In this week's comments update readers are discussing the announcement of this year's Serpentine Pavilion, designed by Mass Studies founder Minsuk Cho.

Named Archipelagic Void, the 23rd pavilion is set to open in London's Kensington Gardens in June 2024 and will consist of five structures described as "islands", arranged in a star shape around a central void.

"What a mess, I love it"

Commenters weren't all immediately won over by the design. "Not grabbing me", was JZ's initial reaction. Although they did allow for some optimism, writing "hope it ends up a pleasant surprise."

In a comment that was upvoted five times, Ati-st suggested "Serpentine should just cancel the pavilion programme and stop wasting building materials if they aren't committed to doing this properly anymore".

They continued "it's been a long while since they had anything inspiring there".

Souji was much less forgiving, declaring "this is just an eyesore".

However, JB embraced the designs, exclaiming "what a mess, I love it". Meanwhile, John argued that Cho's design was "much better than some in the previous years!"

What do you make of this year's Serpentine Pavilion? Join the discussion ›

"Humans are a horrible species"

Another story that got readers talking this week was about the impact that The Line megacity in Neom could have on birds.

The planned city in Saudi Arabia was highlighted as one of the most pressing conservation issues for 2024, due to the scale of The Line along with its planned mirrored facades, which have been highlighted as posing "a substantial risk to migratory species".

Readers largely shared this concern about the project. "Who knew a giant mirrored wall would have a big effect on wildlife," mocked Hosta.

Commenter J98A was also in disbelief. "Was this not considered before it was signed off? Or at least before the build began?" they asked. "Stupidly obvious."

"The first thing I thought about when I saw this design was the birds," wrote Henry. "Maybe it should be re-rendered to include splatters and bird corpses...or just not built," they suggested.

For JZ, this all led to the simple conclusion that "humans are a horrible species".

Do you agree? Join the discussion ›

"Yes yes yes. At last. This is the holy grail"

Also stirring up interest in the comments section was an interview with former Ferrari-designer Lowie Vermeersch about Komma, a new type of micro vehicle designed to take up less space on roads and use less materials to manufacture.

Some readers were on board with the idea. "With climate change, there could be a huge paradigm shift in personal and public transportation," mused Dik Coates.

Adrian James was impressed by the design, declaring "yes yes yes. At last. This is the holy grail". Colin MacGillivray agreed and dubbed it "the future of urban transport".

However, on the other side of the argument, Marc Sicard wrote "almost as much material as a car for the same functionality as a bike". They concluded, "ridiculous, and no thanks".

Could this be the future of urban transport? Join the discussion ›

Comments Update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days. 

The post "What a mess, I love it" says commenter appeared first on Dezeen.

In this week's comments update, readers are discussing a compact infill home in Dublin with red brickwork and perforated metal panels, completed by Irish architecture studio Gró Works.

Located on Dublin's southern perimeter, the home was designed to reflect both the nearby Victorian redbrick terraces and the more "utilitarian" quality of the backstreet it overlooks.

"This won't be utilitarian enough for the functionalists" 

Several commenters were won over by the industrial feel of the design. D Bannon called the project "a striking structure and a beautifully designed home".

"Beautiful project, congratulations to all involved," echoed Gary Tynan. Commenter Tony M was also a fan of the project, writing "I like this building, in particular, the visible roof beams".

However, JB warned that "this won't be utilitarian enough for the functionalists". They continued: "this architect will have their modernist ticket revoked if they don't smarten up and strip back".

Meanwhile, for JZ, there was too much going on: "so many moves in a small project. I appreciate each one separately but all added up, I think they reached a tipping point".

Can you see yourself living in this Dublin home? Join the discussion ›

"Is there a Londis? I don't see a Londis. Where will I get milk?" 

One story causing a stir in the comments section this week was mega-project Neom's reveal of Aquellum, an "ultra-luxury upside-down skyscraper" inside a mountain, designed by architecture studios LAVA and Name Architecture.

Dezeen commenters were quick to see the "dystopian" themes of the latest Neom project. "All these Neom renders are going to be a great source of material for the next Black Mirror series," wrote Gytis Bickus.

Zea Newland agreed, replying "wouldn't it be hilarious to find out that Neom was actually a viral campaign to promote a dystopian science-fiction movie," while Scott Chegg branded it "the stupidest one yet", adding "Neom is just a meme".

Muckers270 had other concerns, asking "is there a Londis? I don't see a Londis. Where will I get milk?"

On the other side of the argument, MA Milián felt the design had been heavily critiqued out of spite. "All the negative and terrible, harsh criticism is mostly from Americans who are jealous," they wrote in a comment that was downvoted five times.

What do you think of Aquellum? Join the discussion ›

"Looks like a stack of children's blocks" 

Also providing plenty of fodder for commenters this week was a skyscraper made up of 13 staggered cube volumes designed by Portuguese studio OODA for the Hora Vertikale residential development in Tirana.

Some commenters were unsure. "I like each block individually," wrote Leo. "Stacking them seems less convincing," they added.

"Another Jenga-inspired building," wrote John Lakeman, while Souji wondered "why the need to create the feeling of uneasiness? Cool for concept art or a video game, not for an actual city".

But despite this, the project had its fair share of admirers as well as detractors, with commenter Frank branding it "very interesting work".

Rob Rohena was full of praise, writing "I love this, very whimsical and unpretentious – looks like a stack of children's blocks". What's more, they felt it was "a nice departure from the overly gaudy luxury Manhattan skyscrapers or bland glass box office buildings".

Does the OODA design work for you? Join the discussion ›

Comments Update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days. 

The post "So many moves in a small project" says commenter appeared first on Dezeen.

In this week's comments update, readers are discussing the news that Saudi mega-development Neom has unveiled plans for a coastal town on the Gulf of Aqaba.

Called Norlana, the town will be designed by architecture studio 10 Design for 3,000 residents in the northwest of Saudi Arabia as part of a wider cluster of Neom developments.

"No one has 'designed' anything here"

Commenters reacted to the latest plans added to the Neom development. "This is the dystopian future we've all been warned about," cautioned Tadeusz Szewczyk (Tad Chef).

Tom Roberts was also concerned, writing "I have to ask if anyone would really want to live in these desolate locations". They added, "there is no sense of community, only isolation".

Meanwhile, Alfred Hitchcock deduced that the whole thing was "gibberish – no one has 'designed' anything here".

Adding some nuance to the comments section, Rob Rohena acknowledged that the design was "cool and imaginative – feels like a Star Wars set." However, continued to say "feasible...? I guess anything is possible with enough money and human rights violations".

Do you agree? Join the discussion ›

"Genuis, bravo!" 

Readers had mixed opinions about Design Acadamy Eindhoven graduate Yoojin Chung's project Capturing Qi.

Chung's project pokes fun at the western approach to feng shui with a trio of digital devices that offer a quick fix to positive qi.

Some readers were full of praise for the project. "Genuis, bravo!" exclaimed Tim Kennedy. This sentiment was echoed by Marius who wrote "love it, bravo Yoojin".

However, not all readers were convinced. "Please tell me this is a joke, it's too early in the year for peak silliness," commented Mark Gibbs.

Ken Steffes also wasn't a fan and felt that "these man-made devices are a visual distraction from nature and the natural environment".

Genuis or silly? Join the discussion ›

"Is there any end to the sheer naffness and tack?" 

Also sparking debate in the comments section this week was the news that Mercedes-Benz and developer Binghatti have revealed plans for a supertall skyscraper in central Dubai.

The car company's first branded residential tower will reportedly be 341 metres high and close to the Burj Khalifa.

Commenters were unanimous in their reactions to the skyscraper, calling it "crass" and "naff".

In a comment that was upvoted seven times, Chris Rogers joked "Dubai-based developer Binghatti...more like BLINGhatti".

Asif Farooqui was unimpressed and called the project "crass on every level". Ralph Kent was in the same boat, asking "is there any end to the sheer naffness and tack?".

Apsco Radiales advised Mercedes that they should "stick to making cars" and Ken Robertson was despairing begging "please, please stop!".

Should Mercedes stay in their lane? Join the discussion ›

Comments Update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days. 

The post "Gibberish – no one has 'designed' anything here" says commenter appeared first on Dezeen.

The latest edition of our Dezeen Debate newsletter features hospitality venues inside Detroit's restored Book Tower by Method Co. Subscribe to Dezeen Debate now.

As part of an extensive restoration of the 1920s neoclassical building by its developer and architecture studio ODA, design company Method Co was brought on to conceptualise and operate several restaurants, bars and a hotel within the Book Tower.

Commenters were full of praise for the project, with one saying "those interiors are lavish – the rich details" and another noting its "incredible fresh 21st-century feel".

Other stories in this week's newsletter that fired up the comments section included an apartment block in Melbourne designed by Austin Maynard Architects, a food container system that reveals if something is safe to eat and the news that Saudi Arabian mega project Neom has revealed the Gulf of Aqaba yachting town by 10 Design.

Dezeen Debate 

Dezeen Debate is sent every Thursday 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. 

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In this week's comments update, readers are discussing Zaha Hadid Architects' Zhuhai Jinwan Civic Art Centre on an artificial lake in China.

The centre is characterised by its four angular wings with sculptural steel canopies and its sweeping roofscape, which Zaha Hadid Architects modelled on the chevron-shaped flight formations of migratory birds in southern China.

"A metastasized Sydney Opera House" 

Some readers were unconvinced. "Too many notes," wrote Heywood Floyd.

Deep State thought "this kind of ostentatious formalism is completely out of step with the zeitgeist, and it's even worse to invoke some sort of natural inspiration".

Meanwhile, JZ likened the design to "a metastasized Sydney Opera House"

Some commenters were in favour of the design. Walter Astor felt that "the design of the building stands successfully on its own architectural and even sculptural merits". But he argued that "references to migratory birds as an influence is entirely unnecessary".

Henry wrote "wow, I'd love to visit this building". JZ, meanwhile, said that "it's going to weather like hell" but added that "the basic moves here are better than the average for ZHA".

What do you think? Join the discussion ›

"A disruptor that appears to polarise people"

Commenters were divided over the news that Tesla's long-awaited Cybertruck has been officially unveiled and is now appearing in showrooms across the USA.

Some readers, like Zeglar Fergus, thought Tesla's Cybertruck was simply "very cool".

On the other side of the argument, Apsco Radiales made their views clear, writing "Cost? Ridiculous. Range? Silly. Practicality? Non-existent. Style? Ghastly. Next...!"

Bunkermentality had safety concerns, stating "this vehicle shows the total disdain of its driver for vulnerable road users such as cyclists or pedestrians".

However, Jãnis took a step back to consider that "Cybertruck surely is a disruptor that appears to polarise people".

They continued to say "I do not need or like pick-up trucks, but find the Cybertruck cool – cannot see myself having one, but purely from a design perspective".

Cool or ghastly? Join the discussion ›

"Unreal!" 

Another project that got readers talking this week was the plans for Tencent Helix, a quartet of twisting office towers joined at the base, designed by architecture studio Büro Ole Scheeren for tech company Tencent in Shenzhen.

"Unreal!" exclaimed Ken Steffes. "Hands down the Tencent Helix is the 2023 winner," they continued.

"Chonky," wrote JZ, while Watchmen asked "object or cake?".

Meanwhile, Tim called it "a blob of a building", and Dwg thought it "might look better untwisted".

Twist again? Join the discussion ›

Comments update 

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussion on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from the last seven days. 

The post "A metastasized Sydney Opera House" says commenter appeared first on Dezeen.

In this week's comments update, readers are discussing Danish studio BIG's design for a luxury residential building with cascading terraces, which will form part of the Ellinikon city masterplan near Athens.

Named Park Rise, the building will contain 88 apartments stacked in a staggering arrangement of two gently curving wings, the tallest of which will rise to 50 metres.

"Feels like it's aimed at Instagram"

Readers were largely unimpressed. "Why do most of Bjarke Ingels' projects feel like style over substance?" asked Alfred Hitchcock. "Just looks like shape-making – this is not architecture", they wrote. "It's all a bit superficial and feels like it's aimed at Instagram."

However, Franky four fingers suggested that BIG's design approach was based on equality for residents. "There isn't a class of 'haves' with outdoor terraces and sunlight and a class of 'have nots' that live in shadows without an operable window," they argued.

Commenter MKE Tom could appreciate both sides of the argument. "If we are critiquing this project on its uniqueness and newness, it falls short," they wrote.

But on the other hand, "if it is based on the developers brief to make them as much money as possible by providing views and balconies, then they have done a good job", MKE Tom added. However, they made their stance clear by adding "do I like it? No."

What do you think of BIG's design? Join the discussion ›

"Voluminous and full of natural light" 

Readers were full of praise for a low-energy London home designed by local architecture studio Hayhurst and Co that went on to be named RIBA's House of the Year.

"Voluminous and full of natural light," wrote JZ. "Great palette materials and colors," they added.

For Marius, the project was "very well done – a grand place without any ostentation", while Don Bronkema thought it was "praiseworthy – especially the green chroma".

Meanwhile, Alfred Hitchcock called it "highly commendable" but did think it could have been "a bit more cosy" and that "parts of it look quite flimsy and roughly made".

Are you a fan? Join the discussion ›

"Great in Vegas, not in London" 

A story sparking debate in the comments section this week was the news that Michael Gove is believed to be considering calling in the planning application for the Populous-designed MSG Sphere in Stratford after Sadiq Khan blocked it earlier this month.

The planning application had been blocked by Khan over fears the venue would cause "unacceptable harm to hundreds of residents", his spokesperson told Dezeen.

Commenters were split in their reactions. Zea Newland was baffled by the news. "Locals hate it, experts recommend rejecting the project, and the mayor complied with expert opinion but Michael Gove needs to have the last word? What's in it for him?" they wondered.

Other commenters responded with some potential incentives. "Evil" wrote Nimmo, "money" suggested BardofAvon, "and power" added LNDCNTMPRY.

Prado Sellinder thought "this kind of thing is great in Vegas but not in a city like London" and asked "can you imagine this in Paris? Ha."

There was also concern for the impact on Stratford locals. "The globe is metres away from apartments," wrote Octavia. "The people of Stratford will bear the cost of this development, without reaping any of the benefits," they added.

However, some readers were in support of Gove's decision. Recce Chadwick wrote "I hope he does override it and it gets built". They continued "I must say the UK public is extremely miserable and always complaining about anything new".

To build or not to build? Join the discussion ›

Comments Update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days.  

The post "Feels like it's aimed at Instagram" says commenter appeared first on Dezeen.

Geometric shapes, fossilised stone and English cherry wood characterise this house in Wimbledon, London, overhauled by local architecture studio Gundry & Ducker.

Named Wimbledon Villa, the studio renovated and extended the detached early 2000s property with the aim of making it feel like "a country house in miniature".

Studio co-founder Christian Ducker told Dezeen that "the existing house was of a very thin appearance and had little presence on the street". To overcome this, Gundry & Ducker extended to the side and rear of the house, added a new entrance porch and constructed a brickwork facade at the front which combines "a mixture of symmetry and asymmetry."

"This area around Wimbledon Common is home to the Edwardian Villa, and the new facade is designed to be a contemporary interpretation of this form whilst having a relationship with an adjacent listed building," he explained.

On the ground floor, the layout was adapted from one singular barn-like area into a combination of cellular and open-plan spaces.

"The house faces a busy road and communal parking area," Ducker said. "So the main living spaces were previously affected by traffic and lack of privacy, and the centre of the house by lack of light," he explained.

"The new interior layout is based on issues of orientation, daylight, sociability and privacy," said Ducker.

"You now enter through a small porch which leads to a contrasting double-height space that sits at the centre of the house, with rooflights above," he described.

Pale stone and white painted walls contrast against the rich cherry wood staircase and matching bannister. The hallway branches off to functional spaces including a storage room, cloakroom and downstairs bathroom.

"The internal plan is based on the arts and crafts layout of a central double-height hallway from which rooms are oriented to the north or south according to their use – social to the south and private to the north," Ducker explained.

Painted in pastel yellow, the ground-floor "library" features a circular porthole window at the centre of the bookshelves.

A wooden surface runs along the adjacent wall to provide a workspace with inbuilt storage below.

To the south, an open-plan kitchen, living and dining room has a material palette combination of English cherry wood and fossilised stone, which is continued from the hallway.

Kitchen cabinets were picked out in olive green against the white walls and worktops.

Geometric shapes are a repeated motif found throughout the property, including a semi-circular viewing balcony above the hallway and two circular skylights designed to allow natural light into the space.

The idea of a country house in miniature is manifested by "replicating elements of a much larger house into a 200-square-metre house," Ducker explained.

Upstairs, the balcony curves around to a "bridge" corridor, which runs perpendicular to the hallway.

This balcony connects a master bedroom with an en-suite and two dressing rooms on one side to an additional two bedrooms and two bathrooms on the other.

Gundry & Ducker was founded by Ducker and Tyeth Gundry in 2007. Other London projects by the studio include the Camden Town Brewery and a 1970s home featuring green hues and checkerboard terrazzo.

The photography is by Andrew Meredith.

Project credits:

Architect: Gundry & Ducker
Structural engineer: Feres
Contractor: Martins Builders

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In this week's comments update, readers are discussing an extension of media company Warner Bros' headquarters in Burbank, completed by LA architecture studio Gehry Partners.

The complex features two distinctive facades – glass intended to evoke the form of icebergs is interspersed with steel facades modelled on the art deco-style buildings of early Hollywood.

"The dystopian corporate hellscape building is finished"

Some readers weren't fully convinced by the design. "Whether you reference it as an iceberg, rock formation, or crystal cluster, it is still a boring, heavy-handed clunker," wrote Marius.

"Ah yes, the dystopian corporate hellscape building is finished," said Richard Nelson. "Do you like it, corporate overlords?" they asked.

Daniel Shirk was a little less scathing. For them, the complex was "pleasant but nothing great – Gehry on autopilot".

Pleasant or hellish? Join the discussion ›

"The overall effect is intriguing"

Readers struggled to reach a consensus about the Azabudai Hills development in Tokyo by Heatherwick Studio, which is defined by curving roofs topped with greenery.

There was too much going on for Idracula, who asked "what am I looking at?". "Too many parts to this puzzle," they concluded.

Marius chimed in to say "Italian pizza toppings are kept simple to showcase their quality – grand philosophy". The project also left a bad taste for Blau, who thought "the whole thing is heinously overcooked".

Adding some nuance to the discussion was JZ. They acknowledged that "it looks like a mess and will require an immense amount of maintenance". However, ultimately they resolved that "the overall effect is intriguing".

Meanwhile, Heywood Floyd reminded their fellow commenters that "we've certainly seen more offensive ideas executed less confidently". They went on to say: "I feel like everyone is just pilling on Heathwerwick at this point".

Which side are you on? Join the discussion ›

"Diamonds, on Park Avenue? Groundbreaking" 

Readers were also discussing the news that Foster + Partners has completed the framing for JPMorgan Chase headquarters at 270 Park Avenue.

"Diamonds, on Park Avenue?" asked Franc Lea. "Groundbreaking" they mocked.

Ken Steffes was also unimpressed by the design's lack of originality: "Wow, another steel and mirrored glass box with an exoskeleton – how creative".

"It's big, that's for sure" commented Souji. However, they thought "the design is so weak – switching the old SOM building for this is a shame".

Do you have a different take? Join the discussion ›

Comments update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days. 

The post "Do you like it, corporate overlords?" asks commenter appeared first on Dezeen.

In this week's comments update, readers are discussing an aluminium-disc-topped pavilion in Melbourne, Australia, designed by Pritzker Prize-winning architect Tadao Ando.

Created as the Japanese architect's first-ever project in Australia, the concrete structure is the 10th MPavilion in the city and was intended to be a space to reflect on the surrounding Queen Victoria Gardens.

Readers took opposing views in the comments section.

"If you know anything about concrete, you know this is extraordinary"

Some commenters critiqued Ando's work as a knock-off of architect Mies van der Rohe's Barcelona pavilion.

"Absolutely uninspired," wrote Philip. "Mies gave us the Barcelona pavilion 100 years ago and this is just a clumsy copy".

Tom Roberts was similarly minded, saying: "It is no Barcelona pavilion, which it tries so hard to emulate."

Alfred Hitchcock felt that Ando had let his usually high standards drop. "How dull, lifeless and frankly lazy coming from an architect who has previously designed so many masterful works," they wrote.

However, other commenters were totally blown away by the "masterpiece".

"Pure and essential Ando – a masterpiece and another symbolic signature from maestro Tadao," wrote Pa Varreon.

"Masterful, the work is just stunning" echoed Mr Marsden. "If you know anything about concrete, you know this is extraordinary," they wrote.

Clumsy or masterful? Join the discussion ›

"A delicate box" 

Another project that got readers talking this week was Edge House by Studio Prototype, a house with a hexagonal footprint built in an area of Amsterdam with relaxed planning regulations.

Milton Welch thought it "looks like a delicate box".

"The site is awkward, but the house is even more, for no reason," commented Souji. "A mess of sharp corners with too much glass," they added.

Alfred Hitchcock felt the same, writing "imposing a geometric form like this has certainly made for some awkward-shaped rooms and spaces". They went on to argue that "the project looks like a design mistake".

However, Apsco Radiales felt this was a bit of an exaggeration: "A design mistake? Bit harsh, I think. I could live in it – the materials and workmanship look good".

Could you live in this hexagonal house? Join the discussion ›

"Yet another vapid atrocity the world doesn't need"

Dividing commenter opinion was the news that Saudi Arabian mega project Neom has revealed its latest region, Epicon, a tourist destination that will feature two jagged skyscrapers by 10Design.

"Just why?" asked Jacob Volanski in a comment that was upvoted eleven times. "How on earth are they trying to sell this as 'sustainable'? What on earth are these pointless horizontal spikes?"

"The pointiest, most pointless architecture I've beheld in a while," wrote Jim Angrabright in agreement.

According to Steve Hassler, it is "yet another vapid atrocity the world doesn't need".

One of the only readers to give some balance to the critique was Igor Pismensky who said "love the look, but I won't be around when it's all completed (if ever)".

Do you agree? Join the discussion ›

Comments update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days. 

The post "If you know anything about concrete, you know this is extraordinary" says commenter appeared first on Dezeen.

In this week's comments update, readers are discussing a house in Sydney with a "playful and textured" facade made from reclaimed materials and broken bricks.

Called 19 Waterloo Street, Australian studio SJB designed the building to replace a damaged structure on the compact site in the city's Surry Hills suburb.

Commenters largely thought that the building fit the bill.

"This home is a delight"

"Clever, playful and delightful use of a tight urban site," wrote AlfredHitchcock. "It fits right in, whilst also making quite a lot of noise!"

Jacob Volanski was equally enthusiastic, writing "this home is a delight – full of personality without forgoing thoughtful organisation". They went on to add "that shower with the terrazzo, skylight and foliage? Dreamboat status".

Leo simply wrote "this is quite daring, I love it."

Alexander admitted that they had a change of heart: "I was going to say this is a mess but actually, it has grown on me". They concluded that "the interiors work well and it feels both solid and liveable".

"Feels a bit like Peter Barber on LSD," wrote Chris.

Tripping or tremendous? Join the discussion ›

"Like an awkward blind date"

A project which received less praise from commenters was this minimalist glass extension which Greenaway Architecture added to a 15th-century thatched cottage next to Farleigh Hungerford Castle near Bath, UK.

Readers generally liked the extension in isolation but thought it didn't fit with its context.

As AlfredHitchcock put it, "the extension itself makes a wonderful garden room, but it's an uncomfortable addition to the historic building."

"The more I look at this addition, the more I wish it was in a cottage style," echoed Chip Lynch. "Not every building needs a contemporary touch – wouldn't it have been nice to see a cozy porch rather than a glass cube?"

JohnMarix was less forgiving, writing "seems appallingly incongruous to me".

Meanwhile, for, Maria, the combination of old and new was "like an awkward blind date".

Do you agree? Join the discussion ›

"Wonderful, imaginative stuff"

Also igniting debate in the comments section this week was The Hoxton Mule, a playschool and apartment in east London designed by local practice Sam Jacob Studio.

Some commenters were impressed by the "eclectic" design, while others thought it was "upside-down thinking".

"Wonderful, imaginative stuff," declared Thom Chesshyre.

Zea Newland called the building "cute" and suggested that "some splashes of colour would have completed the PoMo revival".

However, other readers took a more blunt view.

Commenter M was concerned about having "an external staircase in a rainy climate and concrete flooring in a playschool". They added "this is upside-down thinking".

For IDRACULA, the building was best described as "an architectural joust".

Where do you stand? Join the discussion ›

Comments update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days. 

The post "Like Peter Barber on LSD" says commenter appeared first on Dezeen.

In this week's comments update, readers are discussing a large concrete home in California designed as a "modern ruin", with architecture by Masastudio and interiors by Kelly Wearstler.

The home, which is laid out like a "village" of open and enclosed spaces, was designed for clients who are avid art collectors and have a deep appreciation for contemporary architecture and design.

However, some commenters felt the project was overly extravagant and lacking design direction.

"Lacking any personality"

"With that amount of money, this is really the best you could come up with?" asked Jacopo.

JZ concurred calling the project "excessively expensive".

AlfredHitchcock thought it was "far too tasteful and lacking any personality" and compared it to "an exercise in thoughtless spending and overindulgence".

Commenter Saddened also wasn't a fan of the extravagant scale of the project, describing it as a "template for bad American taste, amplified by an endless budget".

But Ulisses Papa came to the project's defence, commenting that "seldom have I seen a more resourceful, beautiful and serene project being more criticised as in these comments."

Expensive or resourceful? Join the discussion ›

"Perfect location for this dynamic structure" 

Readers were divided about the news that Danish architecture practice 3XN has been selected to create a stepped retail building along Baltimore's Inner Harbor.

Design Junkie thought it was a "really cool shape" and Ken Steffes suggested that it was the "perfect location for this dynamic structure".

However, commenter Zee was unfazed by the waterfront structure, exclaiming "just a few curved walls, meh!"

Meanwhile, Peter McK was frustrated about the site decisions. "Once again demolishing a perfectly fit building to create iconography" they lamented.

What's your opinion? Join the discussion ›

"A piece of Las Vegas in downtown Singapore"

Also receiving mixed reviews in the comments section this week was architecture studio WOHA's "garden hotel" in Singapore with planted pool terraces cut into the building's rectangular form.

Ati-st praised the studio's work writing "these guys are experts in using plants as architectonic elements."

Other commenters were similarly impressed. Chip Lynch felt that "it certainly would be nice to overlook the open green spaces from your room in a city setting like this".

However, AlfredHitchcock was struggling to make up their mind. "A piece of Las Vegas in downtown Singapore," they said. "In some ways, it's really quite wonderful, but in other ways it's so indulgent."

"It's certainly more Caesars Palace than Raffles – designed to cater to the flamboyant rather than the sophisticated," they added.

What are your thoughts on the garden hotel? Join the discussion ›

Comments update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days. 

The post "Lacking any personality" says commenter appeared first on Dezeen.

In this week's comments update, readers are discussing news that architecture studio BIG has completed its first supertall skyscraper in New York City and debating a minimalist pink house in Mexico by César Béjar Studio.

Called The Spiral, BIG's latest completed project in New York reaches 314 metres (1,031 feet), making it a supertall skyscraper.

Located along the High Line, the 66-storey building gets its moniker from a series of stepped terraces wrapped around its exterior.

"There's something truly cynical about this work"

Dezen readers were quick to give their opinions about the project in the comments section.

"Just what the city needs: more unused office space during record-low occupancy rates," wrote BillH11103. "Meanwhile, no one can afford to live in the city anymore. Brilliant!"

"There's something truly cynical about this work, IMHO," commented Frank. "Bjarke continues to toss out this 30-second, back-of-a-napkin, copy-paste-array diagram stuff and people keep buying it."

In a comment that was upvoted 10 times, Jacob Volanski wrote "for a firm that prides itself on its 'environmentally responsive' architecture, this glass monolith with some greenwashed terraces is a major disappointment".

However, commenter Hmm was pleasantly surprised by the finished project."This did not look good in the renders – it seemed like just another bland and uninspired Lego tower trying too hard to be cool," they recalled.

"But I think it turned out really well. The proportions work, the detailing seems to be on point and fits in rather well – quite restrained without silly gimmicks," they added.

Do you like the latest project from BIG? Join the discussion ›

"The perfect pink"

Another project that got readers talking this week was César Béjar Studio's minimalist pink house sandwiched between two buildings in Culiacán, Mexico.

Some Dezeen readers were won over by the colour scheme.

Edward Sheng found the "white interior calm" and Ken Steffes described the house exterior as "the perfect pink." But not all commenters were in agreement.

"I love the minimalism of the exterior," wrote Milton Welch. However, the "interiors appear a bit hazy and claustrophobic due to coloured daylight coming through the tinted glass and diminishing the benefits of the white interiors", they added.

Puzzello stated "I could not live in a house without a visual relationship to the exterior from the interior".

JZ chimed in, writing "I'm always captivated by the way light can be manipulated, but I agree with you. Emotionally, I need to see some blue sky, perhaps some clouds and some green."

Calming or claustrophobic? Join the discussion ›

"I love when something is so good that I'm mad it wasn't my idea"

Also on commenters radar's this week was the story that Canadian designer Omer Arbel has created a home in British Columbia with expressive pillars made from concrete poured into fabric.

The columns run through the house, with some approaching 10 metres (32 feet) tall, fluted at the base before extending upwards into an expansive "lilypad" shape.

Mark Zudini was impressed. "Love the spaces and light – overall, inspiring," they wrote.

In the same boat was Rob Rohena. "Wow. Beautiful. I love when something is so good that I'm mad it wasn't my idea."

However, some other readers weren't so quick to celebrate the project.

Jb reckoned that "the 'expressive pillars' are fun and intriguing but they clash with the dour, modernist aesthetic."

George Panagos was less forgiving, writing "well, that's a whole lot of concrete for a thoroughly claustrophobic and unattractive bunch of pillars."

Which side are you on? Join the discussion ›

Comments update 

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days. 

The post "No one can afford to live in the city anymore" says commenter about NYC skyscraper appeared first on Dezeen.

In this week's comments update, readers are discussing a trio of "luxury boutique hotels" unveiled as part of the latest Neom region in a scenic valley in Saudi Arabia.

Saudi Arabia's Neom project has announced Leyja – its fifth region – that will be connected to the forthcoming Trojena ski resort via a 73-kilometre hiking trail, which is also being built as part of the wider Neom project.

"Not architecture"

Planned projects for Leyja include a mirrored hotel by Shuan Killa, a rock-shaped hotel by Mario Cucinella (above) and a stepped cliffside hotel by Chris van Duiijn (below). Readers raced to the comment section to debate the latest Neom news.

Ken Steffes argued that "the beauty of this site is that it is untouched by man. These structures will only destroy nature and everything that lives around it."

"Beauty comes from nature, not architecture," they added.

Murial Brugman echoed the sentiment when they asked "why can't they just leave it alone and untouched?"

"Not architecture," declared HeywoodFloyd in a comment that was upvoted 10 times.

Meanwhile, commenter Glenn Dungan was torn, saying "I want to like this. It's straight out of Dune. It's wonderful, but I just can't."

"That large super-villain hotel with the grand staircase? It's gorgeous but absolutely impractical," they continued.

However there was no doubt for Jessica Tuboltsev, who called the project "Amazing!! It is amazing to see what can be done when money is not a problem".

Which camp are you in? Join the discussion ›

"Elegant, sober architecture"

Another project stirring up discussion amongst commenters this week was about Arsenit's one-legged "treehouse" nestled in an Estonian pine forest. It features a large cantilever that elevates the living space 4.25 metres above the ground and creates a sheltered outdoor space.

On one side of the argument, pa varreon called it "elegant, sober architecture – a beautiful love-nest for tree lovers".

Commenter Leo was unsure, saying "the sheltered outdoor space doesn't seem to be very used or useful".

However, they balanced this critique by adding "I do like the design – the resulting volume is eye-catching".

Others took a less generous view. "A lot of effort for a tight double-bed container – strange result," commented Marius.

Strange or elegant? Join the discussion ›

"Abstract, arbitrary, meaningless"

Readers weren't convinced by OMA's flexible cultural events space in Manchester, called Aviva Studios.

Dutch studio OMA designed a faceted corrugated metal theatre building adjoining a regular concrete-clad structure. The cladding materials were chosen to reference the site's industrial history.

"No integration, no sympathy, no way!" exclaimed Ken Robertson. "An alien building looking like a recently landed alien craft."

Meanwhile, Ati-st wrote "eww", and suggested "it's like an old TV dumped in the garbage."

For Jb, OMA's work was best summarised succinctly as "abstract, arbitrary, meaningless".

But not all commenters were so quick to write off the project. Marius interjected that it is "probably a fine, needed and well-studied program", adding that it "looks like the content inside is well executed".

What do you think? Join the discussion ›

Comments update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature our best reader comments from stories in the last seven days. 

The post "The beauty of this site is that it is untouched by man" says commenter appeared first on Dezeen.

Artist Tom Hicks has spent the last six years documenting the built environment of the West Midlands region of the UK. Here, he picks ten of his favourite photographs from his book Black Country Type.

From factories and warehouses to shop fronts and underpasses, Hicks explores the structures that make up the post-industrial landscape of a West Midlands area known as the Black Country.

"The Black Country is an area that has a strong tradition of manufacturing, particularly in terms of making things out of steel (known locally as metal bashing), and this has been in steady decline for years," Hicks told Dezeen.

"The landscape I grew up in is human-made. I'm interested in conveying the changes in the region, largely brought on by deindustrialisation," he added.

"Some parts of the Black Country feel like the land that planning forgot"

Taken while out cycling, many of Hicks' photographs focus on signs and handmade lettering on buildings.

"The title of the book reflects the idea that the images are taken in The Black Country and originally featured typography," Hicks explained. "Letterforms have the ability to locate a building in a certain time period".

What the artist looks for in the built environment varies from time to time.

"Sometimes I focus on a building that was once grand but has fallen into disrepair," he said. "Or I focus on a door that may seem like a minor detail, but that reflects the overall architectural style of the building – so it acts as shorthand for a time period and architectural genre."

"Some parts of the Black Country feel like the land that planning forgot," he added. "There are improvised and patched-up structures all over the region."

"I rely on sunlight to illuminate the surfaces of the buildings"

As well as having an emphasis on typography, Hicks' photographs are unified by a focus on bright colours and sharp lines, and the fact that they are always taken in direct sunlight.

"The vivid colours in the images are all as they appear. I rely on sunlight to illuminate the surfaces of the buildings," Hicks continued. "Colour and surface material are key focuses for my work."

"I love the contrast with the name of the region – The Black Country – and the colourful nature of the work," he added. "Humour is an important part of the Black Country character and I try to convey that where possible."

Read on for Hicks' selection of ten photographs from Black Country Type:

Central Snooker Club, Lye, 2019

I love the simplicity of the design of this building – not only in terms of the structure of the building but also the paint job. It took me a while to realise that the colours relate to the order in which you pot the balls in snooker.

This photograph is an example of how the project is documenting change in the Black Country; the building is now a warehouse and has been painted black.

Lollipop, Oldbury, 2021

For many, this conjures up the atmosphere of Miami. In actual fact, this is the side of the Mecca Bingo club in Oldbury, which is in the shadow of the M6 motorway.

When I was taking this photograph, I was stopped by the club's security team, who informed me that the car park was for members only. My response was to join the Bingo club, and security let me finish the shoot. I still have my membership card.

Smile More Often, Wolverhampton, 2021

This building has now been demolished. It was empty for a long time but when I arrived the demolition crew was on site. For me, this image is tinged with regret, as the building was a sleek sixties design which spoke of the post-war ambition of the region.

SMO means Smile More Often and is the name of a local graffiti crew. I'm still trying to work out how they painted the letters on the building.

Subway, Stourbridge, 2021

Something about this image reminded me of a swimming pool. I gave it the alternative title 'A Bigger Splash' in a nod to Hockney.

I took this on a cold winter's day. So cold in fact that I didn't want to hang around for too long. I didn't even dismount from my bicycle – I leaned against the tiled wall and took this before heading off.

Do Not Rush, Stourbridge, 2021

This 'Do Not Rush' sign is located at Stourbridge Junction Railway Station. When I saw it, it struck me as a quaint way to say 'no running'.

For people who have bought this image as a print, it has become a kind of mantra – a reminder to slow down in life.

Adult Shop, Cradley Heath, 2022

This shop is located in part of a now-derelict art deco cinema.

I love the font used on this – it seems more fitting for a balloon shop than an adult shop. Free customer parking seems like a polite touch.

Yellow Roof, Stourbridge, 2022

I've always been struck by the vivid yellow of this building in Stourbridge. It's the main structure of what remains of the Scala Theatre. The unusual yellow roof gets its colour from lichen, which covers the entire surface.

This was a difficult building to photograph as from ground level you can't see the roof in full. I shot this while travelling on the escalator in Tesco, which overlooks the building!

Industrial Unit Bilston, Wolverhampton, 2022

The building in this image is typical of large swathes of industrial buildings in the Black Country – cheap to construct and functional in nature.

This image represents the more minimal vein of my practice and shows the value of timing. For me, the shadow on the small wall behind the safety rails makes the image. If I'd arrived an hour later, it may not have been there.

Cloud Storage, Oldbury, 2023

Not all my images are of derelict or decaying buildings. I took this image of a newly-built warehouse in Oldbury in the same week it had been completed. The concrete was untouched by delivery trucks.

The cloud that we see in the reflection was in the sky behind me. When I reviewed the image, it appeared to me that the cloud was inside the building – hence the title.

PIES, Tipton, 2023

This image is taken in the beer garden of the wonderfully named 'Mad O'Rourke's Pie Factory, which is in Tipton – considered by many as the heart of the Black Country.

The photography is by Tom Hicks.

The post Ten post-industrial structures from the Black Country appeared first on Dezeen.

In this week's comments update, readers are discussing a visitor centre hidden within a 100-year-old Greek vineyard.

Architecture practice K-studio buried the visitor centre in the stepped stone terraces of the vineyard, which is located on the Greek island of Samos. The project, called Liknon, was created for drinks company Metaxa and includes a sequence of display and tasting rooms connected by stone steps and pathways.

"A modernised historic structure with a soul" 

Commenters were in awe of the vineyard project. "Looks like it was always there," wrote MrG. "Fits right in. Love it."

CharlieBing was similarly impressed. For them, the project was both "classy and interesting".

"Refreshing absence of a new, modern, 'look-at-me' winery building," wrote Marius. "Excellent, sensitive execution. The architect's sprezzatura is showing."

Ken Steffes thought it was "a modernised historic structure with a soul. Super!"

Were you also won over by Liknon? Join the discussion ›

"This is like the cupcake salesman criticising bread" 

Sparking fierce debate in the comments section was the news that British designer Thomas Heatherwick has taken aim at the "cult of modernist architecture" in a new BBC radio series. Heatherwick made the comments in a three-part series on BBC Radio 4 called Building Soul with Thomas Heatherwick.

"I think we're living through a global 'blandemic' in building design," Heatherwick told listeners in the second episode, aired on 10 October and titled The Cult of Modernist Architecture.

Commenter BBOB agreed with Heatherwick's critique. "Modernist architecture is a big mistake, and we see it dulling down cities all over the world."

They went on to say "most of my fellow architects don't know how to design a classical building. They only know how to do modernist architecture. The art is almost lost".

However, on the other side of the argument, several readers strongly disputed Heatherwick's critique of Le Corbusier.

"Blaming Le Corbusier is an old hat," argued Andrew Stys. "Post modernists have done it already, forty years ago when the critique might have been relevant".

"I may consider Heatherwick's opinion on Le Corbusier seriously if I see him designing visionary and affordable housing in London," they added.

In a comment that was upvoted 15 times, Joeyrobots wrote "Corb was at least trying to solve social problems. This is like the cupcake salesman criticising bread".

What do you make of Heatherwick's comments? Join the discussion ›

"Just sensational"

Another project which readers fell in love with this week was the Beato Convent Events Centre, an events space housed within a former convent in Lisbon.

"Really lovely," commented JZ. "The design team appropriately took the Hippocratic oath and did no harm in treating their patient."

Chris D thought the project was "beautifully done." They added "it's quite an art to achieve the integration of modern requirements so discreetly".

"Just wow – beautiful work," agreed CharlieBing  "The view of the second floor of the cloister with the herringbone tiles is just sensational."

However, commenter Souji wasn't so sure.

"Overall, this is a very good project, but does no one else find the paving of the cloister weird?" they said. "Like there is something missing? In some places, there are details missing which makes it feel too empty at times."

Are you a fan of Risco's renovation? Join the discussion ›

Comments update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days. 

The post "The architect's sprezzatura is showing" says commenter appeared first on Dezeen.

In this week's comments update, readers are discussing renders of a supertall skyscraper designed by UK studio Zaha Hadid Architects for the Trojena ski resort at Neom in Saudi Arabia.

Designed to stand on top of a mountain overlooking an artificial lake, the crystalline skyscraper, named Discovery Tower, will be 330 metres tall.

"Elegant and monumental, this iconic tower will combine high-end retail, dining and the dream-like experience of living in the clouds," said the developer.

But not all commenters were convinced, with some dubbing it "horrendous" and "a fortress of solitude".

"This should be a crime" 

"It looks horrendous in that beautiful mountain background. As if you need a skyscraper in the empty desert," wrote A from W.

Petros commented "I am having trouble comprehending the environmental impact of building this thing. And I cannot find a single reason that would justify the effort and money to support the logistics."

This sentiment was echoed by steve hassler, who wondered "how this will contribute to degrading the surrounding nature". They added that "this should be a crime".

Nina Bond approved of the design but didn't agree that the structure should actually be constructed. "We saw it, and we love it...chapter closed," they said. "If we experienced it through this photo, it's done. We don't need it built."

Meanwhile, Paul Nathanson commented "I can't argue about practicality or technological virtuosity. However, I don't need to. It's beautiful. Period."

Do you agree? Join the discussion ›

"What a beauty!" 

Beauty was also on the minds of readers discussing Fohlenweg, a house in Berlin that London studio O'Sullivan Skoufogolou Architects created using the walls of an existing bungalow.

The three-storey family home, developed on the edge of Grunewald Forest, features a pale brick exterior divided by a band of limestone.

"What a beauty!" exclaimed dacian.

Scot M agreed: "Beautiful home, beautiful colour palette inside and out."

Tony 365 chimed in to ask "where is the bungalow?" before writing "kidding aside, it's a great-looking building. The woodwork looks fantastic. Brickwork solid."

However, not all readers were totally won over by the design.

"As an object, it is a failure," declared tom roberts. Although, they did acknowledge that "the interior has some moments".

Meanwhile, jb felt that "modernism obliterates the bungalow."

What are your thoughts on this Berlin bungalow extension? Join the discussion ›

"It looks as sickly sweet as a bag of skittles" 

Another skyscraper that got readers talking this week was the Shenzhen Women and Children's Centre transformed by Dutch architecture studio MVRDV.

Aiming to set an example for adaptive reuse in the city, MVRDV retained the majority of the original structure, completed in 1994 and made up of a 100-metre-tall tower.

A colourful gridded facade was added to a skyscraper to create the hotel and centre dedicated to the welfare of women and children, containing a library, auditorium, children's theatre, therapy rooms and staff offices.

"Really fun project," commented Jacob Volanski.

However, other readers were unsure about the bright colour palette.

Don Bronkema felt that "orange, pink and yellow conflict" and suggested: "paint over and delist whoever perpetrated this chromatic crime."

"Aka Jean Nouvel's La Marseillaise facade but with uglier colours," commented MRDRV.

While Whateverandeveramen thought "it looks as sickly sweet as a bag of skittles".

What do you think about the multicoloured facade? Join the discussion ›

Comments Update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days. 

The post "It looks horrendous in that beautiful mountain background" says commenter appeared first on Dezeen.

An "urban farm" rooftop garden, planted terraces and a fish-pond atrium characterise this renovated house in Melbourne, designed by Austin Maynard Architects.

Named Helvetia, the Victorian terrace house located in the inner-city suburb of Fitzroy was renovated with a focus on retaining and reusing materials while providing new spaces for nature.

The studio told Dezeen that "the design of the house responds directly to the client's brief for a 'sanctuary' filled with life and light, their sustainability principles and their love of gardens and fish".

As the property is situated in a dense urban area, Austin Maynard Architects prioritised creating multiple areas of green space for the owners, who are keen gardeners. The renovated site now includes five distinct garden areas.

"Each of the five gardens serves a very different purpose and has a different personality: a water garden as a formal entry, a suspended productive garden, a recreational leafy rear garden, a display garden at the front and a green retreat on the balcony off the main bedroom," said the studio.

At the rear of the site a garage building, which can be fully opened from the garden through to the laneway behind, was topped by an "urban farm" enclosed with a barrel-vaulted wire mesh to keep out possums.

Originally a grand family home in the 1800s, Helvetia has been reconfigured multiple times – first into two separate buildings to function as a boarding house in the late 1960s – and again into apartments in the 1980s.

This left a dwelling that the studio described as "muddled, confused, dark and in a sad state of disrepair".

Issues at the centre of the building, including water damage and mould, meant the studio decided to remove two rooms in the affected area.

This allowed a total reorganisation of the layout, plus the addition of a double-height atrium to maximise natural light.

On the street, there appears to be a double-pitched roof, while in fact, the studio replaced one half of the existing brick wall and roof with an open grate.

"The entry screen was designed to appear solid when viewed from the street and transparent when viewed directly on," the studio explained.

"Steel flat blades were the obvious material for this application."

Accessed via a cobbled passageway, the entrance was moved to the side of the property, which was designed to provide access to the centre of the house.

"Turn right for entertaining and living, left for private bedrooms, or straight up the stairs for the studio, study and main bedroom," the studio described.

A fish tank was built into the cabinetry of the open-plan living, kitchen and dining area, which leads out to a rear garden with a decking area, BBQ and garage.

A sliding door can be used to separate the living area from a space which doubles as a utility room and workshop.

Upstairs, a perforated metal walkway connects a large studio to a primary bedroom, terrace and study.

The first-floor studio is currently used as an additional living and study space, but could be converted into two additional bedrooms in the future.

A number of features from both the original 1880s home and the 1960s extension were recycled and reused, including the front columns, the rear bay window and the first-floor side terrace.

The studio said they aimed to "repair and restore using care and thought over reckless and unnecessary demolition".

"The embedded carbon of the existing terrace was a key consideration from the outset, and there is no floor area that has been added to the house. In fact, the floor area has been reduced by 24 square metres," said the studio.

"In retaining the bricks, concrete and steel at Helvetia, 17.5 tonnes of embedded carbon, equivalent to 321,970 balloons worth of CO2 emissions, were negated."

The house was topped with a three-kilowatt-solar-panel system.

Buried in the back garden is a 3,000-litre water tank, which harvests water from the roof and is used to flush the home's toilets, as well as for garden irrigation.

Other Melbourne-based projects by Austin Maynard Architects recently covered by Dezeen include a six-storey "ethical housing" apartment building and a house clad in terracotta tiles and reclaimed bricks.

Helvetia by Austin Maynard Architects has been longlisted for Dezeen Awards 2023 in the house renovation category.

The photography is by Derek Swalwell.

Project credits:

Architecture: Austin Maynard Architects
Project team: Andrew Maynard, Mark Austin, Ray Dinh
Builder: Weiss Builders
Engineer: Co-Struct
Landscape design: Chin Liew
Building surveyor: 
Code Compliance

The post Austin Maynard Architects adds five gardens to Melbourne terrace house appeared first on Dezeen.

In this week's comments update, readers discussed an underground house in the Netherlands and debated conservation groups' calls to save a 1960s stadium in Ahmedabad, India.

Groups including the Twentieth Century Society and World Monuments Fund made statements following the news that the Sardar Vallabhbhai Patel Stadium, designed by Indian architect Charles Correa, is set to be demolished as part of Ahmedabad's bid to host the 2036 Olympics.

Commenters debated whether or not the stadium should be demolished.

"Icons come, icons go" 

On one side of the argument, Marius wrote "only a few of the best buildings survive long time tests; you can't keep them all".

Whateverandeveramen was unfazed by the idea of the stadium being knocked down, writing "icons come, icons go – even Wembley was demolished".

Commenter dwg was thinking about the bigger picture, stating "what I find really interesting is Western pseudo-intellectual organisations telling other parts of the world what they should do with their own buildings and infrastructure because of the perceived significance".

However, other readers were concerned about the environmental impact. "Demolishing a stadium to build a new stadium for an Olympics that you don't even know if you are going to host is not only wildly optimistic but extremely wasteful," wrote franky four fingers.

They weren't the only readers to side with the conservation groups. "There are many good reasons to save something: cultural, but also a lot of embodied carbon," commented Ronnie Murray.

To save or not to save? Join the discussion ›

"The metal cladding makes it look clinical and institutional"

Commenters were also split in their opinions about a 124-metre-long block of social housing in Paris clad in steel.

Designed by architecture studio Christ & Gantenbein in collaboration with Margot-Duclot Architectes Associes, the linear building is in the city's 15th arrondissement and contains 104 apartments split across five floors.

Think declared the building "rather beautiful", while Whateverandeveramen thought it was "so dreary".

"The metal cladding makes it look clinical and institutional," commented AlfredHitchcock. "It also singles the development out as being something different and not in a good way."

Ken Steffes was in the same boat, commenting that "it may look better in person, but the steel cladding facade on this structure makes it appear very cold and unwelcoming. Grey in a grey environment".

However, Croissant Day thought that Parisian social housing like this "looks ten times better than the luxury condos we build here in Vancouver and sell at $2,000 per square foot".

Dreary or beautiful? Join the discussion ›

"The control of natural light is masterful" 

Readers were delighted by a house that is partially buried underground to blend in with its rural surroundings in Eindhoven.

Appropriately called The House Under the Ground, the Netherlands home was designed by WillemsenU to "enhance the beauty" of its site and act as a retreat for the couple who own it.

Archi was all for it, exclaiming that "the control of the natural light here is masterful. Simple small moves can be dramatic".

Meanwhile, Marius called the project "subtle and gutsy". They continued that they thought it was a "lovely retreat, I want one. Gotta love Dutch".

For Jacob Volanski, the house was "a beautiful work, though I can't imagine what the cost per square foot turned out to be!"

However, commenter james felt that "the bedrooms seem cold (more underwater than underground)".

Are you a fan of the underground house? Join the discussion ›

Comments update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days. 

The post "Icons come, icons go" says commenter appeared first on Dezeen.

In this week's comments update, readers are discussing a concrete multi-generational home in India and debating news that construction has resumed on Jeddah Tower in Saudi Arabia.

Designed by Chicago-based studio Adrian Smith + Gill Gordon Architecture, the Jeddah Tower is planned to reach a height of 1,000 metres, which would make it the world's tallest building.

While the first images of the prospective skyscraper were released in 2011, and ground was broken in 2013, the project has been harried by constant starts and stops.

"Skyscrapers are so 20th-century"

Commenters criticised the design for its excessive size.

Jb dismissed the project, declaring "skyscrapers are so 20th-century". Bloibl commented "I've often said that what we really need to solve some of humanity's looming problems is a skyscraper".

Kasimir thought the design looks like a copy of Frank Lloyd Wright's Mile High Skyscraper, while Marius pondered whether Frank Lloyd Wright would have been "seduced by Saudi Arabia's money or their ability to realize his fantasy?"

"The Saudis seem to be major exponents of the concept of 'mine is bigger than yours'," wrote Alan Smith in a comment that was upvoted seven times. "It exists in inverse proportion to the concepts of less is more," they added.

Meanwhile, Apsco radiales asked "what the rentable area is on the upper floors?" and Steve hassler suggested that "maybe, unbeknownst to the tenants, it's a rocket."

What are your thoughts on the soon-to-be world's tallest skyscraper? Join the discussion ›

"I love it – it's a happy thing" 

Dezeen readers were divided in their opinions about plans for a space museum and experience centre in China designed by Open Architecture.

Named Space Crystals, the building will have a glossy black exterior and a faceted stone-like shape that rises at one end and points toward the ocean.

"I love it – it's a happy thing, looks like it is going to take off at any moment. Ding-ding, 'all-aboard'," wrote Harry Belafonte 3rd.

Chuck Anziulewicz was on the same page, commenting "I think it's fantastic".

However, AlfredHitchcock was more balanced in their assessment, writing "I don't dislike the form and it does look enticing, but it seems that they came up with the shape and then squeezed the programme inside, with resultant awkward spaces around the edges".

Other commenters, like Heywood Floyd, were more cynical about the design, calling it "lazy and weak – the plan is so bad it's offensive".

Fantastic or offensive? Join the discussion ›

"Enlightened by subtle openings"

Another project that got readers talking this week was Up to the Sea, a blocky family home in India made up of a network of cubic concrete volumes and staircases.

Nestled into a grassy site in the coastal town of Dumas, the multi-generational home sits on a stone base and was designed by Matharoo Associates to merge traditional Indian design with modern architecture.

Commenters celebrated the project, calling it magnificent, elegant and atmospheric.

Pa varreon was full of praise: "elegant neo-constructivism, beautiful case printed concrete; the spaces are enlightened by subtle openings. Magnificent house. I want to live there".

"Another great pick! Thanks Dezeen, you are bringing architectural joy," they added.

Prado Sellinder agreed, exclaiming "wow. It's so atmospheric. The textures!" HeywoodFloyd called it "a lot of architecture".

On the other side of the debate, AlfredHitchcock thought that "some of the spaces look interesting", but ultimately, "it's concrete overkill".

Concrete monster or architectural joy? Join the discussion ›

Comments update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date with the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days.

The post "Enlightened by subtle openings" says commenter appeared first on Dezeen.

In this week's comments update, readers are discussing a house in the Hamptons by Diller Scofidio + Renfro with a sloping fibreglass roof and a glass facade.

The home, which was recently photographed by Iwan Baan, was completed in 2017 for Museum of Contemporary Art Detroit founder Julie Taubman and her husband, Robert Taubman.

"A truly stunning creation"

Commenters were overwhelmed by the scale and design of the project.

"The house is a truly stunning creation," wrote Stace A. "But it's also the kind of thing that doesn't welcome use and merely touching anything threatens its pristine-ness".

Walter Astor also had concerns about the longevity of the design. "I wonder if it will age well? Often these 'sculptural' houses do not stand the test of time."

Grinch liked the design but issued a word of warning, writing "fantastic design, but every project like this is emblematic of the fact that the world is going to hell in a handcart".

"Let's save this sort of wonderful exuberance for public projects that we can all enjoy, not just a few over-privileged people," they added.

Fdvz found the project to be an "over-the-top design with zero consideration for the environment".

Aigoual was damning in their assessment: "as if this extravagant, pompous, narcissistic, multimillion-dollar design is in harmony with its surroundings! This is just another example of what Eastern Long Island has become: a showcase haven for the one per cent who don't know what to do with their $$$."

What do you think of this unusual house? Join the discussion ›

"Long time coming and happy to see it finally arrive"

Commenters were more positive about a translucent-marble-clad box at New York's World Trade Center site. Located alongside One World Trade Center in downtown Manhattan, the Perelman Performing Arts Center by architecture studio Rex comprises a cubic structure with thin marble cladding.

Alex Kustow said they were "so excited by this and impressed with the wonderful result of such an exceptional series of challenges. I live in New York and can't wait to visit."

DWG was in the same boat saying: "I love the look of this. The entrance looks stunning!"

"I work around there in the daytime," commented Cordcutter. "It looks bland, but I've been leaving work around dusk and at nighttime it looks beautiful. Long time coming and happy to see it finally arrive."

Several readers celebrated the studio's choice of materials. "I was doubtful when I saw the renderings and glad I was wrong," wrote Kem Roolhaas. "Happy to finally see a building with marble backlit like that on the facade."

One of the few commenters unconvinced was JB, who wrote "surely respect for the memorial could have been achieved without creating a mausoleum? This is a joyless and indeed mournful edifice totally at odds with its contents."

Joyless or beautiful? Join the discussion ›

"People are going to die because someone wants to build an indoor mall in the desert"

Also on commenters' radars this week was an opinion piece by Dana Cuff in response to the recent documentary about The Line mega-project in Saudi Arabia.

Commenter's responded to Cuff's assessment that the documentary might be "architecture's kiss of death".

Kasimir reckoned that "Neom will make it into the history books as the death of 20th-century architecture," but they argued that "it doesn't mean architecture is dying, but architecture is transforming into something new".

Other readers echoed Cuff's concerns: "the women's voices are heard for just under two and a half minutes of the entire video," posited Tiger Lou. "This suggests the type of society one should expect from such a megalomaniacal project!"

On the other side of the debate Rob Rohena wrote "believe it or not, architects have very little leverage in their clients' ethics".

Zea Newland tried to put things back into perspective, writing "people are going to die because someone wants to build an indoor mall in the desert at all costs".

"Having a backbone used to be considered a strength. Now, it's seen as weak and annoying. Why?" they asked.

What do you make of Dana Cuff's argument? Join the discussion ›

Comments update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days.

The post "I wonder if it will age well" asks commenter appeared first on Dezeen.

In this week's comments update, readers are discussing the Štvanice Footbridge in Prague, which was designed as a "sculpture in the city".

Architects Petr Tej and Marek Blank worked with engineer Jan Mourek to create this minimalist bridge across the River Vitava in Prague, which was designed to resemble marble.

"A manifesto of modernity" 

Readers praised the minimalist design in the comments section, calling it "zen", "refreshing" and "simple".

"Zen and sober, a manifesto of modernity in a city famous for its Baroque architecture," wrote Pa Varreon.

Ajay Shah also celebrated the design, commenting "it is so refreshing to see a design that is so simple and clear in thought".

"Elegant simplicity best sums this beautiful bridge up," wrote orlandoa1, while Jan thought it was "nice to see a new bridge from which motor vehicles are excluded".

However, the design was overly simplistic for commenter M, who described the bridge as "sterile and dead."

Simple or sterile? Join the discussion ›

"Tried a couple of times to like this one, but can't"

Also on commenters' radars this week was the Ascentage Pharmaceutical Headquarters with patterned facades informed by Benzene rings.

New York studio OLI Architecture used parametric technology to design the decorative facades of this office complex in Suzhou for biotechnology company Ascentage Pharma.

The Ascentage Pharmaceutical Headquarters is spread across seven district buildings with facades informed by benzene – a molecule composed of six carbon atoms in a ring.

Gytis Bickus praised the design, exclaiming that it is "exactly what a pharmaceutical corp HQ should look like!"

Prado Sellinder was on the same page, stating "the facade reminds me of chemical bonds – looks great".

"A stunning series of buildings!" commented Mikee. However, they went on to question the concept, adding "Benzene is an odd reference though – it's highly carcinogenic".

On the other side of the debate, HeywoodFloyd commented that they "tried a couple of times to like this one, but can't," and Don Brokema shared the same sentiment, calling the project "butt-ugly".

Butt-ugly or Benzene beautiful? Join the discussion ›

"Is this the best a group of billionaires can come up with?"

Commenters reacted to a controversial concept for a new city in California unveiled by a group of Silicon Valley Investors named Flannery Associates.

The plan to transform over 50,000 acres of farmland into a city in Solano County has sparked widespread criticism from locals over Flannery Associates's quiet buying up of farmland.

In a collection of colourful illustrations, the city is depicted as a series of walkable neighbourhoods that the group said will offer "a chance for a new community".

"This project bears zero resemblance to any urban planning style whatsoever," wrote Steve C.

Several readers commented on the illustrations, with Menzo stating "those illustrations scream AI". Amber agreed and wrote, "these are not 'illustrations', but AI-generated images".

"The graphics style is the same as those wonderful British railways marketing posters from the 1930s. Is nothing sacred, or original anymore?" asked AlfredHitchcock in a comment that was upvoted five times.

"It's really quite pathetic how little imagination and original thought has gone into this, but quite typical of the world these days," they added.

Ming Cheng was more balanced in their assessment, arguing "it is admirable of our US friends to promote sustainable developments, putting cycling, walking and mixed-use development without cars at the forefront".

They continued by questioning if "this the best a group of billionaires can come up with? Instead of creating a new city, why not use their wealth, power and political influence to solve the problems currently facing existing cities?"

Do you agree? Join the discussion ›

Comments update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days.  

The post "A manifesto of modernity in a Baroque city" says commenter appeared first on Dezeen.

Ahmedabad-based Andblack Design Studio has created a demountable events space in India, named Darwin Bucky, which was informed by the work of American architect Buckminster Fuller.

The space was designed by Andblack Design Studio to be used as an exhibition gallery, town hall or performance space for up to 100 people.

Intended to be easily assembled and dismantled in a few days, the structure comes as a prefabricated kit that can be flat-packed and transported to various locations.

Before designing the structure, the studio considered whether they would want a building they created to remain in situ for hundreds of years. Instead, they settled on the idea of creating something "permanently impermanent".

"[Darwin Bucky] "is a prefabricated parametric exoskeleton that challenges the intrinsic immobility of conventional architecture," Andblack Design Studio told Dezeen.

"It's a modular, lightweight standalone structure that is 'easy-to-plug-in' at any location with minimal site impact".

Made from steel along with aluminium, wood and glass, the faceted, dome-shaped structure was designed to be reutilised and recycled.

"The metal structure used in Bucky is fully recyclable, offering a sustainable avenue for its components," said Andblack Design Studio architect Adity Rawat. "Damaged panels, scrap metals, and excess material can be efficiently recycled to create new metal products," Rawat continued.

"It can be dismantled without a trace, leaving no lasting environmental footprint."

The structure does not require a plinth base and can be assembled on any flat surface, including in remote locations.

"Bucky's structural specifications render it suitable for diverse environments such as mountains and deserts," Rawat said.

"In regions lacking proper road networks, panels can be airlifted or transported in smaller vehicles to remote areas and subsequently assembled".

"It's ideal for locations where road access is difficult, project timelines are short, or excavation is undesirable," Rawat went on.

Darwin Bucky has an open floorplan of 116 metres squared and can be adapted to multiple sizes and configurations depending on its desired use.

"It has an integrated lighting, display and sound system that can connect to an external power source," Andblack Design Studio said.

Computer algorithms were utilised in the design of the 520-metre-cubed dome, which according to the studio uses half of the materials needed for a conventional, permanent structure of a similar size.

Lightweight modular panels were made from one-millimetre-thick pieces of insulated metal bolted together in a geometrical pattern.

"The inspiration for Darwin Bucky was drawn from Buckminster Fuller's geodesic exoskeletal architecture principles," the studio said.

"While not strictly a Geodesic structure, but rather a parametric one, Bucky adheres to the concept of triangulation to optimize material strength," they continued.

The ridges of the facade were designed for load distribution, electrical conduits and ambient lighting, while the joinery acts as waterproofing.

The doorway was located at the highest point of the ridge, whilst windows were placed in the lower half to provide air circulation.

Other mobile architecture projects recently covered by Dezeen include an all-in-one ramen restaurant in a food cart and a low-carbon micro home clad with corrugated hemp panels.

The photography is by Edmund Sumner and Vinay Panjwani.

Project credits:
Architecture firm: Andblack Design Studio
Lead architect: Jwalant Mahadevwala
Client: Abhay Mangaldas
Structural consultant: Schafbock design + workshop
Lighting and interior design: Abhay Mangaldas

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Architecture practice Studio Bark has collaborated with artist Michael Pinsky to create the wooden Making A Stand installation, which aims to explore material life cycles and "stand in solidarity with climate protestors".

Comprised of 127 six-metre-tall vertical wooden fins, the temporary installation was arranged in a grid around Leeds City Square's existing trees, street furniture and sculptures.

Making A Stand aims to encourage conversations around material life cycles and highlight the need for the construction industry to replace carbon-intensive materials, such as concrete and steel, with materials like timber.

The installation, which the studio described as a "sculptural forest", was made from Douglas fir timber, a type of wood commonly used in construction, which was taken from the UK forestry supply chain at a point between felling and stacking.

It is set to be repurposed when the installation is deconstructed at the end of the year.

"Each Douglas fir fin can even be traced back to the precise stump in the forest using a unique code, which will enable us to track the journey of its lifecycle for many years to come," Studio Bark director Wilf Meynell told Dezeen.

"The fins work together with a webbed canopy of steel wire ropes and steel struts to ensure minimal damage to the wood so that it can be repurposed at the end of the year," Meynell explained.

"These fins are not supported at the base but instead rely on an intricate network of tension wires and compression rods positioned at the tree canopy level," Pinsky told Dezeen.

"The canopy is made from five six-metre Douglas fir trusses with a lightweight polycarbonate roof. We plan to follow these materials into their future life, so we can measure the true impact of Making A Stand over its lifecycle," said Meynell.

The stark contrast between the natural and the man-made is highlighted through the visibility of both the rough texture of the bark and the cut edge of sawn timber on each of the wooden fins.

"Making A Stand sees the natural world and the urban realm collide, linked through the supply chain that connects one to the other," Meynell said.

"Leeds was [originally] a small fortified settlement within the ancient forest of Leodis," he added. "The river and timber were the two main resources that decided the settlement."

"Today, with the burgeoning of global supply chains, we have lost touch with where our materials and products come from," Meynell continued.

The installation also acts as a physical structure for pedestrians to interact with and a symbol of solidarity with climate change protestors.

"Making A Stand offers pedestrians a quiet place to pause, shelter and sit," said Meynell.

"We hope that some may take this time to contemplate the accelerating complexity of global supply chains, their impact on the natural environment and the role trees and forests have to play in replacing atmospheric carbon," he added.

"Beyond the pure physical presence in the square, we wanted to create an installation that would 'stand' in solidarity with climate protestors around the world, who are facing increasing state repression."

Other recent projects by Studio Bark featured on Dezeen include an accessible wooden house on a farmstead in Hampshire and a home extension in Essex built using a flat-pack U-build system.

The photography is by Ellen Christina Hancock and Tom Joy.

Making A Stand is on display from 15 June 2023 to January 2024 in Leeds City Square as part of Leeds 2023 Year of Culture. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world. 

Project credits:

Co-creators: Studio Bark and Michael Pinsky

Commissioners: Leeds 2023

Timber: Whitney Sawmills

Fabrication: Stage One Creative Services Ltd

Engineering support: Structure Workshop Ltd (concept) and Allt Environmental (fabrication)

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Designer Alice Potts has created a collection of baseball caps covered in crystals grown from the sweat of the people who have worn them.

Potts asked a group of eight people, all with different backgrounds and lifestyles, to wear the baseball caps for a six-week period as they went about their everyday lives for her INPerspire project.

"Sweat covers us in a similar way to clothing – like a second skin," the designer told Dezeen.

The people chosen for the experiment ranged from ones with office jobs to people who were into rave culture, people with a vegan lifestyle and people who work in sport.

The crystallisation process began when the individual's sweat soaked into the cap's fibres.

After being worn for six weeks, the caps were then placed in salt a solution to let the sweat crystallise over a 10-hour period.

"The caps are already saturated with each individual's sweat to act like a seed within the fibres, meaning that when placed into the solution it acts like a jigsaw growing from within the material," Potts said.

"For each litre [of sweat], you can get between 10-50 grams of saturated salt solution," she added.

The crystals will gradually fall off but can remain "for years".

"Sweat crystals naturally adhere to the material they are grown on, but over time, they will gradually fall off due to their adhesion weakening," said Potts.

"The lifespan of sweat crystals can extend for years depending on how they are maintained."

During the process, Potts observed that there were trends in the types of sweat crystals produced depending on the individual and lifestyle factors of the group.

"Every person has different sweat based on a multitude of factors, which can be further analysed using chromatography to identify their precise biological makeup," said Potts.

"One notable visual distinction between men and women lies in the structure of their sweat crystals. Females tend to exhibit sharply pointed crysals, while males typically produce flatter peaks," she explained.

Through the project, Potts intended to highlight the possibilities of sustainable design methods and biomaterials, exploring the ways in which art pieces can be incorporated into fashion.

"I'd always wanted to create something with wearable sweat crystals, transforming my artwork into fashion pieces," Potts said.

"By examining individuals who engage in sports, follow vegan diets, lead active office lifestyles and immerse themselves in rave culture, the collection challenges conventional notions of sweat and its representation in fashion."

Potts has a history of experimenting with developing biomaterials and has previously created collections using sweat and tears, as well as bioplastic face shields made from food waste.

Other biomaterial fashion stories recently featured on Dezeen include Stella McCartney's jumpsuit made with iridescent BioSequins and a biomaterial fabric made from bacterial fermentation.

The photography is by James Stopforth.

INPerspire is on view at the Vancouver Art Gallery in Canada from May 27 to October 9 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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New York-based artist Sarah Sze has created a large-scale art installation in a vaulted space above Peckham Rye station that had been boarded up for the last 50 years.

Once a large Victorian waiting room, the space was closed to the public in 1962, with Sze's installation one of the first times it has been used in more than half a century.

Named Metronome, the artwork comprises an illuminated sphere-shaped piece that hangs at the centre of the installation, surrounded by a scaffolding-like structure of thin steel rods.

Within the metal framework, a series of flickering images are projected onto a collage of torn white paper. Cast from 42 video projectors, the fragmented footage shows various scenes, including a coin trick, a glacier melting, a volcano erupting and a bird murmuration.

Behind the central piece, white wire designed to look like "overgrown branches" surrounds a wooden desk, while revolving projectors loop images around the walls and ceiling of the waiting room.

Sound recordings of trains and a ticking clock are played alongside the moving images.

The Waiting Room installation builds upon an ongoing series of works that Sze refers to as Timekeepers. This is intended to explore how we experience space and time in the context of today's technology and the centrality of images to our everyday lives.

"We are in the middle of an extreme hurricane where we are learning to speak through images at an exponential pace," the artist said.

Designed by architect Charles Driver, Peckham Rye station in south London was first opened in 1865. In 1922, its waiting room was repurposed as a billiard room before being closed four decades later.

The recent refurbishment of the old waiting room is part of the wider ongoing regeneration of Peckham Rye station and the area surrounding it.

Other art installations that make use of public or closed-off spaces include an exhibition in a derelict São Paulo building and an installation in Melbourne's Flinders Street Station with a focus on its industrial past.

The photography is by Thierry Bal.

Sarah Sze: The Waiting Room takes place from 19 May to 17 September 2023 at The Old Waiting Room, Peckham Rye Station, London, SE15 4RX. For more events, exhibitions and talks in architecture and design visit Dezeen Events Guide.

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Japanese design studio Nendo and New York-based artist Daniel Arsham have collaborated on an exhibition for Milan design week 2023 that sees objects purposefully broken to create new functions.

Titled Break to Make, the exhibition, supported by the Friedman Benda art gallery, intended to highlight that destruction is not strictly negative and can be used to create new designs.

The creative process involves Nendo designing and making objects with no specific functionality, which Arsham consequently breaks and transforms to make something new and useful.

"From a bathtub-like form, a loveseat emerged; from a long and narrow block, a bench or a stool; from a tall, square form, a console table was revealed," explained Nendo founder Oki Sato.

Sato told Dezeen that the project was "inspired by Daniel's longstanding theme of 'fictional archaeology' – the concept of partially destroying contemporary everyday objects and making them feel as if they were unearthed from the past".

"An artist who expresses present objects as past artifacts, and a designer who makes present objects that anticipate the future. The collaboration may be seen as an overlay of these two contrary perspectives," said Nendo.

According to Arsham, "everything that exists today will become a relic, yet when we think about decay or deconstruction, there is a sense that is not beautiful or useful".

"Through this collaboration, we focussed on creating functionality out of what is broken," Arsham added.

On display at the Nendo Milan office, the collection consists of prototypes made from styrofoam.

"We used styrofoam to create prototypes as it allowed for freedom to explore the act of breaking," Arsham explained.

Sato said that prototypes would later be moulded with plaster and have a coating applied to protect and strengthen the pieces.

When asked about the materials used and the potential waste generated in the process, Sato said styrofoam is widely recyclable in Japan.

"In Japan, Styrofoam is one of the materials that [is] recycled at dedicated facilities with a high recovery rate, similar to PET bottles and corrugated cardboard".

The exhibition was held at the Nendo Milan office rather than another venue in the city.

"Using a dedicated exhibition space allowed us to present the objects in dialogue with each other, but also showcase the creative process and tools that brought this collaboration to life," explained Sato.

The photography is courtesy of Nendo.

The projects were on show from 18 to 23 April at the Nendo Milan office as part of Milan design week. See our Milan design week 2023 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks that took place throughout the week.

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A ceramic mural by Álvaro Siza is at the heart of this rustic restaurant interior in Porto, Portugal, designed by Space Copenhagen.

Located in a renovated 16th-century building in Porto's Largo de São Domingos area, the Cozinha das Flores restaurant features a mural designed by the Pritzker Architecture Prize-winning Portuguese architect.

"Whilst Siza has created many pieces of non-architectural works worldwide, he had never created something of this kind for his hometown of Porto," Space Copenhagen founders Peter Bundgaard Rützou and Signe Bindslev Henriksen told Dezeen.

"Given Siza's prominence and contribution to Porto life, having him manifest this into a mural depicting his perception of the city was beyond our expectations."

Sketches of figures playing musical instruments stand out in black against contrasting green and burnt orange tiles, which were completed by ceramic tile company Viuva Lamego.

"When asked to imagine a piece for Cozinha das Flores, he [Siza] depicted the recurrent theme of musicians, representing time well spent; fun, relaxed moments; a medley of emotions; and people joined by arts and culture," said the studio.

"The specialist craftspeople used a traditional technique of hand painting the scaled-up facsimile of a sketched image from paper onto the tiles, painted dot by dot."

The green and orange hues of the tiles appear elsewhere in the interior. Green cushions top the built-in oak seating bench that runs along the wall below the mural, while doorways were painted dark green.

The colour palette was unified with coppery plastered walls and warm lighting.

"We introduced plastered walls in earthy warm tones and a conscious use of light to enhance and saturate," the studio explained.

Natural materials like stone, marble, brass and oak were used throughout the interior. The seating was arranged around an open kitchen, which has dark grey quartzite stone surfaces and wooden cabinets.

Under the direction of Lisbon-born chef Nuno Mendes, the restaurant aims to celebrate the ingredients, wine and culture of northern Portugal.

The warm, earthy hues chosen by Space Copenhagen were informed by the restaurant's food, as well as the building and area in which it is located.

"The historical building structure that frames the restaurant and bar provided the base palette, which we have built upon," said Space Copenhagen.

"Aged stone and dark-stained wood were our existing starting points. All elements are associated with the city of Porto", it added.

Throughout the project, the studio prioritised regional materials and collaborated with a variety of local architects, artists and craftspeople. Woodworkers from northern Portugal crafted the dark wood furnishings and fittings.

"All stone, wood, metal and tiling has been sourced from regions in Portugal using a proximity criterion as priority," said the studio. "All the millwork has been made by local artisans."

Cozinha das Flores, and its adjacent 12-seater bar, Flôr, are amongst five heritage buildings that make up the Largo project, set to open later this year.

Other local projects by Siza include his 1963 Boa Nova Tea House, which was transformed into a seafood restaurant for Portuguese chef Rui Paula in 2014.

Previous projects by Space Copenhagen include the renovation of the Mammertsberg restaurant and hotel in Switzerland and the Blueness restaurant in Antwerp.

The photography is by Luís Moreira and Matilde Cunha.

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Dutch studio Shift Architecture Urbanism has created playful interiors with cupboard bedrooms for the Domūs Houthaven residential complex in Amsterdam.

The complex, which contains 235 compact rental apartments, was created to provide high-density living, utilising space and materials effectively.

Each apartment contains a bedroom cupboard with built-in shelves and under-bed drawers. The sleeping cupboard can be closed off from the living space with perforated steel folding doors.

"Close the doors and your whole apartment becomes your living room; open them at night and you have a huge bedroom," Shift Architecture Urbanism partner Oana Rades told Dezeen.

Designed by Shift Architecture Urbanism, individual apartments range in size from 43 to 60 square metres, with colour-blocked modular units arranged according to the building's floor plan.

At the heart of every apartment is a "smart-living core" – a central cell comprising a kitchen, box bedroom, bathroom and storage space. By incorporating floor-to-ceiling storage, the studio maximised the space.

Blom Interieurs oversaw production and assembly of the "smart-living core" modules and the fixed furniture in the common areas.

The bedroom cupboard doors were the most challenging aspect, the studio told Dezeen. "For such daily intensive use, the doors had to be sturdy and robust and at the same time easy to operate. Our solution was steel."

The steel doors, pale laminate floors, untreated concrete ceilings and white walls were designed to contrast with the brightly coloured furnishings and modular units.

As well as their individual apartments, residents have access to shared co-working, living, cooking, utility and garden spaces. Shift Architecture Urbanism designed the communal spaces to encourage interaction between residents and "prevent loneliness".

"The communal spaces are designed to feel homely, as an extension of one's own private apartment," said Rades.

Built-in furniture features throughout the multifunctional living area, including a wood-lined seating area that doubles as a bookcase.

Separating the living and the co-working spaces is a small kitchen unit lined in pastel-green ceramic tiles. A large television sits in a wooden cabinet that acts as a room partition while also providing further storage and open shelving.

"Four large pieces of furniture act as room dividers, differentiating the large open space into smaller ones that feel intimate," Rades explained.

Throughout the project, the studio aimed to use a variety of colours, patterns and materials. Doors and window frames in pastel tones match the curtains in each of the apartments, while recessed window ledges provide informal seating areas.

"[We used] a rich complementing material palette with contrasting tactile and graphic appearance," said Rades.

"The material palette is very diverse: from bamboo and wood veneer to corrugated steel plates to ceramic tiles and terrazzo." 

A pavilion on the roof contains a communal kitchen that functions as a cooking studio, with a central island clad in turquoise tiles and a contrasting long red dining table.

A speckled grey seating ledge runs below the wraparound glazing, which provides views of the surrounding area and skyline beyond.

Other recent projects by Shift Architecture Urbanism include an adaptation of a historic Dutch monastery for ageing residents and the renovation of a derelict four-storey home in Rotterdam, replacing brickwork with glazing to create two light-filled apartments.

Project credits:

Client:Synchroon Developers
Architect: Shift Architecture Urbanism
Project team: Oana Rades, Thijs van Bijsterveldt, Harm Timmermans, Marinda Verschoor, Philip de Klerk, Martina Drys, Elise Osterloo, Paul Voorbergen
Landscape design: Flux Landscape Architecture
Contractor: Van Wijnen Haarlemmermeer
Contractor Interior: Blom Interieurs
Structural engineers: ABT and Vericon
MEP and acoustic: ABT
Construction drawings: LMV Bouwkundig Adviesbureau
Branding: Staat Amsterdam
Various interior pieces: Studio Michael Schoner, Studio Earnestly, Odd Matter
Owner: CBRE Global Investors
Operator: To Be At
Photography: René de Wit and Pim Top

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LA-based travel photographer Marianna Jamadi has collaborated with Mexico City-based ceramic practice Menat Studio to create a collection of commemorative urns.

Jamadi wanted the urns to be objects that could fit seamlessly within the modern home after she struggled to find suitable urns for her parents' ashes.

"I noticed a gap in urns that were thoughtfully designed and could be integrated into the home in ways that brought joy, peace and solace," Jamadi told Dezeen.

The name Kunokaiku combines Kuno, the Indonesian word for ancient, and Kaiku, the Finnish word for echo, in honour of Jamadi's parents.

Jamadi designed the urns to be bespoke, handmade pieces, in contrast to standard mortuary-bought urns that may look misplaced in the contemporary home.

The urns come in three different sizes and can be used as a candle holder, a stackable vase, a sculpture and a box.

"We developed three sizes with the idea that people house ashes differently and may want to split them among loved ones," Jamadi explained.

"While they were designed as urns, these can be used as vessels to house objects if you don't have ashes but want to keep things like jewellery and artefacts of someone you miss" she continued.

As a travel photographer, Jamadi witnessed the grieving processes of different cultures, such as the burning ghats of Varanasi, India, and the cremation parades and ceremonies in Bali.

Drawing upon these experiences, she aimed to develop a product that would similarly elicit "remembering through ritual".

"I hope to aid in the grief process by creating tangible objects that you can interact with, thus keeping connection alive with those that are missed," she explained.

Each stoneware urn was hand-crafted in the Menat Studio workshop in Mexico City using locally sourced raw materials.

Informed by the natural world, a custom matte glaze was used to achieve the desired colour and texture.

The urns were made of high-temperature ceramics fired at over 1,000 degrees Celcius. The production process involves hand pouring, sanding and glazing, which takes between two and three months, depending on the size of the piece.

Jamadi has plans to team up with a variety of artists to create special edition urns. She will launch her first limited-edition collection in collaboration with LA-based artist Raina Lee on 6 March.

According to Jamadi, Lee was the first person that came to mind for collaboration due to Lee's "play on glazes, textures, and colours".

Other urns recently featured on Dezeen include Claesson Koivisto Rune's biodegradable burial urn made from wool and RCA students' underwater urns that double as oyster reefs.

The photography is by Marianna Jamadi.

The post Kunokaiku urns designed to allow "remembering through ritual" appeared first on Dezeen.

Architecture studio MarshKeene has refurbished and extended an end-of-terrace Victorian townhouse in Nunhead, south London, with a unifying brick plinth wall.

The studio resolved the original building's disconnected, multi-level layout by excavating the site to create a single-level, semi-submerged rear extension that contains the kitchen and dining area.

"We partially submerged the extension into the garden to allow its floor to align with the existing living room," explained MarshKeene.

"In doing so, we unified the house across one level, transforming the ease with which you move through the house and ensuring generous ceiling heights."

Named Plinth House, the home features a brickwork plinth wall designed to create continuity between internal and external space and overcome the challenges posed by the site's sloping topography.

The plinth wall surrounding the property is made from pale buff brick and mortar. It functions as a retaining wall while providing an in-built seating area.

Inside, a 2.5 metre-high door connects the hallway to the original living area and the extension beyond.

MarshKeene designed the door to slide away into a recess in the wall, allowing the space to be opened and divided as required.

The kitchen and dining area has a poured concrete floor, bespoke joinery and white walls, which contrast the dark kitchen units.

The studio used natural materials and simple interior finishes throughout the property.

Folding glass doors with green frames connect the space to a sunken terrace and the garden beyond. A second set of glass doors and a picture window provide further views and access to the garden.

As Plinth House sits on a triangular plot of land, MarshKeene told Dezeen that the design was intended to "engage the extension with the garden in multiple directions".

The studio added a zinc-clad loft extension with standing seams that continue the vertical lines of the ground-floor extension's wooden cladding.

It contains a bathroom, bedroom, and study that has a large single-pane window with views over the surrounding area.

"The design of the rear and loft extension is all about capitalising on the unusual dual aspect nature of the house, framing unexpected views from both the house and garden," explained the London and Hampshire-based studio.

Other house extensions recently featured on Dezeen include Studio Hallett Ike's dark brick extension to a London flat and Yellow Cloud Studio's extension featuring an internal courtyard.

The photography is by Lorenzo Zandri.

The post MarshKeene submerges London house extension to create single-level home appeared first on Dezeen.