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

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

all images via @plancframe

Collaborations and Creativity Take Center Stage

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

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

Jewelry brand Aliita inaugurates its first dedicated retail space inside Frame

A New Chapter in Material and Color Experimentation

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

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

the project introduces a layered experience

this curated corner gathers contemporary magazines

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

Plan C Silos is a homeware capsule

developed with Belgian design company Serax

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

project info:

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

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The Fenix Museum of Migration by MAD has now been open in Rotterdam for several months, establishing itself as an iconic civic landmark along the city’s industrial waterfront. Rising above the historic port district, the museum occupies a restored warehouse once tied to the flow of migrants who departed from Rotterdam for destinations across the world. Now, with newly captured images months after its opening in May 2025, the project can be understood as not just a renovation, but as an active and lived-in landmark shaped by visitors’ reflections and spiraling movement.

‘Everything is in motion — people, time, light, the sea,’ says Ma Yansong. ‘This building invites us to rethink moments of arrival and departure, and to reflect on the reasons we set out in the first place.’ That sense of continuity between past and present is what connects the sculptural building to its cultural and urban context. Before the museum opened to the public, the architects documented their design process through a film titled ‘Ma Yansong: Journey to Design the Fenix Tornado’ — watch it here!

the Fenix Museum of Migration is sited in Rotterdam’s historic port district | image © Hufton + Crow

a spiraling monument for convergence in rotterdam

At the heart of the Fenix Museum of Migration in Rotterdam, MAD’s tornado-shaped staircase has emerged as the defining element. Two spirals rise independently, crossing and separating before joining at platforms that overlook the coastal Dutch city.

MAD’s Ma Yansong describes the Fenix Museum’s configuration as ‘random yet precise,’ a system designed for fluid movement that creates chance encounters. The result lends a choreography of visitors’ movements, as the layout organizes spontaneous interactions and encourages both individual reflection and collective experience as visitors ascend the spiraling structure.

a ‘tornado’ staircase forms the centerpiece of the museum | image © Iwan Baan

mad’s Tornado Staircase as Civic Space

MAD’s adaptive reuse of the museum’s warehouse preserves the industrial shell, a memory of the surrounding neighborhood. This warehouse had been restored by Bureau Polderman, while MAD introduced interventions to alter its historic atmosphere. The opening of the central roof floods the interior with daylight to animate both the preserved concrete structure and the new stainless-steel spiral.

‘The shaping and shifting of global politics, geography, culture, and art are largely rooted in these migrations,’ Ma explains. ‘We hope this museum not only commemorates the past or tells stories of hardship, but more importantly, reveals hope and courage — offering inspiration for people today and in the future to look ahead.’

the spirals rise independently before meeting at shared platforms | image © Arch-Exist

Structurally, the spiraling staircase demonstrates a high level of engineering innovation. Measuring 550 meters in length and rising thirty meters high, it cantilevers outward up to seventeen meters at certain points, achieved through a spatial truss system developed with roller coaster specialists. Its reflective cladding, shaped with CNC technology, captures shifting skies, waterfront activity, and the movement of passersby.

The experience of climbing the stairs is never fixed. Perspectives shift with each step, encounters take place at the landings, and the view culminates in the rooftop platform where the city and river unfold as a broad horizon. The architects describe it as both a journey and a gathering place, where movement is transformed into architecture.

Inside, the collection includes historical artifacts and contemporary commissions, presented in an open plan that encourages visitors to move fluidly between past and present. Wim Pijbes, President of the Droom en Daad Foundation, emphasizes this universality: ‘At some point in life, people make the decision — whether due to war, poverty, faith, or other reasons — to pack everything they own into one or two suitcases and start over on the other side of the world. What we must do is understand those emotions and give them form.’

the reflective stainless steel surface mirrors light and movement | image © Arch-Exist

the restored warehouse structure contrasts with the new intervention | image © Hufton + Crow

the museum presents global migration stories through art and history | image © Arch-Exist

visitors ascend thirty meters to a rooftop platform overlooking Rotterdam | image © Hufton + Crow

6,750 square meters of green roof enhance insulation and water retention | image © Arch-Exist

project info:

name: Fenix Museum of Migration | @Fenix

architect: MAD | @madarchitects

location: Rotterdam, Netherlands


previous coverage: November 2018, November 2020, January 2025, May 2025

photography: © Arch-Exist, © Hufton + Crow, © Iwan Baan

The post new photographs show MAD’s fenix museum of migration come alive in rotterdam appeared first on designboom | architecture & design magazine.

Casa da Baro is a residential project designed by Brazilian studio Passarelli Arquitetos in the interior of São Paulo, located within a community known for weekend retreats. Built along the natural contours of the site, the house spreads horizontally across the plot, its plan gently fanning out like a set of wings. This gesture was first sketched by Marcelo Passarelli during a flight shortly after his initial meeting with the clients, setting the tone for a design based on intuitive clarity and structural confidence.

The home unfolds in a series of deliberate contrasts with straight lines and softened curves, exposed openness and protected retreat. Horizontal forms dominate the composition, punctuated by two moments: a sculptural internal staircase that floats downward in a loose, extended spiral, and a circular swimming pool that overlooks the sloping terrain below. The pool’s shape emerges in part as a response to site conditions, with a subtle overflow that creates a shallow wet edge, lined with travertine that matches the surrounding flooring.

images © Fernando Guerra

casa da baro overlooks a brazilian garden

Throughout the project, the team at Passarelli Arquitetos uses material and form to frame a balance between openness to nature and a sense of seclusion. Wide eaves and pergolas shade the interior from direct sun while preserving sightlines to the landscape. The house is organized around a gallery at the upper level, which opens onto a generous social space before stepping down to more private quarters.

Circulation through the home encourages a gradual descent, guided by the wide central staircase that reveals varying perspectives of the structure and its garden. The spatial sequence feels composed yet informal, offering moments of pause and discovery rather than abrupt transitions.

Casa da Baro is located in a residential community in the interior of São Paulo

Passarelli Arquitetos curates a wide-open shelter

A restrained material palette strengthens the project’s architectural coherence. Travertine stone unifies both interior and exterior surfaces, creating a subtle continuity between living areas, terraces, and the pool. The living room is defined by its double-height ceiling lined in warm wood, and by the soft daylight that filters through openings calibrated to the sun’s path.

Furniture selections reflect a curated sensibility, with pieces by Lina Bo Bardi and the Campana Brothers anchoring the space alongside a private art collection that includes works by Osgemeos and Daniel Senise. These choices add texture and context without overwhelming the architecture’s clean gestures.

Marcelo Passarelli describes Casa da Baro as a project that arrived at the right moment in his professional trajectory. Its calm resolution, careful massing, and attention to site conditions reflect a maturity in practice that allows expressive features to emerge naturally from structural and environmental considerations. The home feels grounded without being rigid, and feels expressive without exaggeration.

the house follows the natural topography with a horizontal, winged layout

Passarelli Arquitetos emphasizes linear forms punctuated by sculptural curves

large eaves and pergolas offer shade while maintaining visual openness

a wide staircase and round pool introduce softness to the geometric plan

travertine stone covers both interior and exterior surfaces for continuity

the swimming pool is perched like a monumental bowl

project info:

name: Casa da Baro

architect: Passarelli Arquitetos | @passarelli_arquitetos

location: São Paulo, Brazil

landscaping: Alex Hanazaki | @alexhanazaki
wood: Arkos | @arkosbrasil
woodwork: Ornare | @ornare_official
window frames: Tecnofeal | @tecnofeal
photographer: © Fernando Guerra | @fernandogguerra

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Through the images of Danica O. Kus, MAD’s Tornado staircase at the newly opened Fenix museum in Rotterdam emerges as a visual metaphor for movement, transformation, and memory. The photographer captures the double-helix form in a series of striking frames that reflect on migration as a physical and emotional journey. ‘I was inspired by its powerful visual metaphor for the continuous movement and transformation that define the experience of migration,’ Kus shares with designboom. Her perspective invites viewers to see the architecture as narrative, a story unfolding in steel and light.

Designed by Ma Yansong of MAD Architects, the Tornado crowns the Fenix museum, spiraling upward through a restored 1923 warehouse in Rotterdam’s Katendrecht district. It is the centerpiece of MAD’s first cultural building in Europe, realized as part of a wider regeneration of the city’s waterfront. ‘I saw this really big, heavy concrete building… it’s monumental,’ Ma Yansong tells designboom in our exclusive interview. ‘My first instinct was to do something vertical, so you can recognize this is something different.’ His solution, two self-supporting spirals, creates a fluid ascent that doubles as a symbolic act. ‘You almost see your reflection as yourself traveling through time, always reflecting, borrowing the color, the light from the surroundings.’

all images by Danica O. Kus

the double-helix staircase captures and transFORms light

Architectural photographer Danica O. Kus emphasizes the experience that the museum’s architect, Ma Yansong, describes. Her images focus on the sculptural presence of the Tornado, revealing how the spiraling form captures and transforms natural light as it rises 30 meters through the repurposed warehouse. Clad in 297 polished stainless-steel panels, the staircase bends and glows as people move through it, echoing the lives and stories the Fenix museum is designed to honor. At its peak, the Tornado opens onto a panoramic platform overlooking the city and harbor, a viewpoint crowned by a steel canopy. With each shot, Kus brings the architecture into motion, framing it as a breathing element of the space.

For Ma Yansong, the project was always about more than just architecture. ‘The Tornado is a metaphor about a journey… we are part of a big web of journeys,’ he reflects. ‘Once we realize that we are all interconnected, we will be able to embrace the different paths that make up our own.’

the photographer captures the double-helix form in a series of striking frames

a device for people’s movement

Located at the edge of Rotterdam’s Rijnhaven, the Fenix museum stands on a site with deep historical resonance. Once a point of departure for transatlantic emigration, the original structure served as a gateway for millions seeking new lives overseas. MAD’s intervention retains much of the industrial character of the 1923 warehouse, layering it with new meaning. The building hosts a dynamic cultural program centered on the global and personal dimensions of migration, combining archival material, contemporary installations, and immersive storytelling across multiple levels.

The design preserves the original concrete framework and vast open halls, embedding them with architectural gestures that invite exploration. A wide public passageway cuts through the ground floor, accessible without a ticket, while a curved mezzanine level carves out space for exhibitions and gatherings. Light animates the interiors, filtered through skylights, reflected off steel, and constantly shifting as visitors move through the space. For MAD, the project is less about making a statement and more about offering an environment that, in Ma Yansong’s words, becomes ‘a device for people’s movement and for meeting each other.’

reflecting on migration as a physical and emotional journey

a story unfolding in steel and light

the Tornado crowns the Fenix museum, spiraling upward through a restored 1923 warehouse

the centerpiece of MAD’s first cultural building in Europe

two self-supporting spirals create a fluid ascent

a metaphor for the experience of migration

the steel surface bends and glows as people move through it

Danica O. Kus focuses on the sculptural presence of the Tornado

a breathing element of the space

project info:

name: Fenix Museum of Migration | @Fenix

architect: MAD | @madarchitects

photographer: Danica O. Kus | @danica_o_kus_photography

location: Rotterdam, Netherlands


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On May 16, 2025, Rotterdam officially opens Fenix, a museum dedicated to the art and stories of migration, marking MAD’s first cultural building in Europe. Ahead of the public opening, designboom attends the preview of the museum, experiencing the space firsthand and speaking with architect Ma Yansong on site. Set within a 1923 port warehouse in the historic Katendrecht district of the city, Fenix is the result of architectural ambition and emotional gravity (find designboom’s previous coverage here). For MAD, the building is not just a container but a living environment shaped by movement, reflection, and encounter. ‘When you see the light and the people in the building, it really makes a difference,’ Ma Yansong tells us. ‘Before, that was only in the imagination. Now I realize this is a device for people’s movement and for meeting each other.’

The project is a milestone in the regeneration of Rotterdam’s waterfront and reflects the layered history of the site, once the departure point for millions of emigrants crossing the Atlantic. During his visit to the neighborhood, Ma sensed a deeper yearning from the community. ‘In people’s hearts, they wanted a lighthouse,’ he says. ‘They need a spiritual space, a symbol of their generation, or the older generation, or their next generation.’ For him, Fenix is ‘half architecture, half art.’ The Tornado, a dramatic double-helix staircase, crowns the Fenix museum. This centerpiece pierces through the old warehouse and flows upward, culminating in a rooftop platform, offering views of the River Maas and Hotel New York—the former headquarters of the Holland America Line. It’s a sculptural expression of movement and transformation, anchoring the museum in both a physical and symbolic manner. ‘The people’s behavior and reactions complete the work,’ he adds during our walkthrough. ‘Otherwise, it’s just a staircase.’

Rotterdam officially opens Fenix | image by Iwan Baan

a double spiral staircase tops the 1923 port warehouse

‘I saw this really big, heavy concrete building,’ Ma Yansong, founder of international architecture firm MAD, shares with designboom, referring to the original structure. ‘It’s monumental, and from the outside it’s really long and horizontal. My first instinct was to do something vertical, so you can recognize this is something different.’ He explains that the spiraling form of the staircase that tops the museum was essential. ‘There are two connected spirals, so the structure becomes self-supporting. This was essential to avoid columns in the middle. And then it becomes an experience.’ As visitors ascend the Tornado, it becomes a narrative, reflecting their own journeys. ‘You almost see your reflection as yourself traveling through time, always reflecting, borrowing the color, the light from the surroundings,’ he says.

As public and cultural buildings evolve, he comments, ‘public buildings, cultural buildings, will be spaces that bring more people together—not just one’s self.’  That principle shapes every part of Fenix, from its freely accessible ground floor to its soaring Tornado staircase. 

the museum is dedicated to the art and stories of migration | image by Iwan Baan

three major inaugural exhibitions explore migration

Three major exhibitions that reflect on migration through contemporary art, photography, and personal testimony mark the museum’s opening. All Directions brings together over 150 works from global artists, including Bill Viola, Yinka Shonibare, Rineke Dijkstra, and Steve McQueen, alongside newly commissioned pieces by Beya Gille Gacha, Hugo McCloud, and others that explore migration as a personal, lived experience. These works are not displayed in isolation, they’re meant to be experienced, moved through, and reflected in. That principle is embedded in the curatorial approach, as personal stories are intertwined with historical objects. A fragment of the Berlin Wall, a Lampedusa migrant boat, and a 1923 Nansen passport bridge individual journeys with collective memory. The Family of Migrants, inspired by Edward Steichen’s iconic The Family of Man, presents 194 photographs by 136 photographers from 55 countries. Finally, The Suitcase Labyrinth is an immersive installation built from 2,000 donated suitcases—some century-old heirlooms, others recently packed for new lives abroad. As visitors navigate the maze, an audio tour reveals intimate migration stories layered between the luggage.

this centerpiece is clad in 297 polished stainless-steel panels | image © designboom

a cultural landmark rooted in community

Beyond its galleries, Fenix functions as a cultural hub. The 2,275-square-meter Plein on the ground floor acts as a free, indoor city square, hosting performances, community gatherings, and global food explorations. Culinary highlights include a bakery by Michelin-starred Turkish chef Maksut Aşkar and a waterfront gelateria by the Granucci family, a nod to Rotterdam’s multicultural makeup.

Funded by the Droom en Daad Foundation, Fenix is a future-forward institution rooted in a city shaped by migration. ‘Migraton stories are the heartbeat of Fenix. We’ve woven them into every element – whether it’s the magic of Ma Yansong’s architecture, the memories evoked by the artworks on display, the freely accessible Plein, or the gelateria by the Granucci family,’ highlights Fenix director Anne Kremers. ‘We want everyone to feel welcome.’

Fenix Rotterdam and Rijnhaven with L’Áge d’Or by Gavin Turk | image by Iris van den Broek

the Tornado, a dramatic double-helix staircase, crowns the museum | image by Iwan Baan

anchoring the museum in both a physical and symbolic manner | image © designboom

its twisting shape echoes the flow of migration | image © designboom

a rooftop platform offers views of the River Maas and Hotel New York | image by Iwan Baan

a sculptural expression of movement and transformation | image by Iwan Baan

Fenix opens with three major exhibitions

reflecting on migration through contemporary art, photography, and personal testimony | image © Titia Hahne

these artworks are interwoven with objects of memory | image by Iwan Baan

The Family of Migrants is inspired by Edward Steichen’s The Family of Man | image by Iwan Baan

project info:

name: Fenix Museum of Migration | @Fenix

architect: MAD | @madarchitects
collaborators: Bureau Polderman, Droom en Daad Foundation

location: Rotterdam, Netherlands


previous coverage: November 2023, October 2024, January 2025

photographers: Iwan Baan | @iwanbaan, Iris van den Broek | @eyerisshots, Titia Hahne | @titiahahnephoto

The post interview: MAD’s fenix museum of migration opens in rotterdam appeared first on designboom | architecture & design magazine.

Expo 2025 Osaka’s France Pavilion, designed by Coldefy and CRA–Carlo Ratti Associati, is envisioned as a permeable, performative space — what the architects describe as a ‘theater of life’. Located near the expo’s main entrance on Yumeshima Island, the structure employs a layered design strategy to pose both a threshold and a gathering space, defined by a striking copper-clad staircase. This sculptural feature forms part of the facade and draws movement into the public realm before winding through the pavilion and doubling as an elevated viewing platform. 

Around it, the 3,600-square-meter building is veiled in suspended fabric curtains, 17 meters high, which animate the facade in response to wind and light. Overhead, a ceiling of suspended acrylic rods filters natural illumination, contributing to the pavilion’s ephemeral character. Visitors are thus invited to observe and participate, navigating a series of spatial transitions that foreground the relationship between human activity and the built environment.

all images by Julien Lanoo © Coldefy & CRA-Carlo Ratti Associati

coldefy & carlo ratti create a ‘theater of life’

This staging of experience is deliberate. ‘Both actors and spectators in this production, visitors traverse a path through the pavilion that is an expression of the symbiosis between humanity and its environment,’ notes Thomas Coldefy of French studio Coldefy. ‘Above all, the design seeks to create a welcoming space that is open and accessible to all.’ The staircase, which might traditionally be an internal element, emphasizes this as it is here externalized as it blurs boundaries between inside and out, individual and collective. At the same time, it serves as a symbolic gesture, echoing the broader theme of Expo 2025 Osaka: Designing Future Society for Our Lives.

Italian practice CRA–Carlo Ratti Associati frames the project within the context of architectural discourse itself. At a time when the relevance of the universal exposition is increasingly under review, the pavilion responds both with monumentality and a nuanced investigation of form and function. ‘We must seek new ways to imagine the relationship between the natural and artificial,’ architect Carlo Ratti explains, ‘combining different forms of intelligence, whether organic or technological, to redefine connections between people and their environments.’

France Pavilion is envisioned as a permeable, performative space

the porous pavilion balances enclosure and exposure

This question of balance, veering between monumental scale and subtlety, enclosure and exposure, runs through the entire concept of the France Pavilion. The choice of materials, from the polished copper stair to the diaphanous curtains, lends the building both presence and impermanence, allowing it to stand out while remaining porous. The pavilion further proposes itself as an open-ended framework that adapts to visitors’ movements, encourages spontaneous interactions, and foregrounds the experiential over the objectified. In doing so, it aligns with broader efforts to rethink the role of national pavilions at global events — particularly to demonstrate the role of architecture as a platform for dialogue and a stage for human life.

designed by Coldefy and CRA–Carlo Ratti Associati

posing both a threshold and a gathering space, the facade is defined by a striking copper-clad staircase

veiled in suspended fabric curtains, 17 meters high, which animate the facade in response to wind and light

the staircase doubles as an elevated viewing platform. 

located near the expo’s main entrance on Yumeshima Island

project info:

name: France Pavilion

architect: Coldefy | @coldefy.fr, Carlo Ratti Associati | @crassociati

location: Osaka, Japan

event: Expo 2025 Osaka | @expo2025japan

dates: April 13th — October 13th, 2025

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The headquarters of the construction company Blumer Lehmann in Gossau, Switzerland, illustrate the possibilities of contemporary timber architecture. Designed by K&L Architekten, the building accommodates 180 office workspaces, a conference hall, and a cafeteria, yet its defining feature is the sculptural atrium crafted from curved cross-laminated timber. Developed by the Institute for Computational Design and Construction (ICD) at the University of Stuttgart, this freeform structure integrates a spiraling staircase that mediates between levels, frames views, and defines alcoves, transforming circulation into a whole experience. Synthesizing computational design, digital fabrication, and expert craftsmanship, the atrium demonstrates how timber can be used structurally and architecturally.

image courtesy of ICD

Blumer Lehmann HQ Frames Movement with curved surfaces

The collaboration between the Stuttgart-based team at ICD and timber construction specialist Blumer Lehmann builds upon extensive research into curved timber structures. In contrast to the orthogonal grid of the overall building, the tapering surfaces of the atrium articulate two distinct spatial expressions. Convex outward-facing walls offer a textile-like softness, while concave intersections generate sweeping ridges that extend vertically through the structure, modulating light and perspective. These elements simultaneously act as a spatial enclosure and a load-bearing system, transferring forces across five floors with a slender 130-millimeter-wall thickness.

The stairway of the atrium is integrated within this timber composition, guiding movement while creating balconies and alcoves. The structural efficiency is optimized through the use of two distinct radii for the curved timber elements and repetitive stair modules, ensuring material economy and precision in fabrication. This balance between form, function, and construction constraints is achieved through an advanced computational design approach that dynamically adapts to evolving insights throughout the development of the project.

the sculptural atrium is crafted from curved cross-laminated timber

this freeform structure integrates a spiraling staircase

transforming circulation into a whole experience

the stairway of the atrium is integrated within this timber composition

synthesizing computational design, digital fabrication, and expert craftsmanship

the atrium demonstrates how timber can be used structurally and architecturally

the tapering surfaces of the atrium articulate two distinct spatial expressions

convex outward-facing walls offer a textile-like softness

guiding movement while creating balconies and alcoves

concave intersections generate sweeping ridges that extend vertically through the structure

project info:

name: Blumer Lehmann Headquarters | @blumerlehmannofficial

architect: K&L Architekten AG | @klarchitekten

atrium design & development: Institute for Computational Design and Construction (ICD) | @icdstuttgart, University of Stuttgart | @unistuttgart

location: Gossau, Switzerland

design team: Thomas Lehmann, Johanna Deinet

engineer: SJB Kempter Fitze AG (Stefan Rick)

client: Blumer Lehmann AG

ICD team: Prof. Achim Menges, Martin Alvarez, Laura Kiesewetter, David Stieler, Dr. Dylan Wood

support: Edgar Schefer, Lena Strobel, Alina Turean

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Dotting the rolling hills of the Czech Republic, Bučina Cottage has been designed by architecture studio ADR (Architektura Design Realizace) to integrate modern functionality with traditional mountain aesthetics. Built for the manager of a local ski resort, the client imagined a compact and practical dwelling outside the village of Horní Malá Úpa. Drawing inspiration from the region’s architectural heritage, the team at ADR crafted a cross-shaped cabin structure that echoes the vernacular style and optimizes landscape views.

images © BoysPlayNice

a cross with a view by adr

The architects at ADR design the Bučina Cottage with a unique layout featuring two identical wings arranged in an asymmetrical cross formation. Each wing is dedicated to a specific function, offering distinct viewing experiences. One wing houses the dining area, where floor-to-ceiling windows frame the majestic silhouette of Sněžka peak. At the heart of the structure, a spiral staircase winds its way around a central chimney, creating an intimate nook perfect for gathering by the fireplace. This central point acts as a visual and functional hub, connecting the four arms of the cross.

a cross-shaped layout offers distinct living areas, each framing stunning views of the Czech countryside

a cabin in red

Bučina Cottage rests on a concrete foundation slab which ADR designs to adapt to the seasonal changes. During summer, the slab remains elevated above the ground, minimizing its impact on the natural terrain. During winter, when the landscape is blanketed in snow, the foundation integrates with the snow level, offering a smooth transition between indoor and outdoor spaces. The exterior facade, clad in un-planed spruce boards, is coated in a vibrant red paint, a nod to the historical tradition of painting wooden mountain buildings in the region. This use of color adds a playful touch to the humble cabin. Meanwhile, interiors take shape with exposed timber from structural elements, floors, and custom furniture, all crafted from solid spruce, create a warm and inviting atmosphere. This consistent use of natural materials fosters a sense of connection to the surrounding forest and reinforces the cottage’s integration with its environment.

elevated foundations adapt to deep winter snow

the project blends contemporary design with classic mountain aesthetics in Horní Malá Úpa
the vibrant facade echoes regional tradition, while exposed timber interiors foster a connection to nature

solid spruce furniture is custom-designed and handcrafted for each space

the use of color adds a playful touch to the humble cabin

project info:

project title: Bučina Cottage

architecture: ADR | @adr_architects

location: Horní Malá Úpa, Czech Republic

lead architects: Aleš Lapka, Petr Kolář
design team: Miloš Hradec, Pavel Čermák

structure supplier: KASPER CZ

staircase supplier: Šolc konstrukce
completion: 2023
photography: © BoysPlayNice | @boysplaynice

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Danica O. Kus’ recently presented photo series highlights the new spiral staircase at the National Library of France, a creation of Atelier Bruno Gaudin Architects. This addition replaces the former ceremonial staircase, symbolizing the revival of the esteemed Richelieu Library. Inspired by the site’s geometry, the architects sought to rejuvenate the area, encountering challenges and objections along the way. However, their commitment to honoring the site’s heritage while adding modern elements led them to explore different design options. The result is a grand helical staircase featuring graceful curves and intricate design, warmly inviting visitors to embrace a seamless blend of tradition and modernity.

all images by Danica O. Kus Photography

restoring heritage while enhancing connectivity 

The ambitious restoration of the Quadrilatère Richelieu, dating back to the 17th century, aimed to address structural issues, outdated systems, and inadequate facilities. As the home to the nation’s valuable treasures, the library required a comprehensive overhaul to tackle spatial challenges, preserve collections, ensure security, and modernize its infrastructure. Atelier Bruno Gaudin Architects conducted thorough historical and structural studies to reimagine and rejuvenate this institution. The introduction of the helical staircase reflects their dedication to preserving the library’s heritage while bringing in practicality and architectural finesse. Photographer Danica O. Kus, known for her detailed architectural captures, has documented this addition. Her photography style emphasizes precise details and the interplay of light and space, presenting the staircase in a clear and visually appealing manner. The staircase aligns with the broader architectural strategy to redefine spaces and improve connectivity within the library’s public areas.

the grand staircase symbolizes the library’s renewal

sweeping curves and intricate detailing invite visitors to experience a harmonious blend of history and modernity

the staircase aligns with the broader architectural strategy to improve connectivity within the library’s public areas

a seamless integration of old and new architectural elements

project info:

architects: Atelier Bruno Gaudin Architects | @brunogaudin_architectes

location: 58 rue de richelieu 75002 paris

MOA representative: Operator of Heritage and Cultural Real Estate Projects (OPPIC)

photography: Danica O. Kus Photography | @danica_o_kus_photography

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Located in Kamakura, an hour from central Tokyo, A Cat Tree House is a charming private dwelling and work studio designed by and for architect Tan Yamanouchi, his partner, and their two cats. As pet owners, the project took shape from the perspective of their little felines. ‘Having lived with the two for ten years, we took our design cues from ‘listening’ to them, although they do not speak human words,’ says principal architect Tan Yamanouchi.

That being said, he summarized the cats’ needs into three categories: (1) Being able to choose their preferred temperature level at any time of day; as they can sense temperature differences that humans cannot, they like to move around to find the perfect spot. (2) The desire to be in same room as their owners, all while maintaining their space. (3) And lastly (3) the need to have multiple safe places to hide; they like options and may change their minds about where they feel safest depending on the time of day or year. With these in mind, the residence was conceived as a large spiral staircase, known as a caracole, with multiple nooks and crannies, incorporating both the owners’ and pets’ needs. 

all images © Lamberto Rubino

organizing the home around a large & skylit spiral staircase

Delving into the details, Tan Yamanouchi organized the spiral staircase around an atrium with a skylight in the center of the house. ‘The rises are designed based on the body measurements of our cats, which led to having 23 different floor levels. The entire house is thus divided into fine stripes of temperature layers, between which our feline clients spend all day traveling,’ explains the architect. The spiral staircase, meanwhile, opens up a line of vision to the whole house from any vantage point. Additionally, the standard dimension of the run of each step is generously set to 900 millimeters so that the cats can hide from people downstairs, keep a certain sense of distance from others, or even sleep peacefully.

To design the caracole, Yamanouchi took cues from a tamasudare, a screen made of loosely woven bamboo sticks for a traditional Japanese street performance, where performers twist, fold, and extend it to form various shapes. Exposed to give accent to the open ceiling space, this structure responds to the highly humid environment of Kamakura with its starkly designed split-level architecture. ‘The standard floor level is set one meter above the ground level, creating a buffer space between the raft foundation and the floor, where outside air is introduced, and hot water pipes for floor heating are laid. We designed the buffer for temperature and humidity control,‘ he continues. 

entrance to A Cat Tree House

On each corner of the caracole, a bedroom, guest room, studio, kitchen, dining room, and bathroom are laid out for optimal comfort. As this is an architect’s studio as much as a home, it inevitably has constant guests. When we have unexpected visitors, each room also functions as a hiding place for the cats. The mountain views of Kamakura inspired the design of the handrails implemented in the atrium for fall prevention. The delicate stainless-steel fixture was crafted by skilled ironworkers.

On the wall built along the spiral steps, Yamanouchi designed a bookshelf, transforming the steps from a mere passage to a split-level library. For the cats, the stairs function as cozy bedding, while for humans, they become a book vault with suitable height differences to sit anywhere. A part of the circular steps bisects backward, which reaches at the end a window implemented at the eye level of cats, and the final rise of the steps is as high as a human chair to provide a porch-like space for them. 

wooden steps to the house

tan yamanouchi’s L-shaped house boasts a rich planting design

The form of this house consists of two L-shaped volumes, each with a shed roof of different angles. By interlocking the two volumes, a basic shape comes to life, simplifying construction and blending in with the mountains of Kamakura while still holding a unique aesthetic. ‘We also believe that cats looking out the window is a sight that improves the neighborhood landscape. We meticulously designed the placement and the height of the windows so that passersby and visitors can appreciate the adorableness of the cats as a part of the architectural exterior and the scenery,’ shares the architect. 

As for the landscape design, the garden is divided roughly into two zones. One is the Approach Zone, which leads to the entrance and the garden facing the front road. Another is the Terrace Zone, which includes the wooden deck steps and a kitchen garden, surrounded by a 1.8-meter-high wall on the back of the building. Approximately 80 species of plants are flourishing in the Approach Zone, boasting different colors for a rich palette, and 20 species of edible herbs in the Terrace Zone. Completing the outdoor design is a space covered with fragrant wood chips, offering a place to sit on the steps and enjoy a meal.

Tan Yamanouchi designed the house around the cats’ needs

a large, spiral staircase with multileveled steps and a library

creating a home where the cats can be close to their owners while having their own space

kitchen-dining area

taking cues from a tamasudare

bathroom area

project info:

name:  A Cat Tree House 

location: Kamakura, Japan

architecture studio: Tan Yamanouchi & AWGL

principal architect: Tan Yamanouchi | @tanyamanouchi

structural engineers: Yamawaki Katsuhiko Architectural Engineering Design / 

Katsuhiko Yamawaki, Yumena Hirata

builder: Tokyo Kenchiku Plus / Satoshi Nakazato, Yuta Ogura

cooperation in finishing work: Kojima Komuten / Makoto Kojima, Riki Matsui

planting design: SOLSO / Hidenori Juna

wood deck, fence: Iroha Zoen / Masashi Hisanaga, Mutsumi Hisanaga

photographer: Lamberto Rubino | @lamberto_rubino

maximum height: 7.1 m
site area: 182.04 sqm
building area: 63.94 sqm
total floor area: 94.19 sqm
design period: January 2021 – July 2022
construction period: August 2022 – July 2023

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