Hasta La Ideas

As “immersive experiences” continue to proliferate, Shane Reiner-Roth considers the implications for our relationship with architecture and the built environment.

It was not long ago that advancements in OLED displays, projection-mapping and digital signage appeared to be the key to reinvigorating art and architecture, as well as public interest in both of these fields.

In her 2011 book Kissing Architecture, the architectural theorist Sylvia Lavin catalogues examples of “superarchitecture”, which she defines as “architecture in contact with incommensurable forms of time, movement and immateriality that coalesce to produce socially enveloping and therefore political effects”.

We are seeing “immersive experiences” pop up in nearly every city with a tourism economy

The video artwork of “superarchitects”, including Pipilotti Rist and Doug Aitken, is not only projected onto architecture by “kissing” its surfaces, but intensifies architectural effects by allowing the legibility of both forms of media to “give way to the experience of perception itself”.

The ability of superarchitecture to socially envelop audiences, in other words, would encourage the public to slow down their daily pace, pay attention to the finer details of the built environment and, perhaps, even reevaluate their responsibility to one another as they co-inhabit public space.

But we haven’t heard a lot about “superarchitecture” in the 13 years since Kissing Architecture was published. In its place, we are seeing “immersive experiences” pop up in nearly every city with a tourism economy.

Instead of video artists receiving commissions to “kiss” the surfaces of public space, the work of the great painters of the public domain – including Hieronymous Bosch, Picasso and Monet – is cast onto the characterless surfaces of warehouse interiors for a substantial admission fee. Circles are sometimes projected onto the ground as a post-Covid measure, allowing visitors to occupy the same space without the threat of social interaction.

In the hands of for-profit companies, Van Gogh’s Starry Night is no longer a painting to be interpreted. Like Frankenstein’s monster, it is an image to be shocked with a million volts for public consumption. Painterly details, originally so small they require a magnifying glass to be appreciated, are scaled up beyond all subtlety. The movement once implied by gestural brush strokes has been made literal through video animation. The aura is gone, but the buzz is overwhelming.

Many recently developed live-performance venues have additionally been designed to flood the senses by affixing LED screens to reductive volumes, minimising architectural massing to an obligatory secondary character.

Seamless, wraparound screens may soon dethrone the flat screen of the movie theatre as the primary urban-entertainment venue

In Las Vegas, for instance, the Madison Square Garden Company recently spent a whopping $2,300,000,000 on the Sphere, a dome designed by Populous whose only architectural significance is that it is the largest spherical building in the world. Technologically, however, the Sphere is a marvel: a 160,000-square-foot (15,000-square-metre) LED screen – the highest-resolution one in the world – wraps around its interior.

The 17,000 ticket-holders are encouraged to look upwards, rather than at one another or even the musicians performing on stage. When the Grateful Dead performed at the Sphere during their weeks-long residency, with tickets starting at $145 and steadily going up from there, who was the star of the show: the Grateful Dead, or the Sphere?

Though its 580,000-square-foot (54,000-square-metre) LED screen exterior most commonly serves as a digital billboard for any company able to fork over $450,000 for four hours of screen time, it has occasionally been handed over to at least one video artist, Refik Anadol.

But like the first silent movies, whose depictions of dreams and magic principally served to demonstrate the capabilities of the new visual medium, Anadol’s swirling animations were largely advertisements of the Sphere’s technical prowess. The distinction between theme parks and urban venues is rapidly dissolving as more versions of the Sphere begin to pop up in major American cities and beyond.

Cosm, a technology company specialising in planetariums and science centres, has recently opened up what are essentially walk-in televisions in Los Angeles and Dallas with a 1,500-person capacity. For several times the price of a beer at a sports bar (and, in some cases, several times the price of a seat at a sports stadium), one can instead get “immersed” in live basketball matches.

The seamless, wraparound screens which, Cosm claims, make you feel “like you’re courtside at an NBA game or traveling to a world beyond your own”, may soon dethrone the flat screen of the typical movie theatre as the primary urban-entertainment venue, especially given that more people are opting to avoid crowds altogether by streaming movies at home.

In these “immersive experiences”, Van Gogh, Anadol, the Grateful Dead and basketball stars all play second fiddle to screen devices

For those in attendance without an interest in football, the technological spectacle is likely enough to keep them occupied. In these “immersive experiences”, Van Gogh, Anadol, the Grateful Dead and basketball stars all play second fiddle to screen devices that, through their scale and technological sophistication alone, have the power to occupy our attention any time we turn away from our phones.

They count on us being so consumed by the changeability of screen devices, and so desensitised to the relative stillness of everything else, that they become the eternal flame to our moth-like attention while burning a hole in our pockets.

And as soon as these screens are no longer noteworthy, ceasing to be “immersive” enough to justify astronomical ticket prices, they will respond by becoming more spectacular, more engrossing, more pulsating, until the built environment that surrounds them seems unbearably inert by comparison.

Shane Reiner-Roth is a writer, photographer, curator and educator. He is a lecturer at the University of Southern California and is studying for a PhD at the University of California, Los Angeles. His writing has appeared in Dezeen, The Architect’s Newspaper, Architectural Record and Architectural Digest.

The photo is by Tan Yang Song via Shutterstock.

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Agricultural architecture informed this timber house, which architect Roman Morschett has nestled into a grass-filled orchard site in rural southwest Germany.

Named Bliesgau House, the home was designed to celebrate its orchard setting and draw from the rural Gersheim surroundings, with a simple timber structure that sits low in the landscape.

Located next to the street to maximise the private space offered by the rest of the orchard, the single-storey home rests on a concrete foundation and is topped with a pitched metal roof supported by a rhythmic timber structure.

“The design aimed to preserve the orchard’s unique atmosphere while creating a strong connection to the garden,” Morschett told Dezeen.

“To achieve this, we proposed a straightforward timber construction whose materiality, colour and construction are reminiscent of agricultural architecture.”

To protect the plot from the public street as much as possible, Morschett designed the home to have a long form that runs along the side of the street.

“As the narrow plot is flanked by the street, it was an appropriate strategy to build a long structure that separates the public space from the private area to the south,” Morschett explained.

“At the same time, the resulting single-storey design strengthens the connection to the surrounding garden. On a typological level the building is thus reminiscent of agricultural barns,” he continued.

Aside from its concrete foundations, the entirety of Bliesgau House is made from timber, with a spruce structure and a stained larch facade cladding designed to withstand the weather. Larch wood was also used to create the terrace flooring, as well as window frames and parquet flooring inside.

“The structure itself is made of economical spruce whereas the parts exposed to the weather such as external supports, facade cladding, terrace boards and benches are made of more durable larch wood,” said Morschett.

“Together with the windows and the parquet flooring, the larch is the primary material of the house.”

“The visible parts of the roof construction and the larch windows were the starting point of the natural colour palette,” Morschett continued.

“By staining the exposed wood surfaces in a patina-like warm grey tone, the house looks as if it has been in the orchard for a long time.”

The home’s main entrance faces the street, while an additional entrance is nestled beneath a pergola that cuts into its footprint on one side, creating a covered parking area that flanks an enclosed storage space.

Inside, the home’s long, single-storey layout allows for a sequence of bright spaces that open onto the orchard. These large, open spaces take up most of the home’s plan.

A strip of the interior on the north side closest to the road is home to smaller, secondary spaces including a dressing room, laundry room and storage cupboard, as well as two bathrooms.

From the main door, a small entrance hall offers access to an open-plan kitchen and dining area. With dark and wooden furniture and pale walls that join to create a neutrally toned interior, the open-plan space is flanked by a large sliding door that opens onto the pergola at the back of the house.

A small pantry sits to one side of the kitchen, while a study at the end of the same corridor is illuminated by a circular window, which pivots horizontally to open and allow natural ventilation through the space.

Also on the east side of the kitchen is a bright living space that extends forward from the house’s rectangular volume towards the garden. Brightened by large glass doors and floor-to-ceiling windows, the living room is set at a lower level than the kitchen.

“The spatial configuration of the communal area creates different levels of intimacy, which is further emphasised by the level difference between the kitchen and the living room,” said Morschett.

Parquet flooring features across both the dining area and living room, which are connected by a trio of wooden steps. The living room is decorated with modern furnishings that fit with the home’s neutral colour scheme.

From the other side of the kitchen and dining room, a second corridor leads to two spare rooms and a main bedroom.

At the back of the house, a long, split-level sheltered porch looks over the garden, decorated with plant pots and lined with larch boards.

“The rationally organised floor plan gains spatial diversity through a pergola to the south, where a long bench extends the living space to the outside,” said Morschett. “The house was to be simple and yet rich in spatial situations.”

“The living area flows around the large covered terrace, which becomes the communicative hub of family life,” he continued. “From here, it is only a few steps to the orchard, which links naturally with the house.”

Other timber homes in Germany recently featured on Dezeen include a cubic timber duplex with a sage green facade and a semi-detached countryside home made from straw bales and timber.

The photography is by Rory Gardiner.

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The Dezeen team is reporting live from London Design Festival, which takes place 14-22 September. Read on for all the coverage from Monday 16 September.

5:00pm – spoilt for choice!

Looking for a bit of retail therapy, social editor Clara Finnigan dropped into The Hoxton in Shoreditch, to see The Yinka Ilori Objects Pop-Up return to east London a second time.

The pop-up shop showcased British-Nigerian designer Yinka Ilori‘s latest collection in his distinctive, colourful patterned style. Now what to buy…

4:45pm – its coming together

After a busy weekend installing the Design You Can Feel exhibition, the Dezeen team is spending the day filming interviews with the six designers in the exhibition.

Here, Dezeen editorial director Max Fraser is chatting to designer Giles Miller about his Awaken installation as part of the show. Keep an eye on Dezeen over the coming weeks for the films!

4:30pm – more vases

As part of Reclaimed: The Silo Collection, 22 London ceramicists have created objects using an experimental glaze, developed by local practice Studio Omelette and Mexican potter Lucía Ocejo using waste wine bottles from zero-waste restaurant Silo.

In line with the idea of eliminating waste, the resulting pieces are displayed on a scenography made of reclaimed materials including plinths made from wine boxes and podiums made from kiln shelves.

The next step, Studio Omelette founder Cécile Dumetier hopes, is to use the glaze to create tableware for the actual Silo restaurant, run by chef Douglas McMaster.

“For him, it’s like what could we do next?” Dumetier told Dezeen. “Because they’re going through so much wine, so much of this raw material that can be used by so many artists or makers.”

“It’s a call to action: if someone wants to use material, reach out because we would love to provide it and you can experiment and do something with it.”

3:30pm – vase maker extraordinaire

Workshop sessions are now well underway at Making Room, an exhibition in the Brompton Design District curated by Andu Masebo  and Mikey Krzyzanowski. The show aims to shine a light on the process of making, with visitors involved in crafting furniture and objects that will be used here throughout the week.

Dezeen editor-at-large Amy Frearson popped in on Saturday afternoon to see the results of day one’s workshops, which included stool-making with Masebo and Krzyzanowski and vase-making with Berlin-based artist Anna Zimmermann.

She ended up making her own vase, a leopard-print-style design that is now on display next to Masebo’s woodgrain-inspired effort.

These vases will come in very handy tomorrow, with Galerie Navy scheduled to host a floral sculpture workshop.

Other workshops in the progamme include hook-making with Mitre & Mondays and a drawing class with Daniel Schofield.

3:00pm – vandalism

Sad news from King’s Cross where the Juicy Booth is closed following an act of vandalism at the weekend. According to designer Annie Frost Nicholson, who created the installation in collaboration with K67 Berlin and The Loss Project, the sensory booth will be open again for visitors tomorrow.

 2:30pm – pizza time

Next stop for Jennifer Hahn – zero-waste restaurant Silo in Hackney Wick (with interiors by Nina+Co) to see a collection of ceramics glazed using the many many wine bottles consumed by the restaurants patrons.

Unfortunately, I’m not having lunch at the actual restaurant because journalists don’t have that kind of time or money (and also the restaurant isn’t serving food until Wednesday). So instead, I’m having pizza by the canal. There are worse ways to spend a Monday!

More on the exhibition on Dezeen soon.

 2:00pm – sneak peek!

Also in east London, Dezeen co-CEO Benedict Hobson took a sneak peek at our Design You Can Feel exhibition in collaboration with Asus, which explores the properties and possibilities of Ceraluminum.

The exhibition features designers including Fernando Laposse, Giles Miller, Natural Material Studio, Niceworkshop and Studio Furthermore.

Opening tomorrow, the exhibition at Protein Studios in Shoreditch runs until Sunday. Come say hi!

1:15am – still no sponsor?

Jennifer Hahn’s one-person Lime bike tour continues…

12:45am – “flat-pack moments of rest”

Next stop on the bike tour is a mere stone’s throw from the Dezeen office in Haggerston. Set in the lobby of Leroy House, Indian studios Blurck and Dasein Lab have come together to share their first seating collection.

Named Tula after the Sanskrit word for equilibrium, the chairs are made from reclaimed London scaffolding planks balanced on top of chunks of salvaged slate from Delhi.

The result are what the studios call “flat-pack moments of rest”, held together completely without screws and relying instead on an elaborate system of tension cables like the kind you might see on a suspension bridge.

12:15am – planning ahead

For those of you still planning your week, we have rounded up the 10 key exhibitions and installations to visit during LDF.

We are also hosting a series of talks and events over the next three days in collaboration with Buster + Punch, Molteni&C, Autex Acoustics and Ustwo, as well as a major exhibition with ASUS. There’s still time to sign up!

11:55am – are you sitting comfortably?

A short skip across the street for Douglas Jardim is the Chair of Virtue exhibition at One Hundred Shoreditch, which includes five sculptural chairs created by UK-based makers that celebrate form and design.

The Blob Chair by Sophia Colman is a particular standout.

Responding to the theme of Natural Forms, the chair reflects the components of a red blood cell among other elements of the human body.

Judging from looks alone, The Blob Chair does what it says on the tin. Whether it’s pleasing or not to sit on, however, is a mystery.

11:15am – crocodiles and corkscrews

Back in east London, editorial intern Douglas Jardim popped into Blond Laboratory – a touring exhibition from the London design studio which debuted earlier this year in Milan.

The exhibition in Shoreditch showcased the work of seven designers who take inspiration from objects that are no longer manufactured or readily available, highlights include a balancing lighter by Swiss-French designer Julie Richoz of Julie Richoz Studio held down by weights and a whisk-turned-candelabra made from springs by Jon Marshall from Pentagram.

Some interesting object pulled from the Blond Artefacts archive are also on display, including a rather snappy crocodile-shaped grater. It’s as sharp as their teeth!

11:00am – Tuscany in Mayfair

Fresh from Helsinki Design Week, design and interiors reporter Jane Englefield has headed straight to Mayfair’s Gallery Fumi, where Tuscan designer Francesco Perini is presenting a collection of timber furniture.

Nucelo is Perini’s first solo show at the gallery, featuring organic-shaped oak furniture inlaid with materials including veiny marble, smooth onyx and robust steel and brass.

Perini was informed by desert roses – naturally occurring crystal clusters that form in harsh weather conditions (which also informed Jean Nouvel’s National Museum of Qatar in Doha) for the collection.

All of the furniture was handmade in the designer’s workshop in Tuscany

10:30am – LDF bike tour

Design editor Jennifer Hahn is leading a one-person Lime bike tour (sadly not sponsored… yet!) around east London this morning, where there are lots of fun things happening this year.

The first stop was Light in Motion, an exhibition of experimental lighting designs from nine emerging designers and engineers, initiated by London studio Kai Lab.

Many of the works on show play with indirect light, including Sophie Mei Birkin‘s swampy Biomaterial Submersions, which feature foraged plant matter immortalised in a bio-resin, and Duncan Carter’s algorithmically optimised 10,000 Tiny Suns.

A personal highlight was a massive metallic flower, that casts different reflections as it robotically unfurls its petals.

It was created by Heyl & Van Dam for the Ice Melt Tour of American psych rock band Crumb, of which I’m a huge fan (I recommend listening to Ghostride, which will be the soundtrack for the next leg of the cycle tour).

9:30am – the morning after the weekend before…

Following a super buzzy weekend we are back reporting on this year’s London Design Festival (LDF). Dezeen’s design editor Jennifer Hahn, design and interiors reporter Jane Englefield, editorial assistant Starr Charles, social editor Clara Finnigan and editorial intern Douglas Jardim are on the ground in London reporting live.

Catch up on what happened on the opening day here including an installation by Marshmallow Laser Feast for Johnnie Walker. And to keep you up to date on all the festival activities Dezeen Events Guide has created an LDF guide, highlighting the key events at the festival this year.

To stay up to date, follow Dezeen live: London Design Festival, taking place from 14-22 September 2024. Dezeen Events Guide has created a LDF guide, highlighting the key events at the festival. See Dezeen Events Guide for all the latest information you need to know to attend the event, as well as a list of other architecture and design events taking place around the world.

Read about everything that happened on the opening day (13 September).

All times are London time.

The lead image is by Jennifer Hahn.

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In the village of Adelboden in Switzerland, Amsterdam-based Nicemakers has transformed the interiors of The Brecon, a hundred-year-old chalet, into a secluded retreat.

The intention for the 18-room chalet, called The Brecon, was for it to be “like a high-end version of your own home,” Nicemakers head of design Lottie Lorenzetti told Dezeen. The studio wanted the hotel rooms to feel like guest rooms in someone’s home.

“We set out from the very beginning with the intention of not creating another clean, minimal, Swiss hotel aesthetic,” Lorenzetti added.

The client, hotel operator Grant Maunder, wanted to create “a hideaway which feels like a dream home”.

Across the common spaces, 18 rooms and four suites of the boutique hotel, Nicemakers worked with Maunder to fulfil the brief by creating a series of intimate and characterful interiors with a domestic feel.

On entry through a bespoke wooden revolving door, the open-plan lounge space progresses into dining and living areas, featuring a sofa tucked away in a secluded nook.

The interiors throughout are decorated with wooden panelling and integrated bookshelves, free-standing lamps and mismatched mid-century modern furniture.

Mantel pieces and coffee tables display a collection of objects, candles and incense holders, statement one-off ashtrays and magazines that were chosen to add to the domestic feel.

Nicemakers worked with Amsterdam’s Bisou Gallery to select relevant and personal artworks for the walls of The Brecon.

Timber, stone, leather and wool, in an earthy palette chosen to complement the hotel’s mountain surroundings, have been used throughout the interior scheme.

On the ground floor, Nicemaker placed a few casual breakfast tables by an open kitchen to evoke the sense of being a guest in someone’s spacious home.

The spa, which has a sauna, steam and treatment rooms, and the infinity pool on the terrace looking down the valley to the Engstligen waterfalls, were finished at the scale of a generous private residence, the studio said.

The unusual concept for the retreat – in a small town with several more traditional hotels – was executed with a mid-century modern design approach.

The resulting interiors contrast with the traditional chalet style found in Switzerland.

Other unusual design details include the repeated use of crazy paving indoors; in the elevators and entranceway, on bedroom balconies and around the pool area.

“The crazy paving was a hugely labour-intensive design element – it took a long time to lay and needed a skilled person who came from Wales to do this,” Lorenzetti said.

Continuing the family affair, all the ceramic crockery was handmade in Wales by Andréa Anderson, who is married to the client Grant Maunder.

Originally Nicemakers had plans for bespoke mini bar cabinets, bedside tables and the same armchairs in each room.

However, the studio concluded this would have gone against the hotel’s domestic concept.

“You wouldn’t have a mini bar fridge in your own guest room at home,” explained Lorenzetti.

This decision meant that – instead of using the same suite of bespoke elements throughout the hotel – individual items could be sourced and curated for each room.

“[This] gave the rooms a much more collected, rather than manufactured, feel”, Lorenzetti said.

Nicemakers’ design was also informed by some of the original elements from the 1950s and ’60s heyday of the building, which was originally built in 1914.

Textured plaster, the original red mosaic tiles in the stairwell and the mottled glass all draw from the history of the site. A pre-existing fireplace in the spa was also preserved.

Vintage and new items were sourced from all over Europe, especially vintage markets in Italy, the UK, the Netherlands and France.

The mix of patterns and details was intentional.

“[We wanted] to imitate a collected mix of items, to steer away from the classic minimal and clean, expected, Swiss aesthetic”, Lorenzetti concluded.

Other projects in Switzerland recently featured in Dezeen include a 1960s chalet in Zinal renovated by Giona Bierens de Haan Architectures and an extension to a school in Aeschi by Haller Gut Architekten.

The photography is by Michael Sinclair.

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Although Apple just announced latest iterations of the iPhone, Watch, and AirPods, it seems like the company still has new products left to announce. Given that the iPad Pro got the M4 chip earlier this year, it only makes sense that Apple would bring the same flagship chip to their other products. Renowned analyst Mark Gurman announced that Apple has yet another event that’s due for sometime in October. The upcoming October 2024 event is expected to unveil a range of exciting new products, particularly in the Mac and iPad lineup. Among the anticipated announcements are the M4 MacBook Pro, iMac, and Mac mini, along with new iterations of the iPad mini (which hasn’t seen an update since 2021) and iPad 11. These product launches continue Apple’s trend of releasing updated models with each passing year, reflecting its commitment to pushing the boundaries of performance, design, and user experience. This event is expected to mark the debut of the M4 chip series, following last year’s release of the M3-powered devices.

The MacBook Pro is expected to take center stage with updated 14-inch and 16-inch models featuring the new M4, M4 Pro, and M4 Max chips. Apple fans are likely to appreciate the continued refinement of performance, even though there are no expected changes to the external design of these laptops. The MacBook Pro last saw a significant redesign in 2021, and rumors suggest that an OLED display and thinner design may not appear until 2026. However, the anticipated internal improvements promise to elevate multitasking, graphics capabilities, and battery efficiency, catering to professionals and creative users alike. These updates should keep the MacBook Pro in contention as one of the most powerful and efficient laptops in the market.

In addition to the MacBook Pro, Apple is also planning to update the iMac with the M4 chip. While there has been speculation about potential design changes, the primary focus for the iMac appears to be performance enhancement. The Magic Keyboard, Magic Mouse, and Magic Trackpad accessories are also rumored to switch from Lightning to USB-C, aligning with Apple’s gradual transition to USB-C across its product lines. This would provide a more uniform experience for users who own multiple Apple devices, offering a higher degree of flexibility and compatibility across accessories.

The Mac mini is another product expected to benefit from the M4 series, sort of leapfrogging from the M2 chip that it currently has from 2 years ago. The M4 and M4 Pro chips should deliver significant improvements in speed and efficiency. Notably, the Mac mini is rumored to undergo a physical redesign, potentially shrinking to a size closer to that of an Apple TV. This compact redesign is likely to appeal to users looking for a powerful yet space-efficient desktop solution. However, reports suggest that the new Mac mini may forgo USB-A ports, which could stir some debate among users who rely on legacy devices. Given this news, one could assume that the Mac Studio will get a similar M4 upgrade sometime early next year.

The iPad mini is also on the agenda for the October event, with the seventh-generation model expected to feature a faster chip (possibly the A18 that’s inside the flagship iPhones), upgraded cameras, and improved display performance to address the “jelly scrolling” issue that has affected portrait-mode usage. Additionally, the iPad mini is expected to support Wi-Fi 6E and Bluetooth 5.3, making it more future-proof in terms of wireless connectivity. For users seeking a more portable alternative to the full-sized iPad, the iPad mini continues to offer an excellent balance of power and portability. The introduction of new color options will also cater to those who prioritize personalization in their devices.

Lastly, Apple is expected to reveal new lower-end iPads, including the iPad 11 (which hasn’t been updated since 2022). These devices will likely focus on offering accessible entry points into Apple’s ecosystem while maintaining solid performance, making them ideal for education and general productivity purposes.

This October event is shaping up to be an important one for Apple’s computing division, with a strong focus on incremental improvements in performance, user experience, and design efficiency across its product lineup. The introduction of the M4 series will undoubtedly enhance the capabilities of the MacBook Pro, iMac, and Mac mini, while updates to the iPad lineup will maintain Apple’s leadership in the tablet market. It’s just been a week since Apple’s last keynote and the company’s still waiting for consumers to get their hands on the iPhone 16 and Watch 10 devices, so it doesn’t seem like Apple will announce for at least a few weeks. However, if the event’s due for October, we can expect Apple to either announce it formally at the end of the month or silently update devices like they’ve done in the past although the latter seems less likely.

The post Apple to launch NEW iPad Mini after 3 years, plus M4 MacBook, iMac, and Mac Mini at upcoming October event first appeared on Yanko Design.