Local studio Trahan Architects has finished an interior renovation of the Caesars Superdome in New Orleans, completing a series of renovations launched after Hurricane Katrina that it claims will extend the stadium’s life by 25 years.

Trahan Architects‘ work on the interior is the latest upgrade since the studio was engaged on the Superdome restoration in 2005, after it was damaged by Hurricane Katrina. The building sheltered as many as 20,000 thousand people fleeing the storm.

The Superdome was originally completed in 1975 by Curtis and Davis Associated and featured a dome and concave cylindrical facade clad with aluminium panels.

After Hurricane Katrina, Trahan Architects implemented an overhaul of the exterior, replacing all the panels with a rainscreen system made from anodized aluminium metal panels.

The current phase of the renovation, which was completed in time for its first game of the NFL season, included the removal of the ramp circulation system on the concourse.

This allowed for concessions to be pushed to the outside of the structure, as well as for the installation of atriums in the entry programs and for lounges to be installed.

In total, the renovation opened up more than 100,000 square feet (9,290 square metres), according to the studio.

The removal of the ramps allowed for more shared spaces and circulation, according to the studio, which modelled the concessions and circulation on the community-oriented streetscapes of New Orleans.

“With this interior overhaul, we wanted the building to feel like a microcosm of our city,” Trahan Architects founding principal Trey Trahan told Dezeen.

“We thought of the design as a series of stacked neighborhoods or ‘faubourgs’ as we call them, all connected by generous circulation spaces that served them – aka ‘the street’.”

Also important to the renovation was bringing the materiality used for the original facade inside.

Both Trahan and studio partner Brad McWhirter told Dezeen that the original innovativeness of Superdome, structurally and materially, was important throughout the redesign process.

“The rich material language they worked with, having the exterior skin of anodized aluminum which ages beautifully over time, along with its elegant form, made us see it as a sculpture that needed to be expressed both inside and out,” said McWhirter.

“Before, you never got to experience the shape of the building from the interior – they were treated as two completely separate elements.”

This move is most obvious in the atriums placed at three corners of the structure, which are the most visually apparent interventions.

Here, express elevators move up through the voids. The voids have walls clad with anodized aluminium rods and are crossed by thick metal-clad beams that reveal the structure.

Planning for resiliency and bringing the structure to compliance with codes around ventilation and accessibility were also important in the redesign process.

Trahan Architects worked with engineering firm Thornton Tomasetti to ensure the building could stand up to high winds – it was during this 3D modelling process that the voids covered by the circulation ramps were discovered, which led to their removal.

“You would walk up the ramps from floor to floor with an eight-foot (2.4 metre) ceiling height, to small, cramped concourses until you finally got to your seat for some relief,” said Trahan.

“With the model, we could see the full breadth of the voids and wasted space that could be more useful for the public, building operations, and for incorporating new mechanical systems.”

These processes all happened while keeping the stadium in use for the American football season. The studio also had to install accessible decks for movement-impaired people, all while making sure that new mechanical systems did not interfere too much with the aesthetic of the exterior.

“This, and from a design standpoint, implementing universal accessibility within a 50-year-old building was very difficult.  We had to make up for a lot of lost time to bring the building up to today’s standards and go the extra mile to prepare for the future,” added Trahan.

These future-looking improvements included the aforementioned facade replacement and the inclusion of new emergency generators, as the loss of power during Hurricane Katrina created harsh conditions for those sheltering inside.

The architects also lauded some of the original features of the structure, which were maintained.

“For instance, the ‘gutter tubs’ of the roof, hidden behind the lip of the facade at the top, manage stormwater such that draining a 10-acre roof doesn’t overload the city’s system,” said McWhirter.

“This continues to work very well to this day – even with the incredible amount of development that’s occurred since the building first opened.”

According to the studio, the total of the renovations since 2005 will drastically extend the lifespan of the stadium.

“This comprehensive renovation is expected to extend the building’s lifespan by 25 years, allowing future generations to enjoy the same sense of community and excitement the New Orleans landmark has fostered for nearly half a century,” it said.

Other restorations of iconic buildings include Foster + Partners’ interior overhaul of the Transamerica Pyramid skyscraper in San Francisco.

Meanwhile, natural disasters worsened by climate change continue to be an impetus to design buildings better. In light of that, Dezeen launched a series last year called Designing for Disaster to highlight the different problems and solutions architects and designers face in the face of extreme weather events.

The photography is by Tim Hursley.

The post Trahan Architects restores Superdome to be “microcosm” of New Orleans appeared first on Dezeen.

When Zero Halliburton wanted to update their classic suitcases, they turned to industrial design consultancy Pensa. “Known for products built on quality, durability, strength, and luxury,” the firm writes, “this iconic American brand wanted to create a new generation of luggage crafted for the modern traveler.”

An elevated travel experience

PENSA worked with Zero Halliburton to create a bold modernization on their classic product. We re-imagined everything from the design of the handle to materials in order to create an elevated experience for the thoughtful traveler.

Pushing the limits of materials

Zero Halliburton introduced the world to aluminum suitcases in 1938, and their cases are known for legendary protection. Unlike a molded plastic shell, an aluminum case is a formed object. There are things that are possible to do with the material, and there are also limitations. We were determined to push those limitations in order to achieve a beautiful, iconic and sculptural form that takes advantage of the material qualities and creates a stronger and more structural case.

Durability through invention, prototyping and testing

Through many rounds and iterations of aluminum prototypes, we focused in on geometries that provided stiffness and impact resistance. One of the key and unique elements to this design language is the structural, concave form that runs along all of the edges and corners of the cases. As we tested various geometries we found that this concave edge provided a significant improvement over a traditional bent or rounded geometry when absorbing and protecting against impacts. This form running along the edges is not only functional, but also provides an elegant and recognizable signature element across the Zero Halliburton cases.

Unique strength, iconic look

All of the details, features, and interactions of the designs were thoughtfully considered. A unique innovation in the new generation of Zero Halliburton products is the lower chassis that is carried across all of the new cases. Unlike typical wheel wells in hard sided luggage, these designs incorporate one-piece, fully integrated, reinforced bases which provide protection to the entire lower portion of the shells and the wheel areas. This level of consideration can also be seen in the design of the retractable pull handles, not only in their generous and comfort-driven forms, but also in their rich depth of color, achieved through a two-shot molding process.

You can see more of Pensa’s work here.

Have you ever wondered what would happen if two people from different time periods or locations met and worked together? Short of breaking the laws of time and space, we can only take a guess based on the works and ideas they left behind, though some “what if” collaborations feel more natural than others. The legendary industrial designer Dieter Rams, for example, has influenced generations of designers, some of whom became legends themselves and even carried on the spirit of his design philosophy. Perhaps nowhere is this association more pronounced than in the Ive-era Apple designs, particularly those that embraced minimalism to their very core. We might not need to imagine what a Rams-Ive collab would look like based on this rather simple yet intriguing iPhone dock that utilizes Standby Mode to become a modern version of the Braun DN 40 alarm clock that Rams designed.

Designer: Scott Yu-Jan x OVERWERK

Although probably best known for his Ten Principles of Good Design, Dieter Rams’ industrial designs not only became Braun products but also served as the inspiration for the likes of the original Apple iPod or the first Sony Walkman. His designs espoused a “less but better” philosophy, a foundation of modern minimalism, and among them was the DN 40 electronic, a funnel-shaped alarm clock that, as you might have guessed, did that and only that. There are dozens of alarm clocks today, of course, including an iPhone if you charge it horizontally to activate Standby Mode.

Inspired by this concept, musician OVERWERK created an initial prototype that simply housed a circular iPhone MagSafe charger to hold the phone at a specific angle similar to Rams’ design. It was basic, functional, and a bit cumbersome and wasteful. To take out the iPhone that sits flush inside the body, you have to press on one end of the phone to raise the opposite end and then pry it out. The rest of the clock’s chassis also held no purpose since there were no electronics to put in there as well.

Working together with designer and YouTuber Scott Yu-Jan, the design took an interesting turn and, thus, the iPhone DN 40 Dock was born. Two simple yet crucial changes were made to the original design, including adding an ejection button at the top that pushes the iPhone forward, detaching it from the MagSafe charger. Yu-Jan also added a space for the small Apple Watch MagSafe charger underneath the top cover at the back, allowing you to charge your AirPods on top. As a bonus, charging the AirPods case has a satisfying feeling when you simply put it down on top of the clock and it slides into place thanks to the power of magnets.

The result of this collaboration between two modern-day designers is a design object that feels like a collaboration between Rams and Ive, two designers with great respect for one another but never got the chance to work together. It has the minimalism of the original DN 40 clock but is made even simpler because you only need an iPhone and MagSafe chargers. You do need a 3D printer to make your own, though, and you might need to modify the design since this was made specifically for an iPhone 15 Pro. Fortunately, the design files are freely available so anyone can now have their own Rams-inspired iPhone Alarm Clock by their bed or desk.

The post Dieter Rams-inspired iPhone Standby Mode Dock comes from an alternate timeline first appeared on Yanko Design.

Dezeen Showroom: as we head into autumn in the northern hemisphere, we’ve rounded up a selection of furnishings listed on Dezeen Showroom that have deeply pigmented, rich appearances owing to their jewel-like colours.

Jewel tones are informed by the colour of natural minerals such as rubies, turquoise, emeralds, amethyst, amber and sapphires.

The opposite of muted pastels, these colours are characterised by their saturated, deep shades, which make them well-suited for the cooler, darker months ahead.

A spectrum of materials successfully embody jewel tones – among the following products are those made from metal, plastic, wood, glass, fabric and resin – each of which interacts with light in different ways to make unique use of the tones.

Lighting, seating, tables, kitchen units, bathtubs and soft furnishings are included in this roundup, all of which promote a jewellery box-like aesthetic when used in interiors, whether placed in isolation or as part of a wider design scheme.

Read on to discover a range of jewel-toned products listed by internationally renowned designers and brands on Dezeen Showroom.

Wahaaj tables by Shaikha Al Sulaiti

Swirls of colour mingling with patches of translucency contrast the geometric forms of Doha-based designer Shaikha Al Sulaiti‘s Wahaaj tables.

The tables sport rich colourations that reference Qatari stained glass – among the available colourways is a deep royal blue, enhanced by its glossy surfaces and translucency.

Find out more about Wahaaj ›

Pop lighting collection by Nahtrang for Rakumba

A series of arcing shapes rendered in deep red and dark blue form Australian brand Rakumba‘s Pop lighting collection, designed in collaboration with Spanish design studio Nahtrang.

Tube-shaped housing mounted to the metal frame contains the light fixture, and the pieces can be hung in groups for a dynamic composition or in isolation for a more delicate effect.

Find out more about Pop ›

Zerogloss Kitchen by Zerogloss

Italian brand Zerogloss‘ steel kitchen units come in a range of colours – among them is a deep burgundy that creates a moody aesthetic in kitchens.

Zerogloss Kitchens are functional and streamlined, with a simple form that allows their hues and patterns to take centre stage.

Find out more about Zerogloss ›

Soda coffee table by Yiannis Ghikas for Miniforms

Greek designer Yiannis Ghikas worked with Italian furniture brand Miniforms on a glass coffee table called Soda, which is made purely from Murano glass.

Initially released in 2020, the tables now come in jewel-like amethyst, blue, amber and green, all of which have glossy, tonal appearances thanks to their transparent materiality.

Find out more about Soda ›

Arc stool by Juntos

Recalling the deep red-purple tone of garnet stones, US studio Juntos created a burgundy iteration of its Arc stool named Tinto.

The stool featured a concave seat and chevron-shaped legs, creating an interplay of light and shadow across its surfaces.

Find out more about Arc ›

Blue Neotenic lamp by Jumbo for Petite Friture

French design brand Petite Friture added a new dark blue colourway to its Neotenic lamp collection, created by American studio Jumbo.

The Blue Neotenic lamp has a sapphire-like shade and joins the existing offering of beige Vanilla, red-brown Cherry and bright red Vermilion.

Find out more about Blue Neotenic ›

Amore translucent resin bath by Lusso

A resin tub coloured with a rich amber tone has been released by British bathroom brand Lusso.

The Amore translucent resin bath has a capsule-shaped design and intends to act as a focal point in bathrooms with its distinctive translucent form and intense shade.

Find out more about Amore ›

Max easy chair by Johan Ansander for Blå Station

Designer Johan Ansander worked with Swedish furniture brand Blå Station on a lounge chair with a short, chubby form and laid-back backrest.

The Max easy chair can be upholstered in a range of fabrics and materials, including tactile velvet in a selection of sumptuous jewel-like colourways.

Find out more about Max ›

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.

The post Eight products enriched by pigmented jewel tones appeared first on Dezeen.

Dezeen Showroom: Swedish brand Asko has been inspired by the Scandinavian natural environment in launching Elements Pearl Grey, a new colour for its signature appliance collection.

Pearl Grey is a warm slate-coloured tone that Asko said it created with reference to fjords and volcanic rocks.

It gives Asko’s painted glass integrated appliances an earthy tone that complements a variety of kitchen decorating styles and plays well with materials such as wood, granite, marble and ceramics.

For a subtle touch of luminescence, the colour contains a delicate dusting of metallic particles that catch the light, giving the surfaces extra depth and interest under different types of lighting.

The Pearl Grey finish is available on Asko’s Elements ovens, cooker hoods, coffee machines, and warming and vacuum drawers, as well as on Asko’s Wine Climate Cabinets range.

The appliances are designed to be durable and long-lasting as well as having an elegant and timeless feel with clean lines.

Product details:

Product: Elements Pearl Grey
Brand: Asko
Contact: info@asko.com

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.

The post Elements Pearl Grey appliances by Asko appeared first on Dezeen.