Gray Organschi completes wooden high school extension with irregular roofing in Connecticut

Common Ground High School by Gray Organschi

Outdoor classrooms and active farmlands surround the extension to this ecological high school in Connecticut, which Gray Organschi built with cross-laminated timber to demonstrate sustainable design practices.

Common Ground High School by Gray Organschi

Common Ground High School is a charter school in New Haven with a curriculum focused on the environment. It was founded in 1997 and is one of the first schools in the US to offer a high school programme dedicated to sustainability and organic farming.

Common Ground High School by Gray Organschi

Its campus sits near West Rock Ridge State Park, on a verdant site near Yale University. The school tapped local architecture firm Gray Organschi to create an addition to house various activities, such as a new gymnasium, laboratories, communal areas and classrooms.

Common Ground High School by Gray Organschi

“The project brief challenged the design team to weave the new building and its exterior spaces into the fabric of farm buildings, agricultural fields, upland forests, and wetland habitat that lie at the city’s edge and serve as the school’s working landscape and outdoor classroom,” said a statement from Gray Organschi.

Common Ground High School by Gray Organschi

The 14,760-square-foot (1,371-square-metre) building is elevated above the ground and features wood-clad walls that form an irregularly shaped rooftop. The extension doubles the school’s footprint.

Common Ground High School by Gray Organschi

The project is one of the first buildings in the country to use cross-laminated timber (CLT) –  an engineered wood consisting of laminated timber sections – for its main structure, according to the architects.

Consisting of layers of timber sections, the material has grown in popularity in recent years outside of the US, with many commending its lighter carbon footprint in comparison to concrete and steel.

Common Ground High School by Gray Organschi

Gray Organschi Architects chose the structure for the school as opportunity to showcase ways that sustainable features in the design that would be visible to students. “A primary objective was a pedagogical one,” the firm said.

Common Ground High School by Gray Organschi

These walls, which were made of Black Spruce, support heavy wooden rafters that were similarly fabricated to achieve long spans with less raw material. “The new building at Common Ground exploits the structural capacities and ecological benefits of wood fibre,” the firm said.

Common Ground High School by Gray Organschi

Natural light is let into the school thanks to its sloped roofline and clerestory windows. Other more sustainable features include rainwater treatment, passive ventilation, and on-site energy production via geothermal wells.

Common Ground High School by Gray Organschi

The addition is located downhill from the original school building, and accessed via a wooden bridge that leads to the upper level. Meeting rooms, classrooms and labs are organised around a central atrium. A monumental staircase leads down to ground level.

Common Ground High School by Gray Organschi

On this floor, a gymnasium and locker rooms provide social spaces for the students and the after-hours programming offered by the school. A garage door allows this multi-purpose space to open to the exterior in good weather.

Common Ground High School by Gray Organschi

Images of the project show simple interiors, in which the pale wooden structure is left visible along with the building’s mechanical equipment and other fixtures. This contrasts the exterior treatment, where darker wooden boards made of Port Orford Cedar wrap the building.

Common Ground High School by Gray Organschi

Based in New Haven, Gray Organschi Architects is led by Lisa Gray and Alan Organschi.

The studio focuses on using timber and has also designed a UN-backed, off-grid tiny home in collaboration with Yale and a longhouse in Martha’s Vineyard with Schiller Projects.

Photography is by David Sundberg – Esto.

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Bornstein Lyckefors builds pale green cabin on rural Swedish island

Granholmen summerhouse by Bornstein Lyckefors

Architecture studio Bornstein Lyckefors chose an unusual shade of green for the exterior of Granholmen, a humble cabin on the Swedish island of Kallaxön.

Granholmen summerhouse by Bornstein Lyckefors

Although many of Sweden’s wooden cottages and barns are famously painted in a distinctive shade of red, there is no history of that colour being used on the islands of the Luleå archipelago in northern Sweden.

Bornstein Lyckefors instead chose a shade that it felt would give the building its own identity, but which would also blend well with the conifers, deciduous trees and grasses that surround it.

Granholmen summerhouse by Bornstein Lyckefors

“We wanted to give the new building its own character, inferior but still with a clear ascendance to the old,” explained studio co-founder Andreas Lyckefors.

“Given the rich green gradient of the site, we wanted the house to blend in naturally with the colours of nature,” he told Dezeen.

Granholmen summerhouse by Bornstein Lyckefors

The island of Kallaxön is completely undeveloped, with no roads and no running water, but the client’s family has had a weekend home there for five generations. His great great grandfather, who ran a veneer factory in the city, used to deliver to the mine and accepted a plot of land as payment.

The old summerhouse is very basic, with no toilet or shower facilities, so can only be used in summer. The aim of the new building is to allow the family to also enjoy vacations in the coldest months of the year, when the water freezes over.

Granholmen summerhouse by Bornstein Lyckefors

The cabin is built from pine, with a traditional gable end profile. All of the exterior walls are painted in the calcimine green shade apart from the recessed entrance, where the true colour of the material is revealed.

The roof is made from oxidised copper, so it has an almost identical tone.

“Together they form a solid whole that becomes one with all the green shades on the tree-covered headland,” said the architect.

Granholmen summerhouse by Bornstein Lyckefors

Although the cabin looks like it could be single-storey, it actually contains an attic floor. This means that almost all of the ground floor can be used as communal family space, able to open up to the landscape.

A dining area, kitchen and lounge space are all organised around a ladder-style staircase, and there is also a daybed tucked into a quiet corner. Meanwhile upstairs contains a master bedroom and a flexible loft space.

Granholmen summerhouse by Bornstein Lyckefors

A toilet and shower – with a new supply of running water – are accessed from the outside, so that they can be used by occupants of both this property and the old summerhouse.

“In the summertime the days are 24 hours long, as sunset turns to sunrise before dark,” said Lyckefors.

“Most of the summertime days are spent outside the house, so part of the brief was to create an open space embracing the sensation of being outdoor all day long.”

Granholmen summerhouse by Bornstein Lyckefors

With the house’s position so close to the water, flooding is always a risk. To avoid this, the house is raised up off the ground on small concrete piers. These also help to protect the building from the regular winter ground frost.

Photography is by Carl Axel Bejre.

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Call for entries to the Tile of Spain Awards 2019

Tile of Spain Awards 2019 call for entries

Dezeen promotion: architects, designers and students are invited to submit projects to this year’s Tile of Spain Awards.

The annual event, now in its 18th edition, is held by the Spanish Ceramic Tile Manufacturer’s Association (ASCER) to celebrate projects from across the globe that make use of Spanish-made ceramics.

This year, a total prize of €39,000 will be split between three categories: Architecture, Interior Design and Final Degree Project, which is awarded specifically to architecture students.

The winners of the two main categories, Architecture and Interior Design, will receive €17,000 each, and the winning architecture student will be given €5,000.

Tile of Spain Awards 2019 call for entries
Joan Miquel Seguí Colomar’s latticework won the Architecture category in last year’s Tile of Spain Awards

This year’s judging panel will be headed by Jacob van Rijs, a founding partner of Rotterdam studio MVRDV. He will be joined by architects Inês Lobo, David Lorente and Eugeni Bach.

Tomoko Sakamoto, the co-founder of graphic studio Spread, and the president of the Castellón Region College of Architects, Ramón Monfort will also be on the panel.

Last year, the first prize in the architecture category was awarded to Joan Miquel Seguí Colomar for his use of Spanish ceramics in the new entrance at Palma’s Intermodal Station.

Colomar was applauded specifically for his use of ceramic latticework, which the judges said “marked a return to the Mediterranean tradition as a filter between exterior and interior”.

Tile of Spain Awards 2019 call for entries
Architecture is one of three categories you can enter, alongside Interior Design and Final Degree Project

Meanwhile, Xavier Martí and Lucía Ferrater took first prize in the 2018 interior design category for House Overlooking the Sea.

The judges praised the designers’ incorporation of ceramic floor tiles to form a connection between the different spaces within the dwelling, while forming a backdrop to the other materials.

Manuel Bouzas Barcala, a student from the Madrid School of Architecture, took first prize in the Final Degree Project for his project A Positive Happening.

It was selected for his “original application of ceramic tiles as a surrounding with a capacity for creating architecture”.

Tile of Spain Awards 2019 call for entries
Last year’s Interior Design category was awarded to House Overlooking the Sea by Xavier Martí and Lucía Ferrater

Entry to this year’s awards is free and submissions are being accepted until 24 October 2019. Projects entered must have been completed between January 2017 and October 2019.

For further information and to download the application forms to enter, visit the Tile of Spain Awards website.

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Start-up Atolla harnesses AI to make personalised skincare products

MIT skincare start-up Atolla harnesses artificial intelligence to make personalised serums

Data meets dermatology at Brooklyn-based skincare start-up Atolla, launched by an MIT engineer who has applied machine-learning algorithms to fix problem skin.

The Atolla Skin Health System works by giving users testing kits to measure the exact characteristics of their skin — specifically, its hydration, oil, pH and absorption.

It then sends them a face serum calibrated precisely to their skin’s needs, with the formula updated monthly.

MIT skincare start-up Atolla harnesses artificial intelligence to make personalised serums
Atolla creates skincare products personalised to an individual’s skin

Atolla’s co-founder Meghan Maupin — who has previously worked on an AI-powered personal assistant and products for mass customisation in 3D printing — was at the Massachusetts Institute of Technology when she decided to see if she could use her software expertise to improve her skin.

“I have super sensitive skin, and when I got to MIT, I found myself dealing with a whole new set of skin issues,” said Maupin. “I couldn’t understand what was causing my skin freakouts or how to solve them.”

“Challenged to figure it out, I realised that I was at the best place in the world to solve this complicated problem with machine learning.”

MIT skincare start-up Atolla harnesses artificial intelligence to make personalised serums
The company sends users a kit to test their skin

She teamed up with data scientist Sid Salvi, who was doing his MBA at MIT Sloan at the time, and dermatologist Ranella Hirsch to co-found Atolla in 2017.

They went to develop the idea at the MIT Delta V summer accelerator in New York City and launch a successfully funded Kickstarter campaign the following year. The company is now up and running, and sending out its unique skin health kits in the USA.

MIT skincare start-up Atolla harnesses artificial intelligence to make personalised serums
Users test their own skin’s pH, oil and moisture levels

The kits come with four different kinds of strips to test the pH, oil and moisture levels on the user’s face. There are also vials of liquid for them to test how well different formulas absorb into their skin.

Customers don’t need to send their results back through the post; rather, they scan the used strips with their phone and the Atolla app processes the findings. It also asks them to input details about their lifestyle and environment, which is all fodder for Atolla’s algorithms.

These algorithms leverage insights from not just the customer’s own skin history but from other users with similar issues to determine what solutions are likely to work best. Atolla has a whole “efficacy database”.

MIT skincare start-up Atolla harnesses artificial intelligence to make personalised serums
Results of users skin tests can be processes by the Atolla app

“The Atolla model is built on giving and getting data and feedback from our users,” said Salvi, who is chief operations officer. “This includes uniquely combining key measurements of skin’s health with an extended dermatological history and product preferences to make the most efficacious product that someone loves to use.”

The company likens the process to how the brightness of your phone screen auto-adjusts based on the conditions around it.

MIT skincare start-up Atolla harnesses artificial intelligence to make personalised serums
The results are used to create personalise skincare products

Users re-test their skin and update any lifestyle changes through the app in time to receive a fresh batch of recalibrated serum monthly.

The product is aimed at all genders, with both women and men featured in the marketing materials.

The skincare market is currently booming, with beauty influencers and online forums shaping a trend towards science-led but often complicated routines.

Atolla is not far from an AI-powered skincare concept dreamt up by design agency Seymourpowell just last year called Identité. It proposed a world where users were sent monthly skincare and makeup packets based on their lifestyle data.

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Join Dezeen's sustainable fashion chat on Twitter with #dezeenchat

dezeenchat sustainable fashion

Can fashion ever be sustainable? Dezeen’s India Block will be speaking to readers on Twitter this Thursday, 5 September, at 4pm UK time about designers’ responsibilities when it comes to fashion sustainability. Join in using the hashtag #dezeenchat.

Not able to make it? Share your thoughts using the comments below and we’ll tweet on your behalf during the chat.

How it works

Log into Twitter at 4pm on Thursday 5 September and search for #dezeenchat. Use this hashtag in all your tweets so everyone following the chat can see what you’re saying.

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S/LAB10 hides office behind golden folding facade on suburban street in Kuala Lumpur

Mantab office by S/LAB10 in Kuala Lumpur, Malaysia

S/LAB has placed an office with mismatched interiors for property development company Mantab behind a golden folding facade on a quiet street in Kuala Lumpur.

Arranged across the converted house’s existing structure, the conversion has created offices for the company’s three directors, as well a display gallery and leisure spaces for hosting clients.

Mantab office by S/LAB10 in Kuala Lumpur, Malaysia

The interior follows the theme of “intentional mismatches” and incorporates contrasting colours, textures, materials such as white epoxy flooring with dark wood, brass and velvet upholstery as well as curved walls and sharp angles.

S/LAB‘s design for the Kuala Lumpur office has been longlisted for a Dezeen Award in the small workspace interior category.

Mantab office by S/LAB10 in Kuala Lumpur, Malaysia

Upon entering, visitors arrive in a white entrance lobby with lounge seating that overlooks a bamboo garden. To the right a gold copper alloy staircase leads up to workspace.

Bespoke slender-framed, arched translucent screens are dotted throughout the interior to divide open spaces.

Mantab office by S/LAB10 in Kuala Lumpur, Malaysia

The translucent panels are made up of soft neon hues of glass encased in thin black steel frames that double up as feature display shelves.

Where the panels overlap, layers of colour are created.

Mantab office by S/LAB10 in Kuala Lumpur, Malaysia

“The division of spaces has been carefully considered, as were the design strategies and elements involved in this,” explained S/LAB. “One such example is the centrally-positioned conference room on the white epoxy-floored first level. “

“The room is surrounded by heavy but lush emerald green privacy drapes. Left open when not in use, the curtains provide a flexible use of space that opens up the heart of the level rather than further segmenting it,” the studio continued.

Also on the first floor is a semi open lounge area with a standalone bar for entertaining clients.

Mantab office by S/LAB10 in Kuala Lumpur, Malaysia

On the building’s exterior, the building is wrapped by gold-copper alloy panels that fold open and shut.

Rising up from the building’s ground level and echoing the office’s unusual gold copper alloy staircase, the panels shade the office from the sun during the day while hiding and revealing its lit interior at night.

Mantab office by S/LAB10 in Kuala Lumpur, Malaysia

Made up of triangulated facets of matte and highly polished gold-copper alloy, the panels are intended as a visual interpretation of the company’s name and brand.

“Translated from Malay language, mantab means solidity; an unshakeable integrity. Our designers likened this to the hardiness of a diamond – with no single facet on the jewel alike, yet abound with impeccably hardy beauty,” said the studio.

“Inspired as well by the Malaysian shophouse vernacular of folding iron shutters, the gold-copper alloy clad folding panels are hinged and operable,” continued the studio.

“Whether angled half-shut with its interiors peeking out to its suburban extents, or closed in entirety for privacy and to keep out the glare of tropical light out – the facade is eye-catching and captivating.”

Mantab office by S/LAB10 in Kuala Lumpur, Malaysia

Several architects have incorporated moving facades into their work. In 2016 SAM Architects completed a mews house in southeast London that features a large bi-folding shutter made from charred larch, while Manuel Herz Architects recently completed a housing block in Zurich with facades that can become balconies.

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Layer designs pendant lamps based on silkworm cocoons for Muuto

Lena Pripp-Kovac IKEA 2030 circular economy

Benjamin Hubert‘s design studio Layer has created a series of cocoon-like pendant lights for Danish furniture brand Muuto, inspired by the silkworm’s act of “self-wrapping”.

The lighting collection, called Strand, comprises four simple pendant lamps made using a fibrous polymer material that is sprayed over a lightweight steel structure to form a “cocoon”.

Layer designs Stand pendant lamps for Muuto

This process of shrouding the metal frame is designed to emulate the act of silkworms “self-wrapping”.

Once the cocoon-like material has hardened, it envelops the light source and acts as its diffuser.

Layer designs Stand pendant lamps for Muuto

For Strand, Layer wanted to create a series of lights that boasted “expressive yet simple” contemporary forms, while also using as little materials as possible.

Each lamp boasts a large volume and a minimal material impact – the outer fibrous material is very thin yet robust, just like the steel framework it coats.

The collection will launch during this year’s London Design Festival, taking place from 14 to 22 September 2019.

Layer designs Stand pendant lamps for Muuto

Not only is this is the first product designed by Layer for Muuto, but Hubert is also the first British designer to work with the Scandinavian brand.

“We strive to create design that improves the emotional healthiness of the user and enhances or at least reflects their lifestyle,” said Layer.

“As a brand, [Muuto] are aligned with our ambition to create simple and accessible design that can be owned by many and seamlessly integrated into the home,” added Hubert.

“With Strand, we have created a collection of softly voluminous pendant lamps that exude gentleness and sensitivity,” he continued.

Layer designs Stand pendant lamps for Muuto

Each lamp in the collection took design cues from the “softly rectilinear” forms commonly used in factory lighting, which contrasts the “domestic” feeling of the woven material.

Layer opted for a neutral colour palette to further adapt these typically industrial forms to suit a wider range of interior environments, including home, hospitality and commercial settings.

Strand includes four different sizes and shapes, which can be hung individually or assembled together to create a “statement” light installation.

Layer designs Stand pendant lamps for Muuto

The collection will be launched at the Muuto space on the second floor of Heal’s furniture store in Bloomsbury during this year’s London Design Festival, in an installation also designed by Layer.

Designed to reflect the simplicity and materiality of the product, the installation sees a translucent curtain material draped over the room’s large windows, to create the impression of being inside one of the Strand lamps.

Textile brand Kirkby Design has also released an underground tube fabric collection in time for London Design Festival, in collaboration with Transport for London.

Launched as part of the 100% Design event that takes place during the week, Kirkby’s Underground Vol. II collection sees the studio overhaul seven heritage moquette designs featured on the city’s Underground tube seats.

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Paola Antonelli of MoMA to give keynote speech at Dezeen Day

Paola Antonelli to speak at Dezeen Day

Paola Antonelli, senior curator of architecture and design at The Museum of Modern Art in New York, will give a keynote speech at Dezeen Day, our new international architecture and design conference taking place in London on 30 October.

Antonelli, the first Dezeen Day speaker to be unveiled, will speak about the impact of Broken Nature, Design Takes on Human Survival, the exhibition she curated for the XXII Triennale di Milano and which closed on 1 September.

One of the most influential and acclaimed architecture and design exhibitions of recent years, the exhibition explored how human society has become severed from the natural and identified projects that attempt to create a new dialogue with nature via what she describes as “restorative design”.

“Broken Nature: Design Takes on Human Survival highlighted the concept of restorative design, plotting its role in surveying our species’ bonds with the complex systems in the world, and in designing reparations when necessary, through objects, concepts, and new systems,” Antonelli said.

She added that her lecture at Dezeen Day will “will take stock of the experience, casting the exhibition against the turbulent geopolitical background of the past year, describing which among its ambitions were met, and which were not.”

Born in Sardinia in 1963, Antonelli joined MoMA in 1994 after working as a design writer, editor and teacher. Besides curating exhibitions she writes and lectures extensively. Her books include Humble Masterpieces: 100 Everyday Marvels of Design; Design and the Elastic Mind; and Talk to Me: Design and the Communication between People and Objects.

“Her goal is to promote design’s understanding, until its positive influence on the world is universally acknowledged,” her official biography states. “Her work investigates design’s impact on everyday experience, often including overlooked objects and practices, and combining design, architecture, art, science and technology.”

Dezeen Day aims to set the agenda for international architecture and design, and takes place at BFI Southbank in central London on 30 October.

Dezeen’s first ever conference will feature keynote lectures and panel discussions tackling critical topics facing architecture and design including the circular economy, rethinking architecture and design education and post-plastic materials. More details including speakers will be unveiled soon.

Tickets are now on sale! The first 100 early-bird tickets cost just £250 each (plus VAT if relevant). Click here to purchase tickets or use the form below:

To stay updated about Dezeen Day follow our feed at www.dezeen.com/tag/dezeen-day.

Illustration by Rima Sabina Aouf.

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Malaysian designers propose building colony on Mars from locally grown bamboo

Seed of Life bamboo colony on Mars by Warith Zaki and Amir Amzar

Warith Zaki and Amir Amzar have envisioned using bamboo grown and harvested on Mars to build the first colony on the red planet.

Named Seed of Life, the conceptual colony design comprises a series of structures woven from bamboo by autonomous robots.

Malaysian designers  Zaki and Amzar designed the proposal to demonstrate that there may be alternative ways of building on Mars that do not rely on shipping material from earth or 3D printing.

Seed of Life bamboo Mars colony by Warith Zaki and Amir Amzar

“After doing a lot of research on Mars colonisation, we realised that half of the ideas would go about deploying fully synthetic materials made on earth to build shelters, while the other half is about using the locally available regolith,” Zaki and Amzar told Dezeen.

“We tried to find something in between, a balance of natural material from earth and advanced technology.”

Seed of Life bamboo Mars colony by Warith Zaki and Amir Amzar

To create the buildings, Zaki and Amzar envision farming bamboo on Mars and using the material the build the structures.

“Human civilisation has yet to build anything on any other planet outside of Earth. That fact alone opens up infinite possibilities of what could or should be used,” explained the designers.

“Sure, 3D printing seems to be a viable proposition, but with thousands of years worth of experience and techniques in shelter construction, why shouldn’t we tap on other alternatives too?”

Seed of Life bamboo Mars colony by Warith Zaki and Amir Amzar

Each modular pod in the colony would be built over a period of six years, with explorers landing and locating underground frozen ice to use as a source of water in the first stage of the development.

After water is located, a self-deploying ETFE habitat containing bamboo shoots would be sent to the planet. A drill would break into the underground ice to supply water to the bamboo, which would be grown within the ETFE structure.

Seed of Life bamboo Mars colony by Warith Zaki and Amir Amzar

When the bamboo is fully grown, after around three years, it would be removed from the growth chamber, cut, and weaved around the ETFE structure by robots.

Finally. the bamboo would be pumped with water, which would freeze within the Martian climate to provide another layer of protection for the colony.

Seed of Life bamboo Mars colony by Warith Zaki and Amir Amzar

Zaki and Amzar chose to use bamboo as it would quickly increase in mass while on Mars, dramatically reducing the need to send large volumes into space. The fast growing plant also has a long history of being used as a building material.

“Humans have mastered techniques in building shelter with bamboo or wood for thousands of years,” the designers said. “Bamboo alone might not work in the extreme climate condition on Mars, but with a combination of technology and other materials there would be possibilities.”

Seed of Life bamboo Mars colony by Warith Zaki and Amir Amzar

Although Seed of Life is only a proposal, the designers hope that it will encourage others to consider using alternative construction materials and techniques for the colonisation of space.

“It’s meant to be thought-provoking, to carry discussions towards other unthinkable materials and ways in colonising the red planet,” explained Zaki and Amzar. “Although one could not help to believe that there is a certain degree of practicality to it.”

Numerous architects and designers are considering how best to build on Mars. NASA is arranging a competition to design a 3D-printed habitat, while Italian architect Stefano Boeri has imagined a series of  dome-covered “vertical forests”.

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Dezeen Awards 2019 interiors shortlist announced

The Solar Egg by Bigert & Bergström for Riksbyggen

The Dezeen Awards 2019 interior shortlist has been announced. It includes a gothic-inspired cafe, a compact black house designed to stand out like a minimalist sculpture and Europe’s first underwater restaurant.

There are 53 projects on the Dezeen Awards interiors shortlist this year, spotlighting the best interior design from 26 countries across the globe.

The USA is the country with the most shorlisted projects, with eight interiors on the list. Other countries include China, South Korea, Ukraine, Norway and Australia.

Dezeen Awards 2019 interiors shortlist: Cardboard Bombay by Nudes
Architecture studio Nudes has built an entire cafe using cardboard. Photo is by Mrigank Sharma

Well-known architecture and design studios that made the list include Snøhetta, Gensler and Note Design Studio, while numerous emerging studios including A Little Design, Nudes and Child Studio are also included.

View all shortlisted interior projects on the Dezeen Awards website ›

Hong Kong studio Mlkk Studio appears on the shortlisted the most times, being recognised for the design of three Aesop stores, in Australia, Taiwan and South Korea.

Other highlights on the shortlist include a 17.6-square-metre flat, a tech company’s headquarters housed inside a century-old bank and an egg-shaped sauna.

Dezeen Awards 2019 interiors shortlist: The Solar Egg by Bigert & Bergström for Riksbyggen
Bigert & Bergström has built a golden, egg-shaped sauna for a Swedish community facing relocation. Photo is by Jean-Baptiste Béranger

The shortlist was selected from a longlist of 259 interior design projects, by a panel of judges that included Patricia Urquiola, Sevil Peach, David Rockwell and Werner Aisslinger.

Projects were assessed on whether they are beautiful, innovative, and beneficial to people and planet.

Dezeen Awards 2019 interiors shortlist: The Ahm House by Coppin Dockray
Architecture studio Coppin Dockray has renovated a modernist house built by Danish architect Jørn Utzon. Photo is by James O. Davies

The winner of each category will be announced online in mid-October and will go on to compete for the interiors project of the year title.

The interiors shortlist is listed below. Click through for more information on each entry:


House interior

The Ahm House, Harpenden, UK, by Coppin Dockray
Tiny Holiday Home, Vinkeveen, Netherlands, by i29 interior architects
Living Lab, Taipei City, Taiwan, by J.C. Architecture
Oculi House, New York City, USA, by O’Neill Rose Architects
Beacs, Toronto, Canada, by Studio AC


Apartment interior

Nassim Mansion, Singapore, by 0932 Design Consultants
Casa Burés, Barcelona, Spain, by Estudio Vilablanch – TDB Arquitectura
The Biscuit Factory, London, UK, by SUPRBLK
Sunny Apartment, Taichung, Taiwan, by Very Studio
Michigan Loft, Chicago, USA, by Vladimir Radutny Architects
vallirana 47, Barcelona, Spain, by vora


Restaurant and bar interior

Humble Pizza Cafe, London, UK, by Child Studio
Radhaus, San Francisco, USA, by envelope A+D
Dandelion Chocolate Kyoto, Kyoto, Japan, by Fumihiko Sano Studio
Cardboard Bombay, Mumbai, India, by Nudes
Under – Europe’s First Underwater Restaurant, Lindesnes, Norway, by Snøhetta


Hotel and short stay interior

Jungle Keva, Tulum, Mexico, by Jaque Studio
℃ (Do-C) Gotanda, Tokyo, Japan, by Jo Nagasaka/Schemata Architects
Radar Station, Dungeness, UK, by Johnson Naylor
SWEETS hotel, Amsterdam, Netherlands, by Space&Matter
Dream and Maze, The Other Place, Guilin Litopia, Pingle, China by Studio 10


Large workspace interior

VanBerlo Headquarters, Eindhoven, Netherlands, by Atelier van Berlo
Gusto, San Francisco, USA, by Gensler
Slack, San Francisco, USA, by Studio O+A
Slack Tokyo office, Tokyo, Japan, by Suppose Design Office
Expensify Portland Office, Portland, USA, by ZGF Architects


Small workspace interior

Piazza Dell’Ufficio, Braybrook, Australia, by Branch Studio Architects
200 Gray’s Inn Road, London, UK, by Conran and Partners
Scandinavian spaceship, Oslo, Norway, by Kvistad
Mantab Workplace, Kuala Lumpur, Malaysia, by S/LAB10
Ya Vsesvit, Kiev, Ukraine, by Victoriya Yakusha


Retail interior

HARMAY Hong Kong, by AIM Architecture
United Cycling LAB & Store, Lynge, Denmark, by Johannes Torpe Studios
Le Cube, Paris, France, by Mana/ Scalaplus
Aesop Bondi Signature Store, Bondi, Australia, by Mlkk studio
Aesop Daan Signature Store, Taipei City, Taiwan, by Mlkk studio
Aesop Sounds Hannam Signature Store, Seoul, South Korea, by Mlkk studio


Leisure and wellness interior

The Retreat at Blue Lagoon Iceland, Grindavík, Iceland, by Basalt Architects and Design Group Italia
The Solar Egg, Björkliden, Sweden, by Bigert & Bergstrom for Riksbyggen
Euphoria Spa in the Euphoria Retreat, Mystras, Greece, by decaARCHITECTURE
Aeichi Korean Medical Clinic, Yongin, South Korea, by Seog Be Seog
Warehouse Gym Springs, Dubai, UAE, by VSHD Design


Civic and cultural interior

Paper Roof / Paper Curve, Hsinchu City, Taiwan, by B+P Architects
The Old Library at the National Museum, Stockholm, Sweden, by Emma Olbers Design
Blossom School, Zhihui, China, by Karv One Design
Redefining the Early Learning Environment, Chestnut Hill, USA, by Supernormal
Kath, Antwerp, Belgium, by Van Staeyen Interieur Architecten


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17.6-square-metre flat, Taipei City, Taiwan, by A Little Design
A U shaped room, Shanghai, China, by Atelier tao+c
Dormore, London, UK, by Con Form Architects
Pass on Plastic, London, UK, by Shed
The Children’s Library at Concourse House, New York, USA, by Michael K Chen Architecture

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