Dezeen Awards 2020 studio longlist announced

The studios selection is the fourth and final Dezeen Awards 2020 longlist to be unveiled. The architecture longlist, the interiors longlist and the design longlist were also published earlier this week.

All longlisted studios are listed below, each with a link to a dedicated page on the Dezeen Awards website where you can find an image and more information about each one.

Awards will be given to the best studios in each of the architecture, interior design and design categories, with studios founded less than 10 years ago competing in the emerging studio categories and more established practices battling to be named studio of the year.

Gad Line+ Studio is longlisted in the emerging architect of the year category.

Studios in the running to be named architect of the year include Beijing-based MAD Architects, Indian architecture practice Sanjay Puri Architects and Australian studio John Wardle Architects, while London-based Mamou Mani and RAW Architecture are longlisted in the emerging architect of the year category.

Office Off Course, Shanghai, China, is longlisted in emerging architect of the year.

US-based Yabu Pushelberg will battle with Ab Rogers Design in the interior designer of the year category, while Beijing-based Office AIO and Kingston Lafferty Design will compete in the emerging category.

Atelier Tao+C is longlisted in the emerging interior designer of the year category.

In the design categories, Form us with love and Ini Archibong are both vying to be named designer of the year, while Adam Nathaniel Furman, Charlotte McCurdy and Shahar Livne Design are all hoping to be named emerging designer of the year.

See the full studio longlist below:


Beijing-based MAD Architects is longlisted in architect of the year.

Architect of the year

Alison Brooks Architects, London, UK
Atelier Alter, Beijing, China
Austin Maynard Architects, Melbourne, Australia
Bergmeisterwolf, Bressanone, Italy
Carl Fredrik Svenstedt Architect, Paris, France
John Wardle Architects, Collingwood, Australia
Kobi Karp Architecture and Interior Design, Miami, US
LEVER Architecture, Portland, US
Lorcan O’Herlihy Architects, Los Angeles, US
MAD Architects, Beijing, China
Manuel Cervantes Estudio, Mexico City, Mexico
Marcy Wong Donn Logan Architects, Berkeley, US
Mosbach Paysagistes, Paris, France
NADAAA, Boston, US
Pdaa, Paris, France
Sanjay Puri Architects, Mumbai, India
SO – IL, Brooklyn , US
Spasm Design Architects, Mumbai, India
Studio Gang, Chicago, US
Studio Saxe, San Jose, Costa Rica
Thuy Nguyen, Ho Chi Minh, Vietnam
WATG, New York, US

Browse all studios on the architect of the year longlist page.


Peter Pichler Architecture, Milan, Italy is longlisted in emerging architect of the year.

Emerging architect of the year

3andwich Design / He Wei Studio, Beijing, China
A Small Studio, London, UK
Atelier Cho Thompson, San Francisco, US
CAAT studio, Sydney, Australia
DesignAware, Hyderabad, India
DEVOLUTION, Xiamen, China
DROO, London, UK
Gad · Line+ Studio, Hangzhou, China
Julius Taminiau Architects, Amsterdam, Netherlands
K-studio, Athens, Greece
KOGAA, Brno, Czech Republic
Kooo Architects, Tokyo, Japan
Lendager Group, Copenhagen, Denmark
Mamou-Mani, London, UK
Nimtim architects, London, UK
Office Off Course, Shanghai, China
Office S&M, London, UK
Peter Pichler Architecture, Milan, Italy
Proctor & Shaw, London, UK
RAW Architecture, Jakata, Indonesia
Robert Hutchison Architecture, Seattle, US
Studio Takuya Hosokai, Tokyo, Japan
SUMMARY, Porto, Portugal
Surman Weston, London, UK
UNITEDLAB Associates, Long Island City, US
Vladimir Radutny Architects, Chicago, US
Will Gamble Architects, London, UK
Winwood Mckenzie Architecture, Melbouurne, Australia

Browse all studios on the emerging architect of the year longlist page.


Norm Architects, Copenhagen, Denmark is longlisted in interior designer of the year.

Interior designer of the year

1508 London, London, UK
Ab Rogers Design, London, UK
Atelier Alter, Beijing, China
Cecconi Simone, Toronto, Canada
Dkstudio Architects, Toronto, Canada
Esrawe Studio, Mexico City, Mexico
Fogarty Finger Architecture, New York, US
Kelly Wearstler, Los Angeles, US
Liqui Group, Chula Vista, US
Maurizio Lai Architects, Milan, Italy
Michaelis Boyd, London, UK
Norm Architects, Copenhagen, Denmark
Preen, Los Angeles, US
SkB Architects, Seattle, US
Studio Robert McKinley, New York, YS
Studio_VDGA, Pune, India
Takasu Gaku Design and Associates, Fukuoka, Japan
Waldo Works, London, UK
Yabu Pushelberg, New York, US

Browse all studios on the interior designer of the year longlist page.


NJ+ Arquitetos, São Paolo, Brazil is longlisted in emerging interior designer of the year.

Emerging interior designer of the year

Esoteriko, Woollahra, Australia
Alexander&CO, Bondi, Australia
Atelier Maison, Siggiewi, Malta
Atelier Tao+C, Shanghai, China
AtMa, Tokyo, Japan
Bitte Design Studio, Tangerang, Indonesia
Buchanan Studio, London, UK
Daytrip.studio, London, UK
Deferrari+Modesti, Florence, Italy
Formafatal, Prague, Czech Republic
Kingston Lafferty Design, Dublin, Ireland
NC Design & Architecture Limited, Hong Kong, Hong Kong
NJ+ Arquitetos, São Paolo, Brazil
NOMOS, Madrid, Spain
Office AIO, Beijing, China
Office of Tangible Space, Brooklyn, US
Roman Izquierdo Bouldstridge, Barcelona, Spain
Run For The Hills, London, UK
Sophie Dries Architect, Paris, France
Ste Marie Art + Design, Vancouver, Canada
Studio-Gram, Goodwood, Australia
YOUTH Studio, Manchester, UK
Zooco Estudio, Madrid, Spain

Browse all studios on the emerging interior designer of the year longlist page.


Studio Ini, London, UK is longlisted in designer of the year.

Designer of the year

Büro Ziyu Zhuang, Beijing, China
Emmanuelle Moureaux architecture + design, Tokyo, Japan
EWE Studio, Mexico
Form us with love, Stockholm, Sweden
Formafantasma, Amsterdam, Netherlands
Fuseproject, San Francisco, US
GHYCZY, Swalmen, Netherlands
Ini Archibong, London, UK
Joe Doucet x Partners, New York, US
KEM STUDIO, Kansas City, US
Nelly Ben Hayoun Studios, London, UK
Norm Architects, Copenhagen, Denmark
SPREAD, Tokyo, Japan
Studio Ini, London, UK
Studio Waldemeyer, London, UK

Browse all studios on the  designer of the year longlist page.


Adam Nathaniel Furman, London, UK is longlisted in emerging designer of the year.

Emerging designer of the year

Aberrant Architecture, London, UK
Adam Nathaniel Furman, London, UK
Baldwin Studios, Brunswick, Australia
Burggrafburggraf, Bad Liebenzell
Charlotte McCurdy Research, Brooklyn, US
Collin Townsend Velkoff, Nürnberg, Germany
Crosby Studios, New York, US
Hans Ramzan, London, UK
Ladies & Gentlemen Studio, Brooklyn, US
Marcin Rusak Studio, London, UK
Mario Alessiani Design Studio, Teramo, Italy
Objects of Common Interest, Brooklyn, US
Pawlak & Stawarski, Poznan, Poland
Poppy Lawman Studio, Oslo, Norway
Selek, Eugene, US
Shahar Livne Design, Eindhoven, Netherlands
Special Projects, London, UK
Studio Terhedebrügge, Berlin, Germany
T SAKHI, Beirut, Lebanon
The Liminal Space, London, UK
The New Raw, Rotterdam, Netherlands
Valdís Steinarsdóttir, Reykjavik, Iceland
Wang & Söderström, Copenhagen, Denmark
Zaven, Venezia, Italy

Browse all studios on the emerging designer of the year longlist page.

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This Lavazza espresso machine blends art and science to give you a unique brewing experience!

Lavazza is an Italian coffee products manufacturer that is known worldwide and has been winning at the game since 1895. I have personally had Lavazza coffee in five cities across the globe and it tastes the same everywhere which is probably why it could build such a strong worldwide presence – and it always tastes perfect! The brand organized a competition for espresso machine designs for 2022 and it was the team that came second that caught our eye because of how modern and unusual their espresso machine looks!

GRID-Espresso gets its name from its structure which looks like different parts of the coffee machine are being held up by grid lines. It reminds me of scaffolding in Manhattan that actually looked artistic instead of obtrusive and GRID-Espresso embodies the same vibe. If you own or have seen an espresso machine, it is rare that you will see each part for its function because it has all been integrated into one compact and opaque machine – no fun. With GRID-Espresso, you can actually see the grinder, the water tank, and the brewing parts as three distinct physical levels of the process. It is a manual machine and gives you the chance to enjoy a tactile experience when you brew your specialty coffee, take a look at the detailed parts of the machine and process in the pictures below.

The design itself is like art – it is inspired by Piet Mondrian’s color blocking pieces that also show clear black gridlines as well as the set up of a chemistry lab apparatus. That is exactly why GRID-Espresso is so unique and draws you in because it doesn’t look like its peers and blends art + science like coffee + cream. The water tank is made from fumed glass which gives it a mysterious look and the majority of the machine has a matte black finish making it super sleek. The copper and French oak accents add warmth to the overall aesthetic which also gives it a high-end feel. GRID-Espresso is a one-of-a-kind manual espresso machine that doubles up as a collectible piece for your home, it makes me want to quit everything and become a barista!

Designers: Fadi Yachoui, Georges Saghbini, Volkan Dogan

This article was sent to us using the ‘Submit A Design’ feature.
We encourage designers/students/studios to send in their projects to be featured on Yanko Design!

ARC Club is a London co-working space for people wanting to escape working from home

ARC Club co-working office in Homerton, London designed by Caro Lundin

Architect Caro Lundin took a less-is-more approach for the creation of ARC Club, a fuss-free co-working space in east London for those struggling to work from home during the coronavirus pandemic.

It took just six weeks for Lundin and her self-titled studio to complete ARC Club, which takes over a formerly characterless retail unit in the neighbourhood of Homerton.

The co-working space is meant to cater to the growing number of individuals who, according to surveys observed by Lundin, are finding it tricky to efficiently do their job from home during the pandemic due to lack of proper workspaces.

ARC Club co-working office in Homerton, London designed by Caro Lundin

Its “starkly beautiful” interiors have been decked out with a selection of low-cost and durable materials that Lundin felt reflected a climate where co-working is “a necessity and not a nice-to-have”.

Designing a more modest space also meant that membership would be cheaper for those interested in working at ARC Club according to the architect.

“Intricate details and indoor gardens are fun, but they come with a big price tag – and they’re a lot harder to keep clean,” said Lundin, who founded ARC Club alongside Hannah Philp.

ARC Club co-working office in Homerton, London designed by Caro Lundin

“When designing ARC Club, I asked myself ‘what do people need to work?’ A comfortable seat, natural light, thoughtful acoustics; the physical and emotional space in which to think,” she told Dezeen.

“Functional doesn’t have to be boring, it’s a neutral space that enables the people who visit it to be their best professional selves.”

ARC Club co-working office in Homerton, London designed by Caro Lundin

At the centre of ARC Club, which measures just over 232 square metres, are a pair of boxy, sound-proofed pods crafted from birch plywood.

Inside, they accommodate a handful of private meeting rooms, storage cupboards, printers and a kitchenette complete with silver-metal cabinetry.

Lundin chose to house these services inside a pod-style system so that it can be scaled up or down to suit different-sized branches of ARC Club that open in the future.

ARC Club co-working office in Homerton, London designed by Caro Lundin

The pods are surrounded by various work areas. A few of the furnishings, like the birch-ply tables with the arched legs, were made by Lundin’s studio while some of the chairs were sourced second hand.

Pops of colour have been introduced to brighten up the space. Heavy orange curtains are used as room dividers, blue cone-shaped pendant lights have been suspended from the ceiling and bands of yellow paint have been made on the concrete structural columns.

Yellow tiles also clad surfaces in the bathrooms.

ARC Club co-working office in Homerton, London designed by Caro Lundin

Further branches of ARC Club co-working spaces are planned to open in 2021.

Like the Homerton location, they will occupy vacant high-street commercial units in popular residential areas so that members can do what Lundin has monikered “WNH” – work near home.

ARC Club co-working office in Homerton, London designed by Caro Lundin

“A neighbourhood workplace like ARC Club allows people to retain the best of what the office has to offer – full functionality, work-life separation and human interaction – without having to get on a bus or a train,” Lundin explained.

“In essence, it’s an accessible flexible option for a new breed of remote worker who has grown used to scheduling their work around their day, instead of the other way.”

ARC Club co-working office in Homerton, London designed by Caro Lundin

The global coronavirus crisis has forced many to re-think offices and the way in which we work.

Interior designer Sevil Peach predicts that, post-pandemic, companies will scrap working in corporate towers and instead opt to have central “hubs” where just a small per cent of staff will gather.

Architecture practice Weston Williamson + Partners also released a series of graphics that illustrated how businesses could create socially-distanced offices. Tips included wrapping screens around desks, having touch-free doors and employing a cook so that employees don’t have to use a shared kitchen.

Photography is by Andrew Meredith.

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Cobra Studios' first furniture series takes cues from classical Roman architecture

Cobra Studios launches inaugural Solids furniture series made from resin

Brussels-based Cobra Studios has launched its first furniture collection called Solids, featuring a series of geometric tables with chunky legs made from glossy resin.

The Solids collection by Cobra Studios is made up of three tables and a standing lamp that are each named after significant buildings and figures in the Greco-Roman world.

These include Santa Maria dei Clarici, a coffee table named after a church in Rome, Cicero, a dining table that takes its name from Roman statesman and academic Marcus Tullius Cicero, and Priape, a side table named after a god from Greek mythology.

Cobra Studios launches inaugural Solids furniture series made from resin

Also included in the inaugural collection is a floor lamp named after Roman emperor Otho.

The light features a cylindrical, glass shade attached to a thin steel body that is supported by three splayed legs, which offers a visual contrast to the thick, columnar forms of the tables.

Cobra Studios launches inaugural Solids furniture series made from resin

The lampshade boasts a deep emerald hue, casting a fluorescent green glow that grants “an eighties feeling”, and each of the tables are punctuated with legs in similar shades of turquoise, yellow and green.

The table legs each take a different, playful shape, including spheres, zigzags and cylinders, as a modern take on the solid columns found in classical Roman architecture.

Made from epoxy resin, the legs pierce through the soft-white tabletops, which were designed to evoke “a sense of comfort”.

Cobra Studios launches inaugural Solids furniture series made from resin

“Contradiction is key: hard shapes need to collide with soft touches,” said Cobra Studios.

“Each piece is designed to be conceived as a sculptural entity within its environment,” the studio continued. “The supporting elements are so present, that they pierce through the table tops, marking the presence of what lays underneath.”

“Their presence organises the tables. The top that used to be an element of priority, becomes merely a connecting piece. This ancillary function is emphasised by the matt, chalk finish.”

Cobra Studios launches inaugural Solids furniture series made from resin

Based in Brussels, Cobra Studios was recently founded by architect Kenny Decommer and designer Hugues Delaunay.

Decommer and Delaunay are not the only designers to create geometric forms from resin. Canadian designer Martha Sturdy made a series of stools, wall decorations, a table and stackable shelves from the material, coloured in bold, primary hues.

Other creatives have paired resin with more unconventional materials, like Korean designer Oh Geon, who used mixed resin with leftover sawdust from a woodworking studio to create a blocky stool.

Photography is by Jeroen Verrecht.

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Shortlist announced for WaterAid art prize

WaterAid Art of Change prize
Cindy Salim

While handwashing has become an integral part of the public’s precautions in response to Covid-19, three billion people around the world still don’t have access to handwashing facilities at home.

As part of a campaign to encourage world leaders to increase their investment in water and hygiene, artists have been invited to interpret these issues in a creative way for WaterAid’s Art of Change competition.

WaterAid Art of Change prize

WaterAid Art of Change prize
WaterAid Art of Change prize

Out of the 285 entries from around the world, the designs have been narrowed down into a shortlist of 12, as chosen by artist Grayson Perry, illustrator Jean Jullien, photographer and artist Aida Muluneh, and actor and art collector Russell Tovey.

The shortlisted artists took the theme in various directions, ranging from more literal interpretations highlighting the importance of clean water, to ideas of community and togetherness. The final winner will be decided by a public vote that closes on October 10.

Irina Bogdan
WaterAid Art of Change prize
Holly Thomas
WaterAid Art of Change prize
Mulenga J Mulenga
Carlos Chaverra Perez
Nikki Miles

Vote for your favourite at art.wateraid.org

The post Shortlist announced for WaterAid art prize appeared first on Creative Review.

At the epicentre of the Covid-19 pandemic in New York

Photographer Philip Montgomery was at the forefront of documenting the coronavirus crisis in New York. He reflects on the experience here, in a conversation with Gem Fletcher

The post At the epicentre of the Covid-19 pandemic in New York appeared first on Creative Review.

What Would I Change: George Gottl

The co-founder and CCO of Uxus highlights the ways in which retail brands need to consider how the pandemic has impacted their consumers and what they can do to engage with them

The post What Would I Change: George Gottl appeared first on Creative Review.

Someone built the most realistic lightsaber, and you can buy one for $199

The most fun part of my job is getting to cover designs and products that really grab my attention. The sad reality is that a lot of these designs are either concepts or too expensive for my broke-ass to afford. It also gives me great pleasure to announce that the STARGLOW is neither.

Designed to be perhaps the most realistic working prototype of a lightsaber from Star Wars, the STARGLOW is best described as a vertical flamethrower. Just like the sabers from the hit sci-fi franchise, the STARGLOW comes as just a handle, featuring a button that turns its blade on. Press the button and a fiery beam emits from one end in either blue or green hues. Just the video above should show you how remarkably close the STARGLOW comes to being the real deal!

Before we go further into this article, it’s also a part of my job to tell you that the STARGLOW is literally a flamethrower. That beam coming out of the handle (or the hilt, in swordsman parlance) is a vertically guided inferno, and while in the real Star Wars, lightsabers could hit objects and collide with each other, the STARGLOW’s blade can’t really recreate that experience, because fire, in fact, isn’t solid. That being said, the STARGLOW can inflict some serious damage, so it’s best kept out of the hands of children.

The STARGLOW sabers come with a choice between blue and green flames – colors used by the Jedi, sort of also hinting at the fact that this device should be used for recreation and for good, not as a weapon. The hilts are styled to look very similar to the steampunk metal handles found in the Star Wars franchise, and come machined from high-strength aircraft aluminum, with two visual options – a polished metal finish, and an anodized gloss black finish.

You’re probably wondering how this magical cosplay replica works. It’s all in the way the STARGLOW deploys its fuel. The saber’s proprietary nozzle injects lighter-fuel under pressure, causing it to travel in a vertical stream that’s 1mm thin. A coil right near the nozzle lights the fuel up, and a unique spiral path for the lighter fuel helps the fire flare up, to create that perfect light-beam flare-up. The length of the ‘plasma’ blade varies between 2.5 and 3 feet, and additives in the methanol fuel help it burn either blue or green. Every STARGLOW kit comes with two 0.1 gallon bottles of liquid fuel. A single bottle is enough for 8 refuels or approximately 20 minutes of uninterrupted burning.

The STARGLOW sabers even come with their own bespoke metal-and-wood stands that allow you to display the handle in all its pop-culture glory… although there’s nothing more deeply satisfying than looking at the faces of people as you press the trigger button and have that beautiful plasma blade ignite and come to life!

The Boring Company’s commercially available flamethrower finally has a VERY worthy competitor.

Designer: Michael Paly

Click Here to Buy Now: $219 $359 (38% 0ff). Hurry, only 20 available exclusively for our YD readers!

STARGLOW – The Most Realistic Lightsaber

STARGLOW is not just a toy. It is a device that can realistically reproduce the energy blade with the laminar flame flow. In its essence, fire can create the “power blade” in the sword of a Jedi like anything else. Activating STARGLOW puts streaming fire energy in your hands. It can ignite things, leaving a particular trail in its wake.

STARGLOW Design

The body of the STARGLOW saber is molded in high-strength aircraft aluminum, processed on high-precision equipment to ensure its complicated shape. The hilt is ergonomic and easy to hold either in one hand or both. STARGLOW can be manufactured in two options: polished aluminum (White) and anode aluminum (Dark).

How it Works

The STARGLOW blade is achieved by a directed current of flaming liquid. The fuel creates a trail of fire in the air as it comes out of the sword, burning out instantly.

The main accomplishment of the STARGLOW creators is its unique nozzle. It injects fuel under pressure, forming an intimately thin (around 1 mm) jet. The fuel passes through a special spiral causing it to flare up thus forming the blade of the light sword. STARGLOW can produce a fire sword up to 2.5 feet long with uninterrupted burning time up to 3 minutes.

Flame STARGLOW

Each STARGLOW kit is shipped with fuel. The fuel is methanol-based and includes special components that tint the sword blade to be either blue or green. Each color mesmerizing in its own way.

The blue blade is mysterious and produces deep semitones.

The green blade gives a saturated green color and lights up the area nearby as well as the blade.

Sword Control

STARGLOW is activated with a control button. The sword functions in a semi-automatic mode, independently estimating the spiral temperature and the liquid pressure.

The delay of fuel supply during the first combustion lasts around 2 seconds. This is necessary for the spiral to heat up to the required temperature. Further combustion is instant. With no activation after 10 seconds, the spiral switches to the waiting mode.

Sword Stand

The STARGLOW stand is manufactured from polished aluminum and solid wood. These two elements perfectly match the materials of the sword properly.

Carrying Case

Click Here to Buy Now: $219 $359 (38% 0ff). Hurry, only 20 available exclusively for our YD readers!

Annabelle Tugby Architects transforms old workshop into its own rustic studio

Annabelle Tugby Architects self-designed studio

Annabelle Tugby Architects has created its own design studio by renovating and extending a semi-derelict joinery workshop in a cow field in Cheshire, UK.

Located in the village of Styal, the self-designed studio was built as Annabelle Tugby Architects outgrew its previous office and required a larger space into which it could expand.

Rather than building from scratch, the studio adopted a more eco-friendly approach of refurbishing an old rustic building with “character and texture” and adding a small timber frame extension.

Annabelle Tugby Architects self-designed studio

“The previous office was just down the road but as the size of the practice increased we sought a beautiful old building nearby to renovate and grow into,” explained Tom Overbury of Annabelle Tugby Architects.

“We were keen to work with a building which had character and texture. We are also very conscious of the need to adapt and reuse buildings wherever possible rather than simply demolishing them,” he told Dezeen.

“The setting of the new building, surrounded by a field of beautiful longhorn cows and calves makes it a beautiful place to work year-round.”

Annabelle Tugby Architects self-designed studio

Now complete, the original gabled building serves as the studio’s main drawing space, chosen for its spacious interior with a high ceiling.

The office’s ancillary spaces, such as the kitchen, meeting room and toilet, are therefore contained within the new timber extension that is single-storey and flat-roofed.

“The decision was made quite early on to leave the main drawing space as a whole volume and have a single storey extension adjacent to it,” explained Overbury. “It felt worthwhile to preserve this volume.”

Annabelle Tugby Architects self-designed studio

Externally, the workshop’s original white render finish has been updated and overclad with white-washed bricks, while the extension is finished in contrasting large, black timber panels.

These materials were chosen to pay homage to local vernacular, but to also visually exaggerate the differences in scale and form of the two buildings.

Annabelle Tugby Architects self-designed studio

“As a village Styal has a selection of beautiful historic black and white properties, generally black timber and white painted brick or render,” explained Overbury.

“From the outset we sought to respect this context with whitewashed brick to the main workshop space and larger format black timber cladding chosen to complement this on the single-storey extension.”

Annabelle Tugby Architects self-designed studio

Inside the main studio space, the existing timber doors on the front elevation of the workshop have been restored and refitted for use as the studio’s model display area.

To maximise natural light, a full-length skylight has been added to the ridge of the roof while glazing to the rear opens out and frames views of the surrounding field.

The interior finishes are designed for warmth and tactility, dominated by natural lime plaster and lime-ash wood boards.

Furniture and cabinetry throughout was also made from wood, designed by the studio and crafted by a local steel fabricator and joiner. This includes a joiner’s bench in the meeting room that nods to the building’s former use.

Annabelle Tugby Architects self-designed studio

“The interior finishes were chosen with a view to creating a warm and sensitive place to spend a day working,” explained Orbury.

“We sought to avoid soulless plasterboard altogether and used natural lime plaster and limed ash veneered boards.”

Annabelle Tugby Architects self-designed studio

Annabelle Tugby Architects’ studio is complete with an air source heat pump, which is the office’s sole heat source and was chosen as a sustainable alternative to a traditional combination boiler.

Other rural, self-designed studios on Dezeen include David Guambo’s stilted workspace in Ecuador that has a straw roof and John-Paul Philippe’s refurbished barn in Connecticut that doubles as his home.

Photography is by Annabelle Tugby Architects.

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A portable DVD player+display designed to make binge watching easy for the elderly

The digital age was already booming but ever since the pandemic hit, it has reached a whole new level. Now everything has to be done digitally – working, ordering groceries, attending weddings, and even your doctor’s appointments. While most of us are well-versed with using apps for everything, we often forget about the elderly who don’t consider their smartphones as an extension of their body. This is a difficult time for them since they are more at risk but doubly difficult because gadgets are not their best friends. Keeping this in mind, Designer Chen Zhigang (ZJ-DDG) created DVDISC which is a conceptual device aimed at letting folks binge watch without Netflix!

DVDISC is for many of us who still have their old DVD/CD collection but mainly for those who just want to watch a movie without operating a laptop or an app they are not comfortable with. The goal of this design is to make using the device a super simple task, so the UI and UX revolve around that. It has simple physical buttons that are shallow dips in the physical surface and are all labeled which makes it very easy to operate. It literally tells you where to put the DVD or CD and if you need to ‘click’ or ‘press’ a certain button and exactly what it will do. Another important thing was to include a cost-effective display that doesn’t reduce the quality of the image. All you have to do is insert the DVD or CD in the slot and flip it over to watch on the screen. It truly makes watching content easier for the elderly or even those who may experience forms of mental disabilities. After all, everyone deserves a good binge-watching session in quarantine! I would call this a smart design instead of a smart device.

Designer: Chen Zhigang (ZJ-DDG)

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