Archermit presents the Nujiang River 72 Turns Canyon Scenic Area in Tibet, an infrastructure that translates the peril and grandeur of the Sichuan–Tibet Highway into a visitor experience. Completed after six years of high-altitude construction, the project is located in Buze Village, Baxoi County, along the G318 Highway. It centers on a dramatic glass viewing platform cantilevered 37 meters from a cliff face above the Nujiang Grand Canyon, echoing the legendary hairpin bends of the ‘devil’s road’, the 72 turns of Nujiang.

The main structure of the project reimagines the infamous road’s serpentine layout as a walkable loop suspended 130 meters over the canyon. Its floor of ultra-clear laminated glass offers views into the abyss, while the red weathering steel cladding references Tibetan cultural colors and mirrors the rugged textures of the landscape. This precarious position transforms the driving ordeal of the 72 turns into a ‘heavenly road’ in the air that demands visitors measure danger with their own bodies.

images by Arch-exist, unless stated otherwise

Channeling the highway’s construction legacy

The Chengdu-based team of Archermit suspends a glass bridge 50 meters above the Nujiang River, recalling the old steel bridge once feared by truck drivers and guarded for single-file crossings. Other installations include a zip line, the ‘thrilling steps’ bridge, and a 666-step ladder carved into the cliffs that reinterpret the methods and hardships of the highway’s builders, who in the 1950s faced landslides, hand-built cableways, and unstable geology with limited tools. 

Constructing the site itself became an act of endurance. Perched at 2,800 meters, the canyon offered little flat ground, narrow roads, frequent rockfalls, and relentless valley winds. Machinery longer than 13 meters could not be delivered, forcing the Chinese architects to develop customized drill bits to cut through the canyon’s variable rock layers. Thirty-nine piles for the viewing platform’s foundations were drilled manually, with workers secured by ropes as they chipped away rock 25 meters deep. Steel components were divided into 46 transportable sections and lifted across the river by a system of temporary cableways, echoing the highway’s original construction methods.

The project positions itself as a new waypoint on G318, China’s scenic avenue to Lhasa, adding to nearby landmarks such as Ranwu Lake and Laigu Glacier. 

Archermit presents the Nujiang River 72 Turns Canyon Scenic Area in Tibet

the infrastructure translates the peril and grandeur of the Sichuan–Tibet Highway into a visitor experience

completed after six years of high-altitude construction

a glass viewing platform cantilevers 37 meters from a cliff face | image by Chill Shine

echoing the hairpin bends of the 72 turns of Nujiang | image by Chill Shine

the canyon offered little flat ground, narrow roads, frequent rockfalls, and relentless valley winds

the project positions itself as a new waypoint on G318, China’s scenic avenue to Lhasa | image by Chill Shine

transforming the driving ordeal of the 72 turns into a ‘heavenly road’ in the air

demanding visitors measure danger with their own bodies | image by Chill Shine

Archermit suspends a glass bridge 50 meters above the Nujiang River | image by Chill Shine

other installations include a zip line, the ‘thrilling steps’ bridge, and a 666-step ladder carved into the cliffs

perched at 2,800 meters

steel components were divided into 46 transportable sections and lifted across the river

thirty-nine piles for the viewing platform’s foundations were drilled manually

project info:

name: Nujiang River 72 Turns Canyon Scenic Area

architect: Archermit | @archermit_architects

location: Buze Village, Baxoi County, Tibet Autonomous Region, China

photographers: Arch-Exist | @archexist, Chill Shine | @chillshinestudio

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HomeBox is a smart storage solution developed to address the growing issues of package theft, weather damage, and delivery mismanagement in residential settings. The project aims to merge durability, security, and connectivity into a single, unobtrusive product that integrates seamlessly with the home environment. The unit is constructed from stainless steel, ensuring strength against forced entry as well as resistance to outdoor conditions such as rain and snow. The design prioritizes clean geometry and an architectural presence, allowing HomeBox to blend with a wide range of housing styles without appearing intrusive. Inside, a weight sensor detects package placement and triggers communication with the companion mobile app. Users receive instant notifications and can track delivery status remotely. To provide immediate visual feedback, LED indicators are embedded on the exterior: white signals readiness, green confirms delivery, and red alerts when the box is full.

all images courtesy of Seung Keun Kim

a balance of security, durability, and usability

These combined physical and digital cues reinforce trust and ease of use. Designer Seung Keun Kim created HomeBox from concept to completion, developing the overall form, interface system, and interaction details. He defined the architectural aesthetic, integrated the LED status cues, and translated technical requirements such as the weight sensor into a clear user experience. The project was approached with equal focus on security, durability, and intuitive interaction, balancing material robustness with discreet technology. Recognized with a Silver MUSE Design Award in 2025, HomeBox demonstrates how industrial design can address emerging lifestyle challenges through a product that redefines package delivery as a safe, predictable, and integrated part of everyday life.

couriers scan the package’s tracking ID on HomeBox’s NFC reader, securely verifying delivery and linking it to the user’s app for real-time updates

after ID authentication, HomeBox’s door unlocks for secure package placement, with smooth ergonomics and capacity for varied parcel sizes

LEDs show status at a glance: white for ready, green for delivery complete, red for full; lights activate only in proximity for privacy and security

users collect packages through a rear door from inside the property, separating delivery and retrieval for added security and privacy

a top tray provides space for returns, small items, keys, or courier notes, adding convenience and supporting daily delivery routines

the app lets users track deliveries, receive instant alerts, manage access, and customize settings, ensuring secure and seamless package control from anywhere

a built-in weight sensor detects package placement, logging deliveries and triggering instant app notifications for secure tracking

the front door slides upward to 85°, designed for smooth, ergonomic access that accommodates various package sizes with ease

a compact control unit manages NFC, sensors, LEDs, and app connectivity, with cooling vents and sealed protection for reliable outdoor performance

available in a range of colors and finishes, HomeBox offers flexible options to suit different homes and bespoke architectural styles

project info:

name: Homebox
designer: Seung Keun Kim

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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A sculptural steel monolith by Anish Kapoor now marks the entrance to a subway station in Naples, Italy. The project at Monte Sant’Angelo Subway Station, which first began in 2003, is set to officially open on September 11th, 2025. Integrating sculpture and architecture into a singular environment, the work has been conceived by the celebrity artist as part of a larger regeneration of the city’s Traiano district.

Anish Kapoor explains: ‘In the city of Mount Vesuvius and Dante’s mythical entrance to the Inferno, I found it important to try and deal with what it really means to go underground.’

images by Amedeo Benestante © Anish Kapoor

two sculptural entrances

With his newly completed intervention, artist Anish Kapoor introduces to the station two distinct points of entry, each designed as sculptural thresholds into Naples’ metro network. The university entrance, formed from weathering steel, swells from the plaza in a way that is ‘archetypal, raw and labial.’ The artist’s team explains: ‘It appears to offer a descent into the underworld.’

The Traiano entrance presents a contrasting language. Here, a tubular opening of smooth steel is precise and brushed. The team continues: ‘As in so much of Kapoor’s work, interior space is turned inside out, he reverses upwards and downwards in a sculptural work that is not an object in the landscape, but rather is joined, rooted and part of the landscape.’ Together, the two entrances frame travelers’ movements through sculpture. The familiar thresholds are no longer secondary details, but are defining elements of Naples’ urban experience.

Naples opens Monte Sant’Angelo Subway Station, designed with Anish Kapoor

infrastructure becomes public art

Anish Kapoor collaborated with Jan Kaplický and Amanda Levete of Future Systems to build these new sculptures for the Naples subway station. The trio together worked to maintain a sense of raw continuity — the tunnel walls are kept raw, allowing for an expressive material honesty. The team concludes: ‘This is an architecture embodied with the porosity of the body — a collision of the functional and formal with the aesthetic and the mythic. It is art as architecture as never seen before.’

While the station arrives as a functional addition to Naples’s expanding metro system, it is also a cultural statement as the southern Italian city creates a dialogue between its infrastructure and the realm of public art. The opening marks the culmination of two decades of work.

Kapoor designs two sculptural entrances that act as thresholds to the underground

the university entrance swells from the ground in weathering steel 

the Traiano entrance forms a smooth, tubular opening which reverses interior and exterior

the project began in 2003 as part of Naples’ metro expansion and cultural regeneration

inside the station, rough tunnel walls are designed with Future Systems

the new station is set to be inaugurated on September 11th, 2025

project info:

name: Monte Sant’Angelo Station

artist: Anish Kapoor | @dirty_corner

location: Naples, Italy

collaborators:

photography: Amedeo Benestante © Anish Kapoor

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Hyundai Motor returns to Europe’s largest mobility event after a four-year absence with the unveiling of Concept THREE, a compact electric vehicle (EV) concept under its IONIQ sub-brand, at IAA Mobility 2025 in Munich. The debut signals Hyundai’s entry into Europe’s rapidly growing compact EV segment, complementing its existing midsize and large models.

The Concept THREE embodies Hyundai’s Art of Steel design language, translating the material’s inherent strength and flexibility into sculptural forms. Its aerodynamic Aero Hatch profile features three intersecting surfaces that create flowing volumes and precise lines, paired with a vertical tailgate. Parametric Pixel lighting on the front and rear adds visual rhythm, while a lemon-tinted glass finish and matching wheels forge a connection between exterior and interior aesthetics.

images courtesy of Hyundai Motor

Mr. Pix Brings Playful Storytelling to Sustainable Cabin

Inside, the South Korean multinational automotive manufacturer introduces a cabin defined by soft yellow and grey tones that shift across textures to create a calming, intuitive environment. The interior integrates modular Bring Your Own Lifestyle (BYOL) widgets, allowing users to customize digital interfaces and functional elements, while playful storytelling is woven through Mr. Pix, a symbolic character that appears in interactive design details. Sustainability is central to the Concept THREE, with materials such as recycled wool, ocean waste textiles, and lightweight aluminum foam incorporated into the cabin.

Hyundai’s debut of Concept THREE comes as part of a broader European electrification strategy. By 2027, the company aims to offer electrified versions of every model in the region and to introduce 21 EV models globally by 2030. Compact EVs like Concept THREE are particularly relevant in Europe, where urbanization, sustainability regulations, and space constraints drive demand for smaller, more efficient vehicles. 

Hyundai unveils Concept THREE

nine models on view at IAA Mobility

At IAA Mobility, Hyundai’s booth spans 58 meters in width and 7 meters in height, designed as an open, Parametric Pixel-inspired space that houses its full European EV lineup, including Concept THREE, the INSTEROID concept, and select IONIQ models. Visitors can experience nine models through test drives, ranging from compact EVs like the IONIQ 5 to larger vehicles such as the INSTER Cross and IONIQ 9. The booth also features design exhibitions that translate vehicle elements into tangible forms, including sculptures inspired by Concept THREE’s exterior and furniture reflecting the concept’s interior layouts.

the Aero Hatch profile features three intersecting surfaces that create flowing volumes

a lemon-tinted glass finish and matching wheels forge a connection between exterior and interior

the Concept THREE embodies Hyundai’s Art of Steel design language

recycled wool, ocean waste textiles, and lightweight aluminum foam are incorporated into the cabin

a cabin defined by soft yellow and grey tones that shift across textures

project info:

name: Concept THREE
car manufacturer: Hyundai | @hyundai

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Located in Gusan-dong, Seoul, at the corner of a three-way intersection, One House 2 by DRAWING WORKS explores how small-scale residential design can adapt existing structures to contemporary living. The project continues the studio’s investigation into one-person housing, following an earlier project in Yeongdong that featured a similar dwelling set within a natural landscape. This second iteration situates the concept within the dense environment of the city.

The house is composed of two floors, each measuring approximately 21 sqm. The compact plan emphasizes clear circulation and efficient use of space. The remodeling included demolishing an external staircase to introduce a new parking area and ground-level entrance. A steel frame ensures stability and creates flexibility in the reconfigured layout. Inside, the arrangement connects the parking, entrance, kitchen, and staircase in a straightforward sequence that extends upward toward the living areas. On the second floor, the relationship between the room, terrace, and rooftop provides varied spatial experiences within the compact volume.

all images by Yoon Joonhwan

Small-Scale Architecture Meets Urban Context in One House 2

The design addresses environmental performance through careful window placement. South-facing openings maximize daylight, while north-facing windows are minimized to reduce energy loss. These decisions balance comfort with efficiency in a small-scale footprint. Externally, the house responds to its exposed location on three sides. Rather than asserting scale, the design adopts a restrained presence that blends into its surroundings. Corrugated steel cladding defines the facade, chosen for durability and economy. By layering three different off-the-shelf patterns, the elevation achieves depth and variation without additional ornamentation. This material strategy demonstrates how modest interventions can enrich the dialogue between a building and its urban context.

Through its compact yet adaptable design, One House 2 by studio DRAWING WORKS redefines the potential of small-scale architecture in dense urban conditions. The project illustrates how careful planning, material economy, and subtle reconfiguration can produce a residence that is both efficient and responsive, contributing to broader discussions on the future of urban housing.

One House 2 by DRAWING WORKS is located at a three-way intersection in Gusan-dong, Seoul

the project adapts an existing structure for contemporary one-person urban living

the house maintains a restrained presence despite being exposed on three sides

corrugated steel cladding defines the exterior facade for durability and economy

three layered steel patterns add depth and rhythmic variation to the elevation

the facade avoids ornamentation, focusing on material texture and pattern

the project shows how minimal redesign can enhance urban single-person housing

south-facing windows maximize natural daylight throughout the house

north-facing openings are minimized to improve energy efficiency

a steel frame provides structural stability and flexibility within the compact layout

the external staircase was removed to create a new parking area and entrance

compact interior spaces are organized for maximum functional efficiency

project info:

name: One House 2
architect: DRAWING WORKS | @drawingworks_architects

principal architect: Youngbae Kim

location: Seoul, Korea

photographer: Yoon Joonhwan | @yoon_joonhwan

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Installed on the rooftop of Casa Wabi Sabino in Mexico City’s Atlampa neighborhood, Tendedero (Clothesline) by Brenda Isabel Pérez and Israel Espin reinterprets the domestic act of hanging clothes as an architectural and artistic intervention. The work connects urban space, materiality, and social critique through a minimal yet deliberate design strategy.

The installation consists of four parallel metal cables stretched across the rooftop, anchored with steel counterweights. Suspended from these lines are twelve linen canvases measuring 2.5 × 1.5 meters each. The system establishes a balance between the rigidity of the steel structure and the lightness of the semi-transparent fabric. As the canvases respond to wind and movement, the installation becomes dynamic, creating shifting spatial thresholds for visitors to move through. By occupying the rooftop, the project reclaims a transitional zone historically associated with domestic labor and care work, often carried out by women and largely overlooked within urban and economic frameworks. Through its spatial configuration, Tendedero makes this labor visible, situating it within both architectural discourse and collective experience.

all images by Andrés Cedillo unless stated otherwise

quotidian clothesline transforms into large-scale installation

The intervention interacts with Alberto Kalach’s architectural design for Casa Wabi Sabino, complementing its structural clarity while introducing a new layer of permeability and rhythm. The linen surfaces generate ephemeral enclosures, producing moments of transparency and opacity that alter perspective and scale. The act of walking among the fabrics recalls both the repetitiveness of daily domestic work and its metaphorical dimensions, relating to cycles of care, repair, and renewal that sustain the social fabric.

The enlarged scale of the clothesline transforms an everyday household object into an inhabitable structure. This shift repositions the domestic as a critical spatial territory, one through which the city is shaped and social relationships are negotiated. Through Tendedero installation, artists Espin and Pérez explore the intersection of art, architecture, and urbanism, proposing a reconsideration of dwelling and domestic labor as integral to the cultural and material fabric of the city.

Tendedero by Brenda Isabel Pérez and Israel Espin in Mexico City

an installation exploring domestic labor and urban space

rooftop intervention at Casa Wabi Sabino in the Atlampa neighborhood

four parallel metal cables span the rooftop, holding linen canvases

twelve natural linen sheets define the installation’s structure

steel counterweights anchor the tensile system at each end | image by Alum Gálvez

the work transforms a quotidian clothesline into large-scale architecture | image by Alum Gálvez

semi-transparent fabrics shift with the wind, creating a moving threshold | image by Alum Gálvez

the installation connects private domestic work with public urban space | image by Alum Gálvez

Architects and artists Brenda Isabel Pérez and Israel Espin stand along Tendedero installation | image by Alum Gálvez

project info:

name: Tendedero (Clothesline)
designers: Brenda Isabel Pérez | @unabrenda, Israel Espin | @israelespin

design team: Cristian Camacho, Gersain Aquino, Liliana Coronado, Marbet Salazar-Bernal

textiles: Sistema Soñar, Itzel Sánchez Hernández

curator: Dakin Hart

dates: July 12th to September 27, 2025

photographer: Alum Gálvez | @alum_galvez, ESPACIOS – Andres Cedillo | @_andrescedillo

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Tucked into the Roma neighborhood of Mexico City, FORMANT Studio’s Marne Café brings together architecture, gastronomy, and tactile design. The café and bakery take a timeless approach to contemporary space-making — grounded in high-quality, locally sourced products and a strong material sensibility. Inside, a raw yet composed brutalist palette defines the atmosphere.

Exposed concrete and metal structures, dark wood, and pared-back industrial lighting form the backbone of the interior, while accents of color in the upholstery and wall-mounted artworks offset the otherwise neutral environment. Photographs framed in metal add to the layered visual language, and suspended ceiling speakers infuse the space with a carefully curated soundscape, reinforcing the immersive atmosphere.

all images by Fabián Martínez

formant studio unites different uses with a consistent language

Spanning 130 square meters, Marne Café is loosely divided into two zones, with the first a restaurant and counter space that opens onto the street, and tucked further inside, a wine bar tucked. Despite their different uses, both areas are stitched together by a consistent material and spatial language. All furnishings — tables, stools, chairs, lighting, and even the service counter — were custom-designed by Mexico City-based FORMANT Studio to reflect the project’s functional needs and aesthetic restraint. The layout follows a subtle logic that allows guests to flow easily through the space, sit briefly, or stay longer depending on the rhythm of their visit.

Marne Café brings together architecture, gastronomy, and tactile design

a raw yet composed brutalist palette defines the atmosphere

tucked into the Roma neighborhood of Mexico City

characterized by locally sourced products and a strong material sensibility

exposed concrete meets metal structures

engulfing dark wood and pared-back industrial lighting enhance the ambiance

the café is loosely divided into two zones

all furnishings were custom-designed by FORMANT Studio

transitioning between open and more intimate spaces

photographs framed in metal add to the layered visual language

industrial lighting finishes

project info:

name: Marne Café
architect: FORMANT Studio | @formant.studio

location: Mexico City

photographer: Fabián Martínez | @fabianml

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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Taller Di Frenna Arquitectos in Colima, Mexico, is conceived as both a productive workplace and as a source of inspiration. Set between the lush green of nature and the movement of organic and geometric forms, the office was born with the intention of encouraging creativity, offering a stimulating environment where architecture is practiced and lived. The building includes spaces such as a model workshop, audiovisual areas, meeting rooms, a desk area, and open patios — all carefully designed to spark imagination and dialogue. Experimentation plays a key role in the design concept, merging both natural and industrial elements such as steel, concrete, burnt wood, and stone, in a physical manifestation of the studio’s vision.

all images courtesy of Taller Di Frenna Arquitectos

sequence of organic & geometric forms shapes the mexico office

In this way, Taller Di Frenna Arquitectos serves as a live portfolio representing the Mexican practice’s architectural identity, vision, and values. ‘This project embodies the most characteristic elements of our architectural approach: clean, well-defined volumes; the use of expressive, raw, and honest materials; and a strong emphasis on texture and tactile experience,’ notes the team. As such they embraced experimentation, merging both natural and industrial elements such as steel, concrete, burnt wood, and stone.

This mix of materiality, alongside a variety of finishes, provides a rich, layered aesthetic that imbues the space with a unique, personal, and artistic sensibility that aligns with our studio’s philosophy. Interior courtyards punctuate the building to introduce natural light and vegetation, allowing for a seamless coexistence between built form and organic life. These spaces, through their play of levels, light, and shadow, break spatial monotony and generate moments of calm, contemplation, and inspiration.

Di Frenna Arquitectos completes its office

an assemblage of geometric volumes

concrete, stone, and steel blocks shape the office

conceived as both a productive workplace and as a source of inspiration

a seamless coexistence between built form and organic life

interior courtyards punctuate the building to introduce natural light and vegetation

the building includes spaces such as a model workshop, audiovisual areas, meeting rooms, and a desk area

open patios weave through

serving as a live portfolio representing the studio’s architectural identity, vision, and values

merging both natural and industrial elements such as steel, concrete, burnt wood, and stone

the concept breaks spatial monotony and generate moments of calm, contemplation, and inspiration

located in Colima, Mexico

project info:

name: Taller Di Frenna Arquitectos
architect: Di Frenna Arquitectos | @difrenna.arquitectos

location: Colima, Mexico

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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Mediavaert, designed by Team V Architecture, is one of Europe’s largest hybrid timber office buildings, serving as the headquarters for DPG Media in Amsterdam’s Overamstel district. The 46,000 sq m building accommodates editorial offices and recording studios for multiple Dutch newspapers, magazines, and radio stations. The project was developed in collaboration with real estate developer Being and engineering firm Arup and is located on a former parking lot adjacent to DPG Media’s printing facility.

The building uses a hybrid structural approach, applying timber where possible and steel or concrete where necessary. Over 7,000 cu m of cross-laminated timber (CLT), sourced from Austrian production forests, is used for beams, columns, and floors. Prefabricated components enabled efficient assembly, reducing waste and construction time. The facade incorporates 15,000 hand-glazed ceramic tiles produced locally by Royal Tichelaar. These tiles, along with the building’s rounded edges, introduce a textured and visually softer contrast to the industrial surroundings.

all images by Ossip van Duivenbode

team v architecture conceives hybrid timber office building

Mediavaert integrates energy-efficient systems, including CO₂-controlled ventilation with heat recovery, ground-source heating and cooling (WKO), solar panels, and water-saving fixtures. Interior spaces are designed to maximize natural daylight and visibility of greenery, supported by features such as skylights, an atrium, and open-plan layouts. A 430-meter elevated green walking path surrounds the building, accessible to all occupants.

The project by Team V Architecture Studio follows principles of circularity and ecological integration, combining architecture, interior design, and landscaping into a single framework. These strategies have contributed to the building achieving BREEAM Excellent certification, the 2024 National Timber Award, and recognition as ‘Office Building of the Year’ at the Architectenweb Awards. Mediavaert demonstrates the scalability of industrialized timber construction for large-scale urban developments while addressing environmental performance, workplace health, and adaptability.

Mediavaert serves as DPG Media’s headquarters in Amsterdam

the building spans 46,000 sq m of editorial and recording spaces

designed by Team V Architecture in collaboration with Being and Arup

hybrid structure combines timber, steel, and concrete

facade features 15,000 hand-glazed ceramic tiles

greenery is visible throughout the interior spaces

timber forms the beams, columns, and floors of the building

prefabricated components reduced waste and sped up assembly

Mediavaert uses over 7,000 cu m of Austrian-sourced cross-laminated timber

skylights and an atrium maximize natural daylight indoors

CO₂-controlled ventilation ensures optimal air quality

the project was recognized as ‘Office Building of the Year’

rounded edges soften the building’s industrial surroundings

project info:

name: Mediavaert DPG Media
architect: Team V Architecture | @team.v.architecture

location: Amsterdam, Netherlands

area: 46,000 sqm

client: DPG Media

collaborators: Being, Arup, DGMR, Delva, Martijn Sandberg (artwork)

contractor: BESIX NL

photographer: Ossip van Duivenbode | @ossipvanduivenbode

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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The Puddle Pavilion by i/thee is a free-form canopy made from algae-based bio-resin cast directly on the ground with no formwork. The installation was sculpted through an additive process that the design team, led by Neal Lucas Hitch, refers to as Action Architecture. During construction, algae-based resin was poured, splattered, and flung onto the floor, left to settle naturally according to the principles of fluid dynamics, and then suspended atop slender custom steel columns to hover above Mud Creek in Bondurant, Iowa, outside Des Moines. The pavilion appears as a solidified resin river, or puddle, frozen in time, an abstract expressionist painting liberated from the canvas.

all images courtesy of i/thee

i/thee’s canopy fuses with the Landscape

The Puddle Pavilion is the second piece of infrastructure in an ongoing art implementation masterplan that studio i/thee has designed for the City of Bondurant, Iowa, following The Dining Room (2024), a set of intentionally eroded rammed-earth walls, and preceding The Garden (2026), a meandering fractal boardwalk. Serving as a canopy at the Eagle Park entrance to Mud Creek, the work invites visitors to linger and engage more deeply with the local ecology of the site. ‘With the Puddle Pavilion, we were interested in achieving formal literalism. Where other architects and artists have sought to create works ‘like’ or ‘as’ a flowing river, we aimed to sculpt a piece by literally capturing the ephemeral beauty of moving liquid frozen in time. The Puddle Pavilion is not a metaphor: it is not like a puddle, but rather it is a puddle, made by carefully poured layers of algae-based resin, left to find their own forms under the influence of natural forces such as gravity, surface tension, and fluid dynamics, as well as environmental variables including temperature and wind speed,’ shares designer Neal Lucas Hitch.

custom-fabricated joints connect the resin canopy to stainless steel columns

Abstract Realism in Resin and Steel

Tapping into the intrinsic beauty of natural phenomena, the installation embodies what we refer to as the oxymoron, Abstract Realism: abstract in the sense of being non-figurative and non-compositional; realist in the sense of being non-representational and non-symbolic, sculpted in participation with natural forces. ‘Here, art, architecture, is not a static object imposed top down by architects issuing plans, but a dynamic dance in which design is conceived as a negotiation, through the participation of architects, builders, and the natural environment working together in symbiosis,’ concludes i/thee’s lead designer.

the free-form canopy casts shade for visitors below

a solidified river of resin floats over the park landscape

sunlight filters through the edges of the semi-transparent resin

resin forms appear to merge with the surrounding sky and clouds

the sky is visible through openings in the resin canopy

resin was poured directly on the ground with no formwork and left to find its own form

resin poured, splattered, and flung in an additive process

the canopy is lofted above the site on slender stainless steel supports

the pavilion frames the entry stair to Mud Creek in Iowa

the form of the canopy echoes the natural currents of the adjacent creek

a puddle of algae-based bio-resin hovers above Mud Creek

algae-based bio-resin was cast with no formwork to create the hovering free-form surface

project info:

name: Puddle Pavilion

designer: i/thee | @i____thee

design team: Neal Lucas Hitch, Kristina Fisher, Martin Hitch

location: Bondurant, Iowa, US

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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