Mies van der Rohe Award reveals finalists for 2024

Rebirth of the Convent Saint-François

The seven finalists for this year’s edition of the Mies van der Rohe Award have been revealed and include a Czech art gallery, an urban space in southern Sweden and a copper-clad convent in France.

The nominated projects include five architecture finalists and two emerging finalists from six different countries.

Reggio School
Above: The Reggio School is nominated in the architecture category. Photo by José Hevia. Top image: a convent in France is also a finalist. Photo by Thibaut Dini

In the architecture category, the nominees include two educational projects – The Study Pavilion on the campus of the Technical University of Braunschweig in Germany by Gustav Düsing & Max Hacke and The Reggio School in Spain by Andres Jaque’s Office for Political Innovation.

It also includes two transformations of historic buildings. These are the adaptive reuse of a slaughterhouse that was turned into an art gallery in Ostrava, the Czech Republic, by KWK Promes and the Rebirth of the Convent Saint-François in Sainte-Lucie-de-Tallano, France, by Amelia Tavella Architectes.

Rebirth of the Convent Saint-François
The Rebirth of the Convent Saint-François has a copper-clad volume. Photo by Thibaut Dini

The Rebirth of the Convent Saint-François is a project involving the renovation and extension of a 15th-century convent with a perforated copper volume.

Häge in Lund, Sweden, by Brendeland & Kristoffersen Architects is the fifth finalist in the architecture category. The design features an enclosed garden, as well as a corten-steel pavilion.

Gabriel García Márquez Library
Among the emerging finalists were the Gabriel García Márquez Library. Photo by Jesús Granada

The two emerging finalists this year were the Gabriel García Márquez Library in Barcelona, Spain, by SUMA Arquitectura and the Square and Tourist Office in Piódão, Portugal, by Branco del Rio.

All seven finalists were chosen for their inclusivity and possibility to become “global European models”.

“The jury considers that the seven finalist works encourage and become references for local city policies which can become global European models, because they all create high-quality inclusive living environments,” the jury said.

“Most of them transform and improve the conditions of rather small communities in places that had gone through different processes of oblivion: former industrial areas and small rural villages. Those works in bigger cities are implemented in rather peripheric areas, building strong associations with the existing neighbourhoods.”

The jury was chaired by architect Frédéric Druot and also included architect Martin Braathen, architect Sala Makumbundu, CEO of consulting company BSFY Adriana Krnáčová and founder of Njiric+ Arhitekti Hrvoje Njiric.

The winners for both the architecture and emerging categories be announced on 25 April 2024 during an event at CIVA (Centre for Information, Documentation and Exhibitions on the city, architecture, landscape and urban planning) in Brussels.

The Mies van der Rohe Award is given out by the European Commission and the Fundació Mies van der Rohe.

In 2022, the architecture award was given to RIBA Gold Medal Award-winning studio Grafton Architects, making it the last UK winner as the country is no longer eligible to take part after leaving the European Union.

Previous award winners also include a social housing revamp in France (2019 and Barozzi Veiga’s Szczecin Philharmonic Hall in Poland (2015).

The post Mies van der Rohe Award reveals finalists for 2024 appeared first on Dezeen.

Top 10 Cooking Supplies To Bring True Japanese Aesthetics, Functionality & Style To Your Kitchen

Japanese design is just so quintessentially functional, thoughtful, and pretty-looking too! I have a soft spot for Japanese product designs as they always manage to be – simple, sophisticated, and high-value. I love incorporating Japanese products in my home space, they have such a soothing effect and can add an elegant touch to any home. I also enjoy using Japanese kitchen appliances and tools. Not only are they adorable to look at and gentle to use, but they’re also high on functionality and very rarely give you any trouble. They’re foolproof designs that you can depend on to tackle your cooking prep and other kitchen tasks, and we’ve curated some top-notch Japanese kitchen tools for you!

1. Mitsubishi Bread Oven

Mitsubishi’s Bread Oven is created to serve you the perfect toast! Looking like an adorable waffle maker, the toaster features a veneer brown look that seems to be straight out of the ’80s. It has a sealed thermal-insulated structure and can toast your bread without releasing any moisture, preparing a soft and fluffy toast for you!

Why is it noteworthy?

The Bread Oven is equipped with two plates that can go up to temperatures as high as even 500 degrees Fahrenheit. These nifty plates seal the piece of bread, transferring heat to it, and creating a slice of toast that is anything but dry.

What we like

  • It has four cooking settings – Toast, Frozen Toast, Topping, and French Toast
  • Sleek good looks, making it a great fit for your dining table

What we dislike

  • You can only toast one slice of bread at a time, which can be inconvenient
  • It takes longer to toast bread with low sugar content

2. Slim Fold Dish Rack

Named the Slim Fold Dish Rack, this innovative dish rack has a portable design, allowing you to carry it anywhere with you. It features a patent-pending spring mechanism, that lets you adjust and shrink the rack from 14″ to 1.2″ in no time. The rack can be easily deployed, making it quick to set up and use.

Click Here to Buy Now: $75.00

Why is it noteworthy?

The Slim Fold Dish Rack has a minimalist yet durable design, perfectly capturing the highlights of Japanese design. It ensures adequate ventilation and offers plenty of space for cookware, utensils, and plates of any shape and size. Since it has a convenient portable form, it is great for camping outdoors too.

What we like

  • Collapsible and flexible form that ensures clean and dry utensils in the nick of time
  • Portable design that is easy to clean and dishwasher friendly

What we dislike

  • Since the rack has slim wires, it’s not the best option to hold heavy utensils like pots and plans

3. Black Kitchen Knives

These Black Kitchen Knives are fashionable and sophisticated featuring a sleek black blade that makes them stand out from other typical knives. The black sheen offers the knives a refined look, adding a touch of Japanese class to your kitchen and cooking process. They’re the upgrade you need from your mundane knives.

Click Here to Buy Now: $99

Why is it noteworthy?

The Black Kitchen Knives feature a clean and sleek form, with only a subtle “i” logo, ensuring there are no loud distractions on its body. The knives remind you of a ninja in the shadows, which goes straight for the kill, cutting your ingredients with stealth, grace, and deadly precision.

What we like

  • The knives are crafted from molybdenum vanadium steel, making them quite durable and sharp
  • They’ve been coated with titanium to provide increased wear resistance

What we dislike

  • The knives are only available in black, with one uniform design, so there aren’t a lot of colors to choose from to match our kitchen

4. Rassen Chopsticks

Designed by Nendo for Hashikura Matsukan, the Rassen (spiral chopsticks), perfectly marry fun and functionality, to create a product that is quintessentially Japanese. The pair of chopsticks can be attached together to form one convenient single unit, and they can be separated whenever you need to use them.

Why is it noteworthy?

Bringing the chopsticks together and then separating them feels like you’re playing with a jigsaw puzzle. Using the chopsticks becomes a fun and interactive experience, bringing joy to your daily meal. And since you can easily combine the pair, you never have to live in fear of losing one!

What we like

  • The perfect culmination of fun and functionality
  • Handmade by artisans

What we dislike

  • May not be preferred by those who like traditional chopsticks, and could take a while for them to get used to the product’s unique form

5. Iron Frying Plate

If I had to pick one kitchen product that truly captures the sensible yet interesting Japanese design philosophy – I would pick the Iron Frying Plate. This unique kitchen design doubles as a serving plate and a frying pan, all thanks to its innovative removable handle, which allows the product to change forms.

Click Here to Buy Now: $69

Why is it noteworthy?

The Iron Frying Plate marries both a frying pan and a serving plate to create a functional and unique kitchen tool. Made using durable materials, the plate cooks and serves, while facilitating direct-from-the-pan serving. It introduces an ingenious and novel new way of cooking and serving.

What we like

  • The plate’s wooden handle can be attached and detached, allowing it to double up as a frying pan and serving platter

What we dislike

  • It’s made from iron, making it quite a heavy pan in comparison to traditional frying pans. Hence it could be difficult to store and handle in small kitchens

6. Magemono Tumbler and Bread Tray

The Magemono Tumbler and Bread Tray are beautiful Japanese-style serving dishes. The tumbler features a Hasamiyaki porcelain inner vessel and a Magemono Japanese cedar wood sleeve on the outside. The bread tray is a thin tray crafted from a fir tree and is available in two sizes.

Why is it noteworthy?

The bread tray is perfect for serving those breakfast sandwiches, while the tumbler can hold a brewed cup of coffee. Both the dishes represent the serene and untouched perfection of Japanese craftsmanship, while also providing sustenance to the craftsmen and their families, and also allowing this art to be passed down to younger generations.

What we like

  • Preserves and boasts Japanese craftsmanship
  • The bread tray can even toast the bread for longer according to the designer

What we dislike

  • Available in a single colorway only

7. Precision Chef Kitchen Scissors

Named the Precision Chef Kitchen Scissors, sleek black kitchen shears feature a curved serrated blade that slices through your food in a quick and easy manner. The precise scissors are excellent for cutting up some steak on the dining table, allowing you to showcase your meat-cutting skills.

Click Here to Buy Now: $99

Why is it noteworthy?

The Precision Chef Kitchen Scissors have an aura and image of power and style, owing to their jet-black shade. The position they’ll occupy in your kitchen will be impressive and intimidating, while skillfully chopping through veggies, pizza, steak, and more.

What we like

  • The scissors are equipped with a curved serrated blade that cuts meat safely, effortlessly, and swiftly
  • Makes cutting an easy and hassle-free step of the food prep process

What we dislike

  • The scissors are only available in black, so there aren’t many color options to choose from and match with our kitchens

8. Playful Palm Grater

The Playful Palm Grater is what you need to add some Japanese functionality and whimsical fun to your kitchen or dining table. The little grater can fit perfectly into the palm of your hand, marrying fun and functionality to create a product that is lightweight, full of value, and transforms a simple cooking process into an interesting experience.
Click Here to Buy Now: $25

Why is it noteworthy?

The Playful Palm Grater is a charming and functional product that resembles a curled piece of paper. It is made from a single aluminum alloy plate and is available in different color options. You have a wide range of colors to pick from, allowing you to add a pop of color and sparkle to your boring old kitchen and dinner table.

What we like

  • Has a unique and ergonomic form that offers a strong and sturdy grip
  • Transforms the simple of act grating into a fun and playful experience, while also making it easier

What we dislike

  • The Playful Palm Grater has a tiny size, which isn’t suitable for grating large amounts of food or larger food items


The PARTAYAKI is an innovative tabletop grill designed to bring the flavors and experience of a Japanese Steakhouse to your kitchen table. It lets you be the chef, and cook up your own steaks for your friends and family. You don’t need to step out of your home to experience a Japanese Steakhouse.

Why is it noteworthy?

The PARTAYAKI is modeled after the same professional grills that you see in Japanese Steakhouses. It lets you prepare delicious meals and create a Japanese Steakhouse-like experience for your family and friends in the comfort of your own home and kitchen.

What we like

  • Equipped with dipping sauce trays and one-quart hot pots to prepare traditional Chinese-style Hot Pots
  • Features molded chopstick holders

What we dislike

  • It is quite a space-consuming design, so you’ll need sufficient space in your kitchen
  • It does seem a bit difficult to clean and maintain

10. Thanko Electric Bento Rice Cooker

Meet the Thanko Electric Bento rice cooker – a portable cooker that lets you prepare a bowl of warm rice wherever you are. This little cooker is designed to make rice an omnipresent food item no matter where you go. It is excellent for cooking single-serve rice in a short period of time. The LED light glows once the rice is ready!

Why is it noteworthy?

The Thanko Electric Bento rice cooker is great for those who travel or want fresh rice at the office instead of takeout or repacked meals. The rice cooker can prepare 6 ounces of rice in one go. It even comes with a measuring cup for convenience!

What we like

  • Depending on the ounces of rice, it will be cooked between 14-20 minutes
  • Portable, easy-to-carry design
  • Lets you eat rice straight from the container

What we dislike

  • There doesn’t seem to be variety in sizes and colors

The post Top 10 Cooking Supplies To Bring True Japanese Aesthetics, Functionality & Style To Your Kitchen first appeared on Yanko Design.

Stockholm Furniture Fair "created a testbed for new ideas"

It's just a fakking fair tote bag at Stockholm Furniture Fair

With trade shows falling on hard times, this year Stockholm Furniture Fair set itself on a new path. Dezeen editorial director Max Fraser explores whether other fairs can learn from the Swedes’ approach.

Stockholm’s annual design showcase took place this month against a backdrop of recession in Sweden when many are questioning the efficacy of the traditional trade fair format and the Stockholm Furniture Fair itself is set to be sold.

“How do we activate the fair for the future?” asked the fair’s director, Hanna Nova Beatrice, at the opening. “How do we instigate new energy? And how do we do so in a recession?”

Hanna Nova Beatrice
Fair director Hanna Nova Beatrice aims to “instigate new energy”. Photo by Martin Brusewitz

Once considered the main launch platform for Nordic design, Stockholm Furniture Fair has contracted in recent years, with its momentum broken by the Covid-19 pandemic.

And like many fairs around the world, it has suffered as brands’ budgets have tightened and they have become more selective about the fairs at which they exhibit.

“Many of us have questioned the need for fairs”

Meanwhile, the concept of shipping bulky products around the world to be displayed on temporary stands is coming under scrutiny amid increasing concerns about the design industry’s environmental impact.

“Many of us have questioned the need for fairs,” designer and environmentalist Emma Olbers told Dezeen. “I think we’ll continue to have a need to meet up, share our knowledge and do business, but in a new format.”

It's just a fakking fair tote bag at Stockholm Furniture Fair
Designer Gustav Winsth made a tote bag for Stockholm Furniture Fair

In response to these multiple pressures, for its 72nd edition this year Stockholm Furniture Fair consciously took a new direction – one that others around the world could learn from.

“The fair this year feels to me like it has created a testbed for new ideas,” said Olbers.

For many years, Stockholm has hosted the trade fair at the city’s official venue, Stockholmsmässan, while events took place in showrooms across the city under the banner of Stockholm Design Week.

Fair “merged commerce with culture” 

Historically, commerce happens at the fair and experimentation in the city.

But for the 2024 event, Beatrice wanted to change this perception, instead making the fair the centre of visitors’ attention, a place to have fun.

“This year, we merged commerce with culture under one roof,” she explained. “One of the things that we were asked by all of our exhibitors was to create a more relaxed and happy feeling.”

Numerous exhibitions and three bars were opened at the fair. It required considerable investment at a time when revenue from exhibitors is down – but Beatrice believes it was a necessary survival tactic.

“We believe there is no better way to fight a market downturn than to meet it head on – and network in a design bar,” she said.

Surface Club
Studio Lab La Bla created the Surface Club design bar. Photo by Erik Lefvander

At Surface Club, the bar designed by Malmö-based Studio Lab La Bla, the enormous and playful space doubled as a mini golf course and hosted popular afternoon DJ sessions.

Those searching for calm headed to the Reading Room installation in the show’s entrance, created by the fair’s 2024 guest of honour Formafantasma.

The Italian studio’s co-founders, Andrea Trimarchi and Simone Farresin, designed a tranquil space cloaked in dusty pink curtains.

Here, visitors could rest and read publications that have contributed to the studio’s pioneering material investigations. As Trimarchi put it, “It’s a bibliography on our way of thinking.”

“The big and boring ones such as Kinnarps chose to abstain”

In the show itself, many significant Swedish names were missing from the exhibitor line-up, including furniture brands Kinnarps, Offecct and Swedese.

Furthermore, with Copenhagen’s citywide 3 Days of Design event providing an alternative lure for brands in the region, there was a lack of Danish brands exhibiting in Stockholm.

There were still plenty of strong exhibitors on show, however, including Wästberg, Hem, Vaarnii, Massproductions, Johansson, Edsbyn, Blå Station, Gärsnäs, Verk, Wekino and Ishinomaki Laboratory.

Wekino stand
The Wekino stand showcased pieces by emerging South Korean designers

Beatrice treated the absentees as an opportunity to pepper the show with installations and exhibitions, while those who were exhibiting viewed it as an opportunity.

“At this year’s fair, there were still a few furniture companies that happily believe in the future and have invested in it with new materials and products,” said design consultant Anders Englund, working on the revived Swedish furniture producer Edsbyn.

“The big and boring ones such as Kinnarps chose to abstain and sent their biggest customers to all of us who were promoting our news at the fair.”

The Yellow Thread
The colourful Yellow Thread was one of the bars at the fair. Photo Färg & Blanche

The organisers have sought to trade on that sense of positivity in order to build up loyalty among exhibiting brands. They have placed a particular emphasis on attracting the design community back in and giving them a platform.

“For us, the fair is really important,” said Färg & Blanche co-founder Emma Marga Blanche. “We would never be where we are today without the fair. We can do installations and things that we couldn’t do somewhere else.”

As well as exhibiting, the Swedish studio designed The Yellow Thread bar and the main talks auditorium at this year’s fair.

Emerging designers exhibited collectively in prominent positions around the fair. The long-running Greenhouse area gave recent graduates and design schools a professional forum to exhibit.

Greenhouse Konstfack
Greenhouse showcased work from the Konstfack school

Independent designers and makers were given a gallery-like setting in the Älvsjö Gård showcase and first-time exhibitors were bunched together in an area called New Ventures, including Niko June, NM3, Gustaf Westman Objects and Swedish Girls.

Other highlights included the prominent Farming Architects exhibition by Jordens Arkitekter. The practice moved their studio into the fair, built a full-size timber and hemp pavilion and assembled natural building materials to show alongside project case studies.

The space communicated a refreshing manifesto for future living and demonstrated the links between sustainable architecture and regenerative agriculture.

“It’s going to be quite interesting to see if this fair becomes very local”

All of these interventions, including a packed talks programme, helped to interrupt the monotony that can often come when navigating aisle after aisle of commercial brands.

Despite its innovations, Stockholm Furniture Fair’s future remains uncertain after it was recently announced that it will be put up for sale by the city, with the current exhibition centre set to be demolished to make way for new housing.

“It’s quite interesting to me, weird even, that they can say something like that if there is no alternative venue for it,” said Italian designer Luca Nichetto, based in Stockholm.

“Considering what is happening in Scandinavia, it’s going to be quite interesting to see if this fair becomes very local, or if there is still a hope that it remains relevant in an international field, as it was before.”

Others were less concerned.

“I think it’s positive in one way, because the City of Stockholm has owned it before and that is complicated,” designer Alexander Lervik told Dezeen. “I think [a new owner] will be able to do much more.”

It is clear that Beatrice and her team have been working hard to change the fair’s fortunes and this year’s edition felt like the make or break moment for the Stockholm Furniture Fair.

The show may be smaller than in previous year’s, but as design fairs grapple with the post-pandemic landscape this more compact, more curated, more energetic experience could set a fresh trajectory for the Stockholm Furniture Fair to bloom again.

The main photo is by Andy Liffner.

The Stockholm Furniture Fair took place from 7 to 11 February 2024 in the Swedish capital. See Dezeen Events Guide for more Stockholm Design Week exhibitions in our dedicated event guide.

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"Fried egg" canopy tops Sunny Side Up extension by THISS Studio

Sunny Side Up extension by THISS Studio

Architecture practice THISS Studio has reconfigured the dark interior of an interwar house in east London, adding an extension characterised by timber joinery and a curved aluminium roof.

Designed to have “a fun and unconventional presence”, the extension was conceived by THISS Studio as though it were a piece of furniture rather than a conventional structure.

It is formed of exposed timber joinery animated by a curved roof canopy, affectionately referred to by the clients and studio as the “fried egg”, giving the project the name Sunny Side Up.

Exterior view of Sunny Side Up extension by THISS Studio
THISS Studio has extended an interwar house in east London

“We wanted to create a fun and unconventional presence in the garden that also reflected [the clients’] playful character as people,” THISS Studio told Dezeen.

“We wanted to think of the new addition at a domestic scale and more like a piece of furniture that you can sit within and enjoy, rather than a typical extension of the existing spaces,” it continued.

“In doing so we were forced to consider the materials and how they came together much more than you normally would, as every joint and intersection was exposed.”

Serving hatch at the Sunny Side Up extension by THISS Studio
The extension has a curved aluminium roof

Sunny Side Up expands the home’s ground floor by three metres and contains a light-filled dining space. Its design evolved from the client’s original vision of a full-width rear extension.

By reducing its size, more of the client’s budget was allocated to using sustainably sourced sapele hardwood for the timber structure.

Rain chain outside timber extension
It is constructed from timber

Sapele wood has also been used to create a lattice structure below a large skylight, which sits above the dining table, as well as a built-in bench seat.

To protect the exposed timber structure from the elements and create shade during the summer months, the sweeping aluminium canopy extends from the back of the home to rest above the extension.

View into the Sunny Side Up extension by THISS Studio
The extension contains a dining room

The roof was laser cut into its unique organic shape and is also designed with a gentle slope to direct rainwater away to a rain chain.

“The garden is south-facing and gets a lot of direct sun in summer, so the canopy acts as an external sun shade to give a bit of respite when the sun is at its hottest,” said the studio.

Wood-lined dining room
A skylight sits above a timber lattice

“Generally exposed timber doesn’t like the sun too much even if treated, so the canopy protects it from degradation and increases the lifespan of the building considerably,” added the studio.

“It also protects the timber from the rain too, leaving it dry and protected pretty much all year round.”

Inside, the Sunny Side Up project also involved an update to the original kitchen.

It features Italian terrazzo worktops and splashbacks, paired with dark slate flooring that continues out to the sunken patio.

Dining room of Sunny Side Up extension by THISS Studio
A connection to the garden is prioritised in the design

According to THISS Studio, the garden was treated as “another room rather than a separate space” in the project. It was landscaped by the client and his mother who is an experienced landscape gardener.

Views of the garden are captured through the sapele-framed windows and bi-folding doors, while a servery window allows food and drink to be served from inside to out, further supporting this connection.

Terrazzo-filled kitchen interior
The kitchen was updated as part of the project

Using wood as the dominant material is becoming increasingly popular in residential extensions.

Elsewhere in London, O’Sullivan Skoufoglou Architects recently used the material to line the interior and exterior of an extension, while Emil Eve transformed a terrace home with  fir.

The photography is by Jae W V Kim.

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Light stand with webcam can make people more comfortable on video calls

After years of doing video conferencing while we were working or studying remotely, you would think that people have gotten used to using our computers’ and devices’ webcams already. But there are still those that are not used to turning on their cameras to participate in video calls whether for work, school, or personal reasons. It’s something that will probably be around for the foreseeable future so we still need all kinds of video conferencing tools.

Designer: Soohyun Lim, Designer Dot

Seesun is a concept for a webcam and lighting tool that can be utilized by those who are concerned with privacy but also need something to help them out for times when they have no choice but to turn their cameras on. It’s basically a display that can cover the camera if you don’t want to use it but if you need to actually use it, a smiley face will help you become more accustomed to the camera.

When you turn on the camera, you’ll see a countdown to help you prepare for when it begins showing you to whoever it is that you’re meeting with. There is a smiley face on the display that will supposedly help put you at ease and make you stare directly into the camera and make you look more trustworthy. It can also serve as a light stand if your room needs it to give a better video quality. There is also a small remote to help you control the device.

The design basically is that of a light stand but with a web camera on top. The smiley face may actually help in putting people not used to appearing on webcams at ease. As someone so used to video calls, it may not be much of use to me but there are still a lot of people out there who need tools like this to become a video calling pro.

The post Light stand with webcam can make people more comfortable on video calls first appeared on Yanko Design.

Five US-based architecture and design events from Dezeen Events Guide

Photo of street art in Miami

Crafting Modernity: Design in Latin America, 1940–1980 and Theaster Gates: Wonder Working Power are among the current and upcoming architecture and design events taking place in the US that are featured in Dezeen Events Guide.

Other events taking place during the month include festivals Anchorage Design Week, Open House Miami and Modernism Week.

Theaster Gates: Wonder Working Power
27 January 2023 to 1 January 2024, Richmond, Virginia

The Virginia Museum of Fine Arts, located in the state’s capital Richmond, hosts an installation by Chicago-based artist Theaster Gates.

The site-specific installation, titled Wonder Working Power, explores fragility, urban decay and neglected spaces alongside traditional craft through the medium of clay.

The installation is on display in the Lewis Focus Gallery, alongside the National Council on Education for the Ceramic Arts’ conference, which takes place in Richmond in March 2024.

Photo of house in Palm Springs
Modernism Week hosts architecture, design, art and fashion-focused events. Photo courtesy of Natural Retreats. Above photo is by Andrew Cabral

Modernism Week
15 to 25 February, Palm Springs, California

Annual design, architecture, fashion and art festival Modernism Week returns to Palm Springs for an 11-day programme in February.

The week’s events include tours, exhibitions, talks and parties that aim to address topics of design innovation, organic architecture, landscaping and diversity in the industry.

The series of tours across the city include walking, biking and bus tours in addition to property interior tours.

Photo of exhibition at Anchorage Design Week
The five-day programme includes talks, exhibitions, workshops and parties. Photo is courtesy of Anchorage Museum

Anchorage Design Week
21 to 25 February, Anchorage, Alaska

Hosted by the Anchorage Museum, the 2024 edition city’s annual design week hosts a selection of exhibitions, workshops, talks and parties across five days.

Anchorage Design Week presents in-person and online events centred around interior design, sustainability, organic materials, screen printing and design for communities.

Photo of street art in Miami
The festival takes place across 15 districts in the Great Miami region. Photo is courtesy of Open House Miami

Open House Miami
1 to 2 March, Miami, Florida

Architecture and design festival Open House Miami takes place over two days and across 15 districts in the Great Miami region, including Miami Beach, Coral Gables, Opa Locka and Design District.

As part of the festival – organised by The Miami Center for Architecture and Design – tours, talks, performances and networking opportunities are open to the public.

This year’s edition follows the themes: Sacred Spaces, Culture, Resilience, Building Miami, Sports, Glamour and Grandeur, and Curiosities and Colourful Past.

The Miami edition forms part of the wider Open House Worldwide festival, in which more than 50 cities are taking part in 2024.

Brazilian architect Lina Bo Bardi’s Bowl Chair is on display at the exhibition. Photo is curtesy of The Museum of Modern Art

Crafting Modernity: Design in Latin America, 1940–1980
8 March to 22 September, New York City, New York

Crafting Modernity: Design in Latin America, 1940–1980 is an exhibition taking place at the Museum of Modern Art (MoMA) spotlighting furniture, ceramics, design objects, textiles, paintings and photography.

The exhibition explores the social and political changes in Latin America between 1940 and 1980, highlighting different approaches to modernism.

The artists and designers taking part are from Argentina, Brazil, Chile, Colombia, Mexico and Venezuela. Their pieces aim to reflect the crafts and culture from their native countries.

About Dezeen Events Guide

Dezeen Events Guide is our guide to the best architecture and design events taking place across the world each year. The guide is updated weekly and includes virtual events, conferences, trade fairs, major exhibitions and design weeks.

Inclusion in the guide is free for basic listings, with events selected at Dezeen’s discretion. Organisers can get standard, enhanced or featured listings for their events, including images, additional text and links, by paying a modest fee.

In addition, events can ensure inclusion by partnering with Dezeen. For more details on inclusion in Dezeen Events Guide and media partnerships with Dezeen, email eventsguide@dezeen.com.

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Bobby Berk, Faye Toogood and Gaetano Pesce announced as judges for Dezeen Awards 2024

Bobby Berk, Faye Toogood, Giles Nartey and Suchi Reddy

The first five judges for Dezeen Awards 2024 have been announced and include interior designer Bobby Berk, designers Faye Toogood and Giles Nartey, alongside architects Gaetano Pesce and Suchi Reddy.

Dezeen Awards 2024 launched last week in partnership with Bentley. Enter before 27 March to save 20 per cent on entry fees.

Now in its seventh year, the programme has become the ultimate accolade for architects and designers everywhere, with winners selected by a prestigious panel of international judges.

Read on to find out more about the first five of the 90 industry professionals who will be judging entries this year.

Bobby Berk
Interior designer Bobby Berk is one of this year’s judges

American interior designer and Emmy-winning host of the Netflix show Queer Eye, Bobby Berk will be joining the interiors panel for Dezeen Awards 2024.

The Los Angeles-based designer’s practice specialises in residential interiors and utilises furnishings, materials, colours and lighting to try to actively lift people’s mental well-being.

Berk has completed residential projects across the US, including a renovation of a 1950s traditional home using patterns and natural textures inspired by Indian actress Frieda Pinto’s heritage.

Faye Toogood
London-based designer and artist Faye Toogood is the founder of Studio Toogood

British artist and designer Toogood, who recently launched a furniture collection in collaboration with Maison Matisse, will be on the design judging panel this year.

Toogood is the founder of London-based Studio Toogood, a multi-disciplinary practice comprised of architects, sculptors, furniture makers and illustrators. Before founding her studio in 2008 she started her career as an editor for The World of Interiors magazine.

Recent designs include a Puffy Lounge Chair featuring a detachable seat for Swedish furniture brand Hem and a collection of pine outdoor furniture showcased at the latest Stockholm Furniture Fair.

Gaetano Pesce
Italian architect Gaetano Pesce’s work is featured in permanent collections around the world

Italian architect and designer Pesce is considered a pioneer of Italy’s Radical Design movement and will judge the architecture categories for the seventh edition of Dezeen Awards.

New York-based architect Pesce has worked with numerous brands, including Cassina, B&B Italia, Knoll, Venini and Swarovski. His works are included in permanent collections worldwide, amongst them the MoMA, Metropolitan Museum and V&A.

Projects by Pesce include an exhibition featuring his early designs at The Future Perfect Gallery in Los Angeles and a collaboration with fashion brand Bottega Veneta to create two handbags, which were unveiled at Milan Design Week.

Giles Nartey
British-Ghanaian designer and architect Giles Nartey will join the design judging panel

Joining Toogood on the design judging panel will be London-based designer and architect Giles Nartey.

British-Ghanaian designer Nartey’s work across filmmaking, installation, performance, and object design is informed by his West African culture.

His objects and films have been showcased worldwide, including at the Seoul Biennale and London Design Festival. Last year he presented Interplay, a black-stained ashwood bench exploring African craft cultures and rituals, at the London Design Festival.

Suchi Reddy
Indian-American architect Suchi Reddy is the founder of studio Reddymade

Indian-American architect Suchi Reddy is the founder of studio Reddymade and will be on the architecture judging panel alongside Pesce.

Since founding her practice, Reddy has worked on various cultural, educational, healthcare, retail, commercial and residential projects informed by her research at the intersection of neuroscience and the arts.

Projects by Reddymade include a hexagonal house extension in collaboration with Chinese artist Ai Weiwei and a retail space for multinational technology company Google featuring cork furniture and recycled materials in New York.

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Dezeen Awards 2024 in partnership with Bentley

Dezeen Awards is the ultimate accolade for architects and designers across the globe. The seventh edition of the annual awards programme is in partnership with Bentley as part of a wider collaboration to inspire, support and champion design excellence and showcase innovation that creates a better and more sustainable world. This ambition complements Bentley’s architecture and design business initiatives, including the Bentley Home range of furnishings and real estate projects around the world.

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"The state of Britain's ageing homes has become a national shame"

Rooftops of houses in Britain

It’s crucial that whoever wins the upcoming general election prioritises fixing the UK‘s energy-efficient housing, but the message doesn’t seem to be getting through to our political leaders, writes RIBA president Muyiwa Oki.

Last summer, as temperatures soared and the sun beat down relentlessly, people around the UK sweltered in their homes.

A few months ago, with near zero-degree temperatures, many of us found the reverse, struggling to decide whether to turn on the heating and bear the rising energy costs.

Despite our best efforts to stay cool or keep warm, our outdated built environment and energy-inefficient homes meant that escaping the stifling heat or freezing cold was nearly impossible. For some, it was not just uncomfortable – it was desperately dangerous.

It is clear something needs to be done

The state of Britain’s ageing homes has become a national shame, and it is clear something needs to be done.

Stark warnings about rising temperatures hit the headlines this month. For the first time on record, global warming breached the critical 1.5-degrees threshold over a 12-month period. In the UK, it was the second-hottest year on record, as we suffered heatwaves and floods. Unfortunately, these trends are set to continue.

We know decarbonising the built environment is crucial to reducing carbon emissions and mitigating rising temperatures; our buildings are responsible for almost 40 per cent of global energy-related carbon emissions. The time to act is now.

With 80 per cent of the buildings that we’ll use in 2050 already built today, we must prioritise bringing these up to scratch – and we need to start with housing. The UK has among the oldest and least energy-efficient housing stock in the whole of Europe, with 19 million homes in dire need of retrofitting.

Yet, this message doesn’t seem to be getting through to our political leaders. On the very same day that the news broke about terrifying temperature rises in 2023, it was announced that Labour is cutting back on funding promises for home-insulation projects should the party win the upcoming general election. The previously announced £6 billion a year to retrofit 19 million homes has been dropped, with plans now to spend £6.6 billion over 5 years, equating to £1.3 billion a year.

It follows prime minister Rishi Sunak’s September announcement that he would be scaling back key green policies – including postponing a ban on oil and liquified petroleum gas (LPG) boilers to 2035 and scrapping energy-efficiency improvements for the private rented sector.

To do nothing would be to condemn the population to many more decades of substandard housing

This general election year is a chance to reset the dial and treat the climate emergency as the urgent, existential threat that it is. To do this, we need the next government to set out a national retrofit strategy – a well-funded, long-term plan to make homes more energy efficient and climate resilient. Not only would this reduce our climate impact, but it would also create jobs, boost green skills and improve prosperity up and down the country.

Of course, this strategy requires ambitious government investment, but we at the Royal Institute of British Architects (RIBA) believe there are clever ways to incentivise homeowners to make their properties greener. A financing strategy to make energy-efficiency upgrades affordable for all homeowners and landlords before they feel the benefit of reduced energy bills will be a crucial piece of the puzzle.

In its 2020 Greener Homes report, the RIBA – along with many other organisations – recommend looking at tax incentives such as a sliding scale of stamp duty, with the most energy-efficient homes accruing significantly less tax than the least energy efficient, and tax rebates for a period after purchase to encourage homeowners to make energy-efficiency upgrades, recognising that they are most likely to make upgrades just after buying a house rather than getting round to it at a later date.

Equally, in the private rented sector, landlords should be incentivised to make energy-efficiency upgrades by being able to claim part of these against their income-tax liabilities.

Putting funding aside, retrofitting has to be done properly to avoid unintended consequences like damp and mould. To achieve this, we must prioritise a fabric-first, whole-house retrofit approach, using architects’ expertise to ensure changes are made in the right order and at the right time. Possible measures include insulating lofts and walls, draught-proofing doors, windows and floors, using double or triple glazing, integrating smarter appliances and making changes to heating and energy systems such as heat pumps and solar panels.

A retrofit revolution will create jobs. Just installing external insulation to all England’s interwar homes, built between 1919 and 1939, could create 5,000 full-time jobs every year until 2032. But it also demands good organisation – a systemic method of decarbonising homes, with defined typical upgrade packs for different housing types. Training will be required to upskill the construction workforce across the country to carry out the work efficiently and effectively.

A nationwide retrofit programme on this scale may be unprecedented, but we need to see the bigger picture. Millions of us live in damp, draughty homes that are leaking energy and money, and to do nothing about it would be to condemn the population to many more decades of substandard housing. I sincerely hope the next government turns this challenge into an opportunity to demonstrate global climate leadership and turbocharge our green economy.

Muyiwa Oki is the president of the Royal Institute of British Architects and an architect at construction company Mace.

The photo is by Lawrence Chismorie via Unsplash.

Dezeen In Depth
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Tech designers "forgot new ideas" after iPhone says Nothing's Adam Bates

Nothing design director Adam Bates

London-based start-up Nothing is trying to upend the consumer-tech industry. In this interview, the company’s design director, Adam Bates, discusses how.

Since being founded by Chinese-Swedish entrepreneur Carl Pei three years ago, Nothing has moved at breakneck speed, releasing three wireless earbuds and two smartphones – with a third set to launch next month.

Counting iPod designer Tony Fadell and Reddit CEO Steve Huffman among an illustrious list of investors, the company’s stated aim is to “make tech fun again”.

“We’re a bit bored”

Having joined Nothing as design director in early 2022 after spending 14 years at Dyson, Bates is tasked with ensuring that the brand’s products deliver on that ambition.

“I think it’s in a lot of our bones that there are some things that aren’t right about these products,” said Bates, referring to the current offering of smartphones from mainstream brands.

“And also that we’re a bit bored,” he added.

Bates suggests that the current state of monotony within the smartphone industry can be traced back to 2007 and the seismic launch of the original Apple iPhone.

“The iPhone in 2007 was a new format,” he told Dezeen. “There were touchscreen phones before but the way they designed the interface – really we’re still with that now.”

“When something like that happens and then it catches and it gets traction, other people start doing it as well.”

Earbuds by Nothing
Nothing’s product launches so far include phones and earbuds

Prior to 2007, the mobile-phone industry had seen extensive innovation to varying degrees of success, as manufacturers released products that flipped, slid or twisted open, were ultra-thin or reimagined the keypad.

But the advent of the iPhone sparked a fierce game of catch-up within the industry that led to design experimentation becoming a casualty, Bates contends.

“It was a bit lost and uninspired and then came the iPhone, which was this massive step-change, and everyone focused on Apple and that format, and in the process of doing that a whole industry was built that was quite rigid,” he said.

“Maybe in that process of trying to get there, people forgot about thinking of new ideas, and then also customers maybe stopped wanting new ideas.”

Seventeen years and 36 iPhone iterations later, Nothing argues that the magic has worn off and that it’s time for new ideas to make a comeback.

“There’s a bit of trusting our gut instinct”

Designed with extensive input from Nothing founding partner Teenage Engineering, a Swedish tech studio, the brand’s Phone (1), launched in 2022, sought to break away from the sleek slab aesthetic of most smartphones.

Picking up on the design language of Nothing’s first product, the Ear (1) earbuds, it featured a transparent back displaying its inner components and a light-up “glyph interface”.

Hundreds of distinctively arranged LEDs illuminate to create patterns that indicate notifications from apps, incoming calls or charging status when the phone is face-down.

The phone was included in Time Magazine’s Best Inventions of 2022 list.

Released a year later, the second-generation Phone (2) focused on refinements such as a more ergonomic pillowed-glass back and extra glyph functions, as well as updates to Nothing’s designed-in-house, monochromatic operating system.

Nothing Phone (2) in black
Released in July 2022, the Phone (2) tweaked the design of the brand’s debut smartphone

Only another eight months on and the brand will soon launch the Phone (2a), touted as a low-cost alternative to the Phone (2).

Ear (1)’s successor, the Ear (2) and Ear (stick) – which is defined by a cylindrical twist-to-open case – complete the Nothing range of products, not including those produced by its sub-brand, CMF.

Bates explains how Nothing is attempting to ensure its designs stand out from the crowd.

“I guess for us to try and break out of it, we’ve got to trust ourselves as people that are interested in technology, that are creative, that care about the products that we use,” he said.

“There’s a bit of trusting our gut instinct of what excites us and what excited us in the past, because data is not going to lead us there – data is going to lead us to the same place as everyone else.”

“Design hasn’t got better”

Nothing’s design aesthetic has a retro-futuristic element to it, referencing multiple tech designs from previous decades that broke the mould at the time – particularly Apple’s transparent products in the late 1990s and early 2000s.

“There is a conscious element to that,” Bates acknowledged. “When Apple was on such a roll surprising you every time, I guess there might be a nostalgia for that feeling, and maybe the visual language comes from that feeling.”

The company’s studio in King’s Cross, London, is filled with all manner of old-school tech, from Gameboy Colors to Casio piano keyboards.

“Design hasn’t got better now, it’s always been really good,” said Bates.

“So there’s definitely a natural thing, which is to look at something from the 1970s with the same seriousness as something on some Instagram feed of new renders that people are putting out.”

Bates confesses to being fascinated by companies that manage to sustain prolonged periods of design innovation.

Tech examples in Nothing's King's Cross studio including calculators, Gameboys and Casio keyboard
The company’s London studio is full of retro tech such as Gameboys and Sony Walkmans. Photo by Nat Barker

“There’s these golden eras in companies and they’ve got quite a lot in common with each other when you look at them,” he said.

“Some people just manage to keep doing it – Nintendo just keep doing it, they have a flop and then they come back again, so they’ve got some magic which passes on through generations.”

One such company is Dyson, where Bates was formerly head of design and product experience working on products including the feted Supersonic hairdryer.

“It did become more corporate as time went on, but it always operated quite a lot like a start-up,” he recalled.

“A thing to bring with you from there is: challenge everything, don’t take anything for granted, don’t trust anything unless you’ve seen it with your own eyes and you’ve tested it yourself,” he continued.

Nothing's product range
Since being founded three years ago Nothing has launched several products. Photo by Nat Barker

But while he says Dyson was “an amazing education”, he argues there is a limit to what he can import to the design team at Nothing.

“Dyson was good at innovation and good at new ideas, so I can bring my experience there and see how that works here,” he said.

“But at the same time, could they do a phone with exactly their approach? There are things that you just can’t mess with, and Dyson just mess with everything.”

One important point of difference between Dyson and Nothing is the pace of development. Including research, the Supersonic took five years in all, the Phone (1) just 10 months.

Now with six products in existence including two generations of its main lines, Bates says Nothing has no intention of slowing down.

“I think the general trend is going to speed up,” he said.

That touches on a common current criticism of the tech industry: that unnecessarily tight release cycles have stifled innovation and experimentation.

So how will Nothing ensure that its products stay “fun” when moving at such a speed?

Bates is hopeful that the company’s strong cultural focus on design will ensure that it continues to test boundaries.

“We’re not just here to make money – loads of companies make money,” he said. “Some of the designers I’ve been able to hire are some of the best in the business and could probably work anywhere.”

“They’ve chosen to work here because they want to do something different, so we have to hold each other to account I guess.”

“If you’re not in the game you can’t do anything”

Just how far the Nothing will push the envelope is an open question – its phones stick with the scrollable, rectangular LED screen zeitgeist that has dominated since the iPhone, and the brand has not yet indicated plans to move away from this format.

Another major challenge for the smartphone industry is sustainability. According to Deloitte, the devices generate 146 million tons of CO2 each year worldwide, mostly linked to the extraction of the many precious minerals they contain.

Nothing has taken some steps to reduce the environmental impact of its products. For instance, Phone (2) uses recycled aluminium, plastic, tin, copper and steel, renewable energy in its assembly plant and plastic-free packaging.

Its packaging displays the lifecycle carbon of products, with Phone (2) carrying a footprint of 53.45 kilograms CO2 or equivalent emissions – eight per cent less than the Phone (1).

In comparison, ethical smartphone company Fairphone‘s fourth-generation phone’s lifecycle carbon emissions were 43 kilograms, while the least-polluting version of the iPhone 15 generates 66 kilograms.

Nothing Phone (2)
The brand shows no sign of slowing down, with a new launch set for March

“The repairability thing is clearly the way to go,” said Bates, referring to a push from campaigners and some regulators for tech brands to prolong their products’ lifespans.

“Maybe there are Nothing products in the future where you can touch the battery, and you can take the battery out, and we’re back to those days where you take the rear cover off.”

However, he indicated that these sorts of changes could be some way off yet as the brand continues to find its feet.

“If you’re not in the game you can’t do anything. If you do too much too soon, or if you kind of pin yourself to something, we will not survive, and then we’re all just at the mercy of Apple, Samsung, Oppo, Google.”

The photography is courtesy of Nothing unless otherwise stated.

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Tariq Khayyat Design Partners wraps Dubai housing complex around public plaza

The H Residence by Tariq Khayyat Design Partners

Vertical louvres adorn the facades of The H Residence, a mixed-use housing complex completed by architecture studio Tariq Khayyat Design Partners in Dubai.

Located in the Jumeirah district, the curved, 18,000-square-metre complex comprises 37 residential units alongside ground-floor restaurants and bars and a centralised public plaza.

According to Tariq Khayyat Design Partners, The H Residence is designed to “redefine the concept of urban living”.

View from central plaza at The H Residence in Dubai
Vertical louvres provide shading and privacy for the residences

“The design aims to create a shift in the way mixed-use projects have been developed in the region where there is a complete separation between the end users and the surrounding community,” studio founder Tariq Khayyat told Dezeen.

“The H Residence provides a seamless relation between the outdoor urban spaces and the surrounding program, where the central plaza is positioned in a way to welcome the public and for end users to enjoy a vibrant urban space.”

Spread across three floors and a basement level, the curvaceous complex is divided into two wings, connected by a lobby on the ground floor as well as a 30-metre-long bridge on the upper floor.

View of central plaza and residential wings at complex by Tariq Khayyat Design Partners
The complex has a communal plaza

Outdoor space on either side of the lobby forms a plaza, which acts as a “central hub” on one side and a residential drop-off point on the other.

“All the outdoor areas are considered as public areas to encourage the synergy between end users and community,” Khayyat explained.

Facades of The H Residence in Dubai
It contains 37 residential units

Situated behind the ground-floor restaurant units are 25 two- and three-bedroom townhouses and four smaller apartments. These are identified by their jagged facades and vertical louvres for privacy and shading.

With the complex being located on a sloping site, TKDP designed each townhouse with a small front yard and back garden raised above ground level. Additionally, private walkways and ramps lead out from the housing units to provide direct access to the central plaza and lobby to improve accessibility.

The first floor of the complex accommodates a further eight apartments fronted by a row of deep balconies, which provide views overlooking the central courtyard and are also finished with vertical louvres.

Meanwhile, a lounge within the upper-floor bridge hosts seating for residents and is finished with marble flooring, white walls and wood panelling.

Lounge interior at Dubai housing complex by Tariq Khayyat Design Partners
A 30-metre-long bridge connects the two wings of the complex

A 300-square-metre pool located on the roof of The H Residence mimics the deep curve of the first-floor bridge and enjoys a view of Dubai’s city skyline.

Sweeping roofs on either side of the pool shelter a gymnasium and lobbies that provide access to public roof gardens located on the outer edge of the two wings.

Rooftop pool at The H Residence in Dubai
A rooftop pool offers views overlooking the city skyline

On the complex’s basement level, a car park is provided for both residents and visitors.

Elsewhere in Dubai, plans for residential complexes include a pair of skyscrapers overlooking Dubai bay and a luxury ocean-front complex at Palm Jumeirah.

The photography is by Phillip Handforth.

Project credits: 

Architect: Tariq Khayyat Design Partners
Design: Tariq Khayyat, Xiaosheng Li
Project team: Sarah Asif, Mohamed Fahmy Maggie Mao, Louai Jaber, Omar Kaddourah, Ahmed Yakout, Bana Mansour, Abdulrhman Ibrahem, Kasia Tracz
Architect and engineer of records: Dewan Architects & Engineers
Facade engineering: Drees & Sommer
Landscape: Francis Landscape
Architectural lighting: Delta lighting solutions
Main contractor: ASGC

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