david lynch’s mid-century compound in hollywood hills, los angeles comes on the market

mid-century compound of david lynch hits the market

The David Lynch mid-century Compound spreading across 2.3 acres in Hollywood Hills, Los Angeles, hits the market. A 1963 Lloyd Wright design, the property consists of five contiguous parcels centered around the Beverly Johnson House. The home serves as the architectural anchor for an expanded creative complex that filmmaker David Lynch assembled over several decades, a convergence of mid-century architectural heritage, Hollywood cultural history, and cinematic production infrastructure.

The design exemplifies what architectural historians call hillside modernism, an approach that responds to Los Angeles’s challenging topography. Bold geometric forms and extensive glass walls maximize the views while creating seamless indoor-outdoor transitions. Lloyd Wright, working within his father Frank Lloyd Wright’s organic architecture philosophy, designed the structure to follow the natural contours of the hillside rather than imposing a rigid geometric grid. The elements of post-and-beam construction come through too, with exposed structural parts as well as large expanses of glass, likely single-pane in the original 1963 construction.

all images courtesy of The Agency

Listed property that appears in the movie Lost Highway (1997)

David Lynch acquired the neighboring properties at 7029 and 7035 Senalda Drive of his mid-century Compound to expand his residence and include his workshop and studio. The listing includes the filmmaker’s private editing suite and screening room within the residential structure, complete with the acoustic treatment as well as video and audio equipment. In 1991, the filmmaker commissioned Eric Lloyd Wright, Lloyd Wright’s son and Frank Lloyd Wright’s grandson, to design the pool and pool house, creating what architectural historians would recognize as a rare example of three-generation family design continuity on a single property and resulting in a pool house design that complements the original 1963 structure. 

David Lynch’s collaboration on his mid-century Compound appears in the two-story guest house and one-bedroom structure finished in smooth grey plaster. The style and finish align with the filmmaker’s documented aesthetic preferences and create visual continuity across structures built at different times by different designers. The choice of stained concrete, mixed materials, and hardwood flooring reflects mid-century modern material preferences while incorporating updates for modern living requirements. The Historic Places LA recognizes the property as ‘excellent example of Mid-Century Modern/Organic residential architecture’, and one of the houses in the mid-century Compound appears in David Lynch’s movie Lost Highway (1997) as the Madison residence.

exterior view of the compound

the David Lynch mid-century Compound spreads across 2.3 acres

a 1963 Frank Lloyd Wright design, the property consists of five contiguous parcels

the home serves as the architectural anchor for an expanded creative complex of David Lynch

view of the pool

workshop view within the property

project info:

name: The David Lynch Compound

location: 7017 Senalda Rd, LOS ANGELES, CA 90068

listing: The Agency | @theagencyre

The post david lynch’s mid-century compound in hollywood hills, los angeles comes on the market appeared first on designboom | architecture & design magazine.

christian de portzamparc receives 2026 andrée putman lifetime achievement award

Lifetime Achievement Award Goes to Christian de Portzamparc

Christian de Portzamparc is the recipient of the 2026 Créateurs Design Awards (CDA) Andrée Putman Lifetime Achievement Award, a recognition of his enduring impact on architecture and urban design. The ceremony is set for January 17th, 2026, in Paris, where de Portzamparc will accept the award in person.

De Portzamparc’s career spans more than four decades, with projects ranging from cultural landmarks such as the Cité de la Musique in Paris and the Philharmonie Luxembourg to international commissions including the LVMH Tower in New York, the Suzhou Cultural Center in China, and Beijing’s China National Convention Center. Across these works, he has pursued what he describes as the ‘open block,’ a way of shaping cities that combines public and private spaces, while making sure everyday community life stays at the center. ‘I receive the CDA’s Lifetime Achievement Award as the highest honor, for there is nothing more sublime than the notion of true achievement,‘ Christian de Portzamparc shares. ‘All projects are driven by the same passion: beauty is inseparable from utility. Let us be careful not to remove the beautiful.’

Christian de Portzamparc portrait | courtesy of the architect

Honoring Design that Shapes Communities and Culture

In accepting the CDA award, the French architect and urbanist reflects on the idea of achievement as cumulative, noting that ‘for an architect, achievement is the sum of buildings or neighborhoods.’ Nothing is more beautiful than walking through what one has created and hearing the joy of those who inhabit or work within these spaces.’

The CDA Lifetime Achievement Award is determined through a peer-to-peer selection process, drawing on a global membership of over 300 creatives across 55 countries. It recognizes individuals whose work has made a lasting and influential contribution to design, architecture, and urbanism. Past recipients include Tadao Ando, Sir Norman Foster, Iris Apfel, and Gaetano Pesce, situating de Portzamparc among a lineage of architects and designers whose work has shaped both built environments and cultural discourse.

The 2026 announcement celebrates de Portzamparc’s talent for combining bold design with real benefits for communities. From reimagining city neighborhoods to building cultural landmarks, his work shows a dedication to making spaces that are practical yet inspiring. ‘His work from civic landmarks to thoughtful urban strategy has given form to a more humane, poetic urbanism,’ comments CDA founder Yuri Xavier, underlining the architect’s influence on the way cities are imagined and experienced.

Suzhou Bay Cultural Center | images by Shao Feng

Dior flagship boutique in Geneva | images © LVMH

One57 Tower | image © Wade Zimmerman

Cidade das Artes in Rio | image by Andre Vieira

Hergé museum, Belgium | image courtesy of the architect

Philharmonie Luxembourg | image courtesy of the architect

project info:

architect: Christian de Portzamparc | @christian2portzamparc

award: Andrée Putman Lifetime Achievement Award 2026

presented by: The Créateurs Design Awards

ceremony location: Paris, France

ceremony date: January 17th, 2026

The post christian de portzamparc receives 2026 andrée putman lifetime achievement award appeared first on designboom | architecture & design magazine.

väkkärä: luca poian forms unveils helsinki museum concept with folding geometries

Väkkärä: a New Landmark for Helsinki

A new proposal by Luca Poian Forms envisions a Museum of Architecture and Design along Helsinki’s waterfront. Named Väkkärä, the work is sculpted to unfold as visitors approach along the Baltic shore. As the architect notes, ‘the planes of the structure seemingly unfold from the sky.’ Three broad roof pitches spiral around a triangular core, sweeping down to the ground to create shaded outdoor spaces. The metal cladding recalls the maritime panels of passing vessels, subtly polished to mirror the shifting tones of water and clouds.

This interplay of structure and landscape brings a fluid dialogue with the harbor. The pitched geometry nods to vernacular Nordic roofs while maintaining an enigmatic presence. The team wanted the form to feel both inevitable and surprising.

visualizations © BS ARQ

luca poian’s Dynamic Form Along the Baltic

Inside Luca Poian Forms‘ proposed museum for Helsinki, the atmosphere shifts to a more intimate scale. Locally sourced timber frames the generous interior volumes, with exposed structure and dark wood finishes bringing a sense of warmth and tactility. Triangular openings along the facade invite natural light and offer layered views to the park, the city, and the sea beyond, ensuring the museum remains visually tied to its setting.

The compact footprint reflects a sensitivity to Helsinki’s historic shoreline and urban fabric. Carefully considered spacing around the building frames the sculptural form while preserving public circulation and sightlines. Feature stairs and double-height galleries create a vertical journey through the museum, drawing visitors upward toward views that merge art and cityscape.

Väkkärä is a proposed museum on the Helsinki waterfront designed by Luca Poian

in dialogue with a maritime past and design future

By situating this new cultural venue at the meeting of land and water, Luca Poian’s museum proposal reinforces Helsinki’s identity as a hub for design and maritime heritage. The building’s spiral form and reflective surfaces capture the city’s light and seasonal atmosphere, bringing a new monument and pointing to a forward-looking design culture. For Poian, the proposal is a conversation with Helsinki itself — with both its history and the ongoing evolution of its design legacy.

its sweeping roof planes spiral around a triangular core to create shaded outdoor areas

interiors feature exposed timber structure and dark wood finishes

the metallic cladding reflects the colors of the Baltic sea and sky

project info:

name: Väkkära

architect: Luca Poian Forms | @lucapoianforms

location: Helsinki, Finland

team: Luca Poian, Anoushae Eirabie

client: Finnish Museum of Architecture and Design Foundation
visualizations: © BS ARQ | @bs_arq

The post väkkärä: luca poian forms unveils helsinki museum concept with folding geometries appeared first on designboom | architecture & design magazine.

architect arthur casas builds his own house deep in the forest of iporanga, brazil

an architects’ home in iporanga

Hidden within the dense greenery of Brazil’s Atlantic forest, the Iporanga House stands as architect Arthur Casas’s own retreat. Conceived as a place to ‘recharge his energies,’ the home sits lightly in a protected natural reserve along the São Paulo coast. Its design is guided by a desire for harmony with the surrounding vegetation, a goal demonstrated by wood cladding that blends with the forest’s shifting tones and textures.

‘The Atlantic forest represents Brazil — more than the sea, the beaches and bikinis, more than soccer, more than a Carnaval picture,’ Casas reflects. ‘This house is inserted in the forest and the wood covering tries to mimic it in the landscape — as if it was possible. The transparency, more than any aesthetic value, aims to justify the human presence in this place.’

images © Fernando Guerra

studio arthur casas opens interiors onto the trees

The plan takes the form of two symmetrical cubes framing a lofty central volume. Inside, lofty ceilings rise 11 meters (36 feet), and continuous glass panels draw in light and views, creating a breezy and fluid connection to the trees beyond. ‘The shape is simple, symmetrical, easy,’ Casas notes. He contrasts the home’s subdued form with with the ‘entropic, messy profile’ of the forest that surrounds it.

Cumaru wood wraps nearly every surface, from walls to floor, lending a warm continuity to the interiors. The open plan allows the living room to flow into the kitchen and office, all extending outward to a broad terrace. An elevated deck nearby serves as a belvedere, offering an unobstructed perspective on untouched fragments of the forest.

the serene retreat stands deep in Brazil’s Atlantic forest

the House is Immersed in brazil’s atlantic Forest

Studio Arthur Casas’ integration of indoor and outdoor space defines the experience of the Iporanga House. Glass facades slide away to merge rooms with the terrace, while rich timber finishes echo the hues of the surrounding canopy. The design invites daily encounters with the landscape. Morning light filters through the trees, the sound of wildlife carries across the open interior — all affirming Casas’s belief that architecture can quietly justify human presence in even the most pristine settings.

architect Arthur Casas designs the home as his personal sanctuary

continuous glass panels draw the forest indoors

Cumaru wood unifies walls, floors, and ceilings throughout

the architecture humbly justifies its place in nature

project info:

name: Iporanga House

architect: Studio Arthur Casas | @studio.arthurcasas

location: Iporanga, Brazil

photography: © Fernando Guerra | @fernandogguerra

team: Regiane Khristian
contractor: MCF Construtora
MEP: Grau Engenharia
structural calculation: Leão e Associados
lighting: FOCO Luz e Desenho

The post architect arthur casas builds his own house deep in the forest of iporanga, brazil appeared first on designboom | architecture & design magazine.

hyperbolic roof composed of curved timber slats tops concrete residence in taiwan

CTAA ARCHITECT / LAB combines exposed concrete and timber

Our Forest by CTAA ARCHITECT / LAB explores how a single expansive roof can unify diverse spatial functions. The building in Taiwan employs exposed concrete load-bearing walls combined with cypress CLT (cross-laminated timber) roof panels. A large curved roof, rotated 45 degrees, interacts with the orthogonal interior layout to generate varied double-pitched roof forms. This creates dynamic visual effects, with shifting patterns of light and shadow across the spaces.

The design introduces new material applications and construction techniques using both CLT and GLT (glued laminated timber). These methods allow for extended cantilevers and greater roof curvature, producing a roof that spans 16 meters by 18 meters. The approach redefines conventional timber construction, combining architectural expression with structural performance. To address site conditions, the single-story volume is kept slightly lower than surrounding houses, but the roof is raised to 5.8 meters. Different roof heights and layered eaves add vertical depth, ensuring the structure maintains presence without appearing diminished. Exposing the wooden framework further emphasizes the scale and craftsmanship of the roof.

all images courtesy of CTAA ARCHITECT / LAB

diverse spaces are formed beneath a hyperbolic timber roof

The hyperbolic GLT roof is constructed from 396 individual timber pieces, each with a unique curvature, and connected by over 3,000 steel joints. Supported by 46 CLT pitched roof segments measuring 2 by 3 meters, the structure achieves a balance between linear and planar elements. The bowl-shaped canopy rests on the perimeter roof edges without additional columns, creating multiple shaded zones and framing distinctive spatial experiences beneath.

The design team at CTAA ARCHITECT / LAB conceived the structure as an interconnected environment, in which the expansive roof links the building’s different areas into a cohesive whole. Its scale and geometry establish a sense of continuity, while its materiality and construction techniques demonstrate the potential of contemporary timber architecture.

Our Forest by CTAA ARCHITECT / LAB explores the unifying potential of a single expansive roof

the building combines exposed concrete walls with cypress CLT roof panels

a curved roof, rotated 45 degrees, intersects with the orthogonal plan to create varied roof forms

the exposed timber framework highlights structural scale and craftsmanship

the design balances linear and planar elements within a unified geometry

multiple shaded spaces are formed beneath the expansive roof

distinct spatial experiences emerge from the intersections of roof and plan

the roof links all areas of the building into a cohesive whole

scale and geometry establish continuity across the project

shifting patterns of light and shadow animate the interiors beneath the roof

plan

project info:

name: Our Forest

architects: CTAA ARCHITECT / LAB
lead architect: Cha Shao Yu

location: Taiwan

The post hyperbolic roof composed of curved timber slats tops concrete residence in taiwan appeared first on designboom | architecture & design magazine.

coral-toned timber and mirror canopy by GRRIZ transforms footbridge above river in france

KAPIA installation spans the Sainte-Thérèse du Québec footbridge

KAPIA is a site-specific timber and mirror installation designed by GRRIZ for Annecy Paysages 2025, located on the Sainte-Thérèse du Québec footbridge along the Thiou river in Annecy, France. The project seeks to transform a simple point of passage into a place of pause, encounter, and contemplation. The design draws inspiration from the kapia of traditional Ottoman bridges in the Balkans, architectural pauses at the center of bridges, historically conceived as civic spaces for exchange and dialogue. On the existing footbridge, two fixed benches were already placed at the midpoint, discreetly suggesting a moment of rest. GRRIZ chose to enhance this latent potential by constructing an architectural canopy that defines the space, offers shelter, and amplifies one’s perceptual engagement with the landscape.

KAPIA blends with the Thiou river and surrounding greenery | all images by Wilfrid Bof unless stated otherwise

GRRIZ clads geometric timber canopy in mirrored dibond panels

The structure is entirely built from Douglas fir timber, assembled as a lightweight frame that rests delicately on the existing bridge without altering its geometry or circulation. This reversible approach was a technical challenge for GRRIZ creative studio, requiring precise detailing to anchor the intervention while respecting the existing infrastructure. The timber elements are finished in a coral-toned protective coating, chosen to establish a chromatic resonance with both the urban fabric and the natural vegetation of the site. Above, the canopy is clad in mirrored dibond panels, a reflective composite material that captures and refracts the changing qualities of sky, light, and water. These mirrored surfaces generate shifting, almost painterly reflections that evolve with weather conditions and the presence of passersby, introducing a dynamic, expressionist dimension to the work.

side perspective showing the mirrored upperside reflecting sky and trees

canopy creates chromatic and reflective dialogue with the river

KAPIA thus emerges as a functional sculpture: a suspended threshold, open to all, belonging to none. It invites pedestrians and cyclists to slow down, sit, observe, and reconnect with the river and the city. Through its minimal geometry and play of reflections, the intervention redefines the perception of a familiar passage, turning it into a shared space of attention and imagination. The project was developed by GRRIZ following the invitation of curator David Moinard, and produced by Bonlieu Scène nationale Annecy.

the coral-toned canopy emerges at the center of the Sainte-Thérèse footbridge

the bridge is transformed into a place of pause and encounter

detail of the structure lightly resting on the existing bridge

geometric rhythm of the coral-painted timber structure

detail of intersecting frames and mirrored surfaces, creating layered views

abstract reflection of the landscape captured by the mirrored canopy

dynamic play of light and colors on the reflective underside

shifting moiré-like reflections evoking a painterly effect

project info:

name: KAPIA
architect: GRRIZ | @grriz_studio

design team: Mattia Paco Rizzi, Luigi Greco, Giulia Cerrato

location: Sainte-Thérèse du Québec footbridge, Annecy, France

materials: Douglas fir timber, mirrored dibond

dimensions: 7.6 × 4 × 2.5 m

photographer: Wilfrid Bof, Mattia Paco Rizzi

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 coral-toned timber and mirror canopy by GRRIZ transforms footbridge above river in france appeared first on designboom | architecture & design magazine.

inspired by japanese listening bars, isern serra’s JAÇ hifi café opens in barcelona

JAÇ Hifi Café: A space for listening in barcelona

The newly opened JAÇ Hifi Café is a celebration of music, interior design, and coffee along Barcelona‘s Avinguda Diagonal. Curated by Spanish designer Isern Serra Studio for clients Ligia and Arnau, the café opened in July 2025 with a name that resonates on several levels. It’s a nod to jazz itself, a reference to Japan’s jazz kissa culture, and in Catalan, the word ‘jaç,’ meaning to recline and let go.

Inspired by Japanese jazz kissa — intimate listening bars that emerged in the 1950s — JAÇ embraces the tradition of music-first spaces. These historic venues favored wood-paneled interiors and speaker-focused seating to bring an atmosphere of shared listening and quiet attention.

images © Salva López

isern serra’s catalan design through a japanese lens

Designer Isern Serra reinterprets that kissa philosophy for a contemporary Mediterranean context, balancing tactile materials with a relaxed sense of hospitality. Covering 95 square meters (1,022 square feet), the café unfolds in a sequence of zones, each designed to create a different relationship with music and people, and with the city outside.

Visitors enter through a lounge hosting a concrete-based sofa with custom cushions. A sculptural Akari E lamp by Isamu Noguchi and walnut tables with lacquered beige tops set a soft, welcoming tone, while a Chidy Wayne artwork lends a graphic visual counterpoint.

JAÇ Hifi Café brings a Japanese jazz kissa tradition to Barcelona

furniture as sound architecture

The layout flows toward a monolithic walnut bar crafted by Fusteria Vidal that doubles as a giant speaker cabinet. Integrating a baked-goods display, vinyl shelves, and custom Bloom Island speakers, the bar reflects the kissa tradition of treating audio equipment as part of the architecture. The design team, led by Isern Serra, wanted the sound system to feel inseparable from the furniture, so that music becomes part of the room’s physical presence.

At the center, a stainless-steel table with a subtle brutalist edge occupies the space. Above it, Antoni Arola’s Lámina pendant casts a diffused glow, softening the crisp geometry and enhancing the table’s sculptural quality.

Isern Serra designs the warm and refined interiors

Toward the rear, a sweeping walnut installation curves across the walls and ceiling to form a semi-enclosed listening alcove. Built by Fusteria Vidal and divided by a cylindrical column lined with vinyl records, it houses stainless-steel Bloom Island speakers and low walnut tables with custom cushions. A Disco wall lamp by 20th century designers Jordi Miralbell and Mariona Reventós adds a sense of theatricality and creates an intimate cocoon of sound.

Additional nooks include a window niche that frames street views, and a facade clad in iroko wood stained as a continuation of the walnut interior. Four circular indents on the door allude to speaker cones, giving passersby a glimpse of the café’s sonic spirit.

a listening alcove creates an intimate cocoon for sound

the walnut bar doubles as a massive speaker cabinet

midcentury lighting shapes the atmosphere and marks transitions

project info:

name: JAÇ Hifi Café

interior designer: Isern Serra | @isernserra

location: Avinguda Diagonal 335, Barcelona, Spain

team leader, styling: Aasheen Mittal

photography: © Salva López | @salvalopez

carpentry: Fusteria Vidal
metalwork: Cabestany
sound system: Bloom Island
lighting: Akari E – Vitra by Isamu Noguchi / Lamina – Santa y Cole by Antoni Arola / Disco – Santa y Cole by Jordi Miralbell and Mariona Reventós
technical lighting: Wever & Ducre
artwork: Chidy Wayne
graphic design: NRJ Studio

The post inspired by japanese listening bars, isern serra’s JAÇ hifi café opens in barcelona appeared first on designboom | architecture & design magazine.

wing roofs shape private airport terminal in são paulo by perkins&will and pascali semerdjian

Terminal BTG Pactual by Perkins&Will and Pascali Semerdjian

The Terminal BTG Pactual at Guarulhos International Airport in São Paulo is the first exclusive airport terminal in Latin America. Developed by Perkins&Will São Paulo with interiors by Pascali Semerdjian Arquitetos, the project combines architectural and interior strategies that balance efficiency, comfort, and environmental integration. The building is defined by inverted roofs that evoke the geometry of open wings, symbolizing flight while providing practical structural and environmental benefits. These roofs rest on a double-height framework of metal, wood, and glass, balancing transparency with solidity. Large window surfaces bring in natural light and maintain continuous visual connections to the sky, while a solid base grounds the structure and incorporates the main circulation, drop-off, and operational areas.

A central garden organizes the terminal’s interior and functions as both a circulation divider and a biophilic feature. It links the check-in lounge with boarding and arrival areas, while introducing native Brazilian species such as sibipiruna, white ipê, and brazilwood. These choices emphasize ecological value, respect biodiversity, and comply with aviation safety standards by avoiding species that attract birds. This strategy allows the building to operate as a functional terminal while simultaneously reinforcing its connection with the local environment.

all images by Fran Parente

Custom Interiors and Furniture decorate Terminal BTG Pactual

For the interior, studio Perkins&Will São Paulo collaborates with practice Pascali Semerdjian Arquitetos, creating a strategy that emphasizes scale, materiality, and continuity. While the double-height volumes express openness, half-height wooden panels introduce a more intimate scale in lounges and waiting areas. This balance ensures that large operational spaces retain a welcoming quality. Materials are central to the atmosphere. Wood surfaces are used extensively for warmth and consistency, while stone details add contrast and identity. The combination creates a sequence of spaces that are both operationally efficient and visually distinctive.

All furniture was custom-designed specifically for the terminal through artisanal processes. Carpentry techniques were employed to produce elements such as bars, shelving, sinks, private room fittings, armchairs, chaises, coffee tables, and lighting fixtures. These pieces establish a coherent dialogue with the architecture, reinforcing the integration between structure, interior, and furniture. Lighting plays both a technical and expressive role. Fixtures are positioned to emphasize the floating quality of the roof while meeting airport safety and operational standards. By day, natural light dominates through expansive glazing, while at night, controlled artificial illumination highlights the building’s architectural rhythm and creates a sense of continuity with its surroundings.

the BTG Pactual Terminal is the first exclusive airport terminal in Latin America

Airport Hub Aligns Architecture and Environment in São Paulo

The terminal accommodates a full range of processing, circulation, security, and hospitality functions, distributed across a continuous plan. Spaces include lounges, meeting rooms, and suites, which are designed to support both privacy and efficiency. The layout organizes these programs with circulation flows, ensuring clarity and comfort for travelers.

Through the collaboration of Perkins&Will and Pascali Semerdjian Arquitetos, the Terminal BTG Pactual reinterprets the conventional air travel environment. By combining symbolic form, biophilic strategies, tailored interiors, and operational precision, the project establishes a landmark in Latin American aviation design, aligning functionality with architectural and environmental intent.

the building’s form is shaped by inverted, wing-like roofs

large window surfaces maximize natural light

interior spaces maintain clear visual connections to the sky

project info:

name: Terminal BTG Pactual
architect: Perkins&Will | @perkinswill_br

interior designer: Pascali Semerdjian Arquitetos | @pascalisemerdjian

location: São Paulo, Brazil

photographer: Fran Parente | @franparente

The post wing roofs shape private airport terminal in são paulo by perkins&will and pascali semerdjian appeared first on designboom | architecture & design magazine.

permeable terracotta brick screens wrap kindergarten’s stacked volumes by NAN architects

NAN Architects Stacks Kindergarten’s spaces for Playful Learning

Located in the Lijia area of Yubei District, Chongqing, China, the Golden Bay Kindergarten by NAN Architects responds to both a constrained triangular site and the psychological needs of early childhood education. Positioned along the Jialing River, the project integrates spatial strategies that balance openness, play, and protection. The school’s design adopts a staggered stacking method in which each classroom unit is sequentially set back, creating terraces on every floor. These outdoor extensions function as transitional zones between inside and outside, offering continuity across levels so that each floor maintains the quality of being at ground level. This configuration encourages openness while supporting the psychological development of children through spatial variety.

The facade is defined by two complementary strategies. On the south and north elevations, large floor-to-ceiling glazing maximizes daylight and frames expansive views of the river. On the east–west axis, a permeable terracotta brick screen provides shading, reduces glare, and maintains privacy from nearby streets and villas. At night, the screen takes on a lantern-like quality, glowing softly and creating a distinctive visual presence. For children, the interplay of light and shadow contributes to an environment that is both stimulating and reassuring.

all images courtesy of NAN Architects

NAN Architects Balances Urban and Child-Centered Design

At the urban scale, the building presents different interfaces depending on orientation. The north side, facing the river and main road, houses circulation routes and auxiliary functions such as offices, meeting rooms, and stairwells, which are linked into an open walkway that doubles as a public viewing platform. The south side, oriented toward residential buildings, adopts a fragmented, playful massing that softens its visual impact and creates a more intimate relationship with the neighborhood. Through the combined use of staggered stacking and semi-transparent facades, the project reconciles site limitations with educational requirements. The concept by studio NAN Architects results in an architecture that supports children’s learning and growth while engaging with its broader urban and environmental context.

Golden Bay Kindergarten is located in the Lijia area of Yubei District, Chongqing

staggered stacking sets back each classroom unit in sequence

every level features its own terrace as an outdoor extension

floor-to-ceiling glazing on north and south facades maximizes natural light

the project by NAN Architects sits along the Jialing River

the configuration encourages openness and variety for children

terracotta brick screens define the east–west facades

light and shadow enhance both safety and imagination for children

the design integrates educational needs with urban and environmental context

project info:

name: Chonqing Golden Bay Kindergarten
architects: NAN Architects

location: Chongqing, China

principal architect: NAN Xu

design team: ZHOU Dingqi, TANG Huilian, WANG Wenyu, YANG Huiling, CHEN Mengfan, MU Canqi, MA Qi

structural consultant: ZHANG Zhun

client: Hongkong Land, China Merchants Shekou

construction drawings: China Machinery Zhonglian Engineering Co., Ltd., China Coal Technology & Engineering Group Chongqing Design & Research Institute

materials: Reinforced concrete, terracotta brick, floor-to-ceiling glazing

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 permeable terracotta brick screens wrap kindergarten’s stacked volumes by NAN architects appeared first on designboom | architecture & design magazine.

concrete walls shape circular ‘pictograma’ winery around rain-harvesting courtyard in mexico

rojkind arquitectos & amasa estudio’s circular winery in mexico

In Mexico’s Valle de Guadalupe, Rojkind Arquitectos and Amasa Estudio introduce Pictograma, a circular winery designed to streamline wine production while reviving the region’s agricultural traditions. The 1,963-square-meter structure also produces olive oil, fragrances, lavender, and citrus. Its radial plan, inspired by the valley’s organic contours, arranges the entire production cycle, fermentation, bottling, barrel storage, and tasting rooms around a central courtyard, eliminating unnecessary circulation.

The building is shaped by twelve trapezoidal concrete walls and vaults, each separating and defining a specific function inside. This clear layout continues into the landscape design, which uses local plants, permeable brick paving, and a sloped facade built from soil taken from the site to connect the winery closely to its surroundings. At the center, the courtyard collects rainwater that runs off the vaults, directing it through channels in the walls so it can seep back into the ground.

all images by Edmund Sumner, unless stated otherwise

shaded porticos and brick vaults shape Pictograma

The design by Mexico City-based Rojkind Arquitectos and Amasa Estudio takes inspiration from 16th-century portico structures, using a shaded walkway around the building to encourage natural ventilation and cooling. The project combines traditional methods, such as building with brick vaults, with modern techniques like fiberglass and metal formwork. This mix creates concrete surfaces that feel rooted in historic Franciscan architecture while still appearing contemporary. The use of pigmented concrete also helps the building blend with the natural colors of the valley.

Beyond production, Pictograma integrates hospitality through its connection to the Banyan Tree hotel complex. The retreat offers panoramic views of the valley and continues the commitment to local, sustainable materials. The winery and hotel are designed to connect architectural innovation with the agricultural traditions and cultural context of Baja California.

Rojkind Arquitectos and AMASA Estudio introduce Pictograma in Mexico | image by Fernando Marroquin

a circular winery designed to revive the region’s agricultural traditions | image by Fernando Marroquin

its radial plan is inspired by the valley’s organic contours | image by Fernando Marroquin

the production cycle is arranged around a courtyard, eliminating unnecessary circulation.

the courtyard collects rainwater that runs off the vaults | image by Grupo UBK

separating and defining specific functions | image by Grupo UBK

the design draws from 16th-century portico structures | image by Fernando Marroquin

concrete surfaces feel rooted in historic Franciscan architecture | image by Fernando Marroquin

pigmented concrete also helps the building blend with the natural colors of the valley

Pictograma integrates hospitality through its connection to the Banyan Tree hotel complex

designed to streamline wine production

project info:

name: Pictograma

architect: Rojkind Arquitectos | @rojkindarquitectos, Amasa Estudio | @amasa__estudio

location: Valle de Guadalupe, Baja California, México

area: 1,963 square meters

lead architects: Michel Rojkind, Agustín Pereyra, Andrea López

team: Ruth Diaz, Eli Ambris, Victor Cruz, Daniel Flores, Ricardo Hernández, Yoshio Fukumori, Fernando Franco, Victoria Grossi

AMASA Estudio team: Roxana León, Omar Valdés, Jorge Santiago, Sonia Santaella, Fernanda Corona, Karen Alcaráz, Diana Gómez Matehuala, Fernanda Rodriguez

landscape design: Alma du Solier

oenologist: Lucas Dacosta

branding + concept: Cadena y Asociados | @cadenaconcepts

interior design: SMARQ | @smarq.mx

structural engineering: Ing. Juan Felipe Heredia

lighting: Luz en Arquitectura

MEP: Ing. Germán Muñóz

renders: Hossein Yadollahpour

photographers: Edmund Sumner | @edmundsumner, Fernando Marroquin | @fernandomarroquint, Grupo UBK | @grupo_ubk

The post concrete walls shape circular ‘pictograma’ winery around rain-harvesting courtyard in mexico appeared first on designboom | architecture & design magazine.