Tag Archives: Architecture

Young Projects’ Cut Out House Proves Subtraction Is the Most Powerful Tool in Architecture

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Most mountain houses try too hard. Cut Out House, designed by New York-based studio Young Projects, does the opposite — it sits in the foothills of the Canadian Rocky Mountains, tucked into a low-density development where the land does most of the talking.

The project was conceived as a family vacation home, and it wears that intention openly. Rather than asserting itself against the landscape, the house responds to it — balancing intimate spaces oriented toward the dense surrounding woodland with communal areas that open dramatically toward the mountains. That duality is the architecture. Everything else follows from it.

Designer: Young Projects

The defining move is the butterfly roof, which Young Projects uses not just as a formal gesture but as a tool for orchestrating experience. The angled planes slope in opposite directions, directing views outward from within while reflecting the terrain’s gradient from outside. Where the roofline climbs, communal living spaces claim the panoramic views. Where tree density compresses the sightlines, private bedrooms pull back into quieter, more sheltered corners of the plan. The roof, in a sense, is the planner.

The “cut out” in the name refers to a series of subtractions carved from the building’s overall volume — openings and recesses that give the house its sculptural character without overworking it. This is a form shaped as much by removal as by addition. The result reads as something confidently simple, which is the harder thing to achieve. Most houses at altitude either defer too much to the landscape or compete with it. Cut Out House does neither.

Gray Accoya wood clads the exterior, a material choice that ages gracefully and lends the structure a tonal continuity with the rock and timber of the surrounding terrain. It doesn’t announce itself. From across a nearby body of water, the butterfly roofline is the first thing you read — a dynamic silhouette that shifts with the light and suggests movement even when the house is still.

Bryan Young founded Young Projects in New York in 2010, and the studio has built a reputation for work that thinks carefully about the relationship between built form and context. Cut Out House extends that sensibility into alpine territory, where the stakes of getting that relationship wrong are immediately visible in every window. The house doesn’t compete with the Rockies. It leans into them, shapes itself around them, and in doing so becomes something more interesting than a retreat — it becomes a calibrated act of looking.

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The Hangzhou Prism by OMA Is the Mixed-Use Landmark China’s Tech Capital Deserves

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There’s a centuries-old Chinese proverb that goes: ‘above, there is heaven; below, there is Suzhou and Hangzhou.’ OMA’s newly completed Hangzhou Prism doesn’t just reference it — it builds toward it. Peaking at 106.5 metres in the heart of Hangzhou’s Future Tech City district, the Prism has arrived as one of China’s most formally daring mixed-use structures.

The project, led by OMA partner Chris van Duijn and project architect Michael Hadjistyllis, broke ground in 2019 and has been years in the making. Commissioned by Xinhu Real Estate Group, the 43,000-square-metre building departs entirely from the logic of the conventional tower. Rather than stacking a cluster of residential volumes in the usual fashion, OMA collapsed them into a single, porous structure — what van Duijn describes as a “three-dimensional village for young professionals and visitors.”

Designer: OMA

The form is immediately arresting. Two radical oblique cuts slice through the building envelope, giving the Prism its angular, asymmetric silhouette and creating cascading terraced lofts with sweeping views across the city. The projecting cubic balconies that line these oblique facades give the structure texture and depth, so the building reads differently from every angle — less like a static object, more like something mid-transformation.

At ground level, the geometry opens up. A large void punctures the flat facades, giving way to a publicly accessible atrium that connects directly to the adjacent park. This base-level square is designed for events, community gatherings, and everyday movement — the kind of activated ground plane that high-rises in China rarely prioritize. It’s a meaningful gesture in a building that could have easily turned inward.

Programmatically, the Prism holds a remarkable amount within its singular form: a 20,000-square-metre hotel, 10,000 square metres of residential units, 5,000 square metres of office space, and 8,000 square metres of retail. The brief is dense, but the architecture handles it without feeling overcrowded. The mixed-use stacking is intuitive, each program finding its natural vertical position within the building’s tapered volume.

Future Tech City is home to companies like Alibaba and NetEase, and Hangzhou is actively positioning itself as one of Asia’s most important innovation corridors. The Prism lands squarely in that ambition — a building that signals civic intent as much as commercial function. Van Duijn put it plainly: “The design of the Prism shares this ambition to innovate.” For OMA, it’s another sharp proof that bold formal moves and genuine public utility don’t have to be in conflict. The Prism earns its skyline position.

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What If the Internet Had a Building You Could Actually Walk Inside?

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The internet has always been invisible. It moves information at a scale and speed the human mind can’t fully grasp, yet we access it through the most ordinary of interfaces: a flat screen, a pair of earphones, a keyboard. Nothing about how we physically engage with it reflects the enormity of what it represents, or what it means to be connected to the entire world from a single chair.

Michael Jantzen’s Internet Observatory concept addresses that disconnect directly by building a physical structure around the idea of internet access. Placed outdoors, the structure uses its architectural form to stand in for the abstract mechanics of the web. The outer support grid frame represents the internet’s matrix, while the curved space it encloses represents where a person enters and engages with the flow of information.

Designer: Michael Jantzen

You reach the interior by climbing a staircase up to an elevated platform and stepping inside the curved shell. At its center sits an interactive workstation that rises through a glass floor and can also rotate along the floor’s surface, letting the person inside face in any direction. It’s a deliberately simple setup that places one person at the physical center of a structure designed to represent the entire internet.

All of the large curved panels that form the enclosing space can be automatically repositioned around the occupant. The core can be fully open, fully closed, or any variation in between, depending on the activity. Some configurations allow for projecting images and sounds from the internet or the main computer onto the surrounding panels, turning the interior into a fully immersive display environment.

Some of those projected images also appear on the exterior faces of the panels, making what happens inside the structure visible to anyone nearby. A private internet session becomes something closer to a public exhibition, with the curved panels acting as screens that anyone outside the grid frame can see. The distinction between the individual’s experience and the community’s visibility gets built directly into the architecture.

Each structure would also have its own website, through which people could visit and interact with it remotely in real time, selecting images and sounds to be projected inside or directing the movement of the panels. Someone seated at the workstation might find the content surrounding them being shaped by a stranger thousands of miles away. The structure becomes a live, physical interface for the collaborative possibilities of the internet.

The design also contemplates many of these structures existing simultaneously around the world, each publicly or privately owned, all communicating with each other as they interact with their respective occupants. What begins as one architectural statement scales into a distributed global network, a physical version of the very internet it represents, built from steel frames and curved panels rather than servers and cables.

Jantzen calls this a “symbolic temple for the computer age,” and there’s something deliberate in that description. Climbing a staircase, entering a curved space, and sitting at the center while content from around the world flows around you is a kind of ritual that a laptop screen doesn’t offer. It’s an architectural argument for what it might feel like if the internet had a home you could walk into.

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Simplify Further’s Goa Tiny Home Fits a Full Life Into 252 Square Feet

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Most tiny homes ask you to give something up. The Goa by Simplify Further Tiny Homes is built around the idea that you shouldn’t have to. It’s a 24 x 8-foot home on wheels designed for people who want to genuinely live small, not just survive it. At 252 square feet, the Goa is built to sleep four to five people, which already tells you something about how thoughtfully the space has been planned.

Two sleeping lofts — one measuring 7×8 feet and another at 7×5 feet — sit overhead, leaving a loft height clearance of 36 inches at the low side and 6 feet 4 inches of headroom beneath them. It’s a layout that stacks the private spaces upward and reserves the ground level for living, cooking, and everything in between.

Designer: Simplify Further Tiny Homes

The kitchen is the centerpiece of the Goa, and Simplify Further leans into that fully. A U-shaped layout tucks beneath one of the sleeping lofts, fitted with a four-burner electric range, a 7.1 cubic foot refrigerator, and generous built-in storage — including more tucked beneath the staircase that leads to the loft. It’s a kitchen that actually invites you to cook, not just reheat. A small dining table and seating area sit nearby, keeping the social flow between the kitchen and living room easy and natural.

The bathroom is full-sized — a detail that shouldn’t feel remarkable but often does in homes this compact. Buyers can opt for a full-size bathtub or a 36-inch shower with additional storage, depending on how they want to use the space. A washer/dryer combo is also included as standard, which rounds out the Goa as a proper full-time residence rather than an extended camping experience.

Finish-wise, the interior is dressed in drywall, pine tongue-and-groove ceilings, and vinyl flooring — warm without trying too hard. Upgrade options include shiplap interior walls and furnishings for those who want to move in without lifting a finger beyond signing a check.

The Goa rolls on a hand-built chassis with double axles rated at 7,500 pounds each, trailer brakes, and DOT-approved highway lighting. It carries NOAH certification as an RV and can also be built to satisfy IRC Appendix AQ standards by request. Starting at $65,000, the Goa lands as one of the more compelling full-time tiny home options on the market — a house that earns its footprint rather than apologizing for it.

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The Chocolate Tiny House Is Dark on the Outside and Surprisingly Warm Within

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Poland’s Mobi House has always had a thing for understated design, but the Chocolate — a new variation of their Mobi Modul Sunrise series — takes that restraint somewhere altogether richer. It’s a tiny house that looks like it was pulled from a brutalist mood board and softened just enough to feel livable. Dark on the outside, warm on the inside — it plays with contrast in a way that most compact homes don’t bother trying.

At just 6.6 meters long, 2.5 meters wide, and 4 meters tall, the Chocolate sits on a THM 660 Lift&Go trailer, which means it’s mobile without making any visual concession to that fact. The exterior combines metal cladding with wood-texture insertions beneath an A-frame roofline, giving it the clean geometry of a container but with enough material warmth to stop it from reading as industrial. A built-in covered terrace extends from the front, the kind of detail that makes it feel more like a glamping retreat than a house on wheels.

Designer: Mobi House

Inside, the 169 square feet of usable floor space is divided into four zones: a flexible lounge area, a kitchenette with black cabinetry, a bathroom, and a sleeping mezzanine for two. The layout is tight but considered — every corner is accounted for without feeling like a puzzle you have to solve each morning. The kitchen keeps things sharp with dark finishes that echo the exterior palette. The bathroom, accessed through a sliding door, leans into the same contrast language with stone-look tile flooring, a walk-in shower, and cabinet storage that keeps the floor clear.

The sleeping loft is compact and honest about it — a small rear window, a movable ladder, and just enough headroom to remind you that you chose this life intentionally. It’s not a weakness so much as a trade-off that comes with the territory of sub-170-square-foot living. What makes the Chocolate more compelling than most is its ability to expand — the structure is designed to connect to a second module if more space eventually becomes a priority.

Mobi House, one of the most reputable tiny home builders in Europe, has been quietly evolving past its Scandinavian origins into something sharper and more versatile. The Chocolate feels like proof of that evolution — a house that’s built for hospitality entrepreneurs and minimalist dwellers alike, without looking like it was designed for either specifically. Pricing is available upon request directly through Mobi House.

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This 27.5-Foot Tiny Home Has Two Lofts and Zero Compromises

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Tiny house living has long come with an unspoken agreement — you trade space for freedom, and you make peace with the limitations. The Coolangatta 8.4 by Gold Coast-based Removed Tiny Homes wants to renegotiate that deal entirely. Named after its dimensions, the 8.4-meter (27.5 ft) build sits on a triple-axle trailer and arrives not as a stripped-back escape pod, but as a considered, liveable home — one that takes full-time living seriously without abandoning the lightness that makes tiny architecture worth chasing.

The exterior sets the tone immediately. Wrapped in monument Colorbond steel cladding and softened with natural textures, the Coolangatta 8.4 walks the line between coastal restraint and contemporary edge. It’s not trying to disappear into the landscape — it has presence. The kind that reads well in the late afternoon sun and doesn’t scream for attention while doing it. From the outside, the massing feels deliberate: clean rooflines, a tight material palette, and just enough visual weight to signal that what’s inside has been thought through.

Designer: Removed Tiny Homes

Step inside, and the first thing you notice is the light. Generous glazing throughout the interior keeps the space feeling open in a way that floor area alone never could. The kitchen anchors the main living zone, featuring a breakfast bar seating area for two — a small but telling detail that says this home was designed for actual mornings, not just floor plans. Storage is woven into the architecture rather than bolted on as an afterthought, which is where many tiny homes lose their footing.

What genuinely distinguishes the Coolangatta 8.4 is the second loft. Floating above the main living space, it functions as a workspace, a guest loft, or a second bedroom depending on the day. That kind of programmatic flexibility is rare in a build this size. It’s not a gimmick — it’s a spatial move that multiplies how the home can be used without adding a single square metre to the footprint. The layout was reworked specifically around how the clients planned to live, which is exactly the kind of client-led thinking that separates a custom build from a catalogue selection.

Removed Tiny Homes operates out of the Gold Coast and delivers across Australia, building for downsizers, young families, and investors. The Coolangatta 8.4 sits within their custom range — a collection of builds that begin with a conversation and end with something that couldn’t have existed any other way. It’s proof that in the right hands, going smaller doesn’t mean settling for less.

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The Aluminum Pavilion Built to Never Become Waste

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Every design exhibition ends the same way. The crowds leave, the lights go out, and someone starts breaking things down. Usually, all that carefully curated architecture gets tossed, trucked away, or scrapped with minimal ceremony. It’s a pattern so common we barely register it anymore. Most temporary pavilions are built to impress, not to last, and that’s always felt like an uncomfortable contradiction for an industry that increasingly talks about sustainability.

UNFOLD, a thematic pavilion designed by Bangkok-based Unknown Surface Studio for aluminum brand Aluframe, takes direct aim at that contradiction. Not loudly, not with a manifesto, but through the logic of how it was designed and what it’s made of. The premise is deceptively simple: build a temporary structure that isn’t actually temporary in the way we’ve come to accept.

Designer: Unknown Surface Studio for Aluframe

The pavilion is made entirely from industrial aluminum profiles, the kind you’d find stacked and organized in a warehouse, not draped over a building or polished beyond recognition. Unknown Surface Studio didn’t just use the material; they took their cue from the environment it typically lives in. Rows of aluminum in storage, ordered by size and system, become the architectural reference. Repetition, rhythm, and density become the visual language. The warehouse, in other words, becomes a design brief. It’s a bit like deciding to build a library that looks exactly like the factory where the books were printed, and somehow making it feel exactly right.

The structure opens in a fan-shaped configuration, layers of aluminum profiles fanning outward to form a semi-open enclosure that does several things at once. It shades. It displays. It frames space. It defines a boundary without becoming a wall. The shifting density of the profiles controls how much you see, how much light filters through, where your eye lands. The form moves from dense to open as you walk around it, creating a different experience at every angle. It’s the kind of spatial trick that feels effortless when done well, and genuinely difficult to pull off.

What the designers call a “Living Material Library” is an idea worth sitting with. The pavilion reframes the warehouse as a public experience rather than a backstage operation. All the precision and engineering that usually stays hidden behind polished finishes gets front row treatment here. The exposed profiles, the visible connectors, the honest industrial logic of the whole thing are the aesthetic. It’s not industrial-chic for the sake of a trend. It reads more like an argument that the material is already beautiful, if you’re willing to look at it directly.

The bigger idea, though, is the circular system the whole thing is built around. When the exhibition ends, UNFOLD doesn’t end. The aluminum components return to use, whether through the same structure reassembled elsewhere, or through the components cycling back into Aluframe’s inventory and flowing into new projects. Nothing goes to a landfill. Nothing gets dismantled into waste. It’s a regenerative model, and it makes the usual approach to temporary exhibition architecture look pretty careless by comparison.

I’ll admit that “circular design” gets thrown around enough that it’s starting to feel like fine print on a product label. But UNFOLD is concrete about it in a way that’s difficult to dismiss. The components are standardized industrial profiles, not custom one-off parts. Demounting isn’t an afterthought; it’s built into the concept from the beginning. The structure was designed to be taken apart and put back together, which means it was designed for a life that extends well beyond its debut.

Temporary architecture occupies a strange space in design culture. We expect it to be spectacular enough to photograph and forgettable enough to discard. UNFOLD quietly pushes back against that expectation, and it does so without spectacle or noise, just good thinking at the material level. A structure that returns to use, that borrows from industrial logic and offers it back as something genuinely worth experiencing, doesn’t need to be permanent to be meaningful. It just needs to be thought through. That might be the most quietly radical thing about it.

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Europe’s Largest 3D-Printed Apartment Building Just Changed Everything

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Something significant happened in Bezannes, France — and the construction industry should be paying close attention. ViliaSprint², Europe’s largest 3D-printed apartment building, has been completed, and it arrives less as a proof of concept and more as a genuine blueprint for what housing could look like moving forward. Developed by Plurial Novilia, designed by HOBO Architecture, and printed by PERI 3D Construction using a COBOD BOD2 printer, this is the kind of project that makes you reconsider what a building even is.

The numbers are striking. Twelve social housing apartments across three floors, 800 square meters of living space — all printed on-site in just 34 days, down from an originally planned 50. That alone would be a headline. But what makes ViliaSprint² genuinely remarkable is that it’s the first building in France where both the load-bearing structure and every wall were printed directly on-site, with 100% of all loads transferred through the 3D-printed walls. No hybrid workarounds. No conventional skeleton hiding beneath the surface. The printer did the heavy lifting, quite literally.

Designer: Plurial Novilia & HOBO Architecture

HOBO Architecture’s design leans into the honesty of the medium. The building’s rounded geometry — fluid curves that would cost a fortune to achieve through conventional formwork — is made possible precisely because a machine, not a tradesperson, is doing the forming. It’s design that could only exist with this technology, which is a rarer claim than it sounds. Timber balcony structures offset the weight of the concrete shell, adding warmth to a building that could otherwise read as cold and industrial.

Sustainability is baked into the structure rather than retrofitted onto it. The optimized curved form saved roughly 10% of concrete volume. Holcim supplied the printable concrete using its TectorPrint technology within the CO₂-reduced ECOPact range, reinforced with synthetic macro fibres. Perlite insulation, 500 square meters of photovoltaic panels, and a hybrid gas-heat pump system by Atlantic Systèmes push the building to around 60% energy self-sufficiency — fully compliant with France’s RE2020 2025 green building targets.

The building sits directly beside a conventionally constructed twin, built by the same developer simultaneously, as a live comparison. The 3D-printed version finished three months ahead. It also required only three workers to erect the walls, compared to six for the conventional build — a meaningful detail as the construction industry faces deepening skilled labor shortages.

Plurial Novilia is already planning the next move: roughly 40 apartments, two printers running simultaneously, with a target to cut print time by a factor of four. ViliaSprint² isn’t the destination. It’s the proof that the destination is real.

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A 7-Meter Cabin in Ecuador’s Cloud Forest Just Rethought Small Living

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Somewhere between a manifesto and a shelter, Casa 6-3 landed on the slopes above Mindo, Ecuador, and quietly started asking all the right questions about how we build, where we live, and what we’re actually willing to give up.

Built by Baquio Arquitectura, the cabin sits elevated on a triangular timber support system above the slopes of Ecuador’s Chocó cloud forest, one of the most biodiverse ecosystems on the planet. At just 7.2 meters long, it sleeps up to six people. That ratio alone is worth sitting with for a second.

Designer: Baquio Arquitectura

The structure is clad almost entirely in polycarbonate, that semi-transparent industrial material more commonly associated with greenhouse roofing than weekend retreats. Here, it does double duty: keeping the budget lean while transforming the cabin into something closer to a glowing lantern at dusk. Rain patterns, leaf shadows, and the shifting greens of the surrounding vegetation filter through the walls throughout the day, turning the interior into a kind of living light installation that you don’t have to curate because nature does it for you.

Raising the cabin off the ground was both a practical and philosophical decision. The timber stilts let the site breathe underneath, preserving the original topography without excavation or disruption. It’s a small gesture, but it matters enormously in a region where the ecosystem is as fragile as it is spectacular. The architects didn’t treat the forest as a backdrop. They treated it as a collaborator.

Polycarbonate as a material gets a bad reputation in architectural circles, often dismissed as temporary or industrial. Casa 6-3 challenges that bias directly. The cladding was chosen for its economy and ease of assembly at a remote location, but the effect it produces is genuinely atmospheric. It allows a visual and acoustic connection to the landscape rather than sealing occupants off from it. You hear the rain. You see the mist move. You feel the forest without being exposed to it, which is honestly a more sophisticated relationship with nature than most luxury eco-lodges manage with all their cantilevered decks and infinity pools.

A folding staircase, a compact timber kitchen, and a floor plan that fits six people into less than 24 feet of length are all decisions that required real discipline. It’s easy to build big. It takes considerably more skill, and perhaps more honesty, to strip a design down to its actual essentials and still make it feel livable. Casa 6-3 lands on the right side of that line.

Beyond its immediate appeal, the project was designed with change in mind. Right now, it functions as a temporary hospitality retreat, but the timber framework was built to last and to eventually support a more permanent transformation. The polycarbonate skin can be swapped out over time while the structure itself remains. It’s a building that expects to evolve, which is a design philosophy I wish more projects would adopt instead of treating “forever” as the only acceptable timeline.

The broader conversation in architecture right now is about how to build without taking so much. Low-impact construction, adaptive materials, lightweight systems, biophilic design. Casa 6-3 stands as a minimalist prototype for low-impact mountain living without making a speech about it. It doesn’t announce its sustainability credentials. It just hovers quietly above the forest floor, doing exactly what it was designed to do.

Mindo, for what it’s worth, is considered one of the best birdwatching destinations in the world, tucked into Ecuador’s western Andes with a biodiversity that borders on absurd. Placing a structure there that actively tries to minimize its footprint reads less like a design trend and more like a genuine act of respect for the land.

At 7.2 meters long and lifted off the ground on timber stilts, Casa 6-3 is the kind of project that makes you want to rethink your square footage assumptions, your material prejudices, and maybe your entire floor plan. Not every building needs to make a statement. Some just need to know when to get out of the way.

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A Pixelated Tower in One of São Paulo’s Most Beloved Neighborhoods Just Changed What a Mixed-Use Building Can Be

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There is a particular challenge that confronts any building asked to stand at a prominent corner in one of São Paulo’s most culturally dense neighborhoods: it has to earn its place visually without performing for the street at the expense of the people inside it. The Valente building, completed by FGMF Arquitetos for developer Idea!Zarvos in the Pinheiros district, resolves that tension in a way that is worth paying attention to.

The 21-story mixed-use tower sits at the intersection of Cardeal Arcoverde and Capote Valente streets, right at the heart of a neighborhood known for its historic character, its restaurants, and the particular quality of urban life that makes Pinheiros one of the most sought-after addresses in the city. The building’s façade reads as a pixelated composition of protruding rectangular volumes, white and deliberate, stacked in a configuration that has drawn comparisons to a Jenga tower mid-game. It is immediately recognizable without being theatrical.

Designer: FGMF Arquitetos

What makes the design worth examining beyond its silhouette is the logic that produced it. “Valente was designed from the inside out,” said FGMF partner Fernando Forte. The concept, developed with Idea!Zarvos, was built around a three-dimensional occupation of corporate space, using triplex and duplex units to create spatial arrangements that the conventional office tower market rarely offers. Flexible, adaptable, and responsive to the way people actually want to work and live rather than the way developers typically expect them to — that design position shows clearly in the result.

This is the third collaboration between Idea!Zarvos and FGMF, following a 2016 building that explored similarly unconventional office layouts. That prior project directly informed the thinking behind Valente, and the continuity shows. The relationship between developer and architect here is genuinely iterative rather than transactional, which is the kind of condition that produces buildings worth discussing. Each project has pushed the brief further than the previous one.

Pinheiros is a neighborhood that can absorb a bold building without being overwhelmed by it, and Valente reads correctly within that context. The pixelated massing creates a rhythm of light and shadow across the façade that shifts through the day without requiring any moving parts. The protruding volumes that define the exterior also define the interior — each one corresponds to a usable space with a specific relationship to the view and the air around it.

Brazilian architecture has been producing some of the most considered mixed-use buildings of the last decade. Valente is a strong addition to that conversation, built from the inside out and unmistakable from every angle.

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