Quite a bit of design has gone into this Demi Next stroller, by baby products brand Nuna.
This is the base of the system.
The mounting position for the infant carrier is relatively high, to ease eye contact between the pusher and the baby. The angle is adjustable.
The infant carrier can also be attached to face forwards.
There’s a pull-out privacy screen…
…as well as a rain screen option.
The basket below is for carrying supplies.
There’s an optional flip-out step that a child can stand on.
The infant carrier can also be swapped out for one of the company’s bassinets.
There’s also an option to add a second infant carrier down below, but I’m guessing something about this isn’t ideal; none of the marketing photos show the stroller with both carriers occupied.
Lastly, it folds down compact for storage.
The stroller weighs 26 pounds, and can reportedly carry 50. It runs $950.
ID consultancy Bluemap Design was hired by Squid, a startup that had an idea for the bathroom.
“Shower curtains are a hassle to keep clean due to their tendency to accumulate mold and mildew. Additionally, they require frequent replacement, which is not environmentally friendly. Glass shower screens are an excellent alternative, but they can be costly and require professional installation. Fortunately, SQUID and Bluemap Design has solved these problems by offering an innovative, affordable, and easy-to-install DIY shower screen solution.”
“The SQUID Acrylic Stick-On Shower Screen is a DIY shower screen kit that is very easy to assemble. You can install it in just a few minutes without any special tools. The screen kit comprises anodized aluminum frames, BPA-free transparent acrylic panels, stainless steel fasteners, and silicone rubber seals. It is a perfect fit for any bathroom decor, whether you have a modern or traditional style bathroom. The SQUID Acrylic Stick-On Shower Screen’s sleek design and silhouette blend effortlessly with your shower space.”
“Our design team has created the shower screen that is not only functional but also easy to install. We understand that sometimes, the simplest solutions can make a significant impact. That’s why we simplified the installation process by eliminating the need to drill holes in the wall or tiles. The anodized aluminum frame is attached to the wall with specially formulated adhesive tape, which is both super strong and easy to remove without damaging the wall. The transparent panels are slotted and locked together with just a few screws, making it a hassle-free process. And the best part is, you don’t need a professional installer or specialized tools to install it. You can effortlessly transform your shower space with quick and easy installation in just a few minutes.”
“We help our clients build their brands through innovative design. For this project, we collaborated closely with SQUID to develop the concept, engineered all the manufacturing parts, made numerous prototypes for testing, explored and specified CMF, created the graphic and packaging design, sourced vendors, and worked with the manufacturer to produce the final products. From product to graphic to packaging design to production, we created a cohesive approach that enhanced the user experience of the product.”
Whether you’re modelmaking for an industrial design studio or a movie set, foam is a go-to material for creating large, fake objects. It’s a fairly economical way to build up mass.
However, foam can be messy and time-consuming to work with. You of course need a skilled artisan to sculpt it. The larger you go, the more you may need to add steel supports for structure. Then there’s the finishing; if your large-scale object say, needs to withstand fake rain on a movie set, the foam will require laborious finishing, sealing and sanding.
Australian modelmaking shop Studio Kite knows about all of these problems. The company has been around since the ’90s, and you’ve likely seen their work; they created that organic battery bank that Neo wakes up in The Matrix.
In 2000s they began experimenting with 3D printing using a robot arm. Steve Rosewell, the company’s Principal Engineer, designed the system but wanted to go bigger. He subsequently developed Cadzilla, a gargantuan 3D printer that resembles an elevator shaft.
In designing the machine, Rosewell initially looked at the 3-arm delta configuration, but found it too imprecise. By adding a fourth arm, he not only increased accuracy, but resolved the build area into a more convenient square footprint.
Incredibly, the machine can print objects 8.5′ square and nearly 12′ tall (2.6m square, 3.6m tall). Internal support lattices can be baked into the designs, obviating the need to add internal bracing later.
By focusing on the design of the nozzle, Rosewell created another advantage. It features a vibrating plate that flattens the extruded material as it deposits it. This means that as each layer is built up, “we’re not putting a round bead on a round bead,” Rosewell explains. “We’re actually putting a ribbon on a ribbon.”
“We can have that ribbon maybe 8mm wide, but only going up 1mm. That means our overhangs can really reach out a long way.”
Printing in thin ribbons like this means quicker cooling times, and the finer connection between the layers means there’s less time spent on finishing. And robust, outdoor-safe finishes can be achieved. “Parts can be finished with a water-based acrylic modified cement material which is weatherproof and tough,” the company says.
Another brilliant part of the design: Rosewell designed the Cadzilla to use pellets for feedstock, rather than filaments. This provides two benefits. The first is that pellets can be purchased in bulk for less cost than filaments. The second, is that if a design doesn’t come out right, the team can simply grind it up, then dump the grinds into the hopper for a second go-around. This greatly reduces waste.
The Cadzilla can print with ABS, PE, PP, PVC, PLA, HDPE, and TPE/TPU rubber.
The company says they plan to bring Cadzilla to market.
The month of June has been pretty interesting as it’s brought with it a storm of mind-boggling and innovative tech designs! At Yanko Design, it’s surely been an exciting time for us, as we came across an influx of intriguing designs that left a lasting impression on our minds. Each design broke through some barrier or convention in the tech world, bringing us unique solutions, improved functionality, and immense value. From the downpour of tech designs that June 2024 introduced to us, we’ve curated some of the very best. Not only do these designs address tangible problems, but they also make our lives better, easier, and more efficient in their way. We hope these inventive tech gadgets impress you, as much as they impressed us!
1. Minisforum S100
Dubbed the Minisforum S100, this small and sleek box may look like a power bank, but it is, in fact, a mini PC that you can carry with you almost anywhere, or even install in narrow little spaces. The PC has a small form but is equipped with many standard connectivity options such as Wi-Fi 6, Bluetooth 6.2, 2.5 Gbps Ethernet, USB-A ports, HDMI, and 65W USB-C. The HDMI and the USB-C make the product pretty portable and flexible.
Why is it noteworthy?
You can connect another monitor through the HDMI to create a high-value dual-screen setup which increases productivity. The palm-sized mini PC is pretty easy to pick up and take anywhere with you, so you can work in a cafe by simply connecting an external display and a power bank.
What we like
Supports Power-over-Ethernet or PoE, so you can use the S100 to operate a camera security system without plugging it in
What we dislike
It doesn’t have its own battery
2. Nothing Power Bank
Named the Nothing power bank, this nifty little gadget is the ideal device for your jet-setting adventures. The gadget has a transparent aesthetic that boasts its innards in all their glory. The interior is illuminated with tiny warm-toned LEDs, which impart the power bank with a futuristic and Cyberpunkish look inside and out.
Why is it noteworthy?
This conceptual power bank design is a great fit for Nothing, as it is pretty functional, and has a simple no-frills design. There are quite a lot of options in the market, but this transparent design would make for a valuable and unique addition to Nothing’s ever-growing line of products.
What we like
The power bank complements the Nothing Phone (2)
Features sleek transparent aesthetics
What we dislike
It’s a concept, so we’re not sure how well it would translate into a tangible product
3. Samsung Odyssey OLED G9
The new Samsung Odyssey OLED G9 is a 49-inch monitor with a resolution of 5120×1440 and an aspect ratio of 32:9. It isn’t an ordinary curved screen, and offers a really wide field of view that perfectly conforms to the way your eyes work, owing to its 1800R curvature. You can enjoy a more immersive and fascinating visual experience, irrespective if you’re playing a game or just watching videos.
Why is it noteworthy?
Using the Odyssey OLED G9 is like having two QHD or 2K monitors side-by-side but with the elimination of the distracting borders that break the seamlessness and harmony of the entire experience. There is also enough space for multiple application windows, helping you get your work done.
What we like
It features a Multi-View option that allows you to place two screens from two different sources, letting them play at the same time
What we dislike
It doesn’t have the best sound
Quite a hefty price tag
4. JBL Live 3 Series
At CES 2024, JBL released three distinct models – the Live Buds 3, Live Beam 3, and the Live Flex 3. These wireless earbuds make up the Live 3 series, and they were made to meet the requirements and preferences of different users, offering them a smooth and personalized audio listening experience. They are stored in a sleek touchscreen charging case.
Why is it noteworthy?
The Live 3 Series includes a 1.45-inch LED touch display on the charging case. It was first integrated in JBL’s Tour Pro 2, and now it has made a comeback. This unique touchscreen allows users to handle calls, view texts, and control music playback. It even lets you check social media alerts on the charging case.
What we like
It is a great option for those who don’t like using their phones much
What we dislike
The touch control system isn’t very customizable
5. Battery-free Amplifying iSpeakers
Named the Battery-Free Amplifying iSpeakers – these innovative speakers are both portable and battery-free. The speakers are a fresh new version of a typical no-power smartphone speaker. It is made from metal, making the product quite functional, unlike conventional speaker designs.
The amplifying speakers are built from Duralumin, which is an aluminum alloy used in aviation and aerospace industries, as it is equipped with vibration-resistant properties. All you need to do is place the smartphone into the speaker and let the sound envelop the room and you.
What we like
Electricity-free and doesn’t require any power
Quite intriguing to look at, with a minimal appeal
What we dislike
Won’t work well with bulky smartphone covers and cases
6. TCL 50 XE 5G
Meet the TCL 50 XE 5G, a nifty smartphone that helps you not only keep up, and stay way ahead of your crazy and fast-paced life. It is equipped with advanced technology and a triple camera system, both teaming up to provide you with accurate color, deep contrasts, and fluid animations at a 90Hz refresh rate. The phone captures every detail owing to its fifty-megapixel main camera, which preserves your priceless moments.
Why is it noteworthy?
It is equipped with the MediaTek Octa-core fifth-generation processor which supports smooth and seamless operations, irrespective if you’re streaming, gaming, or multitasking. It has a battery of 5010 mAh which easily gets you through your day, without the need to constantly recharge it.
What we like
Biometric solutions like face unlock and side-mounted fingerprint protect your precious information
What we dislike
No 4K video recording support
No reverse charging support
7. ASUS ROG ALLY
The ASUS ROG ALLY may look similar to the OG ROG Ally, but it does have a new all-black motif. ASUS also chose white for its first iteration, although it does help it stand out from its rivals. The handles are rounder which ensures a better grip, which is pretty critical to a handheld device. The back triggers are also positioned at a better angle, offering improved ergonomics, while the joystick and D-pad are more durable and precise.
Why is it noteworthy?
It features the same AMD Ryzen Z1 Extreme as the original ROG ALLY, but the mobile gaming processor is now teamed up with 24GB of DDR-7500 RAM. The storage capacity has also been increased to 1TB, and the battery has also been improved to 80Wh, which ensures more playing time.
What we like
Amped with improved thermal cooling solutions so it won’t burn your hand
What we dislike
Doesnt feature ASUS’ proprietary XG external graphics port
8. Moto Tag
Motorola recently announced an Android-based device tracker, which in all honesty looks pretty familiar. Called the Moto Tag, it is based on Apple’s AirTag and is designed to be a compact little tracking device that pairs up and works perfectly with the Android OS. It allows you to accurately and efficiently track your precious belongings.
Why is it noteworthy?
Much like the AirTag, the Moto Tag is a tiny circular disc that is just a little bigger than a quarter. The Moto Tag features a user-replaceable CR2032 battery which can last a full year on a single charge. The Moto Tag integrates perfectly with the new Google Find My Device Network, facilitating easy and smooth pairing with multiple Android smartphones.
What we like
It plays a sound for easier retrieval
What we dislike
Doesnt feature a built-in keyring loop
9. Pony Project
Meet the Pony Project – a portable CD player concept with a built-in speaker that is inspired by Sony and Teenage Engineering. It is a conceptual design with the design DNA and color theme of Teenage Engineering and features a digital display that shows the music being currently played.
Why is it noteworthy?
The Pony Project features volume rockers, bass, and treble, as well as power and stop buttons. The player is equipped with the ‘Pony’ branding and makes for an interesting dupe of Sony. Teenage Engineering’s signature color theme was also incorporated in the design.
What we like
Offers a new and fun makeover to DAPs
Combines Sony & TE design language
What we dislike
It is a conceptual design, so not sure how well it will translate into a real product
Dubbed the Marshall Celestion 100 limited edition collectible amp, this limited edition design is the perfect combination of timeless design and the brand’s historic sound. Only 100 units have been made, and each amplifier is equipped with a unique numbered plaque. It has versatile power controls, and you can switch between 20W and 5W settings to perfectly match your playing environment.
Why is it noteworthy?
You can play tunes in different settings to complement different vibes – ranging from house parties, and quaint me-time sessions. They are handmade in the UK, and they carry the legacy of legendary build quality and are crafted with immense attention to detail.
What we like
Limited-edition, special pieces that are must-haves for collectors
What we dislike
Premium materials need extra special care especially when transporting and using outdoors
When you think of wood, the color that immediately comes to mind is brown since that’s what most of us have seen in the trees near our abodes or even when we travel. But it’s not the only color that we can extract from it, specifically from various species of forest trees. With 2//3 of Japan covered with trees and a lot of these forests remaining unharvested and unmaintained, it’s interesting to see what sustainable products can be made out of these trees.
Designer Name: Playfool
Forest Crayons is a project that uses the pigments extracted from various recycled forest trees and mixes them with other sustainable ingredients to turn them into crayons. Each one has a different shade that is based on the species of the recycled tree as well as how it was cultivated and grown. For example, you get a light green color for magnolia and a deep turquoise of fungus stained wood.
The pigments extracted are mixed with wood, rice wax, and rice oil to produce the different crayons. There are ten crayons available in the Forest Crayons set: Bayberry, Bogwood, Cedar, Chinaberry, Cybress, Hazenoki, Katsura, Kaizuka, Magnolia, and Zelkova. Some names should be familiar to most people but there are species that are native to Japan and some that have Japanese names.
Forest Crayons are actually supported by the Japanese Forest Agency and aside from producing these from recycled trees, they also want to “breathe new life into Japanese wood” so that people will have a new appreciation for the country’s forests. I would prefer the triangular shape of the crayons shown in the product shots but it makes sense of course to have them in the traditional crayon shape for functional reasons.
The earbuds’ answer to open-ear headphones is the clip-on style that doesn’t sit deep in the ear canal, therefore less chance of permanent hearing damage if you listen to music at high levels. Bose Ultra Open earbuds created quite the buzz at CES 2024 for this new earbuds design but a price tag of $300 only attracted enthusiasts.
Now JLab has come up with a similar open clip style design called Flex Open earbuds. The pair offers most of what the high-end earbuds offer and that too at a fraction of a price. Being only $50 makes this open-ear accessory worth the try if you are eager to try out new audio accessories.
For those who want to be aware of the ambient sounds around them, the open-ear design is perfect. That’s where the Flex Open excels for a sixth of the price offered by the best in the industry. They even manage to beat the Bose’s earbuds with an IP55 rating and multipoint connectivity right out of the box. Battery life is also impressive at seven hours on a single charge and 21 more hours on the charging case. Compare that to the Ultra Open which lasts a couple of hours less in real-life testing. While you cannot expect the audio quality to be anywhere close to Bose, still the 12mm drivers deliver a thumping sound.
The only thing you can complain about is the lack of spatial audio with head tracking, but most people like me don’t bother much. Call quality in noisy environments can be a bit of a hit-and-miss with these, but if you’re using them majorly for music listening, they are a bang for the buck. After all for that price, how much wrong can these go? One thing that’ll make you ditch these earbuds is the lack of the latest lossless Bluetooth codec from Qualcomm if you care about those things.
The companion app for the Flex Open lets you toggle the sound signature to stay close to the preferred curve. In a way, these earbuds tick all the right boxes if you are on a budget and want to try out this new open-ear earbuds trend for once without breaking the bank.
The Barbie dolls and Dreamhouses featured in Barbie: The Exhibition at London’s Design Museum reflect shifts in visual culture over the famed toy’s 65 years.
With over 250 objects on display, Barbie: The Exhibition opens today and examines the history of the doll since it was created by Mattel co-founder Ruth Handler in 1959.
Barbie: The Exhibition opens today at London’s Design Museum
According to curator Thom, the exhibition was conceived to unpack the toy’s cultural influence over the last 65 years and explore the “myriad technical, aesthetic and cultural decisions that go into creating Barbie”.
“What I would really like visitors to take away from the show, whether they’ve come as Barbie fans or Barbie skeptics but with an interest in design, is that there is actually a very complex and intentional set of design processes that go into creating the dolls and the accessories,” said the curator.
The show features dolls throughout Barbie’s 65 year history
“And that intentionality does reflect the social context in which any given Barbie is being produced,” she told Dezeen at the Design Museum.
“I want people to realise that Barbie is a worthy proposition from a design point of view,” she added.
A first-edition Barbie is included in the collection
Created by architecture firm Sam Jacob Studio, the exhibition design includes iridescent colourful plinths and cylindrical toy packaging-style cases displaying past and present-day Barbies and their accompanying Dreamhouses and accessories.
Among the collection is a first-edition, hand-painted doll from 1959, positioned next to archival footage of the earliest Barbies being manufactured in Japan. The exhibition also features Christie, the first Black Barbie designed in 1968, and the first Hispanic and Asian Barbie dolls created by Mattel.
There is an entire section dedicated to hair
There is a specific section dedicated to the evolution of Barbie’s now 76 hairstyles available in 94 colours, crowned by a bespoke chandelier made of dolls’ hair.
“In the 90s, I found that a lot of the Black Barbies had straightened hair,” said Thom. “Today, Barbies come with different hair textures.”
“Obviously, hair play is fun. Children like to brush Barbie’s hair. But there’s more to it than that. How Barbie’s hair is represented is a way in which the importance of her is conveyed to children,” she added.
The exhibition highlights past and present furniture trends
Barbie dolls from the 2016 Fashionista line are also on display, which were created to include more body types and skin types.
“I think since then, there has been a much more concerted effort to provide as many different visual frames of reference as possible in the doll line so that in theory, every kid can see something of themselves,” said Thom.
“I’ve found that more recently, there’s that level of attention to cultural details,” added the curator.
Sam Jacob Studio created the exhibition design
Elsewhere in the exhibition, a selection of Dreamhouses chart how architecture and furniture trends have influenced the Barbie universe.
Designed in 1962, the first Barbie Dreamhouse is on display. Created entirely out of cardboard, the single-storey home features mid-century modern furniture similar to the designs of Florence Knoll, the late pioneer of the modern open-plan office.
The first Barbie Dreamhouse didn’t have a kitchen
With the absence of a kitchen, the first Dreamhouse positioned Barbie as an “independent woman”, argued Thom, created at a time when it was “virtually impossible” for an American woman to gain a mortgage without a male guarantor.
Visitors can also find the yellow-hued A-frame Dreamhouse from 1978, complete with a pitched roof and angular windows, which recalls the early work of California-based architect Frank Gehry.
“It was a little avant-garde for its time,” reflected Thom. “The house doesn’t look very Barbie by our contemporary understanding of Barbie – no pink whatsoever – but these moments in Barbie’s design history reflect what was going on in the world of design,” explained the curator.
Architecture trends are reflected in Barbie’s many homes
Later architecture trends also feature in the show, with a Dreamhouse from 1995 revealing a return to more traditional American 19th-century motifs including corner turrets and decorative mouldings, with all-pink, “chintzy” sofas placed in the interior.
“It’s this kind of colonial-style architecture with sash windows, a portico and vines climbing up the side,” explained Thom.
Shifts in fashion over the years are also acknowledged in the show, with various displays documenting Barbie’s many looks. There is a doll with a cropped hairstyle wearing a tiny version of a dress from the late designer Yves Saint Laurent‘s 1965 Mondrian Collection, while a host of more “everyday” Barbie garments were arranged within a bright pink cabinet.
Although Thom explained that the exhibition has been in the works for a few years, as opposed to a response to last year’s high-grossing Barbie film directed by Greta Gerwig, the show features a pair of fluffy pink mules and the multicoloured roller-skating look worn by actor Margot Robbie in the movie.
“We had a fascinating, kind of informal chat with the set designers about their process,” said the curator.
Select pieces from last year’s Barbie film were also included
She also explained why the museum sought the exhibition design of Sam Jacob Studio.
“We wanted to work with Sam because we felt that his aesthetic, which is obviously very pop-inspired, very playful and colourful, would be a great fit for how Barbie has been presented over the years.”
“Almost all the objects in the show are tiny,” added Thom. “So we wanted to design something that gave her a sense of presence, and almost in some cases monumentality.”
“We needed to come up with a design that worked with that, but also augmented it,” she explained.
“The idea that Barbie is a reflection of culture I find interesting,” considered Thom, who noted the inclusion of various dolls in the exhibition designed with specific “careers” – Barbie has had over 250 of them in her history.
“Because it does suggest that her meaning, or meanings, are in the eye of the beholder – the eye of the consumer. And I think that’s one of the reasons for her longevity,” continued the curator.
“I think there can be a tendency to write things off that might be feminine-coded or child-orientated, as being somewhat lesser when it comes to design,” she added.
“Barbies are toys – they are mass-produced. They are designed first and foremost to be played with. But that doesn’t negate the possibility that they are important objects.”
Local studios Jørgen Tandberg Architecture and Vatn Architecture looked towards the simplicity of utilitarian roadside buildings when designing Brunstranda Service Building in Norway.
Located in Lofoten, an archipelago in the north of Norway, the concrete service centre provides rest spaces and bathroom facilities for cyclists and surfers visiting the area.
It replaces old and dilapidated facilities on the site, which is positioned beside a white sandy beach and bordered by the large mountain ranges of Flakstadøy.
Jørgen Tandberg Architecture and Vatn Architecture have designed a service centre in Norway
This led to a pared-back, cuboidal volume for the centre, built with prefabricated concrete elements, including fourteen-metre-long beams, and a gridded facade.
It is topped by a roof structure that extends beyond the walls, providing covered outdoor areas where tourists can shelter from the rain.
It provides rest spaces and bathroom facilities for surfers and cyclists
“The form of the building is simple and clear, with strong horizontal lines contrasting the wild landscape around it,” architect Espen Vatn told Dezeen.
“We like the ordinary utilitarian and unassuming buildings one finds along the roads in Norway,” added architect Jørgen Tandberg. “Our project aims to refine and elevate aspects of these buildings into a contemporary structure.”
Concrete, steel and glazing were used for the structure
Panels of glazing and stainless steel feature across the gridded facades, while a bench spans the entire sea-facing elevation to offer spaces for rest.
Where the exterior walls are not glazed, panels of white bush-hammered concrete with marble aggregate are used to echo the colours of the surrounding landscape.
“The white, bush-hammered concrete used in the construction refers back to the colour and texture of the sand at the nearby beaches,” said Tandberg.
“Emphasis has been placed on robustness and durability in the choice of materials,” Vatn expanded. “All surfaces not part of the concrete structure were made from stainless steel of the best quality, to withstand the harsh weather conditions in Lofoten for many years to come.”
A bench spans the entire sea-facing elevation
Inside, Brunstranda Service Building features a deliberately simple arrangement of spaces accessed by a bright yellow door on the mountain-facing side.
This entrance leads into an enclosed relaxation space that features a series of circular elements including a round bench and small circular windows.
A bright yellow door leads into a relaxation space
Clerestory glazing around its edges matches the one-metre depth of the exposed beams.
The room is punctuated by a stainless steel divider, which separates the relaxation space from the rest of the building where there are four toilet cubicles.
A stainless steel divider divides the interior
Alongside creating Brunstranda Service Building, the studios also updated the surrounding area with paths and parking spaces, as well as circular benches that offer views of the nearby sea.
London’s Somerset House has opened The Lore of Loverboy, a new exhibition celebrating 10 years of the genderfluid, punk-revival fashion house founded by Glasgow-born designer and illustrator Charles Jeffrey.
According to Somerset House, the exhibition explores the trajectory of the Loverboy brand from its inception to the present day. Providing an immersive insight into creative production, industry and spectacle, it also aims to cover the full spectrum of Jeffrey’s artistic output.
The exhibition includes custom designs and archival artefacts, as well as newly commissioned works and collaborative projects.
The Lore of Loverboy has opened at Somerset House
“It’s not just about celebrating 10 years of Loverboy; it’s about sharing our approach to fashion; being creative, approachable, and not taking ourselves too seriously,” said Jeffrey.
“We’re here to shine a light on what we’ve built and to show that if we can do it, so can you. Visitors can expect to see our journey, our quirks, and have a good laugh along the way,” he continued.
“It’s about making fashion accessible and fun, reminding everyone that at the end of the day, it’s about expressing who you are.”
The exhibition chronicles Charles Jeffrey’s work
Located within the Terrace Rooms of the building’s South Wing, the exhibition follows a chronological format and has been divided into three distinct spaces – Initiation, Ritual and Manifestation.
Each space is characteristic of the Loverboy brand’s striking use of pattern and colour, paying homage to Jeffrey’s Scottish heritage through continual displays of motifs such as tartan.
The first room, Initiation, is an immersive ode to Loverboy’s origins as a queer club night in east London. Emulating the interior of a nightclub, design features include a neon cloakroom sign, purple LED lighting and industrial framing in the signature tartan pattern.
On display are a plethora of Jeffrey’s initial works and influences informed by style icons like Andy Warhol and Vivienne Westwood, documenting his early development as a student at Central Saint Martins before graduating and launching his label in 2015.
Initiation honours Loverboy’s nightlife roots with purple LED lighting and a neon cloakroom sign
“I am a huge fan of Charles’ MA collection, I can remember seeing it when it first came out and being so impressed,” the exhibition’s co-curator Bunny Kinney told Dezeen.
“My favourite look from that collection – long red jacket and paint splattered trousers with a deconstructed Aran jumper – is one of the first you see upon entering the exhibition and really sets the tone for that first room.”
The exhibition was built with industrial framing
Contextual objects from the Loverboy archive adorn the space and add detail to chosen garments. Sketchbooks, handwriting and personal photographs are among the never-before-seen ephemera.
“One of the most rewarding aspects of curating the exhibition was the opportunity to incorporate such a diverse body of material in addition to actual garments,” the exhibition’s co-curator Jonathan Faiers told Dezeen.
Garments, personal artefacts and ephemera line the three rooms
Jeffrey’s craftsmanship is demonstrated in the second room of the exhibition, Ritual, by showing the various stages and methods of his design process. A selection of Jeffrey’s garments are also on display in this room.
“We presented a reconstruction of the quintessential object common to all workshops, studios, and ateliers – the table on which we assembled a group of items and ephemera that tell the story of the design process of a jacket from conception to finished garment,” said Faiers.
Fabric swatches, mood boards and digital research sketches are just some of the artefacts scattered across the meticulous recreation of Loverboy’s pattern cutting table. Two floors below is the table used daily by the fashion house’s team, which is still based in Somerset House.
Ritual details Jeffrey’s design process
The final room, Manifestation, focuses on Loverboy’s most flamboyant and extravagant designs
Highlights include a silver jumpsuit worn on stage by singer Harry Styles, a blue patterned cape dress with a coat for actress Tilda Swinton at the Fashion Awards 2022, and armour made from ceramics in collaboration with English crockery and homeware brand Wedgwood.
Manifestation highlights Loverboy’s flamboyant red carpet and runway-ready designs
Jeffrey is one of Somerset House Studios’ original artists and maintains a strong relationship with the institute. Somerset House in the Strand provides residence to a variety of creative organisations, alongside a cultural programme of temporary arts activations and exhibitions throughout the year.
The photography is by David Parry, courtesy of Somerset House.
The Lore of Loverboy will run from 8 June to 1 September 2024 at Somerset House in London. For more events, exhibitions and talks in architecture and design visit the Dezeen Events Guide.
The block of five apartments, one of which is lived in by the Núñez Ribot Arquitectos founders, occupies a sunken site in Aravaca that previously served as a padel tennis court.
Casa Pádel is clad in cork panels
Nuñez and Ribot replaced the court with a four-storey residence organised around a basement courtyard, with three of the apartments on this level and the remaining two split across the floors above.
The architects used Casa Pádel as an opportunity to test the use of a load-bearing mass-timber structure, having only worked with prefabricated steel frames on previous buildings.
The site was previously a sunken padel tennis court
The cross-laminated timber (CLT) is exposed inside Casa Pádel, while the building’s exterior is clad in cork panels.
“Until now, we were working with an industrialised steel-frame housing system,” Ribot told Dezeen.
“In fact, this project began with this system and its characteristics. But the move to a CLT system was easy; it worked very well with the walls and distances.”
The layout is organised around a sunken courtyard
Cork, a renewable material harvested from the bark of the cork oak tree, is becoming increasingly popular for residential buildings in Spain, with other recent examples built in rural Navajeda and the Cuenca Alta del Manzanares Regional Park.
“Cork works fabulously as cladding,” Ribot said. “It is a natural, ecological material and it does not absorb or give off heat.”
Another benefit of cork, Ribot pointed out, is that it can be sourced from suppliers in nearby Portugal.
“We were looking for a soft image; we wanted the building to be close with the trees around it,” she stated.
A second courtyard is located on the east side of the building
The surrounding trees also affected the design in other ways. In particular, a 20-year-old horse-chestnut tree had to be considered when planning the Casa Pádel’s layout.
Elsewhere, maple and gardenia trees have been introduced, with one in the entrance courtyard and the other in a second courtyard to the east, along with rhododendrons and other shade-loving species.
Casa Pádel’s cross-laminated timber structure is exposed internally
The living spaces are designed by Nuñez and Ribot to allow for flexible use and to feel more like a single house than a series of isolated apartments.
On the lower level, a three-bedroom flat is located to the west, alongside a two-bedroom home and a studio flat. A one-bedroom flat occupies the ground-floor level, while the first and second floors contain a one-bedroom duplex topped by a penthouse-style study room.
The staircase is organised in a central core
The architects describe Casa Pádel as “a mini open building” with the staircase and several bathrooms organised in a central core to optimise spatial efficiency.
The project was completed in March 2023 and is currently home to nine people.
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