This hand-chain stitched crewneck sweatshirt resonates for the simple, beautiful Rose Stealie art by the very talented Pumpkin Chainstitch. Her work atop this hearty sweatshirt makes for a compelling and stylish piece that works for Dead Heads and fashion-forward people alike.
Dezeen Showroom: any lounge or lobby area can become a casual work area with the Alden laptop table, created by Union Design for KFI Studios.
Modern and minimalist in style, the Alden laptop table has a C shape that slots neatly around lounge chairs, sofas or ottomans to provide a small worktop.
A few considered touches give the table warmth and sophistication. The metal base is available in a choice of six muted contemporary colours and matched to a plywood top with a wood laminate surface.
A looped handle that makes the item easy to pull towards you or carry across the room also provides an aesthetic detail.
The Alden laptop table performs well for both solo work and small meetings, and its refined design blends into a variety of spaces.
“Whether you’re working individually or collaborating with others, Alden serves as a reliable companion, offering ample space for your laptop or other work essentials,” said KFI Studios.
Product details:
Product: Alden laptop table
Designer: Union Design
Brand: KFI Studios
Contact: sales@kfistudios.com
Material: steel, plywood, laminate
Colours/finishes: base: Black, White, Oxide Red, Pale Green, Sapphire Blue, Ochre Yellow; top: Ash, European Beech, Dark Chestnut
Dimensions: 304.8 x 457.2 x 736.6 millimetres
Dezeen Showroom
Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.
Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.
The post Alden laptop table by Union Design for KFI Studios appeared first on Dezeen.
Dutch designer Sabine Marcelis, who was yesterday named designer of the year at this year’s Dezeen Awards, talks about the difficulties facing emerging designers in this interview.
Marcelis, who is known for her work in resin and stone, began her career after studying industrial design in Wellington, New Zealand, before doing a degree at Design Academy Eindhoven. After graduating in 2011, she quickly decided she wanted to work for herself.
“I decided I don’t want to work for anyone; I was like ‘I’ll just start my own studio,'” she told Dezeen.
“I wanted to do my own thing, and I was lucky enough to get a very cheap studio and an equally cheap house, so I wasn’t under so much pressure to do work that brought in money to pay for my living expenses,” she added. “I was just doing things like babysitting and bar work.”
“I really feel for young designers now”
Marcelis knows how lucky she was to be starting at a time when this was possible, and doesn’t believe that would be the case today.
“I really feel for young designers now, because straightaway, you have crazy high living costs,” she said.
“I got very lucky in this moment where I was able to experiment and do whatever; it didn’t matter whether there was a market for what I was doing or if anyone was interested in it. I uncompromisingly did my own thing.”
A job for a big fashion house, which Marcelis said she can’t name, led her to design the ‘candy cubes’ for which she has become known. The pale-pastel-coloured tables are instantly recognisable and have been used in numerous interior projects.
But though it’s what people often associate her with, resin pieces make up just a third of her studio’s projects.
“Two-thirds is glass,” Marcelis said. “Both materials have the ability to become so many different things – their properties can be the whole spectrum of completely transparent and glossy to completely opaque and matte and everything in between.”
“I’m interested in how certain materials can have interactions with light and how you activate and use the natural surroundings, like sunlight, with a combination of materials,” she added.
She believes that her extensive work with resin has meant that she can have an impact on the sustainability of the material.
“We buy resin from a supplier and the more projects we do, the more voice we have about whether they’re going to put more bio percentage in the resin,” she explained.
“Because we’ve been working with them for quite some time, we’ve been able to push them to get the non-virgin percentage of the resin to almost 60 per cent.”
Designers need to be “extremely aware” of sustainability issues
To Marcelis, when it comes to sustainability it’s important that designers do the research and have all the information they need.
“The main thing to do as a designer is to be as well informed as possible, to be able to make the right decisions depending on which market you’re working in and what the application and desired lifeline of a project is,” she said.
Her clients have also become more interested in sustainability issues, she added.
“Not that long ago, no one gave a shit at all,” Marcelis said. “But we all have a responsibility and I think we need to be extremely aware of it and not just frivolously design new chairs every year.”
Marcelis is becoming one of the best-known female designers working today and has worked on everything from a conceptual Renault car to IKEA products, but she says the design industry can still be harder to break into for women.
“It’s so tricky because I feel like a lot of bigger brands are a bit stuck in their ways,” she said.”They’ve worked with a lot of big-name males for many years, they like that relationship and they carry on that relationship.”
However, she believes that this is also because brands aren’t open enough to working with emerging designers in general.
“I almost feel like it’s a dual conversation that’s not just gender but also age, because there’s not a lot of opportunities for new designers coming into the field,” she said.
“And I think that’s really a mistake because new brains; new ideas – the doors should be much more open for that.”
AlUla project “was really about empowerment”
For this year’s Milan design week, Marcelis had originally planned to take a step back after doing a number of big projects in previous years, including an installation with Solid Nature in 2023.
But she got asked, together with her partner, architect Paul Cournet, to create an installation for the AlUla design space.
The result was a lounge space with a soft overhead light and massive sculptural chairs by French designer Leo Orta that created a desert-like landscape.
The space also showcased pieces that were made during a design residency at AlUla by other designers.
“The fact that it was more about cinematography and creating a stage for other designers was really attractive to me,” Marcelis said.
“[I was] still doing something very creative and being able to set a mood, but it wasn’t so much ‘look at me’, it was more ‘look at these other designs’.”
AlUla is one of Saudi Arabia’s 14 giga projects, developed as part of crown prince Mohammad bin Salman’s Vision 2030 plan to transform the country.
The country has been criticised for its record on human rights, especially in connection with another of the giga projects, Neom.
But Marcelis believes that projects like AlUla can be an opportunity for change.
“What was really pleasantly surprising is that it’s not one of those projects where it’s about bringing Western designers and lumping them in this foreign country, taking elements and then that’s it,” she said.
“The whole AlUla design space is very much about developing a culture of design within the region and having local craftsmen involved,” she added. “So the whole project was really about empowerment.”
“I think it’s the wrong way to go around something where, yes, there are some not-great things about political policies – but then I don’t know if it’s the right way to go about it to completely put off any opportunities to change, because I feel like projects like this are an opportunity for change.”
“I want to be 100 per cent involved”
Another recent project, VitraHaus loft, saw Marcelis design an interior for furniture brand Vitra‘s Herzog & de Meuron-designed flagship store in Weil am Rhein, Germany.
However, she doesn’t plan to focus on doing more interior projects in the future.
“I don’t want to do more interiors – I love being the person that goes in and out of architectural projects,” she explained. “Like with OMA, when they did the KaDeWe in Berlin, I come in to do the entrance and then I leave again; that’s my strength.”
“With Vitra, it was an interesting challenge because it’s so different to what I normally do and how I work.”
Her eight-person studio is also currently exploring smart-material technology designs and kinetic designs, such as her recent work for Atlanta’s High Museum of Art.
“I want to be 100 per cent involved in every single project,” Marcelis concluded.
“I don’t have any desire to become a brand or a studio where things leave the building without me ever having looked at it. It’s my name, and I think it’s very important that it’s also then my ideas.”
Dezeen In Depth
If you enjoy reading Dezeen’s interviews, opinions and features, subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.
The post “I decided I don’t want to work for anyone” says Sabine Marcelis appeared first on Dezeen.
Designer Anna Lomax has unveiled the All Lit Up! glowing Christmas tree-like sculpture in the Victoria and Albert museum’s South Kensington Grand Entrance.
Drawing on the museum’s entryway columns, Lomax designed the installation as a spiralling column that forms the shape of a traditional Christmas tree.
According to Lomax, the whimsical installation was designed to “evoke the feelings of joy and child-like wonder” and embody the Christmas spirit.
“My design for the 2025 V&A Christmas Tree uses the iconic V&A dome columns as a starting point but gives them an actual playful twist, embodying the ‘Christmas Spirit’ through a spectacle of light,” Lomax said.
Nestled between four large columns, a rounded metallic plinth forms the base of the installation, which rises in a spiral and features a decorative design illuminated by LED lights.
“Lighting up and lifting spirits this festive season, we are thrilled to commission Anna Lomax for this year’s V&A Christmas tree installation,” senior curator Meneesha Kellay said.
“Delighting visitors with her playful site-specific response, Anna has taken inspiration from the iconic columns in our Grand Entrance.”
The installation also draws parallels between trees and columns, aiming to “unify the elegance of a tree with the strength of a column”, the museum added.
The artwork forms the latest of the museum’s annual Christmas installations and will remain on display until 5 January 2025.
Previous designers of the series’ installations include Es Devlin, who created The Singing Tree installation in 2017, which emitted audio-visual carols.
Other festive installations featured on Dezeen include a neon Christmas tree designed “as a beacon that radiates colour” in Kings Cross, London, and a Christmas tree composed of travel trunks exhibited at Claridge’s hotel in Mayfair.
The photography is courtesy of the V&A.
The post Anna Lomax reimagines Christmas tree as a twisting column appeared first on Dezeen.
Textile brand Kvadrat has worked with designer Teruhiro Yanagihara to launch its first recycled polyester textile made of waste fabric instead of the usual plastic bottles.
Kvadrat refers to Ame as its first “textile-to-textile” recycled polyester, which the company says is an important step in closing the loop within the textile lifecycle.
Usually, waste PET plastic bottles are made into recycled polyester, while waste polyester is made into other products – a process that is sometimes known as “downcycling” because the material loses quality with each round of recycling.
Kvadrat itself currently recycles some of its textile waste into solid boards and acoustic panels while using recycled bottles to make a polyester textile.
To create a textile product from textile waste, Kvadrat turned to chemical recycling – a promising but controversial alternative to mechanical recycling that opens up wider uses for waste plastics.
In Kvadrat’s method, known as depolymerisation, the polyester is broken down into its molecular building blocks and then built up again to regain the quality of the virgin material.
Purified from its past chemicals and dyes, the material takes the form of polyester chips that are spun into yarn to make the new textile.
Kvadrat uses a mix of post-consumer and post-industrial polyester waste in the process.
“To innovate, we must disrupt the way we source raw materials and create textiles,” said Kvadrat Innovation Lab manager Lea Nordström.
“Material diversity is key at Kvadrat and we work with a wide range of recycled raw materials,” she added. “But we believe that the future will be circular. And so for Ame, we developed our first yarn made from polyester textile waste.”
While much of Kvadrat’s catalogue is made with natural fibres, polyester is usually chosen for high-performance textiles because it is durable, lightfast and resistant to stretching, shrinking and wrinkling.
For the look of Ame, Kvadrat approached Yanagihara, attracted by his research into the Silk Road and the Japanese mending technique sashiko, which is traditionally used to repair kimonos.
“Ame is a fresh innovation made entirely out of textile-to-textile waste and a nice connection with sashiko, an old mending technique that also is about preserving pieces of fabrics,” Kvadrat design vice-president Stine Find Osther told Dezeen.
Yanagihara’s design for Ame involves weaving together two different yarn colours and thicknesses to make a delicate pattern reminiscent of hand stitching.
The colour palette is also inspired by an aspect of traditional Japanese dress known as “kasane no irome”, which refers to the layering of kimonos in precise colour combinations.
Chemical recycling technologies are controversial, largely because they generate large amounts of toxic waste and emissions, such that critics argue more harm than good is done.
The depolymerisation process used by Kvadrat requires the application of both high heat and chemicals. The brand admits that the energy use is high but said it expects this to improve over time.
“It will always require a great deal of energy to facilitate any sustainable innovation, especially in the beginning until the right volumes and flow are mastered,” said Osther.
“But as we see it, it is essential to decrease the amount of virgin fossil fuel-based material that we use, whether it is recycled or bio-based. We will need both in the future.”
“The main priority will always be that our products are safely produced and safe to use, and that we never compromise on the longevity of the textile,” Oster concluded.
Ame is shortlisted in the material innovation category of Dezeen Awards 2024.
Kvadrat CEO Anders Byriel told Dezeen earlier this year that the company was measuring its environmental footprint scientifically in line with the Science-Based Targets Initiative (SBTI). “We want to be the undisputed leader in sustainability,” he said in the interview.
The post Kvadrat launches first recycled polyester textile actually made from polyester appeared first on Dezeen.
Austrian studio Delugan Meissl Associated Architects has completed the Expo Cultural Park Greenhouse in China, engulfing a disused steelworks with a mass of curved glass pavilions.
The 35-metre-tall greenhouse is one of the main attractions in the newly-opened southern section of the Expo Park, built on the former industrial area of Pudong in Shanghai.
It is flanked by a pair of artificial hills built on top of a multi-storey car park and shrouded with 7,000 trees and man-made waterfalls.
Before it was remodelled into the Expo Park in 2010, the inner-city site was occupied by a coal-fired power plant and steelworks. As part of the overhaul, Delugan Meissl Associated Architects (DMAA) was required to retain an industrial factory on the site.
The Vienna-based studio utilised its steel grid as a superstructure and trellis for the undulating glass, steel and aluminium forms of the 41,000-square-metre greenhouse.
“The geometries grow organically in between and around the strict existing grid, performing a vivid and natural silhouette that respects and never touches the remaining framework,” studio founder Roman Delugan told Dezeen.
According to DMAA, the contrast between the rigid geometry of the grid and the organic curved greenhouse reflects the site’s juxtaposition of nature and industry, informed by the Chinese yin-yang symbol.
The Expo Cultural Park Greenhouse is composed of an entrance building and three distinct pavilions themed around different climates. The first pavilion mimics the arid environment of a desert, complete with artificial dunes and canyons, and filled with drought-tolerant plants.
Its second pavilion is a lush tropical rainforest complete with swamps, waterfalls and tropical vegetation while the third features flower gardens and doubles up flexible space for travelling exhibitions.
Highlights of the gardens include specimens such as the saguaro cactus – one of the tallest in the world – poisonous upas trees and the baobab “tree of life”.
The tropical rainforest and flower garden greenhouses are designed for natural ventilation, with openings around the facades and roof areas.
As Shanghai has high humidity in spring and summer, the desert greenhouse is not naturally ventilated but has “openable inlets” should the plants need a fresh air supply.
Visitors can follow a network of pathways through the pavilions and climb up to a terrace above, greeted by panoramic views over the adjacent lake and the rest of the park.
Shanghai’s Expo Culture Park began construction in September 2017 and the northern section opened to the public in December 2021.
Austrian studio was founded in 1993 by Delugan and Elke Delugan-Meissl. The studio recently hit the headlines after being officially named as urban planner for phase one of The Line megacity, working alongside Gensler and Mott MacDonald.
Earlier this year, we published an article asking if it was time for studios to walk away from the project, which forms part of the controversial Neom development and has been widely criticised on sustainability and human rights grounds.
In 2021, the studio completed work on a botanical garden complex in Taiyuan, China, featuring three domed greenhouses positioned on or alongside an artificial lake.
The photography is by CreatAR.
The post Delugan Meissl transforms disused steelworks in China with “organic curved pavilions” appeared first on Dezeen.
Outdoor adventures are about more than just the thrill of the journey; they’re about preparedness, precision, and a touch of ingenuity. The Titanium 2-in-1 Compass by COMANDI-Corres delivers on all these fronts, bringing utility and sophistication to the palm of your hand. Designed for adventurers who demand reliability, versatility, and compactness in their everyday carry (EDC) gear, this tiny 2-in-1 tool melds classic navigation with modern craftsmanship. Whether you’re scaling a mountain or navigating the open seas, this pocket-sized marvel is your silent companion, ready to guide and inform when you need it most.
From the moment you lay eyes on it, the compass commands attention with its UFO-inspired design. It’s an unexpected yet fitting nod to exploration, embodying a spirit of curiosity and discovery. Every detail feels purposeful, from its smooth, curved edges to its compact size, which ensures it’s as practical to carry as it is beautiful to behold. It’s the kind of tool that feels at home clipped to your backpack, ready to guide you through dense forests, over towering peaks, or across uncharted waters.
Designer: Comandi
Click Here to Buy Now: $49 $65 (25% off). Hurry, only 43/150 left!
What makes this compass truly stand out is its ingenious dual functionality. On one side, you have a liquid-filled compass that offers unparalleled stability, even in the most demanding conditions. Its oil-filled chamber reduces vibrations and keeps the needle steady, ensuring accurate readings whether you’re navigating under the canopy of a jungle or in the swirling winds of a mountaintop. On the other side, a thermometer provides clear Celsius readings, a feature that’s far more useful than it might initially seem. Knowing the exact temperature can inform everything from the gear you wear to the precautions you take in extreme climates. It’s a small detail that can make a big difference when it matters most.
There’s elegance in how these features are integrated into a single, compact tool. Available in two variations—a single-ear and a double-ear design—it offers options to suit different needs. The single-ear version is lightweight at just 48.5 grams and streamlined, perfect for those who prioritize simplicity. The double-ear version, which weighs 53 grams, adds extra versatility, featuring a quick-hook dual-carabiner design that allows you to carry additional items like water bottles or tools. This clever functionality transforms the compass into more than a navigation aid; it becomes a cornerstone of your gear setup, enhancing convenience and organization on the go.
Crafted from Gr5 titanium, the compass is as durable as it is lightweight. Titanium’s reputation for strength and corrosion resistance ensures this tool can handle the rigors of outdoor exploration without breaking a sweat. Whether it’s enduring harsh weather or surviving a tumble down a rocky trail, the compass maintains its integrity and performance. Its CNC-machined construction further elevates its appeal, lending it a refined, polished look that’s as much about form as it is about function. Tritium slots are machined into the compass’ rim, allowing you to add glow-vials so your compass is visible/accessible even in the dark.
Who is the 2-in-1 titanium compass for? Adventurers and outdoor enthusiasts, certainly, but its appeal extends further. Campers, hikers, sailors, and even casual travelers will appreciate its utility and design. The compass fosters a connection to the world’s natural magnetism, teaching users to rely on time-tested navigation methods rather than solely on digital devices. It’s a tool that reminds us of the joys of analog precision in a digital age. But it’s also for the aesthete—someone who admires the fusion of engineering and artistry. Its UFO-inspired shape isn’t just functional; it’s a nod to the imagination, evoking the spirit of exploration not just of Earth but of the unknown.
The titanium compass thermometer 2-in-1 multi-tool comes in both Celsius and Fahrenheit versions, depending on what metric you prefer. For those ready to add this versatile piece to their kit, the COMANDI 2-in-1 compass is now available on Kickstarter. Early bird pricing starts at $49 (for both Celsius and Fahrenheit variants), offering excellent value for a tool that feels like it should cost much more. With shipping estimated for February 2025 and worldwide delivery available, it’s accessible to adventurers everywhere.
Click Here to Buy Now: $49 $65 (25% off). Hurry, only 43/150 left!
The post Why Every Adventurer Needs This Titanium 2-in-1 EDC Compass + Thermometer in Their Gear Kit first appeared on Yanko Design.
There’s something about carbonated beverages that just makes them so addictive, even without the sugar. The bubbly texture that flows down through your throat, the rich aromas that excite your nose, and, of course, the flavors that delight your tongue all contribute to a unique drinking sensation. Ironically, these beverages are often delivered in vessels that make a mockery of that experience, be it the PET bottles that leave you feeling guilty over the health of the planet, or more commonly, the aluminum cylinders that make you feel like you’re smooching a metal can.
You could always pour it into a glass, but you might not always have the luxury of having one with you. Thanks to this innovative can opener, however, you no longer have to bear with the awkwardness of drinking from a small opening and can now taste your favorite fizzy beverage with more freedom and enjoyment.
Designer: Shu Kanno
Soda and beer cans are made for convenience rather than comfort. Their structure and mechanism are designed around the nature of the drink rather than the person who will be drinking from it. That tab makes it easy to create an opening for the liquid to pass through, but that opening, along with the lip around it, makes the drinking experience more mechanical than enjoyable. It feels awkward and unnatural, forcing people to use sub-optimal solutions like straws or reach for glasses that might not be there in the first place.
But what if you can easily just take the lid off the can and drink from it in a more natural manner? That’s the kind of liberating experience that DAVI Can Opener offers, opening up the whole top of the can rather than forcing you to drink from a small circle. Drink from the can directly as you would from an aluminum cup, or add ice or flavored ice cubes to enhance the flavor. Your limit is only the size of the can and the available space in it.
Best of all, you don’t need a complicated machine or a bulky tool to add this new dimension to your drink. This soda can lid remover looks like a giant carabiner and can be easily stored in your bag or EDC kit to take with you anywhere. Using it is just as simple as well. Just hook the translucent plastic part under the can’s pull tab and clamp the opener around the lid. Give the can a few turns until the lid is fully separated from the body, then gently lift it up while securing the pull tab with your finger so that the lid doesn’t fall into the can.
This ingenious can opener was meticulously designed to make sure that there are no sharp edges to cut your finger or your lip, no aluminum shavings to contaminate your drink, and no lid to fall into the can. All it leaves is an unadulterated, carbonated liquid in a vessel that frees not just the sharp flavor but also the rich aromas of the beverage. With this soda can lid remover, you can enjoy a cool, refreshing drink anywhere and in a way that truly brings out the best of your beverage.
The post Why This Ingenious Soda Lid Remover Is a Must-Have for Fizzy Drink Lovers first appeared on Yanko Design.
Knives like the Tekto A2 Badger don’t come along often—they’re the quiet disruptors of the EDC world. Compact, unassuming, and deceptively powerful, the A2 Badger shrugs off the clichés of tactical gear with its minimalist design and razor-sharp focus on functionality. This isn’t the kind of knife you carry to impress—it’s the one you rely on when the stakes are real, blending precision engineering with a no-nonsense approach to everyday challenges.
What sets the A2 Badger apart isn’t just its sleek profile or lightning-fast blade deployment; it’s the way it balances rugged durability with lightweight portability. At just 3.3 inches closed and weighing a mere 2.18 ounces, this knife doesn’t just fit into your pocket—it fits seamlessly into your life. Whether you’re slicing through rope on a camping trip or breaking glass in an emergency, the A2 Badger stands ready to perform with a reliability that’s earned it a spot among the best in everyday carry essentials.
Designer: Tekto
Click Here to Buy Now: $111.99 $139.99 (20% off, use coupon code “TEKTO”). Hurry, deal ends in 48-hours! Also, get free FedEx 2 day shipping.
At a glance, the A2 Badger is unassuming, its compact closed frame disappearing effortlessly into a pocket or clipped onto gear. But this knife thrives on challenging assumptions. Deploy the blade using its spring-loaded switch, and it transforms into a formidable tool. The 1.85-inch tanto-style blade, crafted from titanium-coated D2 steel, isn’t just about sharpness—it’s a powerhouse of durability and precision. The angular design is ideal for piercing tough materials, while the titanium coating ensures the blade resists wear and tear, even during heavy use. It’s a blade built not just for cutting but for enduring.
The A2 Badger button boasts an exceptional grip, ensuring maximum grip and control in any situation.
With its compact and lightweight design, the A2 Badger is both easy to store and transport, making it a popular choice among outdoor enthusiasts and those with limited space.
OTF, or out-the-front, knives like the A2 Badger are a different breed from traditional folding blades. The mechanism is mesmerizingly simple yet effective—a push of the switch sends the blade gliding out in an instant. This rapid deployment is more than just a party trick; it’s an invaluable feature for those moments when time is of the essence. Whether you’re slicing through a seatbelt in an emergency or tackling a tough outdoor task, the A2 Badger ensures you’re never left fumbling.
Featuring an oversized lanyard hole, this knife design accommodates a wider range of attachment options, including larger cords and paracords.
Beyond the blade, the A2 Badger’s handle showcases an attention to detail that elevates it from a utilitarian tool to a thoughtful piece of design. Made from 6061 aluminum, the handle is lightweight yet robust, designed to withstand the elements while maintaining a comfortable grip. It features a button lock mechanism to keep the blade securely in place, whether open or closed, ensuring peace of mind during use. The oversized lanyard hole adds an extra layer of versatility, allowing you to attach cords or paracords with ease—a small but impactful addition that outdoor enthusiasts will appreciate.
Its utility doesn’t end there. The glass breaker tip at the base of the handle is another standout feature, designed to shatter reinforced glass in emergency situations. Combined with the blade’s ability to cut through tough fabrics or materials, the A2 Badger becomes more than just a knife; it’s a multi-functional tool that adapts to a variety of high-stakes scenarios. This duality of simplicity and capability is where the A2 Badger truly shines—it’s a lifesaver that doesn’t look or feel cumbersome.
What makes the A2 Badger even more appealing is how it accommodates every user. The pocket clip is ambidextrous, catering to both left- and right-handed individuals, and its compact size means it never feels out of place, whether clipped onto gear during a hike or tucked into your jeans for a day in the city. At a featherlight 2.18 ounces, it’s easy to forget it’s there—until you need it.
The A2 Badger is available in three finishes—Black, Desert, and OD Green—allowing you to pick a color that matches your style or gear. This isn’t a knife that sacrifices form for function. This knife is currently available at a 20% discount (its highest discount ever), adding extra value to an already high-performing design. For enthusiasts and newcomers to EDC alike, the A2 Badger offers a practical, durable solution built to meet the demands of any scenario.
Click Here to Buy Now: $111.99 $139.99 (20% off, use coupon code “TEKTO”). Hurry, deal ends in 48-hours! Also, get free FedEx 2 day shipping.
The post Tekto’s Best-Selling OTF Knife sees its ‘Sharpest’ Price Cut with a 20% Discount first appeared on Yanko Design.
A social housing project in Barcelona by local studio Peris + Toral Arquitectes has been named the winner of this year’s RIBA International Prize.
Named 85 Social Dwellings in Cornellà, the project was selected as the winner of the biannual award by the Royal Institute of British Architects (RIBA) from a three-strong shortlist.
Peris + Toral Arquitectes was praised for its design that centres on a modular timber framework designed to promote flexibility for its residents, which the jury said “is both aspirational and demonstrates genuine change”.
Completed in 2022, the housing development comprises 85 equally-sized apartments that are each organised around the central kitchen, which doubles as a main circulation space.
According to Peris + Toral Arquitectes, this layout is designed to make “domestic labour visible” in the home, in a bid to challenge gender roles and challenge traditional residential layouts.
Another key feature of 85 Social Dwellings in Cornellà is its modular mass-timber structure, chosen to ensure future adaptability while reducing its carbon footprint and construction time.
Amateur Architecture Studio founder Lu Wenyu, who served as chair of the jury, hailed the project as a “worthy winner” for its role in setting “a precedent for future developments”.
“Through this innovative approach to social housing, Peris + Toral Arquitectes has responded to the shifting demands of societal groupings by crafting a housing project that is adaptive, inclusive and sustainable,” Wenyu said.
“Not defined by stereotypes or fixed assumptions of what constitutes ‘family’, the intelligent organization of space encourages lively interaction and connection within the community, ensuring that the architecture functions on different scales – from the discrete dwelling to the collective space.”
The RIBA International prize is awarded biennially to a building that “demonstrates visionary thinking, originality, excellence of execution, and makes a distinct contribution to its users, surrounding environment and communities”.
85 Social Dwellings in Cornellà was selected ahead of the Jacoby Studios office by David Chipperfield Architects in Germany and the Lianzhou Museum of Photography in China by O-office Architects.
RIBA president Muyiwa Oki said the winning project offers a “strong example of the ways in which architects can create new and implementable solutions to the common challenge of creating housing for all”.
“Peris + Toral Arquitectes’ inspiring housing project in Spain embodies the kind of transformational spirit that is both aspirational and demonstrates genuine change,” Oki said.
“This visionary scheme allows for new and future ideas of what constitutes a family, and should be seen as a blueprint for delivering sustainable, quality housing around the world at scale.”
Previous winners of the RIBA International prize include a rural hospital in Bangladesh by Kashef Chowdhury/URBANA, which won in 2022, and a boarding school in Brazil by Aleph Zero and Rosenbaum, which won in 2018.
The RIBA also recently announced the winner of the prestigious Stirling Prize for 2024. It was awarded to the Elizabeth Line in London by architecture studios Grimshaw, Maynard, Equation and AtkinsRéalis.
The photography is by José Hevia.
The post “Inclusive and sustainable” social housing in Barcelona named world’s best building by RIBA appeared first on Dezeen.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
