour Napoléon and Richelieu Wing but left the eastern facade largely untouched. The initiative sets out to complete that vision, reuniting the classical architecture of the palace with the city that surrounds it.

Nouvelle Renaissance represents a vast undertaking | image courtesy of Musée du Louvre