Polaroid goes back to basics with its new identity

The death of the Polaroid instant camera in 2008 was a sad but unremarkable reality at the time, with its rapidly declining sales coinciding with the rise of a product that went on to change the entire world’s relationship with technology: the iPhone.

What is more surprising about Polaroid’s story is just how quickly it came back around again. While the company technically still lives on as an electronics company, a group of Polaroid super fans stepped in as soon as it ceased production of its classic instant camera to buy the last remaining instant film factory in the Netherlands, naming their endeavour the Impossible Project.

Less than a decade later in 2017, amid a wider revival of analogue-based pursuits including vinyl, books and film photography, the project rebranded as Polaroid Originals, and launched the first of its own range of instant cameras.

To mark the new decade, the team behind Polaroid Originals decided to return to the brand’s colourful history, renaming as – you guessed it – Polaroid, unveiling a new look, and a new autofocus instant analogue camera to go along with it.

The colour spectrum has long played a role in Polaroid’s aesthetic as a brand, and became a key inspiration for the new rainbow-coloured visual identity, which has been brought to life by the in-house design team.

The rainbow-focused design is being used across packaging and other touchpoints, while the brand’s new analogue camera, Polaroid Now, will be available in the red, orange, yellow, green and blue colours of the spectrum, along with the classic black and white colourways.

Priced at £119, the point and shoot camera is aimed at photographers of all abilities, and boasts a newly developed autofocus lens system, longer lasting battery life and a stronger flash. A new special edition instant film, Colour Wave, is also being released, and the Colour i-Type Film Black Frame Edition will become a permanent fixture of Polaroid’s product offering.

“In the 70s, Polaroid changed the rules of branding with the introduction of bold, full panel rainbow spectrums across our product lines,” says Polaroid CEO, Oskar Smolokowski. “As this new decade marks a new chapter in the Polaroid story, it’s a moment for us to celebrate that heritage, while keeping our sights set on the future. The new identity for 2020 reflects this, boldly reclaiming the colour spectrum as uniquely Polaroid.”



Read CR’s behind-the-scenes look at the Polaroid factory here; uk.polaroid.com

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Nagami Design 3D-prints face shields to protect medical staff from coronavirus

Nagami Design 3D-printed face shields Covid-19 masks

Spanish brand Nagami Design has switched the use of its robotic arm from making furniture to 3D-printing face shields for medical staff treating coronavirus patients.

Nagami Design usually makes objects such as 3D-printed chairs by Zaha Hadid Architects, but has converted its manufacturing process to address the shortage of protective equipment in hospitals.

Nagami Design 3D-printed face shields Covid-19 masks

The brand’s Covid-19 masks consist of a visor that is worn across the forehead and secured behind the ears with elastic.

Clear plastic film is fastened to a second band attached to the visor, forming a protective shield that can be cleaned or replaced when it becomes contaminated.

Nagami Design 3D-printed face shields Covid-19 masks

“3D printing has emerged as the ultimate tool for local manufacturing, reducing the production chain to the bare minimum,” said Nagami Design founders Manuel Jimenez García, Miki Jimenez García and Ignacio Viguera Ochoa.

“With COVID-19 emergency, this technology provides the opportunity to efficiently produce affordable tools, which are now essential to help save lives.”

Nagami Design 3D-printed face shields Covid-19 masks

The Spanish brand used the open source code made by Prusa for desktop 3D-printers and adapted it for its robotic arm. It can print up to 500 protective face shields a day.

The 3D-printed elements are made from Polyethylene Terephthalate Glycol (PETG), which is strong and durable, and can be recycled afterwards.

Nagami Design is based near Madrid, which has been particularly hard hit by the coronavirus outbreak. Spain’s death toll for the disease is now higher than China’s and only surpassed by Italy.

Nagami Design 3D-printed face shields Covid-19 masks

These 3D-printed face shields are being donated to Hospital Provincial de Ávila, near Nagami Design’s factory. The studio plans to give them to hospitals in Madrid and the La Rioja region, in northern Spain, next.

“This is by far the most important project we’ve ever worked on, but also one we wish we’d never had to start. Our generation has knowledge and digital tools that have become truly meaningful,” added the founders.

“There is no product to sell, no market to compete in. This is a challenge for all of us, and we’d like to encourage everyone with tools of any kind to reach out and contribute to helping bring safety back into our world.”

Nagami Design 3D-printed face shields Covid-19 masks

Medical staff are particularly at risk from coronavirus because of their increased exposure while treating infected patients. This can lead to them developing a higher viral load and a more severe form of the illness.

Personal protective equipment (PPE) is in short supply around the world. Demand is high, and manufacturing areas in China were badly affected early on in the coronavirus outbreak.

Nagami Design 3D-printed face shields Covid-19 masks

Companies such as Nagami Design are stepping in to cover the shortages.

Other companies are coming up with designs to help curb the spread of coronavirus. Danish startup Stykka has released the #StayTheFuckHome Desk to encourage people to stay at home in self isolation.

Photography courtesy of Nagami Design.


Project credits:

Nagami Design Team: Manuel Jiménez García, Miguel Angel Jiménez García, Ignacio Viguera Ochoa, Alejandro Nieto Jiménez, Luis de la Parra Garcia, Patricia San Segundo Galan, India Carazo, Anna Szonyi
3D printing support: CV19_Fab_Avila
Technology support: ABB
Rubber bands sponsor: Merceria Padilla, Merceria Mordissko, Merceria Ysali, Comunidad china abulense
Transparency film sponsor: Tecnipapel, Imagen, Libreria letras, Libreria Atenea, App Las Damas, Hiper Office, Politecnica de Avila, Bricoaguilar
Printing material sponsor: Politecnica de Ávila, Jose Luis Jimenez
Plastic filament: Sicnova
Packaging: Blueboxes Smart Wash, Esembal
Tool support: Mecanizados Jimar, Mecanizados Castilla
Coordination and deliveries: Protección Civil de Ávila

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Salone del Mobile to decide today whether to cancel due to coronavirus

Milan’s Salone del Mobile furniture fair looks set to be cancelled due to the coronavirus pandemic, according to multiple reports in the Italian press.

The news was first leaked yesterday by Italian financial newspaper Milano Finanza.

“The date of the Milan Furniture Fair has changed again,” the financial publication wrote yesterday, adding that “tomorrow the organisers will give the announcement due to the continuation of the Coronavirus emergency.”

Italian media outlets including Domus added to the speculation. “Due to the current health emergency it is likely that Milano Design Week, already postponed, will be rescheduled to 2021,” wrote the architecture and design title.

Salone del Mobile, the world’s largest and most important furniture fair, was initially due to take place between 21 and 26 April, but was postponed until 16-21 June as the pandemic took hold in northern Italy.

Salone del Mobile confirmed that a decision is imminent. “Today in the afternoon the board of Salone will make a decision about it,” the fair told Dezeen. “As soon as we will have the official information we will communicate it immediately to all the press.”

Italy’s Elle Decor magazine said that speculation was not helpful. “The point is that we must wait to hear what the Salone del Mobile officially tells us,” it wrote. “And then to understand all together – media, companies, designers, buyers – how to move to restart the machine.”

“It was a painful decision given the huge and induced business that the most important furniture fair in the world brings to Milan every year,” wrote Laura Traldi, a Milanese journalist who runs design blog Design at Large.

Cancellation will have a huge impact on Milan’s economy, Traldi said. “We are talking about 120 million euros for the Salone del Mobile alone. And another 250 million if we add the proceeds for moving, welcoming and supporting the visitors.”

The fair and the related fuorisalone events that take place around the city draw around 500,000 people to the city each year.

The Covid-19 pandemic has forced the cancellation or postponement of almost every architecture and design event this spring and summer. The Venice Architecture Biennale in Venice has been postponed, while MIPIM in Cannes has been cancelled and the Olympics has been pushed to 2021.

Keep up with developments by following Dezeen’s coverage of the coronavirus outbreak. For news of impacted events, check Dezeen Events Guide’s dedicated coronavirus page.

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Casa Santa Teresa is a Corsican holiday home with unspoilt ocean views

Casa Santa Teresa by Amelia Tavella

Amelia Tavella Architects has transformed a ruined 1950s residence on Corsica‘s coastline into a light-filled holiday home with simply furnished interiors.

Casa Santa Teresa is located near Corsica’s capital, Ajaccio, and is nestled along the Route des Sanguinaires – a rugged strip of coastline dotted with villas and upscale hotels.

The 400-square-metre house was originally built in the 1950s but had been abandoned for several years, becoming overgrown with wild vegetation.

Casa Santa Teresa by Amelia Tavella

To transform it into a comfortable home for holiday-goers, architect Amelia Tavella had to completely gut the structure and demolish a majority of the partition walls.

“It had to be rebuilt without leaving behind vestiges of the past: its soul, its spirit,” said Tavella, who hails from Corsica and leads her own self-titled practice.

Casa Santa Teresa by Amelia Tavella

Inside, there is now an open-plan living area. At its centre is a tan-brown chesterfield sofa, along with a couple of cane-back armchairs.

“I’ve chosen to honour the illustrious holiday Mediterranean resorts, by reinterpreting its codes using noble and natural materials,” Tavella told Dezeen.

Casa Santa Teresa by Amelia Tavella

A chunky white plinth runs around one side of the room, forming an L-shaped bench seat for the dining area.

It’s topped by an array of striped, turquoise and burnt-orange cushions, which boldly contrast against the otherwise white-painted surfaces.

Casa Santa Teresa by Amelia Tavella

String pendant lamps that boast peach and red bands of colour have also been suspended from the ceiling.

A vaulted doorway then leads through to a study, where a desk has been built into an arched niche in the wall.

Casa Santa Teresa by Amelia Tavella

Keen to ensure that “interior and exterior are never untied”, Tavella has fronted this level of the home with a trio of timber-framed glass doors.

These can be pivoted to access to an outdoor terrace that has unspoilt vistas of the Gulf of Ajaccio.

Casa Santa Teresa by Amelia Tavella

The same style of door features in the master bedroom – there are another four on-site – where the bed frame is surrounded by gauzy white curtains.

The adjacent bathroom has been finished with pearl-coloured tiles and arched mirrors, echoing the form of the doorway in the downstairs study.

An alfresco dining area and heated plunge pool can also be found at ground level.

Casa Santa Teresa by Amelia Tavella

This isn’t the only project that Amelia Tavella Architects has completed in Corsica – back in 2018, it completed a school in the island’s Corse-du-Sud region.

Slotted between two century-old trees, the building is crafted from stones and battens of pinewood.

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This carbon fiber rollator’s handle will hold your hand

We love universal designs especially when they provide the freedom to move. Mobility is an especially important aspect to our differently-abled demographic that relies on inclusive design, so having a product that works for everyone including them is a true winner. That is why there is no surprise that the Carbon Ultralight rollator was featured on the Red Dot Design Awards! A rollator is basically a rolling walker with a seat that makes it easy to move without having to lift it up.

The name Carbon Ultralight is due to its biggest differentiating factor – the rollator is the lightest (and the first of its kind) in the world because of its complete carbon fiber frame. It only weighs 10.5 lbs (4.8 kgs) so it really is light light but the designers have also added some aircraft-grade aluminum to give it stability while moving and braking. The ergonomic build and shape have been inspired by organic bodies of fast animals (think dolphins, sharks, and falcons!) as well as the streamlined designs of sports cars from the automotive industry. One of the standout little details that make it a ‘clean’ design is that the brake cables are hidden inside the frame.

If you are currently social distancing, you will love the thought behind the shape of the rollator’s handles – the form is designed to give you a feeling of holding onto someone’s hand. This can provide a sense of security to the senior users as well as the differently-abled. Certain shapes and forms are known to provide a psychological comfort that can make the user confident about independently using the product. The handles are purposely turned into the opposite direction of the rollator to provide a better posture to the rider and making maneuvering easy. Its unique handles make riding effortless because you’ll be using your palms instead of your fingers to dictate the rollator’s direction. It also comes with detachable accessories like a backrest and organizer.

Another refreshing change was the upgrade to the height adjustment function – the designers replaced the traditional knob with a button that adjusts the height with 30 mm increments. It is a lot easier to keep track of the height this way if multiple people are sharing the rollator. Apart from being as light as a rollator could be if it was a feather, it is also super compact and when folded down it is only 255 mm wide. If you haven’t noticed yet, the Carbon Ultralight is not only highly functional but it also looks really sleek and stylish. Call your grandma now.

Designer: byAcre

Click Here to Buy Now!

How to keep kids creatively occupied during coronavirus

Being a parent during the coronavirus pandemic is no mean feat. Just as you’d started getting used to WFH life, the UK government made the decision to close schools, and any chance you had of being productive was swiftly replaced with the 24/7 demands of keeping your kids fed, watered, schooled (well, sort of) and, most importantly, free from the perils of boredom.

Luckily, the creative community has banded together in these uncertain times to help parents and their offspring while living under house arrest. We’ve collated some of the most imaginative and informative creative activities guaranteed to keep them occupied and give you a bit of peace and quiet – at least for a while.

It’s Great to Create by Jon Burgerman

New York-based artist and all-round funnyman Jon Burgerman was one of the first creatives to embrace the collaborative spirit of social distancing with his video tutorial series, It’s Great to Create, which is based on his 2017 book of the same name. Keep an eye on his YouTube channel and Instagram page for regular videos showing how to recreate his trademark googly-eyed creatures, or tips on how to turn colourful blobs into your own characters.

The Great Indoors by Scouts

Actually commissioned prior to the coronavirus outbreak, Scouts teamed up with Young Studio to create an illustrated guide of over 100 home-based activities. The aesthetically pleasing guide is filled with craft ideas, games and how-to guides designed to keep little ones both entertained and educated.

Lockdown Colouring In Sheets by Pete Fowler

DJ and artist Pete Fowler has been putting together a growing collection of colouring in sheets since the lockdown was first announced. Downloadable in both print and digital form, the mostly musical themed scenes include a creature playing an electric sax and an intergalactic music festival. Look out for regular additions to the existing bank of colouring sheets on his Instagram page.

Happy Downloads by Anorak

Illustrated kids’ magazine Anorak is going digital with its new Happy Downloads series. The free-to-download activity sheets feature a number of different creatures from both land and sea for your kids to bring to life, along with a sweets-themed word search. Once you’re done with those, you can also order all of the recent print issues of Anorak and pre-schooler mag Dot from its online shop.

National Geographic Kids website

Nat Geo’s dedicated kids section of its website is a treasure trove of informative content, quizzes and downloadable art and craft resources that will keep your kids occupied for hours on end. Also check out its YouTube channel for a whole raft of educational video content that gives a brilliant insight into the world around us.

Happy Colouring Book by Counter-Print




Primarily an online bookshop, Counter-Print has turned its focus to entertaining kids during the ongoing lockdown after the husband and wife team’s own five-year-old son was sent home during the school closures. The couple asked a number of creative friends to each contribute a piece. It proved so popular that they have since released a second volume of the downloadable colouring book, featuring pieces from names including Jean Jullien and Hattie Stewart, with a third volume currently in progress. Watch this space.

Chris Haughton on Facebook Live

Illustrator and children’s book author Chris Haughton has transformed his Facebook page into a hub for storytelling and artistic pursuits since the government first announced its social distancing policy. Tune in everyday at 5pm (GMT) for a live reading of some of his best known books, accompanied by downloadable arts and craft activities related to each story.

Minecraft: Education Edition

If your kids are obsessed with gaming, Minecraft’s new educational offshoot promises to be both fun and informative. Players can explore the International Space Station thanks to a partnership with NASA, learn to code with a robot, visit famous Washington DC landmarks, learn what it’s like to be a marine biologist, and much more. All of the content is free to download, and will be available through to June 30.

Draw with Ed Vere

Learn how to recreate some of Ed Vere’s most popular picture books, including How to be a Lion, with the illustrator’s new video series. He’s posting how-to-draw videos every Wednesday and Friday, which can be viewed on his Twitter, Facebook, Instagram and his website. Get creating!

Banner image by Chris Haughton

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Exhibitions and a book festival go virtual in BBC’s Culture in Quarantine

BBC Culture in Quarantine

The BBC has announced details of its new Culture in Quarantine programme, which will take place across its spectrum of TV channels, radio stations and a newly repurposed BBC Arts website dedicated to the initiative. The programme is set to give the public a flavour of the cultural events that would have been taking place were it not for the pandemic.

On the programme are a series of shows taking us through some of the many shuttered exhibitions and museums in the UK. As part of this, there will be a four-part Museums in Quarantine series, kicking off with a behind-the-scenes look at Tate Modern’s Andy Warhol exhibition. Elsewhere will be presentations and analyses of collections at the British Museum and Tate Britain, as well as a closer look at the Ashmolean’s Young Rembrandt exhibition. Beyond Museums in Quarantine, the public can also expect an hour-long special on both fin-de-siècle artist Aubrey Beardsley and Renaissance artist Titian.

For the book lovers out there, Culture in Quarantine will include a three-day virtual book festival collating the efforts of literary festivals that have been cancelled in light of the pandemic. Co-founded by authors Molly Flatt and Kit de Waal, The Big Book Weekend will take place across the early May bank holiday weekend, and is set to feature an array of talks, performances, video interviews, interactive sessions, and panel discussions with a literary focus.

The Peacock Skirt by Aubrey Beardsley, from Oscar Wilde’s Salome, 1893

A range of theatre productions will also be broadcast across Radio 3 and BBC Four in the weeks ahead, including classic plays from the Royal Shakespeare Company alongside new works by David Greig and Balletboyz. The programme is topped with a host of other talks, podcasts, and interviews to tide us over through the coming weeks and months.

Radio 4’s Front Row series will continue (with a Martin Scorsese episode coming soon), but will now be joined by Front Row Late, a BBC Two show hosted by Mary Beard from her study. As part of Front Row Late, award-winning author Margaret Atwood is set to give a reading of a story by Edgar Allen Poe – complete with a puppet show specially created by Atwood to accompany it.

The BBC also announced that it’s launching a Culture in Quarantine fund in collaboration with Arts Council England (which is already offering £160 million worth of emergency funding to artists in the wake of the pandemic). The fund will enable 25 new commissioned works by independent artists in response to the outbreak, and “will be reflected throughout the nations”, according to a release.

This only marks the beginning of the BBC’s efforts in light of the coronavirus pandemic, with more initiatives set to be added moving forward. Yet the broadcaster’s holistic approach already plays perfectly to its strengths, namely the breadth of its communication channels. As questions around the BBC’s future loom in the background, the broadcaster has come out in full fighting force here with a programme that rival platforms would likely struggle to replicate.

BBC Culture in Quarantine
Royal Shakespeare Company production of Macbeth, 2018

bbc.co.uk/arts

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Cartoonist Tom Gauld on drawing the humour out of science

Ahead of the release of his forthcoming book of New Scientist cartoons, Tom Gauld talks to us about his creative process and why he gets a kick out of the science community

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Royal Bank of Scotland's £20 note is designed to celebrate nature and culture

Royal Bank of Scotland's £20 note is designed to celebrate nature and culture

The Royal Bank of Scotland has launched the latest of its Fabric of Nature banknotes, featuring a design that aims to provide a more “unusual” representation of the nation.

The £20 notes are the third in the series developed by a team of Scottish creatives comprising Edinburgh design agency Nile, Glasgow studio O Street and currency specialist De La Rue.

Each aspect of the design, from the typography to the illustrated animals and bespoke-designed textile backgrounds, represents something meaningful to the people of Scotland.

Royal Bank of Scotland's £20 note is designed to celebrate nature and culture

Nile conducted a thorough investigation to find out what the Scottish public would like to see on their banknotes, with over one thousand users contributing their opinions through co-design sessions and online communities.

“The idea of creating stories that are a bit more unusual and avoiding pictures of thistles and men with beards was a key finding from the research,” said Freer.

“The theme of nature and the cultural elements that surrounds it emerged as something that people in Scotland are particularly proud of,” he added.

The Fabric of Nature concept was developed and realised through a collaborative process involving other creative agencies including Graven, Timorous Beasties and Stuco.

Glasgow-based Timorous Beasties illustrated the red squirrels featured on the back of the note. They also created a pattern featuring Scotland’s infamous biting insects called midges that is visible under ultraviolet light.

O Street worked on the overall layout for the note and collaborated with the design team at De La Rue to ensure it conformed to the exacting security criteria demanded of currency.

“A bank note is an opportunity to communicate to a huge audience, so it’s a really enormous responsibility,” O Street co-founder David Freer told Dezeen.

“Normally with graphic design, even if you’re creating a logo or a brand, it’s maybe going to be around for 10 or 15 years,” he added, “but a bank note is going to be in everyone’s pocket for 30 or 40 years, so you’ve got to get it right.”

Royal Bank of Scotland's £20 note is designed to celebrate nature and culture

The project was initiated following the Bank of England’s decision to switch from paper to polymer notes in 2016, which resulted in a change in ATMs and other infrastructure used to process cash.

The Royal Bank of Scotland’s bank notes had remained unchanged for 30 years, so the bank appointed Nile to develop a series of notes that celebrates the best of Scottish culture and heritage.

Royal Bank of Scotland's £20 note is designed to celebrate nature and culture

The £5 note was the first from the series to launch in 2016, followed by the £10 note in 2017, with the new £20 note being released into circulation on 5 March 2020.

The “Fabric of Nature” theme is explored through the creatures depicted on the various notes.

The mackerel on the £5 represent the sea, the otters on the £10 the coast, and the squirrels the forest. The design of the £50 note will include a bird for the air.

Royal Bank of Scotland's £20 note is designed to celebrate nature and culture

As with the rest of the notes in the series, the £20 note features a woman from Scotland’s past who the designers felt has been overlooked.

In this case, the portrait is of entrepreneur and patron Kate Cranston, who commissioned Charles Rennie Mackintosh to create her famous Glasgow tea rooms in the late 19th century.

Other bespoke details incorporated into the design include the exclusive tweed pattern created for the background by textile designers Alistair McDade and Elspeth Anderson, along with native flora used to dye Scottish tweed that was illustrated by Stuart Kerr of design studio Stuco.

“This is something that people will be living with and looking at for years so it’s important that there’s a depth of story in there,” Freer explained.

“There’s a big trend for immediacy in a lot of design today but this is an example of slow design,” he added. “People will hopefully still be discovering new details within these notes in ten years’ time.”

The Bank of England’s latest £20 notes launched in 2019 feature David Chipperfield’s Turner Contemporary gallery and a portrait of artist J M W Turner, while Norway’s 50 and 500 kroner banknotes feature pixellated images of the country’s coastline designed by architecture studio Snøhetta.

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Ottotto remodels Portuguese home with panels of green metal mesh

GreenHouse by OTTOTTO

Architecture studio Ottotto has remodelled the interior of this home in Porto, using green metal mesh to encase its original stone walls.

GreenHouse by OTTOTTO
Photo is by Guiga Pira.

When Ottotto removed the house’s old plaster they discovered the original stone walls.

The studio decided keep them exposed, covering them with green metal mesh to serve as a “memory” of the former building.

GreenHouse by OTTOTTO

Designed for an imaginary client, the concept for the project drew on the work of American artist Gordon Matta-Clark.

Ottotto carved spaces out of the original interior to create skylights and mezzanines.

GreenHouse by OTTOTTO

“As in the work of Gordon Matta-Clark, the shape of the building remains intact and it is its interior composition that is shaken by cuts, excavations and modelling,” said the studio.

A new structure of green steel, along with green floors and metal mesh, gave the remodelled home its name –GreenHouse.

GreenHouse by OTTOTTO

The steel structure supports a series of new volumes, built from brick and covered in white render, that hang above a large, slightly sunken living, kitchen and dining area.

At first-floor level, accessed via a black staircase, these white volumes house a bedroom at either end of the home.

GreenHouse by OTTOTTO

A bathroom in the centre sits alongside a small study area with a balcony.

Above, a small attic space houses a studio, an additional bathroom and another mezzanine space.

GreenHouse by OTTOTTO

Externally, the front of the home has been kept exactly as it was, with the only reveal of the new intervention being given in the rear garden.

Here, a new elevation has been created using corrugated metal.

GreenHouse by OTTOTTO

Inside, the white volumes are set back from these original walls.

This creates thin strips of space that pull light into the home through skylights above, and are overlooked by small windows on the upper storeys.

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White walls and crisp interiors foreground the green elements of the interior.

Thin steel elements create staircases up to the mezzanines and a bright red curtain can be drawn to provide some privacy for the first floor.

GreenHouse by OTTOTTO

Ottotto was founded in 2015 by Theresa Otto.

In 2018, the practice took part in a group show in the grounds of the Alvaro Siza-designed Serralves Foundation in Porto, designing a pavilion covered in corrugated metal to look like a dilapidated shed.

Fala Atelier recently renovated a 19th-century house in Porto, adding colourful painted and metal geometric elements.

Photography is by Alexander Bogorodskiy unless otherwise stated.


Project credits:

Architecture: Teresa Otto (Ottotto)
Construction drawings: Pedro Teixeira
Structural engineer: Manuel Otto
Interior/furniture: Patrícia Barbosa (Primeira Demão)

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