When it comes to firecrackers and fireworks displays, I’m not the biggest fan. I keep thinking of all the wasted money that goes into having just a few seconds of fun, not to mention how dangerous it can sometimes be . The closest that I would probably enjoy some version of them is holding sparklers in my hands. But again, they only last a few seconds and sometimes the wind will even make that shorter so I’d rather not just hold one in my hands.
Designer: Kenji Fujii of Taki Corporation
Tenohira Hanabi is a sparkler holder so you can enjoy them a little bit longer and safely in the palm of your hands. It’s a jar named “sparkler in your palm” literally and it has no other function except to keep the sparklers, specifically the senko hanabi (incense fireworks), in your hands. It’s a glass jar that has dimples on both sides so you can keep the T-shaped sparkler dangling inside the jar.
This means that once you light up these tiny sparklers, you’ll be able to look at them up close. You’re also keeping them lighted and sparkling a bit longer than when you’re holding them since the glass jar protects it from the winds. I’m not sure though if it can be used for regular sized sparklers so you will have to enjoy the incense fireworks when using the Tenohira Hanabi.
If not used as a sparkler holder, maybe it can also function as a regular jar where you can store small things like candies. Or since it looks cute enough, it can also just be a decorative object until the next time you need to light up some sparklers again.
First released ten years ago, the Khmara lamp features an organic, rounded form that is handcrafted from polystyrene foam and finished with either smooth or rough plaster.
The Khmara lamp has an organic shape reminiscent of clouds
The pieces are now also available in a metallic finish for a more futuristic aesthetic, as well as an entirely ceramic version.
Makhno, a Ukrainian designer, was inspired to create the Khmara lamp by a desire to emulate clouds and to create a light with a sculptural and statuesque presence.
A metal-finished version is also available
The lighting design went on to win or be shortlisted for several awards, and now hangs in locations as diverse as art galleries, design offices, restaurants and private homes.
Each of the Khmara lamp variations – Khmara Smooth, Khmara Rough, Khmara Metal and Khmara Ceramic – is available in several colours or finishes, ranging from RAL colours to gold and silver. There is also a choice of seven sizes.
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.
Are you someone who loves Japanese cuisine? Is a bowl of hot steaming ramen or some fresh sashimi your go-to meal?! Well, then you’ve reached the right spot. As delicious as Japanese food is, preparing it takes a lot of care, finesse, and attention to detail. And if you want to master Japanese cooking, or well at least be able to prepare a decent bowl of donburi, then you need the right kitchen tools to assist you. We’ve curated a collection of ingenious and well-designed kitchen tools that are essential if you’re preparing some Japanese meals. From a precision ceramic sashimi knife to a portable bento box-style rice cooker – these are the must-have kitchen products you need to cook up some delicious Japanese food!
1. Precision Ceramic Sashimi Knife
Named the Precision Ceramic Sashimi Knife, this sleek and stunning kitchen tool defines Japanese craftsmanship and perfection. The knife was built with advanced technology and utmost care, forming an exceptional tool that enhances the culinary art of preparing sashimi.
Using the Precision Ceramic Sashimi Knife, you can cut through delicate pieces of sashimi with complete ease, without causing any damage to the soft pieces of fish. The knife works with complete ease and precision, amped with a lightweight and sharp blade. Since it is made from ceramic, it doesn’t need sharpening consistently.
What we like
You can slice and prepare sashimi with the finesse of an expert Japanese swordsman
You can prepare delicate and aesthetically pleasing dishes
What we dislike
Fragile as compared to steel knives
It can be tough to sharpen if the need arises
2. Supreme Daikon Radish Grater
Meet the Supreme Daikon Radish Grater – a meticulously crafted grater created for those who appreciate fine kitchen tools. The grater is excellent for grating daikon, and it features a 1.5mm thick stainless steel grating surface that is durable and easy to maintain. The Daikon Radish Grater is equipped with traditional Hon-Meguri diagonal sharp blades and innovative Quattro blades.
The Supreme Daikon Radish Grater offers an effortless and stress-free grating experience. Each grater is crafted by skilled Japanese artisans, and each one is a masterpiece of the traditional Hon-Meguri technique. It is a time-honored method that includes using a sharp chisel (tagane) to carve each blade into the thick metal plate.
What we like
Features exceptionally sharp and durable blades
What we dislike
Might not be efficient for other veggies
3. Mt. Fuji Cutlery Rests
This lovely cutlery set is inspired by Japan’s most iconic summit – Mt.Fuji. This cutlery set serves as a luxurious metal accessory to amp up your Japanese-style meals. They have a simple form with detailed and intricate engravings. They’re lavish tableware accents, created with fine craftsmanship.
The cutlery isn’t just a flat block of metal, the pieces slope slightly upwards towards the middle, creating a flat stump at the peak, instantly reminding you of Mt.Fuji. The curves are also excellent for supporting knives, forks, spoons or chopsticks.
What we like
The pretty cutlery also captures Japan’s seasons of yielding cherry blossoms
Created as a tribute to Japanese craftsmanship
What we dislike
The cutlery set can only hold two utensils, a limited design
4. PrecisionGrip Chopstick Tongs
Meet the PrecisionGrip Chopstick Tongs – these innovative kitchen tools are shaped like chopsticks and are great for preparing Japanese meals with speed and efficiency. You can pick up small pieces of food with complete ease, while also allowing you to prepare small, well-balanced meals for multiple people.
The Chopstick Tongs are a great option for creating bento boxes or even eating sushi, which are popular Japanese food items. The tongs are also pretty easy to hold and use.
What we like
Built from sustainable SUS821L1 stainless steel which is derived from scraps and offcuts
What we dislike
The tongs aren’t great for picking larger pieces and cuts of food
5. Ishiyaki Set
Named the Ishiyaki Set, this kitchen appliance allows you to create an authentic and surreal Japanese dining experience in your home. You can prepare food in true teppanyaki style! The set functions as a tabletop stone grill, and you can prepare the meat just the way you like it.
Why is it noteworthy?
The Ishiyaki Set recreates the Benihana experience in your home, and you can dry-sear your food before you eat it. It is equipped with a board with an additional porcelain tray to hold your food, as well as two bowls to hold your soy sauce and wasabi, creating the ultimate modern teppanyaki experience for you.
What we like
Creates the Benihana-style teppanyaki experience to your home
Ideal for dry-searing sashimi-style seafood like Tuna, Salmon, or Scallops, or meats like beef
What we dislike
Bulky, space-consuming design better suited for homes with loads of space
6. The Stacking Sake Drinkware
Drinking Sake is extremely common in Japanese culture, whether in social settings or at formal ceremonies. The Stacking Sake Drinkware is an unusual sake drinking cup made from authentic tin – serving as a unique and distinctive drinking cup set. Tin is a good material choice as it absorbs impurities and purifies water.
Tin is truly the perfect material choice for cold sake, as it provides a soft and comfy texture for hands, allowing you to handle the glass with ease, while also making the sake taste smooth and mellow.
What we like
The bowl-shaped vessels can be stacked easily on top of each other
Elegant and pleasing aesthetics thanks to their smooth curves
What we dislike
Stacked pieces might topple easily
7. Rassen Chopsticks
Designed by Nendo for Hashikura Matsuskan, these unique chopsticks are called the Rassen (spiral) chopsticks, and they’re great for consuming Japanese food. The chopsticks are the perfect culmination of fun and functionality – the chopsticks form one single unit when combined, and they can also be pulled apart when needed.
Why is it noteworthy?
Bringing the chopsticks together and then separating them feels like you’re playing with a jigsaw puzzle. Using the chopsticks becomes a fun and interactive experience, bringing joy to your daily meal. And since you can easily combine the pair, you never have to live in fear of losing one!
What we like
The chopsticks are whimsical and functional
They’re handmade by artisans
What we dislike
Since the design is new and novel, it can take some time to get used to using them
8. Plate Grater
Named the Plate Grater, this small product looks like a tiny plate and can be used on the table. You can use the grater to grate fresh garnishes and ingredients into your meal. You can even use it to prepare some fresh wasabi to accompany your sushi. The product combines the functionality of a plate with a grater.
It is equipped with dual functionality and is quite an aesthetically pleasing design. You can elevate your basic meal with some fresh garnishes.
What we like
An excellent design grating fresh ingredients onto your meal, and adding a gourmet touch
What we dislike
It may take a while for users to adjust to it and use it
9. Hinoki Essence Cutting Board
Called the Hinoki Essence Cutting Board – this stunning wooden cutting board is great for a hassle-free food-cutting experience. The board is made from the hinoki cypress, and it has a medium hardness which offers resistance without damaging knives. The cutting board has a minimal and appealing appearance.
The cutting board has a simple yet lovely look, and since it is made using cypress wood, it pairs up perfectly with the Precision Ceramic Sashimi Knife.
What we like
Made from Hinoki Cypress Wood which isn’t very harsh on knives
Features a water-resistant silicone coating which prevents damage
What we dislike
You need special care to maintain it, which can be tedious
10. Thanko Electric Bento Rice Cooker
Named the Thanko Electric Bento Rice Cooker, this portable cooker prepares a bowl of warm rice for you whenever you need it. It features a compact and portable size, and cooks single-serve rice in a short amount of time. Once your rice is ready, the light glows.
Why is it noteworthy?
The cooker is excellent for those who like to travel often and need a fresh bowl of rice for dinner. You can prepare six ounces of rice in one go, and it has a measuring cup for convenience.
Grange, who designed thousands of products that have entered the industrial design canon over a 70-year career, passed away less than a week after his 95th birthday.
Among his well-known designs are Royal Mail postboxes, London black cabs and many of the country’s “firsts”, including Britain’s first parking metres in 1958, Kenwood’s debut food mixer in 1960 and British Rail’s Inter-City 125 train in 1977, which still holds the record for the fastest diesel locomotive.
Kenneth Grange (top) has created thousands of consumer products including the Kenwood Chef mixer (above)
Grange is known for co-founding Pentagram, which went on to become the world’s largest independent design consultancy, bringing industrial design expertise to the table while his co-founders worked largely on graphics.
He was known for forming fruitful, decades-long partnerships with some of the world’s biggest consumer brands including Kenwood and Kodak, for which he designed the Brownie 44A, the first camera to use a plastic lens.
For more than a decade up until his death, he was the design director of British lighting brand Anglepoise, where he “re-defined the archetypal task light” with designs including his seminal Type 3 desk lamp from 2003.
Grange’s extensive archive, which earned him a knighted for his services to design in 2012, will go on display to the public when the V&A Easte Storehouse opens its doors in 2025.
A “playful take on modernism”
“Kenneth’s career was unparalleled in its breadth and longevity,” Anglepoise said in a statement. “His work over the past 70 years helped shape the domestic life and public realm of modern Britain; the way we cook, create, consume, groom and travel – in his own words, ‘the sculpture of the everyday object’.”
“While other industrial designers may have attracted a cult following and fawning fandom for products defined by a particular aesthetic, Kenneth had no rigid ideology or manifesto,” the statement continued.
“He was guided instead by a curiosity, generosity and wit that endeared him to all. His was a playful take on modernism, which captured something of the eccentricity and innate visual language of these islands.”
Perhaps is best-known design is British Rail’s High Speed Train
Several Pentagram partners have shared tributes to the late designer, with Harry Pearce mourning “a great friend, mentor and advocate for me joining Pentagram” while Jon Marshall credited him with inspiring his career as an industrial designer.
“I believe Kenneth’s approach to design resulted from being deeply thoughtful about the purpose and functionality of the product, combined with a desire to remove any unnecessary material or processes during manufacturing,” Marshall told Dezeen.
Other tributes have started pouring in from across the design industry, with Financial Times design critic Edwin Heathcote paying homage to “a great designer and a truly lovely man”.
His designs for Anglepoise include the Type 3 desk lamp
“Kenneth’s industrial design left an indelible mark on the fabric of late twentieth-century Britain,” Charlie Paton, Master of the Faculty of Royal Designers for Industry told Dezeen.
“With a twinkle in his eye, he was both plain speaking and mischievous, and encouraged countless designers through their own professional journeys. His creative instincts never wained.”
He saw design as “a responsibility to the people”
Grange was born in East London in 1929 to a policeman and a machinist, who worked in a factory during the second world war.
Following his talent for drawing, he studied commercial art at the Willesden College of Technology and began his career as a technical illustrator while in National Service.
He worked at three different architecture studios before setting up his own practice in 1958, introducing him to the principles of modernist design to which he would pledge allegiance for the rest of his career.
“All my taste, all my ideology, came from them,” he told The Times. “It was the place where I grew up. My basic canvas was a lot to do with architecture and I followed the modernist movement like day follows night.”
Grange defined the sleek lines of the Wilkinson Sword razor
His studio became known for creating well-crafted, user-centred products for the masses, whether designing pens for Parker or razors for Wilkinson Sword.
“His way was not of seeing design as merely a service to business, but as something far deeper – as a responsibility to the people who would use and experience his work,” Sam Hecht of London studio Industrial Facility told Dezeen.
“He made us all enjoy doing things, these daily things, that ultimately contribute to our culture.”
He also designed London’s black cab
Perhaps his most celebrated achievement to date remains Britain’s first high speed train, some of which are still in active service with Great Western Railway and ScotRail.
Originally, Grange was hired only to create a new look for the locomotive but the designer believed he could create a faster, more aerodynamic version of the design
“We worked in a wind tunnel in Imperial College, I gave the technician a fiver to work overnight and we came up with this design,” he told the Financial Times. “The livery was presented, alongside our design. And we got the whole job.”
All photography is courtesy of Pentagram apart from the portrait photographed by Jake Curtis.
A narrow, cypress-lined country lane leads you to the burnt sienna facade of the Tuscan estate Casa Newton. Behind its walls, a treasure trove of art and design blends with the atmosphere of an intimate “Maison d’hôte,” or guesthouse, where you’re invited to live daily rhythms at a slow pace, savoring all that Casa Newton has to offer. The charming destination is nestled along the sweet, sinuous hills of the Val d’Orcia, between Montalcino and Montepulciano, only ten minutes from the charming village of Pienza, where a trip to taste Pecorino cheese is highly recommended.
” data-image-caption=”” data-medium-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/MOGGI31-DJI_0896-Modifica-1-300×200.jpg” data-large-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/MOGGI31-DJI_0896-Modifica-1-1024×682.jpg” role=”button” src=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/MOGGI31-DJI_0896-Modifica-1-1024×682.jpg” alt=”” class=”wp-image-360751″ />Courtesy of Casa Newton
The estate was built in the mid-19th century by Gervasio Newton, a distant relative of Isaac Newton (after whom the property takes its name), but it was recently acquired by Swiss architect and interior designer Antonie Bertherat Kioes together with her husband, Philippe. The couple initially purchased a smaller cottage in 2010 (which today houses their Fabbrica Pienza winery) with the intent of making it their home, but when the opportunity to expand into the neighboring lands arose, they didn’t think twice about creating a haven for travelers. Casa Newton opened the doors in 2023.
” data-image-caption=”” data-medium-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/MOGGI5-2C6A4005-300×200.jpg” data-large-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/MOGGI5-2C6A4005-1024×683.jpg” role=”button” src=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/MOGGI5-2C6A4005-1024×683.jpg” alt=”” class=”wp-image-360752″ />Courtesy of Casa Newton
It took three years for Casa Newton to reach its current state; Antonie helmed the project together with Italian architect Jacopo Venerosi Pesciolini and renowned landscape artist Luciano Giubbilei. The aim was to create an inviting destination that brings together works of local and international artists to complete the remarkable interior design.
A stone tunnel with a scarlet red neon installation by American artist Joseph Kosuth paves the way to the reception where you’re handed a key to one of eleven rooms, each named after the family members of Gervasio Newton. Within these spaces, original wood-beamed ceilings and terracotta tiles are enhanced with purpose-woven fabric walls crafted by the Venetian artisan Chiarastella Catana and custom-made, mid-century vintage furniture including bouclé, velvet and silk upholstery. Bathrooms are just as carefully curated, with local Cotto Etrusco tiles that range from emerald green to sky blue, as well as marble sinks and bathtubs and showers, some built intp the wall and others stand-alone.
<img loading="lazy" width="1024" height="683" data-attachment-id="360754" data-permalink="https://coolhunting.com/travel/the-enchanting-design-of-casa-newton/attachment/moggi8-am059940-modifica/" data-orig-file="https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/MOGGI8-AM059940-Modifica-scaled.jpg" data-orig-size="2560,1707" data-comments-opened="1" data-image-meta="{"aperture":"11","credit":"ALESSANDRO MOGGI","camera":"Canon EOS 5D Mark IV","caption":"","created_timestamp":"1689599005","copyright":"WWW.ALESSANDROMOGGI.COM","focal_length":"25","iso":"200","shutter_speed":"0.3","title":"","orientation":"0"}" data-image-title="MOGGI8-AM059940-Modifica" data-image-description="
The property itself is a treasure trove of iconic designer pieces including Dedar fabric wall coverings that bring the cocktail bar and restaurant to life. In addition, you’ll find a custom-designed sofa by Antonie upholstered in Pierre Frey fabric, seamlessly integrated with the stone spiral staircase that connects the three floors. Furthermore, emblematic are the ‘70s Ico Parisi chairs that welcome guests in the reception as well as two “Committee Chairs” of Pierre Jeanneret in the Sofia Suite. The white walls also come to life, imbued with artworks by Lucio Fontana, Carla Accardi, Giosetta Fioroni, Ed Ruscha and Joseph Kosuth, as well as a five-meter sculpture by Swiss artist Ugo Rondinone that stands at the entrance of the winery.
The winery, with its 35 hectares of vineyards, also showcases contemporary design to which Antonie wished to adhere with her objectives of seamlessly integrating with the surrounding landscape. The end product is a rectangular block made of brick, wood and a large glass window from which seven labels of organically certified wines, Vermouth and Grappa are produced.
The outdoors received just as much attention as the indoors with award-winning Tuscan born garden designer Luciano Giubbilei adding flourishes around the estate. Strolling through the antique garden is like walking through poetry; rosemary alternates with box hedges, hydrangeas and roses leading to a long, picturesque pergola. Then there’s the pool, further down the estate, reached by traversing a fragrant path lined with lavender, rosemary, daisies and rare flower species such as black Iris. The pool itself, lined with candy pink parasols, was designed as a sleek, elongated shape—as if it were pouring out onto the landscapes below.
” data-image-caption=”” data-medium-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/ll-201×300.png” data-large-file=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/ll-686×1024.png” role=”button” src=”https://150102931.v2.pressablecdn.com/wp-content/uploads/2024/07/ll-686×1024.png” alt=”” class=”wp-image-360757″ />Courtesy of Casa Newton
As the sun begins to set, walk across to La Loggia where stone arches frame the views of Pienza. A serene location to savor an aperitif before tasting chef Sara Scaramella’s cuisine at Il Cervo restaurant. Her menu is an expression of the territory, enhancing homegrown where possible, and locally sourced otherwise. This concept transcends all aspects of Casa Newton, where even the cocktails are made with high quality Tuscan spirits (hence a reduced selection); they’re even looking into keeping production in-house so, secrets spilled, they may be releasing a few spirits of their own.
Smartphone companies come and go, but the more notable ones usually stick around long enough to leave a mark. Essential, however, was fated to just be a bright, short-lived spark. Founded by Android creator Andy Rubin after leaving Google, the brand was supposed to mark a return to the essentials of the smartphone experience, hence the name, but it only ever got to release one product, which admittedly met a warm reception. The rest, as they say, is history, and most of us have probably forgotten the Essential PH-2 that made waves in the days before the company’s demise. Thanks to a few prototypes floating around the Web, we finally get to see this oddity in action, making us wonder whether it would have been a revolutionary success or if it’s fortunate it never got to see the light of day.
If Essential was staging a rebellion against mass-produced smartphones, the Essential PH-2 would be its perfect representative. While most devices were getting larger, this ultra-slim candy bar phone felt like someone had split a phone in half along its length. What you get is similar to a tiny smart TV remote with only a screen for its face. Handy, yet awkward and puzzling.
The front sported a 5.7-inch AMOLED display with a resolution of 2160×560, refusing to match any of the standard aspect ratios supported by display industries. The back is an all-glass affair as well as a fingerprint magnet, smooth and plain with only a small lump for a single camera and a dimple for a fingerprint sensor. It’s clear that the Essential PH-2 was designed for ergonomics primarily, something that can’t be said of most smartphones today, but some equally important things might have gotten lost along the way.
The Android-based interface revolves around a metaphor of cards or tiles arranged in a long, scrolling column, with each card representing an app. Given the unfinished nature of the device, it’s not surprising that many of these apps simply didn’t work, but those that did work revealed how the phone would have worked in people’s hands. Suffice it to say, watching YouTube won’t be the most enjoyable experience, even if turn the phone on its side for a 480p quality video.
This does raise the question of who this phone was targeted at. Or better yet, who would have bought such an oddity even back then? It wouldn’t be a fun social media experience, given how small images would be and how narrow text would have to be, nor is it good for watching videos. It might appeal to music lovers and maybe vloggers who want a handy camera to hold, though the prototype’s camera quality wasn’t exactly reassuring in that regard. We’ll probably never know now, though Essential still deserves some praise for daring to think outside the box, whether or not it cost them their business in the end.
Called Spolia, the range features a bespoke option that utilises waste aggregates from demolition sites across the UK to create terrazzo tiles and countertops.
Ad | UK-based ceramics supplier Solus Ceramics (@solusceramics) has created a range of bespoke terrazzo tiles made from waste materials from project sites.
The range is called Spolia and utilises waste aggregates from demolition sites across the UK to create terrazzo tiles and… pic.twitter.com/9TyI7Wt3RN
The Spolia collection takes waste aggregates from UK demolition sites and upcycles them into bespoke terrazzo tiles and surfaces
The initiative allows designers to incorporate waste materials from their own project sites into site-specific terrazzo tiles and surfaces, reusing local materials in new designs.
The tiles are created using traditional terrazzo techniques that have been adapted for large-scale production.
Solus Ceramics launched its Spolia range of tiles made from waste materials
The terrazzo is bound together with a low-carbon cement in two factories in Manchester and Leeds, in order to minimise transportation emissions and support local manufacturing.
According to the brand, designers are able to access carbon footprint data for each tile through the One Click LCA system.
Alongside the customisable tiles, the Spolia range is also available in a selection of 21 standard colours with a variety of finishes.
Tiles are created using traditional terrazzo techniques adapted for large-scale production
Solus Ceramics was founded in 1995 by Peter Bentley. According to the brand, it is the largest independent tile supplier in the UK, with showrooms in London, Manchester and Birmingham.
Solus Ceramics recently hosted an installation at its showroom in Clerkenwell in collaboration with Italian porcelain stoneware manufacturer Refin during Clerkenwell Design Week to explore microscopic photography.
In 2023, the brand created a musical instrument with keys made of porcelain tiles and invited composers, scientists, architects, engineers, artists and musicians to experiment with the instrument during Dezeen Awards ceremony in London.
To find out more about Solus, visit the company’s website.
The photography is by Solus Ceramics.
Partnership content
This video was produced by Dezeen as part of a partnership with Solus. Find out more about Dezeen partnership content here.
A crescent-shaped volume will enclose this holiday home, which architecture studio Snøhetta has designed for hospitality brand Not A Hotel in a ski resort on Hokkaido Island, Japan.
Proposed for a site within Rusutsu Resort on the foothills of Mount Yōtei, Not A Hotel Rusutsu will have a “clean, minimal form” that draws on the surrounding topography, Snøhetta said.
Snøhetta has unveiled designs for Not A Hotel Rusutsu
“Our approach always has a fundamental connection to nature, striving to create a profound unity between our surroundings and design,” said managing director of Snøhetta Asia Richard Wood.
“For this project, we are inspired by the extraordinary natural setting, offering visitors a unique experience at the foothills of the majestic Mount Yōtei,” he continued.
The holiday home will be located at Rusutsu Resort beside Mount Yōtei
Once complete, Not A Hotel Rusutsu will have a crescent-shaped form that dips at the centre and encompasses 1,200 square metres. Its lower portion will be sitting partially below ground.
The curved edges of the upper floor will be cantilevered, creating sheltered outdoor spaces on either end, including a space for deck chairs overlooking an outdoor bath.
A sunken long will feature at the centre
Inside, the home’s lowest level will contain a gym and sauna while the floor above houses a lounge, kitchen and dining area, alongside bedrooms and a study.
Where the building dips at its centre will be a courtyard-like space with a sunken seating area, designed to function as its social heart.
The exterior will be lined in locally sourced stone and blackened wood intended to complement the landscape, while large expanses of glass will help to connect occupants to their surroundings.
This natural material palette will continue inside, with the addition of warmer woods and green-toned furnishings that add warmth to the living spaces.
“The use of natural and local materials like stone and wood further embodies this project’s holistic approach to human well-being and harmony with nature,” said Snøhetta’s lead interior architect Ana Castaingts.
Local timber-framed buildings influenced the geometric form of Water Farm, a house that architecture practice Studio Bark has added to a family farm in Sussex.
The five-bedroom family home is constructed from wood and defined by its origami-like, wood-clad roof, which pays homage to local buildings and agricultural structures in nearby villages.
Water Farm is informed by agricultural buildings in nearby villages
“The surrounding villages have many timber-framed buildings from various different architectural periods with many different roof pitches, gables, hips,” studio founder Wilf Meynell told Dezeen.
“We want the building to feel agricultural, hence the gabled ends, but also nod to the variety of domestic roof pitches found in the local area.”
The home is topped by an origami-like roof
Located on the edge of Dedham Vale, a designated Area of Outstanding Natural Beauty, the site features mature woodland and pasture and is dotted with hedgerows and two distinctive oak trees.
To complement these natural surroundings, the home is almost entirely coated in locally sourced sweet chestnut cladding. The cladding is broken up by large windows and floor-to-ceiling glazing, providing the family with viewpoints over the landscape.
Sweet chestnut cladding cloaks the exterior
Water Farm’s angular roof folds in various directions above the building, juxtaposing its square-shaped plan and timber structure that is punctured by a central courtyard.
“The walls are timber frame sat on top of a blockwork plinth – a modern nod to the heavyweight plinths in the village – while the roof structure has been achieved using a folded plate system, where planes work together creating integral stiffness,” said Meynell.
Large windows break up the continuous wooden cladding
Inside, the studio aimed to maintain a balance between openness and separation, creating a stepped ground-floor plan that uses level changes to demarcate different spaces.
Here, an open circulation route wraps around the edges of the courtyard, with spaces including living rooms, a bedroom, a utility room and an open kitchen and dining space branching from it.
“To suit the client’s large and sociable family, circulation was set around an internal courtyard filling the house with light and providing visual connections throughout the key spaces,” said Meynell.
“Rooms and windows were positioned to capture key views to the Stour Valley and overhangs and shutters provide solar shading. Each space has a different ceiling height and feel based on its use,” he continued.
Water Farm’s roof folds in different directions
The kitchen and dining space is bordered on one side by large glass doors that open onto the courtyard, which features outdoor seating areas and planting.
Completing the ground floor is an ensuite bedroom that is closed off from the rest of the plan to offer more privacy.
Wood cladding was chosen to help blend the home into the landscape
Upstairs, Water Farm’s first floor features an L-shaped plan with four bedrooms. Gabled ends provide the two main bedrooms on either end with expansive views of the surrounding landscape.
“Where the ground floor is expressed and zoned through the stepped ground floor slab, the first-floor rooms are characterised by the striking geometry of the roof, which gives each room a unique spatial character,” said the studio.
“We wanted the rooms in the roof to be super exciting,” added Meynell. “All of the roof is accessible and there are even small mezzanines which have been great fun for the kids.”
Water Farm’s interiors feature off-white walls
Textured flooring and off-white walls feature throughout the interior spaces, brightened by sculptural details and pops of colour such as suspended lights over the kitchen and deep blue joinery.
Due to the home’s remote location, Studio Bark fitted the home with solar panels, a ground-source heat pump and a biofuel generator that help power and warm the home.
A central courtyard allows natural light into the internal spaces
Low-tech and passive design strategies also form a key part of Water Farm, helping to reduce its operational carbon footprint.
“Careful position of glazing, either with overhangs or movable external shutters, provides control of solar gain in the summer,” said the studio.
“The central courtyard provides a well of light and fresh air, which twinned with high ceilings and openable windows in every aspect provides daylight and natural ventilation throughout the plan.”
Gabled ends provide the main bedrooms with expansive views
Studio Bark was founded by Meynell in London in 2014. It specialises in sustainable building design.
Dezeen Showroom: textile manufacturer Ultrafabrics has designed Volar Bio, a high-performance and durable material partially made of recycled plastic bottles.
Available in 15 playful colours ranging from scarlet to matcha, Volar Bio is made from 66 per cent recycled, “rapidly renewable” and biobased materials, according to Ultrafabrics.
Volar Bio is a textile by Ultrafabrics
The textile includes Repreve polyester, Ecovero viscose and Susterra propanediol biobased resin – a petroleum-free ingredient derived from regeneratively farmed US dent corn, used to create leather alternatives.
Each linear yard of Volar Bio contains 8.3 recycled plastic bottles or 9 bottles per metre.
Each linear yard contains 8.3 recycled plastic bottles
“Volar Bio was the first Ultrafabrics collection to focus on responsible innovation and the use of more sustainable ingredients,” said Ultrafabrics.
“One of the first high-performance biobased fabrics on the market, it is also one of the few that can be used for upholstery as it can be cleaned or disinfected, and most importantly maintains Ultrafabrics’ durability standards,” the brand added.
Materials: polyurethane surface, recycled polyester and rayon backing
Dezeen Showroom
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.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
