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Wallpaper serves both aesthetic and functional purposes, it not only creates a focal point but also adds color, texture, and pattern to the room décor. When designing any space, wallpapers are a popular and versatile way to decorate and add value to the interiors but avoiding errors is key. Therefore, it is important to measure accurately, handle the wallpaper carefully, and allow proper drying time for flawless results. Classic patterns like stripes or florals suit traditional settings, while geometric or abstract designs lend a modern touch. With a wide range of colors, patterns, and textures, wallpaper can suit any style and can simultaneously conceal the imperfections on the walls.

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During the installation of wallpaper, make sure to handle the wallpaper carefully to avoid any form of damage. Note that mishandling can lead to tears, creases, or other unsightly damage. Use clean, dry hands and gently unroll and unfold the wallpaper. Be cautious of liquids near the wallpaper and avoid excessive stretching or pulling to maintain pattern integrity.

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Here are several common mistakes that occur during wallpaper installation.

Mistake No. 1: Avoid Papering Over Old Wallpaper

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It is crucial to remove the old wallpaper before any new application. Moisture from the new wallpaper’s backing could reactivate the adhesive of the original, resulting in bubbling those damages both layers. To avoid this, rent a chemical or power steamer to strip away the existing wallpaper, readily available at local hardware, paint, and home improvement stores.

Mistake No. 2: Not Choosing the Right Wallpaper Material

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Each wallpaper type has its ideal setting, as not all wallpapers are suitable for every location. For example, natural wallpapers like grasscloth are not water-repellent, making them susceptible to damage in high-humidity areas like kitchens and bathrooms or fading in direct sunlight. Additionally, it is important to safeguard wallpaper from heat sources like ranges or fireplaces and research the best wallcovering for each specific environment to prevent damage. The different types of wallpaper materials include metallic, vinyl, paper-backed fabrics like silk and linen, hand-painted wallpaper, and grasscloth wallpaper. Choose the one that is best suited for your home or any other area of application.

Mistake No. 3: Wrong Scale and Print of Design

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When choosing wallpaper, consider the size of the prints carefully. Small prints work well in small spaces, providing a smart look without overwhelming. Conversely, larger spaces benefit from larger-scale patterns, as small patterns may impart a pixelated look and blend into the background. After the installation of the wallpaper, retaining leftover wallpaper pieces is crucial for repairing any damages that may occur. Make sure to keep the extra pieces for future repairs, as finding exact matches later can be tricky.

Mistake No. 4: Ordering Less Quantity of Wallpaper

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Accurate measuring and planning before wallpaper installation is crucial for purchasing the right amount. Despite the high cost per foot, there’s a tendency to order only the minimum needed. Underestimating the quantity of wallpaper often leads to delays and potential color mismatches, especially with hand-painted or printed patterns. Prioritize precise measurements of wall dimensions, considering pattern matching and trimming.

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Pro Tip: Another mistake is purchasing wallpaper rolls before measuring the walls, leading to overspending or acquiring insufficient quantities. Therefore, it is important to measure the wall beforehand to ensure the correct size is used and to streamline the process. Note that the more the number of doors and windows, more is the wastage especially if the wallpaper has a patterned design.

Mistake No. 5: Unmatched Seams

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Misaligned seams are a common wallpaper installation issue, often caused by factors like incorrect adhesive usage or inadequate leveling of the first panel. To avoid this eyesore, prioritize arranging straight, even seams during installation for a polished, professional finish. Additionally, choosing the right wallpaper adhesive is crucial for a smooth installation. Different types of wallpaper require different pastes, so follow the manufacturer’s recommendations. Using the appropriate adhesive ensures proper adhesion and prevents issues like peeling or bubbling. It is important to invest time in precise alignment, utilize tools like plumb lines for straight application, and ensure seams are tightly joined for a flawless finish.

Mistake No. 6: Installation on Damaged Walls

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Before installation of wallpaper, inspect the wall for damage or moisture issues and fix any problems beforehand to ensure a durable and flawless installation. Defects like cracks, peeling paint, damp areas, and patching holes need to be addressed and they should be allowed to cure fully before smoothing with sanding if needed. Make sure to rectify sources like leaks or mildew before proceeding with installation. Prioritize surface preparation before wallpaper installation. Don’t overlook cleaning, especially for textured walls, which may require scraping for smoothness.

Mistake No. 7: Assuming Wallpaper Adheres to All Wall Surfaces

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Assuming wallpaper sticks to all wall surfaces is a common mistake. Textured walls like orange peel or popcorn should be avoided or prepared for installation by grinding, sanding, and priming. Note that primer is essential not only before wallpapering but also before painting to prevent wallpaper from peeling off poorly painted walls.

Mistake No. 8: Going the DIY Way

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While many mistakes occur during wallpaper installation, it’s not an area to cut corners. Amateur installation can lead to costly errors and premature replacement. Even peel-and-stick wallpaper isn’t foolproof. To avoid DIY mishaps, designers recommend hiring experienced professionals for proper wall preparation, precise measurements, and steady installation. Try to rely on professionals for a flawless result, emphasizing the investment in quantity and expertise required for satisfactory outcomes.

Tip: If opting for a DIY approach, prioritize cleanliness and dust prevention for a seamless installation. Invest in proper equipment and adhere to organized schedules to minimize dust settling, avoiding compromised adhesion. Practice careful handling and ensure clean hands to prevent marks on the wallpaper.

Mistake No. 9: Presence of Air Bubbles

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Bubbling in wallpaper, caused by trapped air pockets or poor adhesion, is a common issue. To remove bubbles, locate and cut an opening, inject adhesive, and flatten with a smoothing tool. Prevent bubbling by using high-quality wallpaper, applying it carefully, and using a wallpaper primer for a smooth surface. Promptly addressing bubbles and taking preventive measures can maintain a smooth finish.

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Tip: For smooth wallpaper application and prevention of air bubbles, start smoothing from the center outward, and if bubbles appear after drying, moisten the area and puncture the bubble to release air.

Mistake No. 10: Not Cleaning Wallpaper After Installation

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Once the wallpaper is applied, make it a point to promptly inspect and clean any areas with excess paste residue to prevent shiny spots. Use a clean bucket with fresh water and a damp sponge to wipe down the wallpaper immediately after completion. It’s essential to consult the wallpaper label for specific instructions on smoothing and cleaning based on the type of finish.

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In conclusion, installing wallpaper requires careful attention and time, and rushing the process can lead to errors. Ensure accurate alignment, trimming, and adherence to manufacturer’s instructions. Avoid common mistakes like inadequate wall preparation and mishandling. With precision and quality materials, one can achieve a seamless and attractive result that reflects your taste and style.

The post Top Ten Wallpaper Installation Mistakes To Avoid first appeared on Yanko Design.

Global architecture studio Henning Larsen has designed a rowing club defined by a sloping green roof and timber structure in the Faroe Islands that celebrates the area’s sports heritage.

Situated next to Klaksvík’s picturesque fjord, the clubhouse by Henning Larsen draws on the region’s traditional architecture with the aim of forging a “harmonious dialogue” between the structure and its waterfront setting.

“Our design approach was deeply rooted in the landscape and culture of Klaksvík,” studio design director Ósbjørn Jacobsen said.

“The sloping green roof and timber facade pay homage to the surrounding natural beauty, while also nodding to the traditional architecture of the Faroe Islands; a harmonious dialogue between the built environment and the fjord landscape.”

Set within a larger urban development of Klaksvík led by Henning Larsen, The Klaksvík Row Club poses a “vital contribution” to the area’s urban development masterplan, which is currently 40 to 60 per cent completed, according to the studio.

The 620-metre-square timber structure, which the studio said was designed in celebration of the Faroese sports heritage, is topped with a serrated roof that transitions to a sloping green roof towards the building’s rear.

A wooden dock wraps around the structure’s base, providing views out towards the fjord and surrounding landscape.

Large timber doors front the building and open up to the dock, which is equipped with a timber slipway to create a direct access route for the row boats.

Slatted timber was used to decorate a set of doors on the ground floor, along with an opening on the upper floor, which emit a warm glow in the evenings.

“We wanted to create a space that is more than simple boat storage,” said Jacobsen.

“The expansive doors opening onto the wooden dock and the open timber interior were designed to enhance the community use of the space.”

Inside, the structure opens up to a spacious, open-plan boat storage area that showcases the traditional craftsmanship of Faroese boat-making.

Exposed timber beams and panels line the space and are complemented by black steel used for the window frames, light fixtures and structural detailing.

A designated area offers space for training sessions and is fronted by large windows that look out towards the fjord on one side.

Adjacent to this, a cafe provides a communal space for rowers and visitors alike, while a loft area lit by deep skylights provides additional space above.

The studio also embedded wooden shelves into the timber structure to showcase an array of trophies.

Other projects being completed by the studio as part of the wider Faroe Islands development include a mass-timber university building that references ancient construction methods and a wood-and-concrete ferry terminal that draws on Viking fishing boats.

Elsewhere, recently completed waterfront buildings include a timber and concrete home in coastal Washington and a series of tunnel-like vaults housing cafes and workshops beside the Vltava River in Prague.

The photography is by Nic Lehoux.

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Dezeen Showroom: Swedish furniture brand Blå Station has added a diverging segment to its modular BOB sofa range, created by designers Thomas Bernstrand and Stefan Borselius.

Named BOB Split, the Y-shaped segment has a central backrest that allows users to sit back-to-back, maximising the use of the seating system.

The piece also acts as a connector for other modules in Blå Station‘s BOB sofa system, which includes straight and corner segments.

Users can now create longer, more space-efficient seating systems that can be configured according to the spatial constraints of any interior.

“BOB is an easy-to-understand and extremely flexible sofa system,” said Blå Station. “Where ordinary sofas are usually rectangular, square and predictable, BOB offers the architectonic freedom to either challenge or adhere to all types of spaces.”

As is the case with the rest of the system, BOB Split comes in a selection of fabrics and colourways for upholstering its moulded foam cushioned seats and is supported by a sturdy plywood frame.

Product: BOB Split
Designer: Thomas Bernstrand and Stefan Borselius
Brand: Blå Station
Contact: info@blastation.se

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Concrete loggias overlook a courtyard at this social housing block in Paris, which French studios Francois Brugel Architectes Associes, H2o Architectes and Antoine Regnault Architecture have converted from offices.

Named Ilot Saint-Germain, the housing is located in two interconnected blocks previously owned by the Ministry of the Armed Forces in the city’s seventh arrondissement.

To the south, a load-bearing stone building dating back to the 18th century faces the road, while to the north, an L-shaped, concrete-framed building from the 1970s hugs an internal courtyard.

Francois Brugel Architectes Associes, H2o Architectes and Antoine Regnault Architecture were tasked with transforming these former workspaces into 254 social homes, while adding a gymnasium and kindergarten for residents and the wider city.

Looking to highlight and complement the qualities of the existing buildings, the studios retained and restored their structures, drawing on their palette of pale stone and concrete for the gymnasium and kindergarten.

“The important thing was to work with the existing features, using the qualities of the original buildings and making them visible,” H2o Architectes’ Jean-Jacques Hubert told Dezeen.

“There is a real interest in thinking of the different ways in which these buildings, through the project, belong to the city,” added François Brugel Architectes Associés’s founder François Brugel.

An open courtyard space at the centre of Ilot Saint-Germain now also houses the gymnasium, which has a sunken concrete form with a wood-lined interior illuminated by clerestory windows.

On the opposite side of the central housing block, the kindergarten is contained in a matching pale concrete volume, finished with narrow vertical openings.

Both concrete volumes are topped by garden spaces designed by landscape architecture studio Élise & Martin Hennebicque, with ramps and steps providing access to the gymnasium’s roof.

Ilot Saint-Germain’s apartments are organised to minimise internal corridors and their interiors are kept minimal and flexible to allow residents to adapt them to their needs.

Facing the courtyard, the 18th-century block opens up with large, arched windows, while the 1970s block has been lined internally with loggias, providing each apartment with sheltered outdoor space.

“Each building offers specific layouts [that] result in a wide variety of typologies,” said Hubert.

“Each user must find their place in the daily life of their home, the garden and the amenities,” he added.

The use of pale concrete at Ilot Saint-Germain was guided by the stone and concrete finishes of the existing buildings, which have been complemented by dark wood window frames and pale metal balustrades.

Recently featured in Dezeen’s Social Housing Revival series was another retrofit of a former military site in Paris, The Caserne de Reuilly, which saw h2o Architectes alongside six European practices adapt a former barracks site into nearly 600 homes.

The photography is by Jared Chulski.

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Dezeen teamed up with kitchen appliances brand Gaggenau to host and film a talk about reduction in design with representatives from Zaha Hadid Architects, SOM and Industrial Facility during Milan design week 2024.

Moderated by Dezeen’s editorial director Max Fraser, the talk explored how principles of reduction and essentialism in architecture and design can be employed to improve our lives.

Titled Design by Reduction, the panel gathered contributors from different industries, with Zaha Hadid Architects associate director Johannes Schafelner representing architecture, Industrial Facility founder Kim Colin discussing industrial and product design, and SOM interiors lead Francesca Portesine representing interior design.

Amongst the topics discussed by the panel was how the process and aesthetics of reduction in design can improve well-being through fostering simplicity in people’s day-to-day lives.

Explaining the role of reduction in interior design, Portesine stated: “Generally, it is a very good thing that there is less rather than more to look at, to feel, to concentrate, to give importance to one element at a time.”

“The balance of a space is created by simplicity, by reduction of materials,” she continued.

These comments were mirrored by Colin, who suggested that the role of the designer is to counter the complexity of the world by making a complicated world simple.

“I don’t think we need to build in complexity – complexity is there in everything,” she said. “We really try hard to simplify things and make things easier. We deserve for things to be made more easily and more easily accessible.”

She went on to describe how, in the field of industrial design, reduction can be used as a means to create products that fit holistically into the lives of users.

“Often we try to quiet the noise. You can imagine a room full of products that are in the marketplace, shouting for your attention for you to buy them,” she explained.

“They want you to buy them,” she continued. “But then what happens when you live with them? You’re living with a bunch of things that are shouting at you.”

Schafelner described how reduction in architecture allows architects to design and build more efficiently, mitigating both the cost and environmental impact of buildings.

“When we talk about reduction, it’s all about efficiency,” he said. “It’s really minimising the design, minimising the structure to have a better product.”

He went on to describe how artificial intelligence (AI) can assist the architect in working more efficiently.

“AI will also help us,” he stated. “There are now new tools which automatically give you realistic images in one second.”

“It’s a much more intuitive workflow. And in the future, this will definitely help us to be more efficient.”

Addressing the question of how principles of reduction can help to build a more sustainable future, Colin posited the return of the principle of “less is more.”

“Using less material, less time, less effort, less shipping – less is more is back,” she claimed.

“It should be easy to make as well as easy to live with. They should go hand in hand.”

The talk took place in the conservatory of Milan’s historic Villa Necchi Campiglio, where the brand created an immersive installation called Elevation of Gravity to showcase its appliances.

Amongst the brand’s new launches was the Essential Induction cooktop, which has been designed to integrate into a kitchen worktop seamlessly.

Covertly integrated induction hobs are integrated into a conductive Dekton stone countertop, indicated by a small LED light. The only other visible element of the cooktop is a performance dial located on the side of the countertop.

The Essential Induction cooktop was designed to break down barriers between spaces used for cooking and living in the kitchen, and the principle of reduction at play in its design informed the topic of Dezeen’s talk.

The photography is by Giovanni Franchellucci.

Partnership content

This video was produced by Dezeen as part of a partnership with Bentley. Find out more about Dezeen partnership content here.

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