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      Studio MK27 creates Patina Maldives resort on new island

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      Brazil-based Studio MK27 has used wood, rattan and stone textures to create the buildings for a holiday resort on the Fari Islands archipelago in the Maldives.

      Patina Maldives occupies one of the four islands that makes up the artificial archipelago, which was built over approximately 10 kilometres of reef on the northern edge of North Male Atoll.
      Patina Maldives is located within the new Fari Islands archipelagoStudio MK27 has designed architecture and interiors for buildings across the island, including an arrival pavilion, a spa, a kid’s club, and a cluster of bars and restaurants.
      Accommodation is provided by a mix of beach suites, private in-land villas and water villas that project out to sea.
      Studio MK27 designed architecture and interiors for the resort’s various buildingsNever rising above the tree canopy, the buildings are dotted around the island in an arrangement designed to create areas of vibrant social activity and spaces of complete seclusion.

      “Patina is unique in the Maldives: an opportunity to be together in isolation,” said Studio MK27 founder Marcio Kogan. “[It is] one of the most remote places on Earth and still a place designed for people to meet one another.”
      Natural materials are combined with earthy colours”Patina Maldives embraces our natural conflicts: desire for peace and party, for nature and design, technology and rusticity, self-indulgence and deep reflections,” he added.
      The materials palette throughout consists of earthy colours, matt finishes and natural textures that are intended to chime with the natural landscape.
      Water villas come with their own swimming poolsMany of Studio MK27’s own designs can be found in the furnishings, including woven lighting pendants, neatly crafted shelving units, and cabana and deck chairs co-designed with Norm Architects.
      The villas feature high-tech sliding window systems that allow the interiors to be opened up on three sides at the touch of a button, as well as custom-made blackout blinds.

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      “We escalate the textures and emotions from zero to 100, from soft shadows to overwhelming light,” said Studio MK27.
      “It’s a rhythm with contrast, pauses and transparencies. From slow dolce far niente to exuberant real vitality, it is a place for people to bond with nature and each other, for people to experience the essential with glamour.”
      There are also suites and villas inland and on the beachMany of the buildings are characterised by clever details.
      The spa centres around a shallow pool, with a skylight above offering a play of light and shadow, while the kid’s club is defined by colourful window apertures.
      The spa centres around a calming poolThe bar and restaurant area, known as the village, has its own sense of style.
      Arabesque, a restaurant serving Middle Eastern cuisine, combines patterned terracotta blockwork with copper lights, while the Brasa grill is designed as a Latin American smokehouse.
      The Village is a cluster of bars and restaurantsStudio MK27 has worked on many projects in idyllic locations, such as the beachside Vista House, or Jungle House, which is located in a rainforest.
      The studio spent five years developing designs for Patina Maldives, which officially opened in May 2021.
      Studio MK27 custom designed much of the furnitureThe hotel was longlisted for Dezeen Awards 2022 in the hospitality building category, while the spa is shortlisted in the leisure and wellness interior category.
      It is one of three resorts located on islands within the Fari Islands archipelago, along with the Ritz-Carlton Maldives and the Capella-Maldives.
      The photography is by Fernando Guerra.
      Project credits
      Architecture: Studio MK27Lead architects: Marcio Kogan, Renata FurnalettoInterior designers: Diana Radomysler, Pedro RibeiroProject team: André Sumida, Carlos Costa, Carolina Klocker, Diego Solano, Eduardo Glycerio, Elisa Friedmann, Gabriela Chow, Gustavo Ramos, Giovanni Meirelles, Julia Pinheiro, Lair Reis, Laura Guedes, Luciana Antunes, Renato Rerigo, Regiane Leão, Renata Scheliga, Ricardo Ariza, Marcio Tanaka, Mariana Ruzante, Mariana Simas, Samanta Cafardo, Suzana Glogowski, Tamara Lichtenstein, Thauan MiquelinDeveloper: Pontiac Land GroupLandscape designer: Vladimir Djurovic Landscape ArchitectsLighting design: The Flaming BeaconConstruction: Alhl PvtProject manager: Mace Group

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      Sarah Jefferys creates Passive House in Brooklyn with dramatic cedar screen

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      American studio Sarah Jefferys Architecture + Interiors has renovated a slender townhouse in Brooklyn with airy rooms and a cedar screen on the facade to meet Passive House standards.

      Located in the Park Slope neighbourhood, the Passive House project involved the overhaul of a brick-faced, three-storey townhouse built in 1921 and owned by a family of four.
      Sarah Jefferys Architecture + Interiors remodelled a Brooklyn townhouse into a passive houseNew York-based Sarah Jefferys Architecture + Interiors sought to create a tranquil living atmosphere with elements that pay homage to the family’s Indian and Danish roots.
      Moreover, the team wanted the 3,000-square-foot (279-square-metre) building to align with Passive House standards for energy efficiency.
      High-quality windows were installedTo significantly reduce heating and cooling needs, the team installed triple-pane Zola windows, which are often used in passive houses. Walls were reconstructed to create an airtight envelope, which included the addition of cellulose insulation.

      The team also added an electric heat pump and an energy recovery ventilator, which helps purify the air.
      The front facade was kept intact and refurbished, while the rear wall was redesigned to add ample glazing. To provide privacy and to modulate incoming daylight, the team added an artful cedar screen that acts as both “a sculpture and a veil”.
      White oak was used to complement the bright coloursWithin the slender home, the team incorporated pops of colour and pale materials such as white oak.
      “We strategically used light hues and reflective materials, and created an airy environment to offset the narrow footprint of the townhouse,” the team said.
      The ground level has an open plan and holds the communal spaces.
      Reflective and light materials helped the studio meet environmental standardsUp front is the living room, where one finds a blue Living Divani sofa, rattan chairs from Fritz Hansen and a Muuto table.
      A wood-burning fireplace, an element not often found in passive homes, sits between the living and dining areas.
      To curb emissions from the hearth, the architects added a triple-pane glass enclosure and an extraction fan with an insulated cap. Still, because of the fireplace, the home does not fully meet the PHIUS certification requirements, the architect said.
      The all-white dining room is furnished with Ant chairs by Arne Jacobsen and a PH50 pendant by Poul Henningsen. Just beyond is the “showpiece kitchen”, which is framed with an LED light cove.
      The staircase has a skylight above”The light cove acts as a separation point – an outline – and provides an atmospheric glow throughout the kitchen,” the team said.
      In addition to the special lighting, the kitchen features slatted wooden cabinetry, yellow pendants by Louis Poulsen, and an island topped with Glassos crystallized glass.
      Part of the island consists of a live-sawn slab of white oak, which is lined with bar stools.
      The living room features a Muuto table”The beautiful juxtaposition between Glassos and white oak exemplifies the nature of the kitchen as both a practical work area and a leisurely lounge space for entertaining,” the team said.
      A sky-lit staircase leads to the upper levels. The first floor holds the main bedroom and bathroom, along with an office – all of which are arrayed along a corridor lined with frosted glass.

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      The main bedroom features a BoConcept bed, sconces by Robert Dudley Best for Bestlite and a graphic blanket by Pia Wallén for HAY. The bathroom is adorned with matte glass and penny-round tiles from Ann Sacks.
      The office is infused with a “touch of nostalgia”. Pieces include a Hans Wegner armchair, a teak Danish dresser and a 1962 copper pendant by Jo Hammerborg.
      Bright colours were used throughoutThe top level contains a den and two additional bedrooms. The house also has a cellar.
      Other Brooklyn townhouses include a house by Space4Architecture that has a skylit staircase and minimalist decor, and the family home of architects Fanny and Matthew Mueller, which features floating steps and a wood-and-steel bridge.
      The photography is by Morten Smidt.

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      Five key exhibitions at Lisbon Architecture Triennale 2022

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      Lisbon Architecture Triennale has returned for its sixth edition, with exhibitions, installations and contributions by the likes of Dutch studio MVRDV and Japanese studio Tomoaki Uno Architects.

      Titled Terra, the Latin word for earth, this year’s Lisbon Architecture Triennale is a call to action centring on sustainability and forging a balance between communities, resources and processes.
      The 14-week-long event was curated by Portuguese architects and educators Cristina Veríssimo and Diogo Burnay. It takes place until 5 December 2022 and includes a number of exhibitions, book launches, conferences and fringe events across the city of Lisbon.
      Each of the exhibitions and events highlights climate change, human reliance on resources as well as social, economic and environmental injustices and how these issues are connected.
      Read on for five key exhibitions at the 2022 edition of Lisbon Architecture Triennale:

      Multiplicity
      Curated by Cityscapes Magazine co-founder Tau Tavengwa and anthropologist and writer Vyjayanthi Rao, Multiplicity is an exhibition that looks at ways architecture and design can respond better to global challenges such as inequality, climate change and conflict.
      The exhibition is organised across several of the National Museum of Contemporary Art’s minimally decorated rooms, with books, posters and other exhibits arranged on folio cabinets and plywood tables to encourage visitors to engage with them.
      It also includes case studies of architecture projects, such as Wiki House by Architecture 00, BookWorm pavilion by Nudes and Plugin House by People’s Architecture Office, which highlight architectural and design-led initiatives and solutions to social and global issues.

      Retroactive
      Retroactive is an exhibition at Lisbon’s Museum of Art, Architecture and Technology (MAAT), curated by design studio Taller Capital founders Loreta Castro Reguera and José Pablo Ambrosi.
      It identifies ways to help communities living in “vulnerable places due to overcrowding, lack of resources and basic service infrastructure” through the use of architectural initiatives.
      “Retroactive explores the suturing tools of communities in urgent need of architectural solutions that may reconcile their sense of belonging and spatial dignity,” explained Lisbon Architecture Triennale organisers.

      Cycles
      At the Garagem Sul museum, Cycles highlights the circular economy of materials, presenting ways in which designers, architects and creatives can reuse waste. The exhibition was designed by local office Rar.Studio and curated by architect Pedro Ignacia Alonso with art curator Pamela Prado.
      “Cycles addresses the role of architecture within the endless processes of transformation and redistribution of matter, and showcases the possible encounter between architecture and sustainability, economy, heritage and memory,” said organisers of Lisbon Architecture Triennale.
      A focal point of the exhibition is Falca, a mound of cork piled in the rear corner of the gallery by artist Lara Almarcegui.

      Visionaries 
      Visionaries is described by its curator Anastassia Smirnova as an “invitation for action”. It is arranged within the Culturgest centre across a collection of rooms, which each shed light on radical ideas spanning different categories or themes.
      Among the visionary projects is Dutch architecture studio MVRDV’s proposal to raise Eindhoven’s cathedral by 55 metres to insert social and public functions below it, alongside an exploration into French architect Roger Anger’s utopian city Auroville in India. Other contributors include Japanese studio Tomoaki Uno Architects, Spanish architect Andrés Jaque and Spanish office Ensamble Studio.
      “Their projects, more than mere physical and spatial structures, are ambitious and controversial prescriptions for planetary strategies,” said Lisbon Architecture Triennale.
      “In many different forms, from the bedroom scale to city models, these radical prototypes are open to being productively interpreted, not just replicated, by future generations.”

      Independent Projects
      Alongside the main exhibitions, a total of 16 projects have been developed in response to the triennale’s theme of Terra. Twelve of these are exhibited at the event’s headquarters at Palacio Sinel de Cordes, while the other four are dotted across the city of Lisbon.
      Among them is After Plastics, a project by KALA.studio that imagines a landscape where microplastics play a vital role in a new plant growth. Meanwhile, designers Zhicheng Xu, Mengqi Moon He, Stratton Coffman, Calvin Zhong and Wuyahuang Li, are presenting Lodgers, a proposal for temporary housing for different life forms in Nevada, built from local materials.
      Lisbon Architecture Triennale takes place from 1 October to 5 December 2022 in Lisbon, Portugal. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
      The photography is by Sara Constança.

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      Material and spatial contrasts define Barwon Heads House by Adam Kane Architects

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      Australian studio Adam Kane Architects has renovated a cottage on a quiet coastal street in Barwon Heads and connected it to a barn-like extension by a glazed link.

      Named Barwon Heads House, the project was designed by Melbourne studio Adam Kane Architects as a contemporary dwelling that embodied a “relaxed, coastal lifestyle”.
      Adam Kane Architects extended and renovated a cottage in Barwon HeadsPrior to Adam Kane Architects’ renovation and extension, the neglected weatherboarded cottage was known locally as “the dump”.
      Its transformation led it to be shortlisted house interior of the year in the Dezeen Awards 2022 and win the public vote for the same category.
      Barwon Heads House is clad in woodAdopting a minimal palette of monochrome contrasts, the studio painted the existing cottage’s exterior entirely black, pairing it with a lighter extension clad in silvery-grey weathered wooden planks.

      Beneath steeply pitched black metal roofs, this play of contrasts continues to the interiors, creating a spatial journey of “compression and release” that begins in the more compartmentalised cottage containing three bedrooms and a bathroom.
      Contrasting colours and materials feature throughoutMoving through the existing cottage into the small glazed link and a dark corridor, Barwon Heads House’s extension opens up into a large living and dining space, overlooked by the main bedroom on a mezzanine above.
      Full-height windows look out to Barwon Heads House’s garden to the north, while a narrow clerestory-level window opposite draws in light above its kitchen.

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      “Access to the extension is via an enclosed corridor, lined with black mottled joinery panels on walls and ceilings, and is used to conceal doorways into the rumpus, laundry and storage areas,” said Adam Kane Architects.
      “The ‘journey’ through this dark corridor with a lower ceiling creates a sense of compression before a sense of release when walking towards the living room, where the gable opens up into the main space,” it continued.
      The extension has a deliberately simple finishExisting features were retained in the cottage, while the extension has a deliberately simple interior finished with oak panelling and exposed concrete. Slabs of travertine marble are used as countertops, coffee tables and a large dining table.
      “Heritage features are maintained through the use of the original lining board ceilings, as well as period skirting and architraves, which fit perfectly with the renewed tones,” said the studio.
      “The timber lining helps blur the threshold between inside and out, delineating zones, making spaces feel more generous and contributing to the relaxed feel of the home.”
      It is designed as a spatial journey of “compression and release”Adam Kane Architects was founded in 2015, and its previous projects include a bridal boutique in Melbourne with minimal finishes of concrete and marble.
      Alongside Barwon Heads House, other projects shortlisted in the house interior category of Dezeen Awards 2022 include a home in Melbourne with a palette of “organic” materials by Brave New Eco and the renovation of a 120-year-old townhouse in Kyoto by Td-Atelier and Endo Shojiro Design.
      The photography is by Timothy Kaye.

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

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

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      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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      Play Architecture tops restaurant in India with undulating tiled roof

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      A wavy, tiled roof formed by intersecting catenary vaults shelters this lakeside restaurant, designed by Bangalore-based Play Architecture for the Deva Dhare Resort in Karnataka, India.

      Perched above a narrow stream on recycled steel stilts the structure, which has been shortlisted in the hospitality building category of Dezeen awards 2022, provides both internal and external dining areas for the 10-acre resort.
      The Deva Dhare Restaurant is topped with a vaulted tiled roofNestled in the forests of Sakleshpur with expansive views of the Western Ghats mountain range, Play Architecture sought to create a form that would “weave and integrate seamlessly” into the landscape, making use of local materials and labour.
      “The dining space is located on an extremely ecologically sensitive zone, where one needs to touch the ground gently,” explained the studio.
      “The design approach is bottom-up, where the construction process and choice of materials address the local climate, ground conditions, flora and available local labour.”

      The restaurant sits over a small stream in a Sakleshpur forestTo create a column-free interior, a dramatic, unreinforced catenary vaulted roof spanning 16 metres was created, using five layers of 15-millimetre clay tiles typical to the area.
      This roof sits atop a granite and steel deck slab, supported by the structure of thin, green-painted steel columns beneath and accessed via two stone staircases at either side.

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      “The form shows how the forces flow through the structure, and the resistance of the form allows large spans to be built with small thicknesses, saving on materials and labour,” said the studio.
      “More over, the focus of this research was to stay away from sophisticated software solutions and find geometric, logical means and hands-on methods, empowering unskilled labour to apply the idea on a day-to-day basis.”
      Four glass-covered openings under the wavy roof offer views of the surroundingsFour arched openings at either side of the restaurant are filled with full-height glazing framed with black steel, providing views out in every direction.
      To the east and west, glass doors provide access out onto two terraces for overlooking the lake and stream, and to the north a short corridor leads to a standalone bathroom block.
      The curved roof is formed of intersecting catenary vaultsThe granite slabs of the platform have been left exposed throughout, creating a continuity between the interior and exterior, and some have been replaced with glass to provide views of the stream below.
      “The project is a simple, straightforward demonstration of the strength of an idea…with a sincere effort to express the material and construction tectonics truthfully,” said the practice.
      Other projects shortlisted in the hospitality building category of Dezeen awards 2022 include a copper-clad shelter for a teahouse in China by Neri&Hu Design and Research Office, and a boutique hotel in Mexico by Alberto Kalach topped by barrel vault roofs.
      The photography is by Bharath Ramamrutham.

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      Middlesex University spotlights 12 interior design and architecture projects

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      Dezeen School Shows: an animal therapy support centre that aims to benefit people’s mental and physical health and a scheme that converts empty high street shops feature in Dezeen’s latest school show by students at Middlesex University.

      Also included is a “Gamer Station” and a safe house for survivors of domestic abuse.

      Institution: Middlesex UniversityCourses: BA Interior Architecture, BA Interior Design and MA InteriorsTutors: Francesca Murialdo, Naomi House, Gavin Challand, Jon Mortimer, Michael Westhorp, Jason Scoot and David Fern
      School statement:
      “At Middlesex University we run two undergraduate programmes and one postgraduate programme dedicated to studying the richly variant inscape.

      “Interior Architecture operates within the existing architectural fabric and context, remodelling space through architectural intervention, and questioning the idea of interiority relative to a variety of scales – from rooms to buildings and cities.
      “The programme speculates on the possible futures for buildings and environments that have reached the end of their current lifespan.
      “Interior Design is concerned with the creation of new interiors that are inserted or installed into existing buildings or other places, relatively independent of their site contexts, for short-term use. Design projects may therefore be generic and applied to many different sites.
      “MA Interiors continues to challenge and redefine what constitutes the ‘interior’.
      “The programme places emphasis on processing a personal design approach based on individual interests, through the compilation of three portfolio volumes of analysis and project development.
      “Common to all three programmes is the importance we place on intertwining theory and practice and the obligation, in this social media age, to prioritise real sensory human experience in the place-making process.
      “Although student achievement is predominantly assessed against individually produced outputs, we acknowledge that designing interiors in practice is inevitably interdisciplinary – often crossing the domains of humanities, cultural studies, history, philosophy, psychology and anthropology.”

      Communal Scape by Yinjun Shen
      “Communal Scape is a development strategy that looks at reintroducing public space within commercial environments to help unlock new high street typologies.
      “This idea considers a new approach to rebuild inner London high streets using communal spaces, reserved typically for private gated developments, to become new territories that cut into and weave under existing buildings, creating new hybrid shopping, working and social spaces.
      “This newfound common ground helps to re-establish place, cater for new ways to engage with the high street and develop new mechanisms that encourage connectivity in an ever-growing space crisis.”
      Student: Yinjun ShenCourse: MA InteriorsEmail: muyunfengliu[at]gmail.comTutors: Jason Scoot and David Fern

      House of Soul by Ieva Karaliute
      “House of Soul is a proposed community centre that celebrates diversity and gives people a platform to have a voice within their own community.
      “Through careful design decisions and adaptive reuse strategies in the existing Elephant House in Camden, the project explores the importance of performance, collaboration and skills exchange.
      “The project involved designing spaces focused on their needs for inhabitation and rehabilitation.”
      Student: Ieva KaraliuteCourse: BA Interior ArchitectureEmail: sigurna[at]gmail.comTutors: Francesca Murialdo, Naomi House and Gavin Challand

      Okuvlig by Irma Signe Linnea Vesterlund
      “Okuvlig means something or someone who cannot be subjugated, controlled or restrained. The project aims to give voice to the survivors of human rights violations.
      “These survivors are offered a safe space to live and re-integrate with society – a space that is inviting and warm and encourages them to be bold and independent.
      “The project involves transforming an existing building in Camden to create an open public space with private areas, which creates new connections between the survivors and the wider community.”
      Student: Irma Signe Linnea VesterlundCourse: BA Interior ArchitectureEmail: irma.westerlund[at]outlook.comTutors: Francesca Murialdo, Naomi House and Gavin Challand

      Salvage Community Centre by Daryna Chobitko
      “The project presents a salvage community centre run by volunteers in an existing building on the Regent’s Canal in London.
      “The main adaptive strategy is to reinstate the building as a wharf – as it was when it was built – to use the canal to transport goods in a sustainable way.
      “The programme provides spaces to process and consume salvaged food and workshops that collect and rework salvaged building materials, to produce sustainable temporary structures for events.”
      Student: Daryna ChobitkoCourse: BA Interior ArchitectureEmail: chobitkodaria[at]mail.ruTutors: Francesca Murialdo, Naomi House and Gavin Challand

      Revolut Bank by Alexandra Stroe
      “Today the world is confronted with inflation, energy crises and wars that are creating a domino effect that is influencing the world’s economy.
      “To be prepared for these kinds of events, the financial system should offer more support about money knowledge.
      “This project takes Revolut as a bank that is shaking up the norm and builds a space where users can gain knowledge and build strong connections within the financial community.
      “It is a space where people will be informed and trained to deal with challenging times, in order to better manage their money.”
      Student: Alexandra StroeCourse: BA Interior DesignEmail: alexandra.elena_stroe[at]yahoo.comTutors: Jon Mortimer, Michael Westhorp, Naomi House and Gavin Challand

      A Fitness Hotel by Andrea Pereira
      “My project is a space designed to gently encourage physical and mental fitness. The space takes people in as a place to stay and encourages the idea of a healthy lifestyle.
      “The design will mainly be focused on expressing unintentional forms of fitness so that the guests can use the space without feeling too overwhelmed.
      “The idea is to gently introduce them to a healthy lifestyle, making them realise that it is not as hard as they thought to change their bad habits.”
      Student: Andrea PereiraCourse: BA Interior DesignEmail: andreape[at]hotmail.co.ukTutors: Jon Mortimer, Michael Westhorp, Naomi House and Gavin Challand

      The Gamer Station by Ieva Marija Eid
      “The online gaming world is becoming a competitive sport. However, a lingering disconnection can be present between professional gamers, fans and undertakers of esports.
      “The Gamer Station is a facility open 24/7 where professional gamers, fans and the esports entourage can go. It creates an original space where like-minded people can come together and celebrate the digital joy of esports.
      “The space requires a new design language to reconcile the physical/digital divide.”
      Student: Ieva Marija EidCourse: BA Interior DesignEmail: ee389[at]live.mdx.ac.ukTutors: Jon Mortimer, Michael Westhorp, Naomi House and Gavin Challand

      Calan Women’s Safe House and Cafe by Emily Marzocchi
      “This project aims to contain all the parts of the rehabilitation process in one structure. Responding from the ‘first rescue’ to a rehabilitation process through a long-stay use of the facility, ending with the reintegration of the guests back into society.
      “The facility is designed like a retreat rather than a clinical environment. The key design trait is the adaptability and movability of the space that empowers the guests, allowing them to comfortably find their own personal way to heal.”
      Student: Emily MarzocchiCourse: BA Interior DesignEmail: em1065[at]ive.mdx.ac.ukTutors: Jon Mortimer, Michael Westhorp, Naomi House and Gavin Challand

      Off Space by Miranda Cela
      “Off Space is a project that aims to introduce new working, making and learning environments inspired by how the public now work and engage with the high street following the Covid-19 pandemic.
      “The strategy uses existing redundant shops and inserts new access points to upper levels where it enables both private and shared spaces to co-exist.
      “Connections and proximity are promoted via communal and independent spaces that reintroduce psychological and physical connections lost through the pandemic.
      “It promotes visual and physical experiences via a variety of geometric, transparent volumes on multiple levels and trajectories, enabling a variety of different uses that help reinvigorate the high street.”
      Student: Miranda CelaCourse: MA InteriorsEmail: mirandacela03[at]gmail.comTutors: Jason Scoot and David Fern

      Farm Therapy by Nigar Hasanzade
      “Farm Therapy is a project that looks at new ways in which local communities can cope with mental and physical health conditions via an animal therapy support focus centre.
      “It provides a social sanctuary for both rescue animals and people to escape and seek support following diagnoses.
      “Four key services are proposed – a veterinary clinic, formal and informal therapy spaces and a city farm.
      “Fields and grazing paths enable the animals to interact with each visitor, creating a health service that seeks to provide support through alternative, qualitative interaction.”
      Student: Nigar HasanzadeCourse: MA InteriorsEmail: nhasanzadehh[at]gmail.comTutors: Jason Scoot and David Fern

      The midnight furnace by Seongmin Kim
      “The project aims to turn an existing carwash building into a public bathhouse for night workers.
      “The idea of taking care and using water to cleanse and transform is shifted from cars to night workers, a very niche and often neglected category.
      “Using adaptive reuse strategies, the key elements of this building were retained and a new public space connecting internal and external activities and spaces was inserted.
      “The act of cleansing, which already existed in this building, is transformed into a sequence of spaces where night workers can find their own identity, heal and socialise.”
      Student: Seongmin KimCourse: MA InteriorsEmail: seongmin93uk[at]gmail.comTutors: Francesca Murialdo, Naomi House and Gavin Challand

      Life Pods by Burak Ozturk
      “My project seeks to address responsibly in food consumption in relation to sustainability, health, community and the environment.
      “Life Pods provides at a new supermarket typology that uses current technologies in vertical farming to co-produce food locally.
      “The ambition is to introduce a new offer, one that helps reduce product carbon footprint via cooperating with local and existing supermarket supply chains, tackle obesity and nurture new, healthier ways to eat.
      “The design is powered by innovative methods of harvesting energy and resources through solar and rainwater capture.”
      Student: Burak OzturkCourse: MA InteriorsEmail: arch.burak.ozturk[at]gmail.comTutors: Jason Scoot and David Fern
      Partnership content
      This school show is a partnership between Dezeen and Middlesex University. Find out more about Dezeen partnership content here.

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