This detailed rattan room divider fuses traditional crafts with modern furniture design

This double-sided rattan room divider is the designer’s interpretation of unity – between the harmonious lines and the color palette ranging from warm to cool tones.

Rattan is a locally sourced material – one in fact we have seen our grandparents use in their day-to-day life with ease, and we have disregarded it in our modern adaptation of plastics. Truly, I often feel, sustainable design has roots in our past; if only we can find the discipline to research, revise and adapt these practices on an everyday basis. Rattan is the material derived from dried vines that is weaved into a usable pattern we call wicker – next time you lounge on those IKEA outdoor wicker chairs, be the one to identify these differences!

The divider here, named Bilid, uses 2 contrasting lines designs – straight and wavy to depict 2 opposite reactions. The straight lines create a harmonious texture to evoke peace, whereas the wavy lines reflect the conflict one might see over the contrasting/undulating waveform. Each divider is held in place with an undyed beige rattan design, allowing the colors to do the talking.

Speaking of the lines, the designer explains, “the vertical line implies orderly and strong structure, strength, higher, rigid while conveying a lack of movement. I used it to refer to an ideal orderly place, peace, decency, and harmony.” On the other hand, the wavy lines depict,” the serpentine Line implies energy, sense of movement and dynamism from social conflict, conflict movement and inequality that inspired from domestic society.”

Using rattan, a locally sourced material, the designer emphasizes the story of different perspectives, portraying how the dissimilarities could co-exist through the materials, colors, and two opposite variances. Different rattan patterns express meaning through the material and colors to create a colorful emotion and represent a new mood of rattan furniture with tinted/pastel color combinations—the two blends to provide a contrast of “warm & cool” tones.

The overall theme of Unity is inspired and represented with these 2 different patterns of rattan.  The rattan pattern on one side is smooth conveys calm and peaceful in the same way to create a calming emotion for space. In contrast, the other side uses wavy weave rattan to reflect on the conflict to create a movement emotion to the home space.

Each line of this divider is designed with care, giving you a sense of focus and calm, the same way the designer must have invested himself while designing this metaphorical representation of life as we know it – full of ups and downs, warm and cools but presenting a harmonious front when we look back from the perspective provided by the passage of time.

Designer: Sarunphon Boonto

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Stemmer Rodrigues creates Anada House for yoga teacher in Brazil

Anada House by Stemmer Rodrigues

A leafy tree rises up through a circular opening in this Brazilian residence and yoga studio, which was designed by the architectural office of Stemmer Rodrigues.

The 350-square-metre home is located near Guaíba Lake in Eldorado do Sul, a town in the southern state of Rio Grande do Sul.

The project’s name, Anada House, stems from a term commonly used in Hinduism to refer to “supreme bliss.”

Anada House by Stemmer Rodrigues
Anada House acts as a residence and a yoga studio

“The choice directly refers to the owner’s wish of transforming her house into a bright space to live in and to receive students for yoga and meditation classes,” said Stemmer Rodrigues, which is based in the nearby city of Porto Alegre.

Situated on a rectangular, 600-square-metre plot, the house rises two levels. Exterior walls consist of concrete, glass and wood.

Anada House has a curved walkway supported by columns
A circular opening in its roof canopy allows a tree to grow through

On the front elevation, a curved walkway passes under a concrete canopy supported by angled columns, which are meant to resemble tree trunks. An elliptical, six-metre-wide cutout in the canopy accommodates a pau ferro tree.

Atop the canopy is a terrace that adjoins a slatted wall made of cumaru wood. One level higher, on the roof, is a cistern for rainwater collection.

Within the dwelling, there is a clear distinction between public and private areas.

The ground floor holds a yoga studio, kitchen, dining area and living room. On the upper level, one finds three bedrooms.

The yoga studio has wooden flooring
Light diffuses through frosted glass in the yoga studio

The interior offers a fluid layout and finishes such as exposed concrete and wooden flooring. In the yoga studio, diffused light enters through a curved wall made of frosted glass.

At the rear of the ground level, glazed doors open onto a marble terrace, where the homeowner can receive friends and family.

Anada House by Stemmer Rodrigues in Brazil
A marble terrace provides space for entertaining

Other projects in Rio Grande do Sul include a white concrete residence by Rafael Lorentz that stands on a hilltop, and a home by Hype Studio that has a glass-bottom pool and a garage for antique cars.

The photography is by Lucas Franck/NMLSS.

The post Stemmer Rodrigues creates Anada House for yoga teacher in Brazil appeared first on Dezeen.

This ergonomic flatpack laptop stand transforming your setup into a standing desk is a 2021 must-have!

The RLDH Alto Standing Desk is a thoughtful flat-pack accessory designed keeping in mind your multiple needs if you can’t invest in a height-adjustable desk.

Sitting all day can take a toll on the health, and over time it can create serious health hazards – the line sitting is the new smoking delivers the graveness of it. However, according to research standing for at least 30 minutes per hour has profound benefits, and that’s the reason standing and height-adjustable desks are trending these days.

Yet another perk of a standing desk is increasing focus, kickstarting the creative process, and heightened productivity. The RLDH Alto Standing Desk is a thoughtful flat-pack accessory designed keeping in mind your multiple needs if you can’t invest in a height-adjustable desk. It is simple to carry and disassemble, with the option to adjust the height of your keyboard and mouse tray, giving it the flexibility of use with your laptop. Yes, this stylish yet functional standing desk is tailored for use with your laptop – virtually transforming your table into a standing desk when the need arises. Its flat-pack and lightweight (weighing just 6.5 lbs) nature give you the freedom to tuck it away when not needed or even to take it along during travel for remote work regimes.

The accessory is made from eco-friendly materials such as Baltic birch, and the manufacturer plants a tree for every one of these stands sold. It is available in the dark Walnut or Natural Baltic birch finish. To further narrow down on the ergonomic comfort and optimal stance, Alto Standing Desk comes in five different size options, plus it has space to dock your smartphone too.

The desk fits a laptop measuring 13-inches or larger, making it a versatile accessory for anyone in your home. There’s just one thing that I wanted this ergonomic laptop stand to have – the ability to have height-adjustable function for the laptop section just like the Standsome standing desk. In the meantime, this is a great tool to switch up your sitting/standing habits and get you started on improving your lifestyle.

Designer: RLDH

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Kingston University spotlights 10 design and illustration student projects

Student projects from Kingston University

A desk that is designed to hang in a wardrobe when stored and garments tackling archetypal male stereotypes feature in our latest school show by students at Kingston University’s School of Art.

Also included is a health service design for the London Borough of Barking and Dagenham encouraging outdoor activities, and illustrations promoting sustainability.

Kingston University

School: The Design School, Kingston School of Art, Kingston University
Courses: BA Product and Furniture Design, BA Interior Design, BA Fashion, BA Graphic Design, BA Illustration Animation
Tutors: Phil Davies, Greg Epps, Marcus Leis Allion, Paddy Molloy and David Frizzell

School statement:

“The Design School at Kingston School of Art is comprised of four departments: 3D Design, Fashion, Graphic Design, Illustration Animation. BA Product and Furniture Design and BA Interior Design are in the Department of 3D. The content and structure of courses is inspired by engagement with commercial and community partners and informed by material and manufacturing collaborations and academic research. The courses deliver an environment for experiential learning – both digitally and in tangible use of materials. Students work with live clients in demanding real-world contexts.

“Kingston School of Art’s BA Fashion graduates are highly employable, with many working for some of the most famous fashion houses in the world. We encourage exploratory and experimental thinking, collaborative working, and seeking early acclaim and recognition outside the university. BA Graphic Design, a longstanding and respected course, has seen 90 per cent of its graduates go on to work in the creative industries in the last three years.

“The Illustration Animation BA(Hons) at Kingston combines narrative and time-based subjects to give the undergraduate complete creative freedom to engage in visual thinking, expression and communication. Illustration has expanded from the traditional printed page to explore many forms of visual media. We support learning through making, and every student is given free access to all workshops. This enables them to test and prototype using any process from etching to ceramics to arc welding to laser cutting and 3D printing or large scale textile printing. “

Terracooler by Ellie Perry at Kingston University

Terracooler by Ellie Perry

“10 per cent of household energy is used by domestic fridges. The UK produces 14 million tonnes of food waste each year. Why are we wasting electricity on food that we then waste?

“A modern take on the Zeer pot, an ancient method of cooling that dates back to 3000 BC. Using the natural properties of terracotta, all you have to do to keep your food cool is water it.

“The pots are slip cast with a double-wall, allowing the user to pour water through the spouts into the body. The porosity of the terracotta absorbs the water, cooling the food as it evaporates. Terracooler not only reduces energy consumption but raises awareness of food storage to prevent food waste.”

Student: Ellie Perry
Course: BA Product & Furniture Design
Tutors: Phil Davies and Jon Harrison
Email: ellieperrydesign[at]

Product and furniture design by Charlotte McGowan

Two projects tackling the unnecessarily complex nature of furniture assembly by Charlotte McGowan

“Set Tee is a modular lounge system design for both domestic and contract markets. The delivery and packaging are minimal, with the backrest component stored within the seat for transportation. Four bolts and a wrench are needed to assemble. Laminated Aero Ply-formed structure with foam and woven fabric upholstery.

“It is a three-part piece, a temporary workstation/desk designed to hang in a wardrobe when stored. The legs slide on, removing the need for fasteners. It is designed for domestic markets and has a lightweight honeycomb surface with hardwood lipping, tubular steel legs.”

Student: Charlotte McGowan
Course: BA Product and Furniture Design
Tutors: Phil Davies and Jon Harrison
Email: charmcgowan.designs[at]

Multihall by Clara Janka at Kingston University

Multihall by Clara Janka

“The Multihall is a building for the public that raises the discussion on how town centres can be revitalised. It asks questions on how we can adapt our lifestyle to be more sustainable in our behaviour.

“The project transforms a dark and airless residual space below a well-known department store into a porous and productive urban landscape. The processing of waste into resources becomes a civic event that wraps around a central workshop that becomes a venue at night.

“A sequence of interiors redirects a town back towards its river, creating the opportunity for consumers to become ethical producers.”

Student: Clara Janka
Course: BA Interior Design
Tutor: Greg Epps
Email: clara.janka[at]

Levi's Tailor Shop by Hannah Gould at Kingston University

Levi’s Tailor Shop by Hannah Gould

“This body of work is inspired by apparel denim brand Levi’s and their current retail feature, the Levi’s Tailor Shop. Located at the Tea Building in Shoreditch, this major project embodies the tailor shop. It architecturally integrates the extension of product longevity through reconstructing denim for use in a physical retail space with a denim factory.

“This factory swaps traditional production processes with more sustainable methods. It utilises local food waste for fabric fibres to create an exclusive clothing line for Shoreditch customers. Visitors witness the construction of the garments sold in front of them as they circulate the store.”

Student: Hannah Gould
Course: BA Interior Design
Tutor: Greg Epps
Email: hlgould[at]

A joint Graphic Design project

Sow by Chloe Hulse, Lydia Millar, Morwenna Morgan

“Sow is a health service design for Barking and Dagenham, a borough with the highest childhood obesity rate and a lower life expectancy than the London average.

“Harnessing the huge health benefits of the great outdoors, our service includes an app or alternative non-tech user journey, through which users can access outdoor community activities, including newly proposed schemes like intergenerational gardens.

“With community and inclusivity at its core, Sow’s branding includes illustrations co-designed with the community and a custom display typeface inspired by the shapes of plants. It provides preventative and curative interventions for the long-term health of the entire community.”

Students: Chloe Hulse, Lydia Millar and Morwenna Morgan
Course: BA Graphic Design
Tutor: Marcus Leis Allion
Emails: chloehulse[at], lydia-millar[at] and morwennagmorgan[at]

Falcate by Jack Rawlings

Falcate by Jack Rawlings

“Falcate is a sleek and modern display typeface and educational publication produced for the ISTD brief Biophilia. Falcate was produced using the Moon’s crescent phase as inspiration, celebrating the human connection we have to the natural world.

“Presented as a specimen book, this project includes utilisation and showcasing of Falcate as a typeface, an accompanying range of republished and typeset informative articles by the Institute of Physics, and clearly defined visual language in the means of processed imagery and content treatment carried throughout.”

Student: Jack Rawlings
Course: BA Graphic Design
Tutor: Marcus Leis Allion
Email: jackrawlings01[at]

Fragile Masculinity, a fashion project by Edie Owens

Fragile Masculinity by Edie Owens

“Fragile Masculinity; Handle With Care is an exploration of masculine identity, focussing on the inhibition of self-expression within male-dominated environments due to societal pressures and expectations of men to assume the role of the archetypal man.

Handle With Care observes the effects and limitations of hegemonic masculinity stemming from a fascination with blokes. Using workwear influences juxtaposed with sensitive fabrications and symbolism, HWC aims to encourage conversations surrounding masculinity and class.

“Hoping to allow men who embody masculinity through their work to break away from conventional and often constrictive expectations surrounding what it means to be a ‘man.’

Student: Edie Owens
Course: BA Fashion
Tutor: David Frizzell
Email: studio[at]

BA Fashion by Ana Maria Atanaskovic

This collection aims to bring valuable knowledge from tradition into the contemporary mainstream by Ana Maria Atanaskovic

“This collection aims to bring valuable knowledge from tradition into the contemporary mainstream. How were previous generations able to create such long-lasting and powerful things with so many fewer resources?

“While studying historical Serbian garments, I concluded that well-thought-out purposes and multi-functionality were the key.

“Influenced by historical and cultural references, my collection introduces traditional dress to modern elements. Made up of layers that work together and fabrics carefully chosen to give a refined, feminine look to the unisex silhouette, my designs were adapted to become functional, ready for action and movement.”

Student: Ana Maria Atanaskovic
Course: BA Fashion
Tutor: David Frizzell
Email: atanaskovicanamaria[at]

An illustration project from a student at Kingston University

Red Louise by Louise (Ju-Yi Hung)

“Red Louise (Ju-Yi, Hung) is an interdisciplinary illustrator based in London and Taiwan. Studying and keeping caterpillars from a young age developed her fascination with ecology. One of her practices lies in transforming scientific information of living organisms and their environment into illustration.

“She hopes that her publications can encourage readers to become more curious about ecology and immerse themselves whilst bringing others closer to nature.

“Her research is about the investigation of environmental education to post-modern world art education, particularly in printmaking. Raising social awareness of sustainability in printmaking through visual communication will always be her mission.”

Student: Louise (Ju-Yi Hung)
Course: BA Illustration Animation
Tutor: Paddy Molloy
Email: louise8707ge[at]

Norwegian Wood by Laina Deene from Kingston University

Norwegian Wood by Laina Deene

“Laina Deene is an illustrator and animator based in Brighton, particularly interested in creating pieces that draw from literature, memory, and the natural world. Her main inspiration comes from reading, exploring, and observing.

“Laina likes to use organic mediums that allow room for mistakes and unpredictable marks both on paper and in 3D. Currently, Laina is working with digital mediums to try and create ways that can retain the naivety that is apparent in handheld materials within the screen.”

Student: Laina Deene
Course: BA Illustration Animation
Tutor: Paddy Molloy
Email: hellolainadeene[at]

Partnership content

This school show is a partnership between Dezeen and Kingston University. Find out more about Dezeen partnership content here.

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Link About It: This Week’s Picks

Mapping the universe, making tiles from discarded eggshells, learning from squids and more

“DESI” Will Attempt to Create The Most Detailed 3D Map of the Universe

As part of an ambitious new survey of the cosmos, the Dark Energy Spectroscopic Instrument (DESI) will analyze light collected by the ultra-powerful Mayall telescope at Kitt Peak National Observatory. “DESI will record not only a galaxy’s light but also its spectrum,” according to Smithsonian Magazine, “by measuring how much light a given object emits at particular wavelengths.” It intends to compile this information into the most detailed 3D map of the universe—incorporating up to 40 million galaxies—and use the data within to probe questions about dark energy and gravity at the largest scale. Read more about the “galaxy-grabbing” instrument and its stellar efforts at Smithsonian Magazine.

Image courtesy of DESI Collaboration

Artist Jillian Mayer’s “Life-Saving” Lake Sculpture at SECCA

Upon the lake outside of Winston-Salem, North Carolina’s Southeastern Center for Contemporary Art (SECCA), artist Jillian Mayer has positioned her largest sculpture to date—aptly named “LAKE SCULPTURE”—for her solo exhibition TIMESHARE. This clever multimedia exhibit reflects upon survivalist subcultures, as well as infrastructural and environmental collapse. The floating “LAKE SCULPTURE” references another of Mayer’s works also on view, “A Sculpture Can Be Used As A Flotation Device In Times of Emergency” (2018), which suggests alternative uses for artwork during times of crisis. Read more about the nuances of the show at SECCA‘s website.

Image courtesy of Jillian Mayer

The Vital Role of Longfin Squids’ Giant Nerve Fibers to Neuroscience

In 2020, a group of scientists at Woods Hole Marine Biological Laboratory used the gene-editing tool CRISPR-Cas9 to disable a gene in the Doryteuthis squid (aka the longfin squid). This milestone comes after years of neuroscience developments derived from this particular underwater creature and its dual nerve fibers, called axons. Research on these axons has provided insight into everything from simple nerve signaling to the complexity of brains, but even more could be in store, including “improved therapies for neurological and genetic disorders in humans,” according to National Geographic. Read more about the extraordinary longfin squid and their unique nerve fibers there.

Image courtesy of Woods Hole Oceanographic Institute

Cities Continue to Hire Chief Resilience Officers to Address Climate Change

Amidst the myriad extreme weather events globally, city and county governments in the US continue to hire Chief Resilience Officers in an effort to address the effects of climate change. Once grant-funded (through efforts like the 100 Resilience Cities initiative from The Rockefeller Foundation, which ran from 2013-2019), these roles are now full-time government positions that help cities and local leaders to prepare for and adapt to disasters and extreme weather. The role requires communication between infrastructural branches, including water and food supplies, as well as energy systems. Read more about the aspects of the role and the pioneers behind it at Smart Cities Dive.

Image courtesy of Pete Linforth from Pixabay

Nature Squared’s Tiles Made from Eggshells

From ethical Swiss design studio Nature Squared’s new chief innovator, Elaine Yan Ling Ng, the CArrelé tile series is composed of organic white eggshells discarded in industrial kitchens and then collected by craftspeople on the Philippine island of Cebu (where the brand maintains a factory). The shells are cleaned, crushed, cured and then combined with natural dyes. They’re ultimately cut into beautiful design-forward tiles. Ultimately, it was Nature Squared’s intention to divert the eggshells from landfills, where their decomposition contributes to climate change. Read more at the material, and the brand at Fast Company.

Image courtesy of Nature Squared and Tracy Wong

Link About It is our filtered look at the web, shared daily in Link and on social media, and rounded up every Saturday morning. Hero image courtesy of Nature Squared and Tracy Wong

This sleek pour-over Coffee Brewer’s stainless steel design will enhance making coffee at home!

When evening rolls around and that itch for a cup of coffee comes, pour-overs are the perfect remedy. Designed to make coffee one cup at a time, pour-overs allow complete control over the brewing of your coffee right in the comfort of your kitchen. The coffee grounds fill about a quarter of the brew canister which are then poured over with hot water, giving you control over the flavor extraction and intensity.

Even the package makes the arrangement of X & Y’s components easy to understand. Introducing their take on the brewing system, Kurz Kurz Design unveiled their X & Y pour-over set, featuring a stainless steel gooseneck kettle and brewer coated in charcoal black and cobalt blue. Typically designed as a complete set, pour-over coffee makers are practical and chic additions to any kitchen counter. While we all want the trusted set our barista uses, finding our own at-home pour-over set could bring us even closer to that perfect cup of coffee.

X&Y comes in both charcoal black and cobalt blue. Developed in stainless steel, the gooseneck kettle and filter stand come complete with added thermal insulation from a banded construction. On top of that, a strip of cobalt blue-dyed leather comes with the package specifically designed to wrap around the gooseneck kettle’s handle, doubly ensuring a safe pour.

Kurz Kurz Design balances geometric angles with round glassware. The coffee mugs are constructed from glass and feature stainless steel grips. If the cobalt blue color accents are too poppy for your kitchen counter, Kurz Kurz Design developed a sleek, all-black color option with a brown leather strap for a more minimal and homey look.

Without any need for electrical power, pour-overs are accessible and practical. Geometric shapes fill out the majority of X & Y’s components, with a square filter, stand resting atop a cylindrical glass tumbler. In contrast to the durable stainless steel kettle and filter, the rest of X & Y’s components are constructed from glass, including the coffee mugs and tumbler, so you can watch with bated breath as your coffee pours from the filter into your mug, taking you into the night.

Designer: Kurz Kurz Design

Not Architects Studio encloses terraces with metal mesh at Weather House

A house covered in metal mesh

Screens made from metal mesh wrap around two sides of this house in Tokyo, Japan.

Weather House was designed by Not Architects Studio for a corner site in Tokyo’s Shinagawa district.

A corner house in Tokyo
Not Architects has built a house in Tokyo wrapped by metal mesh

The plot is situated between a large park in front and a smaller park to the side, which are connected by a walkway that passes close by the property.

To create a sense of connection between the neighbouring green spaces, Not Architects Studio replaced external walls with open mesh and extended the pavement into the building.

“This path connects the house to the surrounding environment,” said architect Lisa Ono, “and makes it ambiguous to what extent it is a city and what extent it is a house.”

A house covered in metal mesh
It also features external stairs

The three-storey building’s floors are connected by external stairs with different widths and gradients.

The stairs wrap around the house’s two exposed edges, linking a series of outdoor living spaces distributed across the various levels.

A house with an external staircase
The steps connect various terraces and balconies

“The path connecting each space becomes a big path or a small path depending on the weather and the season,” Ono added.

“At times it becomes a hill where you can sit and look at the scenery, and at other times it becomes a park square where everyone can gather. Its usage continues to change with the environment.”

A plant-filled balcony
Climbing plants will eventually cover the metal mesh

The terraces and balconies are enclosed by chain-link wire mesh, which was chosen to reduce the physical disconnection between the house and its surroundings.

Climbing plants will eventually cover the metal mesh surfaces, forming a layer of vegetation that will echo the greenery of the nearby parks.

The two walls positioned away from the streets are made from reinforced concrete to create a protective barrier for more intimate spaces.

An internal staircase located next to the rear wall connects rooms including a bedroom on the ground floor and the kitchen and dining area on the first floor.

A kitchen with a terrace
The main living areas are lined with sliding doors

The main living areas are predominantly open plan and are lined with sliding glass doors that open onto the various terraces.

A bathroom slotted in alongside one of the concrete walls on the second floor adjoins a sheltered terrace overlooking the street.

A residential roof garden
A turfed rooftop garden overlooks the neighbourhood

The uppermost section of the external stair ascends to a turfed rooftop garden with views across the surrounding neighbourhood.

Japan is home to some of the most unusual houses featured on Dezeen. Elsewhere in Tokyo, Unemori Architects recently completed a small house composed of a stack of steel boxes and Nendo punctured a multigenerational house with a giant staircase.

Privacy is also a big concern in many Tokyo residences, leading to bunker-like structures such as architect Tanijiri Makoto’s concrete family home that features a sheltered terrace.

The photography is by Yasuhiro Takagi.

Project credits:

Architect: Not Architects
Design team: Tetsushi Tominaga, Lisa Ono, Aoi Nahata
Concept design: Lisa Ono
Consultant: Kinoshita structural engineers
Contractor: Marukou

The post Not Architects Studio encloses terraces with metal mesh at Weather House appeared first on Dezeen.

Ten homes with interiors designed to showcase art

For our next lookbook, we have selected 10 interiors from the Dezeen archive that have been designed to show off the owners’ art collections.

The homes were designed for art collectors, professionals and enthusiasts to showcase their art collections.

Each one has a distinct style, with some boasting minimal gallery-like interiors, while others champion a busy and eclectic look that echo the pieces on display.

This is the latest roundup in our Dezeen Lookbooks series that provide visual inspiration for designers and design enthusiasts. Previous lookbooks include verdant Japandi interiors, U-shaped kitchens and interiors that use biomaterials.

White loft space with skylights

Turners Studio, UK, by Rodić Davidson Architects

Rodić Davidson Architects transformed two artists’ studios in London into a family home that is filled with the client’s eclectic furniture and art collection.

The home pairs whitewashed brick walls with vast blank walls covered in art. A glass sloped roof allows light to filter into the open-plan living area creating a bright and airy space.

Find out more about Turners Studio ›

Double-height gallery in Windward House by Allison Brooks Architects

Windward House, UK, by Alison Brooks Architects

Alison Brooks Architects added an extension to a Georgian farmhouse to convert it into a double-height gallery space.

The client’s art collection is displayed on the walls of the extension and within numerous niches designed to hold specific pieces. A mini gallery displaying 100 small works is integrated into the home’s main staircase.

Find out more about Windward House ›

Roly Poly chair by Faye Toogood under art by Paul Rousso

Muskoka Cottage, Canada, by Ali Budd Interiors

Pure white walls were paired with stained wood floors and wood-lined ceilings at this log cabin designed by Ali Budd Interiors to serve as a backdrop for the client’s art collection.

Within the cabin, a matte black Roly Poly chair by designer Faye Toogood and an offwhite, yarn-wrapped footrest were placed beneath a large graphic piece by American contemporary artist Paul Rousso.

Find out more about Muskoka Cottage ›

John Wardle's home has an art-filled interior

Kew Residence, Australia, by John Wardle Architects

John Wardle renovated his own two-storey home in Australia, adding Victorian ash across its walls ceilings and floors.

The white painted and wood-clad walls serve as a neutral backdrop for his collection of Japanese sculptures, ceramics and colourful artworks.

Built-in shelving, cabinetry and surfaces provide subtle storage areas for the architect’s collections without distracting from the leafy views out to the surrounding landscape.

Find out more about Kew Residence ›

Double-height book shelf and display cabinet

Home for the Arts, the Netherlands, by i29

The resident’s art collection, which comprises around 100 pieces, is displayed throughout the two levels of this loft-style home designed by i29.

Double-height shelving, built using larch wood and grey HPL, conceals a staircase that leads to the mezzanine level while also housing books and small sculptures.

Grey resin was used across the floors of the home to provide a blank backdrop for the collection.

Find out more about Home for the Arts ›

Art-filled interior space in US home

Artery Residence, US, by Hufft

As its name suggests, the design of the Artery Residence was informed by the owner’s extensive art collection.

Vast wall spaces were created for displaying painting, photography and sculpture and a bespoke lighting and climate control system, similar to those used in gallery spaces, helps to preserve the pieces.

Find out more about Artery Residence ›

Cambridge Residence by Stern McCafferty Architects

Cambridge Residence, US, by Stern McCafferty Architects

This 20th-century country home in Massachusetts was renovated by Stern McCafferty Architects to better showcase the owner’s art.

White matte walls were fitted with large baseboards, tying the space to its country heritage, while the floors were clad with pale wood to similarly echo the interiors of galleries and museums.

Find out more about Cambridge Residence ›

Art-filled interior space in Italy

Casa Salvatori, Italy, by Elissa Ossino Studio

Built within a 200-year-old palazzo in Brera, Milan, this apartment designed by Elissa Ossino Studio was built for the head of Italian stone brand Salvatori.

The home features marble and stone furnishings, sculptures and artworks, which were placed on top of the home’s original rippled terrazzo floors. Its wood-lined ceiling was stained green, linking the permanent fixtures of the living space to its green-hued stone furnishings and artworks.

A woven wicker armchair by De Padova and a brown butterfly chair in the living space provide a soft contrast against the stone material palette.

Find out more about Casa Salvatori ›

Home with white interiors

Four Seasons Residence, US, by Magdalena Keck

Located in Tribeca in lower Manhattan, this two-bedroom home has a minimal, monochromatic look.

A pared-back material palette, high ceilings and large windows were designed to create a sophisticated gallery-like space to showcase art.

Herringbone floors, along with vintage, contemporary and custom-made furnishings, provide the space with a homely feel.

Find out more about Four Seasons Residence ›

Home with an art-filled interior

Residence for Two Collectors, US, by Wheeler Kearns Architects

This Chicago penthouse apartment was designed by Wheeler Kearns Architects for an art collector couple.

The open-plan space, which has walnut flooring running throughout, was designed to be a welcoming home, but it also functions as an event space.

Artworks from the resident’s collections, including a George Nakashima bench, Harry Bertoia sculptures and furniture by Paul Evans, were placed throughout the apartment.

Find out more about Residence for Two Collectors ›

This is the latest in our series of lookbooks providing curated visual inspiration from Dezeen’s image archive. For more inspiration see previous lookbooks showcasing U-shaped kitchenscalm living rooms and home working spaces.

The post Ten homes with interiors designed to showcase art appeared first on Dezeen.

Sleek Yacht Designs that are redefining luxury and providing inspiration to design lovers!

Though I’ve never been on a yacht, one thing is pretty clear – they’re cool as hell! These luxurious vessels are taking over water bodies, and are slowly becoming a preferred means to travel from one destination to another. How exciting would it be to explore beautiful locations in these exotic vehicles? And, we’ve curated a collection of the best yachts we’ve come across. From a conceptual swan-shaped yacht to a futuristic superyacht that doubles up as a floating seaport – this collection of automotive designs will leave you completely impressed, and itching to get aboard one!

Pierpaolo Lazzarini of Lazzarini Design Studio is known for his unique and extraordinary watercraft creations and this swan-shaped concept yacht called ‘Avanguardia’ tops the list. The name means ‘vanguard’ and it comes from the position of its control tower which is perched like a swan’s head. Can you guess which 1970’s Japanese manga unintentionally inspired this? Avanguardia is subdivided into 5 decks and can fit up to 60 passengers. The  ‘swan head’ is the control tower that is used to maneuver this 137-meter long, almost outrageous, yacht. Another interesting feature about the control tower is that it can detach from the ‘neck’ and transform itself into an auxiliary 16-meter boat. When in motion, the mobile control tower can adjust Avanguardia’s position by lowering itself right into the center of the yacht.

The Tecnomar pulls inspiration directly from the Lamborghini Sián FKP 37’s design details (the two even feature together in the video). Outwardly, it’s pretty easy to draw parallels between a car and yacht, simply because they both need to be incredibly aerodynamic and streamlined, but the Tecnomar manages to do so much more to look the part (apart from the angular bodywork, of course). Take for instance the Y-shaped headlights, a detail that’s directly taken from Lamborghini’s playbook (remember the Terzo Millennio), or the zig-zag stepping on the rear of the yacht that’s inspired by the rear profile of the Aventador.

The designer has created the blueprint of the 85-foot superyacht dubbed Drakkar S inspired by the ye olde Viking longships, which’s perfect for newbie sailors who would rather prefer the autonomous luxury of a vessel. To make self-propelling possible, Drakkar S is infused with advanced autopilot and artificial intelligence systems for smart navigation – detecting any underwater obstacles or even estimating the ideal distance for mooring. Even more so, it can be controlled with a smartphone app – that just sets the tone for a future Apple yacht in Silver or even the Space Grey colors.

Elegantly named ‘Saturnia’, this conceptual superyacht is designed to be made entirely with dry carbon fiber structures that will make it 50% lighter than similar-sized vessels and push the top speed up to 30 knots! Saturnia’s main body is subdivided into five floors with an additional area at the top for the antennas. The superyacht can be configured into different layouts to host 10-20 guests in suites along with 20 crew members while also serving as a floating seaport. The concept showcases an all-around walkable deck area with openings on both sides that lift up to reveal the private port which makes Saturnia stand out from the competition. Small tenders with up to 1.5 meters of the draft can moor inside the private port or be easily loaded while the yacht is navigating making it the perfect cruise vessel with the added expansion.

There are over 5,000 superyachts currently on this planet, however, none of them look as impactful as the Estrella. Designed by South Kore-based Yeojin Jung, Estrella hopes to break the mold of ‘boring’ practical superyacht design with something that’s a cross between feasible and outlandishly luxurious. Envisioned to look like the jewel of the seas, Estrella comes made for UHNWIs (or Ultra High Net Worth Individuals, as my sorry self just learned), and sports a split-hull design that divides the yacht into the main component, and two floater components on either side, reminiscent of a seaplane.

Isaac Burrough, a designer from New Zealand, has created a 110 meters long superyacht concept that uses current and future sustainable technologies to maximize the impact. Kiwa is named after the Māori guardian of the ocean which is a fitting name given that its goal is to help the planet through its energy-saving features and sleek design. ‘The intention for Kiwa was to design a superyacht that is both modern and elegant. Her sleek silhouette combined with curvaceous surfaces adds grace despite her exploration capabilities. A yacht that will look sophisticated whether cruising the Mediterranean or the arctic,” says the designer.

Designed to be 300 meters in length and capped with a 13-story-high ‘science sphere’ on top, the Earth 300 was conceptualized by naval architect Iván Salas Jefferson (founder of Iddes Yachts) as the torchbearer of global science, allowing us as a species “to expand our knowledge and understanding of the universe, both above and below the ocean’s surface.” It comes equipped with 22 state-of-the-art laboratories for research, a cantilevered observation deck, and has space for 160 scientists (along with dozens of other experts and student researchers), 164 crew members operating the vessel, and finally 40 additional slots for ‘VIP guests’. However, here’s the most impressive part of the Earth 300 vessel… it runs entirely on ‘clean’ nuclear energy.

The brainchild of Feadship CEO Henk de Vries and the company’s design head Tanno Weeda, the 207-feet (63 meters) Project 3073 was initially designed for a client with the desire for a sleek and sporty megayacht. The result is a seriously elegant all-aluminum sports yacht with sleek lines exuding speed and length. This conceptual yacht exhibits an extended deck, inspired by the long bonnet of the Jaguar E-Type, and features a full-sized glass-bottomed pool right above the owner’s stateroom. It adds to the ambiance and allows light to penetrate right through its floor into the room below. The allure is further enhanced by the open connection between the bridge deck wheelhouse and the main deck saloon – a visionary idea, Feadship believes should see the light of day.

Meet Indah, Malay for “beautiful”, conceived and patented by Florida-based designer Lukasz Opalinski of Opalinski Design House. The 120-meter megayacht concept features the biggest beach club ever thought. In addition to being spacious, this central attraction of the yacht extends into large deck space. This is made possible by the rotating transom bulkheads. This yacht, with the extending beach club, has a steel hull and aluminum superstructure. The wide terrace at sea level leads back to the beach club which also features a gym and sauna with tainted glass aft.

Inspired by the shape of a shark, the Prodigium is going to be a 153-meter long carbon fiber and aluminum constructed megayacht equipped with its own port. It will be fashioned to have sufficient space for an additional yacht up to 30 meters long. To be completed with three swimming pools, this shark-inspired vessel will feature Roman architecture-influenced exteriors; two stately columns holding up the upper structure which comprises six decks, and the main living area. This upper level is designed to mimic the jaw of a shark which is not surprising. The hull area below will house the suits, gym, and also an enclosed pool.

"Carbon washing is the new greenwashing"

Air Co vodka

The global push to reduce atmospheric carbon is being compromised by confusing terminology and misleading claims, argues Dezeen founder and editor-in-chief Marcus Fairs.

Carbon washing is the new greenwashing. Growing alarm about climate change has triggered a rise in the number of companies making questionable claims that they are addressing the issue.

Phrases such as “climate neutral”, “carbon negative”, “net-zero” and “offsetting” are casually bandied around, replacing terms such as “biodegradable”, “compostable”, “circular” and “ocean plastic”, which were the hot bullshit buzzwords a couple of years ago.

Today, many companies appear to have switched bandwagons, swapping their plastic angst for climate concern. The new carbon jargon is designed to give the impression that new buildings and products make no contribution to atmospheric carbon, or even help reduce it.

Companies are simply taking advantage of vague and often meaningless terminology

The claims rarely stand up to scrutiny. Most often, companies are simply taking advantage of vague and often meaningless terminology and, knowingly or unknowingly, misleading the public.

Last month Air Co, the brand that created “carbon-negative” vodka in 2019 (pictured above), launched “the world’s first and only carbon-negative hand sanitiser made from technology that actually reverses climate change by mimicking photosynthesis”.

The company claims to use carbon dioxide captured from the air to make the alcohol that is the base of its sanitiser. But, assuming the technology is for real, the product can only be carbon-negative if it remains in the bottle forever.

As soon as you use the sanitiser, you release the CO2 again. The same is true of the vodka: as soon as you drink it, you free the carbon.

Earlier this month, Associated Architects claimed its proposed Curzon Wharf project in Birmingham featured net-zero skyscrapers.

The firm later backtracked and claimed they would be net-zero in terms of operational carbon (carbon emitted during the building’s use), but not embodied carbon (emissions caused by the construction process and materials supply chain).

But this means the project is not net-zero at all, since net-zero covers the entire lifecycle of a building, including embodied carbon, which accounts for around half the average project’s carbon footprint.

More precise terminology is needed

These are just two examples of the many spurious claims that have landed in our inboxes recently.

More precise terminology is needed. The emerging carbontech sector, which Dezeen has covered extensively in its carbon revolution series, has settled on “net-zero” as the only game in town when it comes to decarbonising.

Although there is not (yet) an officially agreed definition of net-zero, it is widely understood to mean that there are no net contributions to atmospheric carbon across the entire lifecycle of a product, building or enterprise. For a building, that means both the embodied carbon and the operational carbon.

Offsetting often involves dubious transactions

All these emissions must add up to zero to count as net-zero. Since eliminating embodied carbon emissions is extremely hard, you are allowed to make up the difference via offsetting schemes that actively remove carbon from the atmosphere.

But “offsetting” is a widely abused term. It has become a get-out-of-jail card that can be played to make even the most polluting enterprise appear climate-friendly.

Offsetting often involves dubious transactions such as paying someone else to make fewer emissions than they would have otherwise, or getting someone to promise not to cut down a forest.

It also involves assuming that a forest used for offsets will never fall victim to a wildfire, although that is now happening with increasing regularity in the USA (this is one reason why many carbontech figures say that relying on tree-planting for carbon sequestration “doesn’t make sense”).

Google, which claims to have been carbon neutral since 2007 and to have eliminated its entire carbon legacy, achieves this by using offsets that, it claims, compensate for the company’s emissions. In fact, they do not.

The tech giant’s offsetting portfolio includes projects that capture methane from agriculture and landfill sites. This merely prevents more greenhouse gases entering the atmosphere, rather than undoing the emissions the company has already caused. However, since some of the captured methane is burned to produce energy, yet more CO2 is released into the atmosphere as part of the offsetting scheme.

The whole concept of carbon neutrality is a form of carbon washing

But Google’s strategy aligns with the international PAS 2060 standard for carbon neutrality. This allows companies to claim they are carbon-neutral if they use offsets or carbon credits even if those schemes do not actually negate the emissions they are supposed to be offsetting.

This means that the whole concept of carbon neutrality is a form of carbon washing.

Instead of “offsetting”, the carbontech crowd prefers the term “carbon removal”. This takes carbon dioxide out of the atmosphere via methods including soil sequestration and direct air capture. The CO2 is then stored permanently on earth (a process known as carbon capture and storage or CCS) or puts it to use in products such as building materials (carbon capture and utilisation or CCU).

But even this terminology is being abused by the oil and gas industry, which has come up with a wheeze called carbon capture, storage and utilisation (CCUS). This seemingly carbon-friendly buzzword is a smokescreen for enhanced oil recovery, which involves pumping CO2 into depleted oil reserves in order to squeeze out the last, hard-to-reach deposits of fossil fuels.

The fossil industry gets away with this partly because the terminology around carbon is hopelessly confusing (although our guide to carbon might help). In its lexicon, the UN’s Race to Zero initiative defines a bewildering range of seemingly overlapping terms including net-zero, absolute zero, climate positive and net negative (which mean the same thing), offsetting, insetting and more.

With the vital Cop26 climate conference fast approaching, the climate industry needs to get its act together and give people simpler guidelines to follow.

But confusing terminology is no excuse for inaction or carbon washing. The 2015 Paris Agreement sets out clear targets for the world: halve emissions by 2030 and become net-zero by 2050 in order to have a chance of keeping global warming within 1.5 degrees Celsius of pre-industrial levels.

This is something everyone has to do, including all the laggardly architects that have so far failed to sign up to Race to Zero or snubbed the RIBA’s climate initiative.

These firms, along with everyone else, could start by focusing on just two buzzwords if they want their climate stance to be taken seriously: strive for net-zero carbon and use carbon removal rather than offsetting to help you get there.

Marcus Fairs is founder and editor-in-chief of Dezeen.

Carbon revolution logo

Carbon revolution

This article is part of Dezeen’s carbon revolution series, which explores how this miracle material could be removed from the atmosphere and put to use on earth. Read all the content at:

The sky photograph used in the carbon revolution graphic is by Taylor van Riper via Unsplash.

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