Architecture Is Portable: Andblack Design Studio’s Darwin Bucky Rewrites The Rules Of Construction

As the environmental impact of the built environment comes under scrutiny, architecture is beginning to adapt and evolve. Structures are no longer tethered to the ground or designed to last indefinitely. Permanently impermanent buildings are no longer paradoxical; they are the future. As we grow conscious of the ecological footprints we leave behind, the call for structures that can move, adapt and vanish without a trace has become louder. Darwin Bucky, a portable pavilion made from a prefabricated kit of parts that can be dry-assembled or dismantled on-site, sits at the crossroads of ephemeral architecture and environmental responsibility. Conceptualised by Ahmedabad-based Andblack Design Studio and helmed by Principal Architect Jwalant Mahadevwala, the 116 sq m pavilion can be set up without excavation, a crane or even a plinth to erect it. 

“Darwin Bucky was first conceived as a travelling gallery to exhibit some of the country’s earliest digital artworks collected by a client,” explains Mahadevwala. “But over time, it evolved into something larger: a cultural pavilion for people to gather, engage, and explore new forms of expression.” While the purpose expanded, the core idea of a building that moves stays intact. 

A Moving Manifesto

Darwin Bucky is an ideal solution for locations where road access tends to be limited, electricity is sparse, and excavation is impractical or environmentally disruptive. Yet, despite its migratory ethos, the structure doesn’t compromise on resilience. Built from time-honoured materials like steel, aluminium, wood, and glass, it stands tough like any conventional building. “Depending on the site and scale, Darwin Bucky can be installed in three to five weeks. The process is streamlined and doesn’t require heavy machinery, which makes it ideal for urban and remote setups,” says Mahadevwala.

Mobility and structural integrity position Darwin Bucky as a compelling model for future urban interventions. Mahadevwala believes that such structures will change how cities use temporary and flexible spaces in future. Expressing his optimism, he says, “It opens up new ways to activate underutilised urban pockets. They’re adaptable, quick to install, and can respond to cultural and climate needs. As we speak, Bucky is being relocated to a new location. So as cities become more fluid, spaces like these will be key in shaping a more responsive and community-driven urban experience.”

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Structural Logic At Play

Bucky is designed to enclose a space using nearly half the material of traditional structures. Mahadevwala teamed up with Structural Consultant Shehzad Irani of Schafbock Design+Workshop to explore new ways to express the materiality and develop a new constructional logic. But designing a structure like this one comes with its share of complexities. Speaking of the challenges and his interdisciplinary approach, Mahadevwala shares, “Logistically, the biggest challenge was creating a system that could be assembled and dismantled repeatedly, across various terrains, without specialised equipment. Bringing such an experimental form to life meant questioning conventional fabrication methods, but we made it happen through relentless prototyping and an intensely collaborative process. From sketches to full-scale fabrication, combining computational design, rapid prototyping, and hands-on making with engineers, artists and fabricators – we worked closely to achieve our goal.”

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Sustainable And Performative

Sustainability in migratory architecture begins long before the build; in fact, it starts with restraint. Architects are trained to think in permanence, but in this context, they unlearn this instinct. The focus shifts to how a structure can exist lightly on land. Bucky does just that—uses minimal foundation and is built with lightweight, reusable materials. It supports natural ventilation, performs acoustically and allows easy relocation with minimal waste. 

While its exterior embodies a lightness of being, the interior brims with performative infrastructure. The triangular ridges cleverly conceal electrical conduits, ambient lighting, and intelligent waterproofing via custom joinery. It also integrates essential services with minimal visual clutter. It has a built-in lighting system, audio-visual infrastructure, modular exhibition framework and air-conditioning setup, which makes it adaptive to any climatic condition.

Temporal Yet Grounded in Meaning

Whether it’s hosting an art show in the desert or a symposium in the hills, Bucky is equipped to serve as a fully functional venue. It adapts to both site and purpose with equal ease. Reflecting on the events hosted within the pavilion, Mahadevwala shares, “Darwin Bucky has been a dynamic venue for a wide range of experiences— from art exhibitions and cultural dialogues to brand activations and immersive performances.” Commissioned by Abhay Mangaldas, Founder of Darwin Projects, the pavilion stands as a dynamic cultural and open-air culinary venue called ‘Bucky Gallery and Cafe’ at Mangalbaug Residency in Ahmedabad. From ‘Swarang,’ a musical concert and ‘United States of Pada ni Pol,’ a Gujarati play, to a curated exhibition of sustainable fashion and lifestyle brands, Bucky Gallery has played host to a diverse range of cultural events, all managed by the House of MG — its modularity allowing each event to feel uniquely tailored. 

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Expanding on his long-term vision, Mahadevwala explains, “At present, the parametric code behind it allows us to change its size, adjust height, modify panelling based on available material, or even create clusters of interconnected spaces.” With Bucky 2.0, they are looking to expand with a more refined structure, better services integration, double entry/exit points and higher capacity, in addition to travel across geographies and contexts. 

The Economics Of Impermanence

Beyond the technicals, Bucky symbolises a shift from the “build bigger, build forever” mentality toward resilience, lightness and flow. It also reconceives architecture as a fluid, reusable asset. Investors, curators and design dreamers can capitalise on today’s expensive real estate by organising an array of events in the same space or reusing the same enclosure at multiple locations, ensuring a new experience with every visit. Meanwhile, in constructing this itinerant space, fabricators and installers acquire new skill sets and expand their expertise. 

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Today, homes and buildings can be moved, unfolded or expanded at the push of a button—a concept that has leapt from science fiction into reality. For instance, a UK-based company, Ten Fold Engineering, has developed self-deploying structures that transform from compact containers into full-sized buildings in minutes. A Japanese design brand, MUJI, has created tiny huts as urban retreats that can be easily relocated and set up in rural terrains. As architecture reorients itself towards structures that are regenerative, mobile and smart, Darwin Bucky posits itself as a model of resilient design. It cultivates place without claiming it, nurtures community gatherings, and proves that temporality can be profound.