#brick-and-ceramic-design

#brick-and-ceramic-design

BREMEN is designed to change the way people interact with music by allowing everyday objects to become actual instruments, thus removing traditional barriers to music-making.

Designed by noted residential architect Roland E. Coate, the home was built in 1926 for Annie Wilson, daughter of pioneering Southern California businessman and politician Benjamin Wilson, for whom Mt. Wilson is named. The gently sloping 1-acre-plus property was once part of the vast holdings of George S. Patton, father of the famed U.S. general.

The design of Forest Toilet A emphasizes the importance of integrating architecture with the natural environment, ensuring that the structure complements the existing landscape rather than disrupts it.

The project examines the integration of digital fabrication processes into reinforced concrete construction, highlighting that while materials such as steel and timber have undergone significant transformation through digital production methods, reinforced concrete has largely retained conventional casting techniques. The proposal aims to address this condition by incorporating digitally fabricated components into the construction system.

Rather than representing a simple return to the past, this renewed interest reflects a broader reconsideration of how architecture engages with materials, local resources, and environmental conditions.

Baqiao bridges, including the nearby Shisanba Bridge, typically appear in areas where the difference between river level and embankment is relatively small. Their upstream piers are shaped like tapered spindles with slightly raised tips, creating a distinctive structural profile. Stone slabs span between the piers, forming a bridge deck assembled through interlocking construction methods.

Rural construction is mostly spontaneous, giving rise to a rich diversity of built forms. Within this organic complexity, our strategy is not to assert ourselves through contrast, but to inhabit the context with quiet modesty.

The design by 1Y Architects approaches this silence as material rather than absence. Instead of clearing the debris scattered across the site, the team gathered bricks, concrete fragments, and broken tiles from former factory buildings. These remnants form the structural fabric of the sound museum itself.

Wild Souls is a clean-eating venue designed by studiomateriality and located at the corner of two busy streets in the Kolonaki district of . Positioned within a dense urban context, the project integrates into the city's daily movement while establishing a clear architectural identity at the street corner. The exterior is fully clad in terracotta tiles, giving the building a consistent material presence on all visible .

How did a material conceived for bridges, factories, and large-scale structures make its way to the living room bench, the apartment bookshelf, the café table? For centuries, metal was associated with labor, machinery, and monumentality-from the exposed structures of 19th-century World's Fairs to the productive logic of modern industry. Its presence in domestic interiors is not self-evident but rather a cultural achievement: the transformation of an industrial material into an element of everyday, intimate use, in close proximity to the body.

Drawing Architecture Studio presents The Clock House No.2 at the 7th Shenzhen Bay Public Art Season in Shenzhen, Guangdong Province, China, on view until April 19th, 2026. Commissioned for the public art program, the Beijing-based practice reinterprets the historical automaton clock as architecture, using low-cost industrial components to construct a structure that chimes and glows every fifteen minutes. Where the clocks once gifted to emperors represented technical virtuosity and expensive craftsmanship, this installation adopts a deliberately rough and economical construction.

Architecture and interior design practice Templeton Ford has completed Clay Rise, a three-bedroom home in the bucolic village of West Hoathly, West Sussex.

Kulhads, also known as terracotta mud cups, once defined the everyday ritual of tea at railway stations across India. Used briefly and discarded soon after, they accumulated along tracks and coastlines, leaving a quiet record of consumption. For this pavilion, more than 18,000 of these cups were gathered from local communities in Dharavi and reused as a building material with structural purpose.

When was the last time you saw an ashtray filled with stubbed-out Marlboros at a friend's apartment? At a restaurant? For some of us, the answer may very well be "never." Maybe that's the charm of the International Museum of Dinnerware Design's new exhibition on ashtrays - invoking an era before health codes and Mayor Bloomberg. Or reaching back even further, when you might see a Similac-branded ashtray in the office of your OB/GYN.