Tyler Mitchell is renowned for his captivating film and photography work. Here, as part of our Creative Heroes series for our 40th birthday celebrations, Mitchell talks to us about his career milestones and his journey so far
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As part of our 40th birthday celebrations, CR is revisiting the alumni from our Creative Futures scheme, which ran for nearly 30 years. Here, we chat with designer David Pearson, an alumnus featured on Creative Futures back in 2005
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Dubbed The Virtual Factory, the digital building is hosting the first in a series of commissions – an exhibition by avatar artist LaTurbo Avedon, entitled Your Progress Will Be Saved. Visitors to the virtual space will get the chance to wander illuminated dance floors and sit in private booths, in what MIF describes as “a constantly evolving journey through shifting spaces”.
“You begin to see reflections throughout the Virtual Factory,” says Avedon. “From the memesis of the installed works and locations, down to noisy reflections from the game engine itself. As much of the world grapples with a cultural moment of immateriality, Your Progress Will Be Saved shines back the close-yet-far tension of being alone online, together.”
The exhibition is also available outside Fornite, via the Virtual Factory website – which has an adapted version – as well as Twitch, where viewers can watch tours of the exhibition.
The Virtual Factory is one of the first buildings of its kind to be recreated in Fortnite, as well as to be opened virtually before it’s opened physically. And although it might seem like a response to the coronavirus crisis, MIF explains that creating a place for artists to respond virtually and online has been a key part of The Factory’s plans since the beginning. Artists are being invited to reconfigure the building’s architecture, in digital form, as well as explore the site’s history, with commissions by Jenn Nkiru and Robert Wang still to come.
“Virtual Factory reflects a time where we are increasingly inhabiting non-physical environments, from social media to video games” says Gabrielle Jenks, Digital Director at MIF. “These artists through their distinct practices construct worlds through computer games, cinematic tools and augmented reality. They are creating work for a building that hasn’t opened yet – alluding to the reconfigurable shape of things to come and sending out a message that The Factory will be open for everyone to reinterpret and re-use.”
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At the time of writing this, half of 2020 was over and there were mixed feelings of relief and anticipation. Relief because we made it so far (including the Mayan doomsday prediction!) and anticipation because is it going to now turn into ‘Jumanji The Next Level’ or can we start figuring out our travel plans? Either way, we can all agree we need a break and a change of scene from our homes, and the only safe way to get both those things is through a tiny mobile home like the Alto 2124!
The Alto series by Canadian motorhome company, Safari Condo, is a range of high-functioning trailers that can double up as a mobile home or as a camper. They also happen to be environmentally friendly while being ultralight and aerodynamic. The frame of the trailer uses composite materials and Alufiber aluminum which has a honeycomb structure that makes it as strong as fiberglass. The wedge-shaped trailer comes fully equipped for you to actually live there full time if you wanted to with all essential appliances and provisions for a stove, water systems and power. “The newest Safari Condo seems perfect for anyone who wants to bring the comfort of home to the outside world while spewing fewer greenhouse gases into the atmosphere in the process. The wedge-shaped trailer uses 15% less energy while being towed than the company’s earlier models, in spite of being roughly 900 pounds heavier than the latter trailer,” says the team.
At 2,568 lbs, the A2124 is light enough to be towed by a regular Subaru Outback. Another similar model, 2414, stands at 2,947 lbs as it provides more space due to its traditional rectangular shape. Both the trailers fit within the 5000 lbs towing capacity of a Tesla Model X which was used to test the mobile campers on the streets. The build is aerodynamically-optimized to save energy as well as reduce cost and pollution related to fuel while still making the most of its compact space – suited for four people to live in complete with a dining area, kitchen, shower, toilet, a swivel wardrobe, plenty of storage and separate sleeping zones! If we are moving towards a flexible remote lifestyle, then I would like to turn it into a long road trip with this environmentally friendly tiny home-camper!
Designer: Safari Condo
Nike has released its new Flight ball for the 2020/21 Premier League that has geometric grooves and sculpted chevrons to reduce drag.
The product of eight years of research and development by the Nike Equipment Innovation Lab – and 1,700 hours of testing – the Flight ball grants 30 per cent more accurate flight trajectory than its predecessor.
The ball, which was released on Nike’s website on 29 June, will be used in the next 2020/21 Premier League season.
It incorporates Nike’s new patented AerowSculpt technology, which sees moulded grooves indented across its surface – much like how the dimples on a golf ball function.
As Nike explains, while all footballs have some unpredictable movement in flight, if the ball is entirely smooth then it is more likely to be gripped by the air, causing turbulence and thus frequent changes in direction.
“These shifts can result in misplaced long balls, derailing a potentially fruitful counter, or shots that stray off goal,” the brand added.
The indentations in the Flight ball work to reduce “wobble”, offering a more predictable and consistent flight, by encouraging air to move around the ball instead of gripping its surface.
“The construction started with a square-shaped Aerotrack groove,” explained Kieran Ronan, head of Nike Global Football Equipment.
“Over the course of the 68 iterations, we modified the shape of the groove, added sculpted chevrons and explored multiple features throughout to deliver one geometric pattern that helps promote a more stable flight,” he added.
The ball is constructed from four fuse-welded panels, as opposed to a usual 12, which are stitched together with 40 per cent fewer seams than an ordinary football. This makeup affects both how the ball flies and how the player can touch or kick its surface.
It also is printed with Nike’s All Conditions Control (ACC) 3D ink, which is used to print “micro flaps” along the surface to ensure optimal grip in all weather conditions.
Nike’s innovation lab worked with various players to address these aerodynamics issues in three stages, which it has labelled explore, recreate and innovate.
In the explore phase, the Nike lab used various tracking systems to measure the ball flight of different types of kicks performed during a game.
The recreate phase saw the researchers replicate the kick styles seen on-pitch with a robotic leg in order to measure any small differences in performance between different ball designs.
In the final innovate phase, the lab tested 68 different iterations of the Flight ball and had over 800 professional athletes participate in field testing validation before settling on a final version.
“Everything done at the Lab is rooted in science,” said Ronan. “Here, we are able to detect small differences in performance that may not be perceivable to most athletes, but when those small differences are iterated upon 68 times, the result is a noticeable leap in performance.”
Dezeen recently spoke to Nike’s sustainable design lead Noah Murphy-Reinhertz about the impact of the current Covid-19 pandemic, and how it will affect the current climate crisis.
“Right now we’re in the midst of two global crises,” he told Dezeen. “One is super visible that we’re experiencing and immediately it’s put us all back into isolation for a few months.”
“But the other crisis that’s happening at exactly the same time is one that could put us all inside air-conditioned homes and gyms for the foreseeable future.”
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Danish architecture studio BIG has designed a factory for furniture manufacturer Vestre in a Norwegian forest, which the brand claims will be the “world’s most eco-friendly furniture factory”.
Named The Plus, the factory development, which will include a visitor centre and a 300-acre park, is set to be built within a forest near the village of Magnor in the east of Norway.
Designed by BIG, the 6,501-square-metre factory takes its name from its cross shape. It will consist of four green-roof-covered wings, containing the furniture manufacturer’s warehouse, colour factory, wood factory and the assembly area, extending from a central atrium.
Two of these wings will be publicly accessible with walking tracks running up them, giving visitors access to the roof and a view of the central atrium from above. Large glass windows will allow visitors to look inside the buildings that are closed off to the public to see the inner workings of the factory.
“With Vestre we have imagined a factory that is simultaneously front of house and back of house,” said BIG founder Bjarke Ingels.
“The beauty of the factory is the clarity of its organisation. Conceived as the intersection of a road and a production line it forms a large plus connecting everything to everything,” he explained.
“The radical transparency invites visitors and hikers to enjoy the whole process of manufacturing while providing the workers the thrill of working in the middle of the forest.”
BIG designed the factory to be an exemplar of sustainable architecture, and according to the furniture brand it will generate 50 per cent less greenhouse gas emissions than a conventional factory of the same size.
When complete, the architecture studio expects the building to be the first industrial projects in the Nordic region to gain a BREEAM outstanding environmental rating.
The building is constructed from local timber and low-carbon concrete with recycled reinforcement steel. It will be powered by an energy supply system that combines 1,200 solar panel and geothermal wells, while surplus heat created during the production process will be used to heat the building.
According to the architecture studio, this means that the building’s energy requirement is 90 percent lower than an equivalent factory.
“Vestre will be the world’s most sustainable furniture manufacturer,” said Jan Christian Vestre, CEO of Vestre.
“Building The Plus will be an important step in reaching this goal. By using cutting-edge technology and Scandinavian collaboration, we can produce faster and greener than ever,” he continued.
“In that way we will ensure global competitiveness through our leadership in environmentally-conscious production.”
The factory will be located around half way between Vestre’s headquarters in Oslo and its existing manufacturing plant in Torsby, Sweden, which was designed by architecture studio Snøhetta.
Materials will be moved between the facilities by a fleet of all-electric Tesla trucks.
Vestre is a Norwegian furniture manufacturer that was established in Haugesund in 1947. Earlier this year the company won the best stand award at Stockholm Furniture & Light Fair for an installation designed by Note Design Studio.
The stand was made from re-usable materials and had information displayed about the carbon footprint of every product.
At the time, Jan Christian Vestre said he believes the company was the first furniture brand in the world to publish carbon information on its product range.
“We’re doing it because we want to be really open and transparent,” he said. “I would like to say that clients are actually demanding it, but they aren’t yet.”
Project credits:
Client: Jan Christian Vestre / VESTRE AS
Architect: BIG
Collaborators: Fokus Rådgivning, Gade & Mortensen, Erichsen og Horgen AS, ØM Fjeld AS, Foyn Consult AS, Nordic Architects AS, Norconsult AS, Multiconsult AS, Splitkon AS
Partners-in-charge: Bjarke Ingels, David Zahle, Ole Elkjær-Larsen
Project manager: Viktoria Millentrup, Eva Seo-Andersen
Team: Julia Tabet, Ariana Szmedra, Ningnan Ye, Ron Bexheti, Ksenia Zhitomirskaya, Jens Majdal Kaarsholm, Ulla Hornsyld, Eduardo Javier Sosa Treviño, Steen Kortbæk Svendsen, Kristoffer Negendahl, Pin Tungjaroen, Neringa Jurkonyte, Magni Waltersson, Cheng-Huang Lin, Tommy Bjørnstrup, Tristan Harvey, Duncan Horswill, Katrine Juul, Alexander Jacobsen, Tore Banke, Frederic Lucien Engasser, Thor Larsen-Lechuga, Katrine Sandstrøm, Jesper Petersen, Kaoan Hengles, Ewa Zapiec, Ariana Ribas, Andy Coward, Andreas Bak, Nanna Gyldholm Møller
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This VDF school show curated by the Architecture Department of the University of Indonesia includes a conceptual city masterplan modelled on neurons, and a museum memorial in Wuhan for reflecting on the coronavirus pandemic.
The digital exhibition features a total of 10 projects, documented in video form, which were completed by students in their final year at the Indonesian school as part of the Scarcity studio.
Scarcity was taught by Hendrajaya Isnaeni, Verarisa Ujung and Farid Rakun, and invited pupils to investigate the relationship between ecological plights and the world economy.
University: Architecture Department of the University of Indonesia
Course: Final Design Studio 2020
Studio: Scarcity
Tutors: Hendrajaya Isnaeni, Verarisa Ujung and Farid Rakun
Course statement:
“Scarcity, as a term that problematises as well as bridges economic and ecological domains, challenges contemporary architecture and interiority.
“We deem deep comprehensions about underlying forces at work in understanding the term are necessary to deal with its complexities. The inextricable links between ecological plights and global economies, also the dynamics they create, need to be interrogated with intelligence and creativity.
“Consequently, understanding these conditions would heighten our conscience, our ‘value structures’. This studio is a result of attempting to articulate these ‘value structures’, and finding methods to operate them architecturally.”
Scarcity of memory by Albertus Bramantya Wijaya
“Onrust Memorial Park: manifestation of memories.
“Jakarta is sinking fast. Its historical sites, and the memories embodied within, are at risk of destruction. Onrust Island, a memory bank spanning more than four centuries back, is one of them.
“This project speculates on an alternative: Onrust Island as a theme park. The park has six subjects, ten memory lands and thirty-five choices for the visitors to choose from.”
Instagram: @albertusbram
Scarcity of truth by Amani Tedjowongso
“The Corridor of Truth: reconstructing the reality of pollution.
“Pollution, as a current cultural construction, lacks agency, urgency and imagination. As a society, we outsource our responsibility to care to authorities and other bodies. Interrogating the agencies of an individual architect, this project attempts to change society’s mindset regarding urban air pollution.
“Intervening Jl Salemba Raya, one of the main roads in Central Jakarta, the project resulted in a network of infrastructures to purify the air and shift the use of fossil fuel to methanol. It yearns for change in people’s mindset and the lowering of egos.”
Instagram: @amani0899
Scarcity of gratitude by Baihaqi Abdullah
“Heaven Heel’s Museum.
“Sited in Wuhan, China, this architectural project tries to speculate on what would happen when future global citizens look back on the emotions they had experienced during the catastrophic COVID-19 pandemic in 2020. Turning fear to gratitude, this project shows how memorial could take form in a new era: post-pandemic.”
Instagram: @hq.abd
Changing the perception of scarcity by Chloe Nadine Mak
“Subsistence over Scarcity: Bajau reimagined.
“This is a speculative project on Bajau – a tribe of ultra-national sea nomads – as one of many stakeholders of the disputed part of South China Sea. The starting point is the fact that Bajau is unified by their strong naval nomadic identity. It utilises fiction as an agent of cooperation, instead of conflict.
“This project also suggests that we all could learn from Bajau and their subsistence lifestyle and harmonious relationship with nature in order to sustain a longer, more abundant way of life.”
Instagram: @chloenm19
Scarcity of identity by Edgar Harvian Tanchurya
“2045: a tale about chaos, peace and lost identity.
“In 2045, the year when Indonesia will celebrate its 100th year of independence, a new checkpoint emerges. On identity, lack of wisdom could lead to over-pride, fanaticism and anarchism.
“This project speculates on how future citizens of the country would reuse and reimagine Satriamandala, the main museum of Indonesian Armed Forces (TNI) in South Jakarta, into an architecture that narrates alternative readings on identity, where visitors are invited to knit their own understanding using their own experience.”
Instagram: @edgarharviant
Scarcity of contextual living by Maghfirasari Adhani
“Orang Laut’s Self-sustaining Organic Community.
“The universality of standards of living, generalised by the process of modernisation, creates an illusion of scarcity of resources. We demand things that are not contextual to our living environment.
“This project uses Riau’s Orang Laut – which translates to Sea Men, referring to sea nomads – as the main subject of research. The resulting design aims to weave Orang Laut’s current assimilated domestic activities with their environmental awareness through a new compact lifestyle: sampan kajang – their traditional weaving style.”
Instagram: @maghfirasari
Scarcity of food value by Muthiah Hakim Hadini
“Santing: santap, tilas, singkong.
“Santap, tilas, singkong (eat, trace, cassava) is a project which aims to trace our missing food links, criticising society’s ignorance of local production of food.
“Taking cassava as a potential main nutritional resource, the project further explores the possibility of extending the root’s values for materiality, metaphor and a new form of living, applied in the context of the Cilandak residential area in South Jakarta.”
Instagram: @mhhadini
Scarcity of land by Nareswarie Ayuanindhita
“Neuron City.
“This architectural project imagines a system that synergises with its context in Kalimalang suburb of East Jakarta.
“This is done by applying the nervous system, translating them structurally in both macro and micro scale, consequently proposing new ways for humans to live, interact and obtain food in the future. The aim is for human beings to co-habitat earth peacefully with other living creatures.”
Instagram: @naresayes
Scarcity of stability by Ruth Kartika Purnasasmita
“Mad Mayestik: reminiscing the unstable.
“This project comments on the possible outcome after Mayestik, one of the most vital markets located in South Jakarta, collapses as a result of the wasteful over-consumption of plastic.
“Considering plastic as a source of instability, the project then deconstructs and integrate this material into spatial elements to reveal the possible catastrophe and how the market could be dwelled in and by preaching instability.”
Instagram: @ruthkartikaa
Scarcity of softscape by Zelika Razna
“Expediting the Softscape.
“This project imagines an intervention done upon an abandoned shophouse complex in 9 Walk shopping complex in Bintaro, a suburb of South Jakarta.
“In its current abandoned state, the site and building are left with hardscapes that the project utilises as materials to show how non-human species can gain their design agencies – becoming architectural co-conspirators and successively taking architecture back to nature.
“The designer’s role then is to research and design for the liveability of these non-human species while still producing experiences for human beings in an orderly fashion.”
Instagram: @zelikarazna
Virtual Design Festival’s student and schools initiative offers a simple and affordable platform for student and graduate groups to present their work during the coronavirus pandemic. Click here for more details.
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Imagine a castle and it will be made of stone or bricks…that is how old bricks are! Red and rustic, bricks have come back in fashion with the brutal or raw architectural trend that has gripped modern architecture. And we have to agree, they provide a jarring contrast to the sleek glass towers, standing like gentle giants or wise kings of the old in the modern cityscape. Using bricks to give a modern-day look, all the designs featured here are futuristic yet preserve the heritage aesthetics that add value or character to your building!
Brick being a traditionally tough material, it is difficult to envision this material for creating a curved surface. But that is exactly what Studio Olafur Eliasson has done with their very first construction in Denmark. Named the Fjord House, the project is commissioned by KIRK Capital to showcase the building’s relationship to the harbor. ‘I am very thankful for the trust shown by the Kirk Johansen family in inviting me, with my studio, to conceive Fjordenhus,’ Eliasson says. ‘This allowed us to turn years of research — on perception, physical movement, light, nature, and the experience of space — into a building that is at once a total work of art and a fully functional architectural structure. In the design team, we experimented from early on with how to create an organic building that would respond to the ebb and flow of the tides, to the shimmering surface of the water, changing at different times of the day and of the year. The curving walls of the building transform our perception of it as we move through its spaces. I hope the residents of Vejle will embrace Fjordenhus and identify with it as a new landmark for the harbor and their city.’
MVRDV continues to awe, astonish, and wow us with this transparent brick store created for Hermès, situated in Amsterdam. Using glass bricks, the studio created the jewel-like sparkling exterior to merge the high-end luxury aesthetics necessary for Hermès with the historical brick facade that has been iconic to the Amsterdam landscape.
Tadao Ando, a Japanese architect had transformed a Chicago based building into an architecture exhibition center, using raw concrete and glass to create a wealth of contrast along with balancing the feel of old and new. This exhibition center, named Wrightwood 659 is a four-storey structure with a concrete staircase that wraps around one pillar while being highlighted with rectangular windows that provide ample natural lighting. Looking ta this, it looks like Tadao tried to highlight all the essential building blocks to great architecture – brick, concrete, glass – which is fitting for an architectural exhibit.
It’s always interesting when architects design and create their own homes. It is a chance for them to unleash their creativity as they see fit, build that dream design they always wanted to build and that is exactly what Dutch architects Gwendolyn Huisman and Marijn Boterman did when creating this skinny black brick building that is their home. The house, while looking opulent in black bricks from outside houses hidden windows and a huge indoor hammock to add fun to the place!
The Musée Yves Saint Laurent Marrakech (mYSLm) stands tall with a two-toned brick facade that pays homage to the natural environment found in Marrakesh. The museum houses important selection from the fondation Pierre bergé – Yves Saint Laurent’s impressive collection, which includes 5,000 items of clothing, 15,000 haute couture accessories, along with tens of thousands of sketches and assorted objects. Designed by the French Studio KO, the building is made up of cubic forms, that come to form a pattern that resembles interwoven threads.
With sweeping arches made of brick and an abundance of natural lighting, this residential complex by Muhamad Samiei is the perfect example of how modern architecture can adopt brick surfaces. In an attempt at changing the traditional tower design, this design uses the flow of the structure to create separate spaces within the enclosure, resulting in a harmonious balance of space-saving and utilizing space whereas the use of bricks pays homage to the past while looking futuristic in the same design.
India is known for its vibrant colors and it is those colors that the Surat-based studio Design Work Group has brought to life in this rippling brick facade. The Location of the building, being on a crossroads inspired the architects to have some fun with it, by using two different materials – concrete and brick to create a unique look on each road-facing side of the structure.
When a building is named ‘Cuckoo House’, you know you are in for a fun treat! This unusually shaped residence is by the architectural firm Tropical Space in Vietnam and sits above a coffee shop. The entrance to this home starts with an elevated terrace with more smaller terraces created to add ventilation and natural light inside the home. Given the local climate, the house is designed to make complete use of the indoors as well as the outdoors on warm balmy days.
CTA | creative architects have designed the Wall House in Vietnam, named for the use of unique breathing walls designed by the STudio for this house. After realizing that indoor air pollution was a major health hazard in Vietnam, the team decided to build a protective layer of hollow bricks around the house to facilitate the growth of greenery in the walls with ease. This technique creates an all-natural purification system that works on its own!
A drama theater built with some more drama, that is what Drozdov & Partners have created when they redesigned the ‘Teatr na Podoli’, a drama theater in Ukraine. What is the drama you ask? Its the use of recycled bricks made up of titanium and zinc that clad the higher levels of this theater, balancing the old school aesthetics with the beige brick-work in contrast to the modern metallic bricks that highlight the top.
Think concrete is the better choice of materials rather than brick? Check these concrete-based designs that show why concrete may be the futuristic material of choice!
Showcasing concepts like these always feels bittersweet, because while they look absolutely gorgeous on paper (or on a screen, in this instance), there’s a slight deal of sadness in knowing that concepts like these are just objects of fantasy, created by designers who just want to make beautiful things.
Meet the Pagani Amaru, a conceptual hyperbike created by Indian designer Vishruth Kumar. Designed to capture the wild spirit often associated with Pagani’s one-of-a-kind hypercars, the Amaru is, in fact, named after a legendary beast found Andean mythology. It’s safe to say that for an automobile named after a mythical water dragon, the Amaru certainly looks the part, with a curvaceous body that feels like a serpent-head emerging out of water, and dual headlights that resemble a menacing pair of reptilian eyes.
The single-seater hyperbike features a unique unibody design that comes with an integrated form that seamlessly goes from cowl to tank to taillight. Its unbroken form comes with a hollow space in front that provides space for the handlebars to appear through. The overall stylings are a hat-tip to the Pagani Huayra Roadster BC, says Vishruth (I knew those headlights and rocket-exhaust-shaped taillights looked familiar!) Even though the Amaru exists as a concept, there’s enough detail for it to be taken seriously… for instance, the hyperbike comes fitted with a liquid-cooled in-line 4-cylinder AMG Engine for power and performance, while the bike’s unique bodywork can be attributed to a special carbo-titanium alloy that provides it with a high strength-to-weight ratio, allowing the otherwise voluminous and beastly bike to effortlessly zip through roads as an aquatic predator would hurtle through water!
Designer: Vishruth Kumar
Interior design studio Deferrari+Modesti renovated a house in Prato, Italy, adding a blue staircase that doubles as a climbing wall for its sporty owners.
The two-storey house in the Tuscany region, which was built in the 1980s, was in a state of disuse and required a complete refurbishment.
Deferrari + Modesti designed an integrated furnishing system to update the ground floor, which houses living areas and bedrooms.
The playful staircase that connects the lower and upper storeys of the villa is a reference to the occupant’s love of rock climbing.
“The client had not given us specific indications or made particular requests on the staircase,” architects Javier Deferrari and Lavinia Modesti told Dezeen.
“For us, however, it had to be a key element of the home. It had to connect the different spaces by organising them, but it also had to have a strong identity, both in its representation and in its function.”
Made from teak wood and powder-coated iron, the staircase is sided with perforated sheet metal, which has also been used for its upper steps.
“The staircase, from being extremely solid, becomes permeable to light and movement as it ascends,” the studio explained.
A metal bench and a wooden storage box sit under the stairs facing the living room. The staircase’s open structure here creates an improvised climbing wall where people can dangle from its iron bars.
The ground-floor living areas are spread over three different levels. Deferrari+Modesti tied the separate areas – living room, reading and music corner, dining room and kitchen – together with built-in furniture painted the same bright blue as the staircase.
In the reading and music corner, the furnishing system functions as a bookcase with an added bench and container. This separates the space from the dining area, where the integrated furniture continues in the form of cabinets.
“The use of a visual element that presents elements of continuity conveys the feeling of a unique, welcoming space,” the architects said.
“We decided to organise the space through an integrated furniture system to connect the different areas of the house, giving each one its own identity.”
The sunken living room area features wall panels with a hidden bar cabinet in the same blue shade as the furnishing system and staircase.
Wooden floors made from recycled teak slats contrast the integrated furnishing system.
As well as the living areas, two bedrooms and two bathrooms are hidden behind a flush-to-wall door on the ground floor.
The upper floor is used as a living and study area and accommodates an additional bathroom, as well as a large terrace.
Deferrari+Modesti was founded in 2010 and specialises in interior design, exhibition and product design.
Other designers using similar statement stairways include WORKac, who used perforated steel for a staircase in a Brooklyn apartment. Lagado Architects included a sculptural blue staircase for the Workhome-Playhome in Rotterdam.
Photography is by Anna Positano.
Project credits:
Project designers: Deferrari+Modesti
Project design team: Javier Deferrari, Lavinia Modesti
Contractor: GBR Servizi
Carpentry works: Legn’artè
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