Two-storey bookshelf rises inside renovated Madrid house

6House by Zooco Estudio

Spanish architecture firm Zooco Estudio has covered the walls of this Madrid residence with bookshelves that span two levels.

House 6 is a detached single-family home located in northern Madrid. Local studio Zooco Estudio overhauled the residence contrasting white interiors with pale wood cabinetry and herringbone patterned flooring.

6House by Zooco Estudio

The centrepiece of the design is a white shelving unit that extends two floors and wraps around the walls of the house’s living room and dining area.

On the lower level, the volume comprises dozens of rectangular cases for storing books, movies and electronics, including a mounted television. A series of narrow cubbies also occupy the space between a glass dining table and entryway creating storage for hanging apparel.

6House by Zooco Estudio

“As a unifying element, a shelf rises colonising both living and lobby spaces,” the studio said. “This way we integrate aesthetic and functionality in one single element.”

The shelves continue on the upper level with a rectangular volume along a hallway. Pendant light fixtures hang from the ceiling to illuminate the floor below.

6House by Zooco Estudio

In the kitchen, pale oak fronts the cabinetry and details the base of a white kitchen island. White tiles form the splashback behind the sink and cover the rectangular range hood hanging above the island.

A spiral staircase with black metal steps is carved into the wall to create a sculptural focal point within the space.

6House by Zooco Estudio

Upstairs the bedroom and bathrooms are concealed by a wall of slender wooden slats lacquered white. The narrow strips separate the master bedroom from the bathroom. A section of the millwork is intentionally left open to expose the shower.

6House by Zooco Estudio

“A continuous view was required so you can see through the slats to the shower,” the studio added. “However, the private areas of the bathroom are completely hidden.”

In the bathroom the studio has covered the walls and floors with white tiles and blue grouting. A geometric counter clad with blue tiles snakes across the ground and up the wall to form a storage closet in the space.

6House by Zooco Estudio

Zooco Estudio is an architecture firm with offices in Madrid and Santander founded by Miguel Crespo Picot, Javier Guzmán Benito and Sixto Martín Martínez. The studio has also completed an art centre in Verín that comprises several granite buildings and a child play area built out of wood for a co-working office in Santa Monica, California.

6House by Zooco Estudio

Other renovation projects in Madrid include a house with a permeable metal sculpture designed by Beta Ø Architects and an apartment by Lucas y Hernández Gil with sliding wall partitions.

Photography is by Imagen Subliminal.

Project credits:

Project manager: Miguel Crespo Picot, Javier Guzmán Benito, Sixto Martín Martínez
Construction: Nimbo Proyectos S L
Lighting: Zooco Estudio
Furniture design: Zooco Estudio

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Elderflower, Mint + Lime Wine Spritzer

Refreshing and relaxing, Cool Cat’s Elderflower, Mint and Lime Wine Spritzer blends California Pinot Grigio with a trio of natural ingredients. At 6.9% ABV, each delivers less alcohol than a traditional glass of wine but pairs quite appropriately with trips to the beach or moments by the pool. Each can is only 150 calories and gluten-free. Cool Cat spritzers come in packs of eight 12-ounce cans.

5G and the future of content

With lockdowns putting a stop to large film shoots and live events, producers and creatives working in fields from advertising to film and TV have had to find new ways of making content. For the most part, this has meant a wave of lo-fi ads filmed on mobiles or handheld cameras, or commercials stitched together from social media footage and video calls. Jimmy Fallon and the likes have had to conduct weekly chat shows over Zoom, and cinematic dramas have been replaced with at-home documentaries and dramas filmed by actors and their families (or in some cases, their pets).

While these constraints have led to some surprisingly creative productions, from Skoda’s homemade stop-motion ads to ITV’s Isolation Stories, it’s clear that there is still a demand for premium content with high-end production values – a demand that is growing and diversifying.  As Sky’s list of the most popular shows in lockdown has demonstrated, audiences have been turning to epic fantasies, thrillers and comedies that can offer some much-needed escapism from the stress and boredom of lockdown. Viewers have come to expect high-end entertainment – whether it’s immersive film screenings, lavish TV dramas, or beautifully produced TV ads and music videos – and that demand is only likely to increase in the absence of theatre productions, festivals and large-scale events.

There’s a world of tools out there to help brands and creatives produce compelling experiences, but so far, it seems we have barely scratched the surface of what’s possible – in part because the tech that allows us to create these experiences has been traditionally expensive and hard to use, but also because slow connectivity speeds has made rendering, producing or streaming more ambitious content difficult (if not impossible) within tight budgets and short time frames. 


As a result, most brands and content creators are still focused on video and traditional ‘2D’ forms of storytelling such as linear dramas or documentaries, and formats such as AR, VR and MR haven’t quite lived up to their initial hype. The arrival of 5G and edge computing, however, will make it quicker and easier to produce the kind of mixed reality experiences that have so far existed outside of the mainstream, and open them up to a wider audience.

As Geoff Goodwin, Senior Director at Verizon Media’s in-house 5G studio points out, this brings with it the potential to create more complex and ambitious types of content and deliver experiences that combine traditional 2D video with 3D or interactive elements. With podcast listening and mobile video streaming still on the rise, there is still a strong appetite for audio and video content. But alongside this, there are several ways that brands can utilise faster internet, more complex computing processes and cheaper, more accessible tech to engage with audiences in new ways – something that has become increasingly important amid lockdowns and social distancing measures.

For brands and creatives, it’s a good time to be exploring what a 5G future could look like – and what the widespread adoption of 5G networks could offer both content creators and audiences. For Goodwin, the creation and production opportunities it affords can be grouped into three broad categories: immersive, interactive and smarter.


With large physical gatherings ruled out for the foreseeable future, brands and event organisers have been turning to digital platforms to host virtual events. Record label Defected has put on a series of virtual festivals using Facebook Live, literary gathering Hay has hosted performances, talks and Q&As using Crowdcast, and Secret Cinema has been hosting paid-for events for cinema fans on Zoom, while TV panel show have been broadcast from empty studios in the absence of an enthusiastic studio audience.

With the use of 5G and new ‘smart stage’ systems, Goodwin believes there’s an opportunity for brands to create more exciting live experiences with higher production values. Verizon Media’s studio has recently been experimenting with a new smart stage, which offers an alternative to traditional green screens. The tech allows brands and entertainment companies to film people on set and project 4K videos or motion graphics around them in real time – giving actors and presenters more immersive backdrops and visuals to interact with. For those on stage, this provides a more natural experience during filming, and for audiences, it makes for more interesting footage than a rolling feed of talking heads combined with 2D infographics or split screen videos.

Real events will come back, we hope, but now, it’s [a case of thinking], how do we create blended virtual events alongside them?

As Goodwin points out, there’s a clear demand for virtual events – whether it’s a gig or a conference – that are visually exciting to watch. And while online experiences can’t quite replicate the feeling of watching someone talk or perform in person, they could offer a whole new way for brands and individuals to interact with audiences who are unable to attend events in real life.

“Real events will come back, we hope, but now, it’s [a case of thinking], how do we create blended virtual events alongside them?” says Goodwin. “People want a better virtual experience, so [it’s thinking], ‘how do we make this good – not just like a Teams or Hangout situation, but something that feels premium?’” While these kinds of events can exist without 5G, faster computing and download speeds could make them better and more accessible and remove some of the many technical issues that often occur when broadcasting live streams.

For an industry like fashion, Covid-19 has thrown the tried and tested event cycles into disarray. But exploring digital-first, virtual shows offers an opportunity for a once-closed industry to democratise access and reach new audiences. Verizon Media recently partnered with the London College of Fashion’s Fashion Innovation Agency to host a new kidn of fashion show, ‘The Fabric of Reality’, which will see three top designers paired with VR artists to create an immersive exploration of their collections. The results were broadcast via live streams hosted on Yahoo and HuffPost, allowing designers to connect with a wider range of consumers and gain new fans and followers in the process.


Interactive storytelling is another area that Goodwin believes brands should be looking at closely, and one that could become more popular with the widespread launch of 5G. The success of Bandersnatch – a one-off interactive episode of Charlie Brooker’s Black Mirror series – revealed a huge interest in alternative forms of storytelling. But so far, this has relied on fairly clunky mechanics, with viewers having to select from a list of options using their device or controller to move a story on. In future, however, Goodwin believes there is scope for more immersive formats that unfold in real time.

“Interactivity is where I think 5G is going to be the game changer: having zero latency, and the ability for us to adapt properly – not in the clunky way [of having] three options at the bottom of a screen on where to take it, but having something like facial recognition to help drive stories and branching narratives,” he says. “That doesn’t work if you have a delay, because as soon as you have a delay between that activity, that moment where you could suspend disbelief is gone, but zero latency or thereabouts does away with that, and it becomes a more natural, fluid thing.”

Could we create a whole other platform that allows for different points of view when watching something?

In film and TV, Goodwin believes this could lead to new kinds of interactive stories that go beyond allowing viewers to choose their fate (or their characters’) and instead allow viewers to watch a story unfold from multiple perspectives, switching between heroes and villains, or between lead characters in ensemble shows.

“We saw in the 2000s when shows like The Sopranos and The Wire came up, you had the rise of the antihero and now, we’re in this world where it’s sometimes cool to be the antagonist … so could we create a whole other platform that allows for different points of view when watching something?” he adds.

“You can start thinking about stories from different perspectives and how that works within branching narratives, but again, you need big data and really low latencies to drive some of those stories.”

While Goodwin doesn’t think we’ll see an end to linear storytelling any time soon, he also thinks that this could provide a point of difference for entertainment companies struggling to compete with the likes of Netflix or Hulu.

Instead of having these commercials driven by one creative vision … you can start to branch an ad based on what you know about your consumer

“I think this is the kind of experience that audiences are going to want [in future]. Of course, they will still want to watch a sit-back, Killing Eve-type experience over six or 12 hours, but that idea of Netflix, BBC, Hulu and HBO all competing to create the same linear drama and comedy … I don’t believe that is a lasting competitive advantage, and that’s where we need to start finding new creative opportunities.”

There is also a huge opportunity for advertisers to connect more deeply with audiences using the same technology. “If you think about FMCG brands, or car companies, instead of having these commercials driven by one creative vision – typically the aspirational shots of beautiful people in beautiful cities – you can start to branch an ad based on what you know about your consumer. For someone who is more data-driven or into the stats, you could go under the hood for 45 seconds. If you could do all of that within the same budget and timeframes as it takes to create a traditional commercial – as 5G promises to support – the potential return on investment is enormous.”


In the early 2000s, the rise of YouTube and cheap video editing tools brought an explosion of new content covering topics from cooking to gaming and beauty, allowing people to create and share content with millions of users from the comfort of their homes, shooting a video and sharing it minutes later. And with the adoption of edge computing, smart lighting and cameras, Goodwin believes there could be an opportunity for brands or filmmakers to get outside and produce original dramas or documentaries in much the same way within a local area.

With feature films now being shot on mobiles, and video apps like TikTok offering built in music libraries and editing tools, the barriers to creating original content are much lower than they were a few years ago, and with the arrival of 5G, we could see creators able to shoot, edit and distribute high-end content in a matter of hours rather than months. “If you can have something that’s shot that day and released that night, there’s enormous potential there,” adds Goodwin.

Any time a new tech comes in and disrupts [the industry], the people who are more prepared for that and understand how to make it work for them are the ones who win

While 5G is yet to become standard across the UK, most of the country’s major networks have already begun offering the service, and brands such as Samsung have already released 5G enabled smartphones. As Goodwin explains, there’s a need for companies to think about the potential applications of this new tech, and the ways it might affect our viewing habits, if they want to avoid getting left behind.

“If you think of something like TikTok, advertisers are scrambling now [to work out] how to tell stories [on the platform] – any time a new tech comes in and disrupts [the industry], the people who are more prepared for that and understand how to make it work for them are the ones who win.”

For professional creatives working on big budget TV ads or epic dramas, 5G could provide a huge benefit in enhanced post and on-location services previously held back by connectivity issues. Stronger networks supported by 5G will inevitably make shooting, manipulation and editing more efficient and, in the process, more creative.

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Bellus 3D Scanning Apps Allow You to 3D Print a Face Mask Seal That Perfectly Fits Your Face

By now you’ve likely tried a variety of face masks and found that some fit better than others. For those of you with 3D printers, there’s a quick hack that allows you to get any mask to fit with an absolutely perfect, custom seal.

The Bellus3D Mask Fitter frame is a personalized 3D printed plastic frame that is contoured to the specific shape of a person’s face to improve the peripheral seal of surgical, KN95 or other masks. The frame is automatically generated from a 3D face scan using the Bellus3D Face App or Dental Pro app for Apple iPhone X, iPhone 11 or iPad Pro with FaceID capability.

The NIH has listed the Bellus3D Mask Fitter as appropriate for clinical use.

If you’ve got the app but no printer, you can always send the file out to be printed at a facility and shipped to you. You can learn more here.

via Gareth Branwyn

This smart face-mask auto-translates languages as you speak!

Wear the C-Face Mask and you aren’t just granted clean, purified air… you also get the power to talk in multiple languages! Designed by Japan-based Donut Robotics, the C-Face mask is a universal mask-cover that fits on top of your standard face mask. Switch it on, and the C-Face mask connects to your smartphone, giving you a wide variety of smart features. Not only does it enable you to answer calls and talk to people without holding your phone’s mouthpiece near your mouth, it auto converts speech to text, allowing you to reply to messages, verbally type out emails, or ask your smartphone’s voice AI queries without having to take off your mask and talk to it. Currently, the C-Face even possesses the ability to translate between Japanese and 8 other languages, but multi-language support is merely an app update away!

As unusual as its design brief sounds, the C-Face mask actually has quite a few really noteworthy benefits. Firstly, since the mask is fitted with its own dedicated microphone, you can speak into your phone without needing to take your mask off. Pair this with the smartphone’s voice-to-text feature and you can talk to other people just by showing them messages on your phone. The voice-to-text feature even means less unnecessary touching of your smartphone’s screen to type out messages. Just say what you need and the dedicated app converts speech into text that you can copy and paste in messages, chat boxes, or mail drafts. The app even possesses the ability to auto-translate between a total of 9 languages, allowing you to seamlessly communicate with people regardless of language barriers. It’s almost as if the C-Face gives you the ability to speak in multiple dialects!

The C-Face mask will begin shipping to buyers/backers in Japan as early as September with more units being shipped to USA, Europe, and China in the coming months. The silicone mask comes with its own battery that provides hours of use on a single charge. It retrofits directly on top of any standard face-mask, allowing you to upgrade your current cloth mask into a smart-mask that works with your phone!

Designer: Donut Robotics

New Affiliates' Testbeds project to build community buildings from discarded architecture models

Testbeds by New Affiliates

New York City architecture studio New Affiliates has launched an initiative to reuse large-scale models for garden sheds and community spaces in the borough of Queens.

New Affiliates and architect and historian Samuel Stewart-Halevy created the Testbeds project to repurpose architecture models from luxury real estate projects in the city, which are often built of durable and high-end materials but soon discarded, and turn them into community projects like garden sheds and classrooms.

Testbeds by New Affiliates
An architectural model envisioned for a narrow community garden in Manhattan  

The concept was developed after they realised the similar sizes between such mockup structures and existing sheds around New York. They wanted to reuse the designs that typically go to waste for projects in underserved communities.

“While mockups often consist of high-end and resilient materials, they are usually discarded after undergoing a series of reviews,” the team said. “A significant amount of waste results.”

Testbeds by New Affiliates
Testbeds has launched a pilot programme with a gabled community centre in Queens

The programme is a way to funnel “architectural resources from New York’s luxury real estate market to neighbourhoods in the outer boroughs that have been historically disinvested,” it added.

A pilot programme is currently underway in Queens at Edgemere Coalition Community Garden with New York City Parks’ GreenThumb division that supports over 550 gardens in the city.

The mockup model sourced from condominium building 30 Warren in Tribeca will be used to create a multipurpose building for the Queens centre.

Renderings of the design show a gabled building with corrugated concrete panel walls and covered outdoor walkways that link a greenhouse, community room and tool shed. A covered patio overlooks the garden, and a chain-link fence encloses the property.

Testbeds by New Affiliates
One part of the building is clad in wood inside

“The idea that you could take a fragment from 100 feet up in the air in Tribeca and put it on the ground in the Far Rockaways and someone can actually walk up to it and access it and inhabit it is exciting to us,” said New Affiliates.

The team is currently raising funds for construction for later this fall and is also seeking help to discover more models and build the projects. Another site is proposed for a garden in the East Village neighbourhood of Manhattan with a proposal to create a small white volume in a garden between two apartment buildings.

Testbeds by New Affiliates
A portion of the model will be a new greenhouse

The Testbeds project provides an example of how to save waste from architectural and design construction. In a similar project in Senegal, a school was built using test facades originally created for a hospital.

Based in Brooklyn, New Affiliates is led by Ivi Diamantopoulou and Jaffer Kolb and in 2020, the studio was awarded the American Institute of Architects‘ New York New Practices Award. In addition to this project, the studio has also renovated Brooklyn loft with a plywood mezzanine and built an asymmetric cabin in Vermont.

Images are courtersy of Testbeds.

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How Resizing a Sketchbook to Digital-Friendly Dimensions Led to Crowdfunding Success

Sketchbooks come in standard sizes: 4″x6″, 5″x7″, 7″x10″, 8.5″x11″, 9″x12″, and 11″x14″ for perfect-bound, and 14″x17″, 18″x24″, and 24″x36″ for spiral-bound. All of those sizes are vestiges of when paper was made by hand; the standard 8.5″ x 11″, for instance, is related to the arm reach of the average Dutch paper mill worker in the 1600s.

“Many molds at that time were around 17″ front to back” to accommodate their reach, according to the American Forest & Paper Assocation. “To maximize the efficiency of paper making, a sheet this big was made, and then quartered, forming four 8.5″ x 11″ pieces.”

In this day and age, however, we’re as likely as not to sketch at our desk–where a keyboard or laptop take up much of the available real estate–and scan the sketch into digital form. Thus a London-based group of designers calling themselves Orangered Life resized the sketchbook to fit in that space between keyboard and desk’s edge, resulting in the BetterBook:

By sizing it in this manner, the team not only aimed to make it fit handily on a desk primarily used for a computer, but also chose an aspect ratio that they reckon best matches a monitor or smartphone screen.

They also inset the paper so that the larger cover would leave a black border around the sketch. This was done to maximize ease of using a scanning app.

When the BetterBook’s Kickstarter launched last month, I dismissed it as a gimmick and figured demand would be weak. I was wrong. I just checked the Kickstarter campaign, and it was successfully crowdfunded with £59,090 (USD $77,617) in pledges.

While the campaign is over, interested buyers can still pre-order one here.

Great Example of How to Design a Successful Product Without Doing Any Design

Here’s a great example of identifying a need, and designing a solution to meet it. Without doing any actual design work.

The target consumer here is people who wear makeup. During my time working in a photography studio, I learned that professional makeup stations must cast light on the model’s face from 360 degrees on the vertical plane. Which is to say, the underside of their chin and the sides of their cheeks must receive as much light as their forehead, in order for the makeup artist to properly do their job.

Most domestic bathrooms, which is where most ordinary people apply makeup, do not have this set-up. The lighting is typically overhead, which might be fine for civilians, but is undesirable for Instagram models. Thus the prosumer version of a professional makeup station is a $25 mirror ringed with a light source, like this one:

But one clever entrepreneur, “global beauty educator” Rachel Vicknair, came up with a way to add 360 illumination to one’s existing bathroom mirror or any mirror on the road. All she did was source a bunch of cordless LED lights, like these

…add some suction cups to the back, package four of them in a bag, add some branding, and boom: Vicknair launched Leopara, an $80 kit of “makeup lighting that goes with you.” You can stick them to your mirror at home, or toss them in a bag to take on a trip. Anywhere there’s a mirror becomes your pro makeup station.

Minimal, if any, design work required. Targeted at people’s vanity, so they’re going to sell like hotcakes.

Do I begrudge Vicknair? Not at all–I’m jealous I didn’t think of it first. She’s going to be rich, if she isn’t already.

Feilden Clegg Bradley Studios designs net-zero-carbon timber office in London

Paradise net-zero carbon office, London, by Feilden Clegg Bradley Studios

UK architecture studio Feilden Clegg Bradley Studios has designed a six-storey cross-laminated timber office named Paradise, which will be net-zero-carbon to align with its Architects Declare commitments.

The architecture studio designed the carbon-neutral office as it focuses on creating more sustainable architecture to meet the aims of climate change network Architects Declare.

Paradise net-zero carbon office, London, by Feilden Clegg Bradley Studios

“As founding signatories of Architects Declare, we have made a public commitment to creating net-zero carbon buildings by 2030, and it is our aim on every building we design,” said Joe Jack Williams, associate at Feilden Clegg Bradley Studios.

“For the Old Paradise Street development, we have an opportunity to provide a net-zero carbon building that can host environmentally conscious businesses that can’t afford to build their own building,” he told Dezeen.

Paradise net-zero carbon office, London, by Feilden Clegg Bradley Studios

Set to be built on Old Paradise Street alongside a railway in Vauxhall, London, the office will be directly opposite Damien Hirst’s Newport Street Gallery, which was designed by Caruso St John Architects and won the Stirling Prize in 2016.

The timber-framed building will contain 5,500 square metres of office space.

It will be constructed with a combination of cross-laminated timber (CLT) slabs and cores, glued laminated timber (glulam) beams and some supporting steel beams on a concrete foundation.

Paradise net-zero carbon office, London, by Feilden Clegg Bradley Studios

Feilden Clegg Bradley Studios calculated that the sequestered carbon captured in the timber will mean that the construction process will be carbon negative. As a large amount of carbon is captured it will offset the next 60 years of the building’s carbon emissions.

“The initial carbon sequestered by the timber structure will offset the rest of the embodied carbon for the structure and facade, in addition to nearly 60 years of operational carbon emissions,” said Williams.

Paradise net-zero carbon office, London, by Feilden Clegg Bradley Studios

“Accounting for the sequestered carbon in this way is not widely done, and we wanted to meet that debate head-on so we can have clarity moving forward,” Williams continued.

“There is already a focus on operational carbon for buildings, particularly in London, but for Paradise we’ve been able to talk about the increasing issue of embodied carbon, moving away from carbon-intensive concrete and steel towards renewable materials.”

Paradise net-zero carbon office, London, by Feilden Clegg Bradley Studios

Within the building, the glulam beams and CLT floor plates will be exposed throughout the office spaces.

“From a sustainability viewpoint, CLT is one of the few renewable structural materials available and can be mechanically fixed to enable it to be simply reused at the end of its life,” said Williams.

“But it’s not just about sustainability, it also provides a beautiful, warm, natural finish that fits into our aims of delivering a healthy environment.”

UK architecture practice Feilden Clegg Bradley Studios was founded in 1978 and is now led by Keith Bradley and Peter Clegg. The studio won the RIBA Stirling Prize for the Accordia housing development in 2008.

It joined the other Stirling Prize-winning firms, including Zaha Hadid Architects and David Chipperfield Architects, in calling for architects to shift their behaviour towards climate change by signing up to Architects Declare last year.

Earlier this year another founding signatory – Foster + Partners – came under fire for designing a new airport in Saudi Arabia.

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Sanden+Hodnekvam Arkitekter creates red concrete house in Lillehammer

Red concrete house by Sanden+Hodnekvam

Oslo architecture studio Sanden+Hodnekvam Arkitekter has designed a house from prefabricated concrete panels in Norway for a three-generational family that took part in its construction.

Sanden+Hodnekvam Arkitekter‘s House in Red Concrete in the town of in Lillehammer was built with a facade made from repetitive, insulated-concrete elements in order to help keep costs down.

“The repetitive facade made it possible to use the same casting for the concrete elements many times,” co-founder John Sanden told Dezeen.

“The cost is really low, which was possible because of the simple construction system, the repetitiveness and the work done by the client themselves.”

Red concrete house by Sanden+Hodnekvam

To keep the project affordable, Sanden + Hodnekvam chose to use prefabricated, insulated concrete elements with a 50-millimetre outer layer of pigmented concrete for all the facades.

The studio also designed the house so that no inner walls are load-bearing. This was to save money in the future as it means the house can be adapted to the client’s changing needs but also meant the owners could help build the house themselves.

Red concrete house by Sanden+Hodnekvam

“After the load-bearing part of the construction was in place, the clients have put up inner walls and finished large parts of the remaining work themselves,” the studio said.

“This gave them a deeper understanding of the building, and it made them really love the house already long before they moved in,” Sanden added.

Red concrete house by Sanden+Hodnekvam

As the house was built on a sloping site, with a height difference of about 10 metres across it, Sanden+Hodnekvam Arkitekter dug it into the hilldside and aligned it at a diagonal angle to the fall of the terrain to create outdoor spaces and improves its views.

“A large part of the house is dug into the hillside in order to fit the programme to the compact site, and at the same time follow height regulations and maximise the view,” the studio said.

Red concrete house by Sanden+Hodnekvam

The distinct red colour of the exterior was achieved by adding iron oxide to the concrete mix. “The pigment gives the house a different appearance than the grey, which gives the house its own character,” Sanden said.

“The pigment, along with the wooden windows and the geometric pattern between the concrete elements, makes the building stand out as something different than just a concrete box.”

Red concrete house by Sanden+Hodnekvam

Inside the house, the rough concrete walls and ceilings have been left exposed and are complemented by walls in knot-free pine panelling, which was also used for the ceilings in the kitchen and living room. Pine plywood furniture was built on site.

“A lot of the furniture is specific for each room, which creates a clean interior that is easier to keep tidy in the everyday life,” Sanden said. “The furniture also helps to create an area-effective building.”

Floors were covered in hardwearing cement screed. “It is a house that is built to last by adaption or re-appropriation,” the studio concluded.

Norweigan studio Sanden+Hodnekvam Arkitekter was founded in 2014 by John Sanden and Ingvild Hodnekvam. The studio also chose to work with concrete and wood when creating a cabin overlooking a Norwegian fjord.

Photography is by Sanden+Hodnekvam Arkitekter.

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