This year's Design Miami was characterised by experimental work, but that wasn't always the case at the fair, art-design duo the Haas Brothers tell Dezeen in this exclusive interview.By embracing the avant-garde, galleries and designers at Design Miami have begun to carve out a style that blurs the boundaries between design and art, according to twins Simon and Nikolai Haas."It's a total movement, and it's very recognisable," said Simon Haas. "In the last 10 years, the trajectory at Design Miami is clear and that defines a movement.""I see the work at Design Miami as its own subset in the creative world," added Nikolai Haas.The Haas brothers are artists and designers based in California. Photo by Elio TolotThe Haas Brothers referenced designers like Misha Kahn and forerunners such as Wendell Castle, as well as galleries such as Carpenters Workshop Gallery, Southern Guild and The Future Perfect.They said the fair has been increasingly becoming more experimental and allowed makers to push the boundaries of what could be shown there.The brothers are known for their fantasy-laden works, including a series of furniture and sculptures based on the 1992 animated film Ferngully and a collection of alien-like objects with tentacles made from porcelain accretions."We've always pushed what can be shown""Design Miami was our first market and we've always pushed what can be shown there, to the point where one year we almost got kicked out of Design Miami because they said the work wasn't 'design' and, fair enough, it wasn't," said Nikolai Haas."We understood that pushing boundaries was a relevant conversation and now, the fact that the Nasher has commissioned five large-scale sculptures feels like a stamp of approval on the art side," he added. "Now we're moving in both directions."The Haas brothers showed The Strawberry Tree lighting fixture at Design Miami 2024. Photo by Kris TamburelloFor this year's Design Miami collectible furniture fair in Miami Beach, the twins showcased a massive bronze tree on a stone pedestal, crowned with petals made from thousands of Venetian beads woven together by a group of craftspeople in California using a biophilic system devised by Simon Haas.The piece was originally commissioned by the Nasher Sculpture Center in Dallas, and represents, for the Haas Brothers, a "stamp of approval" for their aesthetic to move between art and design.The pair say that their style has evolved alongside work that first coalesced at Design Miami a decade ago, taking advantage of the increasingly experimental nature of the fair."Decadent without being wasteful"According to the designers, this experimental style pays homage to design tendencies while also embracing a playful approach to modern materials that have become more widespread."It's using design as a jumping-off point to express yourself in the same way that you would express yourself with a painting," said Simon Haas."And I don't really see the difference, honestly, except that you get to live with and use the piece of art in this sphere, and that's how I like to interact with art anyway."Read: Haas Brothers imagine Wild Things homeware as desert creatures"I'll say it's decadent without being wasteful, like an ornate early-modern Italian house," he added.Having a function is often identified as the key distinguishing feature between design and art, but the Haas brothers seek to challenge conventional ideas of practical use."Cuteness is functional," argued Simon Haas. "For example a baby is pretty difficult to deal with, and a puppy is hard to deal with. But the cuteness makes you want to take care of it."The Haas Brothers, who have backgrounds in design and carpentry, are known for their sculptural works that are often infused with colour and figurative.Read on for the full, edited interview with the Haas Brothers:Ben Dreith: This year you brought one of your works, The Strawberry Tree, from Nasher Sculpture Center into Design Miami. How does this represent a capstone moment in your attempts to bridge design and art?Nikolai Haas: Design Miami was our first market, and we've always pushed what can be shown there. To the point where one year we almost got kicked out of Design Miami because they said the work wasn't "design" and, fair enough, it wasn't. We understood that pushing boundaries was a relevant conversation and now, the fact that the Nasher has commissioned five large-scale sculptures feels like a stamp of approval on the art side. Now we're moving in both directions.Simon Haas: We missed being here too. When there was a risk of us getting kicked out of the fair, I will say that Design Miami championed us and made sure we stayed in. I think everyone together was very interested in creating a movement.Ben Dreith:It's funny, there is a street here that separates Design Miami from Art Basel, and it feels like you two are waltzing across it.Nikolai Haas: Wherever the centre of our spectrum might be, Design Miami will always be the home base. It's its own solar system.Simon Haas:What's cool about both of these fairs is they're a testing ground for galleries. It's experimental.Ben Dreith: And by experimenting with the boundaries of art and design at Design Miami, do you think you and others have created a movement separate from "art" or "design" more generally?Simon Haas: Exactly. It's a total movement, and it's very recognisable. In the last 10 years, the trajectory at Design Miami is clear and that defines a movement.Nikolai Haas: Design Miami has been around for 20 years. The first 10 were more about collectible, historical works. But now, the contemporary work has become so much more experimental. Everyone is in [Design Miami] saying "functional sculpture". I understand the wording, call it whatever you want. However, I see the work at Design Miami as its own subset in the creative world.Ben Dreith: What are some attributes of this movement you're tracing?Simon Haas: Paying homage to design, even if it's abstract, while focusing on the emotional impact of a piece of furniture. It's not pushing the boundary between art and design. It's using design as a jumping-off point to express yourself in the same way that you would express yourself with a painting. And I don't really see the difference, honestly, except that you get to live with and use the piece of art in this sphere, and that's how I like to interact with art anyway. I'll say it's decadent without being wasteful, like an ornate early modern Italian house. It lasts.Nikolai Haas: The work will last. We build with the front end as expensive as possible, in a way that will be absolutely impossible even in 2030. This happens all the time, for example, mid-century buildings used a lot of cast concrete but now this is considered a decadent thing, using so much concrete. This can't ever exist again. For us, it's about about capturing this moment and preserving it in the work. Everyone's gonna look back at this and be like, Wow that was a wild moment in time'. I do think it has a defining aesthetic, and the people here are riffing off of each other to further define it.Simon Haas:If I were to make a comparison, I'd say it's like Art Nouveau.Ben Dreith:There is a lot of figurative work, which reminds me of the decadent work of the early 19th century. Do you really consider the work decadent?Simon Haas: We've reached a place where we have the luxury of having had modernist materials for a long time now and now we get to play with them. For example, modern buildings today don't have the same magic that the gorgeous modern steel structures had, because they were experimental then. I think now furniture design is entering a more experimental place, where we have access to every kind of material. It's definitely decadent. But what's nice about periods of decadence is that art and design flourish. If stuff gets tight then we can't afford to build stuff in the same way. That's what's beautiful about design, to me, is that this spectrum. It's not form versus function, it's how flexible you can be with the spectrum of decadence.Ben Dreith:Is there any one material that you've seen that's driving some of the material experimentations you spoke about?Simon Haas: I'd say YouTube, actually, because it's not just the material, it's the easy access to information and finding out how to make something. I have watched YouTube tutorials on how to crochet, and so now I crochet.Ben Dreith: Many people would say that this work shouldn't be considered design because it doesn't function in a way that relates to everyday people. However, I often think that function can go beyond the body. Cross-culture exchange, for example, is a function of collaborative design at times. How do you think about function?Simon Haas:Cuteness is functional, for example: a baby is pretty difficult to deal with, and a puppy is hard to deal with. But the cuteness makes you want to take care of it. So it's serving a purpose. Beauty does the same thing. Sometimes we use function as a punchline.Nikolai Haas: For the Strawberry Tree, the problem was creating work in a place that has no studio space by having a community in California help to assemble the complicated beadwork. We could send a tote bag with beads and string, and someone could use that and take it and make parts for us to assemble into something much larger. The function was to make work available in any place, at any time. We also try and make work to be engaged with. Now that we've been a part of it for a while, you start to see other artists that are striving to use function in their work, and they're very inelegant at it, because they haven't been doing it like the rest of us have.Ben Dreith: In places like Design Miami and Art Basel, inaccessible from a financial point of view, the design/art divide seems most important to marketing.Simon Haas: The market is the main definer. Function versus form comes up all the time, but the truth is, we don't care all that much.Ben Dreith: Who are some other people who define this movement and moment of design art? Maybe we can call it De-Art?Simon Haas: I like that. I'd say, Mischa Kahn. Humans Since 1984 are good examples.Nikolai Haas:Wendell Castle was a forefather of this. David Weissman, he's more on the decorative side. Campana Brothers. And also the galleries, Southern Guild, Carpenters Workshop, Future Perfect, Fumi. They almost invented it out of thin air.The top photo is by Magda Wosinska.Design Miami took place from 3 to 8 December. For more global events in architecture and design visitDezeen Events Guide.The post "We almost got kicked out of Design Miami" say the Haas Brothers appeared first on Dezeen.

The latest edition of our Dezeen Debate newsletter features a slender home in Wisconsin by Johnsen Schmaling Architects. Subscribe to Dezeen Debate now.Johnsen Schmaling Architects designed Curtain House, a slender home in Wisconsin, withwood and metal louvres, to reimagine the "typological conventions" of infill architecture.It received mixed reactions from readers with one commenter remarking that it "does not in any way relate to its surroundings", while another praised it as "really nicely done".Yntegra Group creates "first-of-its-kind" floating padel court in Miami HarborOther stories in this week's newsletter that fired up the comments section included a floating padel court in Miami Harbor, a Miami skyscraper by ODP Architects and a family home in East Dulwich by London studio Open Practice Architecture.Dezeen DebateDezeen Debate is sent every Tuesday and features a selection of the best reader comments and most talked-about stories. Read the latest edition of Dezeen Debate or subscribe here.You can also subscribe to our other newsletters; Dezeen Agenda is sent every Tuesday containing a selection of the most important news highlights from the week, Dezeen Daily is our daily bulletin that contains every story published in the preceding 24 hours and Dezeen In Depth is sent on the last Friday of every month and delves deeper into the major stories shaping architecture and design.The post Dezeen Debate features "out of place" infill housing in Wisconsin appeared first on Dezeen.

A tiered, pyramidal installation by Hungarian-American artist Agnes Denes has been installed in the Coachella Valley for the fifth edition of the Desert X exhibition.The Living Pyramid installation is the first piece to be debuted for art festival Desert X 2025, a biennial event that sees a host of large-scale installations set up throughout California's Coachella Valley.A pyramid installation by artist Agnes Denes marks the first installation unveiled for Desert X 2025Located in a clearing at the historic estate Sunnylands Center & Gardens, the installation is a "desert iteration" of the Living Pyramid sculpture by Denes that first debuted in 2015 at the Socrates Sculpture Park in New York City.This desert version features the same form as the original a stepped pyramid but is lined with cacti and other plants native to California, as opposed to the grasses of New York it was first shown with.The work is a "desert iteration" of Denes' original sculpture that debuted in 2015"This new work of The Living Pyramid is planted material, yet a new meaning," said Denes. "Transformed into blossoms, the Pyramid renews itself as evolution does to our species.""It is not just planting, but planting the paradox, a structured edifice of soil and grain, not on a farm or field but in the heart of a busy mega-city or various parts of our world. It is planting the seed into soil and human minds."Its native plants will blossom, grow and die as part of the installationThese desert plants will sprout, bloom, grow and perhaps die over six months as part of the installation, reflecting the growth cycle of the surrounding desert.According to Desert X, this process is "evidence of the organic development of nature as it interacts with the pyramid", a form Denes often uses throughout her work that she believes conveys social structures.Read: California's Desert X returns with colourful and provocative installations"The Pyramids appear in my work in a variety of forms from the Snail Pyramid, Egg and Fish Pyramid to pyramids of thought processes, mathematics, forests humanity, survival," said Denes."These pyramids have little to do with their ancestor pyramids of Egypt, rather they represent social structures, in the form of visual philosophy conveying ecological, social and cultural issues with a purpose to answer humanity's problems, issues of concern and seek benign solutions."According to the artist, the piece reflects social structuresThe Living Pyramid will be on display as part of Desert X 2025. The fifth edition of the art festival will "delve deeper into nonlinear narratives of time" and feature large-scale installations from several artists.Born in Budapest in 1931 and currently based in New York City at the age of 93, Agnes Denes is known for her environmental and ecological art. Her work Wheatfield A Confrontation, featured a 2.2-acre wheat field planted next to the World Trade Center.Previous installations for Desert X included a sculpture made of piled shipping containers and artificial puddles that doubled as trampolines when the fair was installed in Saudi Arabia in 2020.The photography is by Lance Gerber courtesy DesertXDesert X will take place in the Coachella Valley in California from 8 March until 11 May 2025. For more global events in architecture and design visitDezeen Events Guide.The post Agnes Denes installs Living Pyramid in California for Desert X appeared first on Dezeen.

Promotion:Hong Kong-based schoolMy ArchiSchool has announced a competition calling for children to use artificial intelligence tools to design a school village.For My ArchiSchool's annual Youth ArchiDesign Competition, this year's edition is tasking children ages six to 17 to design a school village that facilitates learning and social interaction, containing two schools, a canteen and at least one garden with a sustainable farming area.My ArchiSchool has announced the fourth annual Youth ArchiDesign CompetitionMy ArchiSchool said it believes empowering rather than shielding children with AI tools from a young age will empower them to be more creative.The online submission period is open from 15 December 2024 to 28 February 2025, and it costs 750 Hong Kong dollars to enter. Children aged six to 10 will be entered into a junior group, and those aged 11 to 17 will enter the senior category.Designboom managing editor of branded content, Tim Spears, will judge the entries on creativity, sustainability, buildability and presentation. The top 10 designs from each age group will be announced in an exhibition of works on 22 June 2025.Entrants should use generative artificial intelligence to create their designsMy ArchiSchool is asking entrants to create their designs using generative artificial intelligence (AI), which it argues allows people to create more 2D and 3D designs without the need for expensive software and hardware."Why generative AI for students? Students can enjoy greater support for establishing their ideas and options through cloud-based computation," said My ArchiSchool.The competition is open to children ages six to 17"For education purposes, generative AI removes the barriers between students and visualisation and production," My ArchiSchool continued."It will help young designers to produce their artworks with affordable resources and present their ideas and artworks to a wider public."Entrants will design a school village with gardensAlthough using AI for creative purposes can be controversial, My ArchiSchool argued that it encourages creativity in children when used as an additional tool to physical artistic practices."We have run rounds of trials with various software and plug-ins, and it came to my attention that students could actually enjoy the creative process of obtaining design options," it said."Like Photoshop, it helps photographers and designers to enhance photos taken, although it cannot replace the enjoyment of doing traditional acrylic painting and alike."Now in its fourth edition, My ArchiSchool hopes the Youth ArchiDesign Competition will serve as a platform to showcase young designers in architecture.Partnership contentThis article was written by Dezeen for My ArchiSchool as part of a partnership. Find out more about Dezeen partnership content here.The post My ArchiSchool launches AI design competition for kids appeared first on Dezeen.

International design practice Aidia Studio has revitalised a sports complexin Oaxaca, Mexico, by constructing a new grandstand and locker room for a soccer field.The 14-acre Deportivo Zanatepec was completed for a federal Secretariat of Agrarian, Land, and Urban Development (SEDATU) project in the municipality of Santo Domingo Zanatepec in Mexico's Tehuantepec Isthmus.Aidia Studio has completed a grandstand and locker room building for a sports complexThe design was informed by the context, incorporating earth tones into the concrete, filling the site with mango trees, and highlighting and replicating the angles of the Sierra Madre de Chiapa, the mountain range located west of the site."[We intended to] marry the earthy tones of the land, the lush colours of the fruit tree plantations and the inspiring mountainous backdrop with an architecture evoking site-specificity and to strike a balance between mass and lightness," Aidia Studio told Dezeen.The roof mirrors the angles of the surrounding mountain rangeAdjacent to existing professional and practice soccer fields used by a local league, Aidia Studio constructed a 6,973-square metre (75,056-square foot) building with a heavy, pigmented concrete base and a lightweight metal shade structure.Within the base, the ground floor includes two team locker rooms with direct access to the field, public restrooms, and concession areas. The concrete features multiple finishes: horizontal board-formed lines, stamped parquet blocks, and smooth benches.The lightweight metal roof contrasts the heavy concrete baseA large portico runs along the east side of the ground floor, connecting service areas with pivoting doors and shading visitors with lattices made of parota wood slats.Symmetrical sets of internal stairs and external ramps lead up to the grandstand that seats 400 spectators under a modular metal roof made of hyperbolic paraboloids that create design simplicity and formal expression.Read: Architecture a "powerful tool" for easing strains of migration says Gabriela Carrillo"This geometric configuration provides rigidity and lightness at the same time, providing unobstructed views towards the soccer field in front and the basketball court in the back," the team said."Our form finding process in this and other projects aims to marry aesthetics with performance, a continuation of the modernist project with today's digital tools that allow us to iterate and optimize design options."Symmetrical sets of stairs and ramps lead up to the grandstandThe Tehuantepec Isthmus is one of the most intense seismic regions in Mexico, so the team took seismic resilience into the design of the roof with triangular-shaped trusses and diagonal bracing that allows "the roof reads as effortlessly hovering over the stand".White ironwork railings and gates correspond with the white roof structure, providing a light detail to juxtapose the heavy concrete.The ground floor includes two team locker rooms, public restrooms and concession areasIn addition to the grandstand building, Aidia Studio added an access plaza, a 400-metre athletics track around the field, a one-kilometre perimeter running path, children's play areas, and designated areas for calisthenic workouts.Also in Oaxaca, Aidia Studio designed a community centre with a series of vaulted roofs and a diaphanous concrete block screen.Following a similar parti for a concrete grandstand with a large awning structure, Centro de Colaboracin Arquitectnica designed a baseball stadium in Jlpa de Mendez, but swapped the lightweight metal structure for monumental concrete umbrellas.SEDATU has sponsored many community-oriented buildings throughout Mexico, including a number of buildings in northern and southern border towns by Colectivo C733, a multi-disciplinary studio that includes Mexican architect Gabriela Carillo.The photography is courtesy of Aidia Studio.Project credits:Architects: AIDIA STUDIOProject directors: Rolando Rodriguez-Leal, Natalia WrzaskLead architect: Jose Luis MulsProject team: Nitze Magaa, Ernesto Pinto, Aranzazu Snchez, Cecilia Simn, Rodrigo WulfStructural Engineering: Project & CalcClient: SEDATUThe post Aidia Studio lofts lightweight metal roof over Mexican grandstand appeared first on Dezeen.

Furniture brand Paulin, Paulin, Paulin and American football player Stefon Diggs have displayed the athlete's personal furniture collection and a hybrid speaker/sofa prototype by the brand at a Miami residence during the city's art week.The Stefon Diggs is in the House show took place at the M Building in Wynwood, a former warehouse turned residence and event space by Chad Oppenheim and interior designer Chahan Minassian.Paulin, Paulin, Paulin and Stefon Diggs displayed an orange Video Barnum couch for an installation during Miami art weekThe installation showcased a variety of Paulin, Paulin, Paulin (Paulin) pieces, the majority of which were from Houston Texan wide receiver and Liem founder Stefon Diggs' personal collection as an exploration of the intersection of sports, design and the home according to the team.The first set displayed a bright-orange couch that was designed by Paulin founder Pierre Paulin in the 1980s but was only prototyped recently by the brand with slight adjustments and debuted in collaboration with Nike at the 2024 Olympic Games earlier this year.Pieces such as red Elyse Floor Lamps and a moss-green Tapis-Sige couch were also displayedThe orange Video Barnum couch comprises five, thin geometric seating units that lay close to the ground, with upturned triangular corners that act as backrests.Speakers were embedded within each backrest to create an immersive sound system, reflecting the multi-sensory experience Paulin intended in his original design.Read: Exclusive photos reveal Jaguar Type 00 concept car at Miami art week"Like many innovations, the world was not ready for the Tapis-Sige (Carpet Seat) when [Peirre] conceived the idea over 50 years ago," said the furniture brand."The idea came when he started to believe that the future of furniture was in its disappearance instead, creating 'programs', modular furniture systems that could fluidly facilitate experimental communal experiences of space."Diggs' personal Paulin collection was showcased throughout two galleries and outdoors, including the rectangular Angular Moon Table and a scalloped, white Alpha Club ChairDuring the installation, the seating was hooked up to an AUX cord, which generated music throughout the piece.In an adjoining room, Digg's collection was displayed in a tight cluster, rendered in custom colours. The collection included pieces such as red Elyse Floor Lamps, a moss-green Tapis-Sige couch and a light blue Dune Ensemble couch, a seating unit with geometric padding and hump-like dividers that emerge from its surface.A Miami Table unit was set up outdoorsOther pieces showcased include the rectangular Angular Moon Table, a scalloped, white Alpha Club Chair and a black leather Declive recliner.A Miami Table with multi-coloured cushions was also displayed outside a singular unit that encompasses four benches and a central table.The collaboration explored the intersection of sports, design and the home"By juxtaposing Pierre Paulin's iconic designs with objects reflecting Diggs's life and values, this temporary house becomes a space of exploration where design and sport intersect to challenge our understanding of space, identity, and performance," said the team."This project demonstrates how furniture and personal artefacts can transform architecture into a home imbued with meaning and individuality."Other events that took place during this year's Miami art week included the second installment of Alcova Miami and the unveiling of the Jaguar electric concept car Type OO.The photography is by Pierrick RocherStefon Diggs is in the House took place from 4 to 8 December at the M Building in Miami. For more global events in architecture and design visit Dezeen Events Guide.The post Paulin, Paulin, Paulin and Stefon Diggs deck out Miami's M Building appeared first on Dezeen.

New York-based architect and educator Deborah Berke has won the 2025 American Institute of Architects Gold Medal for her architecture and educational work that "exemplifies innovation, inclusivity, and sustainability".Deborah Berke is the recipient of the 2025 American Institute of Architects (AIA) Gold Medal, one of the most prestigious awards in the field and the organisation's highest honour.Architect and educator Deborah Berke has won the 2025 AIA Gold MedalFounder of architecture studio TenBerke (formerly Deborah Berke Partners) and dean of the Yale School of Architecture since 2016, Berke's work often integrates sustainable and context-sensitive strategies across a range of scales including residential projects and university buildings.The AIA cited Berke's commitment to sustainability, as well as her efforts at Yale, as the basis for this year's Gold Medal."Berke is a transformative figure in architecture whose career spans over four decades," said the AIA. "She has combined design excellence, academic leadership, and a commitment to social and environmental responsibility.""From founding her practice, Deborah Berke Partners in 1982 to becoming the first female dean of the Yale School of Architecture, her journey exemplifies innovation, inclusivity, and sustainability."The AIA referenced projects such as the Richardson Olmsted Complex as an example of her commitment to sustainability and adaptive reuseThe AIA referenced projects such as Dickinson College High Street Residence Hall in Pennsylvania and her award-winning Richardson Olmsted Complex in New York as examples of her commitment to sustainable design, in particular a specialization in adaptive reuse projects.Completed in 2017, the Richardson Olmsted Complex encompassed partially restoring and converting a 19th-century mental hospital into the hotel Hotel Henry. The project won several awards including the AIA National Architecture Award and the Excellence in Historic Preservation Award from the Preservation League of New York State.Read: "Now's the time to shelter all species" say 2024 AIA Gold Medal winnersCompleted a year later, the High Street Residence Hall was the first residential project on the Dickinson campus in decades. Berke used several cladding types to respond to different aspects of the campus, while the building was awarded LEED Platinum certification.More recently, TenBerke modified a 1950s law building on Harvard's campus, which included adding extensions and reconfiguring the interior to meet the more socially driven needs of modern law pedagogy.Projects such as the High Street Residence Hall in Pennsylvania showcase contextually sensitive architecture"Her practice has consistently prioritized adaptive reuse, transforming historic structures into vibrant, functional spaces," said the AIA.Berke's work as the dean of the Yale School of Architecture was previously awarded the AIA/ACSA Topaz Medallion in 2022 and has "profoundly influenced" wider architectural pedagogy."As an educator, Berke has profoundly influenced architectural pedagogy," said the organisation. "At Yale, she has advanced financial aid initiatives, increased accessibility, and championed interdisciplinary programs, making architecture education more inclusive."The architect also serves on multiple boards, including the Pritzker Architecture Prize and the Norman Foster Foundation and has won awards such as the Cooper Hewitt National Design Award.Much of her work, such as a law building on the Harvard campus, centres around converting historical buildings to meet modern needs"Throughout her career, Berke has exemplified the power of architecture to transform lives and communities," said the AIA. "Her work, teaching, and advocacy collectively underscore a profound belief in design as a tool for social good, leaving an indelible mark on the field and inspiring a more inclusive and sustainable architectural future."The AIA Gold Medal was established in 1907 and is awarded annually to an individual whose work has "a lasting influence on the theory and practice of architecture".In 2024, it was awarded to David Lake and Ted Flato of Texas-based Lake Flato Architects and Chicago architect Carol Ross Barney in 2023.Dezeen named Deborah Berke as one of the 50 most powerful women in architecture and design earlier this year.The post "Transformative figure" Deborah Berke wins AIA Gold Medal appeared first on Dezeen.

Fashion house Dior has unveiled the Gold House concept store in Bangkok, which is surrounded by facades modelled on the brand's headquarters in Paris.Set on a former carpark in Bangkok's Ploenchit district, the 1,000-square-metre store is named Dior Gold House after its distinctive facade treatment.Dior's concept store is wrapped in false facadesThe single-storey, mirror-clad store is entirely surrounded by a false facade wall covered in one million gilded golden tiles.Punctuated by 300 windows, the facade is made up of multiple replicas of Dior's headquarters at 30 Avenue Montaigne in Paris, where Christian Dior established the fashion house in 1946.The facades are modelled on the outside of Dior's Paris HQThese elevations tower above the store and enclose a pair of plant-filled courtyards and a covered patio for the cafe.While the exterior is covered in golden tiles, the walls' inner surfaces are cloaked in mirrors, matching the exterior of the store hidden inside.The store has a mirrored facadeThe store has two main entrances, with visitors passing through one of the courtyards to enter.Inside are a series of six spaces finished with natural materials including bamboo, wood and raffia described by Dior as "refined, ultra-contemporary and sublimated".Read: Christian de Portzamparc wraps Dior flagship store with "resin shells" in GenevaSpaces are dedicated to all of the fashion house's divisions with Maria Grazia Chiuris womenswear and Kim Jones' menswear, as well as the Dior Maison collections.At the centre of the building is a domed, central space topped with a star, while a cafe serves dishes by Michelin-starred chef Mauro Colagreco.A central domed space sits inside the storeThroughout the store and its surrounding grounds are artworks designed by nine different Thai artists.The works include a stool imprinted with an elephant footprint, designed by the founder of Bangkok Project Studio Boonserm Premthada.There is also a cafePrevious Dior stores on Dezeen include a store in Geneva, Switzerland, wrapped in six interweaving "petals", while US studio Aranda\Lasch created the interior facade for a store outside of Doha.The post Dior wraps Bangkok concept store in golden replicas of HQ facade appeared first on Dezeen.

The World Cement Association has predicted that global demand for cement and clinker will decrease more than previously expected by 2050 due to changing market trends and sustainable material advancements.In its white paper, Long-Term Forecast for Cement and Clinker Demand, the association predicted that global cement use would decrease from 4.2 billion tonnes per year to three billion per year between now and 2050.The World Cement Association also predicted that demand for clinker, which is the main ingredient in Portland cement and produces large amounts of CO2, will also decrease from 2.8 billion tonnes per year to less than 1.9 billion per year.Decreasing demand linked to slowing construction in ChinaAccording to the association, its predictions were based on regional cement and clinker demand trends, particularly a decrease in use in China, and the adoption of low-carbon practices in the construction industry.World Cement Association CEO Ian Riley explained that cement demand has been influenced by a decrease in new city developments in some countries as population growth has plateaued."The decrease in cement and clinker demand is driven by several factors," he told Dezeen. "Slowing infrastructure and construction activity in markets like China has significantly reduced consumption, where demand has already fallen from 2.4 billion tonnes per annum in 2020 to an estimated 1.8 billion tonnes per annum in 2024.""Declining or stabilising populations in developed regions have lessened the need for large-scale new developments, further contributing to the reduction in demand."Read: Definitions of low-carbon concrete announced at COP29 to "bring transparency and trust"Riley also said that advancements in clinker alternatives and supplementary cementitious materials (SCMs) have helped reduce the reliance on carbon-intensive clinker."The growing emphasis on reducing carbon emissions is encouraging the adoption of alternative materials, optimised designs, and strategies to minimise waste," he said. "The development of clinker-free cements and low-carbon alternatives is also playing a key role in this transition.""Clinker demand is projected to fall from 2.8 billion tonnes per annum in 2024 to less than 1.9 billion by 2050, possibly as low as one billion, depending on the rate of adoption of SCMs and alternative binders," Riley continued."The analysis assumes a steady reduction in clinker due to increased SCM availability and technological advancements.""Cement industry is undergoing an unprecedented transformation"The World Cement Association published its white paper to provide an accurate overview of global cement and clinker use and inform built environment professionals about planning for lower-carbon building practices."The cement industry is undergoing an unprecedented transformation," said Riley. "As we move towards a decarbonised future, understanding the true demand for cement and clinker is critical to ensuring that policies, technologies, and investments align with reality.""This white paper aims to provide industry leaders and policymakers with the clarity needed to plan effectively and sustainably."Read: Recycling "breakthrough" could usher in zero-emissions cementRiley hopes the report's findings will encourage the architecture and construction professions to continue lowering their projects' carbon footprints by designing with minimal concrete and adopting more low-carbon building materials, such as mass timber and geopolymers."The decline in cement demand signals a shift towards more sustainable architectural practices, including innovative materials, optimised designs and carbon reduction," he said."Lower cement and clinker demand directly contribute to reducing the carbon footprint of construction projects, aligning with global sustainability goals," Riley continued."This transition offers an opportunity to create more environmentally friendly buildings and reduce the long-term environmental impact of construction."Last month, the Global Cement and Concrete Associationannounced definitions for low-carbon concrete and cement at COP29. Earlier this year, researchers devised a way to recycle waste cement to make low-carbon concrete.The top photo of Sinoma Cement factory is courtesy of the World Cement Association.The post World Cement Association predicts "unprecedented transformation" in cement demand over next 25 years appeared first on Dezeen.

Bregenz studio Bernardo Bader Architekten has completed a cuboidal primary school in rural Austria that is designed as a "village within the village".Located on a mountainous site in the town of Au in Bregenzerwald, the extension expands an existing campus comprising a middle school and kindergarten.Bernardo Bader Architekten has created a primary school in rural AustriaThe primary school building is accompanied by a new schoolyard and will be later joined by a gymnasium, designed by Bernardo Bader Architekten to open in 2026.According to the studio, the yard is intended to serve as a focal point for the campus, which it is aiming to transform into a "village".It is cube-shaped and raised on a concrete base"The basic spatial idea is the creation of a school village, 'the village within the village'," the studio's founder Bernardo Bader told Dezeen."The position of the buildings creates a rich collection of typologically different outdoor spaces, which balances itself with the existing structures to form an equal composition of body and space," Bader added."The heart of the strengthened ensemble is a contained and protected schoolyard, which can be used equally for play and learning purposes, especially in the warm season."Larch wraps the exteriorEnclosing the southern side of the schoolyard is the new primary school building, designed as a cubic volume clad in larch planks and elevated on a concrete base. Its timber finish continues into the interiors.The use of wood was chosen by Bernardo Bader Architekten as a homage to the history of craftsmanship in the region, which was home to the 17th-century Vorarlberg School a guild of bricklayers, masons and carpenters.Wood also lines the inside of the building"The predominant use of wood as a building material and the masterly craftsmanship can be understood as a vote for the continuation of a local building tradition," Bader told Dezeen."This resulted in an atmospherically diverse building of great sensuality, formally understated, distinguished and elegant, and, importantly, one that creates a sense of security and not distance," he added.Read: Ateliers O-S and NAS Architecture organise French school around planted courtyardA slight slope on the site means that the basement cloakroom benefits from level access to an external sports field to the east. In the future, an underground link will also connect it directly to the gymnasium.Above, the primary school's classrooms have been positioned at each corner of the building to provide them with plenty of natural light and views.Classrooms are positioned around the edges of the schoolOnce completed, the gymnasium will enclose the northeastern edge of the yard, with a set of steps created between it and the primary school that leads down towards the external playing field.Previous school projects by Bernardo Bader Architekten include the extension of a kindergarten in Lustenau, which also features timber finishes throughout, and a stone-clad ski centre with mismatched windows.The photography is by Gustav Willeit.The post Bernardo Bader Architekten creates cuboidal primary school in rural Austria appeared first on Dezeen.

This compact eyewear store in New York's West Village has been divided into "on stage" and "backstage" areas, as part of a design studio Tutto Bene's "love letter to theatrical glamour".The second New York City store for UK-based brand Cubitts is situated on Bleecker Street, a thoroughfare known for its architectural charm and variety of boutiques.The front of the Cubitts West Village store presents eyewear on wooden shelves recessed into beige felt wallsDesign studio Tutto Bene, which is behind several Cubitts interiors, looked to the history of the neighbourhood and the building once home to playwright Lorraine Hansberry to inform this location."It's a love letter to theatrical glamour, holding a mirror to the dualities of 'on stage' and 'backstage', public and private lives," said the design team. "The front of the store is designed as a stage for spectacles. A theatre of the every day, for the theatrical masks we all wear."A velvet-upholstered sofa sits under the store windowThe eyewear is displayed on wooden shelving recessed into beige felt-lined walls and illuminated by cove lights hidden behind.Wooden floorboards are stained black to emulate a stage, while movable display plinths made from brushed aluminium have a prop-like quality.A curved wall leads to the "backstage" consultation areaOverhead, a 1980s geometric pendant lamp by Swiss architect Mario Botta joins a 1960s Kaiser Leuchten table lamp by German designer Klaus Hempel both chosen for their resemblance to theatre flashlights.A velvet-upholstered sofa is placed in the window for shoppers to rest, relax, and observe the performance of trying on eyewear, providing "a front-row seat for the weary spectacle browser" according to Tutto Bene.Read: Tutto Bene references Streamline Moderne in tiny New York eyewear storeThe curved wall behind a partition leads to the "backstage" area, which is decorated in contrasting dark brown.This space is used for bespoke consultations and includes a vanity mirror with lightbulbs like in a theatre dressing room.The consultation space is decorated dark brown and features a vanity mirrorTo celebrate the West Village store opening, Cubitts has launched three new frames modelled on local landmarks including former speakeasy Chumley's and the Whitney Museum of American Art.The brand was founded in King's Cross, London, in 2013, and now has 19 stores spread across both sides of the Atlantic.The Cubitts West Village store is located in a Bleecker Street building once home of playwright Lorraine HansberryTutto Bene is led by Felizia Berchtold and Oskar Kohnen, and has studios in London and Milan.The firm's previous interiors for Cubitts include a store in Islington, north London, modelled on an artist's loft and a boutique in New York's Soho influenced by early 20th-century American industrial design.The photography is by Alice Gao.The post Cubitts West Village by Tutto Bene is a "stage for spectacles" appeared first on Dezeen.

Architecture studio AO is working with the Federal Aircraft Administration to move the Legends Tower skyscraper in Oklahoma forward after local authorities raised concerns over its height.AO told Dezeen it has received comments from the FAA and is working to resolve the issues resolved in order to move forward with the project.It follows safety concerns being raised last month by local airport director Jeff Mulder, who told the Federal Aircraft Administration (FAA) the he believed the Legends Tower's 581-metre (1,907 feet) height could create delays for air travel."Prioritizing saftey""We have received the FAA's comments and are working with them to address these matters," AO managing partner Rob Budetti told Dezeen."Our team is committed to collaborating with the FAA to find meaningful solutions that prioritize safety and compliance while supporting the vision for Legends Tower."The skyscraper is part of a development in Oklahoma City's Bricktown District and has gained international attention after its developer Matteson Capital received approval from the local government for "unlimited height" to create a skyscraper that would be the tallest in the United States.Pushback "expected"After the issues were raised by Mulder, the development firm's founder Scot Matteson said that pushback was "expected".He told local news outlet News 6 that Legends Tower could be a "little shorter" if necessary.In an interview earlier this year, AO studio partner Bruce Greenfield told Dezeen that the height was not "necessary" and did not drive the initial designs of the project.Read: HKS reduces plans for its supertall Austin skyscraper by halfBoardwalk at Bricktown, the multi-use development that includes Legends Tower, will be constructed over multiple phases and has yet to break ground, though the developer said it had secured "full funding" for the project as of March 2024.The FAA does have regulations regarding building height, and according to the administration, this limits most buildings to a max height of 2,000 feet (609 metres) in cities, though it does note that "local conditions" should be taken into account when making height restrictions.Complaints about height have previously caused the FAA to issue notices asking developers to lower heights. In 2016, the FAA told the developer of a long-harried Seattle skyscraper that it must reduce its height due to claims of operation disruption.The renders are courtesy of AO.The post Architects of proposed US tallest skyscraper "collaborating" with FAA to move forward appeared first on Dezeen.

The autumn edition of our Dezeen Showroom New Releases newsletter features a chair in the shape of a crescent moon by Wigiwama. Subscribe to Dezeen Showroom New Releases now!Called the Moon Chair, the seat consists of three separate upholstered modules that were designed for children to play with.The seat is one of five designs that feature in the latest edition of the quarterly newsletter, in which the Dezeen Showroom editor rounds up their top picks of design, furniture and fittings from the last season.Spanish studio Mayice has created a tactile, angular rug made from pure, undyed Merino woolOther designs featured in the newsletter included wardrobes and storage by Reform, the Lines rug by Mayice for Gan,Mirrors 001 and 002 by Archive for Space for Bton Brut and Tiles by Palet.Dezeen Showroom New ReleasesDezeen Showroom New Releases is sent four times a year, rounding up a selection of designs and products from the last season published on Dezeen Showroom. Read the latest edition of Dezeen Showroom New Releasesorsubscribe here.You can also subscribe to our other newsletters; Dezeen Debate is sent every Tuesday and features a selection of the best reader comments and most talked-about storiesDezeen Agenda is sent every Tuesday containing a selection of the most important news highlights from the weekDezeen Daily is our daily bulletin that contains every story published in the preceding 24 hoursDezeen In Depth is sent on the last Friday of every month and delves deeper into the major stories shaping architecture and design.The post Dezeen Showroom New Releases newsletter features moon-shaped chair appeared first on Dezeen.

Dezeen School Shows: an AI-powered companion gadget for people with dementia is included in Dezeen's latest school show by students at University of New South Wales Sydney.Also included is a project exploring possibilities of 3D printing and another aiming to increase the ecological health of a river.University of New South Wales SydneyInstitution: UNSW SydneySchool: School of the Built EnvironmentCourses: Master Landscape Architecture, Bachelor Landscape Architecture (Honours), Bachelor of Design (Computational Design) and Bachelor of Industrial Design (Honours)Tutors: Dr Sara Padgett Kjaersgaard, Dr Nicole Gardner, Associate Professor Mariano Ramirez, Associate Professor Bernadette Hardy, Linden Crane, Dr Andrew Mackenzie, Simon Lloyd, Dr Melissa Cate Christ, Dr Mike Harris, Patrick Franklyn, Professor M Hank Haeusler, Charlotte Firth, Hareem Nadeem, Stephen Goddard, Dr Cristina Ramos Jaime, Professor Oya Demirbilek, Danielah Martinez, Dr Christian Tietz and Gonzalo PortasSchool statement:"At UNSW Built Environment we focus on architecture and design at every scale, from industrial-designed products to the architectural design of buildings and landscapes, up to urban and regional planning and policy."We place emphasis on sustainable design approaches that embrace circular thinking and adaptive reuse to achieve resilient and low carbon outcomes. Our social-impact design ethos seeks to meet the diverse needs of different groups, creating landscapes, buildings and products that are healthy and inclusive. We also equip students to use advanced digital tools and data, allowing them to make evidence-based decisions and develop smart ways of analysing and designing our world."Many of our student projects engage with 'Country', which Associate Professor Bernadette (B) Hardy, a traditional owner of Dharug and Gamilaraay descent, redefines for First Nations people as a profound union of the physical and spiritual, deeply connected to the world's oldest living culture."Studio design in the Bachelor of Landscape Architecture shown below is co-led by Associate Professor Hardy and Country as teacher (Dharug, Bidgigal, Gadigal, Wangal). Students and staff have been entrusted with Aboriginal knowledge and culture (referred to as Indigenous Cultural Intellectual Property and Cultural Law/Lore) and permission is required for its reproduction."Overall, at UNSW Built Environment we aim to develop skilled and enquiring graduates who can positively engage, adapt and shape our cities for the benefit of all people and life on earth."AMIKO: A caring companion for dementia byZihan Eleanor Tang"AMIKO is an AI-powered companion designed to support older adults with dementia, offering emotional recognition, safety monitoring and seamless connectivity."By detecting emotions and delivering empathetic feedback, AMIKO fosters meaningful connections through warm interactions and lighting cues."This conceptual ecosystem includes AMIKI satellite units for safety reminders and the AMIKON app, enabling caregivers to receive real-time updates and stay connected."Built with durability and medical compliance in mind, AMIKO redefines dementia care by transforming daily routines into moments of comfort and connection."Student: Zihan Eleanor TangCourse: Bachelor of Industrial Design (Honours)Email: zihantang.29[at]gmail.comTutors: Oya Demirbilek and Christian TietzNeuroEase: Non-invasive migraine relief byNitish Ramesh"NeuroEase offers a non-medicinal, non-invasive solution for managing migraines using advanced Vagus Nerve Stimulation (VNS) technology."This wearable concept provides fast, effective relief, empowering users to treat migraines anytime, anywhere without relying on pharmaceuticals."Designed as a complete treatment package, NeuroEase includes a charging dock, electrode gel and tissues for cleaning, making it a portable and user-friendly system."Its sleek, empathetic design combines comfort, functionality and adjustable settings to ensure a tailored experience."Student: Nitish RameshCourse: Bachelor of Industrial Design (Honours)Email: nitish.ramesh2003[at]gmail.comTutors: Gonzalo Portas, Danielah Martinez and Christian TietzRipple Rails byOlivia Xiao"Ripple Rails is an urban technology design project that explores creative uses for smart technologies by leveraging the affordances of physical computing and engaging with principles of interaction design to create safer commuting conditions for school age pedestrians and cyclists."The site-specific design uses sensors to collect data about commuting behaviour and to drive real-time responsive actuation including movement and LED lighting to help manage the safe flow of commuters through a spatially constrained site."Student: Olivia XiaoCourse: Bachelor of Design (Computational Design)Email: o.xiao[at]student.unsw.edu.auTutors: M Hank Haeusler and Hareem NadeemThe Need for Speed byLouis Lamont"The Need for Speed: An investigation into parametric velocity control to enable variable extrusion rate on large-scale pellet-based robotic printing is a computational design research project that investigates workflows to enhance accuracy and achieve uniform layer thicker for multi-planar robotic printing."Student: Louis LamontCourse: Bachelor of Design (Computational Design)Email: louis.lamont[at]student.unsw.edu.auTutors: Nicole Gardner, Stephen Goddard and Cristina Ramos JaimeTimeless: How can we weave stories of Moore Park that connect diverse users to the landscape? byHamnah Maqsood"A deeper understanding of indigenous knowledge systems and their profound connection with country is essential in fostering place-based relationships with landscapes."The research proposal explores the ongoing storied process of indigenous origins, Moore Park's history and future users, with the aim of being woven into the green fabric, to address issues of biodiversity loss for migratory bird habitats and the absence of place-based connections."The design of organic structures and pathways engage students, locals and indigenous people in programmes that elevate sensory connections and celebrate indigenous practices of weaving."Student: Hamnah MaqsoodCourse: Master Landscape ArchitectureEmail: hamnah2001[at]hotmail.comTutors: Linden Crane, Andrew Mackenzie, Simon Lloyd and Melissa Cate ChristSymbiosis and Co-living byShuwen Li"The Goolay'yari (Cooks) River, has a rich, continuing history with the Dharug People of the Sydney area."Once populated with an expansive array of more-than-human-kin, such as the Wurridjal (mullet), the river has been facing challenges since the middle of the 20th century."Conflicts between engineered concrete embankments for flood mitigation and its natural swampy, mangrove rich edges, alongside significant industrial pollution and runoff, have drastically reduced the amount of habitat that sustains aquatic life."The project seeks to establish a series of adaptive nature-based solutions to return the keystone fish habitat of the mullet to its original state and subsequently enhance the rivers resilience to future seasonal flooding events under projected sea-level rises."Reuse of the existing concrete block river edge also ensues a net positive climate outcome."Student: Shuwen LiCourse: Bachelor Landscape Architecture (Honours)Email: catherinerrr520[at]gmail.comTutors: Mike Harris, Linden Crane and Patrick FranklynWhispers of the River byKang Zheng"The Cooks River, known as Goolay'yari by the Traditional Custodians of the land, winds its way through the heart of Canterbury, carrying with it a rich tapestry of history, culture and ecological significance."Once a thriving tidal waterway teeming with biodiversity, the river has been shaped by urbanisation, resulting in degraded habitats, water pollution and diminished community connection."This project centres on the riverfront spaces of the Cooks River, envisioning them as catalysts for reimagining the river's identity as both a natural system and a communal landscape."Rooted in a layered history of reclamation, urbanisation and ongoing restoration, the river's complexity demands innovative, climate-conscious design strategies."By harmonising human activity with the river's natural processes, this project aims to restore its ecological health, enhance its cultural significance and ensure its accessibility and vitality for future generations."Student: Kang ZhengCourse: Bachelor Landscape Architecture (Honours)Email: zhengkang.au[at]gmail.comTutors: Mike Harris, Linden Crane and Patrick FranklynSign of the Tides byElla Short"On matriarchal Dharug land, the Goolay'yari (Cooks River) is the most polluted urban river in Australia."With the heavy urbanisation of the river, its natural ecosystem services are almost lost, but there are signs of the river fighting back."This project will give the land back to the river with deep consideration of what was and what will become."Tides are a contingent, abiding event pushed and pulled by the moon (yanada in Dharug). These ebb and flow cycles of science, spirituality and celebration have been deeply considered."Sign of the Tides has created spaces that encourage the ecological and social fluctuations that occur with water and lunar cycles."Student: Ella ShortCourse: Bachelor Landscape Architecture (Honours)Email: ellanshort[at]gmail.comTutors: Mike Harris, Linden Crane and Patrick FranklynOasis: Transforming sleep with light and sound by Yingqi Amy Feng"Oasis is a bedside sleep therapy system that reimagines the moment of switching off, transitioning seamlessly between ambient light and sound therapy."Inspired by the ritual of turning off the lights, its tactile pivot mechanism dims a warm 2500K light while activating customisable soundscapes grounded in cognitive behavioural therapy."Rhythmic breathing guides, white noise, and adaptive soundscapes relax the mind and promote deep sleep."Oasis is designed for longevity and has a replaceable magnetic front cover and a durable aluminium structure."Student: Yingqi Amy FengCourse: Bachelor of Industrial Design (Honours)Email: amyfengdesign[at]gmail.comTutors: Danielah Martinez and Christian TietzRobotic Computing byRachel Deeb"This project adopts an iterative design approach to optimise design and fabrication processes using Python scripting in Grasshopper for Rhinoceros."A series of physical prototypes were fabricated using a 3-axis 3D printer to test tool path techniques, including changes to feed and extrusion rates and to create diverse surface patterns and woven textures."Student: Rachel DeebCourse: Bachelor of Design (Computational Design)Email: r.deeb[at]student.unsw.edu.auTutor: Charlotte FirthPartnership contentThis school show is a partnership between Dezeen and the University of New South Wales Sydney. Find out more about Dezeen partnership content here.The post University of New South Wales Sydney presents ten architecture and design projects appeared first on Dezeen.

This week on Dezeen, we looked back at the highlights of 2024 as the year comes to an end, including the top 10 gadgets of the year.Among the projects featured in the gadget highlights were a pair ofhiking trousers that give the wearer a boost as they walk and a stretchable digital screen that can expand up to 50 per cent.We also unveiled our picks for the top 10 UK architecture projects of the year, the top 10 home interiors of the year and the top 10 cabins of the year.The proposed Legends Tower would be the tallest skyscraper in the USThe proposed tallest skyscraper in the US, Legends Tower, was back in the news this week after local airport director Jeff Mulder expressed concern about its height and safety.In a complaint to the Federal Aircraft Administration (FAA), he claimed Legends Tower's 581-metre (1,907 feet) height would create safety issues and delays for air travel.However, the tower's architect California-based studio AO has since stated it is "collaborating" with the FAA to resolve the issue.Herzog & de Meuron's design for Vancouver Art Gallery will no longer go aheadIn other North American news, Vancouver Art Gallery has abandoned its plans for a new building by Swiss architecture studioHerzog & de Meuron after almost a decade.The institution cited financial concerns as the reason for the decision. Herzog & de Meuron's renders of the project showed copper-clad stacked volumes protruding from a mass-timber structure.A new luxury hotel is set to be erected on the site of the Nakagin Capsule Tower, picturedIn Japan, renders were released of the luxury Pullman Tokyo Ginza hotel, which is set to be built on the site of the Nakagin Capsule Tower an iconic example of the metabolism architecture style.Readers' opinions were divided on the decision to erect what some called an "uninspired and generic" hotel on the site of the building, which was demolished in 2022.Pantone's colour of the year was discussed in an opinion piece this weekIn an opinion piece this week, Michelle Ogundehin discussed the Pantone colour of the year for 2025, an "unremarkable mid-brown called Mocha Mousse."The colour, which was unveiled last week, "reflects the triumph of manipulative marketing for greed over need," she said. "I believe this may be a classic exemplar of enshittification, in both story and hue."Healthcare facilities will be placed under a canopy at Jawaher Boston Medical DistrictDesigns for the Jawaher Boston Medical District in Sharjah, UAE, by Renzo Piano Building Workshop were also unveiled this week.The renders show healthcare facilities located inside a large tree-filled park, which will measure 1,000 metres by 500 metres and have a canopy at its centre.White Arkitekter has completed a sculptural water tower in SwedenPopular projects featured on Dezeen this week included a sculptural water tower in Sweden by White Arkitekter, an "architecturally unique" London home and a So Paulo penthouse designed by Philippe Starck.This week's lookbook featured interiors with gold and silver accents to ring in the festive season.This week on DezeenThis week on Dezeenis our regular roundup of the week's top news stories.Subscribe to our newslettersto be sure you don't miss anything.The post This week we picked the architecture and design highlights of 2024 appeared first on Dezeen.

A compact rammed-earth extension in Ecuador and a London home addition filled with vinyl records are among Dezeen's selection of the top 10 home extensions of 2024.Photo by JAG StudioEl Retiro, Ecuador, by Juan Alberto AndradeEcuadorian architectJuan Alberto Andrade proved even small extensions can make a big difference with the modestly sized El Retiro, which measures just nine square metres.Located in Guayaquil, the rammed-earth extension adds a social space to a multifamily housing complex, complete with an atrium built around a 25-year-old tree.Find out more about El Retiro Photo by Johan DehlinDrpa, Norway, by Vatn ArchitectureNorwegian studios Vatn ArchitectureandGroma added a curved two-storey extension to this 1930s home in Oslo, resisting the boxy and pitched-roof designs typically seen in the surrounding suburban area.Containing three bedrooms and an open-plan kitchen, dining and living area, the extension was clad in white-painted timber to match the existing home, laid vertically instead of horizontally to give a subtle contrast.Find out more about Drpa Photo by Chris WhartonVinyl House, UK, by Benjamin WilkesDesigned to facilitate the owner's love for cooking and music, Vinyl House in London caught readers' attention with its butterfly roof extension and music room filled with 40 linear metres of records.The music room opens onto an open-plan kitchen and dining room, which has a window seat that extends to form a deep garden step.Find out more about Vinyl House Photo by Naho KubotaSprings Artist Studio, USA, by Worrell YeungArchitecture studio Worrell Yeung extended this Long Island house with a two-storey 74-square-metre addition, containing a painting studio on the upper floor and an exhibition space and garage on the lower floor.Intending to create the feeling of being perched in the trees, the studio wrapped the upper level with continuous windows supported by steel-rod cross bracing and slim steel columns.Find out more about Springs Artist Studio Photo by Raphal ThibodeauLe Petit Merlot, Canada, by NaturehumaineBehind the red brick street facade of this 1920s duplex in Montrealis a garden extension with large windows framed in red steelwork.Local architecture studioNaturehumaine designed the extension to be a contrasting contemporary addition to the original building but created continuity with a red colour palette, which gives the home its name, Le Petit Merlot.Find out more about Le Petit Merlot Photo by Thomas Seear BuddKaraka Tower, New Zealand, by Arete ArchitectsInformed by treehouses, local studio Arete Architects vertically extended a home inWellington, New Zealand, to create Karaka Tower.Connected to the main house by a polycarbonate corridor, the eucalyptus-clad tower contains an art studio and bedroom topped with a roof terrace.Find out more about Karaka Tower Photo courtesy of So ArchitectureHarriet's House, Tasmania, by So ArchitectureConcealed within this rectangular pale brick extension in Tasmania is a double-height living, dining and kitchen area with a vaulted ceiling covered in wooden slats.Built on an exposed red brickwork base, local studio So Architecture aimed for the extension to be a sanctuary that opens onto the sloped garden.Find out more about Harriet's House Photo by Francesca IveneOld School House, UK, by Bindloss DawesArchitecture studio Bindloss Dawes added a pitched timber extension to Old School House, designed to complement the appearance of the existing Grade II-listed home, which was originally built in 1864 as a local village school.The exterior was clad in English sweet chestnut that will weather and turn a silver tone, chosen by Bindloss Dawes to match the stonework in the original home.Find out more about Old School House Photo by Jennifer Hughes PhotographySolit-Garreau Residence, USA, by Studio BowerAiming to preserve the charm of the original home, architecture firm Studio Bower created a wood-clad gabled annexe in keeping with an adjoined 1940scottage in Washington, DC.The annexe's asymmetric roof follows the roofline of the cottage and both are clad in slate shingles, while an outdoor courtyard was designed to provide a connecting social space for the two structures.Find out more about Solit-Garreau Residence Photo by Rick PushinskyVerdant House, UK, by CANClad in corrugated hemp fibre panels, the extension at Verdant House in London was praised by readers for its geometry and green-painted structure.Architecture studio CAN established a connection between the internal spaces and the garden by adding a sweeping curved glass window that was informed by Victorian shop fronts.Find out more about Verdant House The post The top 10 home extensions of 2024 appeared first on Dezeen.

Local studio DRM Arquitectura has designed a space-framed drive-through ice cream parlour lifted on inverted V-shaped columns in Buenos Aires, Argentina.The Veneciana Canning Ice Cream Drive Thru is situated on a busy roadside plot near National Route No. 58 that challenged the DRM Arquitectura team to create a calm atmosphere without disconnecting from the fast access road.DRM Arquitectura created an ice cream parlour in Buenos AiresFollowing the studio's three-part design concept product, person, place the 300-square metre (3,230 square foot) parlour was a "quick-build roadside stop" that serves as an "announcement sign" for travellers in the bustling area.The building is raised on two inverted V-shaped white columns and two simple columns to make it more visible, free up the ground floor, and create a semi-covered terrace with a view of the La Esperanza Golf Club.It has a drive-thru and is situated off a busy strreet"The metal structure is undoubtedly the protagonist of the space; making architecture from the structure is what we are passionate about," the team said.Set back from the perimeter of the building, the prefabricated columns create a large plan and absorb all of the horizontal load from the upper level, serving as the only link to the second story.It has a metal structure that creates a semi-covered terraceThe furniture and staircase "hang" from the space frame while the bar and floating circular restroom "folds" up from the floor."The ground floor proposes the dissolution of the building's limits both as a commercial strategy, aiming not to create barriers of entry and as a strategy to anchor to an environment with attributes valuable to the landscape, which can be incorporated as part of the buildings architecture," the team said.The staircase "hangs" from the steel structureMeanwhile, the upper floor is wrapped in a perimeter terrace shaded by a series of pergolas that control light and open dining space to the sounds and sights of the city. The interior of the upper floor houses an isolated children's play area.A service tower with mechanical equipment stacked on top of the staircase adds a vertical counterpoint to the horizontal building that is nearly square in plan.Read: Bonba Studio encases extension in Barcelona in white metal meshIn order to expedite construction, the 15-tonne structural frame was prefabricated while the foundation was poured, and was transported to the site and hoisted into place.Taking cues from the diagonal bracing in the trusses, the team replicated triangular patterns throughout the design including 45-degree patterns in the formwork of the precast white walls, perforated and sinusoidal white sheet metal, wood details, and welded tube ironwork.Mechanical systems and the metal ceiling were left exposed"Depending on the time of day, some diagonal patterns are illuminated, and others are not due to the concavities and convexities, generating permanent mutations in the facades," the team said.Other notable ice cream parlour designs include a compact Czech shop in Brno by Holky Rdy Architeckturu, a blue-tiled "theatre of gelato" in Melbourne by Ewert Leaf, and a black and white "Instagrammable" interior for a Milk Train shop in London by FormRoom.The photography is by Javier Agustin Rojas.Project credits:Architect: DRM ArquitecturaTeam: Dimaio Luciano, Rocca Nicols, Muerza Esteban, Ramiro Barraza, Augusto Latzke Blake, Lautaro Egui, Giuliana Scatuerchio, Sofa Prytoluk, Ignacio Llaneza, Fabin Bruno, Ezequiel Basso, Florencia Chumbes, Luca BinettiEngineering: Andres MoscatelliConstruction: Hernan Sotelo, Eduardo Tabaracci, Mauricio ChiarelloThe post DRM Arquitectura uses prefabricated structure for Buenos Aires ice cream shop appeared first on Dezeen.

Fabric canopies stretched over textured walls are intended to evoke the tents of the nomadic Bedouin people at this trio of viewpoints, designed by UK practice Clover Studio at the UNESCO World Heritage Site of Hegra in Saudi Arabia.The viewpoints frame key points along a driven nature tour through the archaeological site in the desert region of AlUla, which is best known for its rock-carved tombs dating from the ancient Nabatean period.Clover Studio has designed a series of tents in the AlUla desertThe Royal Commission of AlUla and tourism consultant Extreme Destinations tasked Bath-based Clover Studio with the creation of three viewpoints as part of a long-term redevelopment of the area to create an open-air museum.With the site's heritage status necessitating that the structures be removable in the future without ground disturbance, Clover Studio looked to the tents of the nomadic Bedouin people who historically occupied the area for its design.Fabric canopies shelter the spaces"A major challenge was ensuring the structures could withstand strong desert winds without invasive foundations, while also remaining light and modular enough for transport by pickup truck and foot," Clover Studio founder Harry Clover told Dezeen."Inspired by the traditional Bedouin tents of the Nabatean people, whose ancient art can still be found on nearby rocks, we used stretched fabric over curved walls to harmonise with the landscape, withstand strong winds, and offer shaded viewpoints for visitors," he added.The structures frame key views in the landscapeRendered timber walls supported by ballasts of local rock form the structure for each of the viewpoints, while curved walls wrap areas of crescent-shaped bench seating that are oriented towards specific views.Providing a roof over these walls are expanses of stretched canvas. While covering the internal areas, the canvas also slopes downwards to meet the ground and create sheltered, tent-like spaces at the edge of the viewpoints.Read: BIG and Nokken marry "functionality and elegance" for mobile glulam tent"Natural canvas and wall treatments were chosen to echo the deserts bleached, bone-like palette," Clover explained."Local rocks used in the walls minimised the need for foundations, while protective wood coatings in natural stone tints shield the wood from winter storms," he added.The design was informed by the tents of the nomadic Bedouin peopleWhile the smallest viewpoint consists of a single curved wall, the largest comprises a cylindrical tower with a spiral staircase that leads up to a 360-degree lookout."Visitors transition from a shaded, narrow entrance and darker interior space, designed for briefings, to an expansive, open viewing platform," said Clover. "This spatial compression and expansion enhance the impact of the landscape, creating a memorable visitor moment."One viewpoint has a spiral staircase to a lookoutAccompanying the viewpoints are a series of exhibition boards that highlight specific features, printed on bare aluminium to echo the "raw aesthetic" of the main structures, Clover Studio said.Elsewhere in the area, Bedouin tents also served as a reference point for the Banyan Tree AlUla Resort, which French Studio AW2 topped with stretched roofs of sand-coloured canvas, and Jean Nouvel is currently developing a subterranean hotel that will be carved into a sandstone hill.The photography is courtesy of Clover Studio.The post Bedouin tents inform AlUla desert lookout points by Clover Studio appeared first on Dezeen.

Dezeen School Shows: a project exploring the potential of algae for the future of food is included in this school show by students at Moholy-Nagy University of Art and Design Budapest (MOME).Also included are bowls that explore the relationship between metal and glass and jewellery which represents affectionate relationships.Moholy-Nagy University of Art and Design Budapest (MOME)Institution: Moholy-Nagy University of Art and Design Budapest (MOME)Course: Designer-Maker MATutor: Flora Vagi Head of MA programme, assistant lecturer, Antal Zilahi programme managerSchool statement:"The mission of the Moholy-Nagy University of Art and Design (MOME) is to provide answers to the pressing challenges of the 21st century with design-based learning, research and applied mastery. We see our mission as serving our communities, spreading design consciousness and contributing to the sophistication of the local and regional economic and cultural ecosystems."The Designer-Maker MA at MOME blends design and craftsmanship to prepare you for the rapidly evolving creative industries. The programme focuses on materiality, sustainability and experimentation, offering a hands-on, research-led approach to learning."You will work on real-world design challenges, honing both practical and conceptual skills through studio-based projects, workshops and international collaborations. By the end of the program, you will have the skills and confidence to excel in areas such as bespoke design, experimental material development and design innovation. Students of the programme can get a taste of crafts such as jewellery design, ceramic design, as well as glass work."MOME has introduced a unique, future-focused approach to addressing the challenges of our environment, society, time, and well-being in a rapidly changing world. Rooted in sustainability and innovation, its MA programmes equip students with the tools and knowledge to design meaningful, future-ready solutions through thematic challenges, hands-on projects and interdisciplinary collaboration."These programmes encourage students to explore creative ways to build resilient and inclusive ideas, spaces and objects while redefining the role of design in global transformation. International scholarship opportunities are available to support talented individuals worldwide, inviting them to join Hungary's leading art and design university."The Gerbeaud Legacy Project MOME x ONYXbyDra Szilgyi"The project is a collaboration between the MOME and the Michelin Green Star awarded ONYX Mhely in Budapest. The goal of ONYX Mhely is to present a progressive Hungarian cuisine offering a fusion of art, science and gastronomy."Fostering talent is a key area of its operations, providing space to culinary, food science and fine and applied arts projects by young talents."The collection involves many student works, one of them is Dra Szilgyi's creation, called Cream puff."In designing the dessert plate, the designer sought to emphasise the cylindrical shape of the cake further. The small plate functions as a supporting element, complemented by a base inspired by the Paris-Brest pastry, featuring a central hole."The porcelain serving dishes draw inspiration from Gerbeaud's signature cream puff, where the texture and colour of the Tokaji Furmint grape jelly and spiced pear harmonise with the greenish hue of the ash glaze on the ceramic dessert plate."Student: Dra SzilgyiCourse: Designer-Maker MATutors: Angla Gg and Edit KondorUtopiabyMelinda Doktor"In exploring the future of food, the designer focuses on algae as a superfood and investigates the potential of small-scale cultivation."Their vision includes creating an algae biofarm designed for human-scale functionality, seamlessly integrating into both contemporary urban environments and speculative future scenarios."They are developing a compact cultivation unit equipped with a toolkit to support the entire life cycle of algae cultivation and consumption."Through research and design, they examine processing methods, compatible materials and the overall usability of algae for food purposes, showcasing its versatility through innovative recipes."Student: Melinda DoktorCourse: Designer-Maker MATutors: Edit Kondor, Jnos Polyk and Zsfia NmethCan you eat all?byDorottya Vrtessy"In their diploma project, the designer created an absurd group of objects to explore the relationship between individuals with eating disorders, particularly anorexia nervosa and their behaviors around food and eating."Through the design of tableware that redefines function, their aim was to understand and present the mental processes and thoughts associated with eating through objects to raise awareness, point out the significance of the problem and encourage people to approach people with these disorders with empathy."Student: Dorottya VrtessyCourse: Designer-Maker MATutors: Edit Kondor, Szilvia Haber, Tams Berky and Bernadett Palk-ArndtThe psychology of getting closebyCsenge Diriczi"In their dissertation research, the designer focuses on the development of relationships, particularly the journey between two individuals from initial distance to complete closeness and the psychological factors influencing partner selection habits."Their work explores themes such as the human need for space, the progression from perception to intimacy, the stages and classifications of love and the way long-distance relationships redefine togetherness in the digital age."Additionally, they examine the role of narrative design, emerging with the evolving concept of art, to understand the meaning of jewellery and its unique ability to express love."Student: Csenge DiricziCourse: Designer-Maker MATutors: Fanni Cserntony, Anik Ills and Dra Rea KvrConnectionsbySarolt Sgor"Building on their thesis, the designer's final project delves into manual and tacit experience."By pairing materials, they consciously navigate the production process, observing the interplay between implicit knowledge and explicit attention."Vessels and bowls were chosen as the forms of expression, reflecting a deep connection to the human hand through function, appearance and etymology."Employing metal raising and hand forming techniques, they emphasise the physical and emotional demands of these processes, which serve as tools for meditation and therapy."Drawing inspiration from the semantics of words like bowl, vessel, palm, hand, retaining, grasping, generosity and offering, the project resulted in two series of unique, one-of-a-kind collector's items: one exploring the relationship between metal and glass and the other investigating the interplay between the hand, a shell and a stand-alone object."Student: Sarolt SgorCourse: Designer-Maker MATutors: Flra Vgi, David Huycke and Blint VeressHairmemorybyJudit Jeney"The designer's masterwork reimagines the tradition of preserving hair, a practice with deep cultural significance and a long history."While photographs have largely replaced tangible keepsakes, many still choose to save a lock of hair as a meaningful memento."Through their work, the designer aims to honour this tradition, creating objects that preserve the emotional significance of hair and express human connections and attachments."These unique, personalised pieces serve as tangible carriers of cherished memories, offering a contemporary approach to an age-old practice."Student: Judit JeneyCourse: Designer-Maker MATutors: Flra Vgi, Nra Tengely and Dra Rea KvrThe ecology of Lake Balaton SensitisationbyHajnal Csillag Gyeviki"The designer's masterwork is design tableware that represents a critical approach and presents the current ecological processes in the system of Lake Balaton to make them visible and accessible using data physicalisation methodology."The set of objects also draws our attention to the fragility of our wider environment, the biosphere and the importance of transcending our human-centred worldview."Student: Hajnal Csillag GyevikiCourse: Designer-Maker MATutors: Andrs Mohcsi, Mihly Mink, Nelli Szab, Gbor bli and Emke BodonyiMirror ErrorbyAntal Zilahi"The designer's masterwork aimed to create a series of brooches that captivate the viewer's attention and encourage a concentrated focus."These objects provide an opportunity for the viewer to explore a single part of their body or environment, fostering a slower, more intimate connection between the object, the individual and their perception."Throughout the design process, the designer emphasised challenging notions of perfectionism by presenting unusual reflected imagery, inviting viewers to engage in an internal dialogue about imperfection and the depth of personal observation."The reflective surfaces in the jewellery were crafted using alternative glass mirror-making techniques, where intentional flaws in the reflective coating played a central role."Student: Antal ZilahiCourse: Designer-Maker MATutors: Flra Vgi, Zoltn Tth, Barnabs Wlfinger, Sra Trk, Anna Sid and Anna BrcskPartnership contentThis school show is a partnership between Dezeen and the Moholy-Nagy University of Art and Design Budapest (MOME). Find out more about Dezeen partnership content here.The post Eight design projects by students at Moholy-Nagy University of Art and Design Budapest appeared first on Dezeen.

The Frank Lloyd Wright Conservancy has filed a counterclaim and defence of its easement on the Price Tower by Frank Lloyd Wright in Oklahoma following the current owner's lawsuit against the organisation.The back and forth began after preservation organisation The Frank Lloyd Wright Conservancy informed the owners of Wright's skyscraper the Price Tower that itsalleged "unapproved" sale of historical items such as custom furniture violated an easement that protected the integrity of the building's design.Local investment companies Green Copper Holdings, Copper Tree Inc, and owner Cynthia Blanchard subsequently closed the hotel inside of the building temporarily after the backlash, claiming the sale of the items was to cover operation costs.Blanchard's consortium then filed a lawsuit claiming the 2011 easement is now null and void. It also seeks restitution for damages and would prevent the Frank Lloyd Wright Conservancy from publically advocating for the easement.The Frank Lloyd Wright Conservancy is defending the easement of Price Tower following "unapproved" sales of its items. Top photo by Lane PearmanThe Conservancy recently filed its response and counterclaims towards the lawsuit, emphasising the legal validity of the easement and preservation efforts as a whole."Easements are a critical tool for the preservation of American cultural heritage," said Conservancy president Safina Uberoi."We are defending our easement on PriceTower to preserve the integrity of Wright's design, so it can continue to serve as a source of inspiration for future generations."Read: Hotel in Frank Lloyd Wright skyscraper to close following "unapproved" sale of itemsAs part of its legal response, the Conservancy states the easement, which protects the design integrity of the property, was breached."The Conservancy's response also asserts counterclaims against Green Copper Holdings, LLC, Copper Tree, Inc., and Cynthia Blanchard for breaching the easement, indemnity under the easement, unjust enrichment, and requests declaratory and injunctive relief to ensure the easement is upheld and Ms. Blanchard is prohibited from selling off any further items from the Price Tower," said the team.Earlier this year, a local Bartlesville Examiner-Enterprise reporter spotted Blanchard loading historical items onto a truck to be sold from the tower, which included a directory board, chair and other custom pieces designed by Wright, as well as a gate from the local Shin'enKan property by architect Bruce Goff.The response includes a counterclaim against the lawsuit issued by the tower's ownersCompleted in 1956 and located in Bartlesville, Oklahoma, the 19-storey Price Tower is considered to be Frank Lloyd Wright's only skyscraper and one of two high-rise buildings by the architect.Recently, a theatre designed by the architect was restored on the Talisen property and manufacturer Lindal Cedar Homes released purchasable house designs informed by Wright's Usonian philosophy.The photography is byWarren LeMay via Flickr unless otherwise stated.The post Legal battle to "defend integrity" of Frank Lloyd Wright's only skyscraper appeared first on Dezeen.

SKIMS, the apparel brand founded by Kim Kardashian, has opened its first flagship store on New York's Fifth Avenue featuring interiors by Rafael de Crdenas.The SKIMS NYC Flagship has taken over a historic building with an ornately detailed stone facade, situated a block north of St Patrick's Cathedral and opposite Rockefeller Center.A giant mannequin presides over the SKIMS flagship on Fifth AvenueInside, De Crdenas has applied the brand's signature nude palette to softly curved surfaces, rounded arches and flooring throughout."The sumptuously soft but exactingly clean interior of the flagship sets off the landmark building's intricately historical facade," said the New York-based designer.Mirrors create infinite reflections of archways covered in nude-toned ultrasuede"The collaboration has produced an immersive and innovative brand experience for existing SKIMS customers, and new ones, to discover," he added.In the soaring ground-floor space, a giant mannequin presides over the displays of SKIMS' ultra-stretchy underwear, loungewear and shapewear collections.Tonal shapewear and underwear are displayed on matching mannequinsThe products are laid out on Corian display podiums and smaller mannequins are set into niches that match their tonal colourways, which are designed for a wide range of skin tones.Walls are covered in soft ultrasuede, with mirrored panels in-between that create infinite reflections where they face one another.One floor of the flagship is dedicated to menswear, which SKIMS launched last yearFitting rooms feature wraparound mirrors and light-box ceilings installed to "bathe customers in a soft, flattering light".One floor is dedicated to menswear, which SKIMS launched in 2023.Read: Rafael de Cardenas plays with pink at Glossier HQ in New York"This flagship is a dream realised for SKIMS," said Kardashian. "We've created a space that perfectly embodies our brand and elevates the customer experience.""New York City has always held a special place in my heart, and opening our first flagship here during the holidays is truly magical," she added.Rounded surfaces are found throughout the interior, including the sales counterKardashian founded SKIMS in 2019, and the brand has created pop-up retail spaces in cities including Paris and London since its inception.In 2022, SKIMS released an underwear line for people with disabilities, which combines easy-access closures with a range of sizes and colours to suit different skin tones and body types.The new flagship occupies a historic building with ornate exterior detailingDe Crdenas, whose firm was shortlisted for interior design studio of the year at the 2022 Dezeen Awards, has created spaces for a variety of household-name brands during his career.These include the New York headquarters for cosmetics company Glossier and a bar inside department store Nordstrom.The photography is by William Abranowicz.The post Nude palette envelops SKIMS NYC Flagship by Rafael de Crdenas appeared first on Dezeen.

The latest edition of our weekly Dezeen Agenda newsletter features plans for a medical district in Sharjah. Subscribe to Dezeen Agenda now.Renzo Piano Building Workshop announced its plans for the Jawaher Boston Medical District in Sharjah, featuring healthcare facilities within a park, which will feature a 1,000-by-500-meter park with a central canopy shading its medical buildings.Aviation authority concerns delay US tallest skyscraper plansThis week's newsletter also featured news that plans for the Legends Tower supertall skyscraper in Oklahoma City were postponed due to aviation concerns, designs ofFrida Escobedo's limestone-clad wing for The Met and an interview with NASA's Nujoud Merancy.Dezeen AgendaDezeen Agenda is a curated newsletter sent every Thursday containing the most important news highlights from Dezeen. Read the latest edition of Dezeen Agenda or subscribe here.You can also subscribe to our other newsletters; Dezeen Debate is sent every Thursday and features the hottest reader comments and most-debated stories, Dezeen Dailyis our daily bulletin that contains every story published in the preceding 24 hours andDezeen In Depthis sent on the last Friday of every month anddelves deeper into the major stories shaping architecture and design.The post Dezeen Agenda features Renzo Piano's plans for the "hospital of the future" in Sharjah appeared first on Dezeen.

Architecture studio ODP Architects has broken ground on the 56-storey Villa Miami skyscraper in Miami, which will be wrapped in an "exoskeleton reminiscent of a faceted diamond" and topped with a helicopter landing pad.Villa Miami has an approved height of 650 feet (198 metres) and is being constructed in Miami's East Edgewater neighbourhood.It will contain 70 residences as well as amenities such as a pool deck, spa, member's and yacht club, dock, a ground-floor restaurant and a rooftop helipad.ODP Architects has broken ground on a copper-clad skyscraper in Miami"With waterfront homes in the sky, adorned in bronze, and anchored by a helicopter pad above and a dock below, this exceptional residential complex stands as a beacon of opulence and exclusivity," said ODP Architects.Renders of the skyscraper show a tower with a tapered base wrapped in a glass, concrete, and copper metal facade. The copper soffits run along the perimeter of the tower and extend slightly over its top while forming expansive triangles at the base.Glass terraces and cladding fill in the remaining facade, with bevelled corners extending through the copper border.It features a glass tower with bevelled cornersAccording to ODP Architects, the tower's copper "exoskeleton" and faceted glass facade were informed by "the interplay of light on water" in the neighbouring Biscayne Bay."The architectural design of Villa Miami draws inspiration from the mesmerizing interplay of light on water and the serene tranquillity found in the adjacent bay," said the studio.Read: Eight upcoming skyscrapers set to change the Miami skyline"The project showcases a striking geometric facade. To enhance this design, an exoskeleton reminiscent of a faceted diamond or precious jewellery piece is introduced. This exoskeleton serves as a set of prongs that elegantly encase and support the glass form."At the tower's base, geometric glass panels indicate more "active" spaces such as the restaurants and member's club, which span levels two through five.A dock and rooftop helipad are key featuresInterior renders show a palette of wood, "exquisite stones", metal and largely white walls throughout the residences."These elements combine to create an atmosphere of refined elegance and unparalleled sophistication," said the team.A palette of wood, stone and custom millwork will be used throughout the interiorAccording to developers Terra, One Thousand Group and restaurantuer Major Food Group, Villa Miami will offer an "unrivalled" experience in "service, cuisine and design"."Our thesis for Villa Miami merges world-class design, culinary excellence and the finest living standards," said Terra CEO David Martin. "This project elevates the luxury condo market while embracing a low-density approach that enhances exclusivity."The tower is slated for 2027 completion.Recently, Terra worked with Arquitectonica to complete the "tallest skyscraper in Miami Beach" and Dezeen rounded up several other skyscrapers set to be completed in the city.The images are by Binyan StudioThe post Miami skyscraper by ODP Architects to be "beacon of opulence and exclusivity" appeared first on Dezeen.

French designer Philippe Starck has used Brazilian materials for the interiors of the penthouse at the Rosewood So Paulo, inside a tower by architect Jean Nouvel.The multi-level suite occupies the top floors of Nouvel's Mata Atlantica "vertical garden tower" and is one of several serviced Rosewood Residences within the building.The penthouse has a huge double-height living area with floor-to-ceiling glazingMeasuring 12,000 square feet and comfortably sleeping eight, the penthouse sits at one of the highest points in So Paulo and is afforded uninterrupted, panoramic views across the city.Starck's team was responsible for the interiors and terraces throughout the Rosewood So Paulo hotel and residences, and took the same approach to using local materials throughout the project.Materials like warm-toned ipe wood create a modern take on Brazilian modernismInside the penthouse, marbles sourced from Paran and warm-toned ipe wood create a dramatic and contemporary take on Brazilian modernism."While the layout allows for separation from the hustle and bustle below, all design touches still work to make guests feel connected to the spirit of the city," said the Rosewood team.The kitchen features sculptural stone islands with curved cornersThe penthouse is filled with furniture and artworks by Brazilian artists and designers, including Tarsila do Amaral, Jean-Baptiste Debret, Jerome Sainte Rose, Julio Bittencourt, Trcio Teixeira, Lcio Consul, Renato Marcelo Rei and Oscar Niemeyer."The artists' works tell different stories of life in Brazil across various mediums including sculpture, paintings, tile work, drawings, textiles, and rugs, providing a visual and meaningful touchpoint back to the destination's rich culture," the team said.The swooping staircase with floating marble treads is based on an Oscar Niemeyer designThe huge double-height living area is surrounded by floor-to-ceiling glass, making the most of the skyline vista, while a high-gloss ceiling reflects the windows to allow the space to feel even taller.An ensuite bedroom, a kitchen with sculptural stone islands, a patterned wallpaper-lined powder room and back-of-house quarters are also located on the lower level.The majority of the furniture and artworks in the penthouse are by Brazilian artists and designersAt the end of the living room is a focal staircase with floating marble treads based on a Niemeyer design in Brasilia, which swoops up to a mezzanine walkway.This provides access to a study and TV room, the primary bedroom suite and additional sleeping quarters.Windows look onto the terraces planted with tropical floraThe primary suite encompasses a marble-clad bathroom with a matching freestanding egg-shaped tub, which has a view of the cityscape through a glass panel onto the mezzanine.A long corridor with closet storage on both sides leads through to the bedroom, which can be wrapped in electronically controlled blackout curtains at the push of a button.The penthouse comfortably sleeps eight guestsMost of the windows are surrounded on the exterior by tropical foliage that grows on the tower's expansive terraces, some of which are accessible."The lush landscaping is filled with a captivating array of vibrant plants native to the surrounding rainforest, an extension of the awe-inspiring biophilic design of the hotel's entire Mata Atlantica tower," said the team.In the primary bathroom, an egg-shaped marble tub is afforded a skyline viewOn the roof, accessed via a black spiral staircase, is a jungle-like garden of tropical plants through which flagstone pathways lead to hidden seating areas and a hot tub.The end of the path emerges at an infinity pool overlooking Avenida Paulista, lined with dramatic blue, green and orange stone and flanked by plants on either side.Read: Jean Nouvel designs "vertical garden tower" for Rosewood hotelA pitched weathering-steel frame rises over the water, mimicking the rooflines of the historic buildings that comprise the Cidade Matarazzo a former hospital turned mixed-use complex below.The penthouse and the other residences within the tower have access to all of the hotel's restaurants and pool areas, as well as amenities including the spa and fitness centre.As one of the highest points in So Paulo, the roof terrace enjoys panoramic views across the cityPrivately owned, the residences are available for guests to book depending on availability.The Rosewood group is rapidly expanding its global portfolio of permanent residences, with recent announcements including Los Cabos and Beverly Hills.Pathways lead through the jungle-like foliage to seating areas and the swimming pool"People are no longer just looking for a home, but a fully serviced lifestyle," Brad Berry, Rosewood's vice president of global residential development, told Dezeen."Owners gain access to a carefully curated lifestyle where every detail has been designed to meet the highest standard of comfort and sophistication."Covered by a weathering-steel frame, the infinity pool overlooks Avenida Paulista and the city beyondStarck is one of the world's best-known contemporary designers and is behind many iconic hospitality projects.His other recent work in South America includes a skyscraper in Ecuador that was unveiled last year.The photography is courtesy of Rosewood.The post Philippe Starck reinterprets Brazilian modernism in So Paulo penthouse appeared first on Dezeen.

Investment firm Yntegra Group has unveiled a floating padel court in Miami Harbor that was partially constructed using recycled steel from shipyards. Afloat offshore of Miami's Fisher Island, the padel ball court is partially made of recycled steel and operates engine and battery-free as part of Yntegra Group's "commitment to innovation".Yntegra Group has unveiled a floating padel court in the Miami Harbor"As demand for ultra-luxury experiences soars, this sustainable, design-forward installation exemplifies Yntegra's commitment to innovation," said the team."The first-of-its-kind court features recycled steel from old shipyard materials, giving new life to maritime components. Its tranquil setting offers a serene escape for both physical activity and mental rejuvenation."The court is made with recycled steelThe padel court is comprised of a court, protective fencing, light posts and a thin strip that serves as a platform for observers. It measures 16 by 38 by 71 feet (5 x 11 x 21) and weighs 84 tonnes.As it is free of an engine or battery, it is moved into location by boat, and then anchored.Read: ACT! Studio and Borhaven Arkitekter add "joyous" floating sauna to Oslo harbour"Engine- and battery-free, the court reflects Yntegra's commitment to sustainability," said the team.The court will float in the Miami Harbor until next year, then it will be transported to the Rosewood Exuma hotel in the Bahamas, which is set to open in 2028.It will float in Miami Harbor until next yearFloating amenities have become more popular in recent years. In Manhattan, a team of designers and planners are testing on a floating swimming pool that will also filter water in the East River.Padel comes from Mexico and resembles tennis and pickleball, but has its own rules, techniques and international associations. Recently, Italian architect Fabio Novembre designed for playing the sport at Milan's CityLife development.The floating court debuted following Miami art week, a citywide event in early December that included Alcova Miami's second showing and a 3D-printed star installation by Carlos Betancourt and Alberto Latorre.The photography is courtesy Yntegra GroupThe post Yntegra Group creates "first-of-its-kind" floating padel court in Miami Harbor appeared first on Dezeen.

Local art collective Xpan has created a multi-purpose creative studio called Xpan.Ep.1 in Mexico City using raw steel, aluminium, and transparent polycarbonate panels for its interior.Located in the Roma Norte neighbourhood of Mexico City, Xpan Espacio Pblico Uno (Xpan.Ep.1) is a studio and event space founded by the Xpan collective and led by Hadid that showcases rotating installations of clothing, objects, books, design, and other creative projects by designers and artists within the local community.Moiss Sacal Hadid and the Xpan collective have created a multi-purpose creative space in Mexico CityXpan created a sense of "monotony and monochromaticity" within the narrow footprint of Xpan.Ep.1 by using a pared-down material palette of transparent polycarbonate panels, aluminium, and steel.The polycarbonate panels were used to line the walls and ceilings of the space, while skeletal central couches, shelving and fixtures are made of metal.It is lined with polycarbonate panels"The design of Xpan.Ep.1 manifests as a translucent polycarbonate tunnel, defined by its monotony and monochromaticity, producing the illusion of an infinite void," Xpan founder Moiss Sacal Hadid told Dezeen."The spatial configuration was determined by the imperative of creating a modular and versatile structure, capable of hosting an extensive spectrum of artistic works emerging from the interconnected network of creators within Xpan."A row of speakers runs down the centre of the ceilingThe space is further defined by a row of speakers affixed to the ceiling that runs down its centre and concludes in a cascade of wires connected to a metallic deck below.Two larger speakers sit on either side, while small shelves hold flowers or objects above it.Read: Aprdelesp forefronts "overlooked" electrical accessories in Mexico City exhibitionAs the space is designed to be multipurpose, adjustments can made to accommodate different installations. For instance, straight, metal hooks can be inserted into the walls to display clothing, while shelving can be removed.The space's central couches, one of which is shown draped in a gauzy fabric, can also be removed to open up the space for a music performance or event.A shelving system can be adjusted depending on the installation or eventLighting also runs the length of the walls and ceiling, tucked between the polycarbonate cladding and structural walls.Xpan.Ep.1was born out of a need for a more permanent space to host events within Hadid's local community.Lighting sits in between the structure and cladding"Xpan.Ep.1 is our first permanent multipurpose project space open everyday to our community and the general public," said Hadid."We've been collaborating with around 170 artist in around 40 activations in the last 3 years and an open space like this was a necessary next step both for us and our increasing creative community."Elsewhere in Mexico City, local studio Aprdelesp displayed a collection of colourful wall outlets as part of an exploration of the often overlooked design element and Mexican designers considered "the house of the future" as part of the city's design week.The photography is by Jose Dario FernandezThe post Xpan produces "illusion of infinite void" in Mexico City studio appeared first on Dezeen.

The Metropolitan Museum of Art and Mexican architect Frida Escobedo have released designs of a limestone-clad expansion to the Tang Wing, the first wing designed by a woman in the museum's 154-year history.The design comprises the renovation and expansion of the pre-existing modern and contemporary wing of The Metropolitan Museum of Art (The Met), which is notched into the southwest corner of the 21-building complex.Frida Escobedo has released designs of the expanded Tang Wing at the MetFunded largely by Oscar L Tang and HM Agnes Hsu-Tang, the expansion will increase the wing's gallery space by 50 per cent and is the first to be designed by a woman in the museum's history."Our goal has been to create a building that fully meets the needs and aspirations of The Met, weaving together vital connections between the Modern and Contemporary Art galleries and other areas of the Museum and at the same time expressing the special significance of the Tang Wing's place in the city," said EscobedoThe project encompasses renovating and expanding an existing wing located in the museum's southwest corner"The wing is in New York, yet of the world; it reflects the global nature of this great collection and also draws inspiration from The Met's unique surroundings," Escobedo continued.Renderings show a building comprised of five, tiered floors wrapped in a limestone "architectural screen". Large, rectangular windows punctuate the exterior intermittently, placed strategically to reduce solar gain to protect artwork inside.Read: "I didn't know I was going to be an architect" says Frida EscobedoOutdoor terraces and garden are located on top of the fourth and fifth-floor setbacks and will be coupled with improvements to ground-floor landscaping of the surrounding Central Park.Inside, the studio will increase accessibility between spaces, which is currently hampered by its layout of elevators, stairs, restrooms and mechanical spaces.Varying ceiling heights will accommodate small and large-scale worksSeven different architectural studios have worked on the complex since the late 19th century, and Escobedo will respond to the historic context through material and massing.Its facade, or limestone "celosa", will pay homage to a "universal architectural language" while responding to sunlight and integrating with the surrounding architectural design by Richard Morris Hunt and McKim, Mead and White, according to The Met.The design's setbacks take cues from the Roche Dinkeloo 1971 master plan for The Met, which called for "solids and voids", according to the museum.Large, rectangular windows will afford views of Central Park"Comprising a three-story base with a recessed fourth floor and a further setback fifth floor, the scaled facade takes its cues from the Roche Dinkeloo visionary 1971 master plan, which calls for a rhythm of solids and voids, as exemplified through the use of glass and limestone in the seven buildings Kevin Roche designed," said The Met.The interior will feature ceiling heights ranging from 11 to 22 feet (3.3 to 6.7 metres) to accommodate large-scale pieces, as well an additional elevator, more entry points and "better" circulation routes to improve wayfinding for visitors.The building is set to open in 2030The release follows the announcement of Escobedo's selection for the project in 2022 after it had to drop a design by David Chipperfield Architects due to growing costs and lack of funding.The building is set to open in 2030.Recently, The Met showcased a Sleeping Beauties exhibition spanning four centuries of fashion and added an interactive children's space designed by KOKO ArchitectureThe images are by Filippo BologneseThe post Designs released of Frida Escobedo's limestone-clad wing for The Met appeared first on Dezeen.

In a letter addressed to the FAA, local airport director Jeff Mulder has expressed concern about the height and safety of the proposed Legends Tower supertall skyscraper in Oklahoma City.Designed by architecture studio AO and developed by Matteson Capital, Legends Tower would be the tallest building in the United States at 581 metres (1,907 feet) high if completed, and is part of a mixed-use development set to be built in downtown Oklahoma City.Mulder wrote in the letter that the height of the tower would "increase travel time" for passengers, cause "adverse changes" to departure schedules and "create the safety of flight issues" in the greater metropolitan area.Airport authority raises safety concerns around Legends TowerThis would be due in part to an increase in the minimum victory altitude (MVA) in the city meaning planes would take longer to descend and the tower's proposed location, which infringes upon the airspace of not only Will Rogers World Airport (OKC) but other airports in the city such as Tinker Air Force Base, Wiley Post Airport and Max Westheimer Airport.According to KOCO News 5 ABC, which published the letter, Mulder stated the letter is a routine process and it is "not in support or against the project", although the FAA has yet to respond, which has caused delays.Read: "Legends Tower is a very 20th-century way to say that you are squarely entering the 21st century"Developer and Matteson Capital founder Scot Matteson also told the outlet that he "expected some pushback"."We expected some pushback from them," Matteson said. "We're waiting for the full report from the FAA, which we are supposed to get by the end of this month,".It may be "a little shorter"He also told News on 6 that the tower will be a "little shorter" if needed, though the skyscraper currently has "unlimited" height approval from local government, approved earlier this year.While the developer seems hopeful, a number of other large-scale developments proposed in Oklahoma have recently faced delays, according to The Oklahoman, including an oil refinery, an amusement park, a solar panel factory and the Legends Tower development."Indeed, reporting by the Oklahoman shows the stalling and delays involve a mix of unrealistic expectations, politics, government red tape and shaky economic confidence due to unrest overseas," said reporter Steve Lackmeyer.Read: "We didn't want it to be crazy" says architect of America's tallest skyscraperAccording to the outlet, the first phase of the project is to begin in early 2025, although it will not include Legends Tower.Previously, AO partner Bruce Greenfield told Dezeen the height of Legends Tower "is not something that's necessary".The images are courtesy of AO.The post Aviation authority concerns delay US tallest skyscraper plans appeared first on Dezeen.

Agarden tops the rounded wedge-shape of the Tonal 15 apartment building in Mexico City, which was clad in orange-toned concrete by local studio CRB Arquitectos.The 13-storey complex is located in the Roma neighbourhood and stands out from its surroundings due to its colour while integrating well into the dense urban environment with other blocky midrise apartments.CRB Arquitectos has completed an apartment building in Mexico City"The project actively seeks the revitalization of the urban area, aiming to generate a positive impact both on the local economy and on the quality of life of the community's inhabitants," CRB Arquitectostold Dezeen."This approach not only emphasizes the aesthetic and functional importance of architectural design but also underscores its crucial role in creating environments that promote social connection, contributing to the sustainable development of urban areas and increasing the area's value."The apartment building is 13 stories highCompleted in 2023, the building sits on a 350-square metre (3,770-square foot) lot, shaped roughly like a triangle."The entire structure of the building is constructed using pigmented exposed concrete in an earthy tone, which gives it the ability to age, allowing the project to gain more character over time," the team said."This material is also used for its malleability to shape all the curves of the project, demonstrating its versatility and ability to adapt to the demands of architectural design."The building features earth-toned exposed concreteOn the ground floor, a small plaza holds the northern tip of the triangle and serves as the interface to the public. Two commercial spaces stretch across the width of the plan connecting with the avenues that surround the property while the residential lobby forms a corridor in the center of the plan with two half-rounded staircases and two elevators.The public spaces are clad in granite and recinto stone with wood panelling on the walls.Read: JSa and Mta+v create housing complex in Mexico City with three towersThe concrete structure is canted slightly inwards on the ground floor, pulling in from the sidewalk to allow for a planter to wrap the perimeter."The design takes advantage of the building's concrete structure to create a clean and simple grid on the facades facing the avenues, with floor-to-ceiling windows and tilting the columns on the ground floor towards the interior of the building, creating a gesture of openness towards the street," the team said.The ground floor is canted inward, allowing a planter to wrap the perimeterBelow ground level, a basement holds bicycle parking, encouraging residents to utilise public transportation and green mobility to reduce carbon emissions.The 11 residential levels range from 50 to 54 square metres (538 to 581 square feet) but hold four compact apartments that each prioritise simplicity and functionality particularly for short-term renters. The northern staircase reaches a rounded studio and a linear one-bedroom unit, while the southern staircase provides access to two blocky studios.Marble, wicker, wood and beige textures are used for the interiorsIn a collaboration with Estudio M:A, the apartment interiors feature New Navona marble, beige textures and tones appear in the furniture and lighting, while wicker basketry and domestic wood add a welcoming Mexican essence for visitors to the area.Tonal 15 is topped with a green-framed public area that is divided into a seated garden space and an open terrace that overlooks the city."The building has a rainwater harvesting system for an alternative hydraulic system, betting on sustainability in the project," the team said. "Likewise, as a passive strategy, a 'vertical oasis' was created thanks to the public plaza, planters on different floors, and the roof garden, contributing to the generation of clean air for the city."The building has a roof terrace that overlooks the cityTwo other Mexico City residential blocks were recently designed with orthogonal geometry softened by curves. HGR Arquitectos constructed a six-story, triangular apartment complex with a rounded atrium to protect against seismic activity, and Jsa and Mta+v teamed up to carve a triangular building into soft petal-like wings around a spiral staircase.The photography is by Csar Bejar.Project credits:Design Team: Sebastin Canales, Javier Rivero Borrell, Regina Kuri, Carmen Alfaro and Alejandra lvarez.Structure: Ubando Ingeniera and Amador TernConstruction: SecuenciaInteriors: Estudio M:AThe post CRB Arquitectos rounds triangular apartment building in Mexico City appeared first on Dezeen.

Designs from the early years of mobile phone technology will be brought to the fore in the Nokia Design Archive, an online portal being launched by Finland's Aalto University.The Nokia Design Archive will bring together more than 700 documents relating to well-recognised models and unseen prototypes from the Nokia brand, including ideation sketches, presentations, advertising and interviews with designers.Curated by a research team from Aalto University, the archive will draw from some 20,000 items that were licensed from Microsoft Mobile, the subsidiary established in 2014 after Microsoft's acquisition of Nokia.The Nokia Design Archive includes designs such as the 7600 "Mango phone". Photo by Aleski PoutanenSome of the designs covered in the portal include the 3310 "brick phone", which was ubiquitous in the early 2000s, and the 8110 "banana phone", named for its curved design.There is also the 7600 "mango phone", an oddity from 2003 that appeared to cross a phone handset with a gaming controller.Aalto University said the portal, which spans the mid-1990s to 2017, explores the role that Nokia's designers and decision-makers played in building the technology that is so deeply embedded in our lives today.Sketches and presentations are among the documents in the collectionNokia was previously Finland's largest company, and according to the researchers, the first seeds of social media, augmented reality, QR codes and wearable health technology can all be seen in its archive."Nokia was in a similar position in the '90s as Samsung or Apple are today," said post-doctoral researcher Kaisu Savola. "These large corporations shape our lives with their products.""Technology doesn't just shape us; we shape technology. When we started the project, the focus was on objects. As we began going through the material, we soon realised that it was about people."Read: Dezeen remembers the mobile phones that time forgotThe research team that curated the portal was made up of designers, design historians, and organisation and management scholars.Lead researcher Anna Valtonen described sorting through a "van full" of items that were unarchived and in disarray to create the portal."I was teetering between joy and despair because there was such an overwhelming amount of work," she said. "The material shows how important it is to have an organisational culture where it's okay to try things out and enjoy the process.""Especially in these times of change, it is important to understand how we can grasp the world around us and imagine what we could be."There are also renders for concepts such as these virtual reality glassesShe said that in Finland, they had a tradition of being open with big data sets but that the stories behind those figures were often missed."The focus is often on numerical, empirical stuff, but what about people?," said Valtonen. "What about how humans perceive things? How ideas are adopted into society? From a scientific perspective, this is the kind of qualitative empirical material we need more of."The Nokia Design Archive will be globally accessible from 15 January 2025 on the Aalto University website.The broader uncurated repository can be visited in person by appointment at the Aalto University Archives in Greater Helsinki.Several of Nokia's phones were featured in a Dezeen round-up of iconic mobile phones of the past, which included personal reflections from the team on the handsets they had once loved.The post Aalto University immortalises early mobile tech with Nokia Design Archive appeared first on Dezeen.

The emerging field of neuroarchitecture raises important new ethical questions for architects, write Cleo Valentine and Heather Mitcheltree.Several weeks ago we were contacted by someone who had recently moved into a multi-award-winning apartment. Ithas featured in a range of publications, and has been praised as leading the way in sustainable and ethical housing design. The person who contacted us was miserable.Neurodivergent, and particularly sensitive to environmental stimuli, he explained that despite prior assurances by the architect that the apartment would meet his particular sensory needs, it doesn't. He isn't sleeping, his anxiety levels have risen. And now, he is selling up and moving out.Elements like natural light, spatial layout and visual complexity don't just impact on aesthetic sensibilitiesHe isn't the only one. We have had a large number of people reach out to tell us their stories about how the spaces they inhabit are having a profound negative impact on their wellbeing.And while for those with heightened sensitivity to environmental stimuli these experiences are particularly pronounced, the design of the built environment impacts on everyone. Yes, many of our everyday spaces are doing us harm.Before you shout that we are being melodramatic, let's unpack this a bit. Architects have always designed spaces with people in mind balancing functionality, aesthetic design considerations, occupant needs and a range of other concerns.Read: "We can humanise our existing spaces simply by deploying the radical power of colour"The emergence of neuroarchitecture which studies how the built environment affects brain function deepens our understanding of how design influences occupant health and wellbeing. Evidence shows that elements like natural light, spatial layout and visual complexity don't just impact on aesthetic sensibilities, they affect how we function, think, and impact on our physical and psychological wellbeing.But how much of this research is getting through to the design community? In a design review we attended recently at an Australasian university, the lack of industry knowledge about the physiological impact of the built environment on occupants was emphasised with startling clarity.A very polished rendering of a small, ultra-minimalist room with neon lighting, exposed concrete and services, low ceilings, poor natural lighting, no outlook and a single plastic garden chair in the centre of the room was being praised for its design skill. This was supposedly the future of affordable housing insert horror face.Neuroarchitecture is more than a new design trendConcerns were raised about the potential impact of the design on occupant wellbeing. These comments were dismissed with the reply: "I don't think we can say that spaces can cause depression."For much of the audience in the room, this design ticked the right boxes. The aesthetic du jour was apparently heroin-chic architecture with a side order of Gulag revival.Design has a long way to go in terms of recognising and putting into practice the neurophysiological impacts of design decisions on health and wellbeing. As an industry, what we praise, publish and give awards to matters.Read: Thomas Heatherwick selects 10 "humanised" buildings for DezeenNeuroarchitecture is more than a new design trend or emerging research field. It is about understanding the broader public-health impact of the spaces that we create.The challenge is integrating the research insights into real-world practice. To fully leverage this knowledge, it needs to be embedded within the complexities of architectural education, projects and practices.This is not just an ideological soapbox, or do-gooder utopian vision. Designers have an ethical responsibility to create spaces that do not harm occupants.There is a resultant ethical duty to minimise the negative effects that result from the design of the built environmentProfessional codes emphasise architects' responsibility to "do no harm". And while these codes traditionally focus on structural integrity and safety, with the ever-increasing insights from neuroarchitecture, the concept of harm expands.Design choices such as daylight use, spatial proportions, materiality and visual patterns directly affect psychological comfort, stress levels and health. For example, natural light alters circadian rhythms, impacting on sleep and wellbeing, while poorly designed spaces may contribute to occupants' sensations of discomfort, or, in more extreme cases, induce migraines.While design for wellbeing isn't a new concept, traditionally the approach has predominantly been applied to healthcare settings. However, every built environment, from workplaces and schools to homes and public spaces, has a profound impact on the physical and mental health of its users.Read: "Space that is exclusionary does not live up to its full potential"Arguably, our ethical responsibilities grow with this knowledge. If design choices impact on stress, cognition or a range of other physiological functions, there is a resultant ethical duty to minimise the negative effects that result from the design of the built environment.This ethical responsibility is not limited to architects. It extends to everyone involved in the design and delivery of the built environment. Developers, city planners, policymakers, engineers and even the end-users all play crucial roles in shaping our surroundings.Collaborative efforts are essential to ensure that health and wellbeing are prioritised at every stage. Applying neuroarchitectural insights into practice isn't simple. Projects face budget constraints, complex and often conflicting client needs, regulatory compliance, deadlines, and the list goes on.Understanding of the public-health ramifications of architecture and urban design is urgently neededStructural industry changes require support. Regulatory frameworks and guidelines need to evolve to embrace these insights.This isn't about adding bureaucracy, but providing tools that help create spaces that support wellbeing. Embedding neuroarchitectural knowledge into standard practice makes human health considerations as fundamental to project outcomes as structural safety.In bringing about this shift, education plays a crucial role. Here we return to the design review, and the types of spaces and designs that we promote as an industry. If architecture students understand how design impacts emotions and occupant physiological responses, they will be better-positioned to understand the health ramifications of their design decision making.Read: NBBJ uses "softly curving" buildings for adolescent behavioural health campusExpanding industry understanding of, and education about, the public-health ramifications of architecture and urban design is urgently needed. Neuroarchitecture offers clinically evidenced pathways to achieving this understanding.However, moving forward requires collaboration among architects, researchers, policymakers and educators to close the gap between research and practice. It's about building systems that allow us to use this knowledge in every project.In doing so, we redefine what it means to be architects and designers of spaces that support better, healthier lives.Cleo Valentine and Heather Mitcheltree are researchers based at the University of Cambridge, specialising in the impact of the built environment on neurophysiology and wellbeing. In April, they published a paper on the ethical implications arising from the emerging field of neuroarchitecture in the journal Intelligent Buildings International.The photo is by Scarbor Siu via Unsplash.Dezeen In DepthIf you enjoy reading Dezeen's interviews, opinions and features,subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.The post "Many of our everyday spaces are doing us harm" appeared first on Dezeen.

A wave-like reservoir made of concrete and elevated on nine columns forms Vga Water Tower, which Swedish studio White Arkitekter has created in Varberg, Sweden. Situated on a hill in the village of Trslv, Vga Water Tower has been built to meet the increasing water demand of the municipality, which has experienced rapid population growth since the year 2000.White Arkitekter has created a sculptural water tower in SwedenWhite Arkitekter's primary goal for the tower was to create a functional yet sculptural landmark for the area, given the visibility of its elevated site from the E6 motorway and nearby houses.The studio said it hopes this will showcase "a new way to design water towers", which are typically cylindrical in shape, and demonstrate that infrastructure can also have aesthetic value.Vga Water Tower is designed as a landmark for the area"Vga holds a prominent place in the landscape, but the tower is also designed to be appreciated up close," said studio architect Agnes Orstadius."Our ambition was to create a structure that will stand for centuries and always remain beautiful."The visibility of its elevated site led the studio to develop a sculptural formWhite Arkitekter first revealed its design for Vga Water Tower in 2018 after winning an invited competition held by the municipal water company Vivab.The competition called for a landmark structure that could be built entirely of concrete and hold 10,000 cubic metres of water five times the capacity of the original tower.The tower is constructed from concreteWhite Arkitekter's design was selected for its long undulating form, which measures 187 metres in length and nine in width, and pays homage to the coastal setting of Varberg.The studio appropriately named it Vga after the Swedish word for wave, which can also mean dare.Its wave-like form nods to the coastal setting of Varberg"The sleek, elongated form represents innovative thinking about what a water tower can be while maintaining functionality and ease of maintenance," said Vivab representative Margareta Bjrksund-Tuominen.Vga Water Tower's undulating, concrete reservoir is supported by nine slender columns, with the central one slightly widened to house an elevator and staircase.The reservoir is split into eight segmentsThe reservoir itself is divided into eight segments each with a concave facade, designed to create decorative play of light and shadow over the day."All these elements the slender shape, wave motif, concave facade and interplay of shadows make the tower appear entirely different depending on the time of day and viewing angle," said lead architect Per Hultcrantz. "This dynamic ensures the tower never ceases to surprise."Read: V+'s Chateau d'Eau water tower rests on crossed concrete strutsThe concrete structure was cast against form-plywood sheets to achieve a smooth finish, with all the joints deliberately and carefully aligned "for a harmonious overall impression".This clean-cut aesthetic is furthered by plugs in the holes left from the formwork ties, which the studio said helps with "eliminating unwanted shadow effects".Each segment has a concave profileVga Water Tower sits beside an existing land plateau, which has been retained to create an accessible viewpoint of the structure, where visitors can also enjoy distant views out to sea.Completing the project is a landscape of wildflowers, sown beneath the tower with Varberg's municipal ecologist, while the service road takes the form of a deliberately simple gravel path.The studio said it is designed to "stand for centuries"White Arkitekter was founded in 1951 in Gothenburg by Sidney White. Today it is headed up by Alexandra Hagen, who has overseen recent projects by the studio including a hyperboloid observation tower in Sweden and the regeneration of a London housing estate.Other water towers featured on Dezeen include a mesh-covered structure supported on angular legs by V+ and Mathias Klotz's funnel-shaped reservoir in Chile.The photography is by Anna Kristinsdttir and the drone photography is by Joacim Winqvist.The post White Arkitekter completes sculptural water tower "that will stand for centuries" appeared first on Dezeen.

A circular courtyard for gazing up at the stars sits at the centre of this stone-clad holiday home in Mexico, which has been designed by Guatemalan practice YDR Studio.Named Casa Suna, the 700-square-metre home sits between the sea and mountains in La Ribera, and has been finished in a palette of pale stone and timber in order to visually complement the surrounding, sandy landscape.YDR Studio has completed a stone-clad holiday home in Mexico"The core concept for the design was to create a seamless integration with its diverse landscape, which includes beach dunes, desert vegetation, and mountains," YDR Studio founder Yolanda De Rueda told Dezeen."The design emphasised a seamless flow between indoor and outdoor spaces, using materials that complemented the local environment," she added.Stone and timber were used to complement the sandy landscapeSet back from the road, the home is accessed via a pale concrete path that leads between a service house and garage and across a large, "desert-inspired" courtyard planted with cacti.The axis of this path leads directly into the heart of the home, where the circular courtyard features a stepped seating area around a central fire pit and connects to a living, dining and kitchen area through a large set of folding wooden doors.Facing the beach, a wall of full-height windows provides this living area and the main bedroom with panoramic views, as well as access onto a concrete terrace finished with seating and hammocks and a stepping-stone like patio and swimming pool.The home's central courtyard features a fire pit and circular sofa"A distinctive circular patio serves as the home's centrepiece, featuring a fire pit and circular sofa for relaxation, meditation, and social gatherings. Its open design frames the night sky, creating an ideal setting for stargazing," Rueda told Dezeen."The front of the property extends to the beach with a spacious terrace where sculptural concrete cubes form the pool, jacuzzi, and steps that lead directly to the sand, ensuring a seamless transition between indoor and outdoor living.""These sculptural blocks, reminiscent of playful beach memories, unite the house with the sea in a fun and functional manner," she added.Read: Studio Vio surrounds concrete holiday home in Vietnam with lush gardensThe bedrooms wrap two sides of the central courtyard, positioned to offer views both towards the beach and across the courtyard at the front of the home.The gently sloping roof of Casa Suna is punctured by several small, round skylights that pull light into the bathrooms and bedrooms, while a roof terrace above the living area provides panoramic views out towards the mountains.The living spaces are backed by panoramic views towards the beachThe neutral tones of the home's local stone and concrete exterior are carried through to the interiors, with pale painted walls, stone finishes in the bathrooms and dark wood accents."Local stone and beige concrete reflect the natural hues of the sand, while warm wooden accents echo the desert environment. Travertine marble in the bathrooms adds an elegant touch, ensuring consistency with the overall material palette," said Rueda.Neutral tones similarly feature throughout the home's interiorOther homes recently completed in Mexico include a secluded retreat by Carlos H Matos, finished with thick, sculptural walls of ochre-coloured concrete.The photography is by Luz Imelda Castillo.The post YDR Studio organises house in Mexico around stargazing courtyard appeared first on Dezeen.

Indian architects Harshit Singh Kothari and Tanvi Jain have completed Tiny House on the outskirts of Indore, a micro home prototype designed in response to India's shortage of affordable housing.With a compact footprint of 19.5 square metres, the home in the Madhya Pradesh state is designed in an attempt to demonstrate how the "aspirational image of an Indian house" could be achieved quickly and with a budget of 4,55,000 rupees (4,500).Harshit Singh Kothari and Tanvi Jain have designed a micro home in India"India faces a housing shortage of 20 million houses in rural areas and 1.5 million houses in urban areas," Kothari and Jain told Dezeen."This house was designed as a prototype in response to this large shortage of affordable housing," they continued.The home serves as a prototype for low-cost housing"The house design was based on a year-long research that included interactions with the target group living in houses of similar sizes whether they are rented houses, social housing, or self-builds," added Kothari and Jain."We realised that there was scope to experiment with and showcase that an aspirational house with aesthetic appeal could be built using standard methods of construction, at an affordable budget and quickly."Earth-coloured plaster coats the brick wallsGiven the small footprint of Tiny House, its interior was organised as a single flexible space with high ceilings, designed to be reconfigured for living, dining and sleeping.A daybed alongside the home's entrance can be pulled out to create a double bed, which is separated from a kitchen space with a foldable dining table by an area of shelving.Read: Cosmic reveals updated "high-quality" model of all-electric micro homeAt the rear of the home, a toilet and storage cupboards have been positioned beneath a mezzanine floor, where an additional sleeping area is accessed via a small ladder."Inspired by tiny houses and conceptually reconfigured to respond to the Indian climate, the house is organised around a single, multifunctional volume that can transform throughout the day," explained the architects. "Furthermore, strategically placed windows allow for ample light and quick ventilation of the spaces."Inside is a single flexible spaceAt the front of Tiny House is a small raised veranda sheltered by a corrugated canopy. It provides an external seating area alongside the entrance while shading the eastern side of the home from the late morning sun.Despite the small size and budget, Kothari and Jain wanted the home to feel "aspirational", using materials such as marble flooring, teak window frames and granite worktops. Externally, the brick walls of the home have been covered in earth-coloured plaster.It is designed to be reconfigured for living, dining and sleeping"Material choices were dictated by the aspirational image of an Indian house and we wanted to showcase that through considerate design and optimised construction, these were achievable at an affordable price point," said Kothari and Jain.Other micro homes that have previously been featured on Dezeen include a glazed home raised on stilts in Austria by Czech studio Jan Tyrpekl and a "non-pretentious" brick dwelling in Ecuador by PJCArchitecture.The photography is by The Space Tracing Company.The post Tiny House is an affordable and "aspirational" housing prototype in India appeared first on Dezeen.

Tall ceilings and large windows allow light to flood the interior of this Chinese restaurant in Brooklyn, designed by New York studio Plan Plan.Serving Fujianese cuisine to the Prospect Heights community, Nin Hao occupies a space with generous 16-foot-high (4.9-metre) ceilings and large glass curtain walls on its south and east facades.Plan Plan added translucent Austrian curtains over Nin Hao's large windows to soften the sunlight enteringThese expanses of glazing let in an abundance of sunlight, so "the sense of transparency is omnipresent in this space" according to Plan Plan.The studio, which was known as CLAS until this year, added translucent Austrian curtains to soften the harsh light entering.Concrete columns are left exposed and cement tiles are intended to mimic traditional Chinese bricks"This filtered light, in turn, reflects off the polycarbonate-panelled wall on the opposite side, diffusing throughout the space and contributing to an atmosphere that feels airy, bright, and ever-changing," said the team.The layout is straightforward, with an open dining area facing the street filled with minimalist tables and pale wooden chairs.A large wall forms a canvas for a rotating series of artistsThis space is separated from the back-of-house area by a long bar that runs along a central axis beneath the polycarbonate panels.The counter front and other low partitions around the perimeter are wrapped in cement tiles designed to mimic traditional Chinese grey bricks.A long red table with matching stools encourages communal diningThick exposed concrete columns rise to a metal grid ceiling, lending the interior an industrial look, and a large wall is left intentionally blank so that it can provide a canvas for a rotating series of artists.Together, a spherical paper pendant, suspended linear fixtures, and cove lighting within the polycarbonate panels transform the restaurant into a glowing box at night,The bathrooms are lined with mosaics that depict famous paintings"Opaque and translucent, rough and sleek, traditional and contemporary, a series of contrasting pairs in dialogue echoes Nin Hao's ethos, which embraces its cultural roots while embodying a contemporary spirit and a well to adventure," said Plan Plan.In the restaurant's two bathrooms, the studio took a different approach and modelled the spaces on iconic paintings.Read: Herringbone brickwork covers Chinese restaurant The Tang in New York by New Practice StudioThe first is enveloped in mosaic tiles to resemble Spring Morning in the Han Palace by Qiu Ying, while the other's custom mosaic depicts the Hudson River Valley from Fort Putnam by George Henry Boughton.One also features a two-way mirror that faces the dining area, "heightening the sense of surprise and adventure in the restaurant" according to Plan Plan.Polycarbonate panels installed over the bar reflect light during the day and softly glow at nightTo encourage interaction between guests, Plan Plan also included a green-topped circular table with a rotating tray for playing mahjong and a long red table with matching stools for communal dining."Nin Hao wants to be a welcoming place for the local communities and people with different cultural backgrounds," said the studio. "With this spirit in mind, the dining space is also a canvas that invites engagement."The restaurant appears as a glowing box from the street after darkNew York City has no shortage of Chinese restaurants, and many have inventive and unexpected interiors that enhance the experience for diners.Examples include The Tang on the Upper West Side, which is lined with red herringbone brickwork, and nearby Atlas Kitchen where quirky illustrations line the walls.The photography is by Sean Davidson.Project credits:Interior design: Plan PlanSignage and graphic design: Yihuang Zhou, Yixuan CaoPlanting design: LivinFurniture fabrication: Big Sin WoodThe post "Transparency is omnipresent" at Plan Plan's Brooklyn restaurant Nin Hao appeared first on Dezeen.

In collaboration with architect Alberto Latorre, artist Carlos Betancourt has installed a series of 3D-printed stars along the shore of Miami Beach for Miami art week, models of structures that will eventually be placed underwater to act as a "hybrid coral reef".Miami Reef Star is part of a multi-phase rollout of ReefLine, a 15-acre underwater sculpture park master-planned by OMA and ReefLine founder Ximena Caminos that will encompass a variety of installations meant to act as replacement for marine environment lost to climate change.Carlos Betancourt and Alberto Latorre have created a series of 3D-printed modules for the underwater sculpture park ReefLine"Placed in 15-20 feet (4.5 to 6 metres) of water and within swimming distance from the shore, the ReefLine will feature environmentally functional artworks, incorporating proprietary materials that will act as hybrid coral reefs, and offer the community a free opportunity to engage directly with Miami's marine biodiversity and underwater public art," said the team.The installation by Betancourt and Latorre consists of 46 different star-shaped modules arranged in a larger star shape that was fabricated at the University of New Hampshire.The installation will eventually be installed underwater. The photo is by Ben DreithThey range in size and design, with some resembling starfish and others, floral motifs.Each module features openings or small holes, and for the Miami art week debut, lights were placed in and around the objects to create an illuminated installation.The pieces were displayed at Mid-Beach in Miami Beach. The photo is by Ben DreithLike the other installations as part of the future ReefLine, the final "stars" will likely be made of CarbonXinc, a material developed by artist Petroc Sesti, pending approval by Miami-Dade County Department of Environmental Resources.According to the New York Times, the material is a "zero-cement geopolymer concrete with mineralized carbon dioxide gas that captures carbon destined for the atmosphere and stores it for an indefinite amount of time".Read: OMA designs underwater sculpture park The ReefLine for Miami BeachThe various installations will also utilise Coral Lok, a device that aids in coral out-planting, or growing coral in a lab environment before planting it in the wild.Displayed on the beach at Miami Beach's Mid-Beach coastline for art week, the entire installation will eventually be submerged underwater as part of ReefLine, where it will stretch 90 feet (27 metre) in diameter and be viewable from airplanes above.They are intended to replace underwater habitats lost to climate changeOther installations set to submerge will include "life-size concrete car sculptures" by artist Leandro Erlich and a staircase sculpture by OMA partner Shohei Shigematsu."The ReefLine seeks to perform a unique kind of 'marine acupuncture,' blending art and innovative blue technology to target vital pressure points in the ocean," said Caminos.The installation will be part of the 15-acre, 7-mile-long (11 kilometres) ReefLine"Our goal is to unlock their regenerative potential, ultimately restoring what has been lost to the devastating effects of climate change while fostering community engagement and awareness."ReefLine is slated to "break water" in Spring 2025, while it was originally announced in 2020. Previously, OMA, Charlotte Taylor and Nicholas Praud created NFT artwork to help promote the project.Miami Reef Star will be de-installed at the end of the city's art week.Other installations and exhibits on view around the city are Alcova Miami and a kinetic sculpture made of bioplastic by Crafting Plastics.The photography is by Ilai Belaustegui unless otherwise stated.Miami Reef Star is on view on the Mid-Beach coastline from 3 to 8 December as part of Miami art week. For more global events in architecture and design visitDezeen Events Guide.The post Carlos Betancourt and Alberto Latorre create series of 3D-printed stars to be installed underwater appeared first on Dezeen.

Design agency Wedge drew on the aesthetic of Danish brand Frama when creating Wedge House, its office in Montreal, which features a dusty-pastel colour palette and custom-made furniture.Wedge founders Sarah Di Domenico and Justin Lortie transformed a 185-square-metre (2,000-square-feet) brick house in Montreal into an office for their studio.Wedge House is located in a brick house in MontrealThe husband and wife duo merged two addresses to create the office, which is spread over two floors."The original house was completely gutted including a total tear down of the rear wall and a merge of two separate addresses a 1980s hair salon below and an apartment run by cats above that we combined into one space for new life," Di Domenico told Dezeen.The studio was designed to have a communal feelingShe and Lortie were inspired by the atmosphere at Frama, whose Copenhagen showroom also houses offices upstairs."Seeing the staff prepare and enjoy lunch together all around a table had an effect that stuck, the European way and culture," Lortie told Dezeen."We wanted to create that sense of connection and community for our team in the most natural sense, while having separate rooms for intimacy at the same time."The private office spaces feature carpeted floorsTo emulate this communal feeling, Di Domenico and Lortie designed Wedge House with a ground floor that would feel more like a studio and workspace, including a private office for the studio founders, whereas the first floor would have a more homely feel.Wedge focused on creating a material palette that would give visitors and the twelve studio team members who work from the house a sense of calm."The main three materials are all Justin's calm and utility: aluminium, oak, and soft whites for a softer somatic experience that run throughout the house as a narrative, a thread," Di Domenico said.Danish studio Frama informed the design aestheticThe house is divided into a library, kitchen, living room and atelier and also has its own garden.Wedge used a colour palette of dusty, pale pastel colours such as blue and yellow throughout Wedge House, as well as some stronger splashes of colour.Read: Diandra Maselli Architect renovates historic red-brick home in Montreal"The palette is all Sarah's joy, inspired by places we love in Copenhagen, initially Apollo Bar where we sat one summer night and imagined what Wedge House could be," Lortie said."For example, the red rust 12-foot kitchen table, yellow double doors, and blue seats are an ode, a love letter."Wedge designed wooden benches for the gardenDi Domenico and Lortie also designed their own furniture for the studio, including wooden benches for the garden space. It also created a custom-made sofa, which was specially designed to fit into the living room space."We couldn't find the perfect fit so we designed it," Lortie said. "Inspired by the Pine Sofa by Yngve Ekstrm and Judd's sofa at his Marfa home."A custom-made wooden sofa sits at the centre of the living roomThe duo worked with their friend, furniture designer Thom Fougere, on the sofa design."Sarah requested a frame that wraps around the whole piece and acts as a ledge where you can place a book, a cup of coffee, a glass of wine," Lortie explained."I did a first sketch and cardboard prototype, then invited friend and furniture designer Thom Fougere to finalize the proportions and drawing for build. We made a few modifications to the cushions, but don't tell Thom!"Blue and yellow pastel colours were used throughout the spaceDi Domenica originally wanted the entire house to be carpeted, but the snowy Canadian winters meant this wasn't possible. Instead, Wedge chose to use carpeting in just Lortie and Di Domenico's private office.Other design touches include the yellow living room doors, which came from a 100-year-old home and were reused for Wedge House.The designers added doors from a century-old homeOverall, the designers aimed to capture the studio's "philosophy of creative hospitality" under one roof."Feeling at ease, gathering around a table, connection, inspiration and feeling good these are human principles that set the environment to do and create great things," Di Domenico said.Other recent projects in Montreal include the renovation of a historic brick home and the retrofitting of an office interior in an IM Pei building.The photography is courtesy of Wedge.The post Wedge references "European way and culture" for design of own studio in Montreal appeared first on Dezeen.

The latest edition of our weekly Dezeen Agenda newsletter features Jaguar's unveiling of an electric concept car in Miami. Subscribe to Dezeen Agenda now.British carmaker Jaguar's reveal of its Type 00 concept car sparked online controversy and drew mixed reactions, with one calling it a "design triumph" and another describing it as "an ugly, clunky behemoth".Presented this week at Miami art week, the car appeared in two standout colors Miami Pink and London Blue.Lego releases toy figures with sunflower lanyards to represent hidden disabilitiesThis week's newsletter also featured Lego's first minifigure with Hidden Disabilities Sunflower lanyards, an opinion piece by Anthony Paletta on office-building lobbies and the restored interiors of the Notre Dame cathedral.Dezeen AgendaDezeen Agenda is a curated newsletter sent every Thursday containing the most important news highlights from Dezeen. Read the latest edition of Dezeen Agenda or subscribe here.You can also subscribe to our other newsletters; Dezeen Debate is sent every Thursday and features the hottest reader comments and most-debated stories, Dezeen Dailyis our daily bulletin that contains every story published in the preceding 24 hours andDezeen In Depthis sent on the last Friday of every month anddelves deeper into the major stories shaping architecture and design.The post Dezeen Agenda features Jaguar's Type 00 concept car appeared first on Dezeen.

A projecting external staircase zig-zags up the perforated metal facade of the Lucila Rubio de Laverde School in Bogot, Colombia, designed by Peruvian practice Nmena Arquitectura.Located next to the Jaboque wetlands in the Engativa district, the school is part of a programme by the Mayor of Bogot to deliver 35 new public schools within walking distance of poorer neighbourhoods.Nmena Arquitectura has completed the Lucila Rubio de Laverde SchoolTo mediate between the adjacent road and the surrounding high-rise buildings, Nmena Arquitectura combined a cloistered, brick-clad form with a narrow, six-storey block shielded by screens of perforated metal that control ventilation and light.While the taller block contains classrooms solely for use by the school, the auditoriums, dining hall and sports facilities in the lower two-storey block were designed to be usable by the local community outside of school hours.The school has a perforated metal facade"The design reflects the commitment to accessible education and a resilient built environment adapted to the needs of the community," explained the studio."The cloister forms an active and porous edge that provides a part of the program to be used by the inhabitants of the area, in favour of an integrative experience of the public space and architecture with the community," it added.The concrete staircases double as seating spacesLarge concrete staircases that double as seating spaces link the two levels of the school's podium, each of which is organised around a sports court overlooked by the surrounding canteen and events spaces.Buffering the entrance from the road is an external plaza, which can be connected to the school's courtyard via a series of sliding glass doors.Read: Fjcstudio wraps Sydney school in perforated aluminium facadeIn the larger building, classrooms that line the northern edge are connected by an open corridor and are broken up by the insertion of double-height atria with areas of full-height glazing and balconies overlooking the Bogot river.This block is traversed via an external, projecting staircase shaded by black metal bars, which links spaces for the youngest children at the lower levels to those for older children at the top.The classrooms are connected by an open corridorFacing the river, the block presents a facade of red brick cut by ribbon windows and the school's atria, while overlooking the central cloister the building has been finished in perforated metal that creates a translucent effect."This element is proposed as a transparent volume, which incorporates double-height intermediate spaces and translucent interior planes allow the classrooms to extend into spaces without a defined use," explained the studio.The classrooms have translucent interior planes"The interior facade plane uses micro-perforated metal panels to ensure ventilation and bring light inside in a controlled manner without losing transparency," it added.Other projects recently completed in Bogot include the first of a pair of skyscrapers by the late British architect Richard Rogers, designed in the distinctive high-tech style that he helped establish in the 1970s.The photographer is by Jairo Llano.The post Nmena Arquitectura shades school in Bogot with perforated metal panels appeared first on Dezeen.

A ship-like residential building by Renzo Piano forms part of Mareterra, a six-hectare land extension off the coast of Monaco, masterplanned by French studio Valode & Pistre Architects.Ten years in the making, Mareterra introduces a pedestrianised landscape alongside the popular Larvotto beach with a public park, promenade, art installations and several buildings.The project was overseen by Valode & Pistre Architects with landscaping by Michel Desvigne to help accommodate Monaco's continued growth. It was completed six months ahead of schedule.Monaco's land extension Mareterra has reached completionAmong its buildings is also Quatre Lances a tiny open-air museum designed by Piano's studio to house a five-metre-tall installation by the late artist Alexander Calder, though this is yet to be revealed in photographs."It's an exceptional project, a once-in-a-lifetime project," co-founder of Valode et Pistre Architects Denis Valode said of Mareterra."A very important idea with this project was to give Monaco new places for walking, squares and places that will add something new to Monaco."Marettera expands Monaco by six hectares. Photo by Loic ThebaudAs the land extension is built on water, it has a curved form designed to continue the natural flow of the marine current to maintain the health of the surrounding water.It was engineered by the civil engineering company Bouygues Travaux and relies on 18 submerged caissons a type of watertight retaining structure which are surrounded by artificial seagrass beds.It has been masterplanned by Valode et Pistre Architects. Photo by Loic ThebaudThe caissons incorporate grooves in their surfaces that are hoped to encourage algae and other marine life to latch on and colonise the structures.Above water, almost half of the six-hectare extension is made up of open-air public space, including a park spanning one hectare and the promenade that links to Larvotto beach.As part of its masterplan, Valode & Pistre Architectes oversaw the design of all Mareterra's infrastructure and public facilities. According to the team, 80 per cent of its heating and cooling is powered by renewable energy.It also led to the design of the district's central area Les Jardins d'Eau, which features four residential buildings with balconies overlooking a landscape of trees and the sea beyond.Renzo Piano Building Workshop designed the port areaRenzo Piano Building Workshop led the design of Mareterra's port, which includes Le Renzo the first building named after its founder.Le Renzo is a residential building with a fragmented ship-like form, intended as a landmark for the development.Read: Manhattan Island extension could provide homes for 250,000 people"Le Renzo is like a ship ready to set sail from the new shores of Monaco," said studio associate Joost Moolhuijzen."The color of this 'ship' is entirely white-blue, adapting constantly to the colour of the sky and the sea."This included the ship-like Le Renzo buildingAnother of Renzo Piano Building Workshop's contributions to the project, Quatre Lances, was described by Piano as his "smallest ever museum"'.It was designed specifically to house the installation by Calder that was acquired by Princess Grace of Monaco in 1966 but has since been hidden away in storage. The artwork stands in a pool of water surrounded by concrete panels.Mareterra is complete with lush landscaping selected by Desvigne with a focus on native plant species, which is hoped to boost local biodiversity.There is also a series of private villas in the district with designs by architects including Foster + Partners, Stefano Boeri Architetti and Tadao Ando, though these have not yet been revealed in images.Le Renzo is designed as a landmark for MareterraLand reclamation and extensions are becoming increasingly common around the world, as cities find ways to grapple with issues such as population growth and climate change. One of the most notable examples is the Palm Jumeirah in Dubai.In Copenhagen, Urban Power is currently developing plans for nine artificial islands that will be used as a tech hub while doubling as a flood barrier. Meanwhile, in Hong Kong, the government is planning one of the world's largest artificial islands to solve "serious" land shortage.The photography is by Hufton + Crow unless stated otherwise.The post Monaco's six-hectare land extension reaches completion appeared first on Dezeen.