Activities
Works Appreciation
  • Villa Lago

    The proposal presents an architectural framework intertwined with gardens, aiming to maximize the contact perimeter between the building and the landscape, blurring the boundaries between the built environment and nature. At this site in Madrid, the relationship between the architecture and its surroundings holds unique value. To achieve this, the design intentionally eschews compact building volumes in favor of an ascending layout reminiscent of certain works by Alfaro. The project seeks to resolve a duality: embodying geometric beauty while maintaining organic forms. Though the structure is precise, its inhabitants will perceive it as natural, as if it had randomly merged with the land.

    The project blends two ancient architectural archetypes: the pavilion, seen as an open and centripetal space, and the courtyard, regarded as a more sheltered yet roofless area. We have long been fascinated by the relationship between certain elongated floor plan projects and exterior spaces in the works of architects like Glenn Murcutt and Stephane Beel. These architectural elements take on a longitudinal and transparent form, designed with large radii. The building blocks are juxtaposed to optimize spatial circulation. From this relationship emerge five distinct gardens, each defined by the architectural layout. Every garden creates a unique atmosphere and extends visual connections, ensuring the exterior spaces remain dynamically present in the overall experience. These spaces are prepared to accommodate the future introduction of large plant species.


  • Cloud Choreography: The

    Architects YOKOMAE et BOUAYAD announced at the Louvre Abu Dhabi that their work stood out among five other shortlisted entries and was selected for the Richard Mille Art Prize. The "Art Here 2025" exhibition grandly opened on October 10 under the iconic dome of the Louvre Abu Dhabi and will run until December 28. The Richard Mille Art Prize launched an international competition, attracting over 400 submissions, aiming to design and construct five art installations and/or architectural pavilions centered around this year's theme of "Light and Shadow."

    The competition, conceived by guest curator Sophie Mayuko Arni, invited architects and artists to explore the interplay of light and absence, the visible and the hidden, as well as the multifaceted dimensions of memory, identity, and transformation—all inspired by the theme of "Light and Shadow" in Arab and Japanese cultures.

    The designers sought to create an architectural space that embodies the ever-changing interplay of light and shadow, drawing inspiration from nature. In nature, the shifting shadows cast by clouds, trees, and wind-swayed leaves possess a profound beauty that moves the soul. The designers pondered whether such evolving landscapes and spaces could be manifested within an architectural context, striving for a delicate balance between the natural and the built—akin to standing beneath a towering tree or beneath a vast, sheltering roof.


  • Unitree G1
    Unitree G1 humanoid intelligent agent, an AI avatar. Standing approximately 132 cm tall and weighing around 35 kg, it possesses extraordinary flexibility, unlocking limitless motion potential. With a trotting speed exceeding 2 m/s, it boasts an extensive range of joint movement, featuring 23 to 43 joints and a maximum joint torque of 120 N.m, enabling high-difficulty dynamic actions such as dynamic standing up, sitting down and folding, and staff dancing. Moreover, G1 is continuously upgraded and evolving, leveraging the accelerated development of AI through deep reinforcement learning and simulation training.

  • Outotsu Automatic Stirring Cup
    This work, created by Satoshi Umeno from Tokyo, is a minimalist set of glass cups and coasters that fit together perfectly through soft concave and convex forms. Its design absorbs moisture, enhances aromas, and even improves the taste of beverages, while ensuring easy storage. Thoughtful and exceptionally elegant, it is rooted in daily rituals, elevating simple drinks into a sensory experience.
    Though it appears as an ordinary transparent glass, its base is uniquely designed with a special raised shape, almost as if a hole has been carved out, allowing the glass to nest into the corresponding conical condensation coaster. When pouring beverages, alcohol, or any other liquid, the liquid flows over the raised base, creating a continuous swirling motion that forms a convection effect. This aerates the drink, enhancing its aroma and balancing the flavor, achieving an automatic stirring and mixing effect—allowing users to enjoy a perfectly proportioned beverage.
    The conical condensation coaster is made from 100% natural volcanic ceramic, which absorbs moisture and condensation, controls humidity, eliminates odors, and provides antibacterial properties.

  • Chaka Salt Lake Sightseeing Train Station
    The Chaka Salt Lake Sightseeing Train Station is located in the Chaka Salt Lake scenic area of Ulan County, Haixi Prefecture, Qinghai Province. As a landmark structure for the scenic area's enhancement, the project draws inspiration from the distinctive tourism promotional image of the scenic area. It integrates digital technology with conceptual planning, detailed design, and construction, utilizing prefabricated steel structures and membrane structures to create a versatile space that combines transportation organization with leisure sightseeing.

    Chaka Salt Lake is hailed as the "Mirror of the Sky," where the brine lake, existing in both solid and liquid states, creates a natural wonder. The water reflects the sky, the sky meets the earth, and walking amidst the lake feels like wandering through a painting. The overall design of the project draws inspiration from the iconic, spontaneously formed landmarks of the scenic area over the years. The free-form curves shaped by steel and membrane structures resemble a red silk scarf fluttering in the wind over the salt lake. The sightseeing train tracks extend deep into the lake, allowing visitors to rest at the platform or step into the lake to gaze at the seamless blend of water and sky and the rolling mountains.  
    The name "Chaka Wind" originates from the conceptual series of the scenic area's enhancement project—Salt, Glow, Wind, and Snow. Among these, the Wind Station is the largest structure, with a total floor area of 3,996.64 square meters. Creating a sense of wind in a massive steel structure (required for ecological protection of the salt lake, hence only steel could be used) standing on the tranquil lake was a challenge. Yet, it also provided a rare opportunity for the design team to blend installation art with architectural techniques. Seeing the wind, hearing the wind, and leaving with memories of the wind—this is the experience we hope visitors will take away from this space.  
    The platform is divided into two levels. The lower level is elevated above three tracks, integrating stairs and elevators for visitor flow entering and exiting the station or descending to the lake. The upper level serves primarily as a leisure platform for sightseeing and commercial activities. The roof features a free-form composite structure of steel and membrane, appearing from afar as if dancing in the wind. Upon entering the platform, suspended fabrics in red, orange, and yellow flutter with the breeze, offering an intimate experience of wind. The orientation of the tracks dictates the building's north-south undulating form, making the east-west direction ideal for scenic views. To the east lies the Qilian Mountains, and to the west, the Kunlun Mountains—offering breathtaking natural scenery. The second-level platform fulfills visitors' sightseeing needs while also separating ticketing from the platform to accommodate large crowds efficiently.  
    Beyond facilitating visitor flow, we aimed to enhance the sightseeing experience on the platform. Thus, higher and strategically positioned areas break the boundary between the roof and the platform, creating open viewing spaces surrounded by commercial amenities to meet visitor needs. The cantilevered sections of the platform merge with vertical circulation, forming visitor-friendly buffer zones that smooth the flow, allowing guests to appreciate Chaka Salt Lake's natural splendor while moving through the station. The western side of the building offers the best views. To prevent the roof design from obstructing mid-level sightlines, the roof structure opens partially on the second level, extending the platform outward to form a unique viewing deck. The undulating roof and interwoven platforms bleThe overall curved surface is primarily composed of three layers: the main steel structure, two types of membrane structures with different properties on the top surface, and three-colored fabric panels suspended at the bottom that flutter with the wind. Combining spatial, visual, and structural requirements, the design draws inspiration from the imagery of a dancing red scarf and references the ripples formed by raindrops falling into a lake as the conceptual basis for generating the curved form.  
    Instead of simply adopting a floating curved roof supported by columns, the main steel structure extends seamlessly down to the platform, enhancing the sense of movement as if swaying with the wind. Although the steel structure features free-form curves, its generation follows a clear logic. First, constrained by railway conditions, three anchor points were selected on the platform and the eastern and western elevated areas as the grounding locations for the curved surface. Based on preliminary structural analysis, four large "blossoming" columns were incorporated for support. Structural simulations identified weak points in the shell, leading to the addition of three smaller blossoming columns to enhance overall stability without compromising the curved form.  
    The design of the blossoming columns was inspired by the tension-induced patterns formed when water droplets hit a lake's surface. Through elastic surface modeling, a smooth transition was achieved between the columns and the roof's curved surface.nd seamlessly, creating an organic whole.


  • Subterranean Ruins
    The site offered various design opportunities. A sloping landscape allowed a rainwater collection system to be created to sustain the existing farming practices. A steep four-meter drop preceded by flat land allowed the building to be tucked into the landscape with minimal cutting. The southern side is sunken along this drop, mitigating heat gain, while the northern side opens to the landscape and takes advantage of the light. The rooftops are filled, lending a sense of continuity to the landscape, increasing thermal mass, keeping the spaces underneath cool, and offering opportunities for small-scale farming above.
    The client’s initial requirements for a farmhouse, which would be used occasionally, did not warrant building such a scale, so suggestions were made to amend the brief. Instead, Spaces are designed to be flexible and host various functions, fulfilling one of the primary design objectives to support the local community and its activities. The alternate built and unbuilt configuration allows functions to occur within the caves and spill out onto the open courts. For instance, classes for local school children may be conducted within the caves, while the open courts may be used as spill-out spaces for children to eat and play. In addition, the open court can transition between the classroom and the open ground to the north, with the stairs becoming seating spaces to watch. In another instance, it may take on programs to support the thriving local artisans and craftspeople. With its niches, the sunken passageway to the north could become displays of the artisans’ work, while the caves and open courts could become workshops for artisans to practice, teach, and sell their work.

  • Technology and Environment Laboratory Mencoriari
    "Mencoriari Technological and Environmental Laboratory" is located in the native community of Mencoriari, in Peru’s central jungle. The project has created a complementary educational space that is an alternative to traditional classrooms. The proposal was developed through a classroom workshop and a space that preserves knowledge about plants and the forest that is thousands of years old. The beneficiaries and protagonists of the project are 58 students and 67 families from the community where the project is located, as well as 3 families from the surrounding communities. The project fuses architectural areas with pedagogical areas with the objective of promoting spaces adapted to the location. These spaces promote teaching which focuses on the value of the jungle and its environmental and cultural worth. The project also helps the school’s graduates be better prepared to take to local job offers.
    The idea, design, and construction processes have been carried out through participatory workshops with the students and their families. These diagnostic workshops have made it possible to learn about the environment and the community’s activities and needs. Likewise, the workshops helped define the role of the new infrastructure in the community as a multipurpose space for various public uses. The concept and objective, as well as the community’s dreams, are reflected in the architectural and programmatic proposal: an educational space for drying medicinal plants and roots and an "open classroom" to research and study natural medicine, agriculture, and forestry. The two spaces are divided by a storage area and an office. In addition, the bathrooms were expanded upon and a bathroom with universal accessibility was constructed. The module is in the shape of a large, open covering and is located on the southwest side of the lot, in front of the forest and valley. The shape of the building follows the silhouette of the mountain and the building’s openings frame the forest. The building/shed consists of a cement floor and an entirely wooden structure, covered in some parts with transparent polypropylene calamine metal on the walls and a roof of thermoacoustic calamine metal. While in the central part, a volume of clay bricks was created. All surfaces and implements used have a pedagogical purpose. The building on the right side, towards the school classrooms, was developed as an "open classroom", a covered square that frames its entrances with benches that border the building, which also serve as a meeting space. A large blackboard is placed on the wall that can be used for projections.

  • Komera Leadership Center
    BE_Design proudly presents the Komera Leadership Center, a facility in the rural eastern province of Rwanda providing health, education, and mentorship programs for young women, and a place for family development initiatives and community gatherings. Strategically set on the main road, across from the village football pitch, the Leadership Center acts as a much-needed community and education hub for local residents.
    The heart of the building features a flexible space that functions as a gathering hall or a series of classrooms to accommodate the wide variety of activities and programs the community wanted for the Leadership Center. Large, hinging translucent panels transform the space, creating three classrooms when closed. When the panels are opened 90 degrees, they create a large meeting hall to accommodate the community. When fully opened to 270 degrees, the space can accommodate larger events such as performances and ceremonies. Large adjacent storage spaces enable these transforming spatial functions.
    The roof forms, woven eucalyptus screens, and brick patterns are inspired by traditional “Imigongo” art originating from the region, and carry an association with the Rwandan word “Komera”, meaning “to stand strong, and to have courage.” The large roof connects the administration, health & counseling, classroom & gathering, and kitchen & dining spaces, creating an abundance of covered exterior spaces for break-out classes and informal meetings. The large eucalyptus screens provide shade and a sense of enclosure and privacy for the exterior spaces.

  • Lynemouth Utility Company

    The average age of the project's buildings is 38.6 years (as of 2016). It is a public-private partnership facility with no specific purpose, built in Nagoya, the youngest city in Japan's Aichi Prefecture, with the concept of "a place designed for new connections."The relationship between the "large corridor" and "small rooms" is a clear example of how architectural design can inspire new activities and connections. The main corridor, lined with small wooden frames, is spacious and open, creating an atmosphere that encourages spontaneous visits. Each small room features different interior decor, allowing individuals to choose a unique space based on their activities. By utilizing wooden accessories between the main corridor and the rooms, activities can unfold leisurely—touching musical instruments while playing chess or crafting while reading aloud.To create a column-free space, we avoided installing wooden frames only in the unreachable ceiling areas. Instead, we used 105mm square lumber sourced from the prefecture, enabling local residents to perceive and utilize the space on a familiar scale.


  • Tanatap Framework Garden

    The framework garden café named Tanatap is another iteration prototype of multi-layered green spaces, featuring dynamic platforms that can rise and fall to create a walkable rooftop landscape, providing the public with an extended space to enjoy the public park from a better and grander perspective. The design pursues a faceless architectural style, starting from the question: What if the flexibility of community activities, art exhibitions, and garden spaces could serve as an infinitely transformable functional facade to define the space and shape the characteristics of the building itself? The design aims to showcase a selfless creative concept, where numerous sheltered interior spaces are hidden within a simple multi-layered garden. The created space is continuous rather than initial.The clever juxtaposition of four types of frameworks (stainless steel, artwork, glass fiber-reinforced concrete (GRC), and glass) enhances the perspective effect, allowing visitors to enjoy the beauty of the park while the public park can also view café garden visitors as framed artistic objects. The architects hope to create a fresh and vibrant new type of public space that achieves commercial sustainability in developing cities like Jakarta, where government-operated public spaces are often less reliable.The design explores the minimalist beauty of basic geometric shapes. It aims to introduce a strong cubic volume, sculpted through a series of symmetrical and playful layouts on the ground floor and contrasted with an organic open-air theater on the second floor. The building has no front or back and can be freely approached from all directions while fully utilizing the surrounding landscape. The framework acts as a catalyst for the wind tunnel effect, allowing visitors to enjoy the view of the public park in the breeze.


  • The Facade Design of

    The project is located on Quangong Road in Zhouzhuang Town, Jiangsu Province. Originally a hotel commercial building completed in 2003 that had been left idle, it has now been transformed into a theater space for the immersive performance "Only in Zhouzhuang." The site is adjacent to the entrance of the ancient town with a history of over a thousand years. The original building was massive in scale and starkly incongruous with the environment of the ancient town, characterized by white walls, black tiles, and waterside homes. The theater facade needed to address multiple demands: it had to carry cultural symbolism while also meeting functional requirements such as audience flow and equipment access. "A Scene of Jiangnan" became the core design concept—two curtain-like curved surfaces conceal the original structure, with the entrance lifted to symbolize the start of the performance. The interplay of light and shadow creates the imagery of gable walls, resonating with the cultural context of the ancient town.


  • Xi'an Central Cultural Business District (CCBD)

    The new business district designed by Heatherwick Studio has grandly opened in Xi'an, paying tribute to the craftsmanship and ceramic artistry of this ancient Chinese capital. Located south of the city's historic center, between the ruins of the Temple of Heaven and the Shaanxi Radio and Television Tower, the Xi'an Central Cultural Business District (CCBD) features commercial podiums with walkable streets and terraces that blend seamlessly with open plazas, office buildings, residential towers, hotels, green spaces, and a vertical park, offering a diverse experience.Spanning 155,000 square meters, ceramics are a core element of the district. The facades, columns, and curved beams are adorned with meticulously crafted ceramic panels, honoring the renowned Terracotta Warriors of Emperor Qin Shi Huang. The design team collaborated closely with local artisans to produce over 100,000 uniquely glazed ceramic tiles. After more than 2,000 experimental firings, including full-scale column prototypes, the resulting facade adds a playful yet refined beauty to the architecture, offering both visual and tactile delight.The design considers visual complexity at three scales: at the urban level, the project’s silhouette—inspired by the "upturned eaves and soaring corners" of Xi'an’s ancient temples—creates a distinctive skyline; at street level, overlapping frames and terraced landscapes form a series of viewpoints around the central plaza, offering panoramic city views; and at the doorstep scale, thoughtful details like ceramic planters and softly edged stone pavers enhance the sensory experience through natural landscapes and material textures.


Home   Preview   Next   End   （Total 1147  ）  Goto