Through January 11, 2026, the Contemporary Austin hosts the first solo museum exhibition in Texas of sculptor Raul De Lara, an artist known for his highly technical approach to woodworking. De Lara transforms everyday tools, plants, and furniture into anthropomorphic and surreal forms. These works act as vessels of memory, resilience, and humor, but also as pointed reflections on the immigrant experience, queer identity, and the liminal space of DACA status, the temporary US policy that offers young undocumented immigrants protection from deportation and the ability to work legally, though without a path to permanent residency or citizenship.

De Lara’s background roots him in both Mexican and American traditions of making. Trained in Austin and later at Virginia Commonwealth University, he honors traditional woodworking while experimenting with scale, humor, and magical realism. His sculptures range from saints conjured out of branches to furniture reimagined with uncanny detail. ‘Growing up, I would see craftsmen carve these saints out of branches,’ he recalls. ‘I always wonder, like, at what point does the branch become a saint?’ he wonders. That threshold between the ordinary and the sacred, the native and the foreign, and the tool and the symbol is where his work finds its resonance.

Cavale II, 2023 | all images courtesy of Raul De Lara, unless stated otherwise

seven new works on view at the Contemporary Austin exhibition

For the show in Austin, his hometown after immigrating to the US at age twelve, De Lara completes seven new sculptures shaped from mesquite, walnut, cedar, and oak. The pieces reference wildflowers native to both Texas and northern Mexico, such as Damianita, Indian Blanket, and Sleepy Daisy. Their dual botanical origins parallel the artist’s own exploration of cultural hybridity and contested belonging. ‘Why can plants be native to two places, but never people?’ he asks. By embedding this question into wood and form, the New York-based artist turns sculpture into a stage for negotiating identity and precarity.

the sculpture was made for Hermés new Aspen Boutique’s window display

When Woodworking Meets Belonging and Legal Uncertainty

Raul De Lara insists that the act of sharing is central to his practice. ‘Some of the best works are the ones that, when you share yourself, you really get beyond just the object,’ he says. ‘When you can connect with people in that way—thinking that our work can make people feel a sense of care, or want to care—that’s enough.’ In Austin, the newly commissioned sculptures invite audiences to engage with beauty while confronting difficult questions of who gets to belong, how stories are carved into materials, and why plants are allowed a dual nativity denied to people.

The artist himself describes the project as the most complex of his career. ‘Honestly, this show… they’re the most layered, and they have the capacity to fail. Pulling one off is a miracle, and I have, like, six miracles to do,’ he shares. This balance of rigor and risk reflects the precariousness of his legal and social position under DACA. ‘My legal standing here—if the law changed tomorrow, that would be a different exhibition. It’s a reality… I could not even make my own show.’ In these remarks, the material and the political fuse, as woodworking becomes both a technical dance with fire and a metaphor for living in limbo.

these works act as vessels of memory, resilience, and humor

Tornado, 2020

Installation view, HOST: Raul De Lara, The Contemporary Austin – Jones Center on Congress Avenue, Austin, Texas, 2025. Artwork © Raul De Lara | image by Alex Boeschenstein, courtesy of The Contemporary Austin

For Being Left-Handed, 2020

Como Las De Mi Tierra / Like The One’s Back Home, 2024

Hermés Window Installation in Aspen, Colorado, 2023

Soft Chair (M1), 2023

The Wait (Again), 2022

Pending Flowers, 2024

La Monstera, 2023

installation view, HOST: Raul De Lara, The Contemporary Austin – Jones Center on Congress Avenue, Austin, Texas, 2025. Artwork © Raul De Lara | image by Alex Boeschenstein, courtesy of The Contemporary Austin

installation view, HOST: Raul De Lara, The Contemporary Austin – Jones Center on Congress Avenue, Austin, Texas, 2025. Artwork © Raul De Lara | image by Alex Boeschenstein, courtesy of The Contemporary Austin

project info:

artist: Raul De Lara | @rauldelaraa

exhibition: HOST: Raul De Lara

location: The Contemporary Austin | @contemporaryatx – Jones Center, HOST gallery, 700 Congress Avenue, Austin, Texas 

dates: September 12th, 2025 – January 11th, 2026

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Same Same by design studio A204 consists of a pair of twin chairs conceived as both independent and combinable elements. Individually, each chair functions as a minimalist seat with an integrated storage space beneath the surface. This compartment can be used temporarily for magazines or small items, or fitted with a standard-sized Euro container for more permanent storage. When paired, the wooden chairs can be reconfigured into alternative furniture forms such as a side table with drawers or a tall shelving unit.

all images courtesy of A204

A204 designs modular furniture with open-ended configurations

Through this modular approach, the design team at A204 extends the functional range of the design beyond its primary use. The design emphasizes flexibility and open-ended interaction, encouraging users to adapt the pieces according to context. By combining simple construction with multiple potential configurations, Same Same proposes a long-term usability rooted in modularity and user participation.

Same Same by A204 consists of a pair of twin wooden chairs

each chair works independently or in combination with the other

the chairs’ materiality marries Maritime Pine Plywood with colorful Linoleum

the design functions as minimalist seating with hidden storage

a storage compartment sits beneath the seat surface

the compartment can hold magazines or small household items

when paired, the chairs can form a side table with drawers

the twin chairs can also be reconfigured into a tall shelving unit

A204’s modular approach extends the chairs’ functional range

project info:

name: Same Same
designer: A204 | @__a204__

materials: Maritime Pine Plywood, Colorful Linoleum

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Founded in 2024 in Guidel, Brittany, France, the company Tiny Binocles designs and manufactures compact mobile homes characterized by their distinctive round windows and use of bio-based construction methods. The structures combine practical living spaces with sustainable materials, reflecting a design approach rooted in carpentry craftsmanship and ecological responsibility.

The twin circular windows, a defining element of the Binocles series, provide daylight, natural ventilation, and framed views of the surrounding environment. This feature not only establishes the houses’ recognizable identity but also enhances their environmental performance. Founder Ambroise Humeau, trained with the Compagnons du Tour de France and in Switzerland, applies techniques influenced by boatbuilding, emphasizing compactness, efficiency, and durability while incorporating natural finishes.

all images courtesy of Tiny Binocles

the design emphasizes compactness, efficiency, and durability

The Binocles collection consists of six variations. Grand-Duc (22.18 sqm) spans two mezzanines, accommodating four to six occupants. Lapone (17.39 sqm) is a single-level model designed for step-free accessibility, while Chevêchette (12.94 sqm, 4.28 m length) offers a compact solution for two. Each unit is mounted on a 3.5 t trailer, keeping them legally towable under Europe’s standard B(E) license. Alongside the Binocles series, the company also produces the Classiques collection, which adopts more conventional aesthetics.

Sustainability principles are integrated into every design. Timber is sourced from responsibly managed regional forests, insulation is made from bio-based materials free from petrochemicals, and natural oils are used to protect wood surfaces, allowing them to age without synthetic coatings. Prototypes were presented at the 2025 Grande Expo du Morbihan in Vannes and the Foire Internationale de Bordeaux, where visitors could explore the first series of models. With its combination of modular design, ecological materials, and distinctive architectural identity, Tiny Binocles positions its houses as adaptable mobile dwellings suited to diverse contexts.

Tiny Binocles specializes in compact mobile houses

each design is defined by its distinctive round windows

the houses combine practical layouts with ecological materials

circular windows frame views of the landscape

bio-based construction methods are central to the approach

the design emphasizes compactness, efficiency, and durability

timber is sourced from responsibly managed local forests

the round openings also provide daylight and natural ventilation

natural oils protect wooden surfaces without synthetic coatings

project info:

name: Tiny Binocles | @tinybinocles
designer: Ambroise Humeau

location: Guidel, Brittany, France

models (Binocles): Grand-Duc, Lapone, Chevêche, Noctua, Hulotte, Chevêchette

models (Classiques): Masquée, Oural, Épervière, Pagodes, Petite-pagodes

dimensions & areas: 12,94 sqm–22.18 sqm

materials: timber frame, bio-sourced insulation, natural finishes, locally sourced woods

mobility: 3.5 t trailers; permit B(E) category

status: in production, showcased Vannes 2025 & Bordeaux 2025

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The Barbados National Performing Arts Pavilion has opened in Bridgetown as the first phase of a future national cultural center designed by Adjaye Associates. Built for the Caribbean festival Carifesta XV, the pavilion sets the stage for an 85,000-square-foot performing arts complex that will anchor the Barbados Heritage District masterplan.

The timber structure is conceived as a ‘meanwhile use’ venue, and thus stands as an immediate cultural space while laying the groundwork for the permanent performing arts center which is scheduled for completion in 2026. By embedding the temporary pavilion into the permanent foundations, the design minimizes waste and ensures that materials will continue to serve the community as the project evolves.

When complete in 2026, the final performing arts center will include a 1,500-seat auditorium, rehearsal studios, public terraces, and cultural amenities. The current timber frame will remain as a defining structural element.

images © Adjaye Associates

the world’s first 80-foot all-wood compression truss

The architects at Adjaye Associates works with StructureCraft, who engineered the world’s first 80-foot all-wood compression truss for the pavilion. The truss transfers 160,000 pounds of tension without a single piece of metal, employing enlarged Okkake-Daisen-Tsugi joints inspired by traditional Japanese joinery. Slender cables brace the sloped columns to the foundations, creating a lateral system capable of withstanding hurricane-force winds while keeping the structural expression visible.

Mass timber enabled a component-based construction process, allowing the pavilion to be designed and assembled in just four months. The sloped perimeter canopies will later be reconfigured as the roof structure for the permanent center, further extending the life of the material. This approach reflects Adjaye Associates’ broader commitment to low-carbon architecture across the Caribbean.

Barbados opens the National Performing Arts Pavilion designed by Adjaye Associates

Innovation in Timber by structurecraft

Lucas Epp of StructureCraft highlights the unprecedented engineering achievement of the all-wood truss: ‘Achieving the 80-foot clear span over Barbados’ new center stage presented a unique opportunity: an all-wood truss, no metal, no screws. Structural optimization transforms the traditional tension-compression webs into pure compression — a truss reimagined as an arch.

‘Using ancient and modern timber joinery, each connection is carefully engineered and detailed for bending, compression, and tension. The single bottom chord splice transfers 160,000 pounds of tension using pure wood tenons. The top chord is spliced with three-foot deep okkake-daisen-tsugi joints scaled beyond historical precedent, transferring both bending and shear.’

the pavilion debuts during Carifesta XV as the first phase of a national cultural center

StructureCraft engineers an 80-foot all-wood compression truss with no metal connections

mass-timber allows a four month design and construction schedule for rapid assembly

slender cables brace the sloped columns to withstand hurricane force winds

traditional Okkake-Daisen-Tsugi joints transfer 160,000 pounds of tension entirely in timber

the timber frame brings Japanese Joinery logic to the Barbados Heritage District

the sloped canopies will be reused as the roof for the permanent performing arts center

project info:

name: Barbados National Performing Arts Center

location: Bridgetown, Barbados

design architect: Adjaye Associates | @adjayeassociates

structural engineer & timber contractor: StructureCraft | @structurecraft_

completion: September 2025 (Phase one)

photography: © Adjaye Associates

project manager: Benchmark Consultancy
architect of record: FORMwork
local structural & civil engineer: CEP Barbados
MEP engineering: Vanderweil & Edge Engineering
acoustics, security: SM&W
facade consultant: Heintges
lighting consultant: Tillotson
theater consultant: Schuler Shook
wayfinding, signage: 2×4
concrete consultant: Redhough Associates

size:
phase one: 35,000 sqft (3251 sqm)
phase two: 85,000 sqft (7897 sqm)

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In Batuan, south of Ubud, RF Studio completes a residence for Yayasan Bali Purnati, a foundation dedicated to the performing arts in Bali. The project expands the foundation’s grounds with three villas and nine guest rooms designed to host artists-in-residence and support public programming. The architects conceive the form as an extension that integrates into the landscape with minimal intervention, merging with rice fields, native vegetation, and the rhythms of daily life on the island.

The design draws inspiration from the existing features of the site, including trees, volcanic stone, bamboo, salvaged wood, and terracotta, and weaves around the site’s contours to create a series of interconnected living spaces.

all images by Tommaso Riva

local artisans collaborate with the architects for the interiors

The collaboration between the lead designer of RF Studio’s team and artist Rafael Freyre and Yayasan Bali Purnati began in 2002, when the Peruvian architect first arrived on the island with drawings in hand, accompanied by the late theater director Robert Wilson after a summer at the Watermill Center in New York. 

The residence complements the foundation’s amphitheater and stage, framing architecture as part of a living system. Interiors were realized in close collaboration with local artisans, with all furniture and fixtures crafted specifically for the site. ‘It’s not about building something new. It’s about uncovering what is already here. The spirit of the place is older than us. The architecture just listens and reacts,’ Freyre notes.

in Batuan, south of Ubud, RF Studio completes a residence for Yayasan Bali Purnati

the project is designed to host Yayasan Bali Purnati artists

Yayasan Bali Purnati is a platform where Balinese traditions intersect with contemporary experimentation, founded in 2000 by dancer Restu Imasari, writer Leonard Lueras, journalist and cultural organizer Justin B. Smith, Willem Eisenbeis, and Christopher Frank. Since its inception, it has welcomed artists across performance, dance, music, design, and visual arts, maintaining a strong connection to the local cultural fabric. Its artist-in-residence program, established in 2005, invites practitioners to spend extended time on the compound developing projects and often culminates in free public presentations.

With the new residence, the foundation strengthens its capacity to host international artists and offers an alternative to the rapid overdevelopment of the island. Daily acts like resting, bathing, watching the moon, and tending to gardens become part of a broader performative experience. ‘Rafael has created an architectural artwork in the heart of Bali’s leading international arts foundation, renewing a tradition that started 26 years ago in the rice fields south of Ubud,’ co-founder Justin B. Smith reflects.  

the foundation is dedicated to the performing arts in Bali

expanding the foundation’s grounds with three villas and nine guest rooms

designed to host artists-in-residence and support public programming

an extension that integrates into the landscape

the design draws inspiration from the existing features of the site

trees, volcanic stone, bamboo, salvaged wood, and terracotta shape the project

a series of interconnected living spaces

the buildings weave around the site’s contours

stage area of the Yayasan Bali Purnati

framing architecture as part of a living system

the residence complements the foundation’s amphitheater and stage

since its inception, Yayasan Bali Purnati has welcomed artists across performance, dance, music, design, and visual arts

inviting practitioners to spend extended time on the compound

project info:

name: Nine-room residence for Yayasan Bali Purnati

architect: RF Studio | @rfstudioperu

location: Batuan, Bali, Indonesia

lead architect: Rafael Freyre

client: Yayasan Bali Purnati (The Bali Purnati Center for the Arts) | @balipurnati

photographer: Tommaso Riva | @tommasorivaphotography

The post RF studio expands performing arts foundation in bali with bamboo retreat for artists appeared first on designboom | architecture & design magazine.

Foster + Partners has received planning permission for its Gstaad House, a multipurpose project within the Swiss Alpine town. With this upcoming project, the British design studio will introduce to the valley a dedicated exhibition and storage space for art, automobiles, couture garments, and antiques. This varied programming means that the work combines public galleries, private collection spaces, and a members’ club in a single, carefully detailed timber structure.

Positioned within the gentle contours of the surrounding mountains, Gstaad House takes its cues from the natural terrain. The architecture mirrors the undulating landscape with a sloped facade and flat roofline, while a continuous ramp wraps around the exterior, linking each level and offering a gradual ascent for both visitors and their vehicles.

The exterior is clad in local larch, a choice that anchors the building to its alpine setting and filters daylight into the interiors. A screen of vertical timber slats softens the transition between the structure and the valley, while large openings frame sweeping views of the surrounding peaks and forests.

Gstaad House nestles into the valley and responds to its unique contours | images © Foster + Partners

alpine galleries by foster + partners

At the ground level of Foster + Partners’ Gastaad House, a flexible exhibition hall opens directly to the outdoors during the summer months. This way, interiors maintain a breezy and fluid connection to the alpine environment beyond. The architects plan this gallery space to host seasonal events and public programs, transforming from exhibition space to gathering place as needed.

Above, climate-controlled galleries are designed to display delicate artworks and rare objects under precisely-managed conditions. These rooms accommodate both rotating exhibitions and private viewings, lending a flexible backdrop for a range of collections.

the architecture responds to the undulating mountains and winding roads

members’ club and storage spaces

The Gstaad House’s top floor houses a members-only club, which Foster + Partners curates with understated interiors and a wraparound roof deck. From here, guests can enjoy panoramic views across the valley while dining or relaxing within a series of intimate lounges and private dining rooms.

Below ground, 3,000 square meters of customizable storage space provides specialized conditions for art, fashion, and vintage cars. Lighting, racking, and climate systems are tailored to conservation needs, supported by on-site experts who assist collectors in creating bespoke environments.

the penthouse opens onto a wraparound roof deck with views across the valley

a facade of local larch slats diffuses natural light into the interiors

a ground floor exhibition space will host public events throughout the year

aerial view of Gstaad House, the first purpose-built display and storage facility in the town

project info:

name: Gstaad House

architect: Foster + Partners | @fosterandpartners 

location: Gstaad, Switzerland

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In southern Mexico City, within a double-height concrete house designed by OW Arquitectos, two furniture pieces by Omar Wade, Banca Tres (Bench Three) and Silla Cuatro (Chair Four), investigate the relationship between space, materiality, and light. The residence, characterized by skylights and large windows, provides the setting for this dialogue, framing the interaction of furniture and architecture.

Together, the two wooden pieces present an exploration of scale and construction. Rather than functioning as static objects, they actively engage their surroundings, responding to light, spatial context, and the passage of time.

all images by Mariana Achach

Bench Three and Chair Four by Omar Wade

Banca Tres combines wood craftsmanship with living elements. Constructed from tzalam wood (120 × 40 × 44 cm), its surface incorporates a circular opening (18 cm in diameter, 25 cm deep) designed to hold a clay planter (17 × 55 cm). The integrated planting element transforms the bench into an evolving object that changes over time, linking furniture with natural growth.

Chair Four, influenced by the Oaxacan coast, employs parota wood sourced from the region. OW arquitectos’ designer Omar Wade conceives the chair as a precise cube (60 × 60 × 60 cm). Its seat and backrest are formed from 3 mm-thick steel sheets with narrow side flanges, joined to wooden legs with stainless steel bolts. The result is a composition that balances rigidity with a degree of visual permeability.

Bench Three and Chair Four by Omar Wade explore materiality in space

the furniture pieces interact with light inside a concrete house in Mexico City

Banca Tres in the double-height space under the house’s main dome, which illuminates the center of the staircase

Banca Tres integrates wood with a living planter element

tzalam wood forms the structure of the bench

Silla Cuatro standing on the concrete terrace

Silla Cuatro interacting with light in the main concrete hallway

Silla Cuatro’s details of the seat and backrest

parota wood gives the chair a regional material connection

geometry and materiality define Silla Cuatro’s composition

designer Omar Wade with Silla Cuatro

project info:

name: Banca Tres and Silla Cuatro
architect: Omar Wade – OW arquitectos | @owarquitectos.com.mx

photographer: Mariana Achach | @achachmariana

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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Nestled within the serene coastal landscape of Coley’s Point, Canada, Woodford Architecture’s contemplative residence embraces its dramatic maritime setting with restrained elegance. Composed of intersecting gable and mono-pitched volumes, the form echoes the quiet vernacular of Newfoundland’s built tradition while articulating a modern silhouette. Textural contrast defines the exterior. Vertical, dark-grey cladding is juxtaposed with crisp, horizontal white wood siding to sculpt a nuanced interplay of light and shadow. Strategic window placement frames extended views of the harbor, drawing the sea into daily life, while sheltered courtyard spaces mediate between interior comfort and coastal exposure.

all images by Jane Brokenshire

Coley’s Point House stands as a reflection of its coastal setting

Inside, the home is designed with an emphasis on simplicity, light, and connection to its surroundings. Expansive windows fill the living areas with natural light throughout the day, while warm, carefully chosen finishes create a sense of intimacy against the wide horizon outside. The design team at Woodford Architecture arranges spaces in a way that encourages both quiet retreat and moments of gathering, with views and movement thoughtfully considered at every turn. The overall effect is one of balance, between openness and shelter, tradition and modernity, landscape and dwelling. More than a residence, Coley’s Point House stands as a reflection of its setting, offering calm, clarity, and enduring connection to the rugged Newfoundland coast. It is a home that feels both timeless and deeply rooted, shaped by the rhythms of land and sea.

the residence by Woodford Architecture is set within the coastal landscape of Coley’s Point, Canada

the home embraces its maritime setting with intersecting gable and mono-pitched volumes

the house’s contemporary form is rooted in the vernacular traditions of Newfoundland

vertical dark-grey cladding paired with horizontal white siding defines the exterior

window placement carefully frames views of the harbor

a play of light and shadow emerges from contrasting materials

expansive glazing fills the living areas with daylight throughout the day

warm finishes provide intimacy against the wide coastal horizon

interiors emphasize simplicity, natural light, and connection to the landscape

views and circulation are carefully considered in the plan

spaces are arranged to support both quiet retreat and communal gathering

design balances openness with a sense of shelter

connection to the rugged Newfoundland coast is embedded in the design

project info:

name: Coley’s Point House

architects: Woodford Architecture | @woodford_architecture
design team: Chris Woodford, Devan Burry, Kathy Oke, Keita Foley-Tanaka
location: Coley’s Point, Bay Roberts, Canada

photographer: Jane Brokenshire | @janebrokenshire

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The N+Nest project investigates how a simple geometric form, the pyramid, can be developed into a modular birdhouse system. Designed and built by architecture students from the Islamic Azad University, Central Tehran Branch, the project combines environmental considerations with architectural experimentation to create adaptable shelters for birds.

The pyramid shape is selected for its structural stability and distinct visual identity. Each unit can be rotated or mounted in different orientations, enabling flexible configurations across varied settings, from tree branches to building facades. The system allows multiple units to cluster together, forming larger compositions that accommodate multiple bird species. Constructed from weather-resistant wood, the birdhouses provide natural thermal regulation. An extended roof form shields interiors from rain, while small ventilation openings promote airflow, reducing moisture buildup and overheating. These features ensure durability and comfort within different climatic conditions.

all images courtesy of Mahyar Architects

N+Nest joins sustainable materials with adaptable pyramid forms

The design supports versatile mounting methods, including attachment to trunks, branches, and flat vertical or horizontal surfaces. Removable panels allow straightforward cleaning and upkeep, extending the functional lifespan of the units and supporting long-term use.

The project, developed by architecture students from Islamic Azad University and led by Studio Mahyar Architects, was carried out as part of a comprehensive studio process, involving digital modeling, laser cutting, assembly, and site installation. The collaborative workflow emphasized both technical learning and practical application, resulting in a scalable prototype for modular avian habitats. N+Nest demonstrates how architectural design strategies can be applied to small-scale ecological interventions. By combining modular geometry, sustainable material use, and adaptability, the project proposes a birdhouse system that can be integrated into both natural and urban contexts.

pyramid geometry forms the basis of the N+Nest modular birdhouse system

each pyramid unit offers both structural stability and visual clarity

birdhouses can be rotated or mounted in multiple orientations

flexible configurations adapt to trees, walls, and other settings

weather-resistant wood provides natural thermal regulation

extended roofs protect interiors from rainfall

ventilation openings prevent overheating and moisture buildup

architecture students in Tehran designed and built the adaptable shelters

project info:

name: N+Nest

design team: Mahyar Arab Bourbour | @mahyararchitects_official, Paniz Samie, Negar Zahedi, Mobina Nikkhah, Parnian Soleimani

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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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

layered eaves and varied roof heights add vertical depth and presence

the exposed timber framework highlights structural scale and craftsmanship

the hyperbolic GLT roof consists of 396 uniquely curved timber pieces

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 

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