Markus Andrews

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    Timber joinery “gently cocoons” inhabitants in compact Gdańsk apartment by ACOS

    Polish studio ACOS has used timber joinery to conceal the functional elements of this apartment in Gdańsk, with the aim of creating a calm and tranquil interior.

    Located at the edge of one of the few remaining green spaces in the city’s heavily urbanised historical town centre, Hideaway Home is a family apartment that was designed to make the most of its 70-square-metre footprint.
    ACOS has designed the Hideaway Home apartment in GdańskACOS, which is a collaboration between architect Anna Stojcev and designer Stanisław Młyński, began the project by mapping out the existing space to create the most efficient layout.
    “The optimal arrangement was achieved by carefully analysing each square centimetre and redesigning the infrastructure,” the studio said.
    “As a result, we’ve managed to unclutter the original layout and benefit from a more generous volume. This resulted in a solution that seems very shy and modest at first but becomes more interactive once one starts to explore its layers.”

    Routed timber screens conceal the kitchen’s food storage and preparation areasThe apartment is split into “day” and “night” zones. An open-plan living, cooking and dining area occupies one half of the apartment while the bedrooms and bathrooms are located on the other.
    ACOS used blocks of timber, stone, concrete and a mineral surfacing called microscreed to define the different spaces, softened by neutral fabrics and brass accents.
    The entrance to the living room is framed by a timber portalThe joint kitchen and dining area revolves around a large custom-made wooden dining table and a utilitarian concrete trough sink. The space is framed by routed timber screens that completely conceal the food storage and preparation areas.
    Eager to combine new technologies and materials with time-honoured crafts, the studio custom-designed furniture pieces such as the dining chairs, which were made using digital 3D modelling and traditional carpentry techniques.

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    The adjoining living area has a more generous footprint, with its entrance framed by an oakwood portal and a timber window seat running along one of its walls.
    The space between the day and night zones, where the apartment’s entrance is located, is finished with veneered panels that support a textile ceiling.
    Textile panels cover the ceiling in the hallway”The simplicity of details and forms aims to bring back the value of honest design and craftsmanship,” ACOS said.
    “Whether it is a large surface of an oak coffee table or textile soffit or curtains – those elements are purely a means to frame the volume gently cocooning the user.”
    Full-height carpentry provides storage in the main bedroomThe bedrooms were conceived as simple and compact volumes, with walls finished in natural lime and marble plaster while the floors and skirting boards are pale timber.
    Custom full-height carpentry provides storage in the main bedroom and integrates seamlessly with a timber entrance portal.
    The apartment’s main bathroom is finished in white microscreed surfacing paired with custom-made terrazzo slabs.
    The bathroom is accented by custom-made terrazzo slabsHideaway Home is among six projects shortlisted in the apartment interior category of this year’s Dezeen Awards.
    Also in the running is a renovated Tribeca loft with a half-transparent, half-mirrored wall and a live-work space in London belonging to the founders of environmental communication agency Earthrise Studio.
    The photography is by Pion Studio.

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    FOG Architecture creates kinetic display for Super Seed's Hangzhou store

    Chinese studio FOG Architecture has added over a hundred moving display boxes to skincare brand Super Seed’s latest retail store in Hangzhou, China.

    The studio installed 168 kinetic semitransparent acrylic boxes in the main product display area of the 300-square-metre store.
    Its aim was for the boxes to help create a variety of different display combinations, while also encouraging more interactions between the visitors and the products.
    Over one hundred movable acrylic display boxes are installed at the storeAn electric motor moves the boxes, which were programmed to move vertically in two different ways.
    Under the static mode, the boxes can move up and down to one of three height levels, while under the dynamic mode, seven height levels can be selected.

    FOG Architecture uses steel ropes and stranded wires to hang the boxes from the ceiling and selected 20 millimetres per second as their moving speed after multiple tests, to ensure maximum security and smooth movement.
    The boxes can move up and down at various heights”It challenges the divorce between fixtures and furnishings in traditional spaces by softening the borderlines between itself and the walls, floor, ceiling, and lighting,” FOG Architecture said of the installation.
    “This novel installation redefines the formal expression of the functionality of shelves, producing a unique spatial experience,” it added.
    Display areas can be easily transformed for different purposesThe studio has also designed a series of modular chairs to go with the display boxes. These wooden chairs can be placed next to the acrylic boxes when they’re at floor level, helping to create a seating and display area.
    “Unique shopping experiences rely on the creative interpretation of conventional spaces and the innovative application of everyday functionalities,” said the studio.
    “In this case, we envisioned a retail method different from packed shelving units, and proposed a multipurpose, interactive, and interesting display structure.”

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    Next to the product display area, there are five “labs” where visitors can try out the products. FOG Architecture used metal counters to give this area a futuristic feel that would highlight Super Seed’s technology and research background.
    At the entrance of the store, an inflatable wall adds softness to the otherwise hard space where metal, glass and acrylic are the main materials.
    Metal counters are used to make the space feel like a labVarious plant exhibitions can be found throughout the store in a nod to the fact that the skincare brand is plant-based.
    Dried plants were placed in capsule-shaped containers, while green plants were mixed with the beauty products in the acrylic display boxes, creating an intriguing visual effect through the frosted semitransparent boxes.
    An inflatable wall installation is used to soften the spaceFOG Architecture was founded by Zheng Yu and Zhan Di and has offices in London, Shanghai and Chongqing.
    Its recently finished projects include fragrance brand To Summer’s flagship store in Shanghai, which was longlisted in the large retail interiors category of Dezeen Awards 2022.
    The photography is by SFAP.
    Project credits:
    Design team: Deng Ye, Zou Dejing, Hou Shaokai, Zhang Wanyi, Jiang Lu, Zhan Di, Zheng YuLighting design: Zhang Xu (LB Design)Installation Design: Shanghai Faithture Props Co., Ltd.Structure Consultant: Tao XinweiManaging Contractor: Youlong Jinsheng

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    Ukrainian studio Bogdanova Bureau's Kyiv office damaged in missile attack

    Kyiv architecture studio Bogdanova Bureau has vowed to make its office “even more beautiful than before” after it was damaged in a Russian missile attack.

    Staff at Bogdanova Bureau arrived at the office on Monday to find the windows blasted into the room and debris and broken glass scattered across the floor.
    Windows were smashed into the room by the blastRussian forces had fired a barrage of missiles into the Ukrainian capital and other cities early that morning, killing 19 people and injuring many more.
    None of Bogdanova Bureau’s employees were harmed, though some of their possessions were destroyed, the studio told Dezeen. By Tuesday, the team had cleaned up the office and returned to work in the studio.
    The team cleaned up the office and returned to work the following day”In some time we will repair all that is broken and make our place even more beautiful than before,” said studio spokesperson Nadia Sheikina. “As designers, we know how to do it.”

    “As well, we are going to rebuild all the destroyed cities and villages, all the schools, homes and ambulatories that were ruined in Ukraine,” she continued. “We already had started working on it.”
    Broken glass and debris was scattered through the office”We were scared on February 24 when the war started, now we are not,” she added. “We know that the mean enemy wants to invade our land and appropriate our culture, but it will never happen.”
    Bogdanova Bureau only recently refurbished its office, completing the project five months before the Russian invasion began.
    The office, pictured before the blast, was refurbished five months before the war began. Photo by Yevhenii AvramenkoThe office is in the heart of Kyiv next to Shevchenko Park, and is surrounded by a university, libraries, museums, and a cultural centre, as well as apartments and office buildings.
    A missile struck the middle of the park close to a children’s playground, with the blast wave destroying windows across the building housing the studio’s office.
    The missile struck a park outside the office building next to a playgroundThe bombardment of central Kyiv was part of a series of attacks launched in retaliation after a key bridge linking Russia to the annexed region of Crimea was heavily damaged by an explosion.
    In April, Bogdanova Bureau spoke to Dezeen for a piece about how Ukrainian design and architecture studios were dealing with the war.

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    At the time, its founder Olga Bogdanova urged international clients to trust Ukrainian studios to deliver despite the turmoil of the conflict.
    “We thank the international society and especially the international design community for all their support and all their attention,” Sheikina said this week.

    Windows of the building were left damaged”But after eight months of the war, we feel that some of you got used to the war. Please do not be! It is understandable, no one can be stressed for such a long time and everyone deserves to experience their own life and focus on some normal things around them,” she continued.
    “We ask you not to get used to war and pay your precise attention to Ukrainian designers, architects, and artists. Please raise your voice and stand with Ukraine. It can make things different!”
    The photography is by Yulia Bevzenko unless otherwise stated.

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    Three hundred beer crates form furnishings of Shenyang's Fatface Coffee shop

    Bottle-green beer crates are stacked to construct a long counter and matching stools in this pop-up coffee shop in Shenyang, China, designed by architecture practice Baicai.

    Installed in the city’s Window Gallery for a month, the pop-up shop belongs to local cafe Fatface Coffee. Its interior makes use of 300 beer cases to create a central bar and stools with cork seat pads.
    Shenyang’s Fatface Coffee pop-up uses beer crates as furnitureShortlisted in the small interiors category of the 2022 Dezeen Awards, the design hopes to merge Shenyang’s love of beer with its emerging coffee culture.
    “Shenyang is a city beaming with a love for beer,” local studio Bacai explained. “The city’s fondness for beer is expressed in its popularity across the streets and its ever-presence in the daily converse of the residents.”
    “How can the coffee culture respond to the city’s attachment to beer? This pop-up shop aspires to explore the energising dynamics between the two seemingly opposite cultures.”

    Cork was used to form seat pads for the stoolsThe studio says it chose to work with beer crates as they are economical, modular, reusable and help to create a strong visual identity inside the Fatface Coffee shop.
    Custom-made cork seat pads sit on top of the beer cases to form the stools, while a glass panel was cut into shape to create the bar’s countertop.

    Sik Mul Sung

    “The strategy explores the endless possibilities of what a beer case could be: a bar counter, seating of various heights, an exhibition stage or a screen to hide the frameworks for water and electricity,” said Baicai.
    “The project experiments with the confluence between beer and coffee, bridging meaningful dialogues between what is local and what is imported.”
    The bar counter is topped with a glass sheetFatface Coffee’s large central bar was designed to challenge the conventional floor plan of a cafe, and according to Baicai creates a more open, democratic space where baristas and guests can circulate freely.
    Other projects shortlisted in the small interiors category at this year’s Dezeen Awards include a yellow attic conversion in Antwerp and a serene timber and travertine reading room in Shanghai by Atelier Tao+C.
    The photography is by Topia Vision.

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    Copenhagen Architecture Festival exhibition responds to “ridiculous” big-budget building projects

    An exhibition in Copenhagen showcases work by students who were instructed to develop projects for extreme environments in order to come up with original design solutions not influenced by “castle in the sky” builds and architecture blogs.

    Named New Methods for Big Challenges: Architecture and Extreme Environments, the exhibition was commissioned for this year’s ongoing Copenhagen Architecture Festival (CAFx).
    It was curated by David Garcia, founder of local studio MAP Architects and an associate professor at the Royal Danish Academy’s architecture and technology institute, where he teaches a masters course titled Architecture and Extreme Environments.
    The exhibition is being held at Halmtorvet 27 in Copenhagen’s Meatpacking DistrictThe exhibition showcases the result of students’ work on the programme, which sees them live and work for weeks in harsh locations such as Alaska and the Gobi Desert.
    There they must seek to build and test design prototypes that benefit the communities living in these challenging environments by harnessing the resources available and collaborating with local people.

    Garcia said the aim of the course, as well as responding to climate change, is to give the students no choice but to produce original architecture – without the temptation to copy what they see online.
    “I wanted to make my students start in a very difficult place where there is no precedent, pushing them to an extreme context so they have to think anew,” he told Dezeen.
    “It’s partly based on the idea that it’s hard for students to separate themselves from the images they see on the architecture blogs. These websites have an enormous impact on students, who crave inspiration, but it can be overwhelming as there is so much readily available.”
    Garcia said the idea for the masters course was based on his time making “ridiculous” projects at a large British architecture firmHe added that his own experience working on big-budget projects for rich clients while at major British architecture firm Foster + Partners was behind the conception of the course.
    “I spent many years designing castles in the sky and that was pivotal in coming up with this programme,” he said.
    “I realised that from a resource perspective, and from the point of view of solving the world’s problems it was ridiculous. I’m extremely critical of those types of projects despite having worked on them myself in the past.”

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    The exhibition starts with blown-up versions of pamphlets produced by MAP Architects exploring concepts for architecture in places like Antarctica, Chernobyl, or the Earth’s orbit.
    For instance, one pamphlet suggests that Antarctica’s constant extreme cold be used to cool seeds in a World Seed Bank, as an alternative to the centre in the Arctic’s Svalbard where air conditioning is sometimes required due to temperature fluctuation.
    Among the projects featured in the main exhibition is a desalination device produced by a student placed with an Inuit community in the Bering Strait, where only saltwater is readily accessible.
    Projects were developed in locations like Alaska, the Gobi Desert and the Atacama DesertThe student’s research uncovered that thawing saltwater ice initially produces drinkable water, as this melts faster than saline.
    Via a series of tubes and chambers, the device takes a block of saltwater ice and transforms it into a glass of fresh water overnight that can be drunk in the morning.
    Meanwhile, the orange Inxect suit by Pavel Liepins aims to tackle issues of plastic pollution and food security in the Faroe Islands.
    It channels body heat and humidity generated by movement into an attached habitat for plastic-eating mealworms, which are non-toxic to humans and rich in protein.
    Students were encouraged to think originally about ways they could respond to the challenges of harsh environmentsSome exhibits play with materials, such as an insulation product made out of pine needles by a student placed in Alaska and a method for creating bricks from sand by a student sent to China’s Gobi Desert by Gabriele Jerosine.
    Not all the projects worked successfully, including a device intended to wrap around the stilts of houses in flood-prone Manaus, Brazil, to produce tidal energy, which proved to be overcomplicated and too fragile to function.
    “Personally I don’t care whether their experiments work or not, and I don’t have a specific aesthetic that I look for; that’s not as relevant to me, I’d like the students to explore their own aesthetics,” explained Garcia.

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    “What I care about is that the students are working with the goal of improving the environment in mind, and doing so in a way that is unique to them,” he added.
    Garcia’s own work also features, in the form of a passive heating tent developed for the Atacama Desert in Chile where temperatures get very high during the day but drop dramatically at night.
    The tent uses a self-activating piston to expose a stick of soapstone, an efficient thermal accumulation material, to the sun to be heated during the day before being withdrawn into the tent at night where it gradually radiates heat to provide warmth.
    The exhibition runs until 20 NovemberSome projects produced by students on the course – which has an intake of between 20 and 25 each year – have worked so well that they have been left for use by the community.
    One such example is a project that used urine’s electrolyte properties to power a toilet light in rural Zanzibar, to enable women to feel safe using it at night.
    New Methods for Big Challenges: Architecture and Extreme Environments is being held in CAFx’s space at Halmtorvet 27 in Copenhagen’s Meatpacking District and runs until 20 November.
    Copenhagen Architecture Festival is running a series of events across Copenhagen and Aarhus, mainly between 6 and 16 October 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
    The photography is by Francesco Martello.

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    Atelier Tao+C creates serene timber and travertine reading room

    Two vacant ground-floor rooms and an adjoining greenhouse were knocked together and lined with bookshelves to form this private library, designed by Atelier Tao+C for a venture capital firm in Shanghai.

    Set in a converted 1980s house, which is home to the offices of VC fund Whales Capital, the reading room can accommodate up to 12 people and is shared between the company’s employees and the owner’s friends.
    Atelier Tao+C has created a reading room for Whales CapitalAll of the rooms are enclosed by immovable, load-bearing walls, which local practice Atelier Tao+C had to integrate into the design while creating the impression of being in one continuous 76-square-metre space.
    To this effect, the original doors and windows were removed and three openings – measuring between two and three metres wide – were created to connect the rooms.
    The space is lined with wooden bookshelvesThe remaining wall sections are hidden from view by new architectural elements including a set of semi-circular wooden bookshelves, which run through the two ground-floor rooms to form a pair of small, quiet reading nooks.

    The structural walls connecting these rooms to the old glasshouse were wrapped in creamy white travertine to create a kind of “sculptural volume”, Atelier Tao+C explained.
    Skylights funnel natural light into the interiorAs a result, the studio says the walls and structural columns are “dissolved” into the space to create the feeling of a more open-plan interior.
    In the old greenhouse, a timber structure was inserted into the building’s glass shell, with bookshelves integrated into its wooden beams and columns to create a seamless design.

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    This structure also forms a wooden ceiling inside the glasshouse, with strategically placed round and square skylights to temper the bright daylight from outside and create a more pleasant reading environment.
    Spread across the interior are four different seating areas: a small study table for solo work, a shared meeting table, a reading booth for one person and a sofa seat where multiple people can talk and relax.
    White travertine was used to obscure the building’s original brick wallsA Private Reading Room has been shortlisted in the small interiors category of the 2022 Dezeen Awards.
    Atelier Tao+C, which is run by designers Chunyan Cai and Tao Liu, is also shortlisted for emerging interior design studio this year, alongside Sydney firm Alexander & Co, Barcelona-based Raúl Sánchez Architects and London practice House of Grey.
    The photography is by Wen Studio.

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    Offhand Practice designs second-hand bookshop in Shanghai to mimic greengrocer

    Used books are displayed in supermarket-style crates at the Deja Vu Recycle Store in Shanghai, which local studio Offhand Practice has designed to counter the “shabby” image associated with second-hand shops.

    The store, which also carries pre-owned fashion, is located on the first and second floor of a three-storey building on Shanghai’s buzzy Anfu Road.
    The Deja Vu Recycle Store is located in Shanghai’s Anfu RoadOn the interior, Chinese architecture studio Offhand Practice hoped to create a relaxed shopping environment despite the large number of goods on offer, which includes more than 2,000 pieces of clothing.
    With this aim, the studio set out to mimic the experience of going to a greengrocer by displaying clothes and books on shelves typically used to hold fruits and vegetables, while giving all products equal prominence regardless of price.
    A long gallery-like corridor leads to the staircase for the first floor”Picking up books in the way of picking up vegetables and fruits gives a feeling of enriching the spiritual basket,” Offhand Practice explained.

    On the ground floor, the studio recessed the building’s entrance and framed it in cream-coloured mosaic tiles to create a small shelter while making the towering facade feel more welcoming.
    Second-hand books are displayed in supermarket-style cratesOne of the main challenges for the studio was to encourage passersby to walk through the building’s ground floor – consisting of a long corridor bookended with space for mechanical, electrical and plumbing (MEP) equipment– and climb the stairs to reach the Deja Vu Recycle Store.
    This was achieved by turning the corridor into a kind of gallery, showcasing the process of refurbishing second-hand goods.
    “Taking advantage of the narrowness, we identified spatial depth through layers of opening,” the studio explained.

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    Books are displayed on the building’s first floor and clothing on the second. Both levels have an open-plan layout with circulation routes defined by shelving and clothes rails.
    Mosaic tiles made from stone off-cuts were used to form decorative wainscoting in the same creamy beige colour as the facade, which channels 1970s Shanghai interiors.
    Contrasting green tiles were used to frame the generous window openings revealed during the building’s renovation, and to form integrated window seats.
    Green mosaic tiles were used to frame the building’s windowsNatural pine was used to form the cashier counter, shelves and book crates to add a sense of warmth to the interior.
    Offhand Practice said it designed the store to break with negative preconceptions around second-hand stores being “dull, disorganised and piled with shabby objects”.
    “Deja Vu Recycle Store breaks the stereotypical image of a second-hand store and erases the ritualistic impression of a traditional bookstore full of full-height bookshelves,” the studio said.
    The tiles were also used to emphasise arches and other architectural detailsThe store was recently been shortlisted for large retail interior of the year at the 2022 Dezeen Awards.
    Other projects in the running include a surrealist pop-up shop designed by Random Studio for fashion brand Jacquemus and a concept store that Schemata Architects has created for an outdoor brand in South Korea.
    The photography is by Hu Yanyun.

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    Kate Byron designs modernist Don't Worry Darling set as “a playful and debaucherous take on the 1950s”

    Production designer Kate Byron used vintage “treasures” and referenced key modernist architecture to create the set of psychological thriller Don’t Worry Darling, which was shot in California’s Palm Springs.

    Byron drew on the architecture and interior style of the many modernist buildings that dominate the landscape in the desert city to create Victory – a fictional, utopian 1950s-style society where the film takes place.
    Katie Byron referenced modernist architecture for the film”We wanted to build a playful and debaucherous take on the 1950s, when there was this illustrious progressive, mid-century modern movement happening,” Byron told Dezeen.
    “The world of Victory is supposed to be alluring, it’s supposed to be beautiful and sultry and sumptuous and opulent.”
    It was shot in Palm Springs, a Californian city famous for its modernist architectureDirected by actor and director Olivia Wilde, Don’t Worry Darling follows fiery couple Alice and Jack – played by British actor Florence Pugh and musician and actor Harry Styles – as they go from living in an idealistic paradise to a troubled world fraught with secrets, control and manipulation.

    The characters move across a quintessential Palm Springs backdrop of low-slung buildings with clean lines by architects including Richard Neutra, Harold Bissner Junior and Albert Frey.
    Kaufmann House was one of the filming locationsSeveral scenes, such as a cocktail party hosted by the leader of Victory which took place in Neutra’s Kaufmann House, were shot in real modernist buildings, while the home of protagonists Alice and Jack was built in a Los Angeles studio.
    “We’re really lucky in California to have access to this architecture and in my history of being an architecture student and a production designer, I’ve gotten to visit a lot of these houses in person,” Byron said.
    “I was interested in Neutra, but also Frey was a huge inspiration for us because of that playful wholesomeness that he embodied,” she said.
    Alice and Jack’s house is filled with locally sourced propsByron, who studied architecture at University of California, Berkeley, threaded more subtle modernist details into the interiors of Don’t Worry Darling through devices such as colour.
    “A colour we used quite a bit was Frey’s favourite colour – this Frey blue – which is like a robin’s-egg blue that he puts in all of his buildings,” explained Byron.
    “There’s also a colour that Kaufman House has quite a bit of; Neutra put this really, really, really dark brown that almost feels black, but it has this warmth to it,” she continued. “We weaved that throughout the film as well.”
    Byron used lots of glass and mirrors throughout the setByron sourced vintage products from shops and prop houses in LA for Alice and Jack’s home, which recalls “cookie-cutter” houses – rows of identical homes found in idyllic depictions of 1950s suburbia.
    Much of the furniture seen was built from scratch, in part because the film was shot during the autumn of 2020 when many vendors were unavailable or had long lead times as a result of the coronavirus pandemic.

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    “When you’re in Palm Springs, they just have these antique stores and even in thrift stores and Facebook marketplace you can find really special things,” the designer recalled.
    “That’s also one of the most amazing things about Los Angeles – there are infinite prop houses here so we shopped quite a bit at all the local prop houses,” she continued.
    “The television in Alice and Jack’s house is from this vendor called RC Vintage, which is just like a treasure trove place of antique electronics.”
    Much of the furniture was made from scratchOther smaller references were embedded into Byron’s material choices, primarily glass, stone and brick.
    Meanwhile, the designer paid homage to Neutra’s storage cabinets, which the production team filled with items such as business cards, cleaning supplies and photographs of Alice and Jack to make the set feel more real for the actors.
    “Keeping with Neutra as our design inspiration, the house is designed with a lot of storage in mind – we wanted all of this stuff to be cleanly kept behind doors,” Byron said.
    The desert setting is designed to look like a utopiaByron hoped that by incorporating playful elements throughout the set she could “subvert” the sense of normalcy in Victory and play with the audience’s expectations of a thriller.
    “The thriller follows a formula often, and I thought it could be really great to just subvert that,” she said.

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    “I think the level of play helps viewers feel like they want to be there and if it wasn’t for the playful aesthetic, I think we would be expecting something to go wrong,” she added.
    Don’t Worry Darling is not the only film that draws on a key architectural movement to inform its set. Wes Anderson’s Isle of Dogs film sets were heavily informed by metabolist architecture, while Black Panther’s “voluptuous” sets recalled works by architect Zaha Hadid.
    The photography is courtesy of Warner Bros.

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