Called Pixels, the development features a communal plaza and stepped terraces, designed to encourage residents to spend time together outdoors.
Commenters were unconvinced, calling it “dystopian” and comparing it to a “prison”.
MVRDV designs Pixel as alternative to “nondescript” housing in Abu Dhabi
“The cognitive dissonance is strong in this one”
“Looks like a prison, and a non-descript one at that,” wrote Architect Incognito.
In a comment that was upvoted eight times, Rd suggested “the cognitive dissonance is strong in this one”.
Other readers were even less forgiving – Jack Woodburn deemed the towers to be “dystopian ugly” and Heywood Floyd concurred “this is rough”.
However, Apsco Radiales was less cynical and chipped in to say “they are not ugly – they are very much reserved, which is not something you can say for buildings in its sister city Dubai”.
Bloibl felt it had “all the feel of incarceration without the felony rap”.
Joe Public thought it was “architecture for architects – to the rest of us, it’s an outhouse”.
Meanwhile, for Pa Varreon it represented “an interesting conclusion for an entire life devoted to architecture”.
However, some readers were intrigued. “I’ve always wanted to tour the space in silence to hear the transition from exterior to interior,” reflected Michael Wigle.
Ez_ve replied “if you want to tour it but can’t get to it in person, go to a self-storage unit and close the door for a close approximation”.
“Another bunny architect disappears down the geometry rabbit hole,” lamented Jb.
Meanwhile, commenter RK determined that UK planners have “a remarkably poor ability to stand back and look at the design and ask themselves: is this actually good design?”
“So many complex roof and waterproofing junctions to go wrong,” cautioned Alfred Hitchcock. They went on to ask “what’s the point of the complex and no-doubt expensive roof when the plan and interiors are so conventional?
However, Peterli contested “I’m not convinced that the interiors, once one goes up to the first floor, are that conventional.”
Dezeen is the world’s most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days.
The first images of the 115,000-seat Grand Stade Hassan II stadium, designed by architecture studios Oualalou + Choi and Populous for the 2030 World Cup, have been revealed online.
Named Grand Stade Hassan II after the former king of Morocco, the stadium is planned for a location in Benslimane, around 40 kilometres from the Moroccan city of Casablanca.
Architecture studios Oualalou + Choi and Populous won a competition to design the stadium earlier this year.
— Morocco Intelligence (@MoroccoIntel) July 3, 2024
The first renders of the world’s largest football stadium have been revealed
Grand Stade Hassan II is being designed to host games during the 2030 World Cup that will take place in Morocco, Spain, Portugal, Uruguay, Paraguay and Argentina. It is also set to become the home of Morocco’s national football team.
With 115,000 seats, it will overtake the Rungrado 1st of May Stadium in North Korea, which has a capacity of 114,000, as the largest football venue in the world.
However, the Narendra Modi Stadium in India – a cricket venue with a capacity of 132,000 – will retain its title of the world’s largest stadium.
Grand Stade Hassan II will be covered in a large tent-like roof informed by traditional Moroccan Moussem tents. Renders show the translucent structure supported above the seating stands on numerous angled columns.
“The Grand Stade de Casablanca is deeply rooted in Moroccan culture, with its traditions and contemporary expressions,” said Oualalou + Choi founding partner Tarik Oualalou when the competition win was announced.
“It is rooted in ancient and primordial figures: the Moussem, the tent, and the garden, as well as the topography and landscapes of Morocco,” he continued. “It’s a generous space, open to the world and respectful to the nature it protects. The Grand Stade de Casablanca is the embodiment of the great tradition of Moroccan hospitality.”
Along with the Grand Stade Hassan II, five other stadiums will host games in Morocco during the World Cup, along with three stadiums in Portugal and one each in Uruguay, Paraguay and Argentina.
The Paris 2024 Olympic Games have been billed as the most sustainable ever. As part of our Olympic Impact series, we look at how the organisers have sought to limit emissions.
While media depictions of Paris 2024 as the greenest ever Olympics are arguably overblown and some have accused the organisers of greenwashing, there can be little doubt that these games are pursuing an ambitious sustainability agenda.
A target has been set to emit no more than 1.5 million tonnes of carbon dioxide – around half the footprint of London 2012 or Rio 2016.
Meanwhile, Paris has sought to use the Olympics as a vehicle to accelerate longer-term environmental policies for the city.
In order to achieve these goals, a set of measures were put in place with a particular focus on construction, transport, energy and consumption.
Here are eight sustainability initiatives at Paris 2024:
Photo by Laurent Kronental
Focusing on renovation and reuse
The most significant sustainability move by Paris 2024’s organisers has been to limit new construction to a minimum. As a result, 95 per cent of the venues are existing buildings or temporary facilities.
For example, the Stade de France will act as the main athletics stadium, while scaffolding-based structures have been erected at the Eiffel Tower, Place de la Concorde and the Palace of Versailles.
Arguably the most ambitious of Paris’ environmental initiatives has been the €1.4 billion (£1.2 billion) cleanup of the River Seine, where the 10-kilometre swimming marathon and Paralympic swimming event are set to take place.
Swimming in the city’s river has been banned since 1923 due to severe pollution levels, with wastewater from domestic and industrial sources being the predominant pollutant.
Newly updated infrastructure has contributed to a 90 per cent decrease in wastewater into the river over the last two decades. Significantly, a large underground basin came online in May that stores excess rainwater in a bit to prevent wastewater from flowing into the river when sewers are overwhelmed.
But there is still uncertainty regarding the river’s cleanliness, and organisers have warned that heavy rain could raise E-coli levels in the water to unsafe levels and force the swimming competitions to be held at a backup venue.
Photo by Salem Mostefaoui
Using low-carbon buildings materials
Where permanent construction has been deemed necessary, the Paris 2024 organisers have taken steps to ensure that associated emissions are limited.
For example, the Aquatics Centre (pictured), designed by VenhoevenCS and Ateliers 2/3/4, features a wooden structure and large solar array on its roof, while spectator seating is made from recycled plastic waste. Across all venues including temporary stands, around 11,000 seats will be made from recycled materials.
The nearby Olympic Village, which will accommodate 14,250 athletes during the Olympic Games and a further 8,000 during the Paralympic Games, has also been developed according to an environmental strategy.
The use of bio-sourced materials is expected to result in a 50 per cent carbon footprint reduction over the buildings’ lifecycle compared to conventional construction.
Targets were also set out to optimise mobility across Paris during the games in order to reduce transport emissions, partly by using many venues in the city centre.
Improving bike routes has been key to this transport strategy, with cycling targeted to be one of the main legacies of Paris 2024. A network of more than 400-kilometres of cycle lanes now links all the competition venues, including 55 kilometres of newly added routes.
In addition, 3,000 self-service bikes and 10,000 extra bike rack spaces have been made available across the venues.
Photo by Michel Denancé
Extending the Métro
Another aspect of Paris 2024’s mobility strategy has been ensuring that all venues are accessible by public transport.
Planned extensions to the Métro intended to help with transporting the 15 million expected visitors were scheduled to be finished in time for the games. However, as a result of major delays linked partly to the covid-19 pandemic, almost none of the proposed lines have yet reached completion.
Line 14, which has been extended to connect Orly Airport to the new Saint-Denis – Pleyel station designed by Kengo Kuma and Associates (pictured), is a key transport route that has been completed on time.
For the athletes and their teams, Paris 2024 will use non-fossil-fuel vehicles including 500 hydrogen-fuel cell cars and buses from Toyota, though some experts have criticised this decision, calling it “scientifically misaligned with net-zero” in an open letter.
The major transport-related sustainability challenge for the games remains people flying in from around the world. Carbon accounting firm Greenly has estimated that aviation emissions for Paris 2024 could hit 837,000 tonnes of carbon dioxide equivalent – more than half the 1.5 million overall carbon budget.
Photo by Drew Hays
Using renewable energy
The energy initiative set out by Paris 2024 has aimed to supply all Olympic venues through entirely renewable electricity and retractable electrical terminals – an approach that is expected to save around 13,000 tonnes of CO2 emissions through a reduction in use of diesel generators.
On-site solar or geothermal generation at locations such as the Olympic Village and the Aquatics Centre will also help to meet their energy requirements.
As part of the games’ legacy, each of these new grid connections will remain beyond the event and will contribute to reducing fossil-fuel-based energy consumption in Paris after the Olympics.
Furthermore, a floating solar power plant on the River Seine will also produce renewable energy during the games through its 400-metre-square array of photovoltaic panels.
Photo by Grooveland Designs
Encouraging lower-carbon catering
France may be famous for its rich, meat-heavy cuisine, but Paris 2024 will take a different approach as it seeks to limit the carbon footprint of the 13 millions expected to be served during the Olympic and Paralympic Games.
Under the Food Vision initiative, the amount of plant-based food on offer will be double that of London 2012 and Rio 2016, while 80 per cent of ingredients will be French-produced including all meat and dairy.
Combined with efforts to limit food waste, the organisers hope that each meal served will carry a carbon footprint of 1 kilogram of CO2, compared with the French average of 2.3 kilograms.
The impact of all this will be relatively small, with catering anticipated to account for only 1 per cent of the games’ overall carbon footprint – and spectators are still likely to throw away large amounts of food.
Paris 2024 has committed to offsetting 100 per cent of unavoidable carbon emissions related to the games. According to market intelligence agency S&P Global, it will rely on offsetting to hit its 1.5 million tonnes target despite the measures outlined above.
A programme set up to fund projects aimed at reducing or capturing carbon emissions has already purchased nearly 1.5 million tonnes’ worth of carbon credits from overseas. The biggest of these include a forest-preservation project in Guatemala, a conservation initiative in Kenya’s Chyulu Hills and the installation of clean cooking stoves in Kenya and Nigeria.
In addition, Paris 2024 will fund four forestry projects within France.
However, carbon offsetting projects are controversial, with many climate activists claiming that they are ineffective at mitigating pollution and enable large organisations in wealthy countries to shunt the problem of reducing emissions to the Global South.
This article is part of Dezeen’s Olympic Impact series examining the sustainability measures taken by the Paris 2024 Olympic and Paralympic Games and exploring whether major sporting events compatible with the climate challenge are possible.
Japanese architecture studio Kengo Kuma and Associates has unveiled the Audeum audio museum in Seoul, which is wrapped by layers of suspended aluminium pipes.
Located in the Gangnam district of the South Korean capital, Audeum is designed to stimulate the five senses as visitors explore its collection of sound reproduction equipment.
Layers of aluminium pipes wrap the Audeum museum in Seoul
“It is a place where you can not only see but also experience sound firsthand,” said Kengo Kuma and Associates.
“Moreover, it is not just a place to listen to sound, it is an architectural instrument that returns humans to a natural state, allowing them to experience the five senses of the body.”
The facade creates patterns of light that mimic sunlight through trees
Kengo Kuma and Associates wrapped the museum’s exterior in layers of overlapping aluminium pipes, which are elevated above ground by the entrance to reveal a glass facade.
The cascading pipes were added to the facade to create a pattern of light and shade, intended to mimic how sunlight filters through trees in a forest.
The pipes are raised above the ground to reveal the sunken entrance
“The use of aluminium pipes mimics the changes in natural light, randomly arranging the pipes to harmonise natural disorder and order, emphasising the beauty of light that changes according to weather, time, and season,” said Kengo Kuma and Associates.
“Additionally, the bright aluminium pipes envelop the entire building, allowing the exterior to show new expressions according to the seasons, incorporating the random characteristics of the urban environment and nature into the architecture.”
An external staircase at the front of the site leads from ground level to the sunken museum entrance.
Inside, Audeum’s main entry space features glazed walls and timber panels that conceal a second external staircase running alongside the building.
Pipes also cascade from the entrance ceiling
More aluminium tubes flow downwards from the entrance’s high ceiling, roughly following the curve of the external pipes as they rise to expose the entrance.
Wood surfaces throughout the museum interior are designed to contrast the aluminium pipes and recall nature.
Timber was added to the interior to contrast the aluminium exterior
“The exterior, with its hard aluminium, transitions to the soft material of the wood inside, creating a gradual shift from the exterior to the interior,” said Kengo Kuma and Associates.
“The wood finish is designed with acoustics in mind, creating a space that stimulates human senses and fosters a sense of closeness to nature.”
Artist Raphaël Zarka has collaborated with local architect Jean-Benoît Vétillard to create a horseshoe-shaped skatepark defined by bold colours in Paris.
Commissioned by art museum Centre Pompidou and supported by sportswear brand Nike, the Cycloid Piazza skatepark is located in Centre Pompidou’s square and functions as a public sculpture for both skateboarders and general visitors.
A colourful skatepark has been added in front of the Centre Pompidou
Built from painted birch plywood, the sculpture by Zarka and Vétillard provides 400 square metres of skateable space largely made up of a semi-circular bowl and a 3.5-metre-tall ramp.
Three types of curves were used for the structure, each highlighted through the use of colour – with shades of green, blue and yellow corresponding to the cycloid, ellipse and arc curves, respectively.
Bold colours correspond to the different types of curves
A sloping ramp on one side of the sculpture serves as an entrance point into the skatepark.
Wrapping around the sculpture’s exterior edge is a “convex theatre” made up of four steps, complemented by a series of white-painted passageways that provide circulation around the space.
Also included in the layout is a one-metre-high bump or “wave” nestled between the ramp and bowl.
Additional details include black steel barriers used to encase the highest platforms, and steel poles that wrap around the edges of the ramps.
A “convex theatre” wraps around the structure’s exterior
Zarka, who has designed numerous skateparks in the past, draws influence for his designs from the work of mathematician Galileo.
“The experiments of Galileo and his successors allow me to consider the infrastructures built for the use of skateboarding as so many instruments intended for the involuntary study of classical mechanics”, Zarka said.
A metre-high bump is nestled between the bowl and ramp
The sculpture was built in time for the Paris 2024 Olympic and Paralympic Games, which start this week, and will remain on display outside the Centre Pompidou until 15 September 2024.
Available in a two- or three-seater format, the Bilbao sofa is based on the brand’s original Bilbao lounge chair and was designed by Rundle to offer “relaxed comfort in a contemporary yet familiar aesthetic”.
Tim Rundle designed the curvy Bilbao sofa for Morgan
Suitable for workspaces as well as commercial and hospitality settings, the versatile sofa is made to order at Morgan‘s factory in Hampshire, UK.
The seating comes in various PEFC/FSC-certified timber frames, ranging from walnut to ash, and can be upholstered with various textiles and fabrics.
It is suitable for an array of settings
“Characterised by soft curvaceous surfaces, the range is intended to redefine the landscape of contract furniture design,” said Morgan.
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Lumpy recycled plastic furniture and circular skylights characterise this sunken London house, which designer James Shaw concealed on a 60-square-metre plot for himself and his family.
Located in a conservation area in east London, the two-storey dwelling was constructed by Shaw and his friend, architect Nicholas Ashby.
James Shaw built himself a sunken but light-filled home
The neighbourhood’s planning restrictions required the pair to build all but 2.7 metres of the building out of sight from the street level, resulting in a sunken home with a large basement invisible from the outside.
An open-plan kitchen, living and dining area feature in this underground space, which has exposed concrete walls interrupted by large, floor-to-ceiling glass doors that open onto a small terrace with a dinky plunge pool.
The designer squeezed a bespoke sofa into one of the irregular corners
Shaw and his writer-curator wife Lou Stoppard chose eclectic interiors for the home they share with their baby daughter – a collaboration that began with the duo’s 2022 London Design Festival installation of clashing furniture, created to poke fun at the tensions that arise when couples move in together for the first time.
Made by Shaw, the pear-shaped walnut table from the installation features in the living area, surrounded by spindly stacking chairs first designed by furniture brand Blå Station founder Börge Lindau in 1986.
Veneered MDF defines the kitchen cabinets
A custom aluminium bookshelf stretches across the wall opposite the table, built by Shaw to fit the unusual space. The designer also squeezed a bespoke burnt orange sofa into one of the irregular corners, illuminated by a large circular skylight.
Known for his Plastic Baroque furniture made from recycled and extruded HDPE, Shaw placed a lumpy two-tone blue lounge chair next to the sofa – another piece that featured in his previous installation.
The bathroom features Anni Albers-style mosaic flooring
Opposite the living and dining area, the rectilinear kitchen cabinets were finished in veneered MDF, while the fridge was also fitted with a knobbly plastic handle.
Stainless steel and pale blue HIMACS make up the worktops – one of which is on wheels to allow for flexibility when hosting.
Squiggly pear-shaped sculptures top the bedposts
Across the basement, a combination of oak finger parquet and raised-access metal tiles were used to create contrasting flooring. The silver-hued tiles can be lifted to reveal extra storage.
Also underground, the bathroom was designed with a playfully patterned mosaic floor informed by the work of Bauhaus artist Anni Albers, including an abstract illustration of the couple’s cat, Rupert.
The mirrored bathtub reflects and enhances the intricate flooring, while another rounded skylight adds natural light to the space.
An extruded blue plastic bannister snakes up the staircase to the bedroom – the only street-level room in the house.
The Shaw-designed oak and brass bed features bedposts topped with squiggly pear-shaped sculptures, while the thin timber wardrobe was hand-painted with decorative panels by artist Marie Jacotey, who completed the project on-site.
The bedroom is the only street-level room
Stoppard’s vast art collection features throughout the sunken home, including delicate paintings by emerging artists Lydia Blakely and Mary Stephenson and antique artefacts from various travels.
Architecture studio Sam Jacob Studio has refurbished a 1960s building at the University of Kent in Canterbury, England, using playful architectural references and bright colours to add layers of “wit and delight” to the existing interiors.
The project provides teaching spaces for the university’s School of Architecture, Design and Planning, which is part of a campus designed by William Holford that opened in 1965.
Sam Jacob Studio has refurbished the interiors of a 1960s University of Kent building
Sam Jacob Studio (SJS) looked to retain what it described as the “soft brutalist” character of the brick and concrete Marlowe Building when reorganising the existing interior.
The Marlowe building originally housed the university’s physics department, which featured a series of cellular offices on the ground floor and a top-lit lab space above.
The studio wanted to retain the building’s “soft brutalist” feeling
Following a detailed consultation with faculty and students, Jacob and his team defined a strategy that balances areas dedicated to specific year groups and subjects with the ability to transform and open up the spaces.
The team at SJS said it was interested in “what happens between the logic of architecture and the happenstance of creative working”.
The architects gutted the existing interior to expose the concrete ceiling alongside the building’s structure and services, which were retained as the backdrop for a series of minimal interventions targeted at fulfilling the space’s new role.
“This is a project that reveals the intrinsic qualities of the 1960s building, while also contrasting a more fluid contemporary character,” the studio said.
“It is an architecture that invites inhabitation rather than imposing order, that recognises character, wit and delight as part of an essential role of architecture.”
Polycarbonate portholes allow light to pass through the spaces
SJS worked as much as possible with the existing spatial layout, adding just one wall to the ground floor and two on the first floor so that the interiors can evolve to meet different future requirements.
Rather than functioning merely as static partitions, the walls are activated by incorporating moving components that can be used to adapt the layout of the studios.
Large sliding doors with polycarbonate portholes allow some of the spaces to be separated, while pivoting wall sections can be opened or closed depending on the desired layout.
The partition walls incorporate full-height pinboards for displaying work. These surfaces were given a more dynamic appearance by cutting the boards diagonally from corner to corner.
The standard-height pinboards are topped with a shelf, onto which adjustable lights are clamped to allow illumination of the students’ work. Mirrored panels above the shelf create the illusion of a continual space.
Pinboards feature clamped adjustable lights to illuminate student’s work
The studio can be customised further to suit different working modes by rearranging freestanding elements including drawing boards, easels, screens and moveable storage units built using standard warehouse shelves.
Existing furniture was reused wherever possible, while doors salvaged during the strip-out were converted into desks, with yellow laminate pieces added to fill in holes where the locks and vision panels were once located.
Pivoting wall sections can be opened or closed depending on the desired layout
The interior incorporates several explicit architectural references, according to SJS, including a colour palette based on Le Corbusier’s 1959 paint system.
“A series of columns used to define thresholds act as 1:1 models of, variously, Canterbury Cathedral, Brancusi and James Stirling, like a library of other architectures inhabiting the school,” the team explained.
To prevent sunlight from overheating the studios, a series of coloured window blinds was added along with moveable perforated pinboard panels that help to control privacy. This creates a changing topography that animates the building’s exterior.
Moveable perforated pinboard panels provide privacy and shading
Sam Jacob established his eponymous studio in 2014, having previously worked as part of the radical architecture collective FAT for over 20 years.
The future isn’t flying cars – it’s blanket-shaped air conditioners. As temperatures rise and ACs become increasingly necessary in homes, a Japan-based company has figured out how to turn something as benign as a blanket into a cooling device. The Infinity Cool Blanket is simultaneously a high-tech and a low-tech piece of bed decor. It’s low-tech in the sense that it’s quite literally a fabric blanket that you wrap yourself in as you sleep, but the high-tech aspect about it is its ability to cool you down by 15°C. The innovation lies in the blanket’s material, which promotes rapid heat absorption and dissipation, pulling the warmth from your body and emitting it quickly into the atmosphere. The result feels similar to being in a cooler room, as if you had your air conditioner on. Sweat evaporates in an instant, leaving you feeling breezy and comfortable even in the hot summers… without racking up an electricity bill.
Designer: Tatsuya Dobashi
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The secret lies in the Infinity Cool Blanket’s high-performance cooling fibers. These specially crafted materials are embedded with sensors that respond to your body’s heat and moisture. As your temperature rises, the fibers activate, creating a noticeable cooling effect. This ensures a comfortable sleep environment throughout the night, no matter how much you toss and turn. But that’s just half the story – It employs innovative insulation technology to block external heat while effectively wicking away sweat and moisture. This double action prevents you from feeling stuffy or damp, ensuring a consistently cool and dry sleep experience. Multiple tests actually show a drop in body temperature up to as much as 15°C when using the Infinity Cool Blanket. The blanket has a clever way of adjusting your body’s temperature to bring you to a more comfortable state, no matter what the outside temperature is.
No Need For AC With Instantly Dive into -15°C Cooling
The Infinity Cool Blanket is designed with both comfort and convenience in mind. The lightweight, breathable fabric allows for maximum airflow, preventing you from feeling weighed down. The stretchy fabric cocoons you in coldness, and its natural anti-bacterial nature means you can use the Infinity Cool Blanket for weeks before it needs a wash. When it does, just toss it into the washing machine like you would a regular blanket. The fabric’s quick-drying feature ensures it’s dry and ready to use within hours of coming out of the dryer, and an anti-pilling treatment keeps the blanket soft and comfortable even after multiple washes, while the reinforced edges prevent fraying for long-lasting use.
The Infinity Cool Blanket is versatile enough for both indoor and outdoor use, making it a valuable companion for camping trips or simply relaxing in your backyard. It comes in a single size, big enough for one person, and even ships with a carrying pouch, just in case you want to take it with you on your travels.
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I don’t know about you, but I remember the exact moment I knew that Mario was going to become a successful gaming franchise. The year, probably sometime in the 90s, the device, a borrowed Nintendo Game Boy Advance, and the game, Yoshi’s Island. The creation of Super Mario World, or the entire world around the famous princess-saving plumber was a pivotal moment for the game, turning it from a small success story to a full-fledged ecosystem. Celebrating that very journey, LEGO just unveiled images of its Mario and Yoshi set. Priced at $129.99, it offers a unique blend of classic video game nostalgia with the engaging and creative play that LEGO is known for. The set, composed of 1,215 pieces, vividly captures the essence of the beloved Super Mario World, featuring Mario and Yoshi in a brick-based flat design that captures the glorious 16-bit aesthetic of games in that era.
At first glance, the Mario and Yoshi set looks like a wonderful, nostalgia-evoking tabletop artpiece. LEGO’s approach leans heavily into the pixelated nature of its square-shaped bricks. The brick-bases aesthetic lends itself almost perfectly to the kind of 16-bit aesthetic of the video game. But that’s not all – a small hand-crank visible on the bottom right turns this static artpiece into a kinetic installation, mimicking the gameplay perfectly! Turn the hand crank and the entire figurine comes to life, with Yoshi’s legs moving as if it’s walking, and mario’s legs swinging from front to back. Yoshi also occasionally sticks out its tongue as a nod to the engaging gameplay of the classic Mario titles.
At 1,215 bricks, you’d think this particular set would feel complicated, however, most of the bricks just serve as mere pixels in the overall set, making the entire building process extremely easy to follow. When completed, the entire artpiece measures over 15.5 inches in height, and has a vibrant appeal that should definitely catch your attention from across the room. Looking at it is just half the experience – crank the handle on the side and the brick-based automata is sure to delight pretty much anyone!
For those eager to own this piece of LEGO and gaming history, pre-orders are now available directly from LEGO’s website. The combination of high-quality bricks, interactive features, and a nod to classic gaming makes this set a noteworthy addition to any enthusiast’s collection. Whether you are reliving childhood memories or discovering the charm of Super Mario World for the first time, the 71438 set offers a blend of nostalgia and innovation that stands out in LEGO’s extensive catalog.
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