Yana Molodykh refurbishes attic apartment with views over Kyiv

Interior shelving and dining space in Kyiv apartment by Yana Molodykh

Ukrainian designer Yana Molodykh has renovated a compact apartment in Kyiv, creating a light-filled space with storage fitted around the building’s existing structural framework.

The 50-square-metre apartment, which was christened with a housewarming party a few days before the start of the Ukraine war, is a pied-à-terre for a couple that lives in one of the capital’s suburbs and likes to spend weekends in the city centre.

Shelving and dining space in interior of Kyiv apartment by Yana Molodykh
Yana Molodykh has renovated an attic apartment in Kyiv

The apartment is located on the attic level of a modern eight-storey building in the historic Podil district, which the owners chose because it reminds them of their home city of Kherson.

The existing interior was divided by a series of metal columns and partition walls, with small windows, zinc-profiled flooring and steel roof beams making the rooms feel dark and cluttered.

Interior dining and kitchen space in Kyiv apartment by Yana Molodykh
The apartment was redesigned to let in more daylight

Molodykh completely reorganised the space, removing internal walls, adding effective soundproofing and enlarging the windows to let in more sunlight.

The designer wanted to create a bright and eclectic space reminiscent of Kherson’s resort atmosphere, with materials chosen to bring natural warmth and texture into the daylit interior.

Wood kitchen in Kyiv apartment by Yana Molodykh
Wooden joinery adds warmth and texture to the interior space

“I aimed to create a true atmosphere of living under the roof,” the designer told Dezeen. “When you are at the top of a building every action occurs below you, so you can observe and enjoy the view. Also, I wanted there to be no obstacles to daylight.”

The main requests from the client were for a cosy living area and a comfortable and functional kitchen where the couple can cook and entertain.

Interior living area in Kyiv apartment by Yana Molodykh
Some of the home’s steel structure was left exposed

Wooden flooring and joinery contribute to the warm and relaxing atmosphere, Molodykh said, with details such as the sheer curtains and paper Akari floor lamp from Vitra adding “airy” accents.

Some of the building’s steel structure was left exposed while other parts were concealed behind shelves in the living room and the closets in the bedroom.

Built-in storage that extends all the way to the ceiling optimises the apartment’s available height. And in the dining area, storage for tableware is cleverly integrated behind one of the columns.

The smallest room in the apartment is the 6.4-square-metre bedroom, which features a bed raised on a podium and a wardrobe set into a niche behind a column.

A large beam that crosses the space was boxed in to prevent the uncomfortable feeling of a heavy metal structure overhead, while built-in shelves by the bed help to free up floor space.

Bedroom interior in Kyiv apartment by Yana Molodykh
The steel beam in the bedroom was boxed in

The apartment’s compact entrance area features a tiled floor and a blue accent door, creating a visual buffer between the interior and exterior.

A small dressing area is slotted in between the beams and columns next to the entrance, hidden behind sliding doors with mirrored panels.

Geometric patterned tiles also feature in the bathroom, which contains a freestanding bathtub and shower cubicle along with terracotta ceramic sconces by Ukrainian designer Julia Kononenko.

Entryway to the Kyiv apartment by Yana Molodykh
Geometric floor tiles define the apartment’s entrance

Molodykh mixed tiles from four different brands to create a layered effect influenced by her appreciation of Ukrainian constructivist architecture, much of which is currently falling victim to Russian shelling.

“I wanted to link the apartment’s interior with important buildings nearby including the Zhytniy market and Zhovten cinema,” the designer explained.

“I admire their architecture, lines, proportions and ideas, so I wanted to pay my tribute. That is why the bathroom looks slightly different from the rest of the apartment. It makes the project more eclectic and more corresponding to its surroundings.”

Bathroom interior in Kyiv apartment by Entryway to the Kyiv apartment by Yana Molodykh
The tiling in the bathroom was informed by Ukrainian constructivist architecture

Podil is one of Kyiv’s oldest districts and today, its early-20th-century buildings are neighboured by modern constructions and high-rise hotels.

These diverse architectural styles contribute to the cosmopolitan feel of the neighbourhood, which has not escaped the Ukraine war unscathed. In March 2022, a missile destroyed a building in the district some distance away from the apartment.

But Molodykh said that despite everything, people in the area still look to their homes as havens amidst the ongoing war.

Storage and dining area in Kyiv apartment by Yana Molodykh
The apartment is located in Kyiv’s historic Podil district

“Even these days, people enjoy their cosy interiors and warm home atmosphere where they can spend time with families and close friends supporting each other,” she said.

Molodykh currently lives between here and Krakow in Poland, as it is easier for her to work on projects from outside of Ukraine.

Other projects in Kyiv that were completed just before the war and are just starting to be published in recent months include an all-beige home in the city’s outskirts by architect Sergey Makhno and the HQ of fashion label Sleeper, which is housed in a former shoe factory.

The photography is by Yevhenii Avramenko.

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UAL rolls out Re-Use donation boxes where students can leave and source materials

Three material Re-Use Units by University of the Arts London (UAL)

A team of current and former students from the University of the Arts London have collaborated to create mobile storage units, allowing classmates to deposit and collect materials as part of a “circular economy of sharing”.

The Re-Use units, which are being rolled out across UAL’s London College of Fashion, Chelsea College of Arts and London College of Communication, provide a dedicated space where students can drop off unwanted scraps from their projects so that others can reuse them at no extra cost.

Three material Re-Use Units by University of the Arts London (UAL)
Re-Use units are mobile donation boxes for excess materials

Currently, around 1,000 tonnes of material go to waste at the university every year, which amounts to nearly 40 bin lorries and 23 tonnes of carbon dioxide emissions.

The hope is that the reuse scheme will allow UAL to cut down on this footprint while creating an affordable, accessible material bank for students – especially in the face of the current cost-of-living crisis.

Close-up of UAL storage unit with labels reading paper and card
They were purpose-built to store different materials

“By providing our students with the tools to share unwanted or excess materials with each other, we are helping students to source materials at no cost whilst also reducing our carbon emissions,” UAL‘s head of sustainability Ian Lane told Dezeen.

“I believe that our new Re-Use units will help to build a circular economy of sharing amongst our community, thus changing the way that we work together as an institution.”

Re-Use donation box for sheet materials in a workshop
Each unit is made from medium-density fibreboard

The units were originally conceived by student interns, who were brought in to work with the university’s sustainability team in 2019, and form part of UAL’s wider Climate Action Plan with the aim of reaching net-zero emissions by 2040.

As there wasn’t enough space on of the three campuses to turn an entire room into a material reuse station, the team decided to design bespoke donation boxes in collaboration with former student Luca Beckerson, who now works as a retail design project manager.

The final design consists of adaptable storage units made from medium-density fibreboard (MDF), sized to work for wheelchair users and held together completely without glue.

“This was so at the end of their life, the units can be dismantled and the components cleaned up and reused by students in their projects,” Lane explained.

Material donation box for paper, card, haberdashery and acetate at University of the Arts London (UAL)
Casters allow the units to be moved around

Currently, there are four different versions of the Re-Use units, purpose-built to hold different materials including hard and flexible sheet materials, stationery, paints, adhesives and tools as well as miscellaneous bulky materials.

“Vision panels were introduced so that materials are visible to students in passing,” Lane explained.

“There is also an element of adaptability to the design, particularly for the cupboard format. The unit is designed to have a variety of inserts that can be fixed inside it for specific products to give tailored uses in certain areas.”

Re-Use donation box for sheet materials in a workshop
The units are stationed in workshops, canteens and hallways across UAL

This allows the set-ups to be tailored to a wide variety of UAL courses, which span everything from textile and fashion design to products and furniture.

To ensure the units don’t block key circulation routes or exhibition spaces needed for temporary student shows, casters were added to the design to ensure mobility.

Row of Re-Use storage units labelled for different materials
QR codes can be scanned to view instructions

The slanted roof acts much like a piece of hostile architecture to prevent students from dumping materials on top, which would hinder the units’ manoeuvrability.

“We’re very proud of the units and think they will be a big success,” Lane said. “But we need the buy-in from our students to ensure they are actually used and become part of their university life.”

“My hope is students who would have previously discarded excess materials will now think twice and realise there are more sustainable options available to them.”

Donation box for large items and fabrics by University of the Arts London (UAL)
A slanted top prevents students from dumping materials on top

Conscious of their own role in the climate crisis, many design students have already started making use of reclaimed waste materials in their projects.

Most recently, graduates have made plates from discarded oyster shells and potato peels, turned cow bones into minimalist sockets and used fabric offcuts from the fashion industry to form DIY lifejackets for those affected by rising sea levels.

The photography is by Orlando Callegaro.

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Luca Nichetto designs apple-leather Malala handbag for Angela Roi

Malala tote bag by Nichetto Studio

Designer Luca Nichetto has made his first foray into fashion accessories with the Malala handbag, which was partially produced from apples for vegan leathergoods brand Angela Roi.

Malala is Angela Roi‘s first accessory made from apple leather, a fabric that is created using scraps such as peels and cores from apple processing that would otherwise go to waste.

However, while the Angela Roi website describes apple leather as an “entirely plant-based alternative to real leather”, the brand clarified to Dezeen that the material is a mix of apple-derived fibres and the petroleum-derived material polyurethane plastic that is commonly used for vegan leathergoods.

Photo of the Malala bag by Luca Nichetto and Angela Roi showing four pockets built into the top
The Malala bag is made of an apple-based leather alternative

This apple-polyurethane blend is then applied on a mixed cotton-polyester backing material.

According to Nichetto Studio, the fabric retains both the feel and the look of leather, and will similarly change over time, developing a softer texture and natural sheen.

“I believe that considering the economic situation, the environmental challenges and this crisis in the world, design should try to find answers in the creation of objects that are durable and sustainable,” said Nichetto.

Photo of the Malala bag by Luca Nichetto and Angela Roi arranged in a still life
The bag is meant to offer a more sustainable alternative for high-end consumers

The bag was named after Pakistani education activist and Nobel Peace Prize laureate Malala Yousafzai and features a distinctive design with four functional pockets built into the top opening.

Its design was informed by the idea of a cabinet of curiosities or a traveller’s trunk with many compartments. At the same time, its shape references potato chip containers from fast food outlets, giving the bag what Nichetto Studio describes as a “pop soul”.

The Malala bag is cruelty-free, with no animals being involved in the production. The apple leather used for it comes from Italian company Pelletteria Fusella, which uses apple scraps from an orchard in the South Tyrol region.

The orchard’s apples are used for products such as juice and jams and produces an estimated 30,000 tonnes of scraps, such as cores and peels, every year that were either being sent to landfill or burnt.

Photo of a black tote bag on its side with objects spilling out of the pockets
The bag features four functional pockets built into the top

According to Angela Roi, by using a mix of plant- and petroleum-based materials, the brand can reduce the carbon emissions of polyurethane bag production while also delivering the durability that high-end consumers expect.

“As it currently stands, petroleum-based materials play a pivotal role in the durability of bio-based leathers because extending the life cycle of a product is an incredibly important aspect of sustainability,” said brand founder Angela Lee.

“The material’s potential for impact depends on the brand and consumer adoption, and a majority of consumers will not accept big sacrifices in quality compared to leather. We have not yet seen a completely plastic-free product that meets brand and consumer requirements for softness, strength and suppleness.”

Photo of the Malala tote bag in beige arranged in a still life
The bag’s shape is partly based on potato chip containers

Lee says Angela Roi’s aim is to consistently look for better material options and eventually use one that is 100 per cent plastic-free and biodegradable as technology improves.

“Recently there has been the development of polyester yarns that are impregnated with enzymes that activate to degrade the polyester once placed in biodegradable conditions,” said Lee.

“There has also been a development of chemically engineered natural fibres that act like petroleum-based yarns. Both options are exciting and could be used as a backing material in the future.”

While many plant-based leather alternatives are now hitting the market, many still contain a plastic component, particularly as a coating, to ensure the kind of durability that is expected of consumer goods.

A similar apple leather comes from Dutch company Beyond Leather, whose Leap fabric is made by mixing the scraps with natural rubber and using a textile backing and thin plastic protective coating.

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Apple’s Magic Mouse gets the absolute perfect upgrade with this ergonomic accessory

The only thing the MouseBase doesn’t do is fix that horrendous charging problem.

For probably over a decade now, Apple’s one overarching design philosophy has been sleekness. Jony Ive famously made design decisions that enforced this, much to the end-consumer’s detriment. MacBooks in 2014-15 used glue instead of screws to hold components together because it made devices thinner. The disastrous butterfly keyboard was the result of a pursuit of sleekness too. The point I’m making is that to an extent, making a product sleek is a great thing. There are times, however, when it’s not… The Apple Magic Mouse is one such product.

Designed to be sleek over ergonomic, the Magic Mouse is ridiculously tough to work with. Its smooth design doesn’t have the curves or grooves you’d need to rest your hand comfortably, and gripping the device isn’t an entirely great experience either. However, one small product hopes to rectify that. Dubbed the MouseBase, this little add-on is designed to fit your Magic Mouse (v2) in it comfortably, giving it a more ergonomic design. It lets you plug the Magic Mouse right in without any moving parts, screws, or adhesives, giving you a much more comfortable right-handed grip that lets you intuitively and effectively grab and maneuver your mouse without triggering your carpal tunnel.

Designer: Smash Engineering

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Made from plastic and weighing just 4.2 ounces (119 grams), the MouseBase fixes the Magic Mouse’s second most annoying problem. The ergonomic design of the MouseBase blends almost perfectly with the Magic Mouse, making it look rather cohesive, and creating a surface flow that welcomes your eyes as well as your hands. The base, however, cleverly also elevates and tilts the mouse ever so slightly, making it more ergonomically sound. It does so, however, without affecting the mouse’s tracking abilities. This is thanks to the MouseBase’s patented mirror technology that retains the Magic Mouse’s usability and precision.


Although it doesn’t solve the Magic Mouse’s charging problem (which remains unsolvable, apparently), it doesn’t inhibit the charging ability either. The MouseBase’s open-bottom design lets you easily plug a lightning cable into the device when not in use. Sure, that solution will always remain the most inelegant UX design direction in history, but at least the MouseBase solves the other big problem with the Magic Mouse’s visually-appealing-yet-tactile-nightmare form factor. My only real complaint? That there’s no left-handed version of this… yet.

Click Here to Buy Now

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This AI-powered typewriter can type out a complete anthology if you can guide it right

A general sentiment portrays generative artificial intelligence (AI) – and the advent of ChatGPT – as a competitor that will replace humans in various job roles. Arguably, for me, AI will make the workforce smarter and enhance the human ability to dream, innovate, and co-create.

Heralding us a step closer to the world of co-creating with AI, an engineer turned designer, Arvind Sanjeev has created a talk-back typewriter, he calls the Ghostwriter. The ghost within the typewriter is GPT-3 from OpenAI which allows the modified typewriter– with the right human input and direction – to auto-type impressive responses.

Designer: Arvind Sanjeev

Built on a vintage Brother typewriter, this impressively transmuted Ghostwriter presents itself in a combo of cream, gray, and orange that reflects the intended warm, inviting, and playful aesthetics. It features an OLED screen to display status and two knobs to ensure you can control the AI output while it’s assisting you with a research paper or composing poetry on your behest.

The GPT3-powered Ghostwriter features and Arduino onboard that reads human prompts and shares them with Raspberry Pi at the helm that further queries the OpenAI’s GPT-3 API. On the way back, the Arduino receives text strings and auto-triggers key presses on the typewriter to type out the AI suggestions on paper.

By bringing down the co-creation model of human and AI interaction to a typewriter, Sanjeev has managed to minimize “digital distraction” and take us back on an “emotional journey” to the era of paper and ink. The Ghostwriter thus lets us understand the creative relation we are developing with machines: positive or negative, it’s a story for another day.

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Interstellar-inspired futuristic ‘cylindrical’ city concept combines farmland with urban dwelling

The ‘Urban Condenser’ was proposed as a concept to help cities become more cohesive units of society, allowing for farming as well as urban living to be done on the same plot of land in a way that allows both to coexist and benefit from each other. Although an entirely wild concept, it finds its roots and inspiration in ‘Cooper Station’ from the popular sci-fi movie Interstellar. Unlike Cooper Station, however, this cylindrical city doesn’t have a variable gravitational point. Instead, it features a curved land base for farming, and an arch-shaped floating city on top, complete with houses, commercial spaces, and other urban amenities. The unique shape of the Urban Condenser also opens it up to a lot of tourism, keeping the city lively and funded.

The case that the designers behind the ‘Urban Condenser’ involves accepting migrant workers as a part of a singular community that bridges the rural and urban divide. Migrant workers form the main chunk of the workforce responsible for helping develop urban communities, but they seldom enjoy the benefits of these communities. “They work in cities but do not have urban hukou, or household registration, and do not enjoy social security,” say the designers. “They make great contributions to the city, they yearn for the city, but are not accepted by the city and are free from mainstream society.”

The large cylindrical community (one might call it a literal representation of a ‘pipe’ dream!) houses these migrant workers in its unique design, while being located within the city that they wish to be a part of. The lower part of the city is connected to the land, making it perfect for agriculture, while the sides and the upper elements are ideal for dwelling, amenities, and commercial/cultural parts of the city experience. “With community, city, migrant workers, residents, and other dimensions of identity as the object, and with lifestyle, tourism, community mechanism, and other connections within the community as the link, the Urban Condenser builds a super community to stimulate social development”, the designers mention.

Designers: Yunheng Fan, Baoying Liu, Rongwei Gao, Junliang Liu

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Resume Tips for Creative Jobs

You may look at your resume as one—sometimes two—pieces of paper. But really, it’s much more than that. It’s your first chance to make a first, and hopefully, lasting impression on HR professionals and hiring managers for the job you’re applying to. There’s limited space on a resume, and this doesn’t always have to be a negative thing. It can be your chance to utilize the space as best as you can. This is true, especially, for creative jobs.

Depending on the position and level, hiring managers sometimes expect a full portfolio that will enhance your application. But that doesn’t mean you can’t sell them immediately with your resume. If you’re in search of a creative job, here are some ways you can have your resume stand out.   

Use a creative template

Most of us have seen the basic Microsoft Word resume templates. Think twice before creating your resume in such word processors. Why? The answer is simple: most creative jobs require creative resumes.

Yes, hiring managers will want to see your creative work beyond your resume, but you still should think about every angle you can stand out as a candidate. Look into programs such as Canva and Adobe to ensure your creativity sparks off the page.

Communicate your voice & style

Your resume is a way to not only show your creativity, but it is a chance to immediately communicate your voice, style, and personality. What sets you apart from other creative candidates? Figure the answer to that question out—and then portray it on your resume. Sometimes your lists of accomplishments, previous jobs, and experience can’t change, but they way you creatively communicate them can.

Lean into your creative freedom and have fun designing your resume; odds are that it will shine through in a positive way as employers review your application.

Create different resume versions

So you’ve tailored your resume to communicate your voice and apply for your dream creative job. What’s next is making sure you have different versions of the document tailored to the specific jobs you’re applying for, because you may need to change the wording and/or design depending on it. Having a few versions on hand is a good idea for this reason.

Ultimately, applying to creative jobs can be more complicated than a one-click apply, but your dream role is worth the work you’ll pour into an inventive resume.

This reusable tissue cleaner concept offers a solution to wet wipes pollution

Since viruses and harmful microorganisms are known to stick to certain surfaces for long periods of time, some people have gotten the habit of wiping down tables, shelves, door handles, and even chairs before using them. While it is definitely a commendable hygienic practice, it has also increased the use of products such as wet wipes. Contrary to popular misconceptions, these aren’t simply “wet tissues” since real tissue paper easily breaks down when wet. Unfortunately, the synthetic materials in wet wipes turn them into environmental hazards in the long run, essentially on the same level as plastics. Rather than discourage a good habit, this concept attacks the problem from a different angle by essentially providing wet wipes that can be cleaned and reused rather than being thrown away all the time.

Designer: Yeounju Lee

Despite their appearance as thick tissues or thin pieces of cloth drenched in disinfectant like alcohol, the majority of wet wipes are actually made partly from polyester or polypropylene fibers, sometimes interwoven with organic fibers like cotton or wood pulp. This means that these wipes don’t actually break down when you flush them down toilets, and definitely not after they’ve reached sewers or other places you might not want to imagine. It can take hundreds of years for these to actually decompose, meanwhile posing a problem, not unlike typical plastics.

The problem is that, like common plastic, wet wipes are convenient. Their small packages can be slipped into bags easily, and they are like a cross between tissue paper and cloth. A wiping cloth would, of course, be more economical and more environment-friendly, but the chore of washing and sanitizing after each use is too high a cost for many people. What if we could automate that last bit almost the same way we automate washing our own clothes? Re:clean is a concept that proposes exactly that, to make single-use wet wipes into reusable wet tissues.

Re:clean is practically an appliance that cleans, disinfects, wets, and dispenses these wet tissues that curiously come in the shape of a circle with a hole in the middle, pretty much like a CD. Used pieces are loaded onto a spindle from the top, while cleaned wet tissues are collected in portable storage boxes that you just pull out and put in a bag, ready to be used at any time. The machine has controls that let the user select the amount of water content the tissues will hold or the number of tissues to be dispensed per box.

It’s definitely a creative way of solving the pollution problem of wet wipes, though some might have misgivings about reusing such materials over and over again. Then again, it’s really no different from washing rags, towels, or chamois, except everything is automated and regulated. Ideally, the wet tissues themselves can be made of more sustainable materials as well, but even if they were of the same composition as wet wipes, delaying their arrival in landfills and oceans can still have a positive impact on the environment.

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Pumpkin Mechanic’s Jacket

With jack-o-lanterns reminiscent of the Greek muses of tragedy and comedy on the back and a teddy bear on the front, the Pumpkin Mechanic’s Jacket from Online Ceramics is bold and a little Y2K stylistically. Made from 12-ounce heavy duck canvas, it’s also functional and durable.

AR Arquitectos completes black-concrete house in mountains of Argentina

Exterior of the black concrete house by AR Arquitectos

Black-stained concrete forms the exterior of this home in the mountains of Córdoba by Argentinian studio AR Arquitectos.

The Black House is located in the small mountain town of La Calera just outside of Córdoba. AR Arquitectos, a local studio, was commissioned by a family to create the 550-square-metres Argentinian home.

Exterior of the black concrete house by AR Arquitectos
Black-stained concrete was chosen for its visual impact

“The principal idea was to break with the traditional premises,” said the studio. “Our attention was placed on the choice of concrete as the protagonist material in all its senses.”

The black-stained concrete used for the exterior walls creates a strong visual impact and gives the house a sense of solidity and permanence.

Exterior of the Black House by AR Arquitectos
Steps lead down to the main entrance on the lower floor

The two-storey structure is located on a steep slope so the lower floor needed to be partially sunken into the ground.

From the exterior, a set of steps leads down to the main entrance, while cars park down a ramp into a garage that is configured like a breezeway and offers sightlines through the home.

The home’s communal areas are combined into an open-concept layout on this lower level. Visitors enter through the centre of the home, which opens out to views of the surrounding mountains through tall, sliding glass walls.

Interior of the black concrete house by AR Arquitectos
Sliding glass doors in the common areas provide views of the surrounding landscape

“The ground floor, undermined in the terrain, gives visitors the experience of going through the project and framing the views it suggests,” said AR Arquitectos.

“The interior and exterior merge thanks to the permeability that is achieved through large glazed surfaces, with window-doors that connect the interior space with a large gallery, pool, the garden, and the view,” the studio added.

A covered area at the back of the house allows visitors to enjoy the outdoors while still enjoying some protection from direct sunlight.

Near the garage, there is a double-height area that contains the staircase, which is made of monolithic wooden treads anchored into the structural concrete wall.

Exterior living areas at the black concrete house by AR Arquitectos
A cover extends over the exterior lounge areas for shading

“The staircase is one of the main elements, with the idea of expressing a material’s lightness over the robustness of another material, such as black concrete,” AR Arquitectos explained.

Upstairs, there are two bedrooms and a home office laid out along a corridor. Each of these spaces enjoys views of the city of Córdoba. Additionally, the primary bedroom opens out onto a terrace.

Interior staircase at the black concrete house by AR Arquitectos
The lightness of the floating staircase was designed to contrast with the concrete wall

The materials used for the interiors contrast the black concrete aesthetic of the exterior walls.

AR Arquitectos used a wood named Kiri, also known as Paulownia, for the slatted screens that cover the windows facing the street.

Exterior of the black concrete house by AR Arquitectos
The home is located in a mountainous landscape

The primary bedroom is entirely lined in wood panelling, including some textured panels that provide some visual interest to the walls.

This species of wood can be stronger than typical pine boards, while also being lighter.

Córdoba is a mountainous area in Argentina. Other projects in the area include a dramatically cantilevered home that is wrapped in wooden slats at its perimeter and a stone house that is meant to look like a ruined medieval town.

The photography is by Gonzalo Viramonte

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