Cadogan Cafe by NEX

UK studio NEX has won a competition to design a cafe outside the Saatchi Gallery in London’s Chelsea with plans for a spiralling pavilion and rooftop garden.

Cadogan Cafe by NEX

The Cadogan Cafe will be constructed in the Duke of York Square beside the gallery’s brick perimeter wall, which originally formed the perimeter of a nineteenth century army barracks. NEX drew inspiration from this curved structure to plan a building formed of a single coiled wall.

“After thorough analysis, we were convinced that the best approach was an architecture which resonated with the architectural heritage of the site, while providing a contemporary space that has flexibility for year round use,” said NEX Director Alan Dempsey.

Cadogan Cafe by NEX

The wall will be cut in places to form a colonnade for sheltered outdoor seating and retractable glass panels will allow the indoor space to be opened up in the summer. Meanwhile, a staircase will wind around the exterior to lead customers up to the garden and terrace on the roof.

Cadogan Cafe by NEX

“It was a challenging brief to respond to, and we were fascinated by the opportunity of mixing leisure and public realm uses in such a concentrated form,” added Dempsey.

The architects will now work with clients Cadogan Estate to develop the design and submit an application to build.

Cadogan Cafe by NEX

Above: proposed site plan – click above for larger image

NEX Architects are a small practice based in London and previous projects include a timber pavilion inspired by the structure of leaves for the Chelsea Flower Show.

See more cafes on Dezeen »

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Webb Chapel Park Pavilion by Cooper Joseph Studio

New York practice Cooper Joseph Studio was inspired by Mexican beach huts to insert four pyramidal chimneys behind the concrete exterior of this playground pavilion in Dallas, Texas (+ slideshow).

Webb Chapel Park Pavilion by Cooper Joseph Studio

Sandwiched between a football pitch and a children’s playground, the pavilion offers a sheltered seating area for resting between games as well as picnicking benches for lunchtimes, so Cooper Joseph Studio wanted to keep the space as cool as possible.

Webb Chapel Park Pavilion by Cooper Joseph Studio

The architects concealed the four bright yellow chimneys within the chunky concrete structure and each one works in the same way as the traditional Mexican “palapa” huts, drawing hot air upwards to keep the lower level ventilated.

Webb Chapel Park Pavilion by Cooper Joseph Studio

“The palapa is a time-tested mechanism for creating shade and encouraging passive air flow in a hot climate,” Cooper Joseph Studio’s Greg Evans told Dezeen. “Many state parks use a similar form for picnic structures. We took the geometry and embedded it within a different volume, gaining the cooling benefits without the prescribed aesthetic.”

Webb Chapel Park Pavilion by Cooper Joseph Studio

Describing the decision to colour them yellow, he explained: “We carefully selected a colour that could resolve itself with both the green landscape and the blue sky visible in the apertures.”

Webb Chapel Park Pavilion by Cooper Joseph Studio

The structure of the pavilion is built entirely from concrete and three rectangular columns support the weight of the rectilinear roof.

Webb Chapel Park Pavilion by Cooper Joseph Studio

“We were able to lighten the concrete with the use of local fly ash,” said Evans. “We used a rough board formwork to soften the aesthetic.”

Webb Chapel Park Pavilion by Cooper Joseph Studio

The two playing fields on either side are at slightly different levels, so the structure is partially sunken into the slope to create three tiered levels of seating on the raised edge.

Webb Chapel Park Pavilion by Cooper Joseph Studio

The Webb Chapel Park Pavilion is one one several new shelters planned in the city’s parks, as replacements for 1960s structures that have decayed over time.

Webb Chapel Park Pavilion by Cooper Joseph Studio

Above: site plan

Cooper Joseph Studio also recently completed a writer’s hideaway in upstate New YorkSee more projects in the USA »

Webb Chapel Park Pavilion by Cooper Joseph Studio

Above: ground floor plan

Photography is by Eduard Hueber.

Webb Chapel Park Pavilion by Cooper Joseph Studio

Above: ceiling plan

Here’s a project description from Cooper Joseph Studio:


Webb Chapel Park Pavilion
Cooper Joseph Studio

In Dallas, Texas, the Department of Parks and Recreation is working to replace several decaying, minimal 1960s shelters in the surrounding metropolitan public parks. Sandwiched between a community soccer field and playground, this simple pavilion embraces a passive, natural cooling system that becomes one with the spatial design.

Webb Chapel Park Pavilion by Cooper Joseph Studio

Above: long section

The solution asserts pure geometry to simultaneously achieve bold form and function. A concrete canopy of exaggerated depth enables a simple structure with minimal visible supports to create virtually seamless views of the surrounding site. The result is an impressive cantilever that comfortably sits atop a mere three structural supports.

Inside the pavilion, the heavy shell of concrete opens to reveal four playful, pyramidal voids in the roof. Although a whimsical surprise of color, the ceiling’s primary purpose is a natural ventilation system based on a traditional “palapa” encouraging the hot Texas air to move through the pavilion. Convection breezes are increased as the bold volume perceptually lifts away from the ground, leaving the seating embedded in a berm where the box once was.

Webb Chapel Park Pavilion by Cooper Joseph Studio

Above: cross section

The use of raw concrete as both structure and finish makes the shape both expressive and efficient. Both its conceptual model and execution match the demands of program and community with reductive simplicity. This bold result finds its identity in these dualities.

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DNB Bank Headquarters by MVRDV

Dutch studio MVRDV has given the new Oslo headquarters for Norwegian bank DNB a pixellated appearance by building a stack of brick and glass cubes.

DNB Bank Headquarters by MVRDV

The irregular arrangement of the six-metre wide cubes creates recessed openings across the facade, which MVRDV has used to add sheltered terraces to each floor and a new route from the waterfront towards the nearby railway station.

DNB Bank Headquarters by MVRDV

“We started with a massive slab and by removing pixels one by one we were able to create an arcade, terraces, a public passage, etcetera,” project architect Jeroen Zuidgeest told Dezeen. “By carving out volumes, we made sure every floor has access to interior and exterior terraces.”

DNB Bank Headquarters by MVRDV

The DNB Bank Headquarters is located within the waterfront development of Bjørvika Barcode that MVRDV masterplanned in collaboration with Norwegian architects a-lab and Dark. Each studio has designed one building for the bank and MVRDV’s is the first to complete.

DNB Bank Headquarters by MVRDV

At 17 storeys high, the building provides over 2000 flexible work spaces for employees and each floor accommodates a series of glass cubes where staff can hold informal meetings, have lunches or take phone calls.

DNB Bank Headquarters by MVRDV

Wooden bridges and staircases connect the floors both inside and outside, and it is possible to walk up one side of the building to the canteen and then back down on the other side.

DNB Bank Headquarters by MVRDV

“On one hand, you have this proud, strong iconography, and on the other hand you’re offered social spaces and human character on every floor,” said Zuidgeest. “None of the floors are the same and when you manoeuvre through the building you experience how each floor has its own character and qualities; each one has its own surprises.”

DNB Bank Headquarters by MVRDV

Above: photograph is by Jeroen Musch

The building is already in use, although the complex is scheduled to open officially in May 2013.

DNB Bank Headquarters by MVRDV

Above: photograph is by Jeroen Musch

MVRDV has designed a few buildings with pixellated volumes, including a pair of skyscrapers that caused controversy for bearing a resemblance to the exploding World Trade Centre on 9/11. See more projects by MVRDV »

DNB Bank Headquarters by MVRDV

Photography is by Jiri Havran, apart from where otherwise stated.

Here’s the full project description from MVRDV:


MVRDV completes DNB Bank Headquarters main building in Oslo

The central building of DNB’s new bank headquarter cluster developed by Oslo S Utvikling (OSU) is completed. The MVRDV designed main building has 17 unique floors and a surface of 36,500m2. The pixelated volume based on small-scale working units adapts to the various influences of the urban context, combining an efficient and flexible internal organisation with a variety of specific communal spaces such as the main entrance lobby, a transparent trading floor, a sheltered public passage, respect for urban view lines and collective terraces overlooking the fjord to the south. The glass and brick exterior expresses both the transparency and stability of DNB as a modern financial institution.

DNB Bank Headquarters by MVRDV

Above: photograph is by Jeroen Musch

The development of the new headquarter cluster is a strategic operation concentrating the DNB offices formerly spread out over Oslo at one location, aiming for synergy and a clear identity. The objective was to translate the social and democratic character of the organisation into a building with excellent working conditions and spatial qualities that would stimulate efficiency, identity and collaboration.

The design is based on an ideal work group of the bank, a pixel of 6×6 metres, whose versatility permits adaptation to the flexible nature of the organisation. Besides more than 2,000 flexible work spaces the building contains a panoramic 140 seat canteen on the top level, the executive lounge with a view over the fjord, the board room, in the heart of the volume DNB’s trading room with 250 work stations, and the main entrance with the reception and access to the concourse that connects to the two neighbouring volumes. The collective spaces are connected by a staggered continuous internal route of collective terraces, all being executed as glass pixels, encouraging informal meetings and communication between employees.

DNB Bank Headquarters by MVRDV

Above: photograph is by Jeroen Musch

This route meanders from the reception upwards through the building, connecting all 17 levels office levels with the communal areas. A series of wooden stairs and bridges allow employees to switch levels or even to walk up to the canteen on one side of the building and down on the other side. The route accommodates communal areas to the office floors and is made homely with a series of pantries, informal meeting areas, reading-rooms, lounges and fire places. It gives access to the various outdoor terraces and roof gardens. All these collective spaces offer views to the surroundings and transparency from out side. The route is naturally ventilated and has a high performance glass fit for the cold Norwegian winter.

The generic office floors recline and are recessed in various places to answer to the urban context creating communal indoor and outdoor areas and outstanding daylight conditions. At street level the building volume is opened to give space to sheltered entrance zones, and intersected by a public passage creating a public route between Oslo Central Station and the fjord. The pixelated design allows this specific response whilst being highly efficient and flexible. As a result, every floor of the building is both unique and generic: the pixelated volume makes the generic specific.

DNB Bank Headquarters by MVRDV

Above: photograph is by Jeroen Musch

The structure is conceived as a steel rack wrapped in a brick skin, covering all exterior terraces, walls and ceilings with bricks, which adopts Norwegian environmental standards and gives a human scale to the building. It appears as a rock, a strong shape within the boundaries of the Barcode.

The international Norwegian financial institution DNB decided to concentrate their twenty office locations currently dispersed over the city in the Bjørvika Barcode, an urban plan by MVRDV / DARK / a-lab next to Oslo Central Station. In 2007, the masterplan team was commissioned by developer OSU to design the urban concept for DNB’s headquarter complex. A new cluster of three volumes (80.000m2) and a common basement with a 3,000m2 underground concourse, which interlinks the three buildings of the bank, was developed. MVRDV was commissioned as architect for the central main building and co-responsible for the urban concept and concourse.

DNB Bank Headquarters by MVRDV

Above: photograph is by Jeroen Musch

MVRDV has collaborated with Norwegian co-architect DARK Arkitekter AS and various Norwegian engineering firms. Project management is executed by Norwegian firm Vedal Project AS. The second building of the DNB cluster is designed by A-lab and the third building by Dark Arkitekter, within the overall Bjørvika Barcode masterplan. The cluster will be officially opened May 14th 2013.

DNB is the largest financial services group in Norway. The Group consists of brands such as DNB, Vital, Nordlandsbanken, Cresco, Postbanken, DnB NORD and Carlson. In 2003, MVRDV, together with Norwegian firms Dark and a-lab, won the competition for the Bjørvika waterfront development with the design of the Bjørvika Barcode; a dense, open and differentiated urban master plan along Nyland Allé, that is developed and realised by OSU in phases. DNB Life Insurance (DNB Scandinavian Property Fund) bought the 3 buildings last year for 4,8 billion Norwegian krone.

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Deconstructing Houses

Focus sur le travail de Michael Jantzen qui a réalisé une série d’œuvres architecturales ainsi que des collages et des montages photographiques appelés « Deconstructing the Houses ». Recomposant visuellement des maisons avec lesquels il s’amuse, le rendu très réussi est à découvrir dans la suite en images.

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Deconstructing Houses7
Deconstructing Houses6
Deconstructing Houses2
Deconstructing Houses5
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Dezeen’s A-Zdvent calendar: House M by AE5 partners

House M by AE5 partners

A grid of timber louvres screens either end of this house in Japan, which is the letter M in our daily A-Zdvent calendarRead more about House M »

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Absolute Towers by MAD

Chinese firm MAD has completed a pair of curvaceous twisted skyscrapers in the growing city of Mississauga, Canada (+ slideshow).

Absolute Towers by MAD

Standing at 170 and 150 metres, the Absolute Towers contain apartments on each of their oval-shaped floors, but every storey is incrementally rotated to give both buildings a curved and twisted outline.

Absolute Towers by MAD

“The concept of the tower at the beginning was very simple,” said MAD founder Ma Yansong. “We just wanted to make something organic but different, more natural and more soft and not something too strong that would remind people of money or power.”

Absolute Towers by MAD

Mississauga first developed as a suburb of Toronto but has grown in recent decades and was named as a city in 1974. Since then, high-rise developments have sprung up across the city and the architects were keen to avoid designing another of these “listless, boxy buildings”.

Absolute Towers by MAD

“Lots of cities like this are happening in China, just repeating the modern urban typology and always making square towers,” added Yansong. “We were thinking; how about reversing that? “So we don’t treat architecture as a product, or an artificial volume or space. It’s more like a landscape.”

Absolute Towers by MAD

MAD won a competition to design the buildings in 2006, which were initially dubbed “the Marylyn Monroe towers” by local residents in reference to their shapely bodies.

Absolute Towers by MAD

Apartments in both towers boast panoramic views of the city skyline from continuous balconies that wrap around the recessed glass facades. This set-back also helps to shade each apartment from direct sunlight in the summer months.

Absolute Towers by MAD

MAD also recently unveiled plans for a village of towering apartment blocks beside the Huangshan Mountains in China.

Absolute Towers by MAD

See more architecture by MAD, including a museum the firm completed last year in the desert city Ordos.

Absolute Towers by MAD

Above: site plan – click above for larger image

Photography is by Iwan Baan.

Absolute Towers by MAD

Above: typical floor plan – click above for larger image

Here’s a project description from MAD:


Absolute towers

We call our cities steel concrete forests.

Throughout the process of urbanization, skyscrapers have been symbols of technological bravado, prime capitals and the societal projections of wealth and prosperity. This limited framework for skyscrapers often results in solutions limited by homogenous, linear structures and degenerative duplication in business districts across the globe. Forced into an unnatural state of conformity, metropolitan life is negatively affected by these unchecked, efficiency-centric development practices. Without a challenge to the status quo, our cities will continue to lack the cohesion of life as implied by the term: forest. A forest is a thriving ecosystem wherein every organism survives only in a state of symbiosis. New ambitions nurtured in a changing global consciousness challenge the aging pattern of last century’s development and favor fresh thoughtful, inspiring and eloquent solutions for tomorrow’s high-rises.

What lies in the future of our cities? How should one grasp the concept of emerging high-density cities? How can city dwellers be immersed with an enriching experience of nature when its presence steadily diminishes in the face of the ever intensifying concrete inundation? Faced with these challenges, future high-rise buildings need to catalyze a higher level of complexity in our cities for the sake of harmonious civilization.

Fondly dubbed the Marylyn Monroe towers by local residents, the Absolute Towers parallel the twisting fluidity or natural lines found in life. This activation of flow forms an organic punctuation in the landscape and a desire for an urban acknowledgement of enthusiasm. Here, we thrive to challenge the sustenance of commonplace boxy skyscrapers. Our ambition was to provide each resident a unique experience of the city, a heterarchitical distribution. Continuous balconies widen individual viewing angles and promote community at the micro scale of a single floor. At the macro, the cadence of the floors rising into the sky echo the modular rhythms of the human experience, yet emphasizes the movement of an adoring figure. We hope this building can wake up metropolitans’ desires towards nature, such as sun and wind, and certainly, human bodies.

A Crisis of Identity

Like other suburbs in North America, Mississauga, near Toronto, has been quickly developing into an independent, urbanized area. Yet, the cityscape lacked a unique character. In response, we wanted to add something naturalistic, delicate and human in contrast to the backdrop of listless, boxy buildings. Sited at the junction of two main streets (Hurantario and Burnhamthorpe), the Absolute Towers gracefully bear their landmark status and act as a gateway to the city beyond. As a residential landmark that strives for more than simple efficiency, the buildings provide residents an emotional connection to their hometown and neighbors.

Eschewing the tradition of accentuated verticality in high-rises, the Absolute Towers choose not to emphasize vertical lines. Instead, the design features a smooth, unbroken balcony that wraps each floor of the building. In addition, at each successive level, the floor plate rotates in a range of one to eight degrees affording breathtaking panoramas of the Mississauga skyline concluding in reverence to the principle street intersection at its peak. By maximizing the viewing potentials inside and out, creating a wonderful medium for social interaction throughout the balconies, and connecting the city dwellers with naturalistic design principles, Mississauga is infused with a new character.

A New Sustainability

In place of the basic, functional logic of an aging modernism, the current trend of sustainable design is reminiscent of the sudden rise in the glass-faced boxy buildings of last century. Sustainability, in concept, is often unfortunately simplified to the lowest common denominator. If we limit the scope of sustainable ecology to energy savings, it will become merely a demand for comfort while the yearning of a return to nature is ignored. This design practice remains the axiom of the industrial revolution, man controls nature. We feel sustainability is a much greater concept which can guide a new culture of design resulting in real change. For instance, in traditional Chinese gardens, building and nature elements are integrated to create a spiritual and poetic environment fostering great literature, poem and music, or simply life and philosophy. Our approach, ergo, is to create a balanced environment that evokes the feeling of exploring nature while simultaneously a responsive model for the development of urban space in harmony with nature. A sustainable architecture in modern concept. Real sustainability results in a harmonious civilization.

This is the biggest challenge of our time. How do we rebuild urban environments with life and emotion where people are connected and respected?

An Economy of Structure

The torsional form of the towers is underpinned with a surprisingly simply and inexpensive structural solution. The two residential towers are supported by a grid of concrete load bearing walls. The bearing walls extend and contract in response to the sectional fluctuation created by the rotation of the floors while the balconies consist of cantilevered concrete slabs. In order to ensure the elegant edge profiles are as thin as possible, there is a thermal break in the slabs at the exterior glazing such that the insulation need not wrap the entirety of the balconies. Meanwhile, the dynamically fluid shaping of the towers, naturally aerodynamic, adeptly handles wind loading and ensures comfort throughout all the balconies. Besides providing every resident with a nice exterior place to enjoy views of Mississauga, the balconies naturally shade the interior from the summer sun while soaking in the winter sun, reducing air conditioning costs.

Location: Mississauga, Canada
Height: 170 meter
No. of floors: Tower A: 56 stories/170 m
Tower B: 50 stories/150 m

Building Area: 95.000 square meters
Tower A: 45,000 sqm
Tower B: 40.000 sqm
Site area: 4090 square meters
Primary Use: Residential

Client: Fernbrook / Cityzen
Design Architect: MAD architects
Director in Charge: Ma Yansong, Yosuke Hayano, Dang Qun
Design Team: Shen Jun, Robert Groessinger, Florian Pucher, Yi Wenzhen, Hao Yi, Yao Mengyao, Zhao Fan, Liu Yuan, Zhao Wei, Li Kunjuan, Yu Kui, Max Lonnqvist, Eric Spencer

Associate Architects: BURKA Architects INC.
Structural Engineer: SIGMUND, SOUDACK & ASSOCIATES INC.
Mechanical Engineer: ECE Group
Electrical Engineer: ECE Group
Landscape Architect: NAK Design
Interior Designer: ESQAPE Design

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Architecture “no longer interested in anything but its own image”

Owen Hatherley, photo by 3am Magazine

News: the way architecture is consumed through websites like Dezeen is “utterly disastrous”, according to UK critic Owen Hatherley (above).

Writing about modern architecture and modern photography for the Photographers’ Gallery website, Hatherley says sites like Dezeen and Archdaily “provide little but glossy images of buildings that you will never visit, lovingly formed into photoshopped, freeze-dried glimmers of non-orthogonal perfection, in locations where the sun, of course, is always shining.”

He adds: “In art, this approach to reproduction is dubious enough, but in architecture – where both physical experience and location in an actual place are so important – it’s often utterly disastrous, a handmaiden to an architectural culture that no longer has an interest in anything but its own image.”

Hatherley goes on to explore “the symbiotic relationship between photography and architecture”, tracing the way photography helped popularise and market the modern movement from the 1920s – and even influenced the buildings themselves.

The early works of Le Corbusier were brightly coloured, Hatherley says, as were buildings by Gerrit Reitveld and Bruno Taut. “Yet by the start of the 1930s, the modern movement’s most famous buildings, like Mies van der Rohe’s Villa Tugendhat or Le Corbusier’s Villa Savoye, were almost exactly as monochrome as the (many) photographs taken of them,” Hatherley writes.

The article was commissioned by The Photographers’ Gallery in London as part of a series of critical essays on photography in the 21st Century.

Owen Hatherley is the author of books including Militant Modernism, A Guide to the New Ruins of Great Britain and A New Kind of Bleak: Journeys Through Urban Britain.

Photograph is by 3am Magazine.

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Festina Lente bridge by Adnan Alagić,Bojan Kanlić and Amila Hrustić

A looping bridge by three Bosnian product design students has been completed outside the Academy of Fine Arts in Sarajevo (+ slideshow).

Festina Lente by Adnan Alagić, Bojan Kanlić and Amila Hrustić

Adnan Alagić, Bojan Kanlić and Amila Hrustić won the competition for the design of the bridge five years ago while studying at the Academy of Fine Arts.

Festina Lente by Adnan Alagić, Bojan Kanlić and Amila Hrustić

Called Festina Lente, which in Latin means “make haste, slowly”, the looping bridge spans 38 metres over the Miljacka river and loops-the-loop in the middle to create a shelter with two seats.

Festina Lente by Adnan Alagić, Bojan Kanlić and Amila Hrustić

“The basic idea of the bridge is the union of the secular and spiritual,” explain the designers, noting that the academy was formerly a church. ”The loop on the bridge is a symbolic gate,” they add.

Festina Lente by Adnan Alagić, Bojan Kanlić and Amila Hrustić

The steel bridge is paved with aluminium plates and fitted with benches made of smooth round logs. At night the bridge is lit by LEDs.

Festina Lente by Adnan Alagić, Bojan Kanlić and Amila Hrustić

We recently featured a temporary bridge held up by enormous helium-filled balloons and a bridge with an arched level for pedestrians and a zig-zagging level for cyclists.

Festina Lente by Adnan Alagić, Bojan Kanlić and Amila Hrustić

We’ve also previously featured a looping motorway imagined by Dutch architects NL and an elevated pathway that looks like a rollercoaster.

See all our stories about bridges »
See all our stories about infrastructure »

Here’s some more information from the designers:


Festina Lente (lat. hurry slowly), lightweight, agile, adaptable casual contact among all objects and human beings.

The basic idea of the bridge is the union of the secular and spiritual and to establish a balance between left and right side. Crossing the bridge is a unique experience because of its specific layout and the views that we encounter when going through the gate (the closed part of the bridge), preparing us to enter into another dimension and awake spirituality. Technological solutions and the modern design of the bridge become the brand of Sarajevo.

Festina Lente by Adnan Alagić, Bojan Kanlić and Amila Hrustić

The tender for the construction of a pedestrian bridge was announced in 2007, and five years later the bridge was built. The bridge construction is steel with aluminium trim and a glass fence. The bridge spans 38 metres. The bridge creates a true “genius loci” appropriate to the area in front of the temple as the Academy of Fine Arts. The former church, today the Academy of Fine Arts, was built in the time of the Viennese secession.

Its form is unique, simple and attractive at the same time and because of the unexpectedness triggers a series of associations, establishing a new vision. The loop on the bridge is a symbolic gate – in our traditions, entrances in the cities have always been marked by gates. Line appears on most Secession facilities, among which is the Academy of Fine Arts.

Festina Lente by Adnan Alagić, Bojan Kanlić and Amila Hrustić

Around the bridge we have different styles of facilities and two benches which are completely different, one covered with grass and another built from stone, which we decided on for visual contrast. On the bridge are two benches in covered sections, so it’s a place of meeting and interacting. White LED lights light the bridge.

Authors: Adnan Alagić, Bojan Kanlić and Amila Hrustić

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Dezeen’s A-Zdvent calendar: l House by moomoo architects

l House by moomoo architects

This conceptual house would be wrapped entirely in a plastic insulating material normally used on roofs. Intended for Łódź in Poland, it’s the lowercase letter l in our A-Zdvent calendar. Read more about l House »

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l House by moomoo architects
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Nakai House by University of Colorado students

Eight architecture students from the University of Colorado have designed and built a cabin in the Utah desert for a Navajo woman (+ slideshow).

Nakai House by University of Colorado students

Above: photograph is by Scott Zimmerman

Under the guidance of tutor Rick Sommerfeld, the students teamed up with charity DesignBuildBLUFF, who regularly work with students to provide housing for some of the 2.4 million Native Americans that live in dilapidated or overcrowded housing on tribal land.

The team were tasked with replacing the home of Lorraine Nakai, an avid collector of books, ornaments and other memorabilia. “When we met her, she had her collections piled and dispersed within her old house. She expressed a strong desire to be able to showcase her eclectic collections in her new home – they were truly a part of who she was,” explains the team.

Above: photograph is by David Hevesi

The students planned a long and narrow residence with one room spanning its entire length. To accommodate all of Nakai’s possessions, they tucked all bedroom and bathroom facilities behind a 15-metre long storage and display wall. “It transforms the interior of the house into a diverse exhibit,” say the designers.

Instead of a conventional bedroom, Nakai’s sleeping area is little more than a bed-shaped shelf in the wall, although a doorway and ladder lead up to a guest bedroom in the loft.

Kitchen surfaces are also incorporated into the wall, but a wood-burning stove is suspended from the ceiling in the centre of the room. “The fireplace, which is an integral part of the Navajo culture, stands proud as a singular object in this space,” says the team.

The exterior of the house is clad with timber and the students also added panels of recycled glass to protect the walls from the harsh desert sun and open winds.

Large windows along the east-facing elevation and a large doorway to the south allow for cross-ventilation during warmer seasons. Meanwhile, a projecting window on the north side of the building provides an indoor seating area with a view out across the landscape.

The houses’s position beside three other small buildings and a tree frames the outline of a courtyard, providing further protection from the wind.

The building was constructed in just 80 days for a budget of $25,000, the equivalent of just over £15,000.

See more stories about houses on Dezeen, including an Alpine holiday villa in France and seven woodland cabins in Portugal.

Photography is by James Anderson, apart from where otherwise stated.

Here’s a short description from the team:


DesignbuildBLUFF is a non-profit organization located in southeast Utah. The organization works with college students to help Navajos on the Indian reservation. Collaborating with DesignBuildBLUFF, during the summer of 2011 eight students from the University of Colorado at Denver designed the house, and during the fall semester moved to Utah for the build.

The house was built for an impoverished Navajo woman. With little-to-no construction experience, the team completed the house in 80 days with a budget of $25,000. The team’s final design is a true response to the client’s aspirations, existing site conditions, and extreme desert climate.

More importantly, the successful completion of this project hopes to inspire young architects and show them that with determination, persistence and the will to improve people’s living conditions, modern and thoughtful designs can be achieved even with little funding.

Students: James Anderson, David Hevesi, Zia Hooker, Courtney Hughes, Milen Milev, Cam Minor, Michelle Pollock and Josh Young.
Senior Instructor: Rick Sommerfeld

Above: site axonometric plan

Above: floor plan – click above for larger image

Above: long section

Above: north and east elevations

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