Asia-based studio Linehouse has refurbished the CentralWorld shopping centre in Bangkok, Thailand, introducing a double-layered facade punctured by arches.

According to Linehouse, the revamped facade and seven floors of retail space depart from typical shopping centres by drawing from the history of the site and creating opportunities for "peace in the chaos".

"The design conceptually explores contradictions between the chaotic and peaceful nature of Bangkok, offering a moment of respite in a dense urban district," the studio told Dezeen.

"Located in an area once abundant in lily pads, we examined the stemming, radiating and circular profile of the lily pads, translating this into a spatial narrative to the exterior and interior condition," it continued.

Linehouse used CentralWorld's existing structure as an underlay for its design. The updated facades are formed of concrete arches applied over the original elevation to frame views of the inside.

"The existing perimeter skin of the facade was treated as black render and a secondary skin in concrete formwork was applied to break the regular rhythm of the column structure," Linehouse explained.

Openings are carved behind several of the external arches to host terraces and add visual porosity to the shopping centre.

"We punctured a series of terraces offering exterior gardens for the food and beverage floors, providing a depth to an otherwise flat elevation and blurring the exterior-interior condition," the studio said.

Internally, a central atrium rises between the retail floors, shifting as it ascends to create a network of overlapping ceiling planes.

To support the shifting planes, Linehouse treated existing structural columns with radiating white fins that branch out to form distinctive canopies.

"Upon entering the interior, one is transported to space full of light and volume, offering a meditative journey away from the intensity of the surrounding streets," the studio said.

"As one ascends the interior atrium, the ceiling plane treatment shifts in materiality, beginning with tectonic green metal grids, evolving to natural and tactile textures, timber trellis and woven cane ceilings."

A food hall occupies the shopping centre's fourth floor and was configured to overlook the neighbouring park from the rounded facade opening.

Understated, neutral materials such as timber and stone line the interior to help create a calm atmosphere.

Linehouse is a Hong Kong and Shanghai-based architecture and interior design studio established in 2013 by Alex Mok and Briar Hickling. The duo won the emerging interior designer of the year category at the 2019 Dezeen Awards.

The studio has also recently designed the interiors for a Hong Kong residence that respond to coastal views and a Shanghai restaurant with arched details informed by the New Wave art movement.

The photography is by Jonathan Leijonhufvud and Depth of Field.

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In this lookbook, we feature nine residential projects that demonstrate unique ways of interacting with a site's history by weaving existing ruins into their designs.

Until recently, it has been common practice to hide away old structures during adaptive reuse projects.

However, the architects in this list embrace the past by stitching domestic spaces with the remains of former buildings, creating inventive encounters with preserved architectural remains.

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration see previous lookbooks featuring clever outbuilding interiors, homes with mid-century modern furniture and residential spaces with playful net floors.

Nickzy Apartment, Hungary, by Béres Architects

Carefully preserved stone walls are featured in this Hungarian guesthouse renovation by local studio Béres Architects.

20th-century plaster finishes have been stripped back to expose the 400-year-old apartment's original stonework, reestablishing its visual prominence against modern white-rendered walls.

Find out more about Nickzy Apartment ›

El Priorato, Spain, by Atienza Maure Arquitectos

The interiors of this 16th-century Spanish clergy house were restored by Atienza Maure Arquitectos to create ambiguity between the existing structure and new interventions.

Concrete vaults, white-painted walls and limited fixtures sit alongside heritage-protected arches to create minimal differentiation between the materials and spaces.

Find out more about El Priorato ›

Mediona 13, Spain, by Nua Arquitectures

In the historic centre of Tarragona, Spain, Nua Arquitectures reinforced this home's crumbling stone and timber structure with brightly coloured steel supporting elements.

According to the studio, the steel insertions add another layer to the home's visible "memory" and draw attention to the historic building fabric.

Find out more about Mediona 13 ›

Croft Lodge Studio, West Midlands, by David Connor Design and Kate Darby Architects

David Connor Design and Kate Darby Architects enclosed the decaying remains of a 300-year-old building under a steel-framed shell in England's West Midlands area.

The bold new studio maintains every aspect of the heritage-listed structure within the internal living spaces, including the rotting timber, dead ivy and old birds' nests.

Find out more about The Parchment Works ›

Cascina, Italy, by Jonathan Tuckey Design

For this farmstead restoration in Italy, British studio Jonathan Tuckey Design prioritised returning the 19th-century buildings to their original state with minimal alterations.

The existing beams and trusses of the distinctive barn roof had lost their structural integrity, leading the studio to layer a new roof atop the timber without disrupting the internal aesthetic.

Find out more about Cascina ›

Ardoch House, Scotland, by Moxon Architects

Moxon Architects expressed eye-catching details of 19th-century ruins within this outbuilding refurbishment in the Scottish Highlands.

Alongside new finishes of uniform clay plaster, pieces of the crumbling masonry were preserved within the guesthouse's renovated walls and doorways as subtle connections to the earlier building.

Find out more about Ardoch House ›

The Parchment Works, Northamptonshire, by Will Gamble Architects

The remains of a 17th-century parchment paper factory and cattle shed were brought into focus within this residential extension by Will Gamble Architects.

New interventions were intended to be discreet, exposing original structural elements internally, while configuring glazing to look out onto uncovered ruins from the ground floor.

Find out more about The Parchment Works ›

Redhill Barn, Devon, by TYPE

This 200-year-old English barn was in a state of disrepair before TYPE restored it into a modern family home.

Aiming to distinguish between old and new, the studio lined contemporary wall finishes and wood panelling against remnant stone walls, while using existing columns to dictate the house's layout.

Find out more about Redhill Barn ›

Cuddymoss, Scotland, by Ann Nisbet Studio

Scottish architecture practice Ann Nisbet Studio inserted a timber-framed home into a stone ruin in Scotland and defined new living spaces within the surviving forms.

To encourage layered encounters of the site, views of the landscape were also aligned with existing window apertures from the bedrooms.

Find out more about Cuddymoss ›

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration see previous lookbooks featuring homes with net floors, mid-century modern furniture and perforated brick walls. 

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British studio Tikari Works has completed an outbuilding for a south London residence that is framed by a latticed timber roof structure and configured to weave around a Lebanese cedar tree.

Tikari Works crafted the project, named A Room Around a Tree, to have a minimal impact on the woodland setting while accommodating a versatile internal space and adjoining terrace for the client's family.

"The core concept of the design is to celebrate the mature cedar tree that is the focal point of the garden whilst creating a flexible space for our client's growing family," Tikari Works director Ty Tikari told Dezeen.

"The timber beams are extra deep and stained black to create a meditative internal atmosphere and bring the verdant greens of the garden to the foreground," he continued.

Intending to create a dialogue with the landscape, the edge of the building was wrapped around surrounding tree branches and partially bounded by transparent structural glazing.

"The curved form of the project allows the building to engage with the language of the garden as the building edge weaves between the natural features on the site," Tikari explained.

"Internally, this creates a sense of compression and expansion that is used to organise the building functions without the need for physical boundaries."

According to the studio, A Room Around a Tree was built using light-handed construction techniques to safeguard the vegetation, including a low-impact "floating" ring beam and mini-pile foundation system.

"The primary driver for the layout of the project was to ensure that the building maintained a minimum distance of two metres to all trees on the site, ensuring that the health of the trees would be undisturbed," Tikari explained.

"This restriction combined with the program and movement around the site helped to create the parti of the project, which in turn informed the structural strategy for touching the ground lightly."

Internally, the studio integrated custom joinery, including an oak kitchenette, cast-concrete sink and mobile storage unit to encourage future flexibility.

"The everyday aspects of the pavilion – the kitchen, bathroom and storage units – are placed within sculptural forms, enriching their prosaic nature with a more soulful quality," Tikari said.

"Readily available, off-the-shelf materials, such as corrugated cladding, blockwork and stained timber helped keep the project on budget, whilst the bespoke detailing of these materials enrich their tactile nature and express our joy in making."

London-based Tikari Works was established in 2015 by Nicola and Ty Tikari.

The studio has previously completed a block of apartments in Peckham covered in rust-red tiles and a partially subterranean timber-screened home in south London previously occupied by a garage.

The photography is by Dan Glasser.

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British studio Coffey Architects has completed Cobham Bowers, a later-living housing community in Surrey designed to create "a seamless blend between personal and communal living".

Developed in association with retirement housing specialist Pegasus, the scheme consists of two gabled residential blocks arranged around a low-lying communal pavilion and flint-walled central garden.

"The design and layout is focused on engendering a sense of community and neighbourliness and maximising the opportunity for residents to get outside," Coffey Architects director Lee Marsden told Dezeen.

"Placing the comfort and well-being of the residents at the forefront, we ensured that every aspect of the design exudes beauty without compromise," director Phil Coffey added.

The brick-clad residential structures contain 53 one or two-bedroom apartments grouped in clusters of four around localised private lobbies. 

Utilising the compact apartment footprints, Coffey Architects configured the rectilinear buildings to maximise opportunities for dual aspect orientations throughout the L-shaped site.

Living spaces were integrated with extensive glazing, balconies and terraces, which the studio combined to harness natural light, while also seeking to encourage visual connections with the locality. 

"We prioritise bright, spacious living areas that welcome natural light and the longest views out," Marsden explained. "Each apartment has a balcony or terrace, and all windows extend from floor to ceiling to really enhance that connection."

"The circulation spaces within the community [are also] generously proportioned and well-lit, enhancing the overall experience and facilitating a seamless blend between personal and communal living."

Nestled at the centre of the site, a ground-floor entry pavilion provides residents with shared multi-functional spaces adjacent to the courtyard garden.

"The pavilion and walled garden at the centre of the plan creates a sequence of spaces which provide a clear and legible transition from public to the 'outer' walled garden," Marsden said. These were designed to act as a "semi-public threshold to the pavilion". 

The garden was conceived to echo nearby Painshill Park and was enclosed by walls lined with locally sourced flint, communal seating and landscaped edges.

Aiming to harmonise further with the surrounding vernacular, the studio used multi-directional pitched gable roofs to signal the community's presence from the streetscape.

Light grey brick with white mortar, red tile roofing and unknapped flint define the exterior of the buildings.

"The light-coloured brick contrasts with the older local brick buildings nearby, while the more traditional, red clay tile used on the roof connects back to the village from longer views," the studio explained.

 "A single tone of brick was chosen for coherence of the residential blocks, but we made sure to allow for subtle difference in form to provide identity. Contrast at ground level is provided by a distinct raked mortar finish to add character."

Coffey Architects was established by Phil Coffey in 2005.

Other recent projects by the London-based studio include a mixed-use housing and arts space project occupying a former industrial estate in Bermondsey and a contemporary home in Dorset informed by rural barns.

The photography is by Phil Coffey.

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Dutch studios MVRDV, Orange Architects and LOLA Landscape Architects have designed a masterplan for a neighbourhood in Zwolle, the Netherlands, which will include a converted warehouse topped with wooden apartments.

Named WärtZ the development is being created as a "second city centre" south of Zwolle railway station. MVRDV will complete four mixed-use buildings for the 120,000-metre-square development including the revamped warehouse named Wärtsilä Hall at the centre of the development.

"I think it is fantastic to breathe new life into this industrial area," MVRDV founding partner Jacob van Rijs said.

"MVRDV already has a number of transformations to its name," van Rijs continued. "This provided a lot of knowledge about how we can repurpose existing buildings in the most sustainable way possible."

MVRDV is designing the project for developer AM in collaboration with Dutch studios Orange Architects and LOLA Landscape Architects.

At the heart of the project will be the revamped warehouse, which will retain its distinctive undulating roof.

The hall is the largest building in the masterplan and will host innovation startups, creative companies and educational facilities on the ground floor, while a residential structure will be raised above its roof.

"The Wärtsilä hall, with the new wooden residential building on top, is a good example of sustainable repurposing and densification in the city," Van Rijs said.

Supported by exposed mint-green beams and columns, the rectilinear apartment block is intended as an eye-catching counterpoint to the historic architecture in Zwolle.

A statue by Dutch artist Marte Röling named the Dikke Vette Gouden Vredesduif will also be added to the roof of Wärtsilä hall as an unconventional visual anchor.

The other three buildings that MVRDV will design for the development will comprise offices along their lower levels with housing spaces above.

Cladded in brick, these structures will reference the roof of Wärtsilä hall with curving ground floor window details and face towards green public spaces by LOLA Landscape Architects.

WärtZ will introduce 850 new homes to the area, of which 30 per cent is planned to be social housing.

The project will also seek to be car-free, with generous pedestrian zones and cycling routes in addition to shared transport connections and links to the adjacent railway station.

WärtZ will be constructed in a series of phases, with the first set to begin in early 2025.

Rotterdam-based MVRDV was established in 1993 and is led by Winy Maas, with Van Rijs and Nathalie de Vries. The studio has recently completed a bold yellow office retrofit in Berlin and a bright-coloured cultural hub altering a 1980s pyramid structure in Albania.

The imagery is courtesy of MVRDV, Orange Architects and LOLA Landscape Architects.

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British studio Will Gamble Architects has completed an extension and refurbishment to a family home in Croydon, London, defined by a contemporary colonnade spanning across the rear facade.

Designed for a growing family with a desire to improve their home's versatility, Will Gamble Architects sought to preserve elements of the existing architecture while delineating a new ground floor living space and revamped upper level primary bedroom.

"The overarching concept was to reinvent the ground floor to provide a multifunctional living space capable of catering for extended family and guests, as well as providing more intimate spaces for the immediate family," Will Gamble Architects associate Miles Kelsey told Dezeen.

"The project retains key characteristics of the existing architecture, including a traditional reception room and ornate fireplaces and mouldings, whilst accommodating more contemporary spaces that allow it to cater for 21st-century living."

The external colonnade, flanked by deep brown ash slats, was conceived to frame a visual link to the rear garden and finished in a textured microcement to reference the rough cast render of the local vernacular.

Large pivot doors and floor-to-ceiling glazing fit between each column, providing direct access to the outdoors from the ground floor communal spaces.

"[The home] lacked a significant visual or physical connection to this natural outlook," Kelsey explained. "A contemporary interpretation of a colonnade, with deep vertical fins and an angled fascia, was used across the rear elevation to establish this missing connection."

"The distance between these fins varies across the elevation's width and responds to the different uses internally to help create a subtle visual separation," Kelsey continued. "The wider opening defines the dining area whilst the smaller, narrower apertures enclose the kitchen space."

"The fins of the colonnade are linked by a steeply angled fascia which emphasises the height of the glazed openings, increasing the amount of natural light entering the building."

Following the client's brief, Will Gamble Architects aimed to break down the rigidity of the pre-existing spaces to create greater internal flexibility. The resulting open plan layout of the lower level extension was subtly divided by walnut fin screens, mirroring the verticality of the colonnade.

"The open-plan living arrangement at ground floor has been designed to accommodate large family gatherings, whilst including more private, 'snug-like' spaces," Kelsey said.

"This has been achieved through the use of floor-to-ceiling slatted partitions which help [to] zone the space, whilst maintaining a degree of transparency with the spaces adjacent. A level change compartmentalises the spaces even further."

The studio continued the microcement language internally to the kitchen, alongside polished concrete floors and contrasted against black Valchromat and walnut cabinetry.

"The chosen materials have unique textural qualities and offer warmth and character," Kelsey explained.

"These materials are applied across various surfaces including walls, floors, bespoke furniture, worktops and slatted screens. The consistent material palette creates a cohesive language across the entire scheme."

An inset angular dormer defines the renovated main bedroom at the second floor and was finished in red zinc to blend with the original red clay roof tiles.

The dormer's internal walnut reveals host a large window seat and desk with floor-to-ceiling glazing overlooking the site's context.

Will Gamble Architects was established in London by Will Gamble in 2018. The studio has previously completed an extension for a Grade II-listed house in north London informed by desert modernism and a renovation for a heritage-listed terrace house in south London.

The photography is by Chris Wharton 

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Japanese studio Kooo Architects has completed a collection of hotel cottages in China that draw on the local vernacular to integrate into the surrounding village.

Named Ningshan LuZhai Cottages, the hotel was designed to appear like a series of cottages alongside terraced farmland at the foot of a small mountain in Yuwan Village, Ankang City.

Spanning across a narrow L-shaped footprint, the hotel scheme consists of eight rooms connected across two storeys and configured to overlook rice paddies to the front of the site.

The upper level rooms were arranged around private "garden-like" entrances nestled within a gap between each structure. By breaking down the upper level form of the building, the studio aimed to harmonise the design with the scale of the neighbouring houses.

"The architectural plan and layout of the first and second floors were influenced by the panoramic fields at the foot of the mountain and along the river, and we wanted guests to be able to experience the landscape from their rooms as much as possible," the studio explained.

"Although it is a single two-storey building, this design was intended to make the building look like a single-storey villa built on a base of Nozura-zumi [retaining] walls."

Kooo Architects used traditional construction and material techniques to match the building's exterior with the distinctive regional character.

"We decided to design and plan the hotel to make maximum use of locally available building materials and to incorporate as many of the construction methods that have long been used in the area," Kooo Architects told Dezeen.

"So as not to disturb the landscape visually, we also aimed for the hotel to blend in with its surroundings and the neighbouring village."

By following the elevation changes across the site, the studio also sought to achieve efficient circulation for guests entering the hotel from the village.

"Guests approach the hotel from the reception area at the entrance to the village — looking out over the magnificent rice fields — and head to the guest rooms via the 'gap' space on the second floor above the retaining wall," the studio said.

"By taking advantage of the differences in elevation and entry approach from the second floor, the hotel succeeds in securing the privacy of each guest room."

Characterised by external finishes of white lime and ash tiles, Kooo Architects contrasted traditional construction methods for the facade and roof against a streamlined interior strategy.

"Many of the retaining walls in the vicinity are made using 'Nozura-zumi', a technique of stacking natural stones 'as they are' to create walls," the studio said. "This influenced how we approached our choice of materials and building techniques."

"We focused on using locally sourced materials that were easy for local craftspeople to handle. Stone familiar to the area and accessible locally was used for the external walls, blending in with the appearance of the surrounding landscape, while also matching the stone of the local retaining walls."

"We also incorporated wooden roofs with log rafters, beams and 'Dougong' — a structural element of interlocking wooden brackets in China — all characteristic of the local building construction methods."

Kooo Architects was founded in 2015 by Shinya Kojima and Ayaka Kojima and has offices in Tokyo and Shanghai.

Other projects by the studio include the conversion of a 1970s textile factory in Shanghai into a Freitag store and the transformation of a concrete structure into a guesthouse in China.

The photography is by Keishin Horikoshi

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British studio Foster + Partners has unveiled its design for Techo International Airport in Phnom Penh, Cambodia, which has commenced construction 20 kilometres south of the city centre.

Drawing from the local vernacular and its tropical climate setting, the design by Foster + Partners will consist of a new airport city and a terminal building with a grid-shell roof that was designed to resemble a tree canopy.

"An airport is amongst the most important of public buildings, reflecting its symbolic status as the gateway to a city and its crucial role in the globalised economy," Foster + Partners head of studio Stefan Behling said.

"The new Techo International Airport will be an important part of Phnom Penh's continued development as the nation's primary inter-regional, inter-modal transport hub."

The terminal building will comprise a central headhouse for all passenger processing and retail functions, which will be flanked on either side by two curving aerofoil-shaped wings for departures and arrivals.

A single lightweight steel roof consisting of an interconnected canopy of "trees" will stretch across the entire structure, with each tree spanning 36 metres.

The roof design will also use a filtering screen to capture natural light and illuminate the terminal interior.

"Inspired by Cambodia's history and built heritage, the terminal's design stands as a modern embodiment of Cambodian culture," Foster + Partners senior partner Nikolai Malsch explained.

"The terminal roof is an expression of lightness and inherent modularity, serving as a symbolic gateway for every traveller's journey."

Foster + Partners will use a warm material palette for the terminal interior as a further nod to the natural, neutral-toned local architecture of the region.

The height of the raised-roof system will also be contrasted against human-scale design gestures, such as visual permeability to the airport ramps and limited level changes throughout the masterplan.

Set to run primarily from onsite-generated photovoltaic energy, the design also integrates dense landscaping that runs the length of its central spine and leads into the terminal.

The studio will utilise extensive plantings and green edges within the airport buildings to soften the interiors against the monumental grid shell roof.

The airport is currently under construction, with the masterplan set to be completed in a series of phases.

The first phase will accommodate 13 million passengers per year through the under-construction terminal headhouse and aerofoil piers, while future plans include the addition of a further aerofoil wing to increase the airport's capacity to 30 million passengers per year.

Foster + Partners has also recently revealed designs for a mixed-use development in Miami that references the local vernacular and plans for a new urban centre in Hangzhou, China.

The studio is currently working across a number of airport projects within Saudi Arabia, including its design for the six-runway King Salman International Airport in Riyadh and a new terminal at Abha Airport defined by a series of interconnected stone buildings.

The images are courtesy of Foster + Partners.

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Italian studio AIM has designed a compact, multi-level apartment interior in Milan organised around a floor-to-ceiling Verde Alpi marble partition.

Created in collaboration with local marble artisans Bianco67, AIM Studio used the wall to divide the various functions of Green Nest, aiming to create an elegant backdrop for a dynamic domestic experience.

"The design challenge [for] Green Nest was to combine the compact size of the dwelling with the desire to create inviting, functional and representative spaces pleasant to live in at all times of the day," AIM Studio told Dezeen.

"We were looking for a single gesture to characterise the apartment [and were] inspired by the idea of a majestic wall [running] through the heart of the house," the studio continued. "This massive element, both because of its solid presence and its intrinsic beauty, is the focal point on which the entire design revolves."

The marble partition was constructed as a permeable threshold between the apartment's lower level living spaces and a staircase leading to the habitable roof terrace above.

Designed as a single, fluid area, the main living room and bedroom can be separated by full-height ribbed glass doors. 

AIM Studio sought to meet the practical requirements of small-footprint living by using the Alpi marble to conceal a series of deep storage compartments.

"More than a monolith, the volume is an inhabited wall whose thickness is continuously perforated, crossed and interrupted to host the different functions of living," AIM Studio said.

"[It] was designed as a precious shell but [leaves] nothing to chance in terms of containment and management of the space. Every compartment, every opening, has been designed [for utility]."

Behind the marble partition, the staircase to the rooftop terrace was completed with a central lightwell to draw natural light into the space below.

The studio also integrated large windows into the main living area to encourage an interplay of light on the reflective marble surface and to evoke a chiaroscuro-like effect.

Tucked into a corner of the living room, the kitchen was demarcated by suspended travertine joinery and an embossed mirror feature wall.

Neutral-toned fixtures and restrained furniture pieces were selected to balance the apartment's modern aesthetic and emphasise the drama of the green marble.

"We conceived this project as a search for authenticity; a minimal but at the same time welcoming and functional design created through natural, precious [and] timeless materials."

"We hope that this search for authenticity will be perceived by those who will inhabit these spaces and that it will translate into family atmospheres and elegant, but convivial, environments."

Founded in 2012 by Claudio Tognacca in Milan, AIM Studio has projects spanning across architecture, interior design and product development both in Italy and internationally.

Other recently completed projects in Italy include Antonino Cardillo's design for "a miniature palazzo" residence near Lake Garda and Humbert & Poyet's interior conversion of a 16th-century Milanese chapel into a Beefbar restaurant.

The photography is by Simone Bossi

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Danish architecture studio BIG has created an experimental stage set for Danish pop trio WhoMadeWho's world tour.

A suspended silver orb formed the centrepiece of the immersive audiovisual design, which was created for the tour that began in November. It is BIG's latest inflatable structure and was informed by the floating 26-metre-diameter, mirrored sphere it created for Burning Man in 2018.

"Our design for WhoMadeWho's stage draws from our previous ventures into inflatable creations like SKUM and The Orb [at Burning Man]," BIG partner Jakob Lange explained.

"With maximum visual impact, the inflatable sphere serves as a canvas for captivating three-dimensional video projections, elevating the concert experience to a new level."

The orb was integrated with controllable lights and visuals, but was also designed to reflect the surrounding scenography to give its presence a multimedia dimensionality.

Three futuristic silver pods were positioned below the sphere to be occupied by each band member and the stage was framed by an expansive LED screen background.

BIG's stage was brought to life with immersive visuals from the creative teams of Flora&faunavisions, LA-based EyeMix Studio and animator Christopher Mulligan.

Using AI and other advanced visualisation tools, the artistic teams sought to combine BIG's stage set with cutting-edge imagery that can respond in real-time to WhoMadeWho's performances.

The stage system will reach audiences across cities such as Paris, Los Angeles, London and New York City as WhoMadeWho – comprising of Tomas Høffding, Tomas Barfod and Jeppe Kjellberg – continue their world tour in 2024.

Founded in 2005 by Bjarke Ingels, BIG is one of the world's most influential architecture studios with headquarters in both Copenhagen and New York. The studio recently unveiled its masterplan for a 1,000-square-kilometre development in Bhutan and its design for a cascading, luxury residential building near Athens.

The photography is by Michael Poselski

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British studio RSHP has revealed its plans to introduce a mixed-use neighbourhood with a series of public spaces within La Défense business district in Paris.

Designed for the district's Jean Moulin site, the project will aim to bring the "urban business neighbourhood currently eclipsed by road infrastructure back to life", RSHP said.

The design will also embody the sustainability goals of La Défense (PLD), taking measures to minimise both its embodied and operational carbon emissions.

La Défense is aiming to "become the world’s first post-carbon business district", RSHP said, meaning it is aiming to reduce its carbon emissions and fossil fuel dependency while continuing to grow.

RSHP's design is the winning entry of a competition held by the property development branch of BNP Paribas.

It is being developed with Paris architecture studio AREP and landscape architect Vogt. Engineering company Ingerop and consultants EODD and Socotec also form part of the team.

"The project represents a significant challenge, occupying as it does an interstitial site currently dominated by large-scale infrastructure and marked by radical changes of level that are presently almost impossible to navigate," said RSHP partner Stephen Barrett.

"Illustrating the fact that it is possible to transform such difficult environments into places where future generations can live and work well, delivering an inclusive, exemplary mixed-use low carbon development in the process, is precisely why we consider this project so important."

The main element of the proposal is a pair of buildings with prefabricated timber structures, designed to reduce both building waste, embodied carbon and construction time.

One of these will have a slender form accommodating 15 floors of residences, while the other will be low-lying with a stepped green roof and six to eight floors of flexible office space.

These buildings will flank a landscaped promenade, which will lead through a series of new public spaces including pocket parks. It will also connect with pedestrian and bike routes, as well as to the surrounding public transport network.

RSHP's proposal will be complete with various mixed-use facilities for leisure, sport and entertainment. This will include a 1,400-square-metre food court, an indoor market, a roof terrace, climbing facilities, yoga spaces and a 250-square-metre events pavilion.

To achieve the district's low-carbon goals, RSHP's proposal focuses on using energy-efficient and passive design strategies and making use of recyclable internal fit-outs. Buildings will also be designed for future adaptation.

RSHP was founded in London in 1977 by Richard Rogers with studios across London, Paris, Melbourne, Sydney, Shanghai, Shenzhen and New York.

Its proposal for La Défense forms part of the area's wider scheme called Empreintes, which is focusing on transforming five urban sites with "innovative mixed-use, low-carbon projects".

The studio has also recently unveiled its first residential design in New York City for a Manhattan penthouse and its proposal for a glazed office skyscraper in Shenzhen, China.

The images are courtesy of RSHP.

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Beijing studio Plat Asia has created a contemporary teahouse for a resort in Huzhou, China, which draws on the transience of clouds and is surrounded by an undulating steel-pole installation.

Located on a secluded hillside within Xisaishan resort's tea fields, the Cloud Tea Room sits within the 910-square-metre network of poles that periodically releases water vapour to create a fog-like effect around it.

This is designed by Plat Asia to help blur the boundary between architecture and landscape.

"[A] cloud is a temporary natural phenomenon, constantly and circularly varying everyday," Plat Asia cofounder Donghyun Jung said.

"The steel poles are for weakening the boundary of space and blurring the interiors and exteriors, closely [connecting them] to the surroundings," he continued. "Fog creates a temporary scene that emerges, constituting a new landscape system."

Plat Asia also looked to Shan shui paintings, which primarily depict natural settings with soft edges, and traditional Chinese pavilions to inform the design.

"[Chinese pavilions] present a primitive architectural prototype characterised by a blurred edge," Jung said. "The interiors derive from [this concept], which responds to the 'boundarylessness' of landscape and installation."

"The nine-metre-square tea room interior is a continuation of the landscape, and the landscape is a continuation of architecture," Jung continued. "This project gives a whole experience that is more critical than the border."

Floor-to-ceiling glazing encloses Cloud Tea Room, allowing visitors to visually connect with the natural environment from all directions.

It is capped by two rectangular planes for the base and roof, while the whole structure is raised by columns resembling the surrounding poles. The poles sit 1.2 metres apart and at varied heights to recreate the formlessness of clouds.

Beyond producing the periodic fog, the poles also create a path for visitors to weave through on the journey to and from the tea room, which the studio hopes will invite them to slow down and relax.

"Answering the high-pressure and rapid lifestyles [of today], this tea room lets people release stress and enjoy slowing down in the hills," Plat Asia said.

Plat Asia chose a restrained material palette to achieve a minimalist aesthetic at Cloud Tea Room. This consists primarily of glass, white-coated steel and self-levelling cement for the base, finished with a tatami bamboo mat and matte acrylic boards.

According to the studio, this pared-back approach is intended to simultaneously reflect a "concept of contemporariness and primitiveness".

Plat Asia was founded in Beijing in 2010 by Baoyang Bian and Jung with a focus on contemporary oriental architecture and designing with nature.

Other recently completed teahouse projects include the Longquan Mountain Observatory in Chengdu, which is designed to resemble an "alien form", and another made from food waste by Mitsubishi Jisho Design for the 2023 Venice Architecture Biennale.

The photography is by Yixinjia, Fan Xiaoxu and Plat Asia.

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Next in our review of 2023 we round up 10 eye-catching car designs featured on Dezeen this year, including Tesla's Cybertruck, a muscular SUV by Rezvani Motors and David Beckham's designs for a pair of Maserati cars.

Electric vehicles and designs integrating digital technology dominate this year's list, which also saw BMW reveal their prototype for a colour-changing sedan and an Australian student invent an affordable kit to convert vehicles to hybrid electric powertrains.

Here are Dezeen's top 10 car designs of 2023:

David Beckham sports cars for Maserati

While perhaps not the most groundbreaking car design of the year, this celebrity-brand collaboration was one of the most popular vehicle-related stories on Dezeen in 2023.

British ex-footballer David Beckham designed a pair of luxury sports cars for Italian brand Maserati to promote their customisation program Fuoriserie Essentials, which will allow customers to personalise their Maserati vehicles.

According to the brand, the cars were informed by Beckham's own "Savile Row sartorial wardrobe" and historic Maserati designs, including the 1986 Maserati Quattroporte Royale and 1967 Maserati Ghibli coupé.

Find out more about David Beckham's Maserati designs ›

Vengeance by Rezvani Motors

California automotive company Rezvani Motors launched a muscular SUV designed by video games designer Milen Ivanov, aiming to put a car informed by science fiction onto people's driveways.

Dubbed the "world's most aggressive SUV" at 6,200 pounds (2,812-kilograms), the eight-passenger car integrates security features such as pepper-spray-emitting wing mirrors, electrified door handles and electromagnetic-pulse protection.

Find out more about Rezvani Motors' Vengeance ›

Electric-car conversion kit by Alexander Burton 

An Australian design student developed a prototype kit to convert petrol and diesel cars to hybrid electric, aiming to create a more affordable and user-friendly alternative to current conversion services.

The REVR (Rapid Electric Vehicle Retrofits kit) uses a compact axial flux motor, battery and controller system to circumvent the usual conversion process of removing the combustion engine. Melbourne-based student Alexander Burton won the James Dyson Award for his invention.

Find out more about REVR ›

Cybertruck by Tesla

Tesla's much-anticipated Cybertruck was officially launched at the end of November following its first reveal in 2019 and subsequent delays in production.

The polarising bulletproof electric car was designed to combine the handling of a sports car with the utility of a pickup truck, and is defined by a distinctly angular, stainless-steel panelled exterior.

Find out more about Cybertruck ›

Iris van Herpen's Rolls-Royce Phantom Syntopia

In collaboration with Dutch designer Iris van Herpen, British company Rolls-Royce revealed its Phantom Syntopia, a shimmering car modelled on the brand's customisable line of Phantom vehicles.

According to Rolls-Royce, the car is the most technically complex Phantom ever produced and integrates shapes and patterns found in nature, informed by Van Herpen's interest in biomimicry.

Find out more about Phantom Syntopia ›

i Vision Dee concept car by BMW

BMW revealed an updated version of its colour-changing technology with the i Vision Dee concept car, which is capable of complete colour and pattern customisation across the vehicle's exterior.

Designed to enhance the bond between vehicle and user through digitisation, the i Vision Dee's shell is finished with an e-ink film that can produce 32 on-demand colours across 240 unique and controllable segments.

Find out more about i Vision Dee ›

Sony's electric-car prototype

Electronics company Sony and carmaker Honda launched an entertainment-focused electric car prototype under their joint car-brand venture, Afeela.

Projected to go on sale in 2025, the all-wheel drive sedan prioritises interaction with a "media bar" display screen, customisable surround sound and interfaces by Epic Games fitted to the interior and exterior of the car.

Find out more about the Afeela prototype ›

Armada Model Zero by Alef Aeronautics

The Armada Model Zero is a prototype flying electric car by California-based company Alef Aeronautics that was awarded an airworthiness certificate by the US Federal Aviation Administration this year and is expected to begin production and delivery at the end of 2025.

The mesh exterior was designed to hide a system of eight rotors, which allow the vehicle to take off and land vertically like a drone.

Find out more about Armada Model Zero ›

Luvly O flat-pack electric car by Luvly

Stockholm-based startup Luvly revealed its Luvly O electric car designed by Joachim Nordwall, aiming to trigger a shift away from oversized vehicles in urban spaces.

Weighing just under 400 kilograms, Luvly set out to create a modular vehicle that can be shipped flat-pack to discrete assembly locations, and offers a more energy efficient, cheaper-to-run alternative to other electric cars through its lightweight configuration.

Find out more about Luvly O ›

Telo electric pickup truck by Yves Behar

Swiss designer Yves Behar designed a prototype electric pickup truck, Telo, with a full-size cargo bed and passenger cabin that fits within the size of a small city car.

Working with his design studio Fuseproject, Behar took advantage of the space that electric technology allows for in vehicle design to create a flexible layout for urban and suburban adventures.

Find out more about Telo ›

2023 review

This article is part of Dezeen's roundup of the biggest and best news and projects in architecture, design, interior design and technology from 2023.

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UK practice Feilden Clegg Bradley Studios has restored four heritage-listed buildings within the Brighton Dome cultural complex, upgrading its performance spaces and uncovering 19th-century structures.

The 3,500-square-metre project – comprised of the Corn Exchange, Studio Theatre, 29 New Road and Church Street entrance – marks the first phase in a council-led plan to revive Brighton's Royal Pavilion Estate as a landmark destination for the arts.

Feilden Clegg Bradley Studios' aim was to protect and future-proof the historic venues, while also uniting them for the first time with a central linking structure that occupies a previously unused courtyard.

The studio aimed to modernise facilities within each heritage structure to host a diverse program of exhibitions and events throughout the year, including the annual Brighton Dome Festival.

"Something that was designed and built for a very elitist function has become such a popular venue and is so significant for the city," Feilden Clegg Bradley Studio's founding partner Peter Clegg said during a press tour of the complex in the UK seaside town.

"It has been a real pleasure for us to rejuvenate it, to give it a new life and to bring in much greater flexibility."

The Grade-I listed Corn Exchange, the largest building in the project, was originally commissioned as a riding stables for the Prince Regent in 1803 and has since been repositioned as a theatre and event space.

At 18 metres, it has the widest single-span timber frame ceiling in the country, which informed the studio's decision to strip back layers of paint and other obstructions to reveal the original network of 200-year-old beams.

"To some extent we didn’t know what to expect when first investigating the 18-metre structural timber frame," Clegg explained. "Once the layers of paint were removed, we could better understand the condition of the original structure."

The studio also engaged specialist craftspeople to replicate original details such as pilaster columns.

According to the studio, every timber connection was inspected onsite and reinforced where needed.

"We were able to find an engineering solution that meant the frame could be repaired and strengthened to make it structurally sound, as well as housing essential production equipment such as the lighting and audio rigs," Clegg explained.

"Seeing the space now fully restored, with all the layers that had been added over the years stripped out, you can see what an extraordinary building it is."

Services were hidden in the walls behind 6,500 linear metres of new oak cladding, while archival drawings were used to recreate decorative details in collaboration with specialist craftspeople.

Across one side of the Corn Exchange, windows were opened to look into the public foyer and new central gallery, using three layers of glass and automated blackout blinds to provide adjustable separation.

"Very rarely do you get the ability to see from foyer to auditorium through a giant window," Clegg said. "The public are welcomed into the double-height entrance and offered a glimpse of the drama."

The Corn Exchange can accommodate 505 seated and 1,291 standing guests, utilising new sub-floor storage and a balcony to conceal a retractable bleacher seat system.

Directly next to the Corn Exchange, a new gallery block was inserted between the venues as a bridging element with public facilities and improved circulation.

The infill structure is enclosed by preexisting walls on all sides and introduces a ticket office and bar. These feature nods to the site's history, including a suspended horse sculpture and a timeline of the site.

Glazing was configured to establish visual links between the previously separate venues, emphasising transparency between performative and public functions.

"For us, [the gallery] space really exemplifies the idea of permeability because it allows glimpses up to the meeting room," chief executive at Brighton Dome and Brighton Festival Andrew Comben explained.

"If our audiences are in this space, they have a sense that there's other work going on."

A dedicated creative room occupies the upper level of the new block and provides both low and high-tech equipment to encourage artistic innovation.

Named after Dame Anita Roddick, Anita's Room was conceived to be an incubator space for resident artists, visiting performers and the broader community.

Another of the buildings in the scheme, the 1930s Studio Theatre, was remodelled with 225 retractable seats for more intimate performances and activities.

Alongside the addition of upper sideline balconies, the studio also integrated technical and infrastructural solutions into the space.

"[The Studio Theatre] had a litany of operational issues," Comben explained. "The audience could only enter by stairs, disabled access was pretty nonexistent or very undignified... and there was no loading ability. All of those things are [now] resolved."

Feilden Clegg Bradley Studios was founded in 1978 by Richard Feilden and Peter Clegg with offices in Bath, London, Manchester and Belfast.

Other recent projects by the studio include a terracotta-clad arts faculty for the University of Warwick and a nursery designed to foster nature-based learning in Stoke-on-Trent .

The photography is by Richard Chivers, Andy Stagg and Chloe Hashemi

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Australian studio Spaceagency has consolidated three apartments in a heritage-listed cereal factory into a single-family home in North Fremantle, Western Australia.

Spaceagency aimed to emphasise the original volume and industrial character of the 1930s brick warehouse, which was once used to make the breakfast cereal Weeties, while creating a light and open interior.

To achieve this, the studio detached walls and partitions from the original structure but maintained its five-metre-high ceiling through the kitchen and living space.

This helps to draw natural light into the previously dark factory rooms.

"The design intention was to bring as much natural light and ventilation to the interior as possible," the studio told Dezeen.

"Large expanses of translucent walls were used to create a soft diffused light throughout while maintaining privacy to the ground level living areas."

A white steel spiral staircase forms a sculptural focal point for the 424-metre-square home, connecting to both the mezzanine and upper floor level.

It is one of several curved elements intended to enliven the existing space, with others including a circular indoor pool and the suspended mezzanine.

"A series of curved and circular forms have been introduced to the rectilinear container for contrast and dramatic effect," the studio explained.

The mezzanine is hung from the existing steel roof to provide column-free space below and includes a study, games area and guest room animated by a bright red carpet and matching curtain.

Steel-framed openings frame views into the conservatory garden and pool, which were converted from an adjoining unit.

As part of the project, Spaceagency undertook necessary repairs to the original fabric and chose neutral tones when applying new finishes to existing elements.

"We opted for a limited palette of white painted brick to existing walls, with burnished concrete floors, white painted steel, luminous translucent walls and reclaimed timber linings," the studio said.

"[These materials] bring warmth and tactile qualities to the interior space."

On the first floor, the primary bedrooms and bathrooms have bursts of texture, light and colour to create a contemporary contrast against the factory envelope. 

"The all-black glass mosaic tiled powder room, the all-white glass mosaic tiled guest bathroom and the fun pink, red and caramel colours in the kids' bathroom create moments of surprise and delight," Spaceagency explained.

Spaceagency views the home as a playful space for entertainment, highlighting the eight-metre-long timber bench that sits parallel to the kitchen and can host 22 guests as a dining table.

"The space is perfect for entertaining," the studio said. "[The design] is 100 per cent whimsy."

Spaceagency Architects was formed in 2000 by Michael Patroni and is based in Fremantle, Western Australia.

Other Western Australian projects recently featured on Dezeen include a revamped mid-century coastal home by Design Theory and a timber cottage extension by Grotto Studio in Perth.

The photography is by Jack Lovel.

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British studio Foster + Partners has revealed its design for The Alton, a mixed-use development with a concrete structure that will draw on the surrounding architecture of Miami Beach, Florida.

Set to be built at an intersection with the famed shopping street Lincoln Road, the building will integrate fluted colonnades and landscaped balconies extending the length of the six-storey structure.

The Alton was commissioned by real estate developer SHVO and will provide space for retail at ground level, two floors of parking and residences, three floors for offices and a rooftop garden.

According to Foster + Partners, the design responds to the surrounding architecture and cityscape through its low-rise, stepped form and pale concrete materiality.

"Learning from Florida's vernacular architecture, The Alton features extensive landscaping, incorporates natural light and passive shading techniques to create a dynamic urban environment," Foster + Partners head of studio David Summerfield said.

"The building is designed with a strong structural rhythm that generates a shaded retail colonnade at street level," he continued.

"The scheme is also extremely permeable, with pedestrian routes directly underneath the building," added Summerfield.

Once complete, The Alton's predominantly glazed exterior will be pulled back from the curved edges of the floor plates to increase solar shading.

This recessed facade will also emphasise the building's network of columns, which will frame terraces that are intended to help reduce the heat island effect.

Inside, the workspaces will include operable windows and open-air gardens that encourage visual connections between floors and to wider city views.

Foster + Partners' design will also aim to maximise cross-ventilation and natural light in the workspaces through vertical openings.

The rear of the building will have a suspended vehicular ramp system connecting to the upper-level car park that will wrap a circular ground-to-sky lightwell.

Foster + Partners was founded by British architect Norman Foster in London in 1967.

The studio has also recently revealed designs for an airport in Saudi Arabia informed by clusters of local villages and a masterplan for an urban centre in Hangzhou, China centred around a "leafy spine" flanked by skyscrapers.

The images are courtesy of Foster + Partners. 

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Dutch studio MVRDV has unveiled Haus 1, a bright yellow workplace adapted from a 1990s office building in Berlin with local studio Hirschmüller Schindele Architekten.

Located south of Tempelhof Field, it is the second project completed for Atelier Gardens – the redevelopment of a 23,800-metre-square film and media campus into a hub for social entrepreneurship and activism.

Aiming to create a gateway to the wider scheme, MVRDV and Hirschmüller Schindele Architekten designed Haus 1 to capture the masterplan's identity and signal the area's transformation.

A bold yellow colour has been applied to the exterior of the formerly white structure and extended to both its interior walls and a large zigzagging staircase outside, creating a striking beacon for visitors.

"Haus 1 is more than a gateway to this unique campus devoted to impact," MVRDV founding partner Jacob van Rijs said.

"It is a representation of the Atelier Gardens community and their commitment to chart a different vision of society, one that’s optimistic, yet radical and innovative."

Haus 1 was commissioned by the developer Fabrix. It offers 1,747 square metres of adaptable interior space across four refurbished floors and a rooftop extension.

The ground floor has been retrofitted with a cafe and co-working area, while the three upper floors contain flexible work and meeting spaces, as well as the Atelier Gardens headquarters.

MVRDV and Hirschmüller Schindele Architekten introduced a CLT pavilion and garden to the previously unused rooftop, integrating native plants and rainwater collection systems.

The new roof and terrace are accessible via an internal lift or the 57-metre-long external stairway, which features rest spaces and viewing platforms along the climb.

"From the roof, one can witness the entire skyline of Berlin's urban landscape, with Tempelhofer Feld as its front yard," said van Rijs.

Materials and internal finishes include prefabricated timber modules, bio-based finishes such as clay ceilings and materials with a high recycled content.

MVRDV was founded in 1993 in Rotterdam by Winy Maas, van Rijs and Nathalie de Vries.

The studio has previously designed other large outdoor staircases, including The Stairs at an office block in Rotterdam and The Podium for the Het Nieuwe Instituut.

The photography is by Schnepp Renou. 

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German studio Ingenhoven Architects has used air-filled cushions to create a start house for the annual Alpine Ski World Cup downhill races at the Matterhorn mountain, Switzerland.

Designed to sit at an altitude of 3,700 metres, the studio crafted the "igloo-inspired" structure to withstand extreme alpine conditions, while being completely energy independent and demountable.

"An ephemeral architecture was crucial, a remarkably sturdy construction crafted to endure all adversities," Ingenhoven Architects told Dezeen.

"Purposeful yet restrained, it prioritises the core function: providing shelter to athletes before races and securely storing starting equipment."

The primary hull was constructed from PVC-free technical fabric cushions configured in a demountable modular system and stabilised with fibres connected to the inner and outer layers.

The air-filled cushions were designed to be easily folded and transported down the mountain at the structure's end of use. The formation was secured using 22 screws drilled 1.6 metres into the ice in a method which leaves no residue during removal.

"The building can be disassembled effortlessly, leaving no trace behind," the studio explained.

"The structure itself weighs only 600 kilograms and can be packed into four boxes once deflated... It is resilient, yet swiftly assembled, easily transportable, and storable."

The streamlined form and colour of the start house was informed by the surrounding mountains and snow-covered landscape to blend into the terrain and to achieve energy independence, 40 solar panels were applied to its roof that power internal monitors, starting equipment and lighting.

"Our goal: a refined, minimalistic design blending seamlessly with the awe-inspiring alpine landscape," the studio said. "This intent is also reflected in our colour selection: a radiant silver merging the structure into the icy surroundings, sparkling under the high-altitude sunlight."

Ingenhoven Architects was founded in Düsseldorf, Germany, in 1985 by Christoph Ingenhoven. It has previously completed a health resort with Europe's largest thatched roof and a pair of Tokyo skyscrapers covered in planting.

"This project stands as a departure from our usual endeavours," the studio explained.

"However, we are accustomed to breaking new ground in our projects as well as thinking outside the box. Our goal remains consistent: finding the optimal solution within the unique context presented to us."

The structure was due to be used for the first time last month to host this year's Alpine Ski World Cup downhill races at the Zermatt-Cervinia resort, however, the races were cancelled due to strong winds. The structure will now be officially unveiled at next year's event.

The photography is by Daniel Hager

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Sportswear brand Nike has officially launched the Alphafly 3, its latest running super shoe that was used to break the marathon world record in Chicago last month.

Following the competition success of Nike's Alphafly NEXT% and Alphafly 2, the shoe is designed to cater for both professional athletes and everyday runners across a range of abilities.

A prototype version of the Alphafly 3 was on the feet of Kenyan athlete Kelvin Kiptum when he completed the Chicago Marathon last month in the world-record time of two hours and 35 seconds.

In line with World Athletics rules, a development version of the Alphafly 3 has been trialled among elite runners since December 2022 but it is only now being officially released by Nike.

According to the brand, the Alphafly 3 is a continuation of the original Alphafly shoe worn by Eliud Kipchoge when he became the first person to run a marathon in under two hours in an unofficial event in 2019, with changes aimed at improving stability, comfort and propulsion.

Its primary configuration consists of a chunky ultra-light ZoomX foam midsole, dual Air Zoom cushion units to absorb impact and a stabilising carbon-fibre Flyplate embedded within the sole.

In a change from its predecessors, the high-stack midsole is extended as one continuous bottom connecting the heel and front of the foot, intended to create more seamless heel-to-toe transitions.

Nike carved the ZoomX foam to reduce overall shoe weight and to concentrate foot load onto the Air Zoom units towards the front.

It also selected lighter Flyknit yarns in the upper and outsole to further reduce the Alphafly 3's material weight, helping make it the lightest shoe in the series.

The shoe's lacing system is redesigned for a softer top-of-foot fit and integrates more padding support into the heel and lower achilles compared to earlier Alphafly iterations.

According to Nike, the Alphafly 3 is its most extensively tested super shoe and was informed by feedback from the largest pool of women athletes that the brand has ever used for racing shoe research.

The brand credits this increased gender diversity in the testing development with major improvements to the shoe's arch support, toe protection and material comfort.

The Alphafly 3 is the latest product to emerge in the trend for running super shoes as brands to compete to see their sponsored athletes run the first official sub-two-hour marathon.

Notable previous super shoes have included the Nike Vaporfly Elite, which was the first time the brand used its ZoomX foam and carbon-fibre plate combination and was used for Kipchoge's unsuccessful first attempt to run an unofficial marathon in under two hours in 2017.

In an apparent reference to Adidas's most recent super shoe, the single-use Adizero Adios Evo Pro 1, Nike has sought to emphasise the Alphafly 3's durability, claiming that the shoe is tested at a minimum of 200 miles (322 kilometres).

The prototype colourway of the Nike Alphafly 3 will be available from 4 January 2024.

Nike has also recently released a colourful Flyknit trainer for young children and explored "circularity and connectivity" in shoe manufacturing during Milan design week.

The photography is courtesy of Nike.

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Architecture studio Pricegore has renovated a modernist townhouse in Chelsea, London, reconfiguring the four-storey house into a contemporary three-bedroom home.

Pricegore aimed to revamp the existing home by creating generous and flexible living spaces, while respecting the building's brutalist ideals with exposed material finishes.

While investigating the site's history, the studio discovered the deep foundations of former Victorian homes below the current townhouse structure. The excavation resulted in a partially subterranean ground floor designed to recall Brazilian mid-century modernist homes by expressing concrete retaining walls, kitchen worktops and window sills.

Both the ground floor and first floor living room were finished with floor to ceiling glazed partitions overlooking a green threshold of tall grasses and plants.

"[The foundations] meant we could easily excavate to recreate the old split-level character of the Victorian ground floor and in doing so create a kitchen and living space with high ceilings," Pricegore director Dingle Price told Dezeen.

"We sought to maximise connections to nature with a very densely planted garden that has a strong presence in the lower ground floor living space, whilst the upper floor living room looks out onto a green roof."

Every bedroom was configured with views of surrounding canopy trees, including the matching pair of second floor bedrooms and the open-plan main suite on the third floor.

Pricegore prioritised texture and tone in their material selection. It opted for neutral, soft-coloured fixtures to sit against the off-white walls, reclaimed timber and cement floor finishes.

Existing concrete slab soffits were revealed and lime-washed, while concrete beams were sand-blasted to create a raw and gritty appearance.

"The new works take their momentum from the existing building," Price said. "There is no contrast, either internally or externally, between the old and the new."

Proportions of windows were subtly altered with dividing columns and by lowering sills. Slender aluminium window profiles were also chosen to recall the original 1960s frames.

"When working with an existing structure, our ambition is almost always to amplify the inherent qualities of the original architecture," Price said.

An automated skylight was introduced over the stairway to draw natural light to the interior and to create a passive cooling effect for summer.

"We admired the rational design of this brutalist terrace and its formal expression... [but] it needed total renovation in terms of thermal performance and energy efficiency," Price explained.

"We think of the project as a collaboration with the original architects," he continued .

"We hope [they] would appreciate the project, that they would see that we have tried to tailor their speculative housing design of the 60s to the specific requirements of a contemporary family."

Pricegore is a London-based architecture practice founded by Dingle Price and Alex Gore in 2013. The studio has previously collaborated with designer Yinka Ilori to create a multicoloured pavilion for the London Festival of Architecture and completed a yellow-framed extension for an artist in east London.

The photography is by Johan Dehlin

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Dutch architecture practice Studio RAP has designed a "wave-like" facade from ceramic tiles for a boutique store in Amsterdam using 3D-printing and algorithmic design.

Located on the P.C. Hooftstraat shopping street, Studio RAP designed the facade to stand out within its historic surroundings by digitally reinterpreting the silhouette of the original frontage.

The material strategy was informed by the extensive ceramics collection at the nearby Rijksmuseum art gallery and the legacy of glazed ceramic art and architecture in Amsterdam.

"The idea arose to design a facade that was completely clad with 3D-printed ceramic tiles in such a way [that] it amplifies the identity of a high-end fashion store," Studio RAP co-founder Lucas ter Hall told Dezeen.

Each ceramic tile was designed and individually 3D-printed to echo the details and textures of textile.

"We took inspiration from the art of knitwear, integrating its intricate layers, like the elegance of its creases, the interloping yarn and the stitch pattern, and translated that into the final facade design," Ter Hall said of the project, which was designed for real estate company Warenar.

"The result is a unique architectural expression that seamlessly merges the historical significance of ceramics with the visual appeal of knitwear-inspired details," he added.

The facade was broken into a tripartite structure to continue the characteristic visual order of the street and resonate with the scale of the building's neighbours.

"We put extra attention to the connection of flushes between the new facade and the facade of the neighbouring building on the right," Ter Hall said. "By 3D-scanning the original and neighbouring facade the new flushes were accurately aligned."

At ground level, the tiles were glazed in a pearlescent white with hints of yellow by pottery company Royal Tichelaar, while the upper levels were composed of 3D-printed "bricks" glazed in three shades of red and held in place by laser-cut steel cassettes.

"We collaborate with Royal Tichelaar, one of the Netherlands' oldest companies, for glazing, [which adds] an intriguing dynamic to our work by blending modern technology with traditional expertise," Ter Hall explained.

The tiles were configured to create a rippling rhythm that changes a viewer's experience of the facade depending on the approach.

"The closer you get, the more details start to unfold," Ter Hall explained. "From a far distance the facade blends with the legacy of the street, [but] closer you see the pearl stitch pattern occurring and you recognise that every square millimetre was designed."

"We always aspire to design a certain layeredness and timelessness," Ter Hall continued. "Every time you pass by there's something new to discover."

To Studio RAP, the project embodies its mission to redefine the role of the architect and continue developing large-scale in-house manufacturing and advanced robotic processes.

"This project challenges conventions, embodying a fresh architectural style that reflects our commitment to inject greater excitement and diversity into the world through innovative design," Ter Hall said.

Based in Rotterdam, Studio RAP explores architecture with a focus on computational design and digital fabrication. It has previously completed an archway of 3,000 unique 3D-printed ceramics tiles and a robotically fabricated building in the Netherlands.

The photography is by Riccardo De Vecchi and Studio RAP.

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Indian studio The Grid Architects has created a curvilinear office in Ahmedabad that is constructed from white ferrocement.

Informed by the Sanskrit word for "flow", the 200-square-metre workplace is located at a prominent road intersection in a densely populated area surrounded by ongoing construction work.

It is defined by white undulating walls, which are formed from ferrocement – a low-tech form of reinforced concrete – and help it to stand out in this busy urban environment.

"Our goal was to create a space that stands out from its surroundings," The Grid Architects told Dezeen.

"The white fluid structure was chosen to introduce an element of softness, offering a distinct contrast to the prevalent context."

The Grid Architects sought to reinforce the building's sense of flow internally with four conical rooms, which it describes as "cabins".

These ferrocement-lined rooms are positioned along a passageway that extends the length of the building and taper vertically towards skylights to encourage natural light and airflow.

Deep-set windows are carved out to face an external water feature and private courtyard, which is landscaped with drought-resistant plants.

"The design effectively alleviates the sense of confinement," the studio explained.

"Internal spaces, characterised by the gentle curves of the structure, allow for the infusion of soft sunlight, contributing to a pleasing and uplifting atmosphere."

According to the studio, ferrocement had a notably lower carbon footprint compared to using standard concrete masonry and also helped shape the building's organic form.

"The fundamental design principle revolves around the minimal use of a single material," explained The Grid Architects.

"The emphasis is on simplicity and functionality, channelling the benefits of abundant light and ventilation to create a harmonious interior environment," the studio added.

The Grid Architects view the project as a continuation of its wider efforts to design with the natural environment and wellbeing of occupants in mind.

"Central to our approach is a dedication to biophilia and human-centric design," it said. "We aim to create not just structures, but living environments that blend effortlessly with their surroundings and contribute positively to the human experience."

The studio has previously created a vaulted multipurpose arts space and a "neo-brutalist" concrete house in Ahmedabad.

The photography is by Photographix India.

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Local studio REV Architecture has completed an interior renovation of the Maison de Beauté in Paris, France, for L'Oréal Luxe skincare brand Carita.

Surrounded by other luxury brands along the Rue du Faubourg Saint-Honoré, the studio aimed for the space, which houses a hair salon and skincare treatment rooms as well as a restaurant and eye studio, to be an embodiment of the brand's identity.

"Our aim was to convert a commercial space into a cultural space," REV Architecture said. "We wanted the Maison Carita to stand out as a new must-go-to destination in Paris, with all the legend that goes with it to reflect what these modern, timeless women were like."

Design efforts focused on the 2,000-square-metre building's former courtyard, which was restored to its original proportions by removing recent additions and raising the height of the glass roof.

"To transcend this heritage, it was necessary to identify the logic of the space," the studio explained. "The architecture becomes the singular experience that leads to the discovery of the brand's culture."

Natural light is filtered through what the studio describes as a series of "translucent clouds" – circular glass panels that overhang the length of the restored atrium.

To draw visitors in from the street, REV Architecture introduced a series of staggered arches along a portico leading from the Rue du Faubourg Saint-Honoré.

"[The arches create] a subtly accelerated perspective that gradually reveals the vision of the atrium, the epicentre of the new Maison de Beauté," the studio said.

Public spaces and private rooms are alternated throughout the layout, and are connected through the central atrium by a raised path network.

"The different spaces of the Maison de Beauté are linked to the atrium by aerial paths, a unique architectural promenade [experienced] as a promise or souvenir of the visit," the studio said.

Materials were selected to reference the white-and-black colours of Carita's most iconic products, as well as to evoke their fluid textures and its brand identity.

"We have cultivated a sense of natural materiality [and] tactile surfaces where charm, contemporary purity and responsibility come together; the sensuality of gypsum, white and black marble warmed by touches of pink onyx and chromed metal," the studio said.

"Sensitive, natural, responsible [materials] made more beautiful by the passage of time."

The studio was further informed by the Carita brand logo and how it could be fused with the forms of the renovated rooms and treatment spaces.

"It is the lines and the femininity of this simple and poetic monogram that we have chosen to define the overall expression of the new architecture," REV Architecture said.

REV is a Paris-based architecture and design studio founded by Cristiano Benzoni and Sophie Thuillier. The project has been shortlisted in the health and wellbeing (interior) category of Dezeen Awards 2023.

Other recent beauty and well-being projects include a beauty store which takes its cues from underground factories in China and a spa embedded in the Mexican jungle by Soler Orozco Arquitectos and Javier Sánchez.

The photography is by Benoit Linero.

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New Zealand design studio Formway Design has created Denn Chair, a "holistic" workplace chair made from recycled materials, in collaboration with Australian furniture brand Zenith.

The studio used a number of different materials and techniques during the design process to meet the brief for an environmentally conscious product.

"Denn is made from ocean, post-consumer and industrial waste and uses as little [material] as possible to exceed the most rigorous global safety and durability standards," Formway Design told Dezeen.

According to Formway Design, Denn Chair is made out of 58 per cent recycled content. This includes its 3D-knitted backrest surface, which was created from polyester yarn containing marine waste.

By utilising gas-assisted and overmolding techniques, the design team sought to reduce the amount of material required while increasing the chair's overall strength and resource efficiency.

"Every material decision was made with a focus on reducing our footprint while ensuring the chair's longevity and performance," explained Zenith brand director Matt Vescovo.

Shortlisted in the workplace design category of Dezeen Awards 2023, Denn Chair was developed through a combination of interviews and observation to determine how its form could support flexible and fluid movement.

"This holistic approach ensures Denn isn't just a 'standard task and multipurpose chair', but a comprehensive solution that aligns with the user's physical and ergonomic needs," Vescovo said.

The brand is awaiting patent approval for the chair's 4D-armrests which aim to enhance movability by providing 45-degree inward rotation.

"Every element is thoughtfully crafted to promote optimal posture, reduce fatigue and encourage overall comfort," Zenith said.

A concealed automatic seat mechanism adjusts to the occupant's weight and movement, eliminating the need for manual modifications.

"[Denn Chair's] motion enables people to go from activity to activity, from posture to posture, without thought or restriction," Formway Design said.

Denn Chair comes in a light or dark frame with seven colour options for the polycarbonate backrest. Users can also choose between no armrests, loop armrests or the patent-pending 4D-armrests to customise their selection.

Focusing on workspace solutions, Zenith has furniture design and manufacturing operations across the APAC region including 13 showrooms throughout Australia, New Zealand and Asia.

Other projects shortlisted for the workplace design category of Dezeen Awards 2023 include a table collection by Foster + Partners and a chair designed by Swedish studio Form Us With Love.

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British studio Moxon Architects has repurposed a small cluster of 19th-century farm buildings in Aberdeenshire, Scotland, into a guesthouse, glasshouse and private artist's studio.

Built following the restoration of the owner's main house in a hillside settlement in the Cairngorms National Park, the completion of the trio of buildings marks the end of a decade-long undertaking by the studio to reoccupy the site.

According to the studio, three material choices defined the design: expressed oak in the guesthouse interior, Douglas Fir timber for the glasshouse and frameless glazing inserted into apertures throughout existing wall structures.

"It is testament to the robustness and resilience of the historic buildings that this is a project characterised by retention and repair," said Moxon Architects founder Ben Addy. "Where there are new interventions, they are modest yet highly crafted, and seek to emulate the craft, form, and rigour of the 170-year-old architectural fabric."

The L-shaped guesthouse was rebuilt from a partially collapsed cattle shed as a detached extension of the client's primary home.

A double-height living space and kitchen lie underneath an exposed hayloft roof structure, while the walls were finished with a textural clay plaster and oak joinery to disguise modern appliances.

The most ruinous building of the converted trio was the greenhouse. Remnant stone walls became a backdrop for a glazed extension which was framed with structural timber and a steel portal enclosure.

"The glasshouse does not follow a vernacular pattern, it is a new form, but it carries the same spirit [as the original building]... undertaken with great care and precision in the detail," said Addy.

To the northern edge of the glasshouse lies the artist's studio, which contains a private workshop, kitchen, wet room and storage for the designer client, Naomi Mcintosh.

Interior walls were lined with maritime pine and contrasted against a rough steel block insertion coated with phosphate and beeswax.

For both external works and internal detailing, Moxon Architects prioritised using and reusing materials sourced from across the site.

"Where the masonry has been rebuilt the stone has again come from the site itself – zero material miles," explained Addy. "Similarly, wind-blown cherry and ash from the garden has been turned to form door handles and other joinery details."

By referencing the robust material choices of the region, Moxon Architects sought to create a sense of longevity and resilience.

"Durability, in all senses, was important," said Addy. "We developed the design and details to ensure that these once derelict buildings will survive for the next two hundred years."

"Most of all, it is about continuity in the 'art of building' embodied by the existing buildings," Addy continued.

"For what are ostensibly humble vernacular structures, the precision of the original construction is remarkable… and it was important that the new parts brought forward the same sensibilities."

Founded in 2004, Moxon Architects has offices out of both London and Aberdeenshire. In 2022, the studio was awarded RIAS' Andrew Doolan Best Building in Scotland Award for their Quarry Studios project.

The photography is by Simon Kennedy.

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