Apparently the seats on the lower level recline by scooching the seat forward, pulling the bottom of the backrest with it. Carry-ons for lower-level riders are reportedly meant “to go under the seat in front of you,” according to CNN, but it’s not clear where your legs then go.
Another potential issue I see with the design is that legroom on the upper levels seems kind of constrained, no? That row in the back of the mock-up?
I do understand the appeal—to airlines, not passengers—of a design that can fit more passengers into a plane. My question is, does this design fit more passengers, and if so, in a cost-effective way? I’d like to see some figures on just how much front-to-back space is actually saved by the arrangement. (In the photos it doesn’t seem like much of a gain to me, but that’s just me eyeballing it.) I’m also curious to see projected costs of retrofitting this system, and what exactly happens with the design of the overhead bins that the upper rows are now intruding on.
I think this student project could use some accompanying video, but I admire the initiative; I don’t see many ID students tackling physical interfaces these days.
“When you are creating with machines and computers, it can sometimes feel like you are programming the music – not playing it,” Brorsson writes. “These devices are built to bring more tactility and bodily expression into electronic music.”
“The modular system of units lets the user decide what kinds of physical inputs they want to use – and combine them however they like.”
Dezeen Showroom: furniture brand Derlot worked with Australian designer Alexander Lotersztain to create a circular stool named Stump that users can customise with wheels or integrated lights.
Available in three heights and a variety of colours, the Stump stool was designed to offer adaptable seating for spontaneous interactions.
The stools come in three heights
“Bold, minimalist and uncomplicated, Stump gives an appreciative nod to one of the earliest forms of seating,” said Derlot.
“Ideal for moments of impromptu conversation or much-needed repose, Stump satisfies any social or seating arrangement.”
The Stump stool is available with wheels
The stool is made from low-density polyethylene (LDPE) plastic making it suitable for indoor or outdoor environments and users can choose to add wheels to the bottom.
Stump is also available with integrated battery-powered LEDs that light the stool up from within. Alternatively, the stool can be upholstered in fabric or leather materials.
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.
Co-founder of Danish brand Hay Rolf Hay has criticised trade fairs and the temporary stands that brands use to display products.
Speaking on the first day of 3 Days of Design in Copenhagen, which doesn’t include a main trade fair, Hay described the shows as “completely irresponsible” and said they are “not the way forward”.
Trade fairs “not the way forward”
“Trade shows are a completely irresponsible way of showing by putting so much money, energy and materials into a display that is there for four or five days,” Rolf Hay told Dezeen. “It’s not the way forward and I think everyone can see that.”
“So the building of something like 3 Days of Design is mainly done in permanent showrooms around the city, and they will all remain beyond this week,” he continued. “So it’s definitely a more healthy way of showing.”
With no main trade fair, 3 Days of Design, which is now celebrating its 10th year, mostly takes place in showrooms located in close proximity to each other across the Danish capital.
Rolf Hay was speaking from the company’s central Copenhagen showroom Hay House, where they are launching several new products including the Boa Table by Stefan Diez constructed from a recycled extruded tubular frame made from recycled aluminium, the Arcs mirrors and drinks trolleys by Muller van Severen, and the Weekday collection of benches by Hannes & Fritz, during the festival.
“There are more powerful ways to launch products than at trade shows”
Rolf Hay went on to questioned the purpose of trade fairs and suggested that digital launches may provide more impact and better value for money.
“If you go back 10 years, the main purpose of a trade fair was to launch new products but this is actually not the case anymore because there are more powerful ways to launch products than at trade shows,” he said.
“What we learned from Covid is that if you skip a trade show, companies have the opportunity to put more money into digital,” he continued. And in some cases it gives a better pay off: some products are better for a digital online launch than a real presentation because you gain more traffic online than you do on a trade show.”
He believes that the approach taken by 3 Days of Design is more aligned with the brand’s customers.
“This event is getting stronger and stronger and also more international,” said Rolf Hay. “For us, Hay is here every day so it’s basically about opening our doors. There’s no doubt that what 3 Days of Design is offering is maybe more aligned with the interests of our customers.”
Milan “mainly a European trade show”
Hay choose not to exhibit at Milan design week this year. Rolf Hay explained that this decision was due to his view that the fair was focused on the European market.
“[Last year,] it was very clear that there was very little participation from Asia and North America, so it was mainly a European trade show,” said Rolf Hay. “Due to that, we decided that we didn’t want to be in Milan this year.”
“The fair can be right for some companies,” he continued. “But you can also see the tendency is that the big companies are pulling out of the fair and remaining in the city because the community part is stronger. But it’s also more expensive.”
However, he said that he could see returning to Milan in future years, but it would aim to exhibit within the city rather than in the Salone del Mobile trade show.
“This year, I actually felt for the first time that Milan was getting back in shape,” he said. “Afterwards, my wife and I thought that maybe it was a mistake to have missed it,” referring to Mette Hay, co-founder of the brand.
“It could make sense for us to return to Milan next year but never at the fair. Never ever at the fair. It will 100 per cent be in the city. We’re looking for the cultural interaction,” he added.
Wooden planks made from old railway sleepers clad Roundhouse Works, a creative centre in London designed by architect Paddy Dillon with local studios Reed Watts Architects and Allies & Morrison.
The building is located to the rear of the Roundhouse, a famous concert venue in Camden that is housed in a former railway shed.
Roundhouse Works is a creative centre for young people in London
The Roundhouse has offered a programme for young people for over 15 years, and the new spaces provided by Roundhouse Works next door will double the capacity of this programme to 15,000 students a year.
“Roundhouse Works comes out of hours of conversations to identify exactly what young people need,” said Dillon.
“It’s a response to the Roundhouse site, but more importantly, it tries to stay as close as possible to the spirit of the Roundhouse and the people who work there.”
It is partly clad in wooden planks made from old railway sleepers
The centre provides three studios, including a triple-height space for circus and performance, a multiuse workshop and a podcast room run by the audio platform Transmission Roundhouse.
Alongside them is the Inflexion Workspace, an affordable co-working space for creative entrepreneurs and freelancers.
Some walls have corrugated white-metal cladding
Referencing the adjacent Roundhouse’s original use as a railway shed, Roundhouse Works has been clad in recycled railway sleepers. They bring a weathered, industrial character to its gently curving facade that sits above an existing brick boundary wall.
Protruding from the roof of the curved, wood-clad main building are the forms of the studio spaces, which have been clad with corrugated white metal and emblazoned with the Roundhouse Works name in black lettering.
The centre has a cross-laminated timber (CLT) structure to ensure future flexibility and to help reduce the building’s carbon impact. It has been left exposed internally to bring a feeling of lightness to the spaces.
“We’ve worked hard to significantly reduce the embodied carbon in the building’s fabric with the internal timber structure and reclaimed timber railway sleepers on the facades,” said Reed Watts Architecture director Matt Watts.
“The result of this is a brilliant resource for Camden’s young people that wears its heart on its sleeve and that reflects our shared commitment to future generations as well as the site’s long association with the railway behind it.”
Its structure is built from cross-laminated timber
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 one such stool is the Eternity High Stool!
Designed by Space Copenhagen for the furniture brand Mater, the Eternity High Stool is the latest addition to the Eternity Seating Collection. It’s a minimal high stool built from coffee shells and e-waste. The high stool is a part of Mater’s seating collection that includes chairs made from shells, made using Matek – Mater’s patented circular waste material. Plastic and fiber-based waste are merged into a composite material that is reprocessed again and again, with the furniture being collected by Mater at the end of its life cycle via Mater’s takeback program.
“The furniture we make with Matek has a completely unique look because the material has been created by combining various waste materials and recycled plastics. Matek has a depth and materiality reminiscent of stone, terrazzo, or marble, but is completely its own,” said Mater founder Henrik Marstrand. The Eternity High Stool has a rather simple, raw, and natural aesthetic and is available optionally upholstered in Kvadrat’s Re-wool fabric, which is made of 45 percent recycled wool.
The Eternity High Stool is a sustainable and ergonomically-designed stool design with aesthetics that merge harmoniously with any modern living space. You could slide it alongside your kitchen countertop, or even use them as bar stools for your bar. The composite material used gives the high stool a unique appearance, that makes it quite intriguing to look at, and an absolute eye-catcher.
GamFratesi revealed its design for the portable Bang & Olufsen Beosound A5 speaker at the Conversations in Sound exhibition at annual design festival 3 Days of Design in Copenhagen, Denmark.
It marks the first time that the studio, which is led by Danish designer Stine Gam and Italian designer Enrico Fratesi, created a technological design, and they wanted to bring the studio’s signature materiality to the project.
The Beosound A5 speaker has an oak cover
“It was important to take the approach that just because it’s tech, it doesn’t have to be that much tech,” Gam told Dezeen.
“It’s still something that plays in your home and you can easily make it warm and friendly, even though it’s an incredible level of tech inside of it,” she added.
“We wanted to create something that you really want to have in your home that expresses some kind of nature.”
It also comes clad in paper raffia
Designed to be attractive even when it’s not in use, the speaker comes in two different versions – one clad in paper raffia, the other in oak lamellas.
The oak cover was informed by Scandinavian architects such as Finn Juhl and Arne Jacobsen and the use of lamellas in their designs.
The speakers were showcased in a room covered in paper raffia
The raffia cover, meanwhile, draws on the straw Borsalino hats worn in Capri, Italy, among other influences – a reference that GamFratesi thought of as the speaker is water and dustproof and so can be taken to the beach.
Designed to be modular, the covers for the Beosound A5 speakers can also be swapped around and GamFratesi said it is in discussions about creating even more versions in the future.
A table showed the different prototypes for the design
At 3 Days of Design, the speakers were on show at an art gallery in central Copenhagen, surrounded by walls enveloped in paper raffia. Solid oak tables designed by GamFratesi provided seating, and visitors could play vinyl records via the speakers.
Working with paper raffia was challenging for technology products, according to the designers.
“Now that we see this paper on the wall, imagining that going on a speaker seems very simple,” Gam said. “But there are a lot of challenges because the sound has to get through.”
“When you work with natural materials, in the end, it looks so friendly and so simple but it’s actually alive – and it has to be an extremely safe product,” she added.
“It was a challenge, so I’m so happy that we actually managed to take it to the final level.”
Conversations in Sound took place during 3 Days of Design
Conversations in Sound is one of many exhibitions on show as part of 3 Days of Design, which GamFratesi has been involved with since it began in 2014.
The studio created the posters for the event for its first three editions and says that since then, the event has become an important part of the international design calendar.
GamFratesi made solid oak tables for the exhibition
“We started this adventure and after 10 years, it’s becoming probably, after Milan, the second biggest destination for design,” Fratesi told Dezeen.
“We have clients and press coming from the US, coming from the Far East; everybody that we met in Milan is basically travelling again to be in Copenhagen,” he added.
“It’s now not only the Danish brands, I can also see many Italian brands are participating. So it means that this is a very positive fair for many, many people.”
Visitors could play music from a vinyl player through the speakers
According to Fratesi, the popularity of the fair is tied to an increasing interest in Scandinavian design.
“Scandinavian design and Scandinavian culture have been really booming in the latest years in terms of aesthetic, philosophy and also in terms of design,” he said.
“Even some of the brands that are not Scandinavian have been very inspired by the Scandinavian aesthetic,” Fratesi added.
“I think it was a formula that works because it brings a lot of simplicity, it’s honest, it brings material into the project and this is a very important topic nowadays.”
Copenhagen-based architecture studio MAST has unveiled plans to create a park with floating buildings and islands called Centroparco in an abandoned sand quarry on the outskirts of Milan.
Located at the centre of the Segrate district on the outskirts of Milan, the aim of the project is to bring together several neighbourhoods that were previously disconnected while serving as a natural retreat for the city’s residents.
“The quarry is surrounded by disparate neighbourhoods with very different socioeconomic backgrounds which are currently very poorly connected,” explained founding partner of MAST Marshall Blecher.
Centroparco will be a park in an abandoned sand quarry
The park aims to weave these neighbourhoods together, creating pedestrian and bicycle links and will include a spa, restaurant and boat rentals.
The site’s previous sand quarry has left behind a 60-metre-deep lake with fluctuating water levels influenced by rainfall and groundwater. Steep and narrow sections surround the lake, overgrown with invasive plants and remnants of machinery.
To establish a strong connection to the water and overcome the challenges of building on unstable sandy edges, the park’s buildings will be designed to float.
The park will have a restaurant with a view on the lake and the floating islands
This approach allows for flexibility as the water levels change and streamlines construction by prefabricating the buildings off-site before transportation to the location.
“A key criteria for the project was to minimise the impact on the surrounding environment,” said Blecher.
“Walkways will weave between existing trees, which are going to be retained and the buildings, which present as small nodes along the walkway, will be constructed off-site to minimise the impact.”
The park’s buildings will be prefabricated and designed to float
Throughout the design natural materials will be used “wherever possible”, while the buildings will be “clad with untreated wood that will patinate over time to blend into the surroundings.
Floating reedbeds will encircle the buildings and walkway, creating a green border along the lake. These walkways will meander through the reedbeds, offering ideal vantage points for observing the wildlife they attract.
Floating reedbeds create a green border along the lake
The park will also feature a cluster of floating islands.
The largest of the trio of islands will include a protected swimming area with a wooden walkway that wraps around the island to create a raised amphitheatre space.
“The islands will float at the centre of the lake and will be accessible by electric rental boats available at points around the perimeter,” explained Blecher.
“The largest island consists of a protected central space surrounded by three raised walkways,” he continued. “These create a sloped amphitheatre-like space of approximately 350-square-metres which will be large enough for performances and events.”
The proposal for the park features a cluster of floating islands in the middle of the lake
Dezeen Showroom: British brand Morgan has used 3D knitting instead of conventional upholstery to achieve a striking look with the Aran lounge chair, which contrasts different densities of weave.
Morgan created the Aran lounge chair in collaboration with textile brand Camira, combining expertise to produce a knitted sleeve that is held in tension by a timber frame.
The Aran lounge chair has a knitted sleeve seat held in tension over its supporting frame
According to the brand, the design process meant it could eliminate wastage – as the sleeve is knitted to fit – while creating a visually light chair that offers flexible support.
Morgan says the chair is informed by the rich knitting traditions of the Aran Islands, off the coast of Ireland, and celebrates the craft by embracing the textures that different densities of knitting can create.
Different densities of knitting feature on the chair
“The Aran lounge chair is a testament to the beauty and versatility of knit material, and we are confident it will make a striking addition to any space,” said Morgan design director Erin Johnson.
The Aran lounge chair is made entirely from renewable and recyclable materials, with a 100 per cent post-consumer recycled polyester used for the textile and beech, ash, oak or walnut wood used for the frame.
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.
The sets of Greta Gerwig’s upcoming Barbie movie required such vast amounts of hot pink paint, they swallowed up one company’s entire global supply, according to production designer Sarah Greenwood.
Speaking to Architectural Digest, Gerwig revealed that the team constructed the movie’s fluorescent Barbie Land sets almost entirely from scratch at the Warner Bros Studios Leavesden – all the way down to the sky, which was hand-painted rather than CGI rendered.
Barbie Land sets were built from scratch in a movie lot
“We were literally creating the alternate universe of Barbie Land,” she told the magazine. “Everything needed to be tactile, because toys are, above all, things you touch.”
To recreate the almost monochromatic colour palette of Barbie’s Dreamhouses, the set design team had to source a bottomless supply of pink paint to cover everything from lampposts to road signs.
Almost everything from lamp posts to sidewalks is rendered in vibrant pink
In particular, the production used a highly saturated shade by US manufacturer Rosco to capture the hyperreality of Barbie Land.
“I wanted the pinks to be very bright, and everything to be almost too much,” Gerwig told Architectural Digest.
So much paint was needed, in fact, that Greenwood says the movie’s production caused a worldwide shortage of that particular hue.
“The world ran out of pink,” she joked.
Rosco later told the LA Times that the company’s supply chain had already been disrupted when the movie began production at the start of 2022, due to the lingering aftereffects of the coronavirus pandemic and the winter storm that shocked Texas the previous year.
“There was this shortage and then we gave them everything we could – I don’t know they can claim credit,” Rosco’s vice president of global marketing Lauren Proud told the LA Times, before conceding that “they did clean us out on paint”.
Margot Robbie plays the movie’s main character
Since stills for the upcoming movie were first released a year ago, the all-pink hyper-feminine “Barbiecore” aesthetic has infiltrated the design world, with Google searches skyrocketing and the term accumulating more than 349 million views on TikTok.
“There have been so many books and entire PhDs on Barbie, but never really on her many houses and her furniture,” Pin-Up founder Felix Burrichter told Dezeen.
“So we thought it would be a good idea to make one and treat it as a serious subject, in the same way that Barbie has been treated as a serious subject over the years.”
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