Sports car brand Lamborghini and developer Dar Global have unveiled 53 villas that will overlook the Mediterranean near Marbella on the south coast of Spain.
Named Tierra Viva, the development will consist of 53 two-storey villas on a hillside in the town of Behanavís near Marbella.
Lamborghini has designed its first residential development in Europe
Announced as the car brand’s first residential project in Europe, the villas were designed to reflect the ethos of the sports car brand.
“[The] design is directly inspired by the brand’s supercars, with interiors enriched by sophisticated finishes inspired by the Lamborghini style,” said the brand.
Each of the villas will have multiple pools
Created by developer Dar Global, each of the villas, which will have either four, five and six bedrooms, will have two floors of accommodation placed above a basement or garage.
They will all have a pair of swimming pools with views of the Mediterranean, along with multiple terraces. The villas will have floor-to-ceiling glazing and be finished with marble floors.
“Like precious stones the 53 exclusive villas at Tierra Viva rise gently from the land,” said Dar Global.
“They are carefully constructed at different levels on the hills to ensure every villa enjoys endless panoramas of the Mediterranean Sea.”
All the villas will have views of the Mediterranean
The development is the latest in a succession of residential properties being created by luxury car brands.
“This partnership represents the merging of Lamborghini’s luxury supercar essence and Dar Global’s expertise in real estate,” said Lamborghini CEO Stephan Winkelmann.
“Tierra Viva embodies the essence and power of Lamborghini and its unrestricted nature, interpreted into an architectural masterpiece.”
They will have marble floors and floor-to-ceiling glazing
Following the conclusion of Dezeen’s reader competition to design the artwork for the AItopia series using text-to-image tools, here we publish the 10 shortlisted entries.
To help introduce AItopia, our new editorial series exploring the short-term and future implications of artificial intelligence (AI) for design and architecture, we asked readers to come up with visual branding using generative AI programs such as Midjourney.
We received nearly 100 entries to the competition from architects, designers and students around the world.
Entrants were asked to produce a simple, striking image that touched on the question of whether advances in machine learning mean the world is heading for a utopian future, or a dystopian one.
As part of the judging process, Dezeen’s editorial team selected a shortlist of 10 of the best submissions that demonstrated a variety of different approaches to the brief.
Selina Yau, British architect and designer, created using Midjourney (winner)
Selina Yau’s captivating, haunting and surreal vision of how AI will change the world came out as the judges’ favourite.
They agreed that its tonally ambiguous depiction of two hooded figures in a landscape that balances the natural world, the built environment and strange, unfamiliar objects accurately captured the competition brief.
“There is a tendency to veer towards a sci-fi futuristic aesthetic with a topic like AI but for me, the winning artwork by Selina Yau delivers a more intriguing vision of our future that could easily straddle the fine line between utopia and dystopia,” said Fraser.
Florian Gast, German architect, created using Midjourney
Basel-based German architect Florian Gast created an artwork that depicts office workers sorting avocados as a comment on generative AI’s potential to render service professionals obsolete.
The judges praised Gast’s humorous and innovative approach to the brief, as well as the striking visual effect of the piece.
Daniel Riopel, Canadian R&D technician, created using Midjourney
This entry portrays a glass-bound planet Earth embedded into the core of a motherboard but also apparently expanding through its dome – signifying the delicate and closely intertwined relationship between humanity and technology.
It was created by Daniel Riopel, a production research and development technician working on prefabricated homes in Ottowa.
Nathan Branch, British architectural assistant, created using Midjourney
Oxford Architects part one architectural assistant Nathan Branch produced a dystopian vision of a future that has become overrun by giant data cores housing AI servers as a result of humanity’s incessant pursuit of technological progress.
Branch was the only entrant who produced his supporting statement through AI chatbot ChatGPT.
Sally Hogarth, British designer, created using DALL-E
The only finalist that used DALL-E, this artwork by British designer Sally Hogarth also toys with AI’s difficulties in accurately depicting hands.
Reminiscent of Michelangelo’s painting The Creation of Adam, it depicts a robot hand and a human hand tenderly exchanging a shrunken planet Earth.
Mario Santaniello and Athina Athiana, Venezuelan urban designer and Greek architect, created using Midjourney
Drawing on the drawings of 18th-century Italian artists Giovanni Battista Piranesi and Canaletto, this piece visualises the gravity-defying structures of a digital city in the metaverse.
It was produced as a comment on the wide-ranging potential of AI in architecture and design by Venezuelan urban designer Mario Santaniello and Greek architect Athina Athiana.
Gabriela Piasta Tworek, Polish architect, created using Midjourney
This dreamy illustration prompted by San Francisco-based Polish architect Gabriela Piasta Tworek imagines a future city shaped by vast neural networks – the computing systems that power AI.
It was praised by the judges for deftly balancing a sense of optimism and unease with its aesthetic and thought-provoking concept.
Carlos Murilo Oliveira, Brazilian architect, Stable Diffusion
Self-employed Brazilian architect Carlos Murilo Oliveira chose to portray a cluster of hands, some robot and some human, with this abstract piece. His was the only entry on the shortlist created using Stable Diffusion.
It is intended to represent humans and machines joining forces in the creation process, but also comments on the limitations of AI – which struggles to produce the right number of fingers in its images of hands.
Clifford Harris, British designer, created using Midjourney
Clifford Harris is design studio manager at Poetry in Wood, a London charity that offers training in art, design and woodwork for adults with learning disabilities.
His expressive, neon-drenched design imagines a future city after the emergence of super-intelligent AI – sometimes referred to a god-like AI – hostile and desolate to human beings but beautiful in its own right.
Victoria Simpson, British architect, created using Midjourney
The judges admired the unique style of this piece, a proposal for how public space may operate in an AI-dominated future where shared human experiences are the priority and technology has enabled the construction of fantastical structures.
It was created by Victoria Simpson, a partner at London studio DLG Architects.
This article is part of Dezeen’s AItopia series, which explores the impact of artificial intelligence (AI) on design, architecture and humanity, both now and in the future.
Hugh Broughton Architects has completed a sensitive restoration of a 19th-century church to provide a community hub in a historic dockyard on the Isle of Sheppey.
Called Sheerness Dockyard Church, the grade II*-listed building has been upgraded with a new roof and interior spaces designed by Hugh Broughton Architects to replace ones gutted by fire in 2001.
The converted church now contains an exhibition area, cafe, events space and business incubator hub for the local community.
Hugh Broughton Architects has transformed a 19th-century church
“We aimed to preserve whatever was found and then introduce new elements to allow the church to function as a youth enterprise centre and community facility,” studio director Hugh Broughton told Dezeen.
“The result celebrates the history of the building whilst also clearly expressing its new function so that ecclesiastical iconography is subdued and the new use is celebrated.”
Located in a prominent position in the port town of Sheerness in north Kent, the church is a key part of an 18th-century masterplan by Scottish civil engineer John Rennie. Sheerness Dockyard Preservation Trust commissioned its transformation.
It is located in a historic dockyard on the Isle of Sheppey
“The church stood at the apex of Rennie’s masterplan,” Broughton explained. “We wanted to return its dignity so that it could once again provide the focal point for the remaining elements of the masterplan,” he continued.
Sheerness Dockyard Church is positioned in a cluster of buildings close to the entrance of the old dockyard, which includes the former captain superintendent’s house and naval terraces. A dockyard wall separates it from the town centre.
The building now contains a community hub
Externally, Hugh Broughton Architects aimed to restore the church to its original form, as designed by naval architect George Ledwell Taylor in 1828.
This includes the church’s parapets and its roof, which is animated by steel and timber flitch trusses.
Among its features is a business incubator hub
Working with conservation specialists Martin Ashely Architects, the studio also ensured that the stone clocktower was completely reconstructed and new windows, doors and iron railings faithful to the original design of the church were added.
Internally, the Hugh Broughton Architects preserved as many original features as possible, including fluted cast iron columns. These contrast with light-touch contemporary interventions supporting the space’s new use.
A first floor has been added
“Internally there was so little historic fabric, especially plasterwork, remaining that our philosophy was to preserve everything we could,” Broughton told Dezeen.
“When adding new elements, the approach was to clearly express their construction rather than to mask them in decoration.”
On entering, Sheerness Dockyard Church’s new uses fan out around the central nave, where a polished concrete floor features a central aisle of relaid original stone tiles.
The ground floor is given over to a cafe and glazed meeting rooms, while a newly added first floor features a co-working space.
Elements of its original structure have been preserved
The first floor is built to the footprint of the church’s original tiered seating galleries and supported by the existing iron columns. It features steel link bridges.
Slatted timber ceilings conceal insulation and improve acoustics in the space, while four large circular roof lanterns fill the space with natural light.
It is lit by skylights
The transformation of Sheerness Dockyard Church was funded with a £5.2 million grant from the National Lottery Heritage Fund, along with funding from supporters including Historic England.
I’m at a point in my life where I’m team stools over chairs, and I truly believe stools deserve to be given way more credit than they get. Stools are often overlooked, maybe because they occupy minimum space, and aren’t really overbearing. But these traits are what make stools so great in my opinion! I mean, they’re compact, and a great space-saving furniture option for our modern homes. They are also super portable. And, we’ve put together a collection of stool designs that not only provide a healthy seating experience while promoting a good and stable posture but most of them are created from sustainable materials as well. And, the Rook Stool by Ross Gardam is an excellent stool to add to your living space!
Designed by Australian designer Ross Gardam, the Rook Stool draws inspiration from chess pieces! Available in three types of solid wood, if you look closely at the stool, you’ll find deft and interesting similarities to the pieces you find on a chess board. The designer drew references from the shapes of decorative wooden chess pieces for the Rook Stool. The stool utilizes simple elements that have been placed at unusual but intriguing angles and intersections to create a sculptural appeal.
The stool consists of two planks of wood that have been placed together to form the central post. The post nearly touches one side and diverges on the other. A tubular black metal footrest is wedged between the two planks, resulting in an interesting interplay of forms. The Rook stool is available in options of solid walnut, white oak, or blackened oak, with the metal footrest and base plate powder coated in a textured black.
The stool is also available in a choice of three different heights which caters to the needs of different users, so you can pick the stool that perfectly matches your height! The seat also comes along with optional upholstery. The stool is produced by Gardam’s own studio, and it is built and assembled in Australia. The unique stool would be a wonderful addition to the homes of chess lovers!
Danish homeware brand Ferm Living has partnered with Norwegian designer Anna Maria Øfstedal Eng to create a wavy aluminium table that debuted during the 3 Days of Design festival.
The Dal table, which can also be used as a bench, was originally carved in wood by Øfstedal Eng but is now produced in sand-casted recycled aluminium.
The shape of the table, which was unveiled at Ferm Living’s showroom in Copenhagen by Øfstedal Eng and Ferm Living’s founder Trine Andersen, was informed by a mountainside in the Gudbrandsdalen valley, Norway.
The Dal table is made from recycled aluminium
“I often take organic silhouettes and shapes that I’ve seen in nature that fascinate me,” Øfstedal Eng told Dezeen.
“I use nature as an inspirational source for all my work, and I was on a trip one day in the mountains and there was almost an organic cave running through them,” she added.
“I was mesmerised, so I wanted to capture that and take it further into something functional.”
The table is sand-casted in three pieces
Prototypes of the table originally featured three and four legs, before the collaborators choose to produce it with two.
“Is it a piece of furniture or is it art? We are, of course, a commercial company creating functional pieces, but we love to add a layer of something that isn’t commercial; something that is there to create emotion or ask a question,” Andersen said.
“We are super inspired by where design and art meet,” she added.
Anna Maria Øfstedal Eng uses organic shapes to inform her designs
The table was made from aluminium to make it more “producible”, as the material makes the furniture suitable for both indoor and outdoor use as well as being transportable, according to Andersen.
“It’s a material that we believe suits the expression well because it has a little bit of the roughness that I guess you experienced in nature and also since it’s sandblasted, it has the texture so it’s not just flat and smooth,” she said.
The Dal table was sand-casted to maintain the organic shape originally handcrafted by Øfstedal Eng in a time- and cost-efficient way and create minimal waste.
It is cast in three pieces in India due to the volume of scrap aluminium there and the country’s sand-casting skill.
The table can also be used as a bench indoors or outdoors
“We choose to produce where the raw materials are and where the handcraft is,” Andersen explained. “We are so reliant on having skilled producers, using factories that have been in the family for generations.”
Referencing the minimal waste in the design process, Andersen added: “there is beauty when economics and sustainability have the same interest, because material is also money.”
The furniture was made from aluminium due to it being lightweight and durable
The Dal table marks Ferm Living and Øfstedal Eng’s third collaboration. The designer and brand previously co-created a piece of furniture that can be used as both a stool or side table and a sculptural object.
“I have always been told my objects are too sculptural to be produced,” Øfstedal Eng notes, adding that hers and Ferm Living’s design processes were compatible.
“We have the same mind mindset around working with responsible materials, working with the organic shapes and tactility,” Andersen adds.
3 Days of Design took place in venues around Copenhagen from 7 to 9 June 2023. See Dezeen Events Guide for information, plus a list of other architecture and design events taking place around the world.
Dezeen Showroom:K5 Furniture and the Boyd Foundation have partnered to rerelease the mid-century Walsh Street sofa by Australian architect Robin Boyd, who designed the seating for his home.
Part of K5’s Boyd collection, the Walsh Street sofa is classically modernist, with a fully upholstered frame on slender wooden legs and clean lines defining the form.
K5 has reproduced Robin Boyd’s sofa to his original specifications
K5 Furniture says it faithfully followed Boyd’s specifications and material choices for the three-seater sofa, using recently found drawings as a reference and curating a selection of fabrics and leathers to match the design.
“Each piece in the collection is meticulously crafted from Australian hardwoods, adorned with Australian wool fabrics and features cork tiles as the tabletop finish,” said K5.
“This attention to detail and selection of materials imbues each piece with the inherent appeal of finely crafted furniture.”
The piece is available in a curated selection of fabrics and leathers
As well as being an architect, Boyd was renowned as a designer, writer and critic who advocated for affordable and functional modernist homes to unify the Australian suburbs.
K5 considers the Boyd collection to be an embodiment of his values. As well as the sofa, the collection includes a chair, coffee table and dining table.
Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.
Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.
Interdisciplinary design studio Resolve Collective is disassembling its exhibition at London’s Barbican Centre and withdrawing its events program in response to a series of negative encounters with staff and the censorship of a Palestinian speaker.
The move was made in response to the co-founder of the Palestine-based Radio Alhara Abiba Coulibaly being asked “to avoid talking about free Palestine at length” at an event organised by Resolve Collective along with a series of other “shameful incidents”.
“We were informed by Abiba and later the Radio AlHara team, of an act of anti-Palestinian censorship by a member of the Barbican comms team,” explained the statement. “The Barbican have since offered a sincere apology to Radio Radio AlHara and to ourselves.”
“Over the course of our time as Curve Gallery artists, however, we experienced a number of shameful incidents. So, in spite of the apology, we out,” it continued.
Barbican intervention “unacceptable”
Following the incident the Barbican apologised to Abiba and Resolve Collective, which was founded by Melissa Haniff and brothers Seth and Akil Scafe-Smith, and the event is set to be rescheduled.
“This intervention by the Barbican relating to the content of the talk was unacceptable and a serious error of judgement, for which we are deeply sorry,” said the Barbican in a statement.
“As an organisation we believe in the importance of free speech, dialogue and debate – giving a platform to the experiences and views of individuals and groups involved in free Palestine is part of this commitment.”
Resolve Collective reported that the incident was the latest in a series of negative interactions with Barbican staff.
“The incident of anti-Palestinian censorship occurred only hours after we had sent an email to the Barbican gallery manager summarising our disappointment at a number of hostile encounters we had experienced from a select few members of the Barbican front of house staff across our exhibition’s life span,” continued the statement.
“This had included: hostility towards close family and friends at the exhibition opening: heavy-handed and overly-suspicious treatment when entering our exhibition with a group of other Black and Brown artists: and being publicly deprecated and infantilised whilst ushered out of our exhibition space at the end of Gut Level’s Cute and Sexy North rave.”
Resolve Collective “have been subject to a number of unacceptable experiences”
In response to the incidents, Resolve Collective decided to “exit the Barbican Curve Gallery prematurely”. The collective has ended its public program of events at the gallery and will dismantle its exhibition.
A notice on the Barbican’s website reads “the Curve Gallery is currently closed”.
The exhibition is set to reopen this Monday, with bare walls as a “physical reminder of both ours and Radio AlHara’s experiences, holding the institution to account for their promises and making visible the ones they have failed to keep”.
In response to the decision, the Barbican said it was supportive of the decision to dismantle the exhibition.
“During the run of their exhibition, Resolve Collective and their collaborators have been subject to a number of unacceptable experiences, which included the events that took place on Thursday 15 June,” said Barbican CEO Claire Spencer and artistic director Will Gompertz.
“We are deeply sorry for the pain caused to the members of Resolve Collective and those involved in their exhibition,” they said. “Nobody should have to work in a place where they don’t feel welcome and respected.
“We are taking this situation extremely seriously and are currently working with the broader Barbican team to understand the details of what happened,” they continued. “We are fully supportive of Resolve Collective’s decision to change the nature of their exhibition and will work with them to make this possible.”
Black artists “cannot be guaranteed to be treated with respect”
Also in the statement, Resolve Collective revealed that it twice previously turned down the opportunity to exhibit at the Barbican due to warnings from other artists.
They concluded that despite supportive individuals, including the exhibition’s curator and Dezeen contributor Jon Astbury and Barbican public programme producer Matt Turner, the institution did not treat them with “respect and dignity”.
“Our experiences at the Barbican had led us to a frustrating, yet unsurprising, conclusion: that today, despite the best intentions of many good individuals within the institution, young Black artists such as ourselves and other peers who seek to platform their communities, cannot be guaranteed to be treated with respect and dignity when working there,” said the statement.
Called Resolve Collective: them’s the breaks, the installation contained ramps, platforms and plank-like furniture built from materials that were collected from cultural institutions across London and the south of England.
“It’s actually thinking quite differently about what we would understand to be a gallery or a museum, and thinking quite critically about what that looks like outside of those four walls.” said Seth Scafe-Smith at the time.
Local studio I IN has renovated two toilets in a Tokyo shopping centre, using lights that “propose new colours for genders” to create vivid interiors.
The interior design studio completely renovated the two toilets, which are located on the restaurant floor of the shopping centre Shin-Marunouchi in Chiyoda City, Tokyo.
It began by wrapping both restrooms in white tiles to give them a clean feel that would also function as an unobtrusive background for the coloured lights.
The bathrooms are marked by bright green and yellow light
“We used a mosaic tile by Dinaone that is made in the Tajimi area, which is famous for tile-making in Japan, and it has a special non-slip treatment on its surface,” I IN told Dezeen.
“We wrapped the space in tiles to express the feeling of cleanliness; we think public restrooms need to offer a sense of purity so that this whole space can be cleaned easily,” the studio continued.
“Our aim was also to create a continuous floor, wall and ceiling using one material so that people can experience entering an unrealistic space.”
Stainless-steel sinks contrast white tiles inside
The all-white interior was then enhanced by hidden light fixtures that colour the female bathroom entirely yellow, while the male bathroom is all green.
“The main aim was to propose new colours for genders,” the studio said.
“The universal toilet signage is usually red and blue – we wanted to bring them closer together. In rainbow colours, which define diversity, yellow and green are next to each other.”
The bathrooms are located in the Shin-Marunouchi building
The colours of the toilets can be changed for seasonal events, but will otherwise remain yellow and green.
The studio also designed sinks especially for the toilets, in which almost all the functions are hidden away to help create tidy spaces with a futuristic feel.
“We used silver metal – stainless steel – to create original sink designs for both the women’s and the men’s room,” I IN said.
“Here, you do not see typical equipment such as faucets, soap dispensers and hand dryers; these are designed inside the counters but you can easily find and use them,” it added.
“As the space is all about new restroom experiences, we designed a new experience for washing hands as well.”
The spaces were designed to be “extraordinary”
I IN collaborated with architecture and engineering studio Mitsubishi Jisho Design on the design.
The studio hopes that the washrooms will create a memorable experience for visitors.
“The sensation of being saturated by the color of light transforms all elements of the restroom experience into something extraordinary, leaving a powerful lasting impression on the visitor,” the studio concluded.
Marques Brownlee says the best camera is the one you have on you… but what do you do when you’re just not a good photographer? Maybe your sense of composition isn’t good with selfies, or your arms are not long enough to get the entire group in the shot, or you don’t have a photographer to follow you around and click photos of you. What then? Well, you could opt for the average solution, a tripod… or you could get yourself an autonomous photographer that can go to any lengths, or heights, to get the best shot possible.
Meet the Hover X1, a pocket-sized self-flying camera that you can carry around with you wherever you go and simply deploy when you need the perfect photo or video. Working somewhat similar to most cinematic drones (but cheaper, smaller, and more personal), the Hover X1 weighs a mere 125 grams, and can fly autonomously, clicking photos and taking videos of you from pretty much any angle you choose. It’s small enough to take off right from your palm, but packs an impressive 12MP camera with a 90° wide-angle FoV that’s capable of 2.7K video at 30fps, or FullHD video at 60fps HDR, along with an intelligent design that lets you choose from multiple flight paths, and has built-in object-tracking abilities as well as impressive level-4 wind resistance. Say Cheese? More like Say Breeze!
The Hover X1’s format is one that you may be familiar with. Following the company’s famous book-shaped design, the self-flying camera folds in half when not in use, and opens up into a quadcopter that’s ready to take to the skies when needed. Power it on and the quadcopter lifts right off your palm in 3 seconds, with a simple touch of a button. The beauty of the Hover X1 is that, unlike other drones that require a fair amount of control, the X1 is entirely autonomous. Its pre-programmed flight paths mean the X1 doesn’t need someone with a controller maneuvering it around the place. All it needs is a subject to record, making it perfect for selfies and vlogging, with a single-touch interface that’s intuitive to even photography amateurs.
Hover Mode – Frames the user from a static position, perfect for hands-free selfies or group photos.
Follow Mode – Follows you from the front or back up to 20km/h. Robust computer vision algorithms keep you centered in the frame
Zoom Out Mode – Gradually includes more of the surroundings for dramatic effect, ideal for capturing the vibe of parties, camping, or backyard barbecues.
Orbit Mode – Orbits steadily around the user, ideal for showcasing a location or objects like your new home, car, or even a new puppy!
Bird’s Eye Mode – Captures overhead views with just one click, so you can see how even the most complex moments are laid out.
Triple Stabilization – Ensures silky-smooth lens movement and guarantees a smooth image every time.
Once in the air, the Hover X1 can navigate in 5 different paths, including orbiting, following, hovering, bird’s eye, and zooming out. Its object-tracking abilities allows the Hover X1 to always keep the subject in frame, and a VIO system located under the self-flying camera helps it maintain its height and achieve stable flight. The camera sits on a single-axis gimbal that lets it focus on a subject, and the Hover X1’s 1050mAh battery gives it enough juice for 20 flight paths. The device can get some incredible shots too, thanks to its ability to hover to places where a hand, tripod, or selfie stick can’t, along with features like HDR for crisp detail, as well as electronic image stabilization for jitter-free video.
Footage you capture gets transmitted straight to the Hover X1 app, where it can either be live-previewed or stored for later. The self-flying camera can be manually controlled over distances as high as 30m, giving you a fair amount of range for flexibility for some absolutely dramatic shots. You can view, edit, and share clips directly through the app, unlocking the unbridled power of autonomous aerial photography… without breaking the bank. The Hover X1 starts at $299 which includes the self-flying camera itself (available in white or black), although for another $30 you can even snag an add-on battery pack, and a charging hub that reduces charging time from 55 minutes to 35 minutes. The Hover X1 app is free to download, and is available on both iOS and Android devices.
Thirty buildings in the UK have been named as winners this year, in locations ranging from Greenwich in London to Argyll and Bute in Scotland.
Top image: Hundred Acre Wood is one of the winners. Photo by Gilbert McGarragher. Above: Saltmarsh House also won a National Award. Photo by Nick Kane
The prize, which has been awarded by the Royal Institute of British Architects (RIBA) since 1966, aims to recognise the country’s best new buildings and provide insight into its architecture.
“At this time, when building collaboratively and working towards a sustainable future are paramount, the 2023 RIBA National Award winners offer a rich source of inspiration,” RIBA president Simon Allford said. “Each project looks, in its own way, to address both its client brief and the wider role architecture can play in serving society.”
Mae Architects designed the John Morden Centre. Photo by Jim Stephenson
Projects built in London dominate the list this year, with more than half – 16 out of 30 – located in the British capital. This is up from 12 out of 29 in 2022.
Spruce House is among the projects on the list. Photo by Rory Gardiner
A number of projects with a focus on sustainability were among the winners this year. These include Agar Grovein Camden, London, a Passivhaus social housing project by Mæthat comprises 57 new homes.
Denizen Works’ Hundred Acre Wood home in Scotland, which has a facade made from glass chipping created from recycled TV screens and a recycled paper ceiling, also made the list.
Cuddymoss in Scotland was designed by Ann Nisbet Studio. Photo by David Barbour
All the projects in the awards have been in use for at least a year and have given RIBA data about their environmental performance as part of the organisation’s aim to encourage sustainable development.
“Among the winners are a number of projects that offer a model for an architecture that is more widely responsible,” Allford said.
“These buildings intelligently illustrate the potential of well-designed spaces to bring people together and, ultimately, architecture’s power to change our world for the better,” he added.
The RIBA National Awards 2023 list also showcases multiple projects that have a focus on community.
The winners of the RIBA National Awards are eligible to be selected for the shortlist for the Stirling Prize, the most prestigious architecture prize in the UK.
This will be announced on 6 September, with winners of the Stirling Prize revealed on 19 October.
The full list of RIBA National Awards winners is below:
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