Most museums are designed like very expensive shoeboxes. Art hates sunlight, so architects seal the walls, bolt on some skylights, and call it a day. Aedas went the other direction in Hangzhou and wrapped an entire museum in glass, then twisted it into two interlocking rings for good measure. The Yohoo Museum sits on an island in an artificial lake, glowing like a piece of polished jade, which is exactly the point. The shape is borrowed from the ritual jade rings of the Liangzhu culture, a Neolithic civilization that thrived in this part of China around 5,000 years ago.

Ken Wai, Global Design Principal at Aedas, led the design of the 57,650-square-foot (5,356-square-meter) building, completed in 2024 inside Liangzhu Yohoo Park (that’s Yohoo, not Yahoo the search engine. I know, I made that mistake too). The glass is a translucent multilayer laminate Aedas calls “emerald glass,” and it filters daylight into a soft, even wash across the galleries. A steel frame lets the ends of the rings lift off the ground with no visible support, creating covered plazas underneath. The project won Architectural Design of the Year and a Gold in the Cultural category at the International Design Awards, a juried global competition for built work.

Designers: Aedas, Ken Wai

Liangzhu jade comes in two signature shapes, the bi and the cong. The bi is a flat disc with a hole in the center, while the cong is a chunky tube that’s square outside and round inside. Later Chinese tradition read the bi as heaven and the cong as earth, and archaeologists say both starred in royal ceremonies honoring the sky. Each of the museum’s rings wraps around an open void, and Aedas frames these circular light wells as a link between heaven and earth. From above, the voids read like the drilled centers of two bi discs, and the squared-off island underneath does a decent cong impression if you squint.

Aedas says the two interlocking rings stand for two separate heritages, Liangzhu culture and the Grand Canal. The lake around the island connects to that canal, a roughly 1,100-mile (1,776-kilometer) waterway whose oldest sections date back more than 2,500 years. Hangzhou sits at its southern end, and the canal is largely what turned the city from a sleepy town into a booming trade hub. UNESCO listed the canal in 2014 and the Liangzhu ruins in 2019, so the building is basically two World Heritage sites holding hands. That’s a lot of symbolism for one roofline, but the form carries it so gracefully that I’m happy to play along.

A single steel frame carries the whole building, and Aedas used it to peel both ends up off the ground like the corner of a sticker. Those lifted edges overhang the entrances and shelter a pair of public plazas, which in the photos are getting plenty of use. One shot shows a school group picnicking under the curved soffit while two kids sprint past the camera, presumably fleeing a teacher. The underside is wrapped in smooth white panels, and beneath it a diamond grid of glass slopes down to meet the pavement. The result is a shaded waterfront room open to anyone, whether or not they ever step inside the galleries.

Up top, the galleries sit under a dense white steel diagrid, with translucent glass filling every gap in the structure. Interior photos show a bright, nearly shadowless hall where two visitors look like they’ve wandered into a cloud. The entrance volume uses greener, more jade-toned glass in horizontal bands, so the building’s color shifts depending on which face you’re looking at. American readers might recognize the strategy from Steven Holl’s Bloch Building at the Nelson-Atkins Museum in Kansas City, where translucent channel-glass volumes glow like lanterns. Aedas stretches the idea across a twisting, double-curved envelope, and the firm says parametric modeling kept that geometry efficient to build.

A white boardwalk zigzags across the lake to the museum, swelling into circular viewing pods that repeat the ring motif at walking scale. It’s a slow, wiggly approach, and it hands visitors plenty of different angles on the building before they arrive. A broader bridge links the island to the main park on the other side, where curving paths and a petal-shaped flower garden keep the theme going. Aerial shots also show the less poetic context, with apartment towers and older industrial blocks crowding the shoreline. That backdrop works in the museum’s favor, because a glowing glass knot reads even louder next to rows of identical high-rises.

Yuhang already has one famous lake-bound jade museum. David Chipperfield’s Liangzhu Museum opened in 2008 as four travertine bars set on a lake, linked to the park by bridges, with an exhibition island off to the south. Tadao Ando added a concrete cultural center nearby in 2016. Both architects treated Liangzhu’s heritage as something heavy and permanent, which makes sense for artifacts that spent 5,000 years underground. Aedas kept the same lake, island, and bridge recipe and swapped the stone for light. I keep wondering which version the original jade carvers would prefer, since their whole craft was coaxing a soft glow out of solid stone.

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A large triangular window fills one end of the Mini Brda With Bay Window, giving this compact cabin a generous outlook. The entrance sits on the side, beneath its own projecting roof section, leaving the glazed end uninterrupted. Offered by Polish company Mini Domy, the design keeps its distinctive A-frame silhouette while making room for more than a bed beneath a pitched roof.

The model’s specification lists dimensions of 4.51 by 3.2 meters, giving it a footprint of approximately 155 square feet. Dark metal cladding covers the exterior, with pronounced seams emphasizing the steep roof. Those angled surfaces give the cabin its character, although they also make furnishing the edges less straightforward than arranging a conventional rectangular room.

Designer: Mini Domy

Inside, white-painted tongue-and-groove paneling follows the roof slopes, making the geometry visible rather than concealing it behind a flat ceiling. Wood-look flooring introduces a contrasting tone underfoot. Published photographs show the cabin before furnishing is complete, so the interior is best understood through a combination of construction images and the proposed layout.

Most of the accommodation occupies one shared room, combining cooking, lounging, and sleeping. A planned bed doubles as daytime seating, avoiding the floor-space demands of a separate sofa. There’s no sleeping loft or ladder to negotiate. The compromise is privacy: beyond the bathroom, daily activities share the same compact space, with little separation between preparing breakfast and making the bed.

The kitchen specification is modest but useful, listing cabinetry, a sink, and a camping-style stove. That suggests simple holiday cooking rather than an apartment kitchen shrunk to fit. The separate bathroom includes a shower, basin, toilet, and water heater. Photographs show a wall-mounted vanity with drawers, providing storage without taking the cabinet all the way down to the floor.

Mini Domy’s offer specifies 10 centimeters of mineral-wool insulation, double-glazed windows, and air conditioning with a heating function. These are meaningful provisions for a small cabin, but they aren’t enough to establish comfort in every climate. The company itself qualifies year-round use on the broader Mini Brda page with the need for appropriate insulation and heating.

A dedicated trailer is optional rather than integral to the version pictured. The downloadable offer lists the cabin at US$15,000, though it also gives the quotation a two-month validity period without a visible issue date. Buyers should confirm current pricing, equipment, transport, and installation directly rather than treating that figure as a complete project budget. As a weekend retreat, the arrangement makes sense: keep the bathroom enclosed, let furniture do double duty, and reserve the glazed end for the view. Longer stays would make the shared room’s limits harder to ignore.

The post Mini Domy Fits a Kitchen and Bathroom Into This 155-Square-Foot A-Frame Cabin first appeared on Yanko Design.