A-nrd approaches the design of Arthouse Glasgow through the character and spontaneity of artists’ homes, transforming a restored 19th-century building on Bath Street into a 76-room hotel. Developed for Oberland, the project draws on Glasgow’s architectural history and creative culture, combining original Victorian features with contemporary furniture, vintage pieces and the work of local artists and makers. Dark timber, rich colours and carefully selected materials establish a residential atmosphere throughout the hotel. In the newly completed suite, original blue fireplace tiles inform the colour of bespoke furniture and upholstery, while curved sofas introduce softer forms alongside historic timber panelling. The compact Pocket rooms apply the same design approach through integrated joinery, window-facing beds and carefully considered details.

INTERVIEWS

The project examines how a hotel can retain the individuality of a private residence across different room sizes and architectural conditions. In an interview with ARCHISCENE Magazine Editor-in-Chief Zarko Davinic, Alessio Nardi, founder of A-nrd, and Lukas Persakovas, creative partner, discuss the decisions behind the suite and Pocket rooms, from the use of blue inspired by Glasgow’s Victorian tiles to the development of multifunctional furniture for compact interiors. The conversation also explores the preservation of original architectural details, the collaboration with local glass artist Vicky Higgins, and the balance between bespoke design and vintage furnishings. Nardi and Persakovas reflect on working with Oberland and developing a consistent identity across six guestroom categories while allowing each space to retain its own character.

The deep blue of the original fireplace tiles runs through the whole suite, from the bed to the sofas. Was that colour in your plans from the start, or did it take shape after you saw the tiles in person?

AN: We wanted every addition to the suite to be unapologetic and clearly recognisable within the historic setting of the room, without trying to blend into it. That led us to the idea of a bespoke oak platform bed stained in a bright, saturated colour, with the grain of the timber still visible beneath.

We actually tested two directions, a deep forest green in keeping with the rest of the guestrooms, and the blue you see now. The blue felt far more fitting, sitting naturally alongside the original fireplace tiles. From there, we carried the same tone into the textured upholstery of the curved sofas and the smaller details, creating a restrained palette that connects the Victorian features with the contemporary pieces we’ve introduced, without everything needing to match exactly.

We wanted every addition to the suite to be unapologetic and clearly recognisable within the historic setting of the room, without trying to blend into it.

The tiles echo the decorative entrance halls and stairwells of Glasgow’s Victorian tenements. What did you learn about those tiles during research, and how much of that history do you want guests to notice?

AN: We were particularly interested in the use of richly coloured glazed tiles within Glasgow’s Victorian architecture, especially in the communal entrances and stairwells of traditional tenement buildings. It’s a decorative detail that feels very characteristic of the city, and finding that same deep blue within the suite’s original fireplace gave us an opportunity to make a connection between the building and Glasgow’s wider architectural history.

We don’t necessarily expect guests to recognise that reference immediately. What’s more important is that the interiors feel connected to their surroundings. If someone notices the relationship between the fireplace and the furniture, or recognises a colour they’ve seen elsewhere in Glasgow, that’s a lovely additional layer to their experience.

The suite keeps its dark timber panelling and oversized fireplace but is paired with soft off-white walls and pale grey linen. How did you decide how much of the original richness to keep and how much to lighten?

LP: The existing timber panelling and fireplace are incredibly beautiful features, and we felt it was important to preserve as much of that character as possible. The fireplace, with its substantial mantelpiece and built-in bookshelves, gives the room a real sense of grandeur, and we wanted to celebrate that.

At the same time, it needed to feel like somewhere you could spend an entire afternoon, not simply admire the architecture. We introduced soft off-white walls and full-length pale grey linen curtains to bring lightness to the room and create a softer backdrop for the furniture. The original timber floorboards also help give the space that domestic quality. For us, it was about allowing the Victorian features to remain prominent while making the suite feel comfortable, relaxed and welcoming.

The bespoke curved sofas have low, rounded forms and brushed stainless steel bases, in a room with formal Victorian architecture. What made you choose that contrast?

LP: We wanted to introduce furniture that felt distinctly contemporary against the formality of the existing architecture. The room has these wonderful strong lines, substantial timber panelling and an oversized fireplace, so the idea was to bring in something softer and more playful.

The curved sofas have a very low profile, which allows the architectural features behind them to remain visible, while their rounded forms create a more informal seating arrangement around the fireplace. The brushed stainless steel bases introduce another material into the room and give the sofas a slightly lighter appearance. It’s quite a deliberate contrast, but one that makes the suite feel more like a private sitting room, where furniture from different periods can sit comfortably together.

It’s that mixture of different periods, materials and approaches to making that gives the hotel its character.

The Pocket rooms use fitted timber units that wrap the bed and become a desk. How did you design for a compact footprint without the rooms feeling like cabins?

AN: The starting point was to consider how we could retain the character and comfort of the larger guestrooms within a much smaller footprint. We had already developed a distinctive platform bed for the hotel, so we took that same design language and adapted it to suit the proportions of the Pocket rooms.

The beds are conceived as fully fitted pieces, with dark stained timber wrapping around the sleeping area and continuing along the adjoining wall to form a desk. It creates a cocooning effect, which we actually wanted to embrace, but the important thing was to keep the rest of the room feeling open. We paired the dark timber with soft off-white walls, used an open wardrobe arrangement and incorporated practical details such as concealed sockets and task lighting into the joinery. The furniture has several functions without the room feeling overly furnished. We also introduced a rounded chair in olive-green bouclé, which brings some softness and personality to the space.

In the Pocket rooms the beds face the windows, which open onto a courtyard with reeded glass. Why was that orientation important, and did the planting in the courtyard change your approach?

AN: Positioning the beds towards the windows was something we explored throughout the hotel, including in the larger guestrooms. We wanted guests to experience the room from a different perspective, with the window becoming the focal point when they’re sitting or lying in bed.

That was particularly important in the Pocket rooms, where the orientation helps create a greater sense of openness despite the smaller floor area. The windows overlook an internal courtyard, so privacy was obviously a consideration. The reeded glazing helps address that, while still allowing daylight into the rooms, and the courtyard planting introduces a natural element. Even though you’re looking into an internal courtyard, there’s still that connection to greenery, which makes a real difference to the atmosphere.

Wooden venetian blinds and reeded glazing give the rooms a retro, cinematic feel. Were there particular films, places or periods you referenced, or was the goal mainly a sense of privacy?

LP: Privacy was certainly an important consideration, given that the Pocket rooms overlook an internal courtyard, but we also wanted the window treatments to contribute to the atmosphere of the rooms. The wooden venetian blinds have a slightly nostalgic quality that we really liked, particularly alongside the dark stained timber furniture and the textured glazing.

They also allow guests to control the light throughout the day, which brings another dimension to the room. There’s something quite cinematic about the way light filters through the slats, creating patterns across the walls and furniture. It adds a little character to what could otherwise have been a purely practical design decision.

We shared an ambition to create a hotel that felt genuinely connected to Glasgow, celebrating the building’s history and the city’s creative culture.

The articulated wall lights were made with Glasgow glass artist Vicky Higgins. How did that collaboration begin, and what did you ask her to achieve with the handblown amber glass?

AN: We were looking for local makers to involve in the project and came across Vicky’s work. We’ve always been drawn to the imperfect quality of handblown glass and felt it would work particularly well at Arthouse, where craftsmanship and the work of local artists are such important elements of the design.

We began with an initial brief exploring several possibilities for the shape and construction of the shades, all drawing on Glasgow’s industrial heritage. One direction incorporated a metal mesh finish, while another explored a geometric arrangement of stacked glass forms, loosely referencing the architecture of Glasgow’s city centre. We ultimately developed the latter, combining the articulated metal arms with handblown glass shades.

For the glass itself, we wanted to introduce several subtle tints of clear glass in yellow and orange tones, giving the shades variation in colour and a warm quality when illuminated. The resulting lights bring a distinctive handcrafted element to the guestrooms while remaining functional as bedside lighting.

The hotel mixes bespoke pieces with vintage Mies van der Rohe chairs and West House Pottery wall knobs. How do you decide when to commission something new and when to source something existing?

LP: We never want a space to feel as though everything has been purchased at the same time. In a residential interior, furniture and objects tend to accumulate over the years, and that sense of individuality is something we wanted to bring to Arthouse.

We design bespoke pieces when there’s a particular functional or architectural requirement, or when we feel we can create something that contributes to the identity of the project. The platform beds are a good example, because they allowed us to develop a distinctive design that could be adapted across different room categories. But we also love incorporating vintage furniture and working with independent makers. The Mies van der Rohe chairs bring a completely different design language into the suite, while the handcrafted ceramic knobs by West House Pottery introduce a small decorative detail to the open wardrobes. It’s that mixture of different periods, materials and approaches to making that gives the hotel its character.

Arthouse Glasgow is Oberland’s first hotel under its own brand, and it has 76 rooms across six categories. How did you balance the client’s brand goals with the residential approach your studio brings, and was there any point where you had to push back?

AN: It was a very collaborative process, and Oberland placed a lot of trust in us, which allowed the project to develop quite naturally. We shared an ambition to create a hotel that felt genuinely connected to Glasgow, celebrating the building’s history and the city’s creative culture.

One of the challenges was translating that vision across 76 rooms and six different categories, each with its own proportions and architectural features. We didn’t want to create a standardised interior and simply repeat it throughout the building. Instead, we developed a family of bespoke furniture, lighting and material details that could be adapted to suit each room. The platform bed is probably the clearest example, appearing in different forms from the larger guestrooms through to the compact Pocket rooms.

That allowed us to create a consistent identity without losing the individuality of the spaces. There were a few moments when we challenged the initial direction. Early on, there was a desire to use green as the main accent colour throughout the hotel. While that works beautifully across most of the guestrooms, we felt the restaurant and suite needed their own identities. We pushed back a little on maintaining the same palette everywhere, particularly in the suite, where the blue felt much more appropriate alongside the original fireplace tiles. It was a relatively small decision in the context of the wider project, but an important one in allowing each space to have its own character.

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Canadian studio AKB Design has completed Des Cornouillers, a residential renovation in Boucherville, Canada, near a wooded area. The project transforms an existing family home through a comprehensive reorganization of its interior spaces, introducing new circulation routes, architectural details and natural materials. The renovation responds to the homeowners’ daily routines while preserving their connection to a property and neighbourhood they have long valued.

INTERIOR DESIGN

The clients wanted to create their ideal home within their existing residence. AKB Design approached the renovation by examining the proportions, functions and relationships between individual rooms. The studio adjusted openings, introduced new partitions and incorporated transom windows to improve the organization of the interior. Different ceiling treatments give each area a distinct character, while a consistent selection of materials connects the spaces.

Wood plays a central role throughout the project, reflecting the wooded surroundings of the property. The designers selected materials for their durability and their ability to develop a natural patina over time. This approach establishes a cohesive interior palette that continues from the main living areas into the more private rooms of the house.

The kitchen underwent one of the most significant transformations. AKB Design removed an existing wall and incorporated an underused room to increase the available space. The new layout centers on a large island and connects directly to a breakfast nook with a built-in banquette, creating a more functional arrangement for everyday family activities.

Taj Mahal quartzite introduces natural texture throughout the kitchen, while a sculptural stone range hood serves as a prominent architectural feature. Unlacquered brass details complement white oak surfaces, and linen curtains soften the overall composition. The combination establishes a warm material palette that continues into other areas of the residence.

AKB Design also reconfigured the main entrance to give the foyer a stronger architectural presence. The studio reorganized the area surrounding the existing staircase, retaining and updating its structure. Natural stone flooring defines the entrance and introduces another material element that connects with the wider renovation.

A new secondary entrance improves access between the garage and the main living spaces. The designers combined the laundry room, mudroom and powder room into a compact arrangement, introducing a functional zone that the house previously lacked. This intervention provides a more practical circulation route for the homeowners.

In the living room, the renovated fireplace follows the material direction established in the kitchen. The adjacent office features solid white oak doors with glass panels, allowing visual connections between the two spaces while maintaining their individual functions. These adjustments support the studio’s broader approach to reorganizing the interior.

The primary bathroom continues the use of natural materials through white oak and marble finishes. A full-height linen cabinet provides storage, while linen curtains frame the bathing area and introduce a softer texture. The bathroom also includes a steam shower with a marble bench, extending the material palette into the shower enclosure.

“With Des Cornouillers, we wanted to reveal the full potential of a home our clients already loved, through thoughtful interventions and materials that will develop a patina over the years,” explains Audrée Kemp Bélanger, Founder and Principal Designer of AKB Design.

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Project name: Des Cornouillers
Location: Boucherville, Quebec, Canada
Project type: Complete residential renovation
Interior design: AKB Design
Principal designer: Audrée Kemp Bélanger
Main materials: Taj Mahal quartzite, natural stone, marble, white oak, unlacquered brass, linen 
General contractor: Les entreprises Mathieu Ostiguy inc
Cabinetry: Armoires Cordeau 
Photography: Photographie Intérieure CO.

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Yuzheng Gan approaches architecture and interiors through an interest in how spaces influence human behaviour, perception, and everyday experiences. After spending more than six years at Huahui Engineering Design Group in China, where she contributed to healthcare facilities, corporate headquarters, and commercial environments, Gan pursued a Master of Interior Design at the University of Texas at Austin. Her professional experience includes projects such as Glodon’s Digital Building Product Center, Run Run Shaw Hospital’s Shaoxing campus, and the Mercedes-Benz AMG Experience Center. Her recent work has received recognition from international design competitions, including the NY Architectural Design Awards, London Design Awards, and A’ Design Award.

INTERVIEWS

Alongside her architectural practice, Gan explores the possibilities of ordinary materials through experimental objects and installations. Her Pleat Lounge was presented during NYCxDESIGN 2026, while Within White, exhibited at Dutch Design Week, investigates the interaction of light, transparency, and perception through a composition of white surfaces and iridescent acrylic. Her conceptual healthcare project OpenCare examines how spatial design can make medical technology more accessible and understandable. In conversation with ARCHISCENE’s Maya Lane, Gan discusses the influence of working across different design cultures, the importance of physical experimentation, and her vision for environments that respond to changing human needs.

You spent several years working as an interior designer before pursuing your master’s degree at the University of Texas at Austin. What prompted you to return to academia, and how has that experience changed your approach to design? – Before joining UT Austin, I spent more than six years working as an interior designer in China, contributing to projects across healthcare, commercial, corporate, and public spaces. During that time, I gained experience throughout the design process, from concept development and construction documentation to on-site coordination, and worked directly with International clients. These experiences taught me how to balance design vision with technical requirements and real-world constraints.

As technology continues to evolve, I have become increasingly interested in how design can respond to broader social and technological changes. At UT Austin, I began to think beyond creating functional spaces and explore how space shapes human behavior and relationships.

My recent work has received recognition from several international design awards, including the MUSE Design Awards, NY Architectural Design Awards, A’ Design Award, and London Design Awards. I have also been appointed as a professional judge for the Wonder Global Design Awards (WGA). For me, returning to academia was not about leaving my professional experience behind, but about building on it and broadening my perspective.

Your work frequently explores the relationship between people, space, and society. What makes a space truly meaningful to you, beyond its visual appearance or intended function? – A meaningful space can shape how people feel and behave, while bringing people closer together. I pay attention to circulation, light, materials, and how people move through and experience a space. I am particularly interested in spaces that can adapt to different needs rather than being limited to a single way of use. Working on international projects has exposed me to different cultural perspectives and diverse approaches to spatial design. For me, design is not just about creating a visually appealing environment, but about shaping experiences and fostering more meaningful connections between people and their surroundings.

Your project Within White, presented at Dutch Design Week 2026, transforms simple white paper through light, reflection, and transparency. What initially drew you to paper as a material, and what surprised you most during the process? – I was drawn to the simplicity of white paper and became curious about what it could do beyond serving as a flat surface. In Within White, I arranged a series of circular white foam-board modules around a transparent acrylic box with an iridescent finish. The circles partially conceal the object inside, creating a contrast between what is visible and what remains hidden.

What surprised me most was how light brought the different materials together. The white surfaces picked up subtle iridescent colors refracted by the acrylic, giving the piece a different visual effect as the light changed. I was also happy to see that visitors at Dutch Design Week responded positively to the project. I liked that this effect could be achieved without bright colors or complicated materials. The simplicity of the white material made the light and reflections stand out even more.

Within White asks viewers to reconsider something as familiar as a white surface. Do you think designers sometimes overlook the possibilities of ordinary materials in their search for innovation? – Yes, I think we sometimes look for innovation in new materials or technologies before fully understanding what ordinary materials can do. For me, innovation can begin with a simple question: what happens if we use something familiar in an unexpected way?

With Within White, I did not change the material itself. I changed how the pieces were arranged and how they related to the object inside. This altered the way light moved through the composition and how the object was perceived.

This design approach received recognition from Dutch Design Week, and I was invited to exhibit Within White at Foundation We Are, one of the festival’s key exhibition venues. For me, this was an encouraging recognition of the idea that innovation doesn’t always require new materials; sometimes it comes from seeing familiar materials differently.

You’ve worked on projects ranging from healthcare facilities and corporate headquarters to immersive automotive spaces. How do you approach designing environments for such different human experiences? – I approach each project by first identifying what people need from the space and what kind of experience it should create.

At Sir Run Run Shaw Hospital’s Shaoxing campus, I led the interior design of an eight-story building with exhibition, teaching, simulation training, research, and office functions. Through overall spatial and floor planning, I coordinated these diverse needs into a cohesive design. The hospital project received a 2025 MUSE Design Awards Platinum Award.

At Glodon’s Digital Building Product Center, I contributed to the interior design scheme for the entire building. Centered on ecology, health, and knowledge-sharing, the design emphasized natural light, greenery, and flexible spaces that support well-being in a demanding work environment. The project received LEED Gold and WELL Platinum certifications, as well as the 2023 RICS China Award for Construction Project of the Year, bringing recognition from internationally established green building and construction industry organizations.

At the AMG Experience Center, I worked directly with German clients on a project associated with the globally recognized Mercedes-Benz brand. I focused on communicating brand identity through vehicle displays and interactive experiences.

These projects taught me that there is no single design approach for every environment. Good design starts with understanding people and connecting their needs with each space’s purpose and character.

Your healthcare-related work, including OpenCare, explores how design can make medical environments more accessible and understandable. What do you think hospitals and healthcare spaces most urgently need to change? – I believe healthcare spaces urgently need to become more transparent and people-centered. Through extensive research for my independent project, OpenCare, I became interested in a future where advances in AI and digital health make healthcare accessible everywhere, yet people may still struggle to understand or trust these technologies.

My central idea is to use architectural planning and spatial organization to make otherwise invisible medical systems more visible and understandable. Rather than treating a hospital as a place where patients simply receive treatment, I envision it as an environment where people can learn about medical technologies, better understand their care, and participate more actively in decisions. At the same time, transparency must respect personal privacy and give patients control over their own data.

OpenCare received a Silver Award in the MUSE Design Awards. For me, the future of healthcare design is not just about integrating more technology, but about using space to build understanding, trust, and human connection.

You’ve also presented Pleat Lounge at NYCxDESIGN and Within White at Dutch Design Week. How does designing an experimental object differ from developing an interior that people will use every day? – Experimental objects allow me to focus more on material, form, and perception, while everyday interiors require me to consider broader aspects of human experience and changing patterns of use. My design approach combines these elements to rethink conventional ways of designing architectural and interior spaces. However, both begin with observation and experimentation.

Through my exhibitions, I have had the opportunity to communicate design ideas through physical objects and material experiences. Presenting my work in New York and at Dutch Design Week also allowed it to reach audiences across North America and Europe. I’m particularly interested in how simple materials can create unexpected visual effects through their interaction with light, transparency, and concealment. I want viewers to do more than simply look at an object; I want them to notice details, experience changes, and discover something they might otherwise overlook.

Having studied and worked in both China and the United States, what differences have you noticed in how the two design cultures approach space, functionality, and experimentation? – Having worked in China and studied in the United States, I’ve noticed that my professional experience in China taught me to prioritize functionality and practical solutions, especially in large commercial and healthcare projects.

At UT Austin, I’ve had more opportunities to experiment, question existing ideas, and develop concepts through research and discussion.

These experiences have taught me to balance creativity with practicality. I want my designs to be conceptually strong, technically sound, and responsive to people’s everyday needs.

As computational design and emerging technologies become increasingly influential, what aspects of the design process do you believe should remain intuitive, personal, or even imperfect? – Technology can help designers explore more possibilities, but it cannot fully replace human perception. Light, texture, movement, and atmosphere can create emotional responses that are difficult to predict through data alone. I use digital tools to test and develop design ideas, but I believe physical experimentation and intuition remain essential. Unexpected results and imperfections can sometimes reveal qualities that an overly controlled design process might overlook.

Looking ahead, what kind of space or experience would you love to design if you had complete creative freedom, with no restrictions on budget, location, or materials? – With complete creative freedom, I would love to design a space that brings future technology, nature, and architecture together, blurring the boundaries between them. I imagine an environment that changes with people’s movements, emotions, and needs rather than remaining fixed. Natural materials, dynamic lighting, and adaptable spatial elements would create different experiences throughout the day, while technology would blend naturally into the environment.

I hope technology will no longer feel like a collection of machines or devices, but become an invisible yet useful part of everyday life. Ultimately, I want to create a space that people can not only use, but also shape through their presence and activities. For me, the future of design is not simply about making spaces more technologically advanced, but about integrating technology and space in ways that respond to human needs and make everyday life easier.

Interview by ArchiSCENE Editor Maya Lane.

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Casa PCHC, a single-family residence in Córdoba, Argentina, explores how architecture can respond to challenging terrain while preserving the natural environment. Designed by DAR Estudio Integral de Arquitectura, the house occupies a steep hillside in the La Deseada neighbourhood, on the western slopes of the Sierras de Córdoba. Its architecture follows the site’s dramatic topography, beginning within the rocky terrain and extending outward through suspended volumes that overlook the surrounding mountains and city.

RESIDENTIAL

The property presented considerable challenges from the beginning. Its terrain drops 23 metres and slopes in two directions, creating complex conditions for construction. The site also contains the area’s only natural runoff channel, which supplies water to the native mountain forest. Preserving this watercourse became a central requirement of the project, influencing the placement and structural organisation of the residence.

The architects developed a design that responds directly to these conditions. At the narrowest section of the site, the house anchors itself within the rock, using the hillside to establish a solid foundation. As the terrain opens outward, the building extends beyond the ground through cantilevered structures. This arrangement allows water to continue flowing beneath the residence and protects the vegetation that depends on the natural drainage system.

The relationship between the structure and the mountain also informs the building’s material composition. DAR Estudio Integral de Arquitectura organised the house across three levels, gradually introducing lighter materials as the architecture rises above the terrain. Each floor offers a different spatial experience, moving from enclosed spaces within the hillside toward increasingly open views.

The lowest level, Level -1, establishes a substantial base through concrete and stone construction. Its sheltered interiors receive limited natural light, creating an atmosphere that reflects the surrounding rock formations. This floor contains a multipurpose room and guest bedrooms, alongside an infinity pool overlooking the ravine. The arrangement gives visitors a direct connection to the mountain while maintaining the protective character of the lower spaces.

Above, Level 0 accommodates the main social areas of the residence. Large glass surfaces replace the heavier materials of the lower floor, opening the interiors toward panoramic views of Córdoba. The extensive glazing allows the city and distant horizon to become prominent features of the living spaces, strengthening the relationship between the house and its surroundings.

The uppermost level introduces a lightweight metal volume that contains the master suite. Positioned above the main living areas, this section creates the impression of a structure suspended over the mountainside. The architects conceived the bedroom as a space that offers the sensation of sleeping among the clouds, with the elevated position placing particular emphasis on the expansive views.

Throughout the residence, the transition between materials and spatial arrangements follows the vertical progression of the building. Concrete and stone establish its connection to the ground, glass introduces openness, and the upper metal structure completes the gradual reduction in visual weight.

Casa PCHC demonstrates an approach to hillside construction that respects the existing environmental conditions. By working with the terrain’s natural slopes and allowing the runoff channel to remain undisturbed, DAR Estudio Integral de Arquitectura preserves the relationship between water, vegetation and rock.

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Project Title: CASA PCHC | A House in the Clouds
Architect: Mauricio Tomás Perassi, Architect and Partner at DAR estudio integral de Arquitectura
Engineer: Federico Uanini
Land area: 1109 m²
Built area: 372 m²
Location: La Deseada, Córdoba, Argentina
Status: Built
Project start date: 2023
Project completion date: 2026
Collaborators: María Belén Demaría Osella, Leandro Perassi, Santiago Martinetto
Photographer: Mario Ezequiel Guzmán

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OK PLAN Architects has completed the Mánesova Apartment Building in Humpolec, Czech Republic, transforming a challenging residential plot into a contemporary housing development. The project accommodates 13 apartments on a 1,000-square-metre site surrounded by private houses and gardens. The building uses an angular floor plan, carefully positioned balconies and a restrained material palette to address the limitations of its location.

RESIDENTIAL

The project began with a plot that initially appeared more suitable for a single-family home. Its proximity to neighbouring gardens required particular attention to privacy, building orientation and overall scale. The architects developed a folded floor plan that directs views away from adjacent properties while providing comfortable living spaces for residents.

The building’s distinctive geometry shapes its exterior and determines the arrangement of the apartments. Projecting balconies incorporate vertical screening panels that limit direct views between neighbouring homes. These elements create sheltered outdoor areas and contribute to the façade’s architectural identity.

The architects also divided the building’s overall volume into smaller visual sections to respond to the surrounding residential streets. Its proportions relate to nearby detached houses and the apartment buildings further north, establishing a connection between different forms of housing within the neighbourhood.

Materials play an important role in the exterior design. Vertical sun-shading fins made from charred larch introduce texture and define the balconies, while exposed concrete and grey textured render establish the building’s main surfaces. Anthracite-coloured sheet steel and steel box sections continue across the entrance canopy, fencing and refuse enclosure.

The site’s natural slope influenced the organisation of the building. The ground falls toward the east by almost one storey, allowing the architects to position the underground garage entrance along the lower eastern boundary. Residents access the main entrance from the western side at ground level.

Inside, the development distributes 13 apartments across several floors. The ground floor contains a studio and two spacious three-bedroom apartments with private gardens and terraces. Curved concrete retaining walls and charred larch fencing define these outdoor spaces.

The second and third floors each accommodate four apartments, while the recessed upper level contains the two largest residences. Both upper apartments feature generous roof terraces overlooking the surrounding neighbourhood.

Every apartment has access to a balcony, terrace or private garden through large sliding glass openings. These connections provide outdoor space for residents and allow natural light into the interiors. A fully accessible lift serves every floor.

The basement contains 12 parking spaces, including two mechanical parking stackers, with five additional spaces outside.

Graphic designer Kristina Ambrozová developed a custom wayfinding system featuring pictograms, numbering and graphics throughout the shared interiors. The designs introduce a playful visual detail that complements the building’s architectural character.

The project also incorporates energy-efficient technologies. Three rooftop air-to-water heat pumps provide heating, supported by photovoltaic panels. External Venetian blinds help control solar exposure during warmer months.

Mánesova Apartment Building demonstrates how precise spatial planning can accommodate higher-density housing within an established residential neighbourhood. The project combines functional apartments, private outdoor spaces and a distinctive architectural form while respecting the scale and privacy of neighbouring properties.

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Studio: OK PLAN ARCHITECTS
Author: Luděk Rýzner
Co-author: František Čekal
Graphic design: Kristina Ambrozová
Client: Mánesova Invest
Location: Humpolec, Czech Republic
Completion year: 2025
Built-up area: 347 m²
Gross floor area: 1643 m²
Usable floor area: 1278 m²
Photographer: Petr Polák Studio
Collaborators and suppliers
Statics: ELSA Consulting
MEP: K Mont Choceň
Landscape architect: GREEN-ART (Irena Dundychová)
General contractor: KEJMAT, ARMONTIS BeSt

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Le Grand-Espace, a new cultural venue in Sherbrooke, Canada, expands the performing arts infrastructure of Quebec’s Eastern Townships region. Designed by Atelier Paul Laurendeau in collaboration with NEUF architectes, the building accommodates theatre, dance, circus performances and productions for young audiences. Its adaptable main hall supports different staging formats, while its public spaces encourage interaction between the venue and the surrounding downtown neighbourhood.

CULTURAL PROJECTS

The project follows an architectural competition that Atelier Paul Laurendeau and NEUF architectes won in 2020. As part of Sherbrooke’s Wellington South Sector Intervention Program, Le Grand-Espace contributes to the area’s cultural and economic development. The venue occupies a central location and provides a new gathering place for residents and visitors.

The architects established a strong connection between the building and its surroundings through the main façade. A tinted glass curtain wall opens toward a shared forecourt, linking Le Grand-Espace with the neighbouring Centre des arts de la scène Jean-Besré (CASJB). The transparent frontage offers views into the foyer and creates an inviting entrance to the cultural complex.

Along the side and rear elevations, painted aluminum panels incorporate a monumental photographic work by Estrie artist Bertrand Carrière. The image depicts a scene between sky and sea, introducing an artistic element to the exterior. Illumination activates the artwork at dusk, giving the building a distinctive presence after dark.

Inside, the main performance hall operates as a flexible black box. Motorized seating tiers and retractable technical grids allow production teams to modify the arrangement according to individual performances. The space accommodates traditional proscenium staging, theatre-in-the-round and smaller configurations that bring audiences closer to performers.

This adaptability allows companies to experiment with different forms of presentation and audience interaction. Theatre, dance and circus productions can adjust the spatial arrangement to their technical and creative requirements, supporting a varied programme within the same venue.

The building also provides facilities for the daily operations of performing arts companies. Administrative offices, a green room, three adjacent dressing rooms, storage areas and a loading zone support rehearsals and productions. A peripheral corridor connects these spaces with the foyer and main hall, providing clear circulation routes for performers, technical teams and visitors.

Acoustic performance receives particular attention. Black rock-fibre panels at high level absorb sound, helping to isolate the performance hall from exterior noise and manage reverberation within the vestibule.

The interior design draws inspiration from theatre through a palette of red, black and gold. In the double-height foyer, natural daylight passes through coloured glazing, changing the atmosphere throughout the day. The architects also incorporated a black velvet curtain that can enclose part of the foyer and create an intimate performance area. Removable wooden bleachers provide seating for smaller productions, particularly those intended for very young audiences.

Since opening in 2025, Le Grand-Espace has received two DNA Paris Design Awards, winning in the Architecture – Cultural Architecture and Interior Design – Civic Buildings categories.

The venue has also expanded Sherbrooke’s cultural programming, which has tripled since its opening. Its facilities now place the city within the national touring circuit for performing arts producers, alongside established destinations such as Montreal and Quebec City. Through its adaptable spaces and connection to public life, Le Grand-Espace establishes an important new cultural address for the region.

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Location: Québec, Canada
Client: Ville de Sherbrooke
Completion date: December 2025
Total area: 15,726 sq. ft. / 1,461 m²
Auditorium dimensions: 24 × 18 × 8 m
Capacity: 310 seats
Project Team
Architects: Atelier Paul Laurendeau + NEUF architectes
Design Architect: Paul Laurendeau
Structural and Civil Engineer: Latéral-DWB
Mechanical and Electrical Engineer: Dupras Ledoux
Theatre Consultant: Trizart Alliance
Acoustician: MJM
Lighting Consultant: Light Factor
Photographers: Maxime Brouillet, Félix Michaud

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Ruzhou Studio has completed a new pop-up store for footwear brand Foot Industry in Chengdu, China, with interior and FF&E design by Studio InTo. Located along the main pedestrian corridor of the Luhu CPI precinct, the project introduces a carefully organised retail environment that draws on traditional materials and local architectural references. The design follows the concept “Within an Inch: A Craftsman’s Box,” creating a space that resembles an opened artisan’s case.

FASHION RETAIL

The store occupies a site within a commercial cluster along the main street, with sloping terrain behind the building. Ruzhou Studio approached the project with an emphasis on restrained forms, natural textures and practical retail functions. The resulting interior uses a consistent geometric system to organise product displays while maintaining a relaxed atmosphere.

The existing structure divides the building horizontally into four sections, providing the foundation for the new design. Ruzhou Studio introduced a charred timber overhang using the traditional Japanese shou sugi ban technique, establishing a semi-outdoor entrance area beneath the extended roof.

The architects preserved existing trees and incorporated native greenery alongside informal seating. Together, these elements reference the verandas of traditional Chengdu street shops, where sheltered areas encourage visitors to gather and rest.

Transparent glass curtain walls connect the interior with the precinct’s main pedestrian route, creating a continuous display frontage. The arrangement allows passers-by to view the products and interior organisation directly from the street.

Inside, a partition system divides the store into a front display area and a rear functional zone. Three footwear display walls surround a central island, establishing a continuous circulation route through the retail space.

The architects developed a grid of horizontal and vertical lines to organise the interior. Aged stainless steel profiles define the individual square modules, creating an ordered framework across the walls and central display island.

Selected openings interrupt the grid, introducing natural daylight and views of the surrounding greenery. These apertures establish visual connections between the interior and exterior while adding variation to the otherwise regular display system.

The consistent arrangement provides clear surfaces for footwear presentation, directing attention towards the products and supporting the store’s functional requirements.

Shu paper, a traditional material associated with Sichuan, plays a central role in the interior. Its delicate texture contributes to the store’s soft atmosphere and establishes a connection with Chengdu’s local culture.

A custom curved Shu-paper pendant light forms the main visual feature overhead. Its suspended surface allows light to diffuse gently throughout the room, producing even illumination across the displays and seating.

The central island incorporates built-in seating, while additional benches follow the three display walls. Reclaimed elm provides a warm tactile surface, and stepped edges along the island help reduce collision risks.

The exterior continues the interior’s geometric language through a solid timber grid. Its raw surface introduces a different material character while maintaining the project’s consistent architectural organisation.

Window openings interrupt the timber facade, providing views into the store and encouraging visual interaction with pedestrians. The project places equal attention on material texture, spatial organisation and the visitor experience.

View Gallery 16 images

Project Name: Foot Industry Pop-Up Store in Chengdu
Interior & FF&E Design: Studio InTo
Lead Architects: You Xing, Xu Wanli
Client: Foot Industry
General Contractor: Sichuan Jiacheng Jiufu Decoration Engineering Co., Ltd.
Location: Chengdu City, Sichuan Province, P.R. China
Gross Floor Area: 75 m²
Design Period: Sep. 2026
Construction Period: Sep. 2026
Materials: Shu Paper, Aged Stainless Steel, Reclaimed Elm Wood, Solid Wood Flooring
Photography: Liu Zhangyue

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The Lovell Beach House, one of architect R.M. Schindler‘s most significant residential projects, has entered the market for $18.8 million, marking the end of 100 years of ownership by the family that originally commissioned it. Located at 1242 West Ocean Front on Newport Beach’s Balboa Peninsula, the architectural landmark dates to 1926 and represents an important chapter in the development of California Modernism.

RESIDENTIAL

Schindler designed the residence for naturopathic health advocate and Los Angeles Times columnist Philip Lovell and his wife, Leah. Their progressive ideas about wellness influenced the home’s experimental design, which prioritised fresh air, natural light and direct connections to the surrounding coastal environment.

Philip Lovell promoted exercise, vegetarianism, sun exposure and healthy living through his newspaper column, Care of the Body. His approach influenced the couple’s architectural ambitions, encouraging Schindler to explore unconventional residential arrangements.

The architect elevated the living spaces above the sand using five monumental reinforced-concrete frames shaped like squared figure eights. This structural system created uninterrupted Pacific Ocean views, natural ventilation and privacy from the beachfront below.

Inside, Schindler introduced a double-height living room, suspended walls and windows, a cantilevered upper balcony and custom-built furnishings. Original elements, including a built-in sofa and shelving separating the living and dining spaces, remain part of the property.

The original design also incorporated open-air sleeping porches and a rooftop sunbathing terrace. However, Newport Beach’s overnight fog challenged the family’s outdoor sleeping arrangements. In 1928, Schindler enclosed the porches and converted them into conventional bedrooms.

Architect Richard Neutra contributed the property’s landscape plan, bringing together two influential figures in modern architecture whose professional relationship later developed into a widely discussed rivalry.

Philip and Leah Lovell subsequently commissioned Neutra’s Lovell Health House in Los Angeles, which reached completion in 1929. Despite the architectural recognition surrounding both properties, the family developed a stronger personal connection with Schindler’s Newport Beach residence.

During a 1958 conversation with architectural historian Esther McCoy, Leah explained her preference for the Beach House, saying, “It just fitted us.”

The family eventually established the property as its full-time residence, welcoming visitors from Southern California’s artistic and intellectual communities. According to granddaughter Robin Lovell, singer Paul Robeson performed in the living room, while photographer Edward Weston visited the home.

In the early 1970s, the Lovells’ youngest son, Gary, acquired the residence from his father and surviving brother for approximately $50,000. Gary and his wife, Barbara, introduced selective changes, opening the kitchen and dividing an unusually large bathroom into two spaces. Gary died in 1997, while Barbara continued living in the house until her death in 2025.

The Lovell Beach House attracted international architectural attention shortly after completion. Popular Mechanics featured the residence in 1927, followed by Architectural Record in 1929. In 1974, the property joined the National Register of Historic Places.

Architectural historians have compared its structural innovations with significant European modernist projects, including Le Corbusier‘s Villa Savoye.

Throughout its history, the house has welcomed generations of family gatherings, weddings, birthdays and art shows. Its distinctive exterior also attracted architecture enthusiasts who regularly visited to photograph and sketch the property.

View Gallery 47 images

Location: Newport Beach, California
Architect: R.M. Schindler
Completed: 1926
Living area: 2,741 square feet
Lot: 3,734 square feet
Agent Attribution: Co-listed with Nate Cole of Modern California House & Todd Bousman of Bouhaus Properties

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ZOOCO approaches the design of La Maruca Azca through the idea of a mountain refuge within Madrid’s financial district. Surrounded by the glass and steel towers of Azca, the restaurant draws inspiration from the Picos de Europa, introducing organic forms, natural materials, and a sense of domestic intimacy into an urban setting. Sculpted ceilings extend into rounded columns, while oak, limestone, and natural plaster establish a warm interior. A curved marble bar anchors the dining space, and large-scale mountain photographs introduce a visual connection to the Cantabrian landscape.

INTERVIEWS

The project explores how architecture can create a sense of shelter through geometry, material, light, and sound. An acoustic ceiling, textile-lined walls, and carefully framed landscape imagery contribute to the restaurant’s atmosphere, while the open kitchen serves as its central gathering point. In an interview with ARCHISCENE Magazine Editor-in-Chief Zarko Davinic, ZOOCO discusses the development of the sculptural ceiling and columns, the translation of mountain references into contemporary architecture, and the relationship between visual expression and practical comfort. The conversation also examines the role of acoustics, the design of the marble bar, and the decisions that shape the experience of dining at La Maruca Azca.

The ceiling is described as a “sculpted fifth façade.” How did you decide how deep to carve it, and how did the carving process change the way light and sound move through the room?

We approached the ceiling as a landscape in its own right. Its depth had to create a perceptible relief while preserving a comfortable sense of height. The intention was to give the room a more sheltered scale and allow light to reveal the geometry through gradients of shadow.

Light is essential to how that surface is understood: the relief becomes more or less apparent depending on the angle of illumination. The entire ceiling is also made of acoustic material, so the sculpted surface itself helps absorb sound and reduce reverberation. Geometry and material work together to create a more comfortable atmosphere and make conversation easier for diners.

Keeping the architectural language contemporary was essential to giving the project its own identity.

The columns lose their sharp edges to become tree-trunk forms clad in natural plaster. Did you model these by hand or digitally, and what was the hardest part of getting that finish to read as wood rather than stone?

The columns were modelled digitally. Our intention was to create continuity with the ceiling and integrate the existing columns into a shared geometry.

By softening their edges and shaping their junction with the ceiling, the columns become part of a continuous surface. The main challenge was resolving that transition so the whole could be perceived as a single intervention, with a consistent formal and material logic.

You moved from sea-inspired projects to a mountain retreat in the middle of Madrid’s financial district. What first made you choose the Picos de Europa as the reference, and how did you keep the concept from becoming a theme-park version of a cabin?

The Picos de Europa offered a powerful reference for the idea of refuge: the contrast between an expansive landscape and the intimacy of a protected interior. In Madrid’s financial district, that sense of withdrawal takes on particular meaning.

We translated the reference through spatial qualities: shelter, texture, filtered views and warm light. The mountain connection comes through the relationship between those elements. Keeping the architectural language contemporary was essential to giving the project its own identity.

The marble bar is treated as an altar with powerful curved lines. How long did the form take to resolve, and how did you make sure it stays comfortable for guests as well as striking to look at?

The bar brings together many of the project’s concerns in one object: material weight, curved geometry, hospitality and a strong presence within the room. Resolving its form means considering its silhouette alongside the experience of approaching it, sitting at it and working behind it.

Our experience in restaurant design allows us to control the dimensions that ensure comfort, including when working with curved geometry: counter height, legroom, stool positioning and the treatment of the edge. That experience gives us the freedom to develop a sculptural piece while maintaining guest comfort and functionality for the service team.

The large-scale landscape images function as walls, not decoration. How did you select and print these images, and how do they interact with the textile perimeter when guests are seated?

We understand the landscape images as an extension of the room’s spatial boundaries. Their scale and framing are therefore architectural decisions. They need to establish a convincing sense of distance, especially from the seated viewpoint.

The relationship with the textile perimeter is central to that effect. The images draw the eye outward, while the fabric gives the immediate surroundings a softer, more enclosed character. Together, they allow guests to feel both connected to a landscape and comfortably sheltered within the dining room.

For us, intimacy is closely connected to the ease of conversation. A room can look sheltered and still feel exposed if sound carries too freely.

The open kitchen is framed as the “lit hearth” of the refuge. How did you balance the honesty of the stainless steel with the warmth of oak, limestone, and plaster, and did the kitchen’s heat, noise, or ventilation shape any of the design decisions?

The open kitchen gives the refuge an inhabited centre. Its light and activity bring energy to the room, and the stainless steel expresses the precision and working character of that space. Oak, limestone and plaster give that activity a warmer setting.

We see those materials as complementary. The steel catches light and movement; the surrounding surfaces give the dining room a calmer presence. The hearth idea also depends on comfort: extraction, heat and kitchen noise have to be considered alongside visibility, so that guests can enjoy the kitchen’s activity without feeling overwhelmed by it.

The textile perimeter is described as a “soft skin” that creates privacy. What role did acoustics play in choosing the fabrics, and how did you test whether the room feels intimate once it is full of diners?

The textile perimeter works at several levels. It softens the boundary of the room, provides a degree of visual privacy and contributes to its acoustic comfort. Its weight, texture and the way it hangs all affect how that boundary is perceived.

For us, intimacy is closely connected to the ease of conversation. A room can look sheltered and still feel exposed if sound carries too freely. The intention was to bring the visual and acoustic qualities together, creating a setting where the energy of a full restaurant can coexist with the smaller, more personal space of each table.

View Gallery 35 images

Project: La Maruca Azca
Year: 2025
Location: Madrid, Spain
Team: Miguel Crespo Picot, Javier Guzmán Benito, Sixto Martín Martínez, ZOOCO ESTUDIO
Collaborators: Jorge Alonso
Photography: David Zarzoso
Construction: NIMBO
Lighting Design: ZOOCO ESTUDIO
Furniture Design: ZOOCO ESTUDIO

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Disbrow Iannuzzi has designed Briarcliff Residence, a private home situated on a 3.5-acre property in historic Franklin, Michigan. Drawing inspiration from traditional rural farmsteads, the project introduces four interconnected pavilions that organize the family’s living spaces around the site’s natural features. The architects combine familiar gabled forms with contemporary materials, creating a residence that reflects its owners’ passion for music and theater.

RESIDENTIAL

The design takes inspiration from Michigan farmsteads, where generations of construction produced clusters of pitched-roof buildings. Disbrow Iannuzzi interprets this arrangement through four distinct structures that establish clear divisions between public and private spaces. Their positioning creates a sequence of architectural experiences as visitors move through the property.

The longest pavilion extends across the site as a continuous volume. Exposed steel frames support the structure, while expansive glazing opens toward the swimming pool. A custom millwork wall provides privacy from the street. At opposite ends, complementary architectural forms accommodate a blued-steel fireplace and a kitchen featuring emerald green finishes and stained walnut.

The interiors introduce a playful character that reflects the family’s interests. The architects use material choices and spatial arrangements to establish a domestic environment with an expressive identity. Large windows frame views of the surrounding grounds and neighboring pavilions, maintaining a visual connection throughout the residence.

The building’s position within the terrain contributes to its sense of privacy. Rolling hills partially conceal the house from the street, while Corten steel retaining walls cut through the land to create access routes. A sunken motor court and walkways introduce visitors to the architectural composition as they approach.

Disbrow Iannuzzi carefully positioned the residence to minimize disruption to existing trees. The design gives particular attention to a century-old American elm and climbing hydrangea, incorporating these established natural features into the experience of the property.

Environmental considerations informed the planning and construction of Briarcliff Residence. The four-pavilion arrangement allows the mechanical systems to operate independently across different zones, reducing unnecessary heating and cooling in unoccupied spaces.

The architects also considered seasonal sunlight and prevailing winds when positioning the building. This approach supports passive heating, cross-ventilation, and natural airflow throughout the home.

Prefabricated structural insulated panels form the walls and roof assemblies. These systems reduce construction waste while improving insulation and airtightness. Their structural capacity also allows the architects to create generous spans between the exposed steel frames.

The exterior combines unfinished cedar planks with high-density cement fiber panels. Cedar covers the gabled ends, using its natural resistance to decay to eliminate regular staining. Prefabricated cement fiber panels provide durable, low-maintenance surfaces across the broader façades.

Rear-ventilated rainscreen construction improves moisture management and thermal performance. Standing-seam steel panels cover the steeply pitched roofs, offering a lifespan of at least 100 years and the potential for complete recycling.

Two flat-roof sections above connecting corridors feature vegetated trays containing native grasses. These planted surfaces support biodiversity, manage rainwater, and help regulate interior temperatures. Native grasses across the grounds reduce irrigation requirements, while permeable paving and a crushed gravel driveway limit surface runoff.

Briarcliff Residence establishes a close relationship between contemporary domestic architecture and its natural surroundings, creating a private family home with long-term environmental performance in mind.

View Gallery 35 images

Project Name: Briarcliff Residence
Location: Franklin, Michigan
Size: 5,300 square feet
Status: Completed 2022
Photography: Rafael Gamo
Architect: Disbrow Iannuzzi
Builder: Thomas Sebold & Associates
Landscape Architect: Environmental Artists
Interior Design: Elizabeth Fields

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Los Angeles-based design studio AENARA presents Off-World Habitat Wall Section, a commissioned installation exploring the architecture of human habitation on Mars in 2075. The project forms part of Task Eternal, the world’s largest aerospace exhibition, opening at the new Powerhouse Parramatta museum on November 7, 2026. Through a detailed architectural cross-section, the installation reveals the structural systems, materials, and technologies necessary to create a habitable environment beyond Earth.

EXHIBITIONS

The installation examines the technical requirements of building on Mars by exposing the interior construction of a proposed habitat. Its sectional design reveals how protective walls connect with essential utilities, allowing visitors to understand the infrastructure that would support daily life in an extraterrestrial environment.

The concept incorporates 3D-printed structural shells, an inflatable membrane, and thermal insulation. Integrated systems manage power distribution, data transmission, water, and air circulation. Together, these elements address the environmental challenges of sustaining human life on a planet with conditions fundamentally different from Earth.

AENARA developed the concept through a year-long feasibility study involving NASA collaborators, industry specialists, and university partners. The NASA-endorsed research investigated methods for constructing habitats and civil infrastructure autonomously, using materials available locally on Mars.

The study explored how future missions could land equipment, deploy construction systems, and establish manufacturing processes using resources from the Martian environment. Its resulting concept of operations addresses the production of oxygen and water, alongside sulfur concrete for construction.

These technologies respond to the practical limitations of building far from Earth. Future extraterrestrial settlements would operate with restricted labor and infrastructure, increasing the importance of robotic construction and locally sourced materials. AENARA’s research investigates how autonomous systems could support the development of facilities capable of accommodating long-duration missions.

Alongside its technical considerations, the project addresses the psychological and physical well-being of future inhabitants. The proposed habitat incorporates natural light and large windows to establish a stronger connection with familiar terrestrial environments.

Melodie Yashar, founder of AENARA, emphasizes the importance of creating living conditions that resemble those on Earth while acknowledging the risks of occupying a hostile extraterrestrial environment. Her approach places human experience within the wider discussion of architectural performance and operational safety.

The museum installation allows visitors to examine these priorities through the building’s internal organization. By exposing the relationship between structural protection and life-support infrastructure, the project demonstrates the complexity of creating living spaces capable of sustaining people far from home.

The proposal also arrives as NASA develops plans and procurement strategies for a future lunar base. Such initiatives bring renewed attention to the practical challenges of extraterrestrial construction and the considerable development necessary before permanent human habitation becomes possible.

AENARA’s work raises questions about the social, ethical, and geopolitical responsibilities associated with building infrastructure beyond Earth. These considerations extend into the studio’s ongoing research into resource-efficient construction methods.

AENARA also considers potential applications for construction on Earth. The Off-World Habitat Wall Section presents a speculative vision of Mars in 2075 while examining technologies that could influence architectural development closer to home.

View Gallery 17 images

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Moriyama Teshima Architects has completed the John Hunt Student Life Centre at De La Salle College in Toronto, Canada, transforming a former ice rink into a 47,773-square-foot facility. Opening during the independent school’s 175th anniversary, the project introduces a double gymnasium, fitness centre, lecture hall, classrooms, library, and student commons. The renovation adapts the existing building to support a broader range of academic, athletic, and social activities.

EDUCATION

Originally constructed in 1976, the arena occupied a campus featuring High Victorian Gothic Revival, Edwardian Eclectic, and Neoclassical architecture. Its modernist design incorporated a custom wooden truss roof that spanned the ice rink without supporting columns. As the school expanded its athletic programming, the architects converted the former hockey facility into a student centre accommodating more activities.

The renovation introduces two additions measuring 9,687 square feet on the west and 14,531 square feet on the east. These extensions surround the original structure, which now forms the centre of the building.

A new library welcomes students at the entrance, while a corridor frames views of the campus quad and leads toward a spacious atrium. The Student Commons preserves the arena’s exposed wooden roof structure. New skylights illuminate the timber, revealing its natural texture after the construction team carefully removed layers of paint.

The architects also reopened existing windows that previously helped maintain ice rink temperatures. Natural light now enters the interior, offering views of surrounding greenery. Along the exterior, angular façades reference the original arena’s geometry, using subtle changes in direction to reduce the visual mass of the gymnasium addition.

The new double gymnasium accommodates simultaneous activities through movable dividers. Adjustable basketball nets support players of different ages, while generous ceiling heights provide space for badminton and volleyball. Elevated viewing areas allow spectators to watch games from above. An adjacent fitness centre provides equipment for cardiovascular exercise and strength training throughout the year.

Upstairs, the second floor supports academic activities through a 165-seat lecture hall and flexible classrooms. The lecture hall introduces students to a university-style learning environment, while smaller rooms accommodate clubs, workshops, study sessions, and leadership activities. A green roof contributes to stormwater management and thermal performance.

The project also improves circulation across the surrounding campus. Working with students, parents, teachers, and school leadership, the architects transformed a busy vehicle pick-up and drop-off area near the historic Oaklands green space into a pedestrian-friendly environment. Limestone-coloured ceramic panels reference the stone tones of the nearby Heritage House.

Sustainability informed the renovation strategy. The project retains and reuses more than 61% of the existing building, reducing demand for new structural and exterior materials. Converting the temperature-controlled ice rink also delivers a 30% improvement in energy performance and a 31% reduction in emissions beyond Ontario Building Code requirements.

Carol Phillips, Partner at Moriyama Teshima Architects, explains that the team sought to respect the former arena’s importance to the school community while introducing spaces that support contemporary student life. The completed John Hunt Student Life Centre preserves a significant piece of campus architecture and provides new opportunities for learning, recreation, and social interaction.

View Gallery 25 images

Location: Toronto, Ontario, Canada
Client: De La Salle College
Size: 43,765 SF
Completion: September 2026
Architect: Moriyama Teshima Architects
Photographer: Riley Snelling
Project Team
Carol Phillips – Partner-in-Charge
Cathy McMahon – Design Architect
George Meng – Contract Administrator Lead
Corey Brown – Architect
Carolina Mellado – Designer
Ehsan Naimpour – Designer
Luis Quezada – Designer
Maria Pavlou – Technologist
Miranda DelPlavignano – Interior Designer
Maya Desai – Urban Designer

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Italian architecture studio Didea has completed Palermo Underground, a 135-square-meter residence on the thirteenth floor of a building in central Palermo. The apartment forms part of a larger renovation that divided an existing 420-square-meter penthouse into separate homes for the owners’ children. Designed for a young resident with an interest in underground culture, the project draws inspiration from New York lofts while maintaining a direct connection to Palermo’s architecture and urban environment.

INTERIOR DESIGN

The apartment overlooks the city through expansive windows and a horseshoe-shaped terrace. Views extend along Via Libertà towards Monte Pellegrino, the port, and Capo Zafferano. Didea organized the interior around these surroundings, positioning the living areas and bedrooms towards the panorama while placing service functions near the internal courtyard.

“This view, so wide and so rare for the city, was the starting point of the project. We chose to orient the home outward, making the panorama an active element in shaping the spaces,” explains Nicola Andò, CEO and Creative Director of Didea.

Natural light informs the spatial arrangement, with open connections between rooms encouraging uninterrupted views. The living area accommodates a stainless-steel kitchen that introduces an industrial character. An adjoining dining room also functions as a study or private relaxation space, depending on the resident’s needs.

A large sliding glass partition separates the dining area from the kitchen. Its slender grid provides privacy while maintaining visual connections across the apartment. Architect Giuseppe De Lisi explains that the studio used volumes, transparent surfaces, and movable divisions to support flexibility throughout the residence.

Didea reorganized the floor plan using a compositional grid that determines proportions, openings, and circulation. The approach replaces conventional arrangements of separate rooms and corridors with integrated architectural volumes. Custom cabinetry extends along the walls, incorporating laundry facilities, shoe storage, wardrobes, a bar, and utility compartments.

Flush surfaces and push-to-open systems conceal these functions within continuous wall treatments. The cabinetry also accommodates existing columns and structural irregularities, allowing circulation spaces to serve practical purposes. At the entrance, a window overlooking the internal courtyard brings daylight into the apartment before the layout opens towards the main living area.

Material choices establish the residence’s industrial character. Stainless steel, exposed concrete elements, and black window frames introduce precise architectural lines. Wood with pronounced grain and warm plaster finishes soften the interior, creating a residential atmosphere within the loft-inspired arrangement.

Slightly irregular plaster surfaces respond to the apartment’s intense natural light, introducing texture across the walls. Didea uses related tones on walls and ceilings, allowing changes in material to define architectural transitions. Black lighting fixtures and recessed skirting boards further articulate the interior geometry.

Diagonal ceiling cuts follow the building’s existing sloped roofline, integrating its original structure into the new design. Soft greens, petrol blues, crimson reds, and yellows introduce additional color through furnishings and decorative objects. Roberta Faja, a member of the client family, contributed to the furniture and textile selection.

The renovation also incorporates breathable hydraulic-lime plaster and a low-temperature hydronic system for radiant floor heating and cooling. These technical choices support indoor comfort and reduced energy consumption.

Palermo Underground reflects Didea’s approach to adaptable residential architecture, combining integrated storage, flexible living areas, and carefully considered materials. The completed apartment connects its industrial influences with Palermo’s urban character, placing the surrounding city at the center of daily life.

View Gallery 23 images

Project name: A454 – Casa Croci
Project type: Private residence
Location: Palermo, Italy
Year:2023
Architecture & Interior Design: Didea – Architetti Associati
Brands & Products
Kitchen: bulthaup – Anthracite grey kitchen and island
Internal doors: Rimadesio – Anthracite grey finish
Wall finishes: Kerakoll – Resin surfaces
Taps and fittings: CEA Design – Kitchen and bathrooms
Flooring: Listone Giordano – Aged oak parquet

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Alexander &CO. has transformed NoMad Residence in Sydney, Australia, into a three-bedroom apartment that draws inspiration from the sculptural language of Constantin Brancusi’s workshop. The project reconfigures a former industrial and commercial space within the podium of a low-rise tower, creating a calm residential environment for a professional couple. Through an extensive interior renovation, the studio introduces sculptural concrete elements, carefully considered lighting, and open living areas that reflect the clients’ interest in art and spatial simplicity.

INTERIOR DESIGN

The building originally served as industrial storage before accommodating commercial offices and eventually becoming an apartment. Its concrete structural frame, floor slabs, and traditional steel-framed industrial windows preserve traces of its previous functions. When the clients acquired the property, they recognized the potential of its generous proportions but needed substantial improvements to accommodate contemporary residential life.

The couple approached Alexander &CO. with a request for an urban sanctuary that would offer a sense of calm within the city. They wanted to preserve the apartment’s gallery-like proportions and character while introducing the practical requirements of a modern home. Their brief prioritized generous living areas, minimal storage demands, carefully planned lighting, and extensive white space.

Alexander &CO. responded by completely reorganizing the existing floor plan and replacing the building services. The renovation involved structural remediation, new finishes, updated lighting, and a comprehensive furnishing scheme. The studio sought to maintain the openness of the original industrial envelope while improving the apartment’s residential functionality.

The completed residence accommodates three bedrooms, two bathrooms, including an ensuite, a laundry, an entrance hall, and a retail-inspired dressing room. A combined living and dining gallery provides the main communal area, establishing the apartment’s connection to the atmosphere of an artist’s studio.

Sculptural concrete benches play a central role in the interior design. Alexander &CO. introduced these substantial forms into the kitchen and bathroom areas, referencing the handmade shapes and spatial compositions associated with Brancusi’s work. Their weight and pronounced geometry establish architectural focal points within the otherwise restrained interiors.

The concrete elements also presented considerable technical challenges. Their size and weight complicated fabrication and transportation, requiring the project team to bring several pieces into the apartment through the windows using a crane. The manufacturer needed to assess the structural capacity of the residence while testing the technical possibilities of producing the complex forms.

Lighting and furnishing further establish the apartment’s gallery-inspired character. The studio uses generous white surfaces to create visual openness, allowing the sculptural elements to occupy the rooms with clarity. Full-length curtains soften the industrial windows and provide privacy, contributing to the gentle atmosphere requested by the clients.

The renovation also required statutory approval and documentation, alongside several upgrades associated with Class 2 building requirements. Alexander &CO. coordinated these interventions while preserving the defining proportions of the existing structure.

Despite the extensive construction work, the finished interiors maintain a restrained architectural presence. The studio allows the original building and new sculptural elements to establish a cohesive spatial experience, with lighting and material choices supporting the apartment’s residential purpose.

NoMad Residence now functions as a living gallery, offering the couple a calm environment within Sydney’s urban setting. Alexander &CO. uses the building’s industrial character and the sculptural influence of Brancusi to create a home centered on space, atmosphere, and carefully selected architectural forms.

View Gallery 25 images

Project Name: NoMad
Principal Architect: Jeremy Bull
Interior Design Team: Sophie Harris, Carolyn Schmidt, Mengxi Deng

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Sanctum Retreat, designed by Lithuanian architecture studio arches, introduces a nature-focused hospitality destination in Bezdonys, near Vilnius, Lithuania. Surrounded by forest, the project explores how architecture can support rest, reflection and personal wellbeing through a close relationship with the natural environment. The development consists of a main building and seven accommodation cabins, with each structure responding to the existing terrain and vegetation.

COMMERCIAL

The architects draw inspiration from traditional Lithuanian wooden architecture, interpreting its principles through contemporary construction techniques and materials. Timber establishes the architectural identity of the retreat, while the arrangement of buildings maintains a close connection with the forest. The project encourages visitors to experience the natural surroundings as part of their daily activities, creating opportunities for rest and outdoor exploration.

The main building accommodates the retreat’s shared facilities and eleven guest rooms. Communal dining spaces provide areas for visitors to gather, while an event hall supports group activities. Additional spaces accommodate wellness programmes, extending the building’s function beyond accommodation. The architects organise these facilities around the relationship between interior spaces and their natural surroundings.

Large glazed openings establish visual connections with the forest, allowing guests to observe seasonal changes from inside the building. Natural light enters the communal areas and guest rooms, influencing their atmosphere throughout the day. The design incorporates views of the surrounding trees into the interior experience, maintaining awareness of the landscape during indoor activities.

Seven accommodation cabins occupy individual locations among the existing trees. Their placement follows the natural characteristics of the site, allowing the structures to fit within the forest with limited intervention. The cabins provide individual spaces for guests seeking privacy and relaxation while maintaining a connection with the surrounding environment.

The architects carefully considered the position of each building during the design process. Their approach prioritised the preservation of existing vegetation and the continuity of the forest. This planning strategy allows natural spaces to remain an important part of the retreat, with the architecture occupying selected areas throughout the property.

Cross-laminated timber (CLT) forms the primary load-bearing system, providing the structural foundation for the buildings. The façades incorporate Kebony-treated pine wood and copper cladding, introducing materials that respond to the natural environment. Their surfaces will develop changes in appearance over time, allowing the buildings to acquire different visual qualities as they age.

The interiors continue the material approach through exposed timber surfaces, polished concrete floors and extensive glazing. Wood introduces natural textures, while concrete provides a restrained foundation for the interior spaces. Large windows bring the surrounding forest into view, allowing vegetation and daylight to influence the atmosphere.

Outdoor areas extend the retreat’s activities into the natural environment. Visitors can explore walking routes, gather in shared spaces and participate in seasonal activities connected with the forest. The architectural arrangement supports these experiences through the placement of buildings and the preservation of open areas between them.

The relationship between the main building and individual cabins establishes different opportunities for social interaction and private relaxation. Shared facilities encourage communal activities, while the accommodation units provide individual spaces for guests to spend time within the forest.

Arches developed Sanctum Retreat over four years, from the initial concept through completion. The project presents an architectural approach that places human wellbeing and contact with nature at the centre of hospitality design. 

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Project name: Sanctum – Nature Therapy Retreat
Location: Vilnius region, Lithuania
Year: 2026
Architect: arches
Area: 1,100 m²
Client: Lina Tvarijonavičienė
Photography: Leonas Garbačauskas

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