Weathered timber cladding covers shed-like house in rural England

Field House by Spratley & Partners

A cantilevered upper floor and a glazed gable end feature in a house in Berkshire, England, by architecture practice Spratley & Partners.

The rural house is covered in pre-weathered burnt timber and brick, topped by a steep pitched zinc roof.

Called Field House, the project is and located in the large grounds of an existing property.

Field House by Spratley & Partners
Photo by Jeremy Spratley

Spratley & Partners were able to achieve planning on this green belt site by originally proposing a small end-of-garden outbuilding, or shed.

With this approved, the project grew after further applications were submitted for a basement and first floor.

Field House by Spratley & Partners
Photo by Jeremy Spratley

Extensions were then allowed through permitted development.

By drawing on the appearance of the agricultural sheds nearby, Spratley & Partners were able to keep the visual impact of Field House to a minimum even as its volume grew.

Field House by Spratley & Partners

“The entire village and planners tried to resist this new house as it was contrary to policy and could set a precedent,” director Jeremy Spratley told Dezeen.

“However, we managed to persuade the planning committee on the night of their meeting to agree that it was a sensitive building and that the physical presence of this house was not more impactful than the consents we had achieved for the garden building.”

Field House by Spratley & Partners

At ground floor level the living, dining and kitchen area, a snug and a boot room are arranged around a central wooden stair, along with a small entry hall and bathrooms.

All this sits within the footprint of the outbuilding that was originally proposed for the site.

Field House by Spratley & Partners

With the plan being relatively tight, these rooms lead directly into one another through sliding doors.

Large areas of built-in wooden storage lining areas of the interior maximise the available space.

Field House by Spratley & Partners
Photo by Jeremy Spratley

The double-height living area ends in a glazed gable-end with views out across the garden and the Thames valley beyond.

Doors open onto a paved terrace that leads to a winding garden path.

Field House by Spratley & Partners

Below, the basement houses a cinema room, plant room and store.

This underground level is illuminated by a thin lightwell topped by walk-on glass on the terrace above.

Field House by Spratley & Partners

Field House’s L-shaped first floor has three en-suite bedrooms.

Each bedroom is oriented to look out at a different aspect of the garden surrounding the home.

Field House by Spratley & Partners

The landscaping of this extensive garden was designed by Andy Sturgeon.

It is split into three distinctive areas, comprising a wildflower garden, a formal lawn and a south-facing gravel garden.

Field House by Spratley & Partners

In the western bathroom, a small window overlooks the double-height living room.

The eastern bedroom looks out towards the gravel garden as it wraps around the side of the home.

Field House by Spratley & Partners
Photo by Jeremy Spratley

White wooden panelling lines the roof of the kitchen and dining area, wrapping around to cover the upper storey bathroom.

Elsewhere, white walls and pale wood or stone floors create bright bedrooms and living spaces.

Field House by Spratley & Partners
Photo by Jeremy Spratley

Many architects working in rural contexts turn to agricultural buildings for inspiration.

In Australia, Lovell Burton drew on the surrounding hay sheds in its designs for a new house, and in Yorkshire Tonkin Liu repurposed an old barn to create a home around a large library space.

Photography is by Andrew Beasley unless otherwise stated.


Project credits:

Architect: Jeremy Spratley, Marcus Van Heerden, Spratley & Partners
Landscape designer: Andy Sturgeon Landscape & Garden Design
Structure engineer: Centrespace Design
Interior design: Lisa Holt Design

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Grovemade’s logo-esque keyring is also a carabiner clip and a bottle-opener

Crafted from a single high-strength 7075 aluminum billet, Grovemade’s keyring has a distinct appeal. The circular keyring comes with an incomplete circular form that lets you slide it right into belt-loops without requiring spring-loaded moving parts, and also a keyring loop, well, for your keys.

The Grovemade Aluminum Keyring is a reimagination of carabiners, with its robust, circular, confident form. A slit in the circle helps bring drama to the design and also helps it slide easily into belt-loops on pants, while a lip on the inside of the keyring lets it double as a nifty bottle-opener. A perfect combination of simplicity and class, with a little zest of function.

Designer: Grovemade

New Museum’s NEW INC + Ruinart’s “Forever First” Mixed Reality Pop-Up

Navigate the fragility of nature through virtual and augmented reality projects open to the public

Set in New Museum‘s often-private and appropriately named Sky Room, the art institution’s incubation unit, NEW INC, presents two virtual reality artworks with historic Champagne house Ruinart. The limited run, open-to-the-public exhibition, Forever First, debuts the augmented reality experience “Dawn Chorus,” by current NEW INC member Reese Donohue, who collaborated with artist Sarah Meyohas. In conjunction, the exhibit features the award-winning virtual reality project “Tree,” by NEW INC alumni team Milica Zec and Winslow Porter.

“Dawn Chorus” taps many senses as it travels through environments both real and imagined. Users and the surrounding audience factor into the visuals, as the former witness virtual birds encircling the room’s real-life Yamaha piano. Working in harmony, the frequency of musical scales and the bird’s flight path follow the same statistical pattern. For “Tree,” users transform from a seedling into a mature rainforest tree. Multiple senses, scent included, are active along the way. It’s a meaningful, experiential work.

The pop-up will open to all museum ticket-holders, on a first come basis, across 1-2 February. The Sky Room will also host a Ruinart Champagne bar between the work.

Images courtesy of Matteo Prandoni/BFA.com

Frank Lloyd Wright's School of Architecture at Taliesin to close after 88 years

Taliesin West by Frank Lloyd Wright

The School of Architecture at Taliesin, which Frank Lloyd Wright established nearly 90 years ago, will shut in June, after failing to come to a financial agreement with the Frank Lloyd Wright Foundation.

The school released a statement today that its board was forced to make the “gut-wrenching decision” to close both of its campuses in Scottsdale, Arizona and Spring Green, Wisconsin. It added that its backers had called the move “tragic”.

“The School of Architecture at Taliesin will cease operations after this semester, after a gut-wrenching decision by its governing board on Saturday,” said the statement.

School did “everything possible” to fight for survival

“The School of Architecture at Taliesin was not able to reach an agreement with the Frank Lloyd Wright Foundation to keep the school open,” it added.

Dan Schweiker, a chairperson of the governing board, said that they did “everything possible to fight for its survival” but were unable to reach an agreement with the Frank Lloyd Wright Foundation.

“The closure of the school is very emotional for our students, our faculty and staff and all of us who worked so hard for this one-of-a-kind institution and its important role in Frank Lloyd Wright’s legacy,” Schweiker said.

Institution aimed to continue Wright’s vision

Wright, who is considered most of the most important architects from the 20th century, established the school in 1932 to teach the Taliesin Fellowship – an apprenticeship that allowed 50 to 60 students to study under the architect.

The institution comprised Taliesin West in Arizona and Wright’s home and studio Taliesin in Wisconsin.

Taliesin West by Frank Lloyd Wright
The school comprised Taliesin West in Arizona (pictured top and above) and Wright’s home and studio Taliesin, in Spring Green, Wisconsin

“Our innovative school and its mission were integral to Frank Lloyd Wright’s vision for connecting architecture to our natural world,” Schweiker said.

“Wright’s legacy was not just building,” he continued. “It was a school to promulgate the lessons for all future generations.”

The school was originally called the Frank Lloyd Wright School of Architecture and funded by the Frank Lloyd Wright Foundation – which was established by the American architect in 1940. It was renamed the School of Architecture at Taliesin in 2017, as part of its break from the parent organisation in 2017.

School split from foundation due to accreditation issue

The separation stemmed from an accreditation issue – the school needed to become an independent entity by this year to have its accreditation with the Higher Learning Commission (HLC), one of the agencies that accredit US architecture schools, renewed. In 2010,  HLC said accredited schools could not be financially dependent upon a non-academic institution.

The university is accredited with the National Architectural Accrediting Board and the Arizona State Board for Private Postsecondary Education.

Aaron Betsky, who is also a regular Opinion columnist for Dezeen, became the school’s dean in 2015.

According to the statement, the School of Architecture at Taliesin will continue to operate during the Spring 2020 semester, and close at the end of June.

It is working out an agreement for the 30 students studying at the school currently to transfer credits and complete their degree programmes with The Design School at Arizona State University’s Herberger Institute for Design.

Photography is by Andrew Pielage.

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Halo Edition Creates Glorious Spectrums of Color

Project sunset-like color art in your home or office

Designed to produce optical works of art, Mandalaki’s Halo Edition comprises a collection of patented lighting instruments—for use in homes, offices or even galleries—that produce varying auras of red, yellow, gold, purple, and blue light. The sunset-like presentation is possible due to thousands of hours of research into the process of isolating frequencies of white light and how refraction can create distinguishable lines and unique blurs. Different models of the Halo Edition—like the One, EVO, Big, Up, and Sky—create different spectrums of color thanks to their unique optical color lenses and their subtle variations in its design.

“We designed the Halo to fit different environments in delicate ways,” Mandalaki’s US partner, Konstantin Elchev, says. “The Halo collection features five styles, each carved from a solid plate of high-end black anodized aluminum and assembled in Milan using high-quality iron, brass, and glass. What we try to do is create an object that has the sense to exist and, most importantly, allows people to experiment. In this case, we wanted to calm down the human being and bring the natural feeling of the sunset into every home.”

“The optical head,” Elchev continues, “is flexible and has a 360-degree rotating radius, allowing for endless light set-ups and designs. Perfect for indoor and outdoor spaces.” The object’s height is also adjustable. “We want people to use Halos like an optical brush, painting an environment with shapes and hues.” Whether that may be as an aid to meditation, mood lighting for studios or performances, or even a dim glow for reading, the use cases are seemingly endless—especially since the projection itself feels more hazy sunset than neon sign.

As such, Elchev insists that the Halo Edition instills a sense of curiosity in owners. For the team of designers at Mandalaki, experimentation is at the core of this launch as well. Elchev tells us that the grandfather of Enrico De Lotto (a Mandalaki co-founder) was an “oculist doctor who opened the first museum of the history of glasses in Cadore, Italy—where the first bifocals were manufactured. We inherited many optics, and so we started to experiment with them.”

Starting at $1099, each of the Halo Edition iterations are available now and take approximately three weeks to manufacture.

Images courtesy of Mandalaki

Duo imagines a world where the smartphone is made up of a modular computer + detachable displays

Think of the Duo as an all-in-one PC that just needs a display to work. This separation means you can attach your all-in-one PC to a handheld screen, a large 4K monitor, or even a projector, alternating between them while still having all your data in the same place. Scale that down to something handheld and you’ve got the Duo, a Phonebloks-style concept that has two simple parts… The display, and everything else.

The ‘everything else’ or as designer Roc H Biel calls it, the ‘electronics module’ is in this case, a tiny, portable thumb-drive-sized device that snaps to the back of a screen. You could attach the electronics module to a 6-inch smartphone screen, or to a 12-inch tablet display, and the Duo works instantly, seamlessly switching between the two interfaces, while keeping the data constant. The touchscreen displays end up being the input and output, but Roc H Biel says that having a display isn’t entirely necessary. The Duo electronics module possesses the ability to work without screens too, relaying information in a non-visual format, the way smart-speakers do. Moreover, the Duo’s tiny size makes it easy to carry around by simply clipping it to your pocket (or potentially even to the neck of your tee shirt), while its ergonomic voluminous form eventually acts as a good gripping mass while holding your phones in one hand. I wouldn’t mind living in this future, tbh.

Designer: Roc H Biel

Little Dragon: Hold On

Prolific Swedish four-piece, Little Dragon (Yukimi Nagano, Erik Bodin, Fredrik Wallin and Håkan Wirenstrand) has just released the lead single from their upcoming album, New Me, Same Us, set for release late March. Buoyant and infectious—with elements of funk, house and unconventional soul—”Hold On” blends genres and morphs into a sound that’s undoubtedly Little Dragon.

"The Great Ward of China"

1,000-bed hospital in ten days to treat coronavirus

In this week’s comments update, readers are divided over China’s decision to rapidly build a hospital for the treatment of patients with suspected coronavirus. 

Emergency services: news that the government of China is rapidly building a 1,000-bed hospital in Wuhan in order to help contain and treat patients with coronavirus has sparked debate among readers.

“The virus is spreading faster than concrete hardening for a shed. Why not convert existing halls, sheds, warehouses, schools, etc. into makeshift quarantines?” asked Spadestick.

Jacopo continued: “The term ‘hospital’ has been used a little bit loosely. It’s a medical shed for 1,000 beds. It’s like making a camping tent in two hours and calling it a ‘villa'”.

“Well they don’t sit around and discuss it for years… they just get on with it,” responded Marmite.

“It’s telling of the arrogance of the so-called West that just because we can’t conceive of something like this, neither can people in China,” added Decent Discourse. “This will be an isolation facility, not a full hospital, which makes the task magnitudes less complex, but still quite a feat to pull off. Rather than ‘Yeah, but this’, let’s just watch and learn.”

This reader coined their own name for the hospital:

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What do you think of the hospital? Join the discussion ›


BIG ideas: readers are divided after Bjarke Ingels released a statement defending his decision to meet with Brazilian president Jair Bolsonaro. The Danish architect rejected the idea that countries like Brazil should be off-limits saying,”creating a list of countries that BIG should shy away from working with seems to be an oversimplification of a complex world”.

“More power to BIG if the studio can be the bringers of change for the better in Brazil,” said Benny. “Not my favourite architects by any means, but they attract attention, and bad people/bad things abhor everyone else watching, so I’ll remain optimistic on this one.”

Dunbare Heathcote continued: “Ingels has got hundreds of people sat at desks that need to be kept busy, he’s just lost a big job in New York and needs to get in more work if he’s going to avoid laying staff off. He doesn’t work for a charity or the government… if you are responsible for maintaining the livelihoods of so many people, what would you have done?”

“The point is not working in Brazil, but kissing the hands of a homophobic torture defender to get cheap favours,” replied Bernardo Senna.

Noah agreed: “Bolsonaro is an aspiring dictator and is responsible for some of the worst environmental destruction in a generation, and proudly plans for more! Ingels is doing window dressing for an abattoir. He’s being used for his talents so that Bolsonaro can deflect criticism about the fact that he’s an abhorrent, hateful leader.”

This reader used the architect’s own words against him:



Is Ingels immoral for working in Brazil? Join the discussion ›


Minimalist Home Tool drill is designed to be unintimidating

This is not a drillÉCAL graduate Byongseon Bae has given the drill a makeover, replacing its characteristic gun shape with a sleek, monochrome design and simplified functionality. Readers aren’t impressed.

“The purpose of the ‘gun’ shape is so you can apply adequate force on the screw so the driver doesn’t just strip it out,” said Jonny Panic. “This is a tool designed by somebody who doesn’t use tools.”

Guest agreed: “The gun shape not only works better, there’s much less hand fatigue.”

“You know who knows how to design a screwdriver? Tool companies,” said Troy Smith Designs.

Heywood Floyd was equally frustrated: “I’m actually intimidated by the pointlessness of this exercise.”

As was this reader:



Are readers being harsh? Join the discussion ›


IKEA Vienna Westbahnhof by Querkraft Architekten for IKEA

No parking zone: IKEA is building a store in Vienna, which will be adorned with more than 100 trees and won’t have any car parking spaces, in a bid to “radically change customer and mobility behaviours”. Commenters aren’t convinced though.

“IKEA should focus on improving its online customer delivery service first, then try to make better looking stores,” said Joaquin. “The home delivery service for large orders of furniture/cabinets in the USA is so antiquated.”

Bubba10 went on: “Sounds like a great time to be carrying dishes, frames and furniture because they don’t allow cars. I predict they will have the lowest sales numbers of any IKEA.”

“This is an eyesore, much like all of IKEA’s branding,” added Catcassidy. “This is way too half-baked and shambolic for an international company of this prominence to press release. It’s like a Pinterest board of architectural trend, and their blue and yellow has become a grotesque liability.”

“Oh joy!” joked Lexilix. “A five-level maze instead of a one level maze! Please tell me the doors to the stairs are not one way.”

This reader was also feeling ironic:



Is a car-free IKEA a good idea? Join the discussion ›

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Looks like ATARI is entering the hotel industry with its line of ‘gaming hotels’

Here’s a statistic courtesy of The Patriot Act with Hasan Minhaj. The gaming industry (valued at $139 billion) is bigger than Hollywood, the music industry, the NFL, NBA, and MLB… COMBINED. I’m no expert, but I assume a company like Atari would own a significant piece of that 139 billion dollar pie. Responsible for Pong, Pac-Man, Space Invaders, Donkey Kong, the company which shut down in 1984 and was later acquired by Hasbro is now making a comeback… but not as a gaming company.

The Atari Hotel is best described as a luxurious cyber-cafe you can spend the night in. Designed to be the computer-gaming version of casinos, Atari’s line of hotels will be a unique Atari-themed lodging experience along with a one-of-a-kind video game-themed destination. “Select hotels will also feature state-of-the-art venues and studios to accommodate esports events”, says the Atari Hotels website.

The design of the hotel comes courtesy True North Studio, an architectural and spatial design firm based out of Phoenix. These mock-ups from True North showcase a lavish casino-hotel-esque building with the Atari logo prominently forming the front facade of the building. There’s even space on the terrace of the building for holding performances and livestream events for patrons.

The first in the line of Atari hotels is expected to break ground in Phoenix, Arizona this year itself, with the promise of more hotels in Las Vegas, Austin, Denver, Chicago, San Francisco, San Jose, and Seattle in years to come. It’s worth noting, however, that Atari doesn’t own these hotels, but is rather just licensing their brand to GSD Group, an innovation and strategy agency. Atari will, however

Designer: True North Studio for GSD Group and Atari

Alberto Kalach designs tall red-brick chimney at Tadao Ando's Casa Wabi

Chimney Casa Wabi by Alberto Kalach

Mexican architect Alberto Kalach has built a 22-metre-tall chimney for children to make ceramics on the site of the Casa Wabi artist retreat designed by Japanese architect Tadao Ando.

The architect, who runs TAX Architects with partner Adolfo Romero in Mexico City, designed the chimney as a ceramic kiln for Casa Wabi retreat and arts charity foundation in Puerto Escondido, in the Mexican state of Oaxaca.

Chimney Casa Wabi by Alberto Kalach

Japanese architect Ando completed the centre for Mexican contemporary artist Bosco Sodi and curator Patricia Martín Méndez’s Casa Wabi Foundation in 2014.

Sodi tasked Kalach to design the kiln about a year ago to accompany a pottery studio by Portuguese architect Álvaro Siza. Together, they are used to teach local children how to make pottery with red clay that is common to the region.

Chimney Casa Wabi by Alberto Kalach

Kalach used locally sourced brick to complement the materiality of Siza‘s brickwork studio, as well as the activities inside.

“After working the pottery, they can burn it in the chimney,” Kalach told Dezeen “I wanted to make a reference to where the bricks are burned, so the material and design speak for itself.”

Kalach, who also designed the landscape on the Casa Wabi property, made the chimney very tall in order to contrast with the property’s flat surroundings. No trees are closeby, allowing the chimney to further stand out.

Chimney Casa Wabi by Alberto Kalach

“I thought the chimney was a nice idea because the landscape is very flat,” Kalach said. “I thought it was nice to have a distance reference.”

“The garden has like 26 hectares, and sometimes you get lost in the garden, so a chimney could be used as a reference point for visitors too,” he added.

Chimney Casa Wabi by Alberto Kalach

A meandering pathway leads to the chimney, passing alongside local shrubs and plantings. The lower two-thirds of the structure is covered in triangular pieces to add texture, and also offer a reference to ancient chimney designs.

Inside, triangular pieces are arranged in a spiral shape to stop rainwater from entering.

Two access points for the chimney are designed in contrasting styles. A rounded concrete roof extends to cover the entrance on one side with a rectangular opening, while the other entrance has slanted zig-zag walls that meet at the top.

Chimney Casa Wabi by Alberto Kalach

Casa Wabi is home to a growing complex of pavilions by well-known architects like Siza, Kengo Kuma and Solano Benítez.

Sodi, who is a Mexican contemporary artist, also designed a symmetrical brick installation Atlantes on the property. It is further away from the chimney and near the beachfront.

Photography is courtesy of Casa Wabi.

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