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    Ten contemporary children's bedrooms to inspire design-savvy parents

    For this interior design lookbook we’ve chosen 10 stylish kids’ bedrooms featuring bunk beds, raised beds and whimsical cloud-shaped lights.This is the latest roundup in our Dezeen Lookbooks series providing visual inspiration for the home. Previous articles in the series feature inspiring outdoor living spaces, calming green kitchens, and living rooms with beautiful statement shelving.

    Adorable House, Japan, by Form
    Skylights funnel daylight into this family residence in Tokyo, which has a main living space along with a bedroom on its first floor. Its pared-back children’s room features white walls and simple wooden furniture.
    Find out more about Adorable House ›

    A Room for Two, London, UK, by Studio Ben Allen
    An elaborate plywood structure built inside one of the rooms of this flat in London’s Barbican Estate turns it into a bedroom for two children.
    Designed by Studio Ben Allen the structure contains two beds and a desk as well as playful archways, steps and a fold-down desk.
    Find out more about A Room for Two ›

    Fahouse, Quebec, Canada, by Jean Verville
    Canadian architect Jean Verville designed this holiday home on a gently sloping site in a hemlock forest in southeastern Quebec. At the back of the home, the children’s bedroom is located in the pointed roof space.
    Find out more about Fahouse ›

    100.60 Apartment, Bilbao, Spain, by Azab
    As part of the refurbishment of this apartment in Bilbao, architecture studio Azab created a pair of triangular-shaped children’s bedrooms underneath the sloping roof.
    Both bedrooms have beds that can be rolled away to create more space for playing and are fronted with corrugated plastic walls.
    Find out more about 100.60 Apartment ›

    The Mantelpiece Loft, Stockholm, Sweden, Note Design Studio
    Stockholm-based Note Design Studio reconfigured this loft apartment so that the parents and both children could have their own room.
    The children’s bedrooms are on mezzanine levels and include inbuilt wardrobes and a bed painted in blush pink.
    Find out more about The Mantelpiece Loft ›

    Room for One More, London, UK, by Studio Ben Allen
    Studio Ben Allen updated this apartment in the Barbican Estate by reconfiguring it to include a child’s bedroom – a feature that lends the project its name of Room For One More.
    The bedroom has a raised teal bed that is accessed by a short flight of stairs, which can be pushed in to form a small desk. A chunky armchair upholstered in grass-green fabric sits beneath the practical bed.
    Find out more about Room for One More ›

    House for a Photographer, France, by Alireza Razavi
    Paris architect Alireza Razavi designed this summer house in Brittany for a photographer.
    A mezzanine level added to the attic room contains beds for two children and is connected by a ladder to the children’s play area below.
    Find out more about House for a Photographer ›

    House-within-a-House, London, UK, by Alma-nac
    Architecture studio Alma-nac has extended a 1950s property in Brockley, south London, to create a contemporary family home.
    Its second floor contains three bedrooms beneath the peak of the roof, including one for a child, which the studio describes as having “cathedral-like proportions”.
    Find out more about House-within-a-House ›

    Budge Over Dover, Sydney, Australia, by YSG
    Interior design studio YSG has revamped a house in Sydney using terracotta brick, aged brass and aubergine-hued plaster.
    The children’s bedroom has lighter tones with sky-blue walls and whimsical cloud-shaped lamps hanging from the ceiling.
    Find out more about Budge Over Dover ›

    Tel Aviv apartment, Israel, by Toledano Architects
    This apartment in Tel Aviv has a plywood cabin located in its children’s bedroom.
    Toledano Architects designed the space, which is laid out like a playground and filled with objects that promote creativity, to be a nook for the home’s youngest residents to escape to.
    Find out more about Tel Aviv apartment ›
    This is the latest in our series of lookbooks providing curated visual inspiration from Dezeen’s image archive. For more inspiration see previous lookbooks showcasing peaceful bedrooms, calm living rooms and colourful kitchens.

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    Norman Foster, Virgil Abloh and more share their thoughts on the global impact of Covid-19

    One year ago today, the World Health Organisation officially declared coronavirus a global pandemic. Twenty of the world’s leading designers, including Thomas Heatherwick, Kelly Hoppen and Sevil Peach, gave us their views on how it has changed the world. The pandemic has been the most dramatic disruption to human activity in a generation. For many designers, it has been a time to refocus and rethink how we design products, buildings and cities.
    “It has challenged us to reassess the ‘old normals’ that we had based and organised our lives around,” explained interior designer Peach.
    “Coronavirus has sounded an alarm”
    This includes paying more attention to the environment and the impact that humans are having on the Earth.
    “The coronavirus has sounded an alarm,” said Sun Dayong, founding partner of architecture studio Penda, “in effect, reminding people to care for the earth and the environment.”
    Many of the designers were positive that the pandemic will lead to change, with more focus placed on people.
    “It has made us value space and air, said Sarah Wigglesworth, founder of Sarah Wigglesworth Architects. “Hopefully, it has reorientated our focus on the fact that buildings are about people.”
    “Disasters have been catalysts for major changes in architecture” 
    Designer Heatherwick agreed: “We’ve seen before that disasters have been catalysts for major changes in architecture.”
    “So I hope the real positive legacy of this terrible pandemic will be a realisation that there’s no longer a place for yet more lazy soulless developments and buildings.”

    Coronavirus offers “a blank page for a new beginning” says Li Edelkoort

    To make these changes, Off-White founder Virgil Abloh believes that designers will need to be adaptable.
    “The pandemic, to me, exposed the need for businesses, designers, creators, even entire countries, to be able to adapt,” he said.
    “The structure of the city is bound to change”
    The architects and designers believe that the pandemic will have a lasting impact on our cities, with Lina Ghotmeh telling Dezeen: “The structure of the city is more than any time, bound to change.”
    Nikoline Dyrup Carlsen, co-founder of Spacon & X, agreed that cities are changing, observing that people are moving out of Copenhagen “to be closer to nature”.
    “This will definitely reframe how we approach design and architecture in urban as well as in natural surroundings,” she said.
    Many of the designers believe that the pandemic may provide the impetus to create better public spaces in our cities.
    “[They will be a] more open attitude of mind by the public, civic leaders and politicians to change in the public domain,” said architect Norman Foster.
    “The pandemic has proven that mobility in cities can be moderated posing an opportunity to reduce the use of cars, and therefore the CO2 emissions,” added Ingrid Moye, co-founder of Mexican studio Zeller & Moye.
    “Cities are not dead and will come back”
    Although cities will change, they “are not dead and will come back,” said Carlo Ratti Associati founder Carlo Ratti.
    “They have endured damaging pandemics in the past and yet in the following centuries, we continued crowding its narrow streets and theatres,” he said.

    “In the future home, form will follow infection”

    Chinese architect Ma Yansong believes the challenge will be creating cities that are safe, but not isolating places.
    “Even if the pandemic might continue through the next couple of years, an ideal city should still reflect our ideal for living, instead of being a capsule that will only isolate people,” he said.
    “Moments of crisis can also be seen as opportunities for change”
    On a personal level, many designers said the pandemic had allowed them to become more focused on their work without the distraction of industry events or overseas client visits.
    “Despite the negative aspects that the pandemic has brought, moments of crisis can also be seen as opportunities for change,” said Moye. “This pause in our hectic lifestyles has given me a chance to refocus priorities.”
    Overall, architect Sam Jacob believes that this has been a time of reflection that will shape architecture and design for years to come.
    “It feels like there’s been quite a bit of soul searching amongst the design and architecture communities over the past year,” he said. “Many long overdue issues have come to the fore.”
    Top image is an illustration of the coronavirus particle by the Centers for Disease Control and Prevention (CDC).
    Read below for the full interviews:

    Virgil AblohCEO, Off-White, Milan
    How has the pandemic impacted architecture and design?
    The pandemic, to me, exposed the need for businesses, designers, creators, even entire countries, to be able to adapt. I see the same challenge being posed in this realm of architecture and design – as creators we must be adaptable and fluid in our skills and our practices, but the places and structures we’re creating need this ability as well.
    This is something I had kind of already started thinking about, the need for spaces to be easily transformed. When I was designing the Off-White Miami flagship with Samir Bantal of AMO we wanted to create a retail space that essentially can outlive retail.
    Things like movable walls and other elements that make a space multifunctional are not only interesting from a design perspective, but they’re necessary for staying ahead of this ever-changing tide.
    What will the long-term impact be?
    I think we’re going to see a lot of the same social and political movements that were brought to the forefront of our collective consciousness reflected in design for years to come.
    Things like transparency and openness, as we’ve seen society demand of politics and their leaders, their police and their justice systems. The idea of personal expression and celebrating differences – customising your space like you do your own style with the clothes you wear and the pieces you buy.

    Norman FosterFounder, Foster + Partners, London
    How has the pandemic impacted architecture and design? 
    More open attitude of mind by the public, civic leaders and politicians to change in the public domain.
    What will the long-term impact be?
    Acceleration and magnification of existing trends to the extent that in the short term they might seem like new trends.
    What have you learnt?
    A greater appreciation and sensitivity towards those who serve us – obviously health workers but also others who make our urbanities function.

    Kelly HoppenFounder, Kelly Hoppen Interiors, London
    How has the pandemic impacted architecture and design?
    One of the biggest surprises for me came at the beginning of the pandemic when there was an influx of work, particularly international work. The speed and demand of work that came through during the pandemic provided an opportunity to grow further. In my view, the industry is booming, however, the requirements for design are changing.
    Having worked in Asia for many years, we understood many of these requirements, but this was the first time I understood them personally and realised the impact they would have on the field.
    What will the long-term impact be?
    Long-term, interiors and architecture will have to be created with hygiene and practicality at the forefront. Both vision and design details will need to be adapted to ensure space adheres to everyday living, with the additional demands highlighted by Covid in a post-pandemic world.
    What have you learnt?
    In spite of strict travel restrictions, the inability to visit sites and engage in other practical activities meant we had to think outside the box quickly.
    We had come up with different solutions to fulfil things we could only do in person, for example handling an installation for a couture job. Being able to overcome these challenges has been both exciting and rewarding, and has also taught me about the endless possibilities that exist when it comes to showcasing international design and architecture.

    Sun DayongFounding partner, Penda, Beijing
    How has the pandemic impacted architecture and design?
    I think the coronavirus pandemic has made people realise that having architectural spaces that are secure and safeguarded is extremely important. In times past, the primary function of architectural structures was to shelter human beings from the elements and predatory animals. In the future, protecting people from viruses will be one of the important functions of architecture.
    This aspect will be paid more and more attention to in design. For example, the need to revise the distribution ratio of open space and private space in spatial layouts will promote the forming of new design specifications; and the need for sterilization and sterilization technology in architectural materials will instigate the production of new products. This will undoubtedly lead to changes in the way future buildings are designed.
    What will the long-term impact be?
    I think the coronavirus pandemic has made people realise that human beings are vulnerable to nature and that we cannot ignore the impact of the earth’s environment on our lives. In the past, people were content to stay in air-conditioned rooms or a comfortable car, without giving a second thought to the environment or nature.
    It was easy to ignore news of global warming or rising sea levels – it seemed those issues were just the dry concerns of environmental experts, empty claims in the advertisements of real estate developers. But the emergence of the coronavirus has made everyone realise that these problems are, in fact, very real.
    The pandemic has been massively damaging and costly worldwide. It is conceivable that if other, more severe environmental problems develop, many more people’s lives will be adversely affected.
    The coronavirus has sounded an alarm, in effect reminding people to care for the earth and the environment. As a shaper of the environment, architects should seriously consider sustainable design strategies, and put forward feasible suggestions for shaping a healthy environment in the future.
    What have you learnt?
    The pandemic has given me the opportunity to stay at home and live with my family for an extended period of time. It has made me realise the importance of relationships in general, and that good family relations are the baseline for having a happy life.
    For this type of harmony to be formed, frank communication and heart-to-heart communication are really essential. Architects can help people create beautiful and warm spaces, but a happy life is a collective effort created by everyone – and each person is the architect of their own happiness.
    Love the people around us and build happiness with love. I think this is what every professional architect should keep in mind, and learn to “create with love”.

    Joyce WangFounder, Joyce Wang Studio, London
    How has the pandemic impacted architecture and design? 
    It’s made it socially acceptable to be a bit of a hermit and to socially distance. Restaurants and hotels were becoming social houses before the pandemic. Now we are seeing project briefs that call for a balance of social and anti-social spaces to be designed.
    What will the long-term impact be?
    Use of naturally sterilising finishes and materials for high-touch points like doorknobs and faucets, people will still yearn for tactility so am hoping it doesn’t all migrate to sensor/touchless devices.
    What have you learnt?
    We, humans, are super resilient and can adapt to be happy, creative and even thrive in the most awkward of circumstances.

    Thomas HeatherwickFounder, Heatherwick Studio, London
    How has the pandemic impacted architecture and design?
    Even before the global pandemic, there was already an immense and rapidly-growing problem of many un-human, sterile places being clumsily created around the world. Apart from the occasional predictably-special arts building or rich person’s house, cities have been increasingly made up of repetitious new developments and districts that lack life, human interest and joy and generally don’t make people feel good to be there.
    As we’ve been forced to immerse ourselves in the digital realm during the pandemic, we’ve discovered that technology in our homes can sometimes provide a better alternative to crappy public places.
    For me it’s exciting that the responsibility is now back on us – the designers, architects, developers, and planners – to start making an impact again by creating inspiring public places that people will cherish and want to spend time in.
    What will the long-term impact be?
    I believe that one long term impact of coronavirus will be that we’ll value places that bring us together a little bit more. But I also believe we’ll be looking for places that better reflect the true diversity of our society.
    For the last hundred years, architecture has been a closed profession that tends to be led by like-minded people with similar backgrounds. We’ve seen before that disasters have been catalysts for major changes in architecture.
    I hope there can now be a new entrepreneurial spirit after the pandemic that allows more people to be unafraid of thinking they can have a voice in architecture even if they don’t necessarily want to design the sort of buildings they currently see around them. I also now personally hope there will be opportunities for far more diversity in the types of buildings that are being made.
    What have you learnt?
    I’ve always been fascinated by public shared experience – and believe passionately in advocating for great public spaces that help us connect better with each other but, deprived of meeting up with each other for a year, this is now something we crave more than ever.
    I hate seeing missed opportunities that don’t adequately serve us and our communities and society as a whole. So I hope the real positive legacy of this terrible pandemic will be a realisation that there’s no longer a place for yet more lazy soulless developments and buildings.
    Instead, we must strive harder to create places that galvanize and inspire people. Whatever sustainability metrics and credentials they claim to possess; unless we have the real passion of people who use and experience the buildings and spaces we design, they will never be truly sustainable.

    Ma YansongFounder, MAD Architects, Beijing
    How has the pandemic impacted architecture and design?
    One of the biggest impacts is, the pandemic changed our ways of living and working. Lack of face-to-face communication and more reliance on e-meetings in some ways more important for us, but it does prevent us from engaging in usual conversations which are more interactive. The industry in China is almost back to normal after a year.
    What will the long-term impact be?
    “Sharing” used to be one of the most important agenda in the industry. We used to make a lot of efforts to providing more open space to stimulate social interactions.
    However, the pandemic led to more discussions on isolation and social distancing, rather than sharing and co-living. However, in the long run, public space will still be the foundation for sharing our cities, and architects will face challenging times to reconsider other meanings of public space.
    Even if the pandemic might continue through the next couple of years, an ideal city should still reflect our ideal for living, instead of being a capsule that will only isolate people.
    What have you learnt?
    The pandemic is huge for us who are living on this planet at this age. But if we look at linear history, the pandemic might be just the tip of the iceberg. Nature still dominates the world. It makes me think about the role of an architect. He or she can be alive only for several decades, but what can an architect create for the generations, or a longer run, contribute to civilisation, or even greater, this planet?

    Nikoline Dyrup CarlsenCo-founder, Spacon & X, Copenhagen
    How has the pandemic impacted architecture and design?
    I think we have only seen the early impacts of Covid 19, but already now we see at Spacon&X how the pandemic has caused us to work differently. New digital tools and processes have found their way into our office, optimising our ways to develop, present and produce our design.
    We’ve been forced to present digitally and to implement new software, and it’s been a game-changer for us. We’ve even worked with virtual design and architecture, where the end result is digital – very interesting new possibilities!
    What will the long-term impact be? We founded Spacon & X on ideas of how to deal with the shortage of space in urban areas with explosively growing populations. For the first time in many years, more people are moving out of Copenhagen to be closer to nature, which we see as a partially corora-triggered trend. This will definitely reframe how we approach design and architecture in urban as well as in natural surroundings.
    Working with office design and space management, we have also experienced how Covid has boosted the fluidity between working physically at the office vs at home or anywhere else. “Activity-based work” is becoming the standard, meaning we have to come up with new solutions for office workers to feel comfortable not having their own work station, and office spaces to feel vibrant even when they are half or two thirds empty.
    What have you learnt? I’ve learnt how much value it has to be agile and flexible, Spacon&X would have suffered if we would not have been as agile and ready to identify new possibilities and adjust our plans.
    I’ve learnt how powerful collective movements are. Experiencing how a society/a world can change behaviour that quickly and efficiently. I would never have thought that possible before.
    I’ve also learned how much I love my job, what I do and all the people I work with! Everyone at Spacon&X has worked together in getting through this period, approaching it with an open mind, I think we are a collectively stronger office today than before Covid!:)

    Ingrid MoyeCo-founder, Zeller & Moye, Mexico City
    How has the pandemic impacted architecture and design?
    Through this pandemic, we are experiencing a lack of human contact. Cities, architecture, and design are those tangible means to human encounters, elemental to our lives.
    The pandemic has proven that mobility in cities can be moderated posing an opportunity to reduce the use of cars, and therefore the CO2 emissions. It’s, therefore, an opportunity to design cities for people, not for cars.
    The rigid ‘single use’ in architecture and design appears out-of-date. Architecture and design should become more flexible and adaptable. Hybrid buildings could then cope better with emergency scenarios, and extend their own lifespans.
    Design and architecture will need to re-focus on the well-being of users, providing safer environments for human interaction. Covid-19 has reminded us that the human species forms part of a larger ecosystem that we need to live in harmony with. Architecture and design have the responsibility to make a positive impact on our environment.
    What will the long-term impact be?
    I hope it will be the awareness of recovering our endangered ecosystem, after facing our vulnerability as a species during this pandemic.
    What have you learnt?
    Despite the negative aspects that the pandemic has brought, moments of crisis can also be seen as opportunities for change. This pause in our hectic lifestyles has given me a chance to refocus priorities.

    Carlo RattiFounder, Carlo Ratti Associati, Turin
    How has the pandemic impacted architecture and design?
    Covid highlighted the irrelevance of many architects’ obsession with form – it forced us to think big again and tackle the key issues of our present (environmental crisis, technological transformations, inequalities) – which the pandemic has put into the spotlight.
    Also, after countless Zoom calls in pyjamas, we can say the domestic and professional environments are getting increasingly blurred! With that, we need to rethink the design of our homes and offices.
    What will the long-term impact be?
    A change of paradigm in housing as well as planning: from the separation of functions (I work in a different place from where I live) to the simultaneity of functions (I work and live in the same place). This prompts us to think about a new Existenzminimum [minimum living standards] for the 21st century.
    I would like to make another point. Cities are not dead and will come back. They have endured damaging pandemics in the past – in the 14th century Venice lost 60 per cent of its population because of the black death and yet, in the following centuries, we continued crowding its narrow streets and theatres.
    What have you learnt?
    Travelling less is not necessarily a bad thing. It allows us to reconnect with places and focus on our civic duties.

    Sevil PeachCo-founder, SevilPeach, London
    How has the pandemic impacted architecture and design?
    It has challenged us to reassess the “old normals” that we had based and organised our lives around. We need to reimagine what they should be and what they should provide if we were to re-invent them today.
    This is particularly relevant to our homes, which we have rapidly had to adapt as best as we can so it is able to properly support us throughout our lockdown days.
    This need for adaptations also refers to our workplace, which will need to reinvent itself to remain relevant and to be a place we wish & choose to go to.
    What will the long-term impact be?
    Architecture and design need to regain their inclusiveness and human-centricity, responding to real human needs and emotions, that our solutions need to be sustainable both at an environmental, economic and personal level, plus adaptable and responsive to changing needs.
    What have you learnt?
    How much we thrive on human interaction. How important spontaneity and collaboration is to the design and creative processes. How pleasant it is to reimagine our working day to migrate from our desk to an armchair, to the kitchen table, to look out at the garden, or to even to be able to work out in the garden and fresh air.

    Astrid KleinCo-founder, Klein Dytham Architecture, Tokyo
    How has the pandemic impacted architecture and design?
    It has become clear that we need more open, green, common, public spaces that are accessible to all. The densely packed floor plans don’t look ‘safe’ anymore.
    What will the long-term impact be?
    In order to be able to compete with the comfort of your home, office and retail spaces need to turn into attractive destinations, appealing to physical and mental wellbeing and be conducive to simply hanging out.
    What have you learnt?
    With fewer business trips, commutes, out of office meetings, work has become more focused, productive and daily schedules have become more work/life balance, and there is less stress getting all dressed up every day!

    Stefano BoeriFounder, Stefano Boeri Architetti, Milan
    How has the pandemic impacted architecture and design?
    We must ask ourselves if we think we can fully grasp the power of this tragedy and thus try to think of a different way of inhabiting the planet, the cities, the spaces of everyday life.
    In a planet that is heading towards the great challenge of a new and necessary alliance between cities (until now the maximum expression of human civilisation) and the world of forests, woods, mountains, oceans, urban realities must become transnational and archipelago metropolises; metropolises that encompass portions of nature in their extension.
    What do you think the major long-term impact of coronavirus will be on architecture and design?Cities, in addition to opening up to nature, must change in their very structure: the great attractors of crowds and congestion on which they are born are in great difficulty today.
    We should begin to think of an urban life in which every citizen has basic necessities at a reasonable distance, within a geographical radius of 500 meters and a time range of 15/20 minutes; on foot or, at most, by bicycle.

    Sabine MarcelisFounder, Studio Sabine Marcelis, Rotterdam
    How has the pandemic impacted architecture and design?
    The way in which we communicate our ideas. The surge of new programs that bring ideas to life when we can’t physically present ideas. The newfound importance of the home and the home office.
    And the fact that people are investing in their homes. Shifting from global back to local again (working with production companies/ photographers etc close to home instead of flying to or flying in people from all over the world).
    What will the long-term impact be?
    Communication of ideas. The shift from office work to working from home. Offices will need to be designed with importance put on hygiene and distance keeping. Zoom-rooms and smaller rooms for online meetings where your background plays a big role will be important spaces in the office also.
    What have you learnt?
    Not every meeting needs to be a plane trip (but some definitely would be better if they were!). The importance of the dynamic within a team. I feel incredibly fortunate that my team works so well together. Everyone is in sync with each other and we don’t get lost in miscommunications at all.
    It’s incredibly difficult to communicate complex ideas which are all about experience and tactility from remote locations and at least this challenge is only from our team to clients and not within the team itself.

    Lina GhotmehFounder, Lina Ghotmeh Architectures, Paris
    How has the pandemic impacted architecture and design?
    I think this pandemic had impacted first our space-time relation, we had discovered a new spatial dimension through our extensive exploration of the digital immaterial world. This is a new space that may need a new form of architecture and design to render it more humane and more distinctive.
    Exploring extensive remote work had also allowed many people to explore the countryside as a better context for working. This highlighted the visceral need we have to be close to nature affecting the relationship we have with the city. We can question here its traditional role as a centralized economic hub. The structure of the city is more than any time, bound to change.
    What will the long-term impact be?
    Finally, we have concrete proof that the zoned city can no longer be sustainable. It is neither durable nor resilient. We cannot build by segregating functions: nature, living, working, leisure, culture etc. contingent mixing is essential for the adaptability of our living structures.
    Homes will become more and more places of work, mutable meeting points; museums more productive places; nature inherent to architecture. The 15 minutes city, the city of proximities, as Paris is working on, is evidence, it will also transform the programmatic regulatory paradigms that underlay our architectural world.
    What have you learnt?
    I always thought the notion of boundaries between nations is questionable, this virus proved more concretely that the world is deeply interconnected, this applies today to this virus crisis we are all facing but is also a reminder that it applies to more invisible systems that drive the dynamics behind our built world: economic systems, energy consumption, climate change, waste. These have direct consequences on all of us and need to be challenged, addressed at every level professionally & personally.

    Sam JacobFounder, Sam Jacob Studio, London
    How has the pandemic impacted architecture and design?
    The pandemic has shifted our perspective, forcing us – if only literally – to look at the world from a different place. It quieted the industry noise a little, that fog that often obscures the context of our actions as designers. No ceremonies, no industry events, a break in the conveyor belt of so-called career progression.
    There’s been much more focus on the work in hand. And more time to think. It feels like there’s been quite a bit of soul searching amongst the design and architecture communities over the past year. Many long overdue issues have come to the fore. But let’s see, as we unlock, how much we’ve really learnt about ourselves, and how our ideas of how architecture and design can remake the world in new and different ways have changed.
    What will the long-term impact be?
    Feels like there will be quite an impact. A lot of previous plans and assumptions have been thrown into disarray. And whether we like it or not (or whether it’s for the right reasons) we’re going to have to figure out new ways for design to work in the world. Smaller budgets, fewer blockbusters. Could this mean a design approach that is more nimble, humble, and full of pragmatic imagination? Might it mean a new sharper focus, a directness and a creative response that works within the reality and needs of our circumstances socially, economically, environmentally? We can only hope.
    What have you learnt?
    I think the key thing I’ve realised over the last year is the value of relationships. Of working with clients who care, with collaborators who engage in constructive dialogue, with my own team who have gone above and beyond. For all of the myriad difficulties we had, there has been something optimistic and intensely human about the ways we have found to work together.
    In some ways, even over Zoom, more intimate and engaged than assembling in boardrooms. Some of the hierarchies and professional silos that usually separate us or set us against each other have softened. Perhaps there’s been more understanding of the difficulties inherent in making a good project happen, and recognition of the efforts of everyone involved. Most of all that design process is a process of working together, the sum of the efforts that we put into it.

    Doriana FuksasCo-founder, Studio Fuksas, Rome
    How has the pandemic impacted architecture and design?
    A simple sentence: “Città, less aesthetics more ethics’, the 7th International Architecture Exhibition for The 2000 Venice Biennale, curated by Fuksas architects. For more than twenty years we have been reflecting on the cities and on the contemporary house model.
    What will the long-term impact be?
    With the pandemic, we have all discovered ourselves scared and unprepared, but I believe this was an opportunity to start thinking and reflecting especially on our living spaces and houses.
    After an initial moment of great disorientation, we tried to make the most of the emergency by exploring and investigating new design solutions which could adapt both the new and existing projects.
    The world of architecture will surely have to keep up with the enormous change, primarily social, that this emergency has led to. The role of the designer-architect can only adapt to the new challenges, using technological innovation to design objects and buildings that adapt to the new way of living, different from the one we were used to.
    2020 is the true beginning of the 3rd Millennium for architecture and design, that of a revolution in terms of housing equipment, space distribution, new transport organization, green energy utilization.
    What have you learnt?
    To appreciate and don’t waste but preserve what we have got. I think I have also learnt the importance of the house as first aid, as fluid space, able to accept transformations and to host different functions following different needs.
    We are proud of the achievement reached by built 10 years ago: The Rome New EUR Congress Center ‘the Cloud’ became the biggest Coronavirus 19 vaccination hub in Europe.

    Sofia Lagerkvist and Anna LindgrenFounders, Front, Stockholm
    How has the pandemic impacted architecture and design? 
    During this time designers have found more time on their hands to be creative and experiment. They have found new platforms for showing and exhibiting and channels to sell their work, of course through social media but also the gallery scene has provided different ways to sell at the high-end market.
    We think this will continue and give independence to the individual designer, cutting out the middleman and creating more direct contact between designer and client. Many of the industry’s producers have used this year to invest in new production techniques and to restructure.
    The design market has previously been focusing a lot on fairs and with this year we see many companies reconsidering their marketing and sales strategies away from big launch events a few times a year and doing business in a more direct and personal way.

    Maria Warner WongCo-founder, WOW Architects, Singapore
    How has the pandemic impacted architecture and design?
    The pandemic has triggered a series of changes in the world that have revealed the lack of sustainability in design and architecture – unused office space, inadequate home workplaces, insufficient jobs, empty public venues.
    What will the long-term impact be?
    In the long term, the undeniable wastefulness and damage to society inherent in the paradox of endless growth will be exposed and inescapable. Architects & designers will have to develop better ways of building and providing for communities or be exposed to complicity in global warming.
    What have you learnt?
    I have realised that we cannot leave it to “someday”, the future is now. We should spend more time in nature to heal our sad & cynical soul.

    Sarah WigglesworthFounder, Sarah Wigglesworth Architects, London
    How has the pandemic impacted architecture and design?
    It has made us value space and air. Hopefully, it has reorientated our focus on the fact that buildings are about people. They are not just inhabited sculptures and brand identities. They really have to respond to need.
    What will the long-term impact be?
    What I’d like to see happen and what may happen are two different things. I’d like to see more people striving for better fitness & health by making better food choices and using self-propelled transit through cities (walking, boarding, cycling). That would free public transport to be safer as pressure on it would reduce.
    What might easily happen is that people resort to their cars because they represent a bubble but this would only increase congestion and potentially increase air pollution. The right to roam throughout the UK should be a given as people need to escape, but I suspect this won’t happen.
    Homes need to be much more flexible and larger to accommodate the various tasks they will have to perform as we work in different modes, places and times. Monocultural buildings such as offices could become redundant. Again, with the market in control, this is unlikely to happen.
    Planning-use classes ought to be re-thought as categories no longer seem appropriate (live/work might become a new one). Again, the planning reforms do not take this into account. I’d like the needs of communities to be much more embedded in the process of development.
    From Grenfell to pandemics, the economic-social-environmental equation needs to be reimagined I favour of humans and the ecology. Build back better? I hope so but let’s see the evidence!
    What have you learnt?
    Be kind. Every person has other responsibilities which should be understood as part of their life. The world will not fall apart if we recognise and work around them. Corona has been a great leveller.

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    Laurent Troost turns abandoned Brazilian building into co-working venue

    Workspaces look upon a mini jungle in this 125-year-old brick building in Manaus, Brazil, which has been thoughtfully revitalised by design studio Laurent Troost Architectures.Called the Cassina Innovation House, the project entailed the adaptive reuse of a dilapidated historic structure in Manaus, the capital of the state of Amazonas.

    Cassina Innovation House sits in a 125-year-old building
    The building, which now serves as a co-working venue, is located in an emerging digital district within the city. Its name was selected through a public vote organized by the municipality, which owns the building.
    Its original structure was constructed in the late 1890s to house the luxurious Hotel Cassina, owned by an Italian man named Andrea Cassina.

    The building was abandoned and taken over by vegetation

    After a financial crisis devastated the region, the building became a spot for gambling and prostitution called Cabaré Chinelo.
    It closed around 1960 and began to deteriorate, according to local firm Laurent Troost Architectures.

    Laurent Troost Architectures inserted a prefabricated steel structure
    Over the decades, the interior crumbled and vegetation overtook the building, resulting in a striking visual image that the architect wanted to honour in some way.
    Troost said that artists and designers have long been intrigued by ruins, citing figures such as Piranesi, Gordon Matts-Clark and Robert Smithson.

    Greenery and exposed walls evoke the building’s crumbling grandeur
    “The beauty of the ruin’s imperfection raises interest and questions, and invites reflection on the past and the action of time and man in the city – and on heritage buildings in general,” the architect said.
    The team opted to preserve the building’s exterior brick walls, along with the remaining foundation walls made of stone. It decided to reconstruct the interior using a prefabricated steel system, and to add a glazed volume atop the roof.

    The staircase is open to the sky
    The building now totals 1,586 square metres, spread across four levels.
    The facades were cleaned, and great care was taken to preserve original elements such as a plaster made of pigment from red sandstone powder. On the eastern elevation, new shading devices help mitigate solar heat gain.

    Laurent Troost Architects folds weathered steel roof over concrete house in Brazilian Amazon

    “The east facade, hit by the rising sun, has received contemporary frames with tempered glass fins to create a ventilated, double-skin facade that keeps the heat out,” the studio said.

    Glazed walls overlook the gardens
    Inside, the team used the steel system to form new floors and a stairwell, along with space for an elevator. The system stands independent from the building’s outer shell.
    “We have basically constructed a squared tower with four new columns,” Troost told Dezeen. “The perimeter beams of our structure have allowed us to anchor the existing facades to avoid the collapse towards the street.”

    There are a variety of co-working spaces available
    The metal system was prefabricated off-site, which sped up the project timeline.
    Moreover, it reduced the number of on-site construction workers, which helped with social distancing – an important factor given that Manaus was hit hard by the coronavirus, the studio said.

    Greenery is visible through areas of glazing
    A tropical garden was planted in a triple-height space just inside the front door.
    “The building houses an exuberant garden behind the main facade, creating its very own microclimate,” the team said. “A walkway crosses the void over the garden, reminding one of Manaus’s intrinsic reason for being: the Amazon rainforest.”

    There are desks and meeting rooms in the offices
    Adjoining the stairs are open rooms with glazed walls that provide views of the interior garden. A range of flexible spaces can be found within the building, including work zones, meeting rooms and training areas.
    The rooftop addition holds a restaurant with sweeping views of the city’s historic centre and the Rio Negro. Large roof overhangs clad in ipe wood – also known as Brazilian walnut – help shade the structure.

    An overhanging roof shades the rooftop restaurant
    The team noted that the building’s design allows for physical distancing and the circulation of fresh air, which will remain important considerations in our post-pandemic world.
    Born in Brussels, Laurent Troost has worked in various countries and taught at several Brazilian universities.
    Other projects by his studio include Casa Campinarana in Manaus, which won a 2019 Dezeen Award for Rural House of the Year. The concrete house features outdoor living areas and a swimming pool that are elevated above the forested surroundings.
    Photography is by Joana França.
    Project credits:
    Contractor: Manaus MunicipalityArchitect-in-charge: Laurent TroostArchitecture team: Rejane Gaston, Juliana Leal, Nayara Mello, Erick Saraiva, Eloisa Serrão, Victor Marques, Marcelo Costa, Ingrid Maranhão, Eduardo Corrêa, Amanda Perreira, Fernanda Martins, Kauã MendesRestoration: Landa BernardoHistory consultants: Centro Cultural Reunidos, Fábio Augusto de Carvalho PedrosaArchaeology: Margaret Cerqueira, Vanessa BeneditoInteriors: Rejane Gaston, Juliana LealLighting: Juliana LealVisual communication: Elter BritoLandscape: Nayara Mello, Hana Eto GallConstruction: Biapó Constutora and MCA EngenhariaSteel structure: Marco Antônio de OliveiraConcrete structure: MPa Engenharia EstruturalHVAC: LR EngenhariaLightning protection system: Raimundo OnetyDatas CCTV electrical: Alah Emir VeronezHydraulics: Gerson Arantes Consultoria e EngenhariaFire protection system: Andrey Costa Barbosa

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    Ten calming green kitchens that bring natural tones into the home

    For our latest lookbook, we’ve rounded up ten fresh and airy kitchens that use shades of green to give a hint of the natural world.From soft sage to bright emerald, green is this year’s kitchen colour trend, often paired with natural local materials.
    Perhaps inspired by our craving for nature during the pandemic, calming sea greens, grassy hues and mossy tones are popular choices for kitchen cabinetry, walls or tiles.
    This is the latest roundup in our Dezeen Lookbook series providing visual inspiration for the home. Previous articles in the series showcased living rooms with statement shelving, peaceful bedrooms and designer bathrooms.

    Belgium Apartment, Belgium, by Carmine Van Der Linden and Thomas Geldof
    Local architects Carmine Van Der Linden and Thomas Geldof designed this duplex for a coastal location surrounded by sand dunes on the Belgian coast.
    To contrast the marble-topped counters, the architects choose to colour the splashback, shelving and panelled birch-wood cabinets in a shade of green that recalls seaweed and beach grasses.
    “The colour choice of the wood subtly brings in the seaweed colour from the adjacent sea and the marram grasses in the surrounding dunes,” the architects explained.
    Find out more about Belgium Apartment ›

    The Mantelpiece Loft, Stockholm, Sweden, by Note Design Studio
    Note Design Studio painted furniture in green and pink throughout The Mantelpiece Loft to stand out against its white walls.
    Sage green was used for one of the staircases and a bedroom, as well as the kitchen cabinets that were paired with contrasting countertops of terrazzo flecked with orange stone.
    Find out more about The Mantelpiece Loft ›

    Apartment XVII, Lyon, France, by Studio Razavi
    Studio Razavi combined pale-grey plaster, a light wooden floor and sea-green cabinets in this renovation of an apartment in a Renaissance-era building in the historic Vieux Lyon neighbourhood of Lyon in France.
    The green kitchen cabinetry has a matching splashback with a stepped silhouette.
    Find out more about Apartment XVII ›

    Casa Mille apartment, Turin, Italy, by Fabio Fantolino
    Italian architect Fabio Fantolino used pops of green and petrol blue throughout the interior of this apartment in Turin that he designed for himself.
    In the herringbone-floored kitchen, sea-green cabinetry is paired with copper handles.
    Find out more about Casa Mille ›

    House extension, Sheffield, UK, by From Works
    The bespoke kitchen of this house in Sheffield was designed to incorporate the materials and colours of moss-covered rocks found in the nearby Peak District.
    It combines green-stained plywood with grey fossil limestone worktops and splashback sourced from a Derbyshire quarry.
    Find out more about Sheffield house extension ›

    Waterfront Nikis Apartment, Thessaloniki, Greece, by Stamatios Giannikis
    Architect Stamatios Giannikis used colour-blocked walls painted in flamingo pink, azure blue and pastel green to define the different rooms in this seaside apartment in Greece.
    The green chosen for the kitchen cabinets and walls was designed to be in sharp contrast with the apartment’s original geometric red and black cement-tile flooring.
    Find out more about Waterfront Nikis Apartment ›

    Apartment on a Mint Floor, Porto, Portugal, Fala Atelier
    As the name suggests, Fala Atelier created a mint-green floor from epoxy resin throughout this two-bedroom apartment in Porto, Portugal.
    To complement the floor, the apartment’s kitchen unit doors were coloured two subtly different shades of turquoise.
    Find out more about Apartment on a Mint Floor ›

    Parisian apartment, Paris, France, by Atelier Sagitta
    French practice Atelier Sagitta added an almost entirely green kitchen to this previously characterless apartment in Paris.
    The emerald-green walls and cabinets, combined with grooved oak cupboards made by a local cabinet maker, make the kitchen the focal point of the apartment.
    Find out more about Paris Apartment ›

    Esperinos guesthouse, Athens, Greece, by Stamos Michael
    The kitchen of this guesthouse in Athens was painted a plum-purple hue to contrast with the rest of the largely moss-green interiors.
    Green was also introduced in the kitchen where dark emerald cabinetry was matched with black, industrial-style shelves that display crockery.
    Find out more about Esperinos guesthouse ›

    Apartment #149, Lviv, Ukraine, by Roman Shpelyk
    Interior designer Roman Shpelyk designed this apartment in the Ukrainian city of Lviv to have largely simple white interiors.
    Colour was added with a plant-filled shelving unit and the forest-green laminated-plywood cabinetry in the kitchen.
    Find out more about Apartment #149 ›
    This is the latest in our series of lookbooks providing curated visual inspiration from Dezeen’s image archive. For more inspiration see previous lookbooks showcasing peaceful bedrooms, calm living rooms and colourful kitchens.

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    MUT Design clads modular Valencia Pavilion in thousands of wooden scales

    Valencia studio MUT Design has designed five modular pavilions clad in scales made from leftover wood for a travelling exhibition in Spain.The pavilions will showcase work by 50 designers in five different sections to celebrate Valencia’s title of World Design Capital for 2022.
    Each section – design and art, the circular economy, industry and craftsmanship, technology and the transformative economy – is housed within its own mini pavilion formed from two semi-cylinders.

    Top image: the exhibition is broken down into five mini-pavilions. Above: each is formed from two semi-cylinders

    These consist of four metre-high curved walls, which can be placed separately or together to create a labyrinth of winding corridors and secluded alcoves.
    Inside, the units’ pinewood frame and construction are laid bare, while the convex exterior is clad in hundreds of small, overlapping wooden fins, adding up to around 220,000 across all five pavilions.

    The units are arranged to form a labyrinth of corridors and alcoves
    The wood was originally meant to be turned into the parade floats that are ceremonially burned as part of Valencia’s historic Fallas festival every March, but the event was cancelled due to the coronavirus outbreak.
    Instead, the wood was used for this installation, which is on view as part of the Madrid Design Festival until 14 March before becoming a travelling exhibition.

    The pinewood frame is left exposed inside the pavilions
    “Here in Valencia, we have a lot of traditional wood ateliers that create works for the Fallas festival,” MUT Design co-founder Alberto Sánchez told Dezeen.
    “But it was cancelled due to the pandemic and a lot of materials were left on the shelf. So we decided to collaborate with one of the ateliers to give a new life to the wood and create some work for the builders.”

    The pavilions are clad in wooden scales
    Each scale was handmade by local woodworker Manolo García and trimmed to three standard sizes of 14, 16 and 18 centimetres. These were then lined up and alternated to create a textured surface not dissimilar to tree bark.
    “We wanted to bring together tradition and the avant-garde while recovering something that is really ours – deeply rooted in our city,” Sánchez explained.
    In particular, the studio drew on natural textures found in the Albufera National Park just south of Valencia, as well as on the thatched roofs of traditional houses known as barracas.

    Kengo Kuma designs tessellated Botanical Pavilion as “tridimensional puzzle”

    Breaking each pavilion down into two semi-cylinders allows the individual units to be combined into “infinite compositions” that can be adapted to different spaces for the travelling exhibition.
    “Because it is a travelling exhibition, we want to create one-of-a-kind experiences in each of the several places it will be visiting,” Sánchez added.
    The units were also designed to be taken apart into separate pieces, which can be stacked for ease of transport.

    Each scale was handmade by Manolo García
    Contributors to the exhibition include designer Jaime Hayon, brands Andreu World and Expormim, and a number of emerging studios showing projects including self-ventilating graphene facades and homeware made from olive pits.
    “We wanted to bring to Madrid a different selection of projects that are leading a silent transformation of society,” explained Xavi Calvo, director of World Design Capital Valencia 2022.

    Displays are fixed to the inside of the pavilions
    MUT Design has previously collaborated with Expormim to create a chair modelled on the shape of a flower petal and an outdoor rug made from braided ropes, which were exhibited at the products fair of Dezeen’s Virtual Design Festival.
    Photography is by Ernesto Sampons.
    Valencia Pavilion – The Future is Design is on view at the Fernán Gómez Cultural Centre as part of the Madrid Design Festival until 14 March 2021. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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    Ten living rooms with statement shelving that is both practical and beautiful

    For our latest lookbook, we’ve rounded up ten living rooms that have solved the storage dilemma with bespoke shelving that define the room. This is the latest roundup in our Dezeen Lookbook series providing visual inspiration for the home. Previous articles in the series showcased designer bathrooms, colourful kitchens and living rooms with calm interiors.
    Whether they’re used as room dividers, to show off the owners’ book collection or as a hiding place for shy pets, built-in or custom-made shelves create a design statement.
    Read on for our round up of the ten best from Dezeen’s archives (plus a bonus eleventh one, above, which features the spectacular floor-to-ceiling bookcases at Olson Kundig’s Wasatch House in Salt Lake City):

    Mermaid Beach Residence, Australia, by B.E. Architecture
    The living room of Mermaid Beach Residence in Queensland’s Gold Coast region is a study in clever material use, with its concrete surfaces and timber flooring.
    The monolithic built-in wooden shelving that fills one wall creates a decorative grid-effect on top of the concrete. It rests on a stone slab above wooden storage units at floor level.
    Find out more about Mermaid Beach Residence ›

    Artist’s studio, Russia, by Ruetemple
    Architecture studio Ruetemple looked to “drawing and architecture” when designing this artist’s studio in Moscow, which is dominated by a large plywood partition that incorporates both furniture and shelving.
    As well as separating the lounge area from a workspace, the partition works as both storage space and furniture. It has a built-in sofa, shelving, and a set of steps that lead up to a suspended sleeping platform.
    Find out more about Artist’s studio ›

    Spear Building Loft, US, by Ravi Raj and Evan Watts
    This former factory in New York was renovated to create a bright, open living space. In the living room, simple built-in shelves were painted in a creamy pastel-yellow hue that harmonises with the white storage units and the fireplace.
    Rather than building the shelves into a separate wall panel, they have been attached to the white wall on one side, which creates an airy feel and helps open up the room.
    Find out more about Spear Building Loft ›

    Sierra Negra, Mexico, by Hemaa
    Two built-in shelves with wooden panelling serve a decorative function in this Mexico City living room, which has matching wooden floorboards and wood-clad walls.
    Its minimalist interior and simple colour palette, which blends beige, brown and grey hues, means the books in the shelves stand out as a splash of colour. The shelves also hold speakers and picture frames, helping to keep the rest of the room free from clutter.
    Find out more about Sierra Negra ›

    Sausalito Outlook, USA, by Feldman Architecture
    In the living room of this hillside home in Sausalito, California, Feldman Architecture added plenty of storage space for the owners’ book collection, while the white panelling in the middle hides the TV from sight.
    The walls and kitchen space next to the storage wall have been painted a matching glossy white, complemented by more natural hues such as a beige rug and brown Ligne Roset Togo seating.
    Find out more about Sausalito Outlook ›

    Mayfair apartment, UK, by MWAI
    In small apartments, built-in shelving can be the perfect space-saving solution. For MWAI’s design of a 37-square-metre home in London’s Mayfair area, it covered one wall of the open-plan kitchen and living area in a pale-wood storage unit that also includes a desk.
    Colours were kept neutral to reinforce the studio’s idea to look at the design as that of a hotel room where “all functions are carefully and discreetly planned to provide a functional response.”
    Find out more about Mayfair apartment ›

    Kew Residence, Australia, by John Wardle
    Architect John Wardle renovated his own Kew Residence home to make its wood-lined first-floor study the focal point of the house. Built-in shelves hold books and bric-a-brac on one side of the room and the architect’s art collection on another.
    Neutral wood colours were used for the shelves and the built-in reading nook in the room, where the architect said he spends “just about all his daylight hours.”
    Find out more about Kew Residence ›

    House for Booklovers and Cats, USA, by BFDO Architects
    The built-in storage in this colourful home lives up to the project name – it doesn’t just have space for books and art, but also for the owners’ two cats to hide away from visitors.
    The custom-made shelf has dozens of cubby holes while projecting shelves form a staircase for the cats to ascend to the ledge at the top, where they can sit and observe the goings-on below.
    Find out more about House for Booklovers and Cats ›

    The Hide Out, US, by Dan Brunn Architecture
    Dan Brunn Architecture renovated The Hide Out, which was originally designed by Frank Gehry in the 1970s, to pay homage to its initial simple material palette.
    In this living room and bedroom overlooking a meditation garden, the lush walnut seating nook is complemented by a built-in white bookshelf that also hides a fold-out bed.
    Find out more about The Hide Out ›

    Fin House, UK, by RA Projects
    The blue steel staircase in the middle of the living space in this home designed for fashion designer Roksanda Ilincic was designed to look “like a sculpture in a gallery.”
    As well as a staircase, the piece functions as a shelving system with multiple shelves in different sizes. Its back wall is broken up rather than solid, which lets light pass through and stops the colourful piece from feeling too solid.
    Find out more about Fin House ›
    This is the latest in our series of lookbooks providing curated visual inspiration from Dezeen’s image archive. For more inspiration see previous lookbooks showcasing peaceful bedrooms, calm living rooms and colourful kitchens.

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