The Light of the North Musical Art Center in Säynätsalo, Finland, by Chuxin Tuoyuan, combines cultural heritage with contemporary performance spaces. Drawing on the design language of the historic Town Hall, a landmark of Finnish identity, the project integrates new functions including a concert hall, music studios, and educational facilities for children. The center addresses rural challenges such as population decline, aging demographics, and migration, positioning music as a catalyst for cultural and social revitalization. It provides spaces that serve children, elderly residents, and underprivileged youth, while also establishing satellite music foundations across the surrounding island to encourage regional events.

Architecturally, the project is aligned with the Town Hall grid and proportions, incorporating both straight and curved lines to establish rhythm and continuity. The entrance combines perforated brick walls with glass curtain walls, while the brickwork is laid in varied patterns to create texture and visual depth. Inside, curved wooden panels form a smooth transition between walls and ceilings, diffusing natural light and strengthening the dialogue with nature.

a red-brick musical art center nestles in the snowy Finnish forest | all images courtesy of Chuxin Tuoyuan

Chuxin Tuoyuan combines heritage with contemporary design

The concert hall interior is clad in wood, with streamlined paneling designed to optimize acoustics. Circulation is organized through two independent flows: one for visitors, leading from the main entrance into the auditorium, lobby, and retail areas; and one for performers, with dedicated rehearsal rooms, storage, and backstage access. These flows can operate separately or be connected, ensuring functional efficiency. Material strategy is central to the design of Chuxin Tuoyuan studio, led by Meng Zhao. Recycled wood, sustainable bricks, and green concrete are employed to improve insulation, reduce energy consumption, and cut operational carbon emissions. Prefabricated modular elements allow for efficient construction and maintenance while minimizing environmental impact.

Through its clear geometric forms, use of natural materials, and integration with its surroundings, the Light of the North Musical Art Center extends the historic site with a new cultural layer. It establishes a space where music, architecture, and community converge, while demonstrating an environmentally responsive approach that aligns with contemporary sustainability goals.

the brick-clad concert hall rises among pine trees, merging cultural heritage with the calm of the forest

a glazed gallery overlooks the main hall

a flowing timber ceiling embraces the gift shop and exhibition hall

a soaring red brick corridor ascends towards the concert hall

the transparent roof frames the sky and traces the shifting seasons

a sinuous timber volume creates an immersive concert hall experience

sweeping timber curves define the auditorium, where architecture and acoustics harmonize

at dusk, the perforated brick facade glows, revealing the concert hall’s interior

the project combines heritage with contemporary functions

project info:

name: The Light of the North Musical Art Center

architect: Chuxin Tuoyuan
lead designer: Meng Zhao
location: Säynätsalo, Finland

area: 2,000 sqm

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Tucked away in a narrow laneway of Da Nang, Vietnam, architecture practice Live Out Studio has completed Terracotta Breath, a multigenerational residence defined by its porous brick facade. Designed to accommodate two households on a modest 7 × 22-meter urban plot, the project balances intimacy and independence. At its heart lies a planted courtyard — a shared space that nurtures sunlight, greenery, and moments of togetherness.

all images courtesy of Live Out Studio

A Palette Rooted in Earth and Climate

The design by Live Out Studio embraces Vietnamese feng shui principles and a restrained budget, resulting in a home that feels both grounded and inventive. Passive climatic strategies ensure natural ventilation and shade, while a material palette of brick, bamboo, timber, clay-toned render, and corrugated roofing ties the building to its local context. This cohesive, earthy language crafted by the Vietnamese studio flows from facade to garden path, forming a thermally responsive envelope that integrates seamlessly into its dense urban surroundings.

Every detail carries the imprint of local craftsmanship. Operable brick screens filter light and airflow, handwoven rope balustrades soften circulation spaces, and the carefully patterned brickwork adds texture and rhythm to the façade. These gestures are as practical as they are poetic — ensuring comfort in the tropical climate while creating subtle layers of privacy and openness.

the multigenerational residence is defined by its porous brick facade

at the heart of the project lies a planted courtyard

passive climatic strategies ensure natural ventilation and shade

a material palette of brick, bamboo, and timber tie the building to its local context

this cohesive, earthy language flows from facade to garden path

the dwelling integrates seamlessly into its surroundings

operable brick screens filter light and airflow

the home feels both grounded and inventive

designed to accommodate two households, the project balances intimacy and independence  the design by Live Out Studio embraces Vietnamese feng shui principles     

project info: 

name: Terracotta Breath

architect: Live Out Studio | @_liveoutstudio_

location: Son Tra, Da Nang, Vietnam

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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

at night, the facade glows like a lantern within the neighborhood

light and shadow enhance both safety and imagination for children

the building softens its presence toward adjacent residences

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

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Casa Royal by Fernanda Padula emerges as an expression of harmony between architecture and terrain. Located on a sloped plot in Brazil, the single-storey residence is carefully embedded into the site, embracing the contours of the landscape while reflecting a visual sensibility that remains sensitive to light and air. With a bold form, the project stands out for the use of exposed materials, which reinforces the robustness and functionality of the structure and also provides a raw, genuine aesthetic that conveys the strength of the material in its purest form.

Its walls rise in response to the topography, while revealing the construction process itself — a gesture aligned with the brutalist idea of celebrating materials in their most honest form. Here, raw concrete intertwines with hollow bricks which are strategically positioned on the facades of the bedrooms, function as sunshades, controlling the incidence of direct light and interpreting one of the most relevant architectural objects of South America: the cobogó.

all images by Caroline Mossin

gridded pattern of hollow bricks recalls brazilian vernacular

Architect Fernanda Padula’s use of cobogó adds a softness and permeability to the design, creating a connection between the internal and external spaces, allowing natural light to enter, and promoting effective cross-ventilation. In addition to fulfilling practical functions, the cobogó has a strong aesthetic character, creating a play of shadows that changes throughout the day and intensifies the sense of dynamism within Casa Royal. At night, the box transforms into a large lantern, illuminating the plot through the intricate panels of the facade.

The decision to build a single-story house reinforces the project’s deep connection to the terrain, allowing for a seamless transition between interior spaces and the surrounding landscape. Prioritizing a lifestyle in dialogue with nature, the architecture adapts to this context. Organized into three distinct volumes — service, social, and private — the design follows a logic of lightness and clarity, with pure geometries ensuring coherence and balance throughout. And though modest in appearance, the house embodies a quiet complexity shaped by design challenges and thoughtful execution. 

Casa Royal emerges as an expression of harmony between architecture and terrain

located on a sloped plot, the single-storey residence is carefully embedded into the site

located on a sloped plot, the single-storey residence is carefully embedded into the site

concrete and brick intertwine

the perforated brick skin casts shadows through the space

organized into three volumes — service, social, and private — the design follows a logic of lightness and clarity

a seamless transition between interior spaces and the surrounding landscape

Fernanda Padula makes use of exposed materials

a sense of openness and enclosure

pure geometries ensure coherence and balance throughout

project info:

name: Casa Royal
architect: Fernanda Padula | @fefepadula

location: Brazil

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: ravail khan | designboom

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A landmark opening is set to take place in Marfa, the small Texas town whose transformation into an ‘art destination’ was famously led by the legendary Donald Judd. While he is among the most important American artists of the minimalist movement, it is less commonly known that his practice extended beyond sculpture and furniture and into architecture.

Judd had moved from New York City in the 1970s to the remote town which dots the endless high desert. In the decades to follow he was busy establishing large-scale art spaces and undertaking ambitious historic preservation projects. His many endeavors include an office in the heart of town which ultimately became his working architecture studio.

The office occupies a two-story brick structure which was first built in the early twentieth century before its overhaul by Judd and his team after acquiring it in 1990. Its recent restoration follows a seven-year effort that began in 2018 and paused after a fire in 2021. Throughout it all, the design team’s approach is driven by Judd’s own principles — respect for original materials and thoughtful adaptation to context. The renovation of Donald Judd’s architecture office in Marfa has reached completion and will reopen on September 20th, 2025.

Ahead of the office’s September 20th reopening, designboom spoke with Rainer Judd, President of the Judd Foundation and Donald’s daughter, about the project’s place within his legacy and its role in the ongoing story of Marfa.

Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman © Judd Foundation

a restoration driven by donald judd’s design principles

The reopening of the Marfa office is led by Texas-based studio Schaum Architects along with the Judd Foundation, which sees to the preservation and revival of Donald Judd’s architectural works. Through the project, passive cooling strategies, a rooftop solar array, and sustainable insulation methods are integrated into the original structure. Its historic spirit, meanwhile, is maintained and celebrated.

Interiors become gallery spaces for the display of Judd’s plywood and metal furniture, drawings, physical models, and archival material. Visitors traveling through Marfa are invited to explore these rooms to experience the depth of Judd’s architectural practice in the spaces where it came to life.

Donald Judd in Marfa, Texas, 1993 | image © Laura Wilson, courtesy Judd Foundation

dialogue with rainer judd

designboom (DB): Can you describe the spirit of Marfa through your eyes, and through the eyes of Donald Judd? How has it has evolved since his first presence there?

Rainer Judd (RJ): Marfa has a small-town history that is the core of its spirit — generations of individuals and families have helped shaped this before Don. From its days as a military outpost to its period as a cattle town, through the de facto segregation period against Mexican American residents, through its economic up and downs, it tells the story of change in the southwest, demographically and economically. Before it was settled as a town, this region has been inhabited for thousands of years.

For Don, Marfa was a place to install his work, a place to be in and care for the land, and to think. Inadvertently, it was an opportunity to do something locally that did not go against the nature of the place. He was against Marfa becoming a cattle town museum, and an art town as well, he was against the idea of an artist colony.

Today Marfa is considered an ‘art destination,’ and it was not when Don was living there. It is our responsibility to show up to the challenges we’ve helped create. I think for the work of the Foundation it is important to consider Marfa in an everyday context, of a small town, with us being one of the many individuals contributing to the next chapter of the place’s history.

Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman © Judd Foundation

DB: While he is known first as an artist and designer, he famously had many built and unbuilt works of architecture. How did these different creative disciplines intersect for him?

RJ: Art and design were individual parts of a whole, but you can see how they work with architecture, they all deal with space. In his writing on all of these — art, architecture, design — he states that the need to preserve and install his work in spaces that he considered appropriate and the invention of his work, were two primary concerns that ‘joined and both tend toward architecture.’ Concerned with the space surrounding his art, this led to repurposing buildings and envisioning future ones for different purposes.

That being a given, he understood that art did not have to concern itself with function the way architecture and design do. He emphasized that architecture was not art, but that did not mean that it could not be artistic or cultural the way that many objects and structures clearly are.

His concerns with scale, materials, form, and quality were the points at which these disciplines intersected. And also dignity, which he refers to often in writing and in interviews about architecture and art. The dignity of spaces, for living and for working, he believed good buildings had that quality. And of course, the inherent dignity of art, which led to his concern with its preservation and proper installation.

Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman © Judd Foundation

DB: How do this building and its restoration illustrate his architectural and artistic vision?

RJ: Considering the historic and spatial context of buildings, understanding their original structure and function was important to Don. When he bought the Architecture Office, one of the first things he did was sandblast the facade, he wanted to return the building to its original condition. This action takes into consideration the town, the style, and the time in which it was built. He respected original thought, labor, and materials. He was interested in not wasting this. He understood that the building could serve other purposes and even have his ‘unusual furniture’ inside but structurally it should be returned to the context, or as he would say the ‘situation.’

This aspect of understanding historically, spatially, and culturally where one is and what can be done with the available materials and resources, can be seen in both his art and architecture practices. And it was also what guided the Foundation’s work in this restoration project. The building needed to be up to date to protect the installed collection and the integrity of its structure, to adapt to the desert climate and be energy efficient, but whatever had to be done had to consider the existing situation and how it fit into the broader history and community in Marfa.

Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman © Judd Foundation

DB: What discoveries were made during the team’s environmental condition studies, and what were some challenges in bringing the building back to life, especially with the harsh Marfa climate?

RJ: The building has beautiful details that were able to be maintained and preserved or rebuilt after the fire — from the archway on the second floor, to the pressed tin ceiling, to its double hung windows, to the framing of the building. Following the fire, we had the opportunity to have new conversations to the possibilities within the structure.

The building itself, built circa 1915, was structured with a lattice of wood beams across the attic ceiling so it all had to be rebuilt. This provided our talented project team with a time period to consider how to do it better, more efficiently, with the time of one hundred years to reflect upon. We installed a system which I am excited about, which reflects the ‘technologies’ humans have used for thousands of years in desert climates in which the cool night air flushes the building.

Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman © Judd Foundation

DB: Judd’s furniture and design pieces, especially physical models, are a huge part of the restoration. How do these elements help us better understand his legacy?

RJ: Don’s art and furniture are widely known, there is a great deal of scholarship about his art, and to some extent his furniture and writing. His architecture is perhaps lesser known and the scale of it not wholly understood. Building big and new at large scales was the norm in 1980s, and it is not that Don did not have big projects, but he understood that resources are finite and that destroying existing architecture in favor of the ‘new’ was against reason, for him even to an ethical degree.

The architectural models and plans in the space illustrate not only his range within his practice of projects he was working on but also serve as examples of one person’s understanding of architecture, of form and function, and of space and time.

second floor, Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman © Judd Foundation, John Chamberlain Art © Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York

DB: With the Architecture Office now restored, how does it fit into the Judd Foundation’s long-term vision for preserving Donald’s legacy in Marfa?

RJ: The Architecture Office marks the completion of the first total building restoration project in Marfa (following the completion of the historic restoration of Spring Street in New York). In the scale of artists foundations both in the United States and abroad, we are a small team with a large mission that involves maintaining Judd’s physical spaces and art, public engagement, research, publications, exhibitions, land conservation, and gardens. The restoration was therefore monumental for us in terms of how the community, both in Marfa and beyond, came together along with the restoration project team of engineers, specialists, and craftspeople, to preserve his spaces.

Looking at the bigger picture, this is a small triumph, full of lessons in resilience and collaboration, that will guide the rest of our restoration projects.

Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman © Judd Foundation

project info:

name: Donald Judd Architecture Office

project architects: Schaum Architects | @schaumarchitects

commissioner: Judd Foundation | @juddfoundation

location: Marfa, Texas

previous coverage: July 2024

completion: September 20th, 2025

photography: © Laura Wilson, © Matthew Millman | @matthewmillmanphoto

design team (Schaum Architects): Troy Schaum, Rosalyne Shieh, Andrea Brennan, Ian Searcy, Tucker Douglas, Ane Gonzalez Lara, Tsvetelina Zdraveva, Ryan Botts, Anneli Rice, Zhiyi Chen, Ekin Erar (formerly SCHAUM/SHIEH)

historic masonry consulting: Alpha Masonry (Sotirios Kotoulas, Kostas Kotoulas, Antonio Guerreiro)MEP engineering: GK Engineers (Davia Gernand)historic building consulting: Higgins Quasebarth & Partners (Cas Stachelberg, Jonathan Taylor)

historic carpentry: High Desert Woodworks (Jon Antonides)

environmental, preservation, and conservation consulting: Image Permanence Institute (Kelly Krish, Christopher Cameron)

MEP engineering: KCI Technologies (Nicholas Badke)

general contractors: Method Building Company (Faith Melgaard, Kyle Melgaard, Jimmy Magliozzi), RC Concepts (Juan Martinez, Jose Martinez)

engineering: Simpson Gumpertz & Heger (Nathaniel Smith), TYLin Engineering (Pat Arnett, Jennifer Chan)
energy engineering: Transsolar KlimaEngineering (Erik Olsen)

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House of Nostalgia by Rutvi Patel and Jay Patel of Project Terra offers a case study in how rural housing in India might evolve in response to changing needs. The 100-square-meter home functions as a modular prototype, exploring how local materials, phased construction, and traditional spatial arrangements can support rural communities facing demographic and environmental transitions.

Located in a small village in Gujarat, the house is composed of three separate modules, each approximately 40 square meters, that reflect different construction methods and uses. One module features a sloped tiled roof and mezzanine level, another is capped with a flat reinforced concrete slab, and the third incorporates a bamboo-reinforced slab for service areas. Together, these modules accommodate shifting patterns in rural domestic life, including smaller family units, aging residents, and the common practice of incremental building over time. The total cost is kept relatively low, with each module constructed for around ₹7 lakhs (~$8,300 USD), allowing for financial flexibility and future expansion.

Project Terra presents a prototype for rural housing | all images by The Space Tracing Company

House of Nostalgia relies on passive strategies for ventilation

Avoiding cement entirely, the Vadodara-based team at Project Terra builds the structure on a dry stone foundation, with lime mortar and lime plaster used throughout. Locally made brick and bamboo contribute to structural integrity while keeping embodied energy low. The architects also eliminate the need for mechanical ventilation or cooling systems. Instead, the house relies on passive strategies through its thick, breathable walls, shaded outdoor spaces, and orientation. For instance, the east-facing veranda receives morning sunlight, while the south-facing facade is protected by a teak grove that regulates solar exposure throughout the day.

The layout connects the three volumes through a central 20-square-meter module that opens to courtyards on both east and west sides. These transitional spaces echo older village homes where outdoor areas formed an essential part of daily routines. Materials and details are drawn from regional construction practices, such as brick jalis for ventilation and corbelled chhajjas for shade and rain protection. Lime-plastered terracotta steps in the courtyard also reflect local customs, doubling as informal seating.

While House of Nostalgia draws from familiar spatial elements, it doesn’t attempt to replicate a traditional home. It presents a modular system that acknowledges the evolving realities of village life, economic precarity, climate adaptation, and intergenerational shifts, while maintaining continuity with place-based construction knowledge. 

the south-facing facade reduces heat gain

the east-facing veranda, opening from the central module, basks in the morning sun

exploring how local materials, phased construction, and traditional spatial arrangements can support rural communities

corbelled overhangs provide weather protection for the windows

playful terracotta lime-plastered steps double as seating

module A with 350 mm thick walls and a sloped roof brings light and air inside

the living space opens to the farm

module C is connected to the east by a door and the west by a window

the central module connects the two larger ones

these modules accommodate shifting patterns in rural domestic life

House of Nostalgia draws from familiar spatial elements

project info:

name: House of Nostalgia
architect: Project Terra | @project.terra_
lead architects: Rutvi Patel, Jay Patel 

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: thomai tsimpou | designboom

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The Rambler, hidden within a heavily wooded site northwest of Seattle, is a luminous brick home by architecture firm GO’C. The residence occupies a cherished piece of family property on the Kitsap Peninsula just a few blocks from a small beach town. The design grounds itself in its natural surroundings, with a strong emphasis on materiality and form, ensuring the structure connects harmoniously with the landscape. The project is constructed through a close collaboration with local craftsmen, whose years of shared experiences in making have shaped the home’s character.

images © Kevin Scott

go’c Crafts a Space for gathering and Solitude

The architects at GO’C organize The Rambler with a straightforward program, as the three-bedroom, two-bath home caters to the needs of a musician and an architect. At 1,700 square feet, the house maintains a modest scale but extends its reach into the environment. The roof and screen walls create functional outdoor spaces on all sides, framing opportunities for a garden, a guest house, and gatherings around a firepit.

Designed with an eye toward future growth, the structure allows for potential expansion and adapts to the needs of the inhabitants as their lifestyle evolves. The relationship between the home and its surroundings is further amplified by the elevated roof terrace, which offers views of the sky and the trees, making it a space for both relaxation and contemplation.

the Rambler is located on the Kitsap Peninsula northwest of Seattle

Materiality and Structure: Grounded in the Earth

The design of The Rambler by GO’C is based on a solid rectangular volume that stretches horizontally across the site. This form is punctured and carved to create a balance between privacy and openness, allowing natural light and ventilation to enter. The relationship between the ground and the roof plane is central to the design, with the house’s horizontal stretch emphasizing a connection to the earth.

A raised concrete base serves as both structure and heating source, integrating radiant hydronic piping into the floor slab. This concrete base not only provides stability but also establishes a solid visual presence, contrasting with the lighter and more porous elements above.

The roof plane is a defining feature of The Rambler, sheltering the home while providing ample outdoor space. Carved in select areas to allow light and fresh air to enter, it creates voids that open up to the sky and surrounding trees. These apertures provide slices of light that wash over the walls and fill the interior spaces with a soft, natural glow. The single vertical element in the design, a site-cast fireplace and chimney, stands as a totem marking the heart of the living space. It is in this space that the home’s soul is most evident.

the residence sits on a secluded wooded site on family-owned property

The material palette of The Rambler reflects a commitment to durability and timelessness. The concrete base and full-height masonry walls create a sense of permanence, while the deeply raked mortar joints offer texture and contrast to the smooth concrete surfaces.

The materials selected for the project were chosen for their low-maintenance qualities and their ability to improve with age. Local Douglas fir, harvested from the site, was milled and used for the roof’s finish lid, kitchen shelves, and a coffee table. Cedar, also milled on-site, was employed for the entry door, benches, and privacy fences, further integrating the house with its natural environment.

the home is designed as a three-bedroom, two-bath dwelling with spaces for creative activities

A key element in the design of The Rambler is the seamless connection between interior and exterior spaces. Brick screen walls extend into the landscape, creating semi-enclosed exterior rooms that filter light and provide privacy. These walls dissolve the boundaries between the structure and its surroundings, allowing the green of the landscape to flow right up to the perimeter walls and, in some cases, into the home itself.

The entry garden, for example, is a space that invites the landscape directly into the heart of the residence. This bucolic integration of nature and architecture ensures that The Rambler remains a part of the land it occupies.

a raised concrete base serves as structure and heating while providing a visual weight

the house extends into the landscape with functional outdoor spaces on all sides

the roof is an expansive overhang with carved voids for light, air, and access to the sky

materials like Douglas fir and cedar are sourced from the site to enhance connection with nature

name: The Rambler

architect, interior designer: GO’C | @go_c_studio

location: Kitsap Peninsula, Washington, USA

photography: © Kevin Scott | @k7scott

project team: Jon Gentry, Aimée O’Carroll, Yuchen Qiu

builder team: Sparrow Woodworks (Jon Gentry AIA / Lydia Ramsey)

structural engineering: SSF Engineers

civil engineering: J Welch Engineering

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Casa de Barro by GOMA Taller de Arquitectura is an almost invisible rest cabin buried in the ochre-toned terrain of El Ameyal ranch in Querétaro, Mexico. Conceived as a minimal lodging space, the 90-square-meter, cave-like retreat uses mass and earth to fade into its surroundings. The project takes cues from the textures and colors of the site’s endemic vegetation and seasonal stream.

Located at the lower edge of the agroecological ranch, the red brick cabin is approached through a staircase incision between two solid walls. From a distance, only a few elements hint at its existence, including a pair of domes rising above the vegetation like ancient chimneys that seem to belong to the landscape. For the architects, the goal was to build within the land, preserving the surrounding hills, grasses, cacti, and trees. 

all images by César Bejar, unless stated otherwise

Casa de Barro takes its name from the clay that shapes it

The Querétaro-based team at GOMA composes the main volume as a single barrel vault, supported by wide, low walls, defining the experience and the logic of the construction. Traditionally sourced red fired-clay bricks, that Casa de Barro (House of Clay) takes its name from, shape the floors, walls, and ceilings, creating a warm interior, complete with handcrafted wood, wrought iron details, and artisan ceramic tiles. 

Casa de Barro is shaped to frame views of the terrain and keep the focus on the environment, respecting the Mexican landscape and making room for people to live, feeling honest and rooted.

Casa de Barro by GOMA Taller de Arquitectura is an almost invisible rest cabin in Mexico

conceived as a minimal lodging space

the 90-square-meter, cave-like retreat uses mass and earth to fade into its surroundings

the project takes cues from the textures and colors of the site’s endemic vegetation and seasonal stream

from a distance, only a few elements hint at the existence of the structure | image by Juan Benavides

the goal was to build within the land | image by Juan Benavides

preserving the surrounding hills, grasses, cacti, and trees | image by Juan Benavides

the red brick cabin is approached through a staircase incision between two solid walls | image by Juan Benavides

the project is named after red fired-clay bricks, the main material used | image by Juan Benavides

GOMA composes the main volume as a single barrel vault | image by Juan Benavides

Casa de Barro is shaped to frame views of the terrain

creating a warm interior

handcrafted wood, wrought iron details, and artisan ceramic tiles complete the palette

project info:

name: Casa de Barro

architect: GOMA Taller de Arquitectura | @goma_taller

location: Amealco, Querétaro, Mexico

area: 90 square meters

client / developer: Rancho El Ameyal | @ranchoelameyal

photographers: César Bejar | @cesarbejarstudio, Juan Benavides | @juanbenavidesl
videographer: Juan Benavides | @juanbenavidesl

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The H-House by Studio Nirbaadh is a 2,850-square-foot residence located in Koregaon, a narrow urban pocket in Satara, India. Designed in response to the site’s elongated proportions, the brick and lime plaster home is organized along three parallel axes that structure the spatial layout and give the project its name.

This linear planning approach supports an intuitive and climate-conscious arrangement. The central axis anchors circulation, while the adjacent lines shape the structural and programmatic zones. The plan emphasizes flow — of people, light, and air — throughout the narrow plot.

images © Pranit Bora

studio birbaadh plans a central courtyard

One of the H-House’s defining spatial elements is a slender, semi-open courtyard that Studio Nirbaadh designs to run along the northern edge. This linear void operates as a transitional spine, at once encouraging cross ventilation, drawing daylight deep into the interior, and creating a tactile connection to the outdoors.

By aligning living spaces around this planted court, the architects create a continuous visual and environmental exchange. The courtyard serves daily functions as a space for informal gatherings and passive cooling, centering the house around a living landscape.

the H-House is located on a narrow site in Koregaon, Satara

a facade of brick screens

The west-facing facade directly addresses the challenges of heat and glare through a double-layered brick screen. Custom-designed for the project, the screen filters sunlight while maintaining privacy and reducing thermal load. It also casts changing patterns across the interiors, reinforcing the dialogue between structure and environment.

Additional facade elements, such as deep-set windows, blank masonry surfaces, and projecting planters, are employed to fine-tune the building’s thermal and visual performance. These architectural devices support a balance between openness and insulation, resulting in a structure that responds to its climate with deliberate restraint.

Studio Nirbaadh organizes the home around three parallel longitudinal axes

The house’s elevation reflects the tripartite planning strategy. Three dominant vertical walls rise in parallel, articulated with rhythmic windows, projecting planters, and brick detailing. These features reference the H-form in silhouette, giving the house a distinctive identity within its urban context. The form negotiates with its surroundings through materiality and proportion. The architecture relies on elemental expressions like brick, wood, and shaded voids to ground the building in its climate and community.

Inside, the H-House continues its minimal and tactile approach. A palette of exposed brick and wood joinery defines the interiors, where natural light is filtered and reflected to generate a soft, shifting ambiance. Furniture and built-in elements are pared back to reinforce a sense of visual clarity and openness.

a narrow courtyard along the northern edge brings light and ventilation into the interiors

the courtyard also functions as a social space and cooling spine within the linear plan

a perforated brick screen on the west-facing facade filters light and reduces solar gain

the facade includes deep-set windows and projecting planters for climatic control

vertical masonry walls echo the H-shaped layout in the home’s elevation

project info:

name: H-House

architect: Studio Nirbaadh

location: Koregaon, Satara, India

area: 2,850 square feet (265 square meters)

completion: 2025

photography: © Pranit Bora | Pranit Bora

lead architects: Dhanesh Gandhi, Tanushree Oswal

technical team: Nirag Parmar, Shekhar Kadam
lighting engineering, consulting: Anavi
electrical engineering, consulting: Legrand

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The new headquarters for furniture brand Nothing Design Co. (NDC), realized by Range Design & Architecture, is located on a narrow lot in Chicago. The renovation project brings together studio, showroom, and event space within a 3,500-square-foot brick structure. The project, with its porous facade, is a considered expansion of an existing building, designed to accommodate furniture production while referencing the city’s historic masonry traditions.

images © James John Jetel

range designs a Contextual brick Facade

Faced with constraints on openings due to the proximity of neighboring properties, the team at Range Design & Architecture turned to a brick screen to manage daylight and define the NDC HQ’s street presence. Terra-cotta colored paver bricks span the southern facade, referencing Chicago’s historic use of face brick and allowing filtered light into the interior. The screen reduces solar heat gain while shaping a distinctive identity for the design studio, both as a public-facing space and as a working studio.

This use of brick continues along the north-facing rear of the building, where a similar screen in common brick partially encloses a second-floor patio. A glazed, bi-folding door connects the upper interior to the terrace, allowing the workspace to expand outward. From within, the brick assembly modulates views and shadows across surfaces throughout the day, balancing material solidity with visual porosity.

the headquarters for NDC occupies a narrow infill lot in Chicago

expanding an existing structure vertically

To increase the volume of the new NDC Chicago headquarters, Range Design & Architecture extends the original load-bearing brick walls vertically. With this strategy, the architects preserve the foundational footprint and carry the building’s existing logic upward. Without side windows, the design relies on openings at the north and south ends to draw in daylight. A new mezzanine floats above the main gathering space, and skylights above vent passively with solar-powered mechanisms.

Inside, the palette is restrained and deliberate. White oak millwork and weathering steel accents support the building’s functional requirements while enhancing the tactile atmosphere. Brick is left exposed where possible, grounding the interiors in continuity with the exterior language.

Range Design expands the existing structure using new and reclaimed brick

Range Design worked with both new and salvaged bricks to emphasize the project’s relationship to the surrounding streetscape. Common brick wraps the east and west walls, while the more refined paver bricks define the public face. The architects describe the approach as a dialogue with Chicago’s ‘tapestried’ masonry history, using the module of the brick to signal scale and material depth.

Throughout, the project reflects a balance between economy and intention. Initially imagined with heavy timber roof framing, the structure ultimately incorporates parallel chord trusses to meet budget requirements. Rather than mimic an older model, the team emphasized the volume and rhythm of each architectural element.

the southern facade features a terra-cotta paver brick screen for solar shading

The new Nothing Design Co. headquarters incorporates a range of performance-driven strategies without compromising its material clarity. Highly insulated walls and roof assemblies support efficient mechanical systems. Ventilated skylights, natural daylighting, and strategic solar shading reduce reliance on artificial lighting and cooling. Outside, xeriscape gardens soften the urban edge and contribute to biodiversity.

a second brick screen defines a terrace at the back of the upper floor

inside, the space is finished in white oak, weathering steel, and exposed brick

parallel chord trusses are used instead of heavy timber to manage costs

the building uses skylights, xeriscape gardens, and high-efficiency systems for performance

project info:

name: Nothing Design Co. (NDC) Headquarters

architect: Range Design & Architecture | @rangedesign

location: Chicago, Illinois

area: 3,500 square feet

completion: 2024

photography: © James John Jetel | @jamesjohnjetel

lead architects: Range Design & Architecture
design team: Casimir Kujawa (principal), Mason Pritchett (principal), Luis Vasquez (architect-in-training)
structural engineer: Louis Shell Structures, Inc.
MEP engineer: Edifel Designs
landscape architect: Nathan Wright Landscape Design
general contractor: Formed Space
mason: EnZ Masonry Inc.
structural steel: Estructuras
stair fabricator: MFabrication
interior casework: Weisfeld Construction, Ltd

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