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DESIGN WAREHOUSE

@design_warehouse_

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Exploring the future of sustainable architecture.
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A supermarket in #Berlin has donesomething plainly unusual: it grows part of what it sells, one floor above the checkout. The #rooftop is a hydroponic farm — no soil, no fields, just nutrient solution and rainwater collected from the roof itself — producing up to 900,000 salad mixes a year. It's a narrow crop. Lettuce, and only lettuce, grows this way, chosen not as a limitation but because it's the one product built for the system: fast-cycling, light, useless once it isn't fresh. Below the farm, the building makes its own argument. The market hall's substructure is entirely timber, held up by 72 slender columns, each modeled digitally and pre-cut off-site before arriving ready to assemble. It's a supply chain, not just a material choice — @rewe, the supermarket chain, is already repeating it, with 500 supermarkets now running on this system and an estimated 500,000 kilometers of produce transport cut a year. That's a real result, not a pilot-project footnote. But it's worth sitting with what, exactly, has been proven: rooftop farming works here because lettuce made it easy. The harder question the building doesn't answer is whether anything less convenient could follow it. / architect: ACME @acmespace / client: REWE @rewe_felix_thomas_ohg @rewe / structural engineering: Schöne Neue Welt Ingenieure @schoeneneueweltingenieure / urban farming: ECF Farmsystems @ecf_farmsystems / landscape: Natur+Tex @naturundtextgmbh / photography: Fritz Brunier @fritz.brunier Christoph Große taken in Berlin by @design_warehouse_
87
a month ago
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The Canteen and Media Center in #Darmstadt is built on a deceptively simple logic: a three-by-three-meter grid that determines everything—structure, spacing, social unit. Wulf Architekten rotated this grid forty-five degrees against the building's perimeter, generating a serrated diamond footprint that serves as both geometric signature and functional discipline. Each grid square holds a seating module (table plus six chairs), making the modularity legible as spatial order, not just structural efficiency. The upper floor canteen seats approximately three hundred; the ground floor contains cafeteria, media center, and office space. Load-bearing glulam beams frame the grid; folded glass facades and black perforated metal cladding wrap the form in material contrast. The materiality—wood, exposed concrete, glass, metallics—elevates what could have been routine institutional architecture into something genuinely considered. Wraparound balconies extend the seating logic outward. The building demonstrates that a structuralist constraint (here, the 3×3 module) doesn't limit experience; it focuses it. / architect: @wulfarchitekten / photographer: @brigidagonzalezwork taken in Darmstadt by @design_warehouse_
9
2 months ago
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In #Japan, the most sacred shrines are not preserved. They are taken down and rebuilt, generation after generation. VUILD, led by Koki Akiyoshi, has taken that idea and applied it to a football stadium. In 2011, an earthquake, tsunami, and nuclear disaster struck Fukushima. This stadium answers with the logic of the shrine: demountable, reusable, never demolished. The structure is small cross-section timber — boards, not beams — curved into shells that gain strength through geometry, spanning six metres and cantilevering the roof over the stands. The triangular roofline traces the thatched houses of Ōuchi-juku, a historic post town nearby. Four stands, none taller than 16 metres, hold 5,000 seats. The boards are fabricated into units by local residents and raised collectively, echoing Japan's timber-raising rituals. Alongside the stadium: reforestation programmes and woodworking education, so the skills regenerate with the building. For now, it is a concept. But so is every shrine, the year before it is rebuilt. / architect: @vuild_architects (CEO Koki Akiyoshi) / client: Fukushima United FC, operated by SportX / engineering: Arup / visualisations: VUILD taken in Fukushima by @design_warehouse_
19
2 months ago
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For a 660-square-metre lobby in Hangzhou's Xiaoshan District, say architects gave clothing brand Ouse Fashion a twenty-year brief: a space that should still feel right two decades from now, carried by design rather than expensive finishes. The entrance widens to six metres, and granite paving and planting run from the street straight inside, with no enclosed foyer to cross. The existing columns are cut into shallow concave recesses fitted with wall lamps. Above them, a double-curved ceiling of lotus leaves is lit from behind, with some leaves joined to the columns and others floating free. Stone lines carved at the wall-panel joints read as leaf veins, and the reception desk is cut from a single piece of Phoebe zhennan, a #timber the architects say gains density and lustre with time. They insist the lobby is not decoration. Whether a ceiling shaped like a lotus pond outlasts changing taste better than an oversized logo is what those twenty years will decide. / interior design: say architects / lead architects: Zhang Yan, Shan Jianan / design team: Sun Ziyi, Ren Manjia / client: Ouse Fashion (Hangzhou) Co., Ltd. / photography: Wen Studio taken in Hangzhou by @design_warehouse_
2
3 days ago
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Uchida Shōten has made building hardware in Fujisawa for 160 years, on a stretch of the old Tōkaidō road that was once Fujisawa-juku, the sixth post town of the Edo period. Its new head office, by Jo Nagasaka of Schemata Architects, keeps the proportions of the machiya that once lined that road. It is just over six metres wide and 33 metres deep, and at 9.5 metres it stays under the 10-metre height limit while standing taller than a traditional townhouse. The structure is laminated Scots pine, engineered for earthquakes and left in its natural colour throughout, from the two working floors to a fully #timber-lined attic reached by a spiral stair. The company fabricated that stair itself, along with a folded staircase and the south balcony. From the street, none of the wood shows until the building opens. The site lies in a quasi-fire prevention zone, where outer walls must meet fire-resistance standards, so Nagasaka wrapped the pine in corrugated steel, with awning windows that swing outward along the north facade. Behind them, where a machiya would have kept its shop, is an artist residency with its own sink and bathroom and access to the attic for overnight stays. Nagasaka says it keeps the culture of making close to a manufacturer whose factory now operates separately. He describes the office as unfinished at completion, meant to change as people gather and things get made. That leaves the facade carrying the argument. With the shutters raised, it is a timber workshop open to the Tōkaidō. With them down, it is a closed steel volume on a historic street. / architect: Jo Nagasaka @jo_nagasaka / Schemata Architects @schemataarchitects / client: Uchida Shōten / structural design: Hashigodaka Architects / construction: Tokyo-gumi Co., Ltd. / lighting: ENDO Lighting Corporation / photography: Ju Yeon Lee @juyeonlee__ taken in Fujisawa Japan by @design_warehouse_
10
6 days ago
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In Cholula, Puebla, where the largest pre-Hispanic pyramid rises and Popocatépetl looms in the distance, Sordo Madaleno's Canadian School is under construction as a building that reads as an extension of the land. The architects use the site's natural three-metre slope to split the #school into two experiences. Below are classrooms surrounded by gardens and courtyards. Above, a rooftop park is reachable from the street. The radial plan breaks with the linear school: seven circular buildings divided into 24 wedge-shaped segments hold classrooms, offices, a cafeteria and sports facilities, all opening inward onto shared courtyards, with 62 percent of the site left unbuilt. The walls are concrete blocks made specifically for the project, rugged enough to cut long-term maintenance and toned to the volcanic ground. The firm openly aligns its radial plan with Bentham's 1791 panopticon. It describes the ring as giving teachers visual control, and recasts that visibility as attentiveness and care rather than surveillance. Foucault read the same diagram as the way institutions discipline bodies by watching them, and a school built so that children are always visible risks teaching them that they are always seen. The defence is just as concrete: a teacher who can see every child can reach every child. Bentham's centre held a watchtower, and this one holds a lawn. Only the school, once occupied, can show whether that changes what the diagram does. / architect: Sordo Madaleno @sordo_madaleno / client: Canadian School / collaborators & consultants: Tritio, Gaype, Lua, Grubo Joben, Plantica, Greenray, Teledomótica, Pedro Medina, Pulsen, Solatube / images: Mir @mir.no , Sordo Madaleno taken in Cholula by @design_warehouse_
2
7 days ago
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Elche's oldest craft material, proposed as its congress centre's skin. Luca Poian Forms and Frade Arquitectos wrap a compact volume in woven esparto, a local grass that shades the building and lets air through. The site sits between the historic Vila and Altabix. At ground level the city's paving runs into the building as a shaded public agora. Passive strategies, renewables and geothermal systems carry the climate load. The open question is how a craft fibre ages as a civic facade. / architect: Luca Poian Forms, Frade Arquitectos / client (competition): Diputación de Alicante with Ayuntamiento de Elche / visualizations: Playtime taken in Elche Espana by @design_warehouse_
6
16 days ago
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Hradec Králové is a medieval city with municipal forest on its eastern limit, and the Czech forestry enterprise Lesy ČR has its headquarters on the outskirts, beside that forest. On a warm summer day, by the design team's account, they noticed the gap between the heated campus buildings and the cool forest entrance, and built their concept around removing it. CHYBIK+KRISTOF won the competition in 2017 with five elongated timber volumes, one per department, extending toward the trees from a central hall, with landscaped courtyards between them. Walls are framed in two-by-four, ceilings, slabs and railings are CLT, and the largest spans are planned in glued timber trusses. The architects say the building is set to become the largest wooden structure in the Czech Republic, at a planned 12,000 square meters. The building has a second job. Ondřej Chybík says timber in the country remains marginal, mostly houses, and that regulation often hinders the approval of large timber buildings, so the headquarters is meant to serve as the precedent. Nine years after the competition, none of it is built: ubm magazine attributes the slow permit to record bark beetle losses and to changing costs and requirements that forced a fundamental revision of the planning, with construction now scheduled for 2027 and completion for 2030. The case for large timber in the Czech Republic rests on a building that has spent most of a decade getting to construction, and it is still an open question whether it will arrive in time to change the rules it was drawn to challenge. / architect: CHYBIK+KRISTOF @chybikkristof / client: Lesy České republiky, s. p. / collaborators: K4, Ivo Stolek, Jan Stolek, Tomas Babka, breathe.earth.collective / renders: Plomp @plo.mp taken in Czech Republic by @design_warehouse_
4
20 days ago
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Three blocks scatter across a forested Brazilian slope. In Porto Feliz, Jacobsen Arquitetura sets the AMS House atop the highest point of a sloping lot, using the native #forest as backdrop and design reference. Three volumes—social block at the center—break the house apart, connected by covered walkways that trace the uneven terrain rather than resist it. #Timber structure comes from Ita Engenharia, concrete from Leão e Associados, rammed earth from Taipal. Rodrigo Oliveira handles the landscape; Fran Parente photographs the result. / architect: Jacobsen Arquitetura @jacobsen.studio / collaborators: Rodrigo Oliveira (landscape), Taipal @taipalbrasil (rammed earth), / photography: Fran Parente @franparente taken in Porto Feliz Cidade by @design_warehouse_
6
18 days ago
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Timber, rising. In Bellevue, Waugh Thistleton and Mithun have designed a 12-storey #office #tower set to become the tallest mass-timber office building in the US — one of only three commercial buildings among the 22 tall timber projects built or underway nationwide. It's the firm's first built project in the US. A side core, not a central one, frees up the floor plates a #concrete structure would have boxed in. #Timber matched concrete on cost, but only after a full structural comparison. A steel core carries the seismic load; timber rises above it. / architect: Waugh Thistleton Architects @waughthistletonarchitects / collaborator: Mithun / client: Skanska @skanskausa / structural engineer: Holmes / civil engineer: Coughlin Porter Lundeen / landscape architect: Hewitt taken in Bellevue by @design_warehouse_
13
22 days ago
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In Lisse, Mecanoo's 3,200-square-meter gatehouse greets Keukenhof's millions of visitors with a stepped timber roof of interwoven isosceles triangles. The structure leans across two volumes, filtering daylight into triangular shadows across the plaza floor. Skylights cut into the roof flood the ground-floor restaurant with light. Wood, copper, and brick carry the material language throughout. Upstairs, office spaces hold views over the tulip fields; the glazed facade opens fully come spring, dissolving the line between gatehouse and garden. / architect: Mecanoo @mecanoo_ / client: Stichting Internationale Bloemententoonstelling Keukenhof @visitkeukenhof / engineering: IMD bv @ imd_raadgevende_ingenieurs (structural), DWA (mechanical & electrical) / photography: Courtesy of Mecanoo taken in Lisse Centrum by @design_warehouse_
6
25 days ago
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In Tumbaco, RAMA Estudio wraps a yoga and therapeutic theater center in rammed earth and laminated timber. Triangulated wood beams, patterned after basket weaving, shield the earth walls from rain while framing views from the multipurpose room below. A car-free, pedestrian courtyard replaces the street at the threshold. The bahareque earth technique is modernized here, applied by mortar-projection gun and finished by hand. Upstairs, a private apartment houses Ágape Colectivo's founder. Rainwater harvesting and a bio-digester close the resource loop. / architect: RAMA Estudio @ramaestudioec / client: Ágape Colectivo / photography: JAG Studio @jag_studio taken in Tumbaco Collaqui by @design_warehouse_
8
a month ago
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