Principles of Interior Design: Balance

Architecture and interior design integrate numerous design principles, with particular emphasis on achieving balance. Balance stands as a fundamental principle in interior design, promoting harmony through the arrangement of elements in visually pleasing and stable configurations. Therefore, the primary aim of a balanced space is to emphasize visual stability and achieve compositional harmony.

Designer: Sonal Tuli

Types of Balance

The three types of balance include:

Symmetrical Balance

Symmetrical balance mirrors items along a central axis, evoking stability, serenity, and sophistication in interior design, though it can be seen as static and unimaginative. Achieving symmetry involves the use of patterns in fabric, furniture arrangement, and color application to create symmetrical balance.

Asymmetrical Balance

Asymmetrical balance is primarily based on the visual weight of objects, employing different elements with similar perceived weight on opposing axes rather than repeating identical items. Complex shapes, often weightier, are commonly used to achieve this balance, resulting in dynamic and flexible interiors. Note that achieving asymmetrical balance can be challenging and often requires the expertise of a professional.

The Jaipur Furniture Collection by Sonal Tuli beautifully combines tradition and modernity, celebrating Jaipur, India’s vibrant pink city. This collection captures the essence and cultural heritage of Jaipur through its asymmetrical console design. By merging functionality with elegance, the pieces subtly reference Jaipur’s iconic architecture and blue pottery artistry, making them artistic masterpieces suitable for any space.

Radial Balance

Image courtesy of: LightFieldStudios

Radial balance involves arranging items in a circular pattern around a central point, either spreading outward or inward. In interior design, this can be seen with chairs around a table or the structure of a lighting fixture. It’s a great way to highlight a central piece in a room.

Why is balance important in interior design?

Balance, a fundamental design principle, imbues spaces with stability and visual appeal, fostering a sense of unity and cohesion in the design. Yet, excessive or inadequate balance can disrupt harmony and evoke discomfort.

Top Eight Ways to Achieve Balance within Interior Design

1. Create a Symmetrical Design

Image courtesy of: digitalstormcinema

Symmetry stands as one of the key principles that is used to achieve equilibrium within interior design. Its simplicity lies in striving to replicate a mirror image from the room’s center, aligning furniture, design elements, and overall decor around a central focal point, such as a fireplace. Balance can be attained when organizing layouts and displays by creating symmetrical harmony, and placing similar objects or furniture on each side of a central axis. For instance, placing matching coffee tables on either side of a sofa or bed, each adorned with a lamp illustrates this approach. Some perceive it as outdated as it is commonly used in the traditional design style.

2. Achieve Balance with Asymmetry

In modern interior design, asymmetry is preferred over symmetry for its less formal feel. Designers distribute furniture and decor asymmetrically, with varying heights and weights on either side of a room’s center. This creates balance without strict matching. For instance, in a minimalist living room, off-center elements like a floor lamp and a side table balance each other, showcasing asymmetrical harmony.

Designer: Deniz Aktay

Seeking balance is inherent in both our lives and possessions. The Shaolin side table embodies this principle, appearing both perplexing and practical. Its design, with a flat tabletop seemingly resting precariously on a curved base, evokes a martial artist’s balance. However, two interlocking metal sheets form its sides, ensuring stability. The contrasting red and black colors enhance its visual appeal, while a central space provides a practical spot for everyday items. Metaphorically, it symbolizes finding balance amidst opposing forces, offering a reminder of life’s perpetual juggle.

3. Mix Old and New

Image courtesy of: jwyma

To find balance, mix different styles like eclectic and transitional, or merge vintage and modern elements, but it is essential to avoid clutter. For instance, in a room, modern furniture and neutral colors go well with classic pieces and antique touches like rugs, giving the space a timeless charm.

4. Radial Symmetry

Image courtesy of: hemul75

Radial symmetry creates balance with a central focal point, like a chandelier, while other items radiate outward in a circular layout. This symmetry can evoke a formal or sociable atmosphere, akin to classic symmetry. In a dining room, rounded fixtures and decor encircling a circular table and rug can enhance this symmetrical design, resulting in a cohesive and visually pleasing space.

5. Introduce Textures

Another approach to achieving balance involves the use of texture as layering different textures, fabrics, and finishes adds depth to a space. For instance, if your room feels too smooth, introducing contrasting textures like a coarse woven rug or textured wall panels can inject visual interest. In a living area, combining sleek modern furniture with rustic wooden accents can create a cozy ambiance within the interiors.

Designer: Studio TZEN

The textured design of Hazy conceals plants while creating visual drama and allowing sunlight to reach leaves diffused. Hazy serves as an office shelf and planter-holder, featuring a minimalist Nordic style with options for vertical or horizontal columns. Vertical columns accommodate planters, facilitating water flow, while a fluted glass panel adds aesthetic appeal. For a more utilitarian function, horizontal shelves can be used with a whiteboard. Hazy offers flexible office furniture solutions, with wheels for easy movement. Designed by Studio TZEN for Onmuse, it is a versatile addition to any workspace.

6. Achieve Balance with Color

Image courtesy of: AveCalvar

Mixing warm and cool colors in your space helps balance the atmosphere. You can achieve this by using warm colors for walls and furniture, and cool tones for accessories. Conversely, cool wall and furniture colors can be complemented with warm lighting and artwork. Understanding color theory is crucial. The 60-30-10 rule simplifies space proportioning: allocate 60% to one color to the walls, 30% to a complementary color like furniture, and 10% to accents like accessories.

Designer: Pavel Vetrov

Funky is a vibrant and versatile furniture collection that adds eclectic charm to any space. With its perfect blend of vibrant colors and neutrals that balance each other, “Funky” effortlessly complements various interior styles. Featuring protruding pieces on varied axes, it offers versatility as a console table, TV unit, bar unit, or buffet table.

7. Introduce Negative Space

Image courtesy of: hemul75

In design, balancing visual weight is crucial, but incorporating negative space is equally vital. Negative space helps offset areas with heavier elements, fostering harmony in the overall design. It serves as breathing room for the eye. For instance, in a living room, a large sectional sofa dominates one area, while negative space prevails in the rest of the room, creating a sense of openness and balance. Balancing functional and aesthetic elements ensures the design’s coherence and clarity.

8. Play with Shapes

In interior design, balance can be achieved by blending different shapes within a space. Combining round elements with straight lines and right angles creates contrast and visual interest. For example, placing a circular center table with straight-line sofas just as in this image can add harmony to the design. By limiting the number of elements in the space, graphic shapes stand out clearly without being overwhelmed by clutter.

Image courtesy of: dit26978

These tips will surely help you in achieving balance in your home decor, establishing both stability and interest. When applied correctly, they foster unity and may introduce drama, but excessive or insufficient application of balance can disrupt the harmony of the room.

The post Principles of Interior Design: Balance first appeared on Yanko Design.

Archigram co-founder Colin Fournier dies aged 79

Colin Fournier

British architect Colin Fournier, a founding member of the architecture studio Archigram who worked on the Kunsthaus Graz in Austria, has died aged 79.

Fournier passed away in Paris on 4 September. He co-founded the avante-garde architectural group Archigram with Peter Cook in the 1960s, known for its radical and experimental proposals including a miniature capsule home and a city-airship hybrid.

Fournier also worked with Cook on the Austrian art gallery Kunsthaus Graz, which opened in 2003.

Kunsthaus Graz
Among Colin Fournier’s notable projects is Kunsthaus Graz. Photo by Marion Schneider and Christoph Aistleitner via Wikimedia Commons

He was an emeritus professor at the University College London’s Bartlett School of Architecture, where he was the director of the MArch in Urban Design.

“He was celebrated for his commitment to challenging conventional architectural norms and pushing the boundaries of what buildings could be, notably with his acclaimed work, the Kunsthaus Graz,” said The Bartlett.

“The award-winning art gallery is a striking example of his creative vision. Its biomorphic form and innovative facade became a landmark of contemporary architecture, embodying his belief that buildings should be playful, provocative and responsive to their surroundings.”

“In addition to his architectural practice, Colin was a dedicated and well-loved educator,” the school continued. “Colin inspired countless students and colleagues throughout his life, and his absence will be felt profoundly by all who were fortunate enough to know him.”

Fournier studied at the Architectural Association in London. He joined The Bartlett in 1998 and was also a visiting professor at the Chinese University of Hong Kong.

He worked as planning director at Ralph M Parsons Company in California, where he designed a number of projects in the Middle East, including the new town of Yanbu in Saudi Arabia.

The architect collaborated with Bernard Tschumi on Parc de la Villette in Paris and worked on the Centipede Cinema in Guimarães, Portugal.

The portrait of Fournier is by J J Kucek courtesy of Kunsthaus Graz.

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RIBA reveals UK's best affordable housing for 2024

Aerial view of Chowdhury Walk

The revamp of a 1960s estate and a stepped brick terrace on an infill site feature on the 2024 shortlist for the Royal Institute of British Architects‘ Neave Brown Award for Housing.

A neighbourhood with 235 socially rented homes also features on the four-strong shortlist, alongside apartments tailored to older residents on a vacant brownfield site.

The Neave Brown Award for Housing is awarded annually by the Royal Institute of British Architects (RIBA) to celebrate the UK’s best new affordable homes.

It is given in memory of modernist architect Neave Brown, who was a pioneer of social housing.

Aerial view of Chowdhury Walk, shortlisted for the Neave Brown Award for Housing 2024
Chowdhury Walk is shortlisted for the Neave Brown Award for Housing. Photo by Rory Gardiner

Three of this year’s shortlisted projects are in London. These are Dover Court Estate by Pollard Thomas Edwards, Unity Place by Feilden Clegg Bradley Studios, Alison Brooks Architects, Gort Scott and RM_A Architect, and Chowdhury Walk by Al-Jawad Pike – a project also shortlisted for this year’s Stirling Prize.

The only project outside of London is North Gate Social Housing in Glasgow by PagePark.

RIBA president Muyiwa Oki said the shortlist demonstrates that social housing should be seen as “a great opportunity” for architects.

“This year’s shortlist reaffirms that creating social housing should not be seen as a limitation to architects, but a great opportunity,” reflected Oki.

“Each brief has taken run-down or underused spaces and created outstanding projects that serve the needs of residents and the wider community,” he continued. “These schemes thoughtfully balance the environment, community, and quality, reinforcing the reality that when designing social housing, good design need not compromise on any of the three.”

Dover Court Estate, shortlisted for the Neave Brown Award for Housing
Dover Court Estate also features on the list. Photo by Tom Bright

The North Gate Social Housing in Glasgow occupies an empty brownfield site and comprises 31 flats. Designed by PagePark primarily to suit the needs of older residents, the homes are all available for social rent.

Stirling Prize-shortlisted Chowdhury Walk by Al-Jawad Pike is a stepped cluster of two-storey homes, slotted on a plot between two existing terraces in Hackney that was previously occupied by cars.

Seven of the 11 houses in this development are available for social rent, with the remainder designed for private sale.

Dover Court Estate is a revamp of a 1960s housing complex in Islington, which has been carried out by Pollard Thomas Edwards to maintain its existing communities while improving their quality of life.

The studio has introduced 70 homes across the estate by replacing disused garages and also introduced a sports court and community centre.

Unity Place is the final project on the shortlist, designed by Feilden Clegg Bradley Studios, Alison Brooks Architects, Gort Scott and RM_A Architect in line with constraints relating to the neighbouring conservation areas.

It comprises 235 social homes in a range of sizes, which are all available for social rent. They exist alongside a series of community-centred public spaces, including a play area.

Unity Place housing in London
Unity Place is also up for the prize, which is awarded in memory of Neave Brown. Photo by Paul Riddle

This year’s jury for the Neave Brown Award for Housing is made up of Allies and Morison co-founder Bob Allies and the daughter of the award’s namesake, Zoe Brown.

It is being chaired by Astrid Smitham, the founder of Apparata, which was awarded the prize last year for A House for Artists.

Smitham said the shortlist illustrates the value of “great partnerships between clients and architects”.

“At a time when the UK sets out to build 1.5 million new homes, this shortlist shows the importance of great partnerships between clients and architects in delivering housing of the very highest standard, that everyone deserves,” she explained.

North Gate Social Housing in Glasgow
The only shortlisted project outside London is North Gate Social Housing. Photo by Nick Kane

“These projects show how the next wave of UK home building can help individuals and communities to thrive,” added Smitham.

The winner of the Neave Brown Award for Housing 2024 will be announced at the RIBA Stirling Prize ceremony on Wednesday 16 October 2024 at The Roundhouse in London.

This will coincide with the Stirling Prize ceremony, for which six buildings in England have been shortlisted. Just two are outside of London.

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CPlus Architects uses pale bricks for "rustic" home in rural China

Mother's House by CPlus Architects

Pale brick, stone and timber were used to create a “rustic and warm feeling” at this home in rural China, designed by local studio CPlus Architects.

Named Mother’s House, the home is located in Xiyang Village southwest of Beijing, and was designed by CPlus Architects to demonstrate the potential of often overlooked rural areas outside China’s cities.

Exterior view of Mother's House in rural China
CPlus Architects has designed a “rustic” home in China

“In the near future, the countryside will be mobile, diverse and interconnected, offering spatial experiences and lifestyles not available in cities,” explained the studio.

“New villages will attract new villagers and bring new forms of community. Mother’s House was born in this context, as an independent experimental sample to help revitalise the villages,” it added.

Entrance courtyard within rural home by CPlus Architects
The home is built from pale brick, stone and timber

The layout of the home was based on typical Chinese courtyard houses, organised around a large double-height living room and a covered terrace alongside an entrance yard.

CPlus Architects describes this area as a “grey space” that blends interior and exterior, with full-height glass doors, ramped paths and a built-in outdoor bench creating an accessible, flexible space.

Living room within Mother's House in China
A double-height living room is topped with a butterfly roof

“The ‘outside’ is not an adjunct to the ‘inside’, but the two are mutually beneficial, and even the inside is designed to realise the outside,” described the studio.

“This grey space enables residents to extend their daily activities to the outdoors throughout the year, enjoying the breeze on summer nights, making tea in the snow on winter days, and celebrating important holidays with the whole family,” it added.

The kitchen, dining room and first-floor study sit to the east close to the street, while the bedrooms and bathrooms are positioned across two floors on the western side of the site for greater privacy, overlooking the yard through large projecting box windows.

In the centre of the home, the double-height living space is wrapped by a wooden balcony above, beneath a concave ceiling formed by the butterfly roof and lined with wooden panelling.

Seating space within home by CPlus Architects
The kitchen and dining room are hosted on the ground floor

Externally, the home is finished with pale bricks, which have been laid vertically rather than horizontally. The facade is complemented internally by pale, plastered walls and woodwork, contrasted by dark stone floors in the living areas.

“The main colours of the interior and exterior of the building are all earth tones, blending in with the rural environment,” explained the studio.

“Various materials such as brick, stone, wood, metal, fabrics and paints interweave different temperatures and textures in the light and darkness, bringing people a natural, rustic, warm and comfortable feeling,” it added.

Study space within Mother's House in rural China
A study is located on the upper floor

Elsewhere in China, Wonder Architects also explored the potential of modern homes in the renewal of traditional, rural settings with its green-ceramic tile clad extension to a brick house in Yangqing.

The photography is by Zhu Yumeng unless otherwise stated.

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IDSA spotlights ten award-winning industrial design student projects

Dezeen School Shows: a toy that teaches children about sustainability and ecosystems is featured in Dezeen’s latest school show from the IDSA.

Also included is a wheelchair designed for disabled parents and a chair intended to improve posture, complete with a customisable app.


Industrial Designer’s Society of America

Institution: Industrial Designer’s Society of America

Statement:

“The 2024 International Design Conference and IDSA Education Symposium, the annual flagship event of the Industrial Designers Society of America (IDSA), took place in Austin, Texas, from 11 to 13 September, bringing together global leaders to celebrate cutting-edge design, creativity and innovation.

“Over three immersive days, the conference fostered a unique blend of inspiration, collaboration and forward-thinking discussions.

“A key highlight was the spotlight on emerging talent, with remarkable student work taking centre stage and showcasing the next generation of design leaders.

“On the main stage, the 2024 IDSA Student Merit Award winners were revealed, selected by an esteemed panel of industry experts.

“These young designers represent the future of industrial design, demonstrating outstanding creativity, vision and dedication to pushing the boundaries of the field.

“Further emphasising the importance of student excellence, the 44th annual International Design Excellence Awards (IDEA) celebrated a number of outstanding student winners.

“This prestigious recognition underscores the profound influence that emerging designers are having on the ever-evolving landscape of industrial design.”


A visualisation of an injection device in tones of grey and red, against a grey backdrop.

Golden Capsule (IDEA Gold Winner) by Yujin Chae, Yuan Bai, Daeyeon Kim and Yeonghwan Shin

“Golden Capsule is a power-free, gravity-free intravenous (IV) injection device aimed at improving rescue efficiency in disaster scenarios.

“Traditional IV systems rely on gravity and electricity, which pose challenges in rough, debris-filled environments; Golden Capsule utilises elastic force and negative pressure to administer fluids consistently without the need for manual squeezing or electricity.

“Its compact, attachable design enables rescuers to transport patients more safely and efficiently, while delivering fluids at rates 1.5 times faster than conventional IV systems.

“The device is not only suited for disaster relief but has potential applications in hospitals, homes and military settings, offering greater freedom and long-term cost savings.

“Its reusable and sustainable design makes it a game-changing innovation for fluid delivery, especially as demand for home treatment solutions rises globally.”

Students: Yujin Chae, Yuan Bai, Daeyeon Kim and Yeonghwan Shin
School: Hongik University


A visualisation of a wheelchair designed for disabled parents, in tones of grey.

Ourhour (IDEA Gold Winner) by Yunho Kim, Susanna Kim, S/IDSA, Seungwhan Ra, Youngsuh Yoo and Seoyoung Lee

“Our Hour is a smart mobility solution for physically impaired parents, offering an innovative way to enhance parent-child interactions.

“Combining an electric wheelchair with a baby capsule, Our Hour facilitates safe and comfortable family outings by enabling natural physical interactions through its PHRI arm, which allows parents to physically engage with their children.

“Its modular system adds versatility, adapting the product for various activities, from simple walks to long-distance trips.

“Designed to overcome the challenges faced by disabled parents, Our Hour promotes emotional connections by creating positive memories, while its 360-degree mobility and adaptable structure improve safety and convenience – fostering an enriched parenting experience and contributing to a more supportive and inclusive society.”

Students: Yunho Kim, Susanna Kim, S/IDSA, Seungwhan Ra, Youngsuh Yoo and Seoyoung Lee
Schools: Samsung Design Membership for Kookmin University, Ewha Womans University and Chung-Ang University


A visualisation of four reusable bins in tones of brown and yellow, against a beige background.

Frux (IDEA Silver Winner) by Vincent (Wen Cheng) Lee, Erika Wiliams, Laura Lopez Andreu, Diana Li Sam and Bre Judge

“Frux is a revolutionary system aimed at reducing food waste during the distribution stage of the supply chain, by replacing traditional cardboard packaging with reusable bins, equipped with sensors to monitor humidity, temperature and ethylene levels.

“This data-driven solution allows warehouse managers to optimise inventory management, reduce spoilage and improve efficiency.

“Frux’s integrated digital platform streamlines order processing, inventory tracking and client communication, empowering stakeholders with transparency and control.

“Frux offers a comprehensive approach that not only minimises environmental impact but also redefines the distribution process, fostering collaboration, reducing waste and enhancing profitability for distributors.

“Its combination of operational management systems and customer relationship management tailored for distribution centres positions Frux as a unique market solution that drives both business success and environmental stewardship.”

Student: Vincent (Wen Cheng) Lee, Erika Wiliams, Laura Lopez Andreu, Diana Li Sam and Bre Judge
School: Savannah College of Art and Design


A visualisation of a children's scooter that adapts in form as they get older, in tones of grey and green against a grey backdrop.

Sprout-Accompanying Growth Stroller (IDEA Silver Winner) by Song Qiao of Dalian Minzu University and Sui Pan, Kairui Deng, Jianhong Guo and Xiang Chen

“The Sprout-Accompanying Growth Stroller is a multi-functional baby stroller that evolves with children from ages two to ten.

“It transforms into three distinct forms, adapting to children’s developmental stages and combines the functions of a balance bike and a scooter, extending the stroller’s lifespan and reducing the need for frequent replacements.

“This versatility helps cultivate a sense of companionship and responsibility in children while saving material resources.

“Designed with a flexible sliding and locking structure, Sprout is easy to modify and safe for children to operate, whilst being crafted from recyclable materials.

“The stroller’s extended lifespan, cost-efficiency and emotional care features make it a standout product for both families and the market, supporting sustainable development and enhancing the physical and mental wellbeing of children.”

Student: Song Qiao, Sui Pan, Kairui Deng, Jianhong Guo and Xiang Chen
Schools: Dalian Minzu University and Jiangnan University


A visualisation of a drone used for rescue services in tones of yellow and black, against a grey backdrop.

Civilian Search and Rescue by Anastasia Charnesky (2024 SMA Winner)

“The Civilian Search and Rescue project focuses on improving the efficiency and accessibility of search and rescue (SAR) operations during disaster recovery, especially in the critical first hours known as the ‘golden hours’.

“Using insights from the 2010 Haiti Earthquake case study, the project highlights the disparity between international and local SAR responses, showing that local, civilian-led efforts are faster but often less equipped.

“Current SAR technology is expensive, complex and requires extensive training, leaving civilians unable to assist effectively in rescue efforts.

“Charnesky’s SAR Thesis Studio explores form factors for drone architectures and other tools that can aid both above and below rubble operations, emphasising hands-free usage for civilians and simple startup processes, with design objectives that prioritise accessibility, longevity and efficiency.

“The project integrates both thermal and standard cameras to enhance rescue efforts in various light conditions, inspired by the simplicity and clear design cues of AEDs to create easy-to-use, distinguishable tools that civilians can operate in disaster scenarios.”

Student: Anastasia Charnesky
School: Western Michigan University


A visualisation of a chair designed to improve posture, in tone of black, grey and red, with a diagram of a person sat on it.

Next by Sebastian Gomez-Puerto (GSMA Winner)

“Next is a seating innovation designed to promote healthier sitting habits by encouraging users to frequently change their sitting position.

“The concept is rooted in the idea that the best sitting position for the lower back is the next one, advocating for movement and posture variation throughout the day.

“The chair integrates an ultrasonic ranger embedded into the seat cushion to track the user’s sitting time and posture.

“Paired with a customisable app, Next allows users to set personalised sitting time limits and receive gentle vibration alerts when it’s time to change position.”

Student: Sebastian Gomez-Puerto (GSMA Winner)
School: Savannah College of Art and Design


A visualisation of a device for self-driving vehicles, in tones of black.

Auto Sphere by Kuangming Qin (GSMA Winner)

“Auto Sphere is a human-vehicle interface concept designed for L3 and L4 self-driving vehicles, allowing users to take control or adjust automation during their journey.

“The interface addresses the unpredictability of road trips by enabling users to interact with the vehicle for tasks like changing lanes, roadside parking or rerouting to a new destination.

“Auto Sphere uses a joystick controller, touchpad and scroll wheel to simplify user input and provide real-time feedback, ensuring that users can intervene seamlessly when necessary; the joystick emerged as the preferred input device, offering intuitive control.

“The system is divided into two main areas of interaction: inside-out stimuli (for example, spontaneous stops) and outside-in stimuli (for example, changes prompted by external factors).

“The graphical user interface adapts to different inputs, displaying essential information like road conditions, trip progress and system status while minimising learning curves.”

Student: Kuangming Qin
School: University of Illinois at Urbana-Champaign


A photograph of a dining room with a table in it with ceramic blue tableware on top of it. At the right of the image, is blue text which reads 'oht', 'an adaptive dinnerware collection'.

Oht Dinnerware Collection by Tage Wrage

“The Oht Dinnerware Collection is a modern, adaptive solution designed to offer both functionality and aesthetics for individuals with disabilities.

“Made from moulded, dimpled stoneware with a glossy glaze, the collection is microwave, dishwasher and oven safe.

“It integrates key adaptive features such as handles, touchpoints, high rims and solid bases to promote independence and reduce spills, while maintaining an elevated, sculptural design.

“Unlike traditional clinical-looking adaptive tools, Oht’s stoneware material fosters a sense of belonging and togetherness, offering an option that aligns with mainstream dinnerware sets.

“By balancing aesthetics with durability, this collection enhances usability without compromising style, making it a more inclusive choice for everyday dining.”

Student: Tage Wrage
School: University of Minnesota


A photograph of a digital tablet for people with celebral palsy in tones of green and white, with a person's hand with celebral palsy navigating it.

Adæpt (IDEA Gold Winner) by Zexi Ye

“Adæpt is an innovative solution that improves computer accessibility for individuals with cerebral palsy.

“The device addresses the challenges cerebral palsy users face when using traditional input devices, which are not designed for their unique gestures and involuntary muscle contractions.

“Adæpt’s touchpad design allows users to control a focus indicator on the screen through specific hand movements, enabling independent navigation in the digital world.

“By integrating customisable interaction modes and AI technology to adapt to different scenarios and software, Adæpt provides flexibility and dignity to its users.

“Additionally, the device benefits caregivers by allowing remote assistance through a mobile app, saving time and offering them more personal freedom.”

Student: Zexi Ye
School: ArtCentre College of Design


A photograph of a toy set of beige wooden animals, next to a green box.

Anio Block Toys by Lucia Li

“Anio Block Toys introduces children aged three to five to nature-centric systems thinking through hands-on, tactile play.

“These sustainable toys are designed to engage young learners in exploring predator-prey relationships and natural systems, making abstract ecological concepts tangible.

“The focus on product lifecycle ensures sustainability through mindful material usage and longevity, while the toys promote active, material-based learning.

“Anio Block Toys help children build connections to the natural world, encouraging a deeper understanding of the balance within ecosystems.”

Student: Lucia Li
School: Rhode Island School of Design

Partnership content

This school show is a partnership between Dezeen and IDSA. Find out more about Dezeen partnership content here.

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Most contemporary architecture photography "looks the same" says Hélène Binet

Hélène Binet portrait

Architecture photography has become repetitive as architects are less interested in photographers producing artistic interpretations of their projects, Hélène Binet tells Dezeen in this exclusive interview.

For 40 years, Binet has photographed both contemporary and historical architecture, collaborating with influential architects such as Zaha Hadid, Daniel Libeskind and Peter Zumthor.

Arguably the world’s pre-eminent female architecture photographer, her work has been published in several books, exhibited around the world and awarded global prizes.

She is known for shooting exclusively on film and mostly in black-and-white, even as digital photography has become dominant over the course of her career.

Hélène Binet portrait
Above: Binet has been shooting architecture since the 1980s. Top: she has photographed many famous architects’ projects, including the Steilneset Memorial in Norway by artist Louise Bourgeois and architect Peter Zumthor

Though she finds much contemporary architecture photography “technically amazing”, Binet feels the images often lack something important.

“They’re so perfect that you don’t enter them – you’re outside,” she told Dezeen from her studio in Kentish Town, north London, where she still hand-prints her photographs.

“Architects used to be really interested in having artists working on their projects and wanted a strong interpretation [of their work],” she continued.

“Now most of the images look the same. I cannot say, ‘this is the photograph of this person’. Before, you could recognise the style and now, no.”

Villa Emo by Palladio
Binet’s close-up work seeks to “dismantle” subjects that are often, otherwise, very well-known

For Binet, this shift in priorities is something to be lamented.

“Why is there this flattening-off?” she asked. “What is the need? Of course, it’s social media and everything but I really don’t know about all this need for fast consumption.”

“Architects didn’t have a bigger budget [back then], but they thought this [an artist’s interpretation] was important,” she added. “Maybe it is to do with the quickness? I mean, we spend less time looking. But I find it quite concerning.”

The counter to the rise of social media and shortening turnaround times is, according to Binet, “to keep your eye fresh”.

Villa Saraceno in Mist
Her work has also involved shooting historic buildings such as Andrea Palladio’s Villa Saraceno

“You have to be able to go and see a building almost like it’s the first thing you’ve seen in your life,” she explained.

“Taking a photograph is an opportunity to rediscover something, to see something that most of the time you don’t see – because you think you already know it, or you have never taken the time to look at it.”

Born in Switzerland, Binet began her career after studying at the Architectural Association (AA) in London during the 1980s.

Her formative influence was Hungarian photographer Lucien Hervé, who, she said, demonstrated to her that within capturing buildings “there is a profession, but also a field where I can explore and be an artist”.

“Hervé’s images were around me from very young – his books and the photographs he did with Le Corbusier – his work is deeply part of me and the reason I started to love black-and-white photography,” said Binet.

Walled garden with window and tree beyond
Binet photographed Suzhou Gardens for a book published in 2021

Besides Hervé, Binet is keen to stress that “very early on, there were very strong women photographers – not as many as men – but if you compare to other disciplines, there’s been a lot of women photographers that did very well early on, and that managed to make an artist’s life and pay the bills”.

She cites early- and mid-20th century photographers like Tina Modotti, Lee Miller, Berenice Abbott and Lucia Moholy.

Binet’s work often focusses on details that encourage the viewer to imagine the rest of the building, such as in this image of Zumthor’s Spittelhof housing in Biel-Benken, Switzerland

These women, several of whom were still working when Binet was starting out in the 1980s, provided reassurance that meant Binet remained undaunted at the prospect of being a woman photographing architecture.

“I never felt alone in that sense,” she said. “It was not like for an architect or conductor, or some of those professions where it really took so long to accept women.”

Binet also cites the influence of the work of more recent photographers like Judith Turner, but she is most enthusiastic about the Bauhaus photographers such as László Moholy-Nagy, Walter Peterhans, Lucia Moholy and Erich Consemüller.

Concrete church ceiling in Black and White
Binet photographed Gottfried Böhm’s parish church of St Gertrude in Dusseldorf, Germany, for the architect’s 100th birthday

“They were like my masters,” she said. “I love them for teaching me everything about photography: how we can look at or photograph objects by looking at them from every point of view, that photography is an independent art, and how we can put life into objects and transform them.”

“The sense of freedom really inspired me and guided me for many years.”

Much of Binet’s work, including her photos of the Pantheon or Andrea Palladio’s Italian villas, focuses on close-up details of buildings, allowing gaps for the viewer to imagine the in-between.

Black wooden clad house end with window
Binet has had an enduring relationship with Zumthor, photographing his own studio in Haldenstein, Switzerland

She describes this approach as a “dismantling” of the subject.

“Especially with historical buildings, dismantling has definitely been part of the work I’ve done early on,” she said. “You discover a building by dismantling it.”

“For me, what is very important is that I show things, but I also let you imagine what you don’t see. If I just show half of a curve, then you start to say ‘what is it, and why is it there?'”

lunuganga gardens by geoffrey bawa in sri lanka
Much of her work has been in black-and-white, including this series on Lunuganga Gardens in Sri Lanka

She uses a musical analogy to explain her philosophy. “I respect the score, I want to know the period, but I play the tune. It’s my interpretation.”

One of the pivotal moments in Binet’s career was her collaboration with Swiss architect Zumthor, who she says “taught me a lot about the environment in which a building is placed”.

“He is so careful about it, has such an understanding, and deep love for the site – he would use nature, the plants, so bit by bit by working with him, I started to appreciate this more,” she recalled.

Villa Barbaro by Palladio
Binet is currently working on a project re-examining the work of Palladio

British architect, critic and historian Kenneth Frampton has described Binet’s work as capturing “the moment when tonality moves into chromaticity”.

For her part, Binet says she has often preferred to work in black-and-white because “you can hear more in the darkness”.

“In the beginning, I used lots of black-and-white to create that abstraction that allows these questions more,” she explained.

“Now I love colour, but in the beginning it was really that desire to not say too much, to let you have space [to imagine]. I am using colour more now and reaching for where colour can be controlled.”

Pond and courtyard with tree
“I respect the score, I want to know the period, but I play the tune,” says Binet of her philosophy

Binet’s background, from her childhood in the Italian fishing village of Sperlonga and then in Rome, through her early discovery of Hervé, to other significant influences and collaborations with global architecture stars are explored in a monograph of her work recently published by Lund Humphries.

“Binet’s oeuvre seems to oscillate between two obsessions: a desire to translate spatial phenomena into the two-dimensional space of the image and a quest to articulate the modulation of light on a surface,” co-author Martino Stierli argues in one of the chapters.

Green stone stairway
Younger photographers should “trust and go for it”, according to Binet

Achieving that combination requires, in Binet’s words, “patience and strength”.

“A good project needs at least two visits to the same place,” she considered. “There’s no magic – the weather and the light etcetera – but you start [with the visit], you print, you look to see if it does or doesn’t work.”

“You should never be really satisfied,” she added. “I always think when I’m done – that’s when I’m actually starting to work.”

Low lit flowers
As well as architecture, Binet has also photographed nature, particularly more recently

Binet’s advice to the future generation of architecture photographers is “to trust in [yourself]”.

“Your 20s and early 30s are such a creative moment and if I look at my work, and a lot of work of amazing photographers, the early work is the best,” she said.

“You might not have all the technical skills, but this early work is so precious. Trust and push. Do whatever you have to do to stay in touch with yourself. Don’t look too much [at other photography].”

“Trust your energy when you’re young – it’s a very special energy. You have inside you a very powerful moment. Trust and go for it. Be confident!”

The photography is by Hélène Binet.

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YSG adds 1970s-style elements to Sydney's Superfreak cafe

Brown carpet covered stools at bar in cafe

Australian studio YSG has added carpet-lined seating, cork flooring and high-gloss green paint to the Superfreak cafe in Sydney.

Located in the city’s Marrickville suburb, the space was converted from an ice cream factory into a pilates studio, which is located at the rear and the Superfreak cafe on the street front.

Cafe lounge area with record player and vinyls
YSG has completed interiors with 1970s motifs for the Superfreak cafe in Sydney

Drawing on a relaxed 1970s-style aesthetic, YSG opted for a colour palette of pale sandy yellows, avocado greens and deep earthy brown tones.

Contributing to the retro feel are checked brown and green cafe curtains, as well as vintage furniture pieces including a low, tile-clad wooden table and timber dining chairs sourced from online marketplace 1stDibs.

Timber joinery banquette seating and pale yellow walls
A semi-enclosed lounge-like seating area is off to the left of the entrance

To the left of the entrance, a large U-shaped timber banquette made with maple joinery marks out the main seating area It was upholstered in soft brown carpet material often associated with 1970s interiors.

The deep wrap-around, bench-style seating has inbuilt storage and an integrated plinth containing a record player and vinyl storage cavity.

“Our clients wanted a space where locals felt like they could hang out,” YSG director Yasmine Saleh Ghoniem told Dezeen. “Also, they wanted to welcome pilates students to stretch out comfortably post-class.”

“A key component was to build sunken lounge-like seating via banquettes that created a cosy enclosure,” she continued.

Banquette seating with timber joinery and fluffy carpet lining
Banquette-style seating with maple timber joinery is upholstered in a plush brown carpet material

Replacing the previously all-white decoration, YSG used glossy green paint for the walls and ceiling surrounding the timber service counter.  A statement lamp crafted by American artist Autumn Casey sits on top of the wooden counter.

“Possessing a child-like expression of a classic Tiffany lamp, we granted it pride of place by the entrance beside the coffee machine,” said Ghoneim.

Elsewhere, the cafe is illuminated by an array of rice paper lanterns and vintage sconces paired with an angular wall lamp by Olivia Bossy.

Cafe service counter with coffee machine and mosaic lamp
The ceiling and walls surrounding the service counter are painted in a high-gloss green

The same brown carpet material used for the lounge seating was also added to the exterior of an open kitchen counter and the tops of its high stool seats.

Above the counter, the ceiling and suspended storage shelves were painted in a high-gloss green.

Bar seating area with carpet-clad exterior and seat tops
Brown carpet material also lines the top of the bar stools

A mural of a leafy green garden scene by Creative Finish was painted across concealed storage and refrigeration space behind the bar, with a gold-toned corner mirror feature off to the side.

While the clients initially intended to continue the brown carpet for the floor, YSG opted for cork flooring instead due to the nature of the space as a hospitality setting.

“Prioritising tonal and textural interest, we laid spongey caramel-hued sealed cork underfoot, also aiding the acoustics,” said Ghoneim.

Green painted facade of Superfreak cafe
The facade of the building was also painted green

Taking cues from the interior concept, the building’s facade was painted green with a street-side coffee hatch cutout incorporated for takeaway orders.

Other projects by YSG recently featured on Dezeen include a seaside home renovation in Byron Bay and a suburban home in Sydney finished with sumptuous materials intended to evoke a boutique hotel feel.

Photography is by Phillip Huynh.

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Huawei releases "first-ever" triple-foldable phone

Mate XT Ultimate Design triple-foldable phone by Huawei

Chinese tech giant Huawei has launched its Mate XT Ultimate Design smartphone, a folding phone that can transform into a 10.2-inch tablet.

Described by Huawei as “the first-ever commercial triple foldable phone”, the main innovation of the Mate XT Ultimate Design is a flexible OLED touchscreen that is hinged in two directions.

Render of a tri-folding smartphone
Huawei has developed a triple-foldable phone

When fully unfolded, the 3,000-pixel 10.2-inch screen delivers what the brand called “cinema-level immersive viewing” with a screen ratio of 16 by 11.

The device switches automatically between single, dual and triple screen modes as the screen unfolds, with dual-screen mode offering roughly square proportions and the fully unfolded device operating like a tablet.

Man holding Mate XT Ultimate Design triple-foldable phone by Huawei
It opens up into a 10.2-inch tablet

To achieve the novel technical feat of a triple-fold screen, Huawei developed a hinge system that uses two tracks working in tandem to enable both inward and outward folds.

The hinges incorporate 26 precision cams that facilitate smooth opening and closing, with components made from strengthened steel to ensure durability.

Mate XT Ultimate Design triple-foldable phone by Huawei
The design is hinged in two directions

An integrated connecting rod and slide rail structure help to reduce the overall thickness of the hinge and therefore the phone itself, which measures 12.8 millimetres when folded and 3.6 millimetres at its thinnest point when fully unfolded.

The screen’s composite laminated structure provides strength despite its thinness, according to Huawei, with the inner fold resisting compression while the outer fold resists tension.

Huawei’s suggested uses for the phone in its fully unfolded mode include reading books and magazines with double-page spreads or using email and apps as you would on a tablet.

Other key features of the phone include its array of four cameras, including one with a ten-stop variable aperture telephoto lens that allows the user to control how much light enters the camera.

Ultimate Design is Huawei’s premium label and the phone incorporates crafted elements including layered steel construction visible along the case edges and the octagonal camera surround.

The back of the phone is wrapped in red or black leather inlaid with the Ultimate Design logotype in gold to match the finish of the metal components.

Render of the hinging mechanism on a tri-folding smartphone
The hinge system uses two tracks working in tandem

Huawei chose to launch the device just a few hours after US firm Apple presented the iPhone 16 lineup. Apple has yet to release a foldable phone, despite being granted a patent for such a design in 2016.

Huawei unveiled its original Mate X smartphone at the 2019 Mobile World Congress, demonstrating many of the features present in the Mate XT version but with only one folding mechanism.

Several other brands unveiled folding phones that same year, including Microsoft and Motorola, which produced a revamped version of its Razr flip phone.

Mate XT Ultimate Design triple-foldable phone unfolded to tablet size
The Mate XT will go on sale in China from 20 September

Samsung was forced to delay the release of its Galaxy Fold smartphone after reports of screens breaking during use. The South Korean firm also launched a flip phone with a flexible glass display in 2020.

Huawei Technologies Co. was founded in 1987 and is now one of the world’s largest telecommunications firms, operating as a network carrier as well as a manufacturer of its own products and devices for other brands.

The company has been faced with sanctions from countries including the United States, which sees it as a national security risk despite Huawei’s denials. The Mate XT smartphone will go on sale on 20 September but is expected to be available only in China.

All imagery courtesy of Huawei.

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Entries open for 2024 Brick in Architecture Awards

Church built from brick

Promotion: this year’s Brick in Architecture Awards has opened for submissions, with competitors encouraged to submit innovative brick projects to showcase “brick’s virtually limitless versatility”.

The annual competition, described as “the leading international design competition featuring fired-clay brick,” is open to submissions that use clay brick as their primary building material.

Sculptural brick church
The Brick in Architecture Awards celebrate brick’s potential

Organised by US trade association The Brick Industry Association (BIA), it features nine categories, in which architects and designers will compete to win the Best in Class, Gold, Silver or Bronze awards.

The 2024 Brick in Architecture Awards also has an overall Craftsmanship Award, which will be given to a project by an individual mason or team who has created an “exceptionally artful or unique installation”.

Wavy brick facade
Architects and designers can compete in nine categories

“The awards showcase brick’s virtually limitless versatility for inspired and sustainable design that can achieve any aesthetic,” BIA president and CEO Ray Leonhard said.

The Brick in Architecture Awards has nine categories: commercial, education – K-12, higher education – colleges and universities, residential – single family, residential – multi-family, thin brick, paving and landscape projects, historic renovation and international (projects outside of the US, Canada or a US territory).

The competition is open to architects or designers who are employed by an architectural, design-build or landscaping design firm. Any member of the design team is invited to serve as the submitting architect, the organisers said.

Submissions require all team members who “substantially contributed to the project’s design” to be given credit on the submission form.

In addition, “manufacturers and distributors may enter projects of which they have been a part on behalf of the architect”, the BIA added. Clay brick regional associations and other masonry associations may also enter projects from their own regional competitions or from their members, the organisers also said.

Submitted projects must have been completed since 1 January 2018.

Submissions can be any work of architecture in which new clay brick products comprise the predominant exterior building or paving material (over 50 per cent). Materials can include face or hollow brick, building brick, thin brick, paving brick, glazed brick, structural glazed facing tile, new clay brick products in special shapes and/or a combination.

Residential brick building
Project submitted must be comprised of majority new clay brick

Entrants are invited to submit more than one project for consideration. Previously submitted projects that were unsuccessful in winning a Best in Class, Gold, Silver or Bronze can be put forward again as long as they were completed since 2018.

Entries must be submitted by November 1, and a jury of peers will choose a winner in December to be announced in early 2025.

Previous winners include a lobby with a curved volume formed of more than 9,000 bricks and a Toronto hotel with dramatic brick arches.

To find out more and enter the 2024 Brick in Architecture Awards, visit its website.

Partnership content

This article was written by Dezeen for The Brick Industry Association as part of a partnership. Find out more about Dezeen partnership content here.  

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Wax Atelier showcases objects made from tree-based waxes, resins and dyes

Lamp by Jacob Marks

A design studio that specialises in beeswax has curated a London Design Festival exhibition revealing how living trees can provide materials for design objects.

Wax Atelier is behind The Abney Effect, a treasure trove of objects and material experiments made using bio-based waxes, resins, oils, fibres and dyes, all sourced from unfelled trees.

The Abney Effect exhibition by Wax Atelier
The Abney Effect showcases waxes, resins, oils, fibres and dyes made from trees

The exhibition is on show at Wax Atelier’s new workshop space on the edge of Abney Park, a historic London cemetery that doubles as a woodland nature reserve.

Highlights include lamps made from pine resin, wood-derived wax crayons and a series of scented waxes created from different parts of orange trees.

The Abney Effect exhibition by Wax Atelier
The show includes objects, textiles, scents and material experiments

Designer and Wax Atelier co-founder Lola Lely said the setting was the starting point for the show.

Located in Stoke Newington, Abney Park first opened in 1840 as an arboretum. It once contained 2,500 species of tree – more than even Kew Gardens has today – including a rosarium with over 1,000 varieties of rose.

“That was the inspiration,” Lely told Dezeen during a tour of the show.

“Besides oxygen, paper and wood, loads of things are derived from trees. We wanted to create a retrospective of those things.”

The Abney Effect exhibition by Wax Atelier
Wax Atelier is exhibiting aromatic wax made from different parts of an orange tree

The show includes experiments from Lely’s own design studio and products that she and Wax Atelier co-founder Yesenia Thibault-Picazo have produced together.

But it also spotlights other designers and studios working with tree-based materials, in an attempt to foster collaboration.

“We all have a synergy in terms of craft, experimentation and innovation, but often we work in our own bubbles,” said Lely.

“We wanted to create opportunities for dialogue. If people are working with the same materials, maybe it can unlock something.”

Lamp by Jacob Marks
Wax Atelier collaborated with Jacob Marks to produce pine-resin lamps

Wax Atelier is exhibiting aromatic wax collections made from the orange tree’s flower, leaves, fruit and bark. The studio has also created a new version of its wax linen flowers, based on roses.

A collaboration with designer Jacob Marks resulted in the pine-resin lamps, while CQ Studio is showing how it turns bio-resin into sequins.

Forest Crayons by Playfool
Playfool’s Forest Crayons are made from different varieties of waste wood

The Forest Crayons were developed by design studio Playfool using waste lumber. Different varieties of wood produce different colours, revealing the spectrum of shades that exist in nature.

A wall cabinet reveals experiments by Dutch potter Arjan Van Dal, investigating how wood ash can be used to create a glass-effect glaze for porcelain.

Arjan Van Dal
Arjan Van Dal has created porcelain glazes from wood ash

Vietnamese fashion brand Kilomet 109 is showcasing a range of materials it uses in its garments, including padding material derived from Sharon fruit and buttons made from coconuts.

Other eye-catching exhibits include Jamie Quade‘s Grown Sundial, crafted from a fallen tree, and Lely’s Kabuto Lights, folded pendant lamps made from naturally dyed Japanese mulberry paper.

CQ Studio
CQ Studio creates sequins from bio-resin

Founded in 2017, Wax Atelier has its main studio in nearby Walthamstow.

The Abney Effect is the first exhibition that the studio has hosted in its new workshop space, Labs, which was gifted by Hackney Council and the custodians of Abney Park as a space for research and community engagement.

The Abney Effect exhibition by Wax Atelier
Lely’s Kabuto Lights hang above exhibits from Vietnamese fashion brand Kilomet 109

The exhibition is part of the Dalston to Stokey Design District, one of several districts in London Design Festival.

The show programme includes a series of interactive events, including a sundial-making workshop and a tour of Abney Park’s trees with a local ecologist.

The Abney Effect exhibition by Wax Atelier
Jamie Quade’s Grown Sundial stands outside the exhibition

“The showcase’s setting in Abney Park creates a sense of curiosity, connecting objects and materials with their natural surroundings in a way that we hope feels both new and familiar or unfamiliar,” said Lely.

“By including ecological walks and preserving natural elements, the showcase ties design to environmental awareness, emphasising the importance of harmonising design with nature and fostering a deeper appreciation for sustainability.”

Other London Design Festival events include the Craft x Tech exhibition at the V&A showing designers, including Sabine Marcelis, who have collaborated with Japanese master artisans.

The exhibition photography is by Sara Hibbert.

The Abney Effect runs from 16 to 22 September as part of London Design Festival. Visit Dezeen Events Guide for a guide to the festival and other architecture and design events taking place around the world.

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