Pupils from The Piggott School in Reading, England, have won the Design Museum's Design Ventura competition with a card game that encourages children to learn about colours in their surroundings.

The Colour Countdown game came out on top in the competition, which invites secondary school students aged 13 to 16 to develop a product that can be sold in the Design Museum's gift shop.

This year's brief, set by south London textile designer Kangan Arora, called for responses to the theme of colour and community, challenging students to consider "the importance of community practices, supporting and learning from one another".

The game devised by The Piggott School pupils is based on classic card games I Spy and Uno. It aims to encourage children to put down their devices and engage with the world around them to promote positive mental health.

The playing cards feature coloured cellophane windows that can be overlapped to create a blend of colours, which players then have to search out in their environment.

"You can play anywhere at all," explained the students in their pitch to a judging panel that included Arora and Dezeen's editorial director Max Fraser. "You draw cards of different colours – red, blue, orange, green etc. – and you have to look around and find objects in that colour."

The cellophane is made from wood pulp and the cards use FSC-certified paper to lower the product's environmental footprint.

Also included in this year's judging panel were the Design Museum's senior buying manager Preena Patel and Christoph Woermann, chief marketing officer for Deutsche Bank's Corporate Bank division.

"The winning design was chosen as it responded clearly to the brief in a way which was creative, fun and appealing to a range of audiences," said the judges. "We didn't want to put the product down and we knew that customers in the Design Museum would feel the same."

Launched in 2010 by the Design Museum in partnership with Deutsche Bank, the Design Ventura contest aims to reinforce the importance of early design education and fill gaps in the current design and technology curriculum.

The contest offers pupils at UK state secondary schools the chance to respond to a real-world brief, supporting the development of skills and experiences that help them understand how to bring ideas to life.

This year's winning project by The Piggott School will now be developed with a professional agency before being manufactured and sold in the Design Museum shop, with money raised from the sales going to a charity of the pupil's choosing.

Previous winners include a portable knife designed to prevent "avocado hand" – an increasingly common injury where people cut themselves while trying to de-stone an avocado.

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Architecture studio EBBA has completed a store for coffee brand WatchHouse that draws on modernist design to provide a calming environment in the heart of the City of London.

Situated in the 30 Fenchurch Street building of the Square Mile financial district, the store was designed by EBBA for coffee company WatchHouse, which has several cafes around London and also sells its own roasts.

Having previously completed several other stores for the brand, EBBA was tasked with transforming an empty unit in the landmark office development into an inviting space aimed at attracting visitors from the adjacent lobby.

"This store offered the opportunity to think carefully about how to make a high quality and calming retail environment that also caters to the flexible operation of the visitors and the building in which it sits," EBBA founder Benni Allan told Dezeen.

The project brief called for a space focused on retail that also integrates a bar for serving customers. The interior has a more open and relaxed feel than the brand's other locations, which operate more like typical coffee shops.

With ample comfortable seating available in the adjacent atrium, EBBA chose to incorporate different settings where customers can rest while waiting for their coffee.

Furniture including lounge chairs arranged around a coffee table and bar stools at the counter allow the space to be used in a variety of ways.

Elements of the shop's design are informed by European modernist architecture. In particular, Allan drew on the large lobbies of banks and civic buildings such as libraries, which he said seem to "carry a particular feeling of calmness".

Referencing the work of architect Ludwig Mies van der Rohe, EBBA used grid patterns and clean lines to bring order to the interior, while sculptural objects help to partition the space.

"The overall concept was to create the sense of a box within a box," Allan added. "The reference to Miesian buildings can be understood in wanting to establish a clear logic to the space through its grid and making objects that help to demarcate space."

EBBA designed and built all of the furniture for the store, including the eight-metre-long stainless steel counter that forms the centrepiece of the space. This monolithic element is used for coffeemaking as well as providing a communal workspace.

The large coffee table made from blocks of solid oak is intended to resemble stacked timber. Its construction echoes the grid of slatted timber panels cladding the ceiling.

EBBA chose a material palette that reflects WatchHouse's goal to create places people want to spend time in. Warm and natural tones and textures offer a respite from the busy urban setting.

"We opted for warm oak panelling, which gracefully cocoons the space, and a unique Ceppo stone floor, which enhances the store's gridded pattern whilst complementing the feeling of civic grandeur," said the architects.

The rear wall is lined with full-height cabinets that conceal the necessary utility spaces, adding to the store's sense of cohesion and simplicity.

Minimalist shelving used to display WatchHouse's simply packaged produce blend in with the relaxed setting.

EBBA has worked with WatchHouse on several of its venues, including another site within the 30 Fenchurch Street building that also looks to balance contemporary aesthetics with nods to the City of London's heritage.

The studio, founded in 2017 by Spanish architect Benni Allan, has completed a number of projects in London including a temporary education centre built using only reusable components and a residential extension that combines brutalist-style materials with details inspired by a Roman villa.

The photography is courtesy of EBBA. 

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Curved metallic surfaces influenced by early 20th century American industrial design form displays at this compact store in New York City, designed by London studio Tutto Bene for eyewear brand Cubitts.

Tutto Bene was briefed to create an elegant and meticulously crafted space for Cubitts' first store outside of the UK that evokes the past century of New York's history.

The store at 103 Mercer Street has a total floor area of just 25 square metres, which the designers claimed makes it possibly the smallest retail site in all of SoHo.

Felizia Berchtold and Oskar Kohnen of Tutto Bene told Dezeen that they set out to create an experiential and intriguing interior with "the ornate precision of a jewellery box".

"Within the retail landscape of SoHo there is a pop-up feeling and one sees a lot of set-design quality fit-outs," the designers said.

"We wanted to counterbalance this trend by creating a space made to last for a decade and to communicate the value that is put into the product inside it."

The functional and precisely detailed design of Cubitts' spectacles provided the main inspiration for the store, which also references the streamlined forms of Streamline Moderne – an aerodynamic offshoot of art deco that emerged in the 1930s.

"We took that engineering aspect of spectacle-making and interpreted it in kinetic elements throughout the store, like the rotary mirrors and the sculptural steel curve, reflecting hues of light like the sparkling towers we know New York for," the duo said.

An S-shaped metal display at the centre of the space helps to define the flow of movement whilst echoing the smooth silhouettes of the brand's eyewear.

Walls clad in black ebonised ash create a dark backdrop, against which soft lighting and pops of colour create a theatrical effect reminiscent of the paintings of American artist Edward Hopper.

"Areas of glamorous darkness are peppered with light," said Tutto Bene. "Shimmering reflections, reminiscent of city lights, emphasise the store's meticulous detailing and represent the care and attention put into the products it encloses."

The main colour used is a brick-red hue borrowed from the New York streetscape, which according to the studio adds "some playfulness and art deco glamour, contrasting the muted black with dramatic warmth and texture".

The geometric forms used throughout the store recall the works of artist Donald Judd, who once lived and worked across the street. The artistic tributes continue in the restroom, which is papered with aluminium foil as an homage to Andy Warhol's Silver Factory.

Carefully chosen vintage pieces including wall lights from Austrian brand Kalmar, Charlotte Perriand's LC8 stool and an Opalino vase by Tommaso Buzzi complement the store's colour and material palette.

Tutto Bene also created bespoke mirrors, which customers can use when trying out different frames. The marble objects were hand-crafted at a stone workshop in Florence, Italy.

"In the pared-back store, these hand-carved glove-like marble sculptures draw attention through their surrealist appearance," the designers added.

"When you pick them up, they lie heavy in the hand. The weight sharpens one's consciousness and gives the gesture of looking in the mirror a considered quality."

To celebrate the store's launch, Cubitts released a collection of seven frames inspired by New York landmarks including the Flatiron Building and Radio City Music Hall.

The opening follows a series of new Cubitts stores in the UK including one in a former jellied-eel restaurant and another in a 19th-century London townhouse.

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Furniture brand Takt has begun using a new kind of lifecycle assessment for its products that was devised by the European Commission and considers a product's full impact on nature and human health.

The company claims its Cross Chair is the "first furniture product" to receive the European Commission's Product Environmental Footprint (PEF) single score – a single number based on how the product scores in 16 different environmental impact categories.

This scoring system will now be rolled out for the brand's entire catalogue, replacing the carbon footprint that sustainability-focused furniture companies like Takt and Vestre have started listing alongside their products.

"PEF analysis is rigorous in its scope and process," said Takt founder Henrik Taudorf Lorensen. "And, I believe, it is currently the best standard we have for holding companies to their stated environmental commitments."

"Just because carbon is low, it doesn't mean impact is low — materials boasting minimal carbon footprints could leave a devastating trail of toxins or excessive water usage in their wake."

Based on a method set out by the European Commission, the PEF score evaluates 16 categories that go beyond the narrow focus on climate change to include global and local impacts such as water use, particulate matter, resource and land use, ozone depletion and human toxicity.

The categories are converted into a common reference unit based on the environmental impacts of an average global person over one year.

Weighted according to their urgency and impact, the results are combined to achieve a comparable PEF single score that reflects the product's overall environmental performance.

"We are pioneering the use of PEF reporting because we believe the bigger picture of environmental impact it provides is a fairer, more transparent way of sharing information with customers and a better roadmap for achieving our low-impact ambitions," said Taudorf Lorensen.

Takt worked with Danish lifecycle screening company Målbar to create a "product screening tool" to calculate the PEF score for its products, before having the results independently verified by certification body Bureau Veritas.

In the case of the Cross Chair, designed by British studio Pearson Lloyd, this analysis took into account its use of FSC-certified wood, a fully certified supply chain and a design that allows for carbon-efficient flatpack delivery and simple disassembly so parts can be replaced, earning a PEF score of 0.0025.

"The total derived from adding these all together provides a consistent measurement across all categories of product, from microchips to cargo ships, allowing for more meaningful comparisons," said Taudorf Lorensen.

It will also enable the company to identify areas where its environmental performance could be improved and take necessary actions.

The use of PEF reporting is in line with Takt's commitment to "radical transparency", which ensures users have as much information as possible about a product's environmental impact.

In 2021, Henrik Taudorf Lorensen told Dezeen Takt was on track to achieve net-zero emissions 20 years ahead of targets set out in the Paris climate change agreement.

At that time, it claimed to be the only design brand to consistently have all of its products certified with the EU Ecolabel.

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An exhibition at Hamburg's MK&G museum examines the global water crisis and what architects and designers can do to help. Here, curator Jane Withers selects five highlights from the show and explains the stories behind them.

Water Pressure: Designing for the Future is the result of several years of research by Jane Withers Studio, which involved compiling a broad range of ideas on how to confront water scarcity from the fields of design, science and activism.

"The current water crisis is largely the result of mismanagement and overconsumption, so there is potential to rethink the systems," Withers told Dezeen. "A multidisciplinary approach is required and architecture and design are strong components within this."

The exhibition, on show at MK&G until 13 October, is organised around five themes: Water Stories, Bodily Waters, Invisible Water – Agriculture and Industry, Thirsty Cities, and Ecosystems – Land and Ocean.

Each theme explores water as a life force and a common medium that unites humans, plants, animals and the landscape.

"We take water for granted in every way and we need to rekindle our psychological, physiological and spiritual understanding of it," Withers said.

The projects on show range from the CloudFisher system, which harvests water from fog or clouds, to a proposal for low-cost floating schools by architecture studio NLÉ and a mural by Slovenian architect Marjetica Potrč calling for the recognition of water as a living being.

While some reflect on water's poetic and mythical associations, others offer more scientifically-led solutions to specific problems associated with water scarcity, human-induced climate change and water justice.

Withers said she hopes visitors to the exhibition will leave with a better understanding of water and the challenges we face, as well as recognising that there are things we can all do to help shape a different future.

"We need policy change but also individual changes of mindset and a new water consciousness," she added. "We're very keen that the exhibition is a starting point for conversations and for campaigning about water culture."

Below, Withers outlines five key projects featured in Water Pressure:

Time on the Lachlan River by Marjetica Potrč

"The first room in the exhibition is framed by two wonderful works by artist and activist Marjetica Potrč. The mural Time on The Lachlan River illustrates the campaign by Australia's Aboriginal Wijaduri people to prevent the enlargement of a damn that could have deprived the land downriver of water.

"On the other side, the visual essay The Rights of a River tells the story of a water referendum in Slovenia in 2021, when an overwhelming majority of people voted against a law that would have allowed private businesses to exploit the country's rivers for profit.

"This shift in thinking about rivers and how we view them not as objects to be exploited but as subjects with their own rights is fundamental to creating a more equitable water culture and sets the tone for the exhibition."

Makoko Floating System by NLÉ

"Architectural practice NLÉ has been researching the potential for floating architecture in African cities affected by rising sea levels for over a decade. Their prototype floating building was a low-cost school for the Makoko community in Lagos inspired by their vernacular floating structures.

"The Makoko School became something of a poster project for floating architecture through photographer Iwan Baan's alluring images of kids clambering over an ark-like wooden building. It could have stopped there but NLÉ has gone on to develop a scalable prefabricated floating building system for the development of waterfronts amid the challenges of climate resilience.

"The studio is currently working on a regeneration plan for the Makoko area based on this technology, and recently published the book African Water Cities that examines the potential for waterborne living in other African cities."

Death to the Flushing Toilet by The Dry Collective

"Death to the Flushing Toilet is a campaign by The Dry Collective that provokes a rethink of the waterborne sewage systems we take for granted. It's madness that wealthier regions of the world use vast quantities of freshwater to flush away human waste, while two billion people still lack basic sanitation.

"In urban areas, as much as 30 per cent of freshwater is used to flush toilets and often this is drinking quality water. The Dry Collective aims to persuade architects and designers to use alternative systems.

"Taking the traditional Finnish huussi – a composting dry toilet used in rural areas – as a model, they produced a film set in 2043 that imagines a global shift where water is no longer wasted on flushing and human waste is recycled as fertiliser. The technology for circular sanitation systems already exists so the real issue is overcoming prejudices and the 'yuck factor'."

Eden in Iraq

"Eden in Iraq is an incredibly inspiring project that has gotten off the ground against the odds in Iraq's Mesopotamian Marshes, where the discharge of untreated sewage has polluted the fragile marsh ecosystem and led to disease.

"The wetland garden is designed to use plants to clean the local community's wastewater. The garden's ornate symmetrical design takes inspiration from the embroidered wedding blankets of Marsh Arab tribes and their tradition of reed construction for buildings.

"The first construction phase, completed in 2023, demonstrates the potential for nature-based wastewater systems to work at a community level."

Re-imagine Water Flows by Ooze Architects

"Re-imagine Water Flows is a special commission for the Water Pressure exhibition using the MK&G Museum as a case study to understand the water challenges Hamburg faces and how the building's water ecosystem could be made more resilient.

"A mural by Ooze Architects shows two versions of the museum – one with its current situation marooned between massive roads and Hamburg's main railway station and the other illustrating how it could be transformed into a shady green oasis.

"In the studio's proposal, rainwater and wastewater are recycled to be reused for non-drinking water use inside the building, as well as for irrigating the landscape and recharging the Hamburg aquifer.

"The mural expands to show how Hamburg is threatened by drought and increased risk of flooding that could also affect the river Elbe watershed. It invites us to think about the importance of these common water flows linking countries and cities."

The top image is by Henning Rogge and the image of the Newlands municipal swimming pool in Cape Town is by Bloomberg via Getty Images.

Water Pressure is on show at MK&G Hamburg from 15 March to 13 October 2024. See Dezeen Events Guide for all the latest architecture and design events taking place around the world.

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Ahead of this summer's Olympic Games in Paris, design offices Concepto and Studio 5.5 have installed 350 street lights made from salvaged scaffolding poles and lampposts in the athletes' village.

The lighting project is part of a scheme overseen by the Olympic Games delivery authority Solideo with the aim to reduce carbon emissions by 47 per cent compared to a conventional project.

Landscape architecture firm Agence TER, which was responsible for master planning the public areas, collaborated with Studio 5.5 to create a low-carbon materials charter for these spaces that includes lighting and street furniture.

Putting this sustainable design agenda into practice, the street lighting was designed to be manufactured using decommissioned lampposts and components sourced from building sites.

"We had to persuade policymakers and local authorities that these reused lampposts represented future aesthetics and strong sustainable development policies," Studio 5.5 co-founder and partner Anthony Lebossé told Dezeen.

"It's easier to opt for novelty from catalogues but as we were creating the Olympic Village, we wanted to set an example of designing differently."

Lighting design firm Concepto was tasked with creating a plan for illuminating the village, which involved defining the locations and orientation of each of the 350 street lampposts to ensure they provide light where it is needed.

Lebossé and his colleagues worked with Concepto to develop a proposal for lights that could be produced at scale using salvaged parts whilst being easy to maintain.

"Lampposts usually require heavy investment for moulds and custom manufacturing, making maintenance costly," Lebossé pointed out.

"We aimed to maximise reuse while ensuring maintainability by local authorities. The assemblies are mechanical and reversible to allow for economical and long-lasting maintenance."

The old lampposts, with their generic and standardised shapes, have been phased out by many local authorities in favour of more architecturally innovative designs that are produced in a wide range of colours and materials, Lebossé explained.

The lampposts created for the Olympic Village vary in shape, size and construction, with the tallest examples being made entirely from reused galvanised steel lampposts and the shorter ones featuring laminated wood poles.

Each street lamp has a crosspiece comprising a salvaged scaffolding pole, supporting either one or two energy-efficient LED light sources.

The crosspieces are angled to direct illumination onto the road while rising high enough to avoid trees and allow tall vehicles such as buses and fire engines to pass underneath.

In places requiring additional illumination for pedestrians, a second light source is placed at the lower end of the crosspiece. This allowed the studios to reduce the overall number of fixtures that had to be produced.

The 350 lampposts will remain in place following the Olympic Games, forming part of the legacy phase that will see the new neighbourhoods incorporated into the towns of Saint-Denis and Saint-Ouen.

The Paris Olympics' organizing committee has committed to halving the emissions of this year's summer games compared with recent editions of the event in London and Rio.

With this goal, the timber aquatics centre by VenhoevenCS and Ateliers 2/3/4 is the only permanent venue constructed for the games, which will largely take place in temporary venues across the city and existing buildings such as the newly renovated Grand Palais.

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California-based studio Moss has developed a self-watering planter and lamp that lets users without any gardening experience grow a variety of plants indoors.

Moss founders Strahinja Spasojević and Nicolas Riano created Grow Lamp to make indoor gardening more accessible, particularly for users living in urban environments without easy access to fresh farm produce.

"Our goal was to tackle the need for approachable and user-friendly hydroponic systems," the designers told Dezeen. "We envisioned a product that would encompass every aspect, from watering to lighting, making plant care a delightful experience."

Grow Lamp comprises a base containing a self-watering planter and a light fixture that can be used to support plant growth.

The design seeks to address the issues most commonly associated with indoor gardening, such as the need for regular watering and nutritional care, as well as the lack of appropriate lighting.

Instead of soil, which can be messy and often requires chemicals or pesticides, Grow Lamp uses clay pebbles as the growing medium. The pebbles act as a porous material that makes it easier to manage how much water reaches the plants.

The product's base holds just over a litre of water, combined with liquid nutrients which are gradually absorbed by the plant's roots.

The tank only needs to be refilled once a month, which reduces overall water consumption as well as the likelihood of the growing medium drying out.

Three settings on the rotating base allow the watering schedule to be adapted to suit either succulents and cacti, house plants or moisture-loving herbs and vegetables.

A vertical stand supports a lamp that mimics the sun's full light spectrum. It can be set to provide optimal lighting for plant growth or used to create a more relaxed ambient environment.

Moss collaborated with product design company Enventys on Grow Lamp's mechanical and electrical engineering. Together they devised a solution that allows the lamp to rotate and pivot so light can be directed where needed.

The planter and lamp can also be easily separated so the lamp can be used on its own while the planter self-waters for over eight hours.

An integrated touch switch enables users to adjust the brightness by sliding a finger across the base, while the capacitive charging system that powers the planter can also be used to charge a smartphone.

Rather than the clinical, boxy look of typical hydroponic systems, Spasojević and Riano designed the product with a gentler and more accessible aesthetic.

"Grow Lamp adopts friendly curves, encouraging greater interaction between the product and the user, in line with our design approach," they explained.

"Its compact size is tailored to accommodate most average-sized houseplants and its precise height serves as a visual cue for optimal harvesting time for most herbs."

Other recent plant-focused designs include a chair that was designed for cultivating plant life and a bio-cement roof grown from plant enzymes.

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Indonesian non-profit Sungai Watch has unveiled the debut furniture launch from its design studio Sungai Design, aimed at creating useful products from the mountains of plastic waste that it fishes from Bali's rivers every day.

The Ombak lounge chair, created in collaboration with American designer Mike Russek, is made using a sheet material produced entirely from discarded plastic bags, with around 2,000 needed for every chair.

The bags are collected by Sungai Watch, which is on a mission to eliminate ocean plastic pollution using its own system of floating barriers to capture the waste as it flows along Indonesia's rivers.

Since its inception three years ago, the organisation has installed 270 barriers and collected more than 1.8 million kilograms of plastic, resulting in a huge stockpile of material.

Plastic bags are the most frequently collected item and also the least sought after in terms of future value, which led the team to focus on creating a product collection using this readily available resource.

"Collecting and amassing plastic waste solves one part of the problem of plastic pollution, the second challenge is what to actually do with all of this plastic," said Kelly Bencheghib, who co-founded Sungai Watch with her brothers Sam and Gary.

"As we collected hundreds of thousands of kilograms of plastics, we started to look at plastic as an excellent source material for everyday products we all need and use, from furniture to small goods to even art," she added.

Sungai Design has created two variations of the Ombak lounge chair – with and without armrests – manufactured in Bali using processes that aim to minimise waste during production.

The plastic bags are thoroughly washed to remove any impurities before being shredded and heat-pressed to form hard, durable sheets.

Precision CNC cutting machinery is used to carve out the different components, which are carefully shaped to minimise material use and leave no offcuts.

The panels are connected by a concealed metal structure, resulting in a pure and visually lightweight form with a simple slatted construction.

Although the design is available in three distinct colourways – Granite Black, Ocean Blue and Concrete White – the upcycling process produces slight variations in the tone and texture of the material, meaning each chair has a unique quality.

Ombak means wave in Indonesian and the name references Sungai Design's commitment to cleaning up rivers and oceans.

In line with this aim, Sundai Design has pledged to minimise its carbon footprint and put in place processes to audit and track the sources of the plastic used in its products.

The company is planning to release other products using the same material and, as a social enterprises, will donate part of its revenue to Sungai Watch to further the project as it seeks to clean up rivers in Indonesia and beyond.

"There is so much potential with this material," added Sam Bencheghib. "When you choose a chair from our collection, you're not just selecting a piece of furniture; you're embracing the transformation from waste to a beautiful, functional piece of art that has found its place in your home."

Every year, Indonesia accounts for 1.3 million of the eight million tonnes of plastic that end up in our oceans, making it one of the world's worst marine polluters.

Other attempts at collecting this waste and finding new uses for it have come from design studio Space Available, which set up a circular design museum with a recycling station and facade made of 200,000 plastic bottles in Bali in 2022.

The studio also teamed up with DJ Peggy Gou turn rubbish collected from streets and waterways in Indonesia into a chair with an integrated vinyl shelf.

"The trash is just everywhere, in the streets and rivers," Space Available founder Daniel Mitchell told Dezeen.

"It's not the fault of the people, there's just very little structural support, waste collection or education," he added. "Households are left to dispose of their own waste and most ends up in rivers or being burned."

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Copenhagen design duo Daydreaming Objects has developed a series of lights that combine reclaimed vintage lamp bases with "renewable and transformative" shades made from natural wax.

Lighting designer Ruta Palionyte and architect Ieva Baranauskaite, who work together as Daydreaming Objects, created the Soft Solids collection to highlight wax's inherent renewability and light-diffusing properties.

The self-initiated project aimed to identify a material that would complement various salvaged luminaires the designers had collected, which mostly date from the 1960s and 70s.

They settled on a blend of soy wax and stearin – a more sustainable alternative to petroleum-based paraffin, which derived from vegetable or animal fats. The combination of materials gives the shades the required resistance, strength and colour of light.

"Wax was chosen for its renewable and transformative properties, as well as its ability to delicately diffuse light," Palionyte told Dezeen.

"The collection was inspired by the organic nature of wax and its capacity to transform from a shapeless mass into a tangible form, reverting to a flexible or even fluid state."

The designers developed shades specifically for each lamp base, using computer software and 3D-printing technology to create prototypes and silicone negatives for casting the molten wax.

The forms were influenced by the processes of growth and regeneration that occur in nature, while the off-white, soft blue and green hues chosen for the lampshades were chosen to evoke natural landscapes.

"Since wax is an organic substance, we've chosen biomorphic shapes to embody this organic quality, while also ensuring they are in dialogue with the characteristics of the vintage pieces," Palionyte said.

The use of silicone moulds allows the Soft Solids products to be accurately recreated over and over again.

Perhaps the most dramatic piece, called Stem, is an overlong pendant light that connects tapered modules into a totem-like form. Light sources in each unit create a chain of light that can be configured to suit different spaces.

The designers chose to use LED light sources with low heat emission to prevent any distortions to the wax forms. The shades also feature voids around the bulbs to facilitate airflow and ventilation.

Ruta Palionyte and Ieva Baranauskaite are both from Lithuania and run their individual creative practices in Copenhagen alongside collaborating as Daydreaming Objects.

Soft Solids was launched as part of an exhibition at Galerija Vartai in Vilnius and will be showcased in Copenhagen this June during the 3 Days of Design festival.

Another designer to have utilised the transformative abilities of wax is Katharina Gross, who dipped brass boxes into molten wax to create a series of tables with stalactite-like legs.

Elsewhere, wax is more commonly used to make moulds as in the pockmarked Drought chair by We+ and Apiwat Chitapany's Ink collection, which was designed to resemble Chinese ink paintings.

The photography is by Norbert Tukaj.

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Architecture office Destudio has remodelled an apartment in Valencia for a couple of empty nesters, swapping the positions of the living and sleeping areas so they perform better for the owners' lifestyles.

The clients, who recently worked with Destudio to design their pharmacy in the Spanish city, invited the studio to oversee the renovation of the 150-square-metre apartment that had been their home for two decades.

The couple's grown-up children no longer live with them and Destudio saw this change in circumstances as an opportunity to create an entirely new and more appropriate layout.

"We worked with the owners to convince them to make a 'tabula rasa' of how they lived in this house for the last 20 years and find a better distribution for their actual needs," Destudio creative director Gabi Ladaria told Dezeen.

"It was tough for the family to recognise that every wall had to be demolished," he added, "but when they saw the first plans and 3Ds they realised there were better ways to live in their house, being more honest with their needs in the coming years."

An initial survey of how the existing spaces were used informed the decision to switch the position of the private and communal areas so the main living space receives the best of the available sunlight. This act gave the project its name, Casa Inversa.

Conversations with the clients revealed that they wanted the kitchen to be the heart of the house as this is where they spend a lot of time preparing and eating meals throughout the day.

This informed the decision to reduce the size of the dedicated dining area by incorporating it into a corner of the living room.

A cantilevered bench minimises the floor area used so the adjacent lounge feels more generous.

"We use this strategy in our restaurant projects to maximise the number of diners," Ladaria pointed out, "but here it is used to maximise the space in the other part of the corner bench where the living room is located."

The studio added that the table is likely to be used infrequently, mostly when friends or family come to visit, so it was designed like a restaurant booth to make the dining experience feel like eating out.

The kitchen opens onto a terrace with outdoor seating, while on the opposite wall a wine display backed with semi-opaque glass provides a visual connection with the adjoining utility space. Sliding glass doors can be closed to separate the kitchen and the adjacent sitting room if required.

The apartment's three bedrooms were relocated to the opposite end of the floor plan, where they overlook the building's internal courtyards.

The principal bedroom and one of the guest rooms are accommodated in an angular corner that previously housed the living room. The main bedroom's dressing area features cupboards that extend along one wall, making the most of the space.

A material palette consisting of clay-rendered walls, oak joinery and porcelain tiles acts as a warm backdrop for the clients' art collection.

Where possible, Destudio specified furniture from local brands, including the sofa, armchairs and the living room's library shelving.

Destudio was founded in 2014 by architects Gabi Ladaria and Nacho Díaz, who studied together at Valencia's Polytechnic University.

Other recent residential projects in Valencia include the renovation of a former fisherman's house using geometric blue-and-white tiling and a copper-toned home in an olive grove.

The photography is courtesy of Destudio.

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Hospitality company Wildland and Swiss designer Ruth Kramer have converted a former manse in the Scottish Highlands into a holiday cottage featuring a mix of classic Scandinavian furniture and traditional Caledonian details.

Tigh Na Coille, which is Gaelic for "house in the forest", is a four-bedroom property on a wooded hill overlooking Loch Ness in the Cairngorms National Park.

The 19th-century stone building was carefully restored and refurbished with help from Kramer, who has worked with Wildland on several of its historic properties.

Kramer coined the term "Scandi-Scot" to describe the way these buildings seek to combine Scandinavian simplicity with a playful take on Scottish heritage.

"Scandi-Scot is about creating a clean and modern aesthetic that weaves in elements of Scottish craftsmanship," she told Dezeen. "Everything is calm and natural, the colours don't scream at you and the furniture is comfortable like you're at home."

Tigh Na Coille was once a manse – a dwelling created for the Christian minister of a now-ruined church that stands on the grounds. The heritage-listed building was modernised by a previous owner and had lost much of its original character.

Kramer and Wildland development assistant Arthur Kirkwood preserved the layout of the rooms but the interiors were stripped back and redecorated, with original features reintroduced to bring an authentic feeling to the spaces.

The house is located on the Aldourie Castle estate, which Wildland renovated at the same time.

The refurbishment merges the Scandi-Scot aesthetic with nods to the castle's more traditional decor. Modern carpets and softwood flooring were replaced with oak floorboards salvaged from the castle, which add warmth and tactility to the spaces.

Several of the beds were also sourced from the castle and were refurbished by local joiners, who created new parts for the four-poster frames.

All of the bathrooms were completely remodelled and the kitchen was brought up to modern standards, with a new island unit providing an additional worktop in the centre of the room.

Fireplaces uncovered during the renovation were carefully restored along with the property's existing doors and windows, which were redressed to preserve their original appearance.

Over the years, various sections of the cornicing and architraves around the rooms had been replaced, so new parts were produced using mouldings taken from the original plasterwork.

According to Kramer, roughly half of the furniture was sourced second-hand and given a new life through bespoke joinery or reupholstery. The majority of the remaining pieces are vintage designs that add to the timeless feel.

"The ambition is that people walking into the house shouldn't be able to tell what is new versus what is original," she added. "We're going for an ageless look that will also become better over time rather than being fashion-led."

The centrepiece of the dining room is a vintage wooden table surrounded by midcentury chairs that were sourced at an auction and reupholstered using linen fabric and leather for the armrests.

Every Wildland property features one of Kramer's favourite furniture designs, the Papa Bear armchair created in 1951 by Hans J. Wegner and produced by PP Møbler.

At Tigh Na Coille, the chair sits in a corner of the living room where it has a view of the fireplace. A wall-mounted lamp provides gentle illumination for reading.

Kramer and Kirkwood collaborated closely on the project with Wildland co-owner Anne Holch Povlsen, the wife of Danish businessman Anders Holch Povlsen who made his fortune in the fashion industry with brands such as Bestseller.

Wildland owns three large estates in Scotland on which it operates hotels and self-catering accommodation as part of its 200-year vision to preserve the landscape and contribute to local communities.

The group's other properties include a formerly derelict cottage that was transformed into a pared-back holiday home by Edinburgh-based GRAS architects, and another converted manse that was converted into an art-filled guesthouse.

The photography is by Fran Mart.

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Thousands of wooden cubes inspired by the computer game Minecraft conceal utilities and create casual seating areas at this office in Prague designed by architecture studio Collcoll.

Having previously designed one floor in the Meteor Centre Office Park for pricing software company Pricefx, Collcoll was tasked with outfitting the floor below as part of the client's commitment to flexible and creative working practices.

"The management and employees of Pricefx use their offices primarily for meetings that stimulate creative dialogue," said Collcoll.

"By their very nature, they are an open space for variable use, not subject to the stereotypes of work cubicles or traditional open space."

The need to link the two levels presented an opportunity to do something interesting with the circulation and service core at the centre of the floor plan.

Collcoll chose to enclose the staircase with a wooden structure that conceals staff lockers, changing rooms and utility spaces. It also contains a slide that can be used as an alternative to the stairs.

"Vertically connecting two floors tends to be problematic if the natural flow of the space is to be maintained," Collcoll explained.

"The two floors are tectonically connected by a structure composed of thousands of wooden pixels, which modulates the space around it and becomes its internal landmark."

The composition of 40-centimetre-wide cubes references the blocky, pixellated world of the video game Minecraft. Its external surfaces form semi-enclosed alcoves and amphitheatres that can be used for informal work and presentations.

The cubes are wrapped in wood veneer that intentionally does not align so the pixels can be arranged in a completely random configuration.

The pixel motif is continued by a lighting grid that covers the entire office ceiling and by a projection screen incorporated into a bar counter that also functions as a reception desk.

The LED light fixtures, which are clearly visible from the street, can be dynamically adjusted to provide optimal lighting during working hours or create a party atmosphere for events.

The entire office floor can operate like an open conference hall containing pockets of dedicated functional space such as the cafe with its professional kitchen, bar counter and informal seating.

A large conference room at one end of the space is equipped with a long table that can seat up to 50 people. The table and the room itself can be divided to form smaller hot-desking spaces or meeting rooms.

A sliding acoustic partition enables the space to function as a recording studio, while transparent walls along one side can be turned opaque to provide privacy.

The office has no corridors and instead includes various unprescribed zones and circulation areas containing casual seating or lounges with amenities such as a pool table and a punchbag.

A range of presentation spaces are scattered throughout the floorplan. These include dedicated conference rooms and tiered amphitheatres with retractable screens.

Collcoll chose a neutral material palette comprising concrete, grey carpet tiles, light-grey plasterboard and black-painted ceilings to lend the office a modern, industrial aesthetic.

"The heavy black-metal tubular furniture corresponds with the concept of technological wiring," Collcoll suggested.

"In contrast, the ephemeral changing grid of light chips and sensor systems embodies the direction of industrialism towards the world of software and information."

Collcoll's name stands for "collaborative collective" and reflects the collaborative approach of its team of architects, designers and researchers.

Other recently completed office interiors featuring wooden structures include a workspace in Edinburgh by Kin and a design office in Melbourne that aims to be zero-waste by using recycled materials.

The photography is by BoysPlayNice.

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Architecture office Mooradian Studio used spray-on paper pulp to create a bumpy texture across the walls and ceilings of north London menswear store Natalino.

Taking over a former art gallery in Fitzrovia, Natalino's first physical store was designed by Mooradian Studio to reflect the properties of the brand's garments.

"Nathan's clothes use a lot of natural textures and you can often see how they're constructed, so we wanted to capture those qualities in the interior," studio founder Aram Mooradian told Dezeen.

Mooradian, who had recently travelled to Italy with a group of his students from the Architectural Association, was influenced by the contrast of rough and smooth stone surfaces at Carlo Scarpa's famous Olivetti showroom in Venice.

After initially looking at using a sprayed plaster finish to achieve the desired effect, he came across a spray-on acoustic material from Dutch firm Acosorb that is made from recycled newspaper.

The material is more commonly used for sound absorption in music studios and restaurants as it helps to reduce reverberation and improves acoustics.

Mooradian used the paper pulp to cover the store's walls and ceilings alongside utilities such as pipes and ducting. This lends the space a feeling of cohesion in addition to providing the desired tactility.

"I think retail spaces are often about creating a sensory experience," the architect said. "Spraying the entire store meant that we could create this atmosphere that wraps around and immerses you."

The textured finish is created by blowing the compressed flaked-paper material onto the surfaces together with a non-toxic binding agent.

When the interior eventually needs to be refurbished, the material can be easily removed by soaking it with water so it can once again be recycled.

The use of recyclable materials also extends to the shop fittings developed by Mooradian Studio in collaboration with design studio Mitre & Mondays, which custom-made the pieces in their Islington workshop from standard aluminium strips.

"We used a range of techniques including bending, folding, clamping and notching to create various metal display structures that can be adapted to fit differently-sized garments," said Mitre & Mondays co-founder Finn Thomson.

The components are attached using simple mechanical bolts, allowing them to be easily taken apart and reconfigured or recycled at the end of their lifespan.

The display structures incorporate hanging rails and table surfaces, while angled aluminium shelves recessed into the wall are used to display shirts, knitwear and jeans.

A fitting area in one corner of the space features a curtain made from UK-sourced waxed cotton that is suspended from a curved track.

The graphic identity for Natalino was created by design agency Polytechnic, which also owns Bodney Road Studios in east London where Mooradian has his office.

Aram Mooradian established his studio in 2018 after completing his studies at the Architectural Association. The studio focuses on reusing materials as part of a "gentle building philosophy" that also engages with contemporary craft practices.

Other reversible shop interiors that have recently been featured on Dezeen include On-Off in Milan, which features a flexible gridded shelving system, and London's Present & Correct store with its demountable wooden joinery.

The photography is by Thomas Adank.

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A bedroom incorporating a bathtub and a window bench is one of several versatile spaces architect Ulli Heckmann created when renovating this compact apartment in Rotterdam, the Netherlands.

Heckmann and his partner, the designer Nienke Bongers, bought the apartment in the Delfshaven neighbourhood in 2020 with the aim of refurbishing it to suit their personal tastes.

The 100-square-metre property is spread across the ground floor and basement of a brick apartment building dating from 1935 that stretches along a dike on the river Schie.

Previous renovations in the 1980s had stripped away all of the interior's original features, so the couple decided to completely gut the spaces and rebuild them using a modern and affordable material palette.

The existing layout did not make the best use of the garden access, so Heckmann moved the bedrooms upstairs and created a large living space below with direct access to the outdoors.

"The original downstairs plan showed one room facing the garden and one towards the street, which was quite gloomy and dark," the architect told Dezeen.

"Since the new downstairs is basically mono-orientated, an open layout with the kitchen cupboard as a room divider seemed the best solution in terms of space with an option for privacy."

The largely open-plan configuration creates a space for cooking, eating and socialising that receives plenty of daylight from the large windows at one end.

Freestanding cupboards screen a small private space that Heckmann explained can be used for "reading a book, inviting friends to stay over or simply drying the laundry without putting it in the middle of the living room."

Throughout the property, built-in storage helps to optimise and organise space, allowing the interior to be used in different ways at different times. Examples include a hidden desk in the children's bedroom and a window bench in the main bedroom.

"Most of the rooms are not limited to only one purpose throughout the day and night," said Heckmann, "which helps tremendously for the use of the space – especially as a family."

The layout of the upper floor is more compartmentalised than the basement level; however, a full-height mirrored door at the end of the hall can be left open to ensure the spaces feel connected.

The two bedrooms at either end of the plan are separated by a walk-in wardrobe and a shower room hidden behind cupboard-like doors.

In addition to the bed and window bench, the main bedroom contains a bathtub set on wooden blocks that can be screened off using a curtain.

"The need to create multifunctional spaces is one of the reasons why we decided to have the bathtub in the bedroom," Heckmann explained. "Also, we quite like that it becomes an object in our daily life instead of hiding it away."

The couple had wanted to use natural materials where possible to completely revamp the interior, but the onset of the Covid-19 pandemic caused prices to soar and subsequent lockdowns made commissioning specialist trades much more difficult.

Heckmann and Bongers therefore designed and built most of the furniture themselves, using plywood or MDF that they stained or dyed to give the materials a more unique finish.

The bedroom shelf and the hall cupboards are made from eucalyptus plywood tinted with an earl-grey mixture, while the bedhead is MDF with a hardwax finish.

Lime plaster was used on the walls throughout the apartment. The downstairs spaces were left raw and natural, while the bedroom has green pigment added to give it a subtle hint of colour.

For the kitchen, Heckmann used MDF boards with oak veneer and a countertop with a dark Forbo linoleum surface. The cupboard under the stairs features an oak frame surrounding polycarbonate panels, while the staircase podium is made from painted MDF.

Ulli Heckmann completed his Diploma studies at the Technical University of Darmstadt, Germany, in 2006 and worked for several years for agencies in Germany and France, including Maison Edouard François.

He founded his architecture and design studio in Paris in 2013 and now works on projects across Europe, ranging from object and interior design to private housing and architectural competitions.

Other recent Rotterdam projects featured on Dezeen include a floating cross-laminated timber office and a multi-faceted auditorium designed using computer modelling.

The photography is by Ulli Heckmann unless otherwise stated.

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Swedish mobility company Vidde has developed an electric snowmobile in partnership with Italian design studio Pininfarina that aims to minimise carbon emissions while being fun to drive.

Vidde set out to create an alternative to existing petrol and diesel snowmobiles, which typically produce more than twice as much CO2 per journey as a car.

The Alfa snowmobile reduces emissions from both operation and production by approximately 85 per cent thanks to its 130-kilowatt electric motor and its use of recycled and recyclable materials.

Vidde aims for "the world's first electric snowmobile with a circular ambition" to generate less than 100 grams of CO2 per kilometre.

"In two years, a lean core team working with absolute top partners has taken the terrain mobility category from super dirty to the start of a circular electric future," said Vidde Snow Mobility co-founder and CEO Christian Lystrup.

"We are proud to present the world's cleanest snowmobile to the market and look forward to start validating it in actual use with our partners."

Other benefits of the electric motor include a significant reduction in noise, meaning the vehicle can be used to explore nature without generating disruptive engine sounds.

Particular attention was paid to the development of a battery that can operate in winter temperatures as low as minus 35 degrees Celsius.

Vidde partnered with Italian design house Pininfarina to develop the snowmobile's styling, aiming for a design that is timeless, purposeful and fun to drive.

Rather than adapting the design of existing snowmobiles, the team led by Pininfarina's senior vice president Xavier Blanc Baudriller started with a blank slate.

This "clean sheet" approach focused on removing any unecessary details, resulting in a low-slung, angular form.

"Through close collaboration with users and a focus on sustainable materials and usability, we are creating a vehicle that will remain relevant and attractive for years to come," said Vidde's head of design and sustainability Kristine Lium.

As part of its research and development phase, Vidde carried out thorough test runs using a prototype called Frankenstein, or Frank for short, at several venues including the Icehotel in northern Sweden.

Now, the Alfa production model is being tested at the Icehotel, offering guests the opportunity to undertake snowmobile safaris or tours to witness the Northern Lights.

Vidde is also partnering with the Research Institute of Sweden (RISE) to develop a circular business model to complement the snowmobile.

Pininfarina is known for its work in the transportation sector and, in particular, for its long-standing association with car brands like Ferrari.

The studio, which was acquired by Indian conglomerate Mahindra in 2015, has designed a wide range of products and vehicles including a Ferrari-like tractor and a "sporty and dynamic" electric bicycle.

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Belgian architect Vincent Van Duysen has completed a boutique in Milan for Italian fashion house Ferragamo, featuring red marble panels and an alcove covered in ceramic petals that offset the original Renaissance-style interiors.

The store is located within Palazzo Carcassola Grandi, which was originally built in the 15th century and now occupies a prime spot on Milan's Montenapoleone fashion street.

The palazzo was remodelled in the 19th century when it was home to Emilio Morosini – a member of the Italian unification and independence movement known as the Risorgimento.

Van Duysen chose to retain much of the building's historic character while introducing some surprising contemporary details.

"With this project, we tried to express a timeless Italianicity that is steeped in Ferragamo's DNA," said Van Duysen. "A sensual theatrical setting, where the scenic screen is luxuriously elevated and used as a backdrop and space dividing element at the same time."

"The skilful juxtaposition of modern, essential elements and materials with existing structures such as the columns and the cross vaults creates a pleasing contrast that enhances every feature."

At the heart of the 280-square-metre interior is a large salon for displaying Ferragamo's footwear. A minimal material palette comprising Venetian stucco walls, stone flooring and off-white painted ceilings allows the original details to stand out.

Large mirrors set in simple bronze frames enhance the sense of space, while slabs of mottled Napoleon Red marble provide a punchy contrast that nods to the favourite colour of the company's founder, Salvatore Ferragamo.

The rest of the spaces are organised and designed to evoke the rooms of a grand villa, each with a unique character tailored to reflect the collections it holds.

"The design originates far in the past, in the person of Salvatore Ferragamo himself, who liked to receive his customers as if in his home living room," explained Marco Gobbetti, Ferragamo's CEO and managing director.

"This was precisely how he thought of his shop, as a place to come together and converse. This starting point has brought us to this contemporary expression of the intimacy of home and Italian-ness."

As customers move through the sequence of rooms, they come across areas dedicated to footwear, bags, accessories and clothing, before finally descending a short stone staircase to reach a space displaying silk items.

Ferragamo worked with contemporary designers and gallerists to curate a collection of unusual objects and furniture intended to embody the store's "contemporary Renaissance spirit".

An alcove visible through one of the windows is covered in sea-blue ceramics crafted by Andrea Mancuso of Milanese studio Analogia Project, using the same technique he developed for the Aquario collection for Nilufar Gallery in 2022.

Mancuso also used the circular ceramic petals, intended to evoke fantastical aquatic flora, to form a display table placed at the boutique's entrance.

Side tables found in spaces including a lounge-like vestibule next to the changing rooms are from Andrea Anastasio's Corallium collection for Giustini/Stagetti Gallery and consist of coloured stone pieces stitched together using leather string.

JoAnn Tan's Stockholm-based studio created the display tables seen in the windows, which are covered with leather fringe reclaimed from Ferragamo's production sites.

Van Duysen is known for his multidisciplinary work for the hospitality, fashion and furniture sectors, and has been the creative director of Italian design brand Molteni&C since 2016.

As part of his role, the architect has revamped the firm's corporate showroom in Giussano, Italy, and designed a "palazzo-like" showroom in New York.

Salvatore Ferragamo established his first business focusing on ladies' footwear in 1927. In addition to footwear, the firm now produces luxury goods such as bags, accessories and ready-to-wear clothing, all of which are displayed at the Via Montenapoleone showroom.

In 2022, British graphic designer Peter Saville updated Ferragamo's brand identity, replacing its handwritten logo with a custom serif typeface that references stone inscriptions.

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Sculptural custom-made furniture adds artistic flourishes to this otherwise minimal showroom and head office, designed by Spanish interiors studio Isern Serra for eyewear brand Gigi Studios.

Isern Serra was tasked with creating a holistic scheme for the 900-square-metre headquarters, occupying one floor of a building in the town of Sant Cugat del Vallès just north of Barcelona.

The brief called for a design that creates a sense of spaciousness and comfort while reflecting founder Patricia Remo's vision of Gigi Studios as a brand.

"It is also serene, warm and elegant and conceptually close to the idea of a studio and away from the concept of a traditional office, without losing the practicality and functionality," Isern Serra explained.

The building's rectangular floor plan features a central service core housing the lifts and toilets, with the workspaces, meeting rooms, kitchen and showroom occupying the surrounding O-shaped open space.

Serra and his team positioned the kitchen and showroom at one end of the plan and placed the meeting rooms and client areas at the other, leaving the longer sides open to optimise circulation.

Various bespoke furniture pieces, conceived by Isern Serra as "small works of art", bring a distinct personality to the different formal and informal spaces.

These interventions were designed to embody Gigi Studios' design ethos while standing out against the warm and minimal backdrop.

"The project aims to experiment with the limits of the workspace and seek a new concept that goes hand in hand with the idea of domus and museum," Isern Serra explained.

A large circular sofa framed in stainless steel provides a bold statement in one of the reception areas.

The sculptural piece fulfils a dual function as a seating area and a space for working, with tables and book storage integrated into the backrest around the perimeter.

Similarly, the building's central core is wrapped in a layer of built-in storage units including circular stainless-steel niches that incorporate shelves for displaying books and materials.

Rather than a typical office layout with rows of workstations, the large open spaces are separated into more intimate zones with a more domestic scale.

Next to the lobby is a design area featuring tables made from concrete that was cast in situ. Task seating surrounds the work table and a taller table is accompanied by stools, while lenses for the different glasses are stored in a custom-made unit.

The second workspace features a large C-shaped sofa with a concrete base that was also cast in situ. Custom-made tables and one of Sabine Marcelis's Boa Poufs complete this lounge-style space, which can be visually separated from the rest of the office using curtains on either side.

A circular window with rounded edges provides a glimpse of the showroom, which is dominated by two sculptural tables with concrete tops supported by rough chunks of travertine stone.

A built-in tiered display is used to highlight different Gigi Studios' eyewear. The rest of the collection is housed in a backlit cabinet, while a mirror-fronted unit conceals a large screen used for presentations.

The kitchen is located next to the showroom so that the two spaces can easily be used together for events. Here, a homely, Mediterranean feel is created via a five-metre-long sharing table, custom-made alongside the accompanying stools.

The sizeable kitchen island is finished in micro-cement and features a curved base that enhances its sculptural presence.

A curved corridor incorporating a sofa niche on one wall provides access to offices and a meeting room positioned to have the best views of the surrounding countryside.

Internal columns are used to support one end of concrete tables built in each of the workspaces, furnished with classic designs including Marcel Breuer's Wassily and Cesca chairs.

Interior designer Isern Serra founded his self-titled studio in Barcelona in 2008 and works across architecture, interiors and industrial design.

Previous projects including a rose-coloured shop for Barcelona's Moco Museum that was based on a computer-generated image and a minimalist office for digital artist Andrés Reisinger, which was named small workplace interior of the year at the 2023 Dezeen Awards.

The photography is by Salva López with art direction by Aasheen Mittal.

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Italian architecture office FDA has updated several guest rooms and suites at the family-friendly Hotel Haway on Italy's Adriatic coast, introducing bespoke furniture in colours that evoke the sea and mountains.

Fiorini D'Amico Architetti (FDA) was tasked with modernising the interiors of the 50-room hotel in Martinsicuro, a popular seaside resort in the Abruzzo region.

The first phase of the project involved refreshing rooms on the fifth floor of the 1980s building to make them more appealing for all sorts of families.

"The main goal we wanted to achieve with the design of the new rooms was to create a unique space where guests can discover a new way of feeling at home," said Alessio Fiorini, who founded FDA together with fellow architect Roberto D'Amico.

"The spaces emphasise the importance of being together, the joy of sharing happy moments and the refreshment that comes from a sense of community," he added.

The architects sought to inject a sense of creativity and surprise into the rooms by incorporating colourful bespoke elements such as bed frames, bunk beds and built-in furniture.

Hotel Haway has views of the sea as well as the nearby Apennines mountains, which led FDA to reference both of these features in its welcoming colour palette.

Colour blocking was used to create visual separation between different zones within the rooms, where walls, floors, ceilings and furniture are finished in shades of blue or green.

One of the custom-made elements in the sea-facing rooms is a double bed with a pull-out cot hidden underneath. A headboard that emerges from one side functions as a backrest so families can lounge together on the bed.

Some of the rooms feature bunk beds with curtains for privacy and guard rails incorporating playful tensioned bungee ropes in matching colours.

Other bespoke details include vertical lozenge-shaped mirrors fabricated by Polvanesi – an industrial carpentry workshop and regular FDA collaborator.

The lighting was designed to create different atmospheres throughout the day, with bright ambient lights for daytime play and more targeted task lighting for evening relaxation.

The en suite bathrooms are decorated with ceramic tiles featuring playful geometric patterns. High-quality fixtures and finishes including speckled Staron countertops bring these spaces up to modern standards.

According to FDA, the rest of the hotel is set to be refurbished in a similar style over the next four years. The project will include the ground floor areas including the lobby and breakfast room, as well as all outdoor spaces and two top-floor suites with private terraces.

Other Italian hotels that have recently been featured on Dezeen include a converted 12th-century monastery and a cliffside hotel that incorporates medieval stone defences.

The photography is by Carlo Oriente.

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French artist Ugo Gattoni has created a duo of intricately hand-drawn posters for the Paris 2024 Olympic and Paralympic Games, which can function independently or combine seamlessly to create a single composition.

It marks the first time that posters for both summer games were designed together as a diptych, according to the Paris 2024 Organising Committee.

The posters tell a singular story about the games via a hyperreal depiction of Paris incorporating 47 Olympic and Paralympic sports alongside various architectural landmarks.

"When I was asked to design the iconic posters for Paris 2024, I immediately imagined a city-stadium open to the world, a suspended time in which you can wander through microcosms where Parisian monuments and sporting disciplines joyfully coexist," Gattoni said.

His aim was to create a series of micro-stories based around familiar Paris monuments such as the Eiffel Tower, the Grand Palais, the Arc de Triomphe and the Trocadéro, where British studio Gustafson Porter + Bowman is adding an amphitheatre and a green corridor in preparation for the games.

In Gattoni's condensed version of Paris, these landmarks rub shoulders with some of the sporting venues that will be used for the games including the Stade de France, which will host the athletics, Para athletics and rugby sevens.

The river Seine is represented along with some of its famous bridges including Pont Neuf and Pont Alexandre III. The coast of Teahupo'o in Tahiti, French Polynesia, where the surfing events will be held, is pictured in the background.

Gattoni – an illustrator and former swimmer known for his large-format works that can take months or even years to complete – spent more than 2,000 hours creating the illustration used for the posters.

"For me, this design has to be timeless," he said. "It is based on the golden ratio and has a strong academic foundation with a lot of architecture. Its originality lies in its surreal and utopian aspect, both in its composition and in the thousands of details that feature in it."

Also included in the detailed fresco are several symbols related to the games, such as the Olympic rings and the symbol of the Paralympic Games, the three agitos.

The Paris 2024 mascots – modelled on Phrygian caps – are playfully integrated into the scene in multiple places, along with the gold-medal-shaped emblem designed for the games, which was unveiled in 2019.

The symmetrical Olympic Torch created for the games by designer Mathieu Lehanneur can be seen emerging from the water at one end of a pier. At the opposite end, a hand holds the Paris 2024 medals, which feature a real piece of the Eiffel Tower.

Some 40,000 characters are depicted in the posters, with an equal number of men and women in the foreground to symbolise the equality of the Paris 2024 Olympic Games.

Iconic posters have been developed for each edition of the Olympics since the 1912 Stockholm games, with famous examples including Yusaku Kamekura's rising sun graphic for the Tokyo 1964 Olympics and Otl Aicher's design depicting the architecture created for the Munich games of 1972.

More recently, the Organising Committee has invited several different artists to design posters for each edition of the games. Thirteen designs were produced for Rio 2016, while artists including Tracey Emin, Martin Creed and Rachel Whiteread created posters for the London 2012 Games.

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Prague studio Byró Architekti has renovated a 19th-century house in the Czech town of Kutná Hora, adding unexpected openings and colourful joinery that create a playful contrast with the original interior.

The studio was tasked with restoring the character of the existing house, which had been compromised by a previous programme of renovations in the 1970s.

The project improves the connection between the home's internal spaces by introducing new windows and openings while aiming to seamlessly layer new elements on top of the original built fabric.

"Our main goal was to rediscover the house's memory and original layers, which were actually quite rare, and seamlessly blend them with new layers to create a cohesive whole," Byró Architekti explained.

"We aimed to blur the boundary between the old and the new rather than highlighting it," the studio added.

The house's main feature is a spiral staircase that forms a vertical circulation core at the centre of the plan. Internal windows and glass-block walls were added on each level to provide a visual connection to the living spaces.

An original stone staircase links the ground floor and first floor, while a new stair leading to the attic has floating steel treads that allow light from a skylight to reach the lower level.

A spacious entrance hall on the ground floor connects with a music room and a bathroom on one side of the staircase, while utility areas and an artist's studio face onto a courtyard at the rear.

The main living space containing the kitchen is housed on the first floor along with the principal bedroom and a home office. The attic contains two bedrooms for the children as well as a bathroom.

Light and colour are used throughout the project to create spaces with different atmospheres. While the building's exterior is decorated modestly to fit into the streetscape, a more expressive colour palette is applied internally.

"Overall, muted shades are chosen combined with more pronounced colour surfaces or accents in several specific situations," Byró Architekti said.

The entrance hall features chequerboard floor tiles in a pastel-green hue that matches the painted joinery of the surrounding doors and windows. The balustrade and the treads of the new staircase are also finished in the same colour.

Byró Architekti designed various pieces of custom furniture for the project, including a plywood shelving unit with a bright-red metal structure that extends along one wall of the ground-floor studio space.

The playroom also features plywood cabinetry and wall panelling, inset with an internal clerestory window that lets light into the adjoining bathroom.

The main living area features a vaulted ceiling lined with plywood. A concrete bench is positioned along one wall to support a tile-clad fireplace while a window behind looks onto the stairwell.

The kitchen has cabinets and internal doors painted in a pale blue colour. A porthole window in this space also offers a glimpse of the spiral stair.

The courtyard and garden at the rear of the building were also renovated as part of the project. This outdoor space can be accessed from the lower floor or via a new terrace outside the main living area.

Byró Architekti was founded by Tomáš Hanus and Jan Holub, who studied at the Czech Technical University in Prague and worked in various practices before setting up their studio.

Previously, the duo completed a cabin with a sweeping roof and red timber cladding in the Šumava mountains.

Other renovations in the Czech Republic that have recently been featured on Dezeen include a 500-year-old home filled with contemporary furniture and a 1920s villa in Prague that was revamped by No Architects.

The photography is by Alex Shoots Buildings.

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Furniture company Cassina has partnered with Lancia to design a homely cabin for the automaker's Ypsilon model featuring "the first-ever table" in a car's cockpit and seats upholstered in lush blue velvet.

The Lancia Ypsilon Edizione Limitata Cassina is being released in a limited number of 1,906 fully electric vehicles as a tribute to the year Lancia was founded.

Its interior was designed to reference domestic spaces, incorporating recycled and recyclable materials in colours that reference Lancia's heritage.

Cassina CEO Luca Fuso told Dezeen the collaboration had been a "stimulating experience" that "allowed Cassina to transfer its expertise from the design to the automotive sector, creating a new approach with Lancia, strongly inspired by the comfort of home".

"Together, we have brought to life a car with an elegant and contemporary look, paying extreme attention to stylistic details, inside and out," he added.

The Ypsilon model incorporates several elements that Lancia and Cassina trialled in their Lancia Pu+Ra HPE concept car, including the unusual tavolino table.

Described by Cassina as "the first-ever table" in a car's cockpit, the small circular table extends out from the dashboard and is made from a bio-based plastic with saddle-leather upholstery.

It provides storage space for small items and incorporates induction technology so users can charge their phone simply by placing it on the surface.

Seats are covered with a soft blue velvet made from recycled yarn that also appears on the floor, door panels and dashboard, creating a cohesive feel within the cabin.

The upholstery features a ribbed "cannelloni" pattern and double stitching intended to evoke Cassina's modern furnishings.

The vehicle also incorporates new technologies to help drivers and passengers feel at home, including a virtual interface and infotainment system called SALA, which means living room in Italian but in this case is an acronym for Sound Air Light Augmentation.

SALA allows users to adapt the car's interior environment and mood by adjusting the audio, climate control and lighting functions at the touch of a button.

According to Lancia CEO Luca Napolitano, the partnership with Cassina brings together two historic Italian companies with a shared vision based on uniting research and innovation with respect for tradition.

"Lancia Ypsilon Edizione Limitata Cassina represents the ultimate expression of onboard comfort and design, featured by category-leading technology and connectivity yet always simple and intuitive, in perfect Lancia style," said Napolitano.

"This result was also achieved thanks to the collaboration with Cassina, that together with our Centro Stile in Turin designed a true living room, inspired by the welcoming Italian homes."

Cassina was founded in Meda, Italy, in 1927 and was added to the national heritage register of Italy's most prestigious manufacturing companies in 2022. Its collection includes furniture designs by Ronan and Erwan Bouroullec, Philippe Starck and Patricia Urquiola.

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At the Mobile World Congress in Barcelona, electronics brand Lenovo has unveiled a laptop concept with a transparent screen that allows users to see through the device.

Lenovo describes the ThinkBook Transparent Display Laptop Concept – also referred to as Project Crystal – as "the industry's first laptop with a 17.3-inch Micro-LED transparent display".

The proof-of-concept device features a display with adjustable transparency and a detachable see-through base that can be used as a keyboard or tablet.

Instead of physical buttons, keys are projected onto this smooth, flat surface of nano-optical glass.

Lenovo's transparent laptop is so futuristic pic.twitter.com/84t25KDnWw

— Ben Geskin (@BenGeskin) February 26, 2024

The proof-of-concept was unveiled at the Mobile World Congress in Barcelona

Bringing a stylus close to the keyboard causes the keys to disappear so it can be used for drawing. Artists and designers can sketch directly onto the surface and see their creations appear on the screen.

The laptop's chassis also incorporates a rear-facing camera that allows the device to recognise and interact with objects placed behind it using generative artificial intelligence (AI) and augmented reality (AR) software.

At the Mobile World Congress (MCW) trade show, Lenovo demonstrated these AR capabilities by placing a flower in a vase behind the screen and having a virtual butterfly fly around it.

The technology could allow digital artists to view what is directly behind the laptop while sketching on the drawing pad with a dedicated stylus while interior designers could overlay virtual furniture or decor on top of an existing space.

"The transparent screen opens up new avenues of work collaboration and efficiency by enabling the interaction with physical objects and overlaying digital information to create unique user-generated content," Lenovo said.

The concept is Lenovo's first foray into the world of transparent displays, which several companies have so far used for televisions.

Chinese electronics firm Xiaomi unveiled a see-through TV with an edge-to-edge transparent display in 2020, while LG's Signature OLED T was a standout at this year's Consumer Electronics Show.

The Project Crystal display features MicroLED technology, which uses microscopic LEDs to enable light control at the pixel level and a high contrast ratio.

Lenovo claims the display's high colour saturation and brightness of 1,000 nits ensures good visibility both indoors and outdoors in any light condition.

When the pixels are at maximum brightness the display appears as a fully opaque surface while dimming them increases the transparency.

The prototype device features a relatively low resolution of 720 pixels but Lenovo is confident that MicroLED technology will continue to evolve to provide better image quality and durability.

Lenovo currently has no plans to bring the Project Crystal laptop to market but is instead hoping to demonstrate potential uses for technologies that might appear in future products.

Other experimental projects from Lenovo include the Yoga Book 9i – the "world's first" laptop with two full-sized screens – which the company presented at the 2023 Consumer Electronics Show.

The Mobile World Congress is on at the Gran Via convention centre in Barcelona, Spain, from 26 to 29 February 2024. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Czech architecture studio ORA has renovated a Renaissance-era house in the town of Český Krumlov, preserving original features like its carved wooden beams while adding free-standing contemporary furniture.

Local entrepreneurs Petra Hanáková and Radek Techlovský purchased the dilapidated house in the town centre in 2016 and asked ORA to oversee a modernisation process that retains the interior's historical character.

The 500-year-old building, now called Masná 130, had been neglected for decades and was not even connected to the town's sewage system. It also had flood-damaged foundations and a roof in need of major repairs.

Despite its issues, the owners saw potential in the property and spent two years transforming its ground floor into a cafe that has become a gathering place for the local community.

The latest phase of the project involved renovating the first-floor living spaces. The original intention was to redevelop them as rental flats, but Hanáková and Techlovský eventually decided to create a single apartment that they could occupy themselves.

ORA's design for the apartment reveals aspects of the building's past while introducing modern features that reflect the owners' love for contemporary design and minimalist style.

"We did not want to create a historical 'museum' interior, nor a design showroom," said Hanáková and Techlovský. "We wanted to organically connect the historical and contemporary layers."

The architects began by removing an existing partition wall in the main living space and reinstating the original open layout. This created a large salon that reveals the full splendour of the Renaissance-era wooden ceiling.

The restoration process also uncovered original stone walls that were painted a deep crimson colour. Together with the wooden rafters, this informed a material palette that complements these dark, saturated tones and creates a cosy atmosphere.

The apartment's bedroom features a small remnant of the original ceiling fresco. The rest of the room is painted a cream colour to lend the space a calm and relaxing feel.

In the bathroom, ORA chose to combine cool colours with white tiles and large mirrors to brighten the space. Playful details such as the irregularly shaped bathtub, curved sinks and tiles with rounded edges help to soften the overall aesthetic.

Throughout the apartment, the architects added bespoke freestanding furniture that performs the necessary functions without disturbing or concealing the existing heritage features.

"The interior design is approached as a collage of motifs," said ORA. "The furniture is inserted into the historical space in the form of separate objects that create distance from the historical elements."

The kitchen, for example, was designed as a standalone unit that is raised above the floor and stops well short of the ceiling. Its sink, hob and countertop occupy a central void, with all other functions concealed within the cabinetry.

The bed features an oversized headboard that connects with a wardrobe on its reverse side. It is placed in the centre of the bedroom and is angled to provide the best view of the window and the original painted ceiling.

Custom-made furniture is built from dark-stained birch plywood with contrasting brass legs that help to enhance the sense of separation from the existing spaces.

Lighting is either freestanding or integrated into furniture such as the kitchen unit and bed. An overhead light above the dining table is mounted on a bracket so it does not touch the historical ceiling.

ORA, which stands for Original Regional Architecture, was founded in 2014 by Jan Veisser, Jan Hora and Barbora Hora. The studio is based in the small town of Znojmo, with previous projects including the conversion of a 16th-century home in Mikulov to create a modern guesthouse.

Other recent attempts at revamping the historical residences of the Czech Republic include a 1920s villa in Prague that was renovated by No Architects and a 100-year-old apartment in Karlovy Vary, where Plus One Architects uncovered the building's original paintwork.

The photography is by BoysPlayNice.

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Dutch design firm Studio ThusThat has developed a series of furniture and homeware that was cut from a single sheet of aluminium "crust" – an offcut of the smelting process.

The collection, called One Side Sawn, includes flat-pack tables, shelves, cabinets, mirrors and desk accessories made using a byproduct from the early stages of aluminium production when huge blocks of the metal are formed in a smelter.

Before the material is sent to other factories to be turned into products or packaging, the bumpy exterior of these blocks is sawn off, creating sheets known as crusts.

For the One Side Sawn project, Studio ThusThat decided to intercept and repurpose one of these large, thin sheets – formally referred to as "six-sides sawn plates" as they are sawed off from all six sides of the aluminium block.

The designers aimed to utilise one such sheet without producing any waste, which involved carefully mapping the cutting pattern in advance.

Each straight cut created a piece with a wavy edge, which then informed the shape of the following object. In this way, each item is made from offcuts from the previous pieces, thereby emphasising the project's core principle of limiting waste.

"The studio hopes in these pieces to explore a different aesthetic expectation of 'perfect' materials like aluminium that acknowledges the costs and scale of their production," the studio said.

"In an era of finite materials and energy crises, they hope that familiarising ourselves with the aesthetics of secondary and rougher materials is important as it may one day become the norm."

Rather than removing the saw marks and the bumpy uneven surface found on the scrap metal, these form a key feature of the final furniture and homeware pieces.

"The edges are jagged and rough, resulting in rugged forms that seem to have been themselves byproducts of some brute industrial process," Studio ThusThat explained.

"The backside of the plates still show traces of the giant factory saws from which they were cut, while the front reveals the metal's molten origins."

In a bid to aid recycling and emphasise aluminium's natural qualities, the metal is left raw and uncoated.

The entire collection is currently on display at Tools Galerie in Paris and Studio ThusThat is also making the cust material available as a surface for use in architectural and interior projects.

One Side Sawn is the studio's latest project aimed at exploring industrial processes and waste streams related to metal mining.

Previously, the duo designed a series of ceramic tableware using red mud – a toxic residue from aluminium production – and a collection of objects made from a byproduct of the copper industry.

All photos were taken at Hydro Aluminium's Drunen plant.

One Side Sawn is on show from 26 January to 16 March 2024 at Tools Galerie in Paris, France. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Design studio Nendo has created a glass for Japan's oldest beer brand Sapporo with a lopsided profile that affects how the beverage interacts with the palate of the drinker.

The glass has straight sides on the front and back while the left side curves inwards and the right side bulges outwards, creating an asymmetrical silhouette.

It was designed by Nendo as the "perfect" beer glass to enhance the taste of Sapporo's first bottled draft, launched in 1977 and affectionately known as Kuro Label after its black-coloured label.

"Kubo Label is well recognised for its multiple distinct flavour profiles, beginning with the 'first sip', the 'middle' and ending with the 'last sip', taking your palate through a journey of complex flavours and pleasures in one drink," Nendo explained.

"To maximise the richness and aroma of the beer, a glass with three different mouthfeels was designed."

Mouthfeel is a relatively modern expression, most commonly used in relation to fine wines and spirits to describe the way they feel in the mouth, as distinct from their taste.

Nendo designed the straight side of the Sapporo glass to allow the beer to trickle along the centre of the user's tongue to the back of the mouth to deliver a crisp, refreshing taste.

Rotating the glass to drink from the concave side means the opposite bulbous side helps to capture and amplify the beer's aroma as the user takes a sip, the studio explained.

Finally, drinking from the convex edge causes the liquid to immediately hit the middle of the tongue, prompting the user to carefully control the amount consumed in a mouthful and ensure a full appreciation of the rich flavours.

According to Nendo, the shape of the glass emphasises these different mouthfeels and flavours contained within the beer, "offering a way to savour multiple experiences within a single glass".

Nendo has previously worked on a project aimed at improving how beer pours from a can. Its proposal features two angled pull tabs that control the level of foam produced when opening the container.

Oki Sato founded Nendo in 2002 after completing an architecture degree at Tokyo's Waseda University. The studio's work often brings a touch of humour or ingenuity to the things people interact with every day, whilst maintaining a minimalist Japanese sensibility.

Over the past two decades, Nendo has designed hundreds of products including the cauldron for the Tokyo 2020 Olympic Games and created a chair made from household plastic waste for furniture brand Fritz Hansen.

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Austrian company Migaloo has unveiled its design for a 165-metre-long submersible superyacht that could allow the ultra-rich to enjoy private underwater adventures.

Technical data released about the Migaloo M5 suggests that the submarine could descend to a depth of approximately 250 metres beneath the ocean surface and remain submerged for up to four weeks.

It features many of the same luxuries as a traditional superyacht including a helipad, swimming pool, gym and cinema while offering a greater feeling of seclusion and adventure, according to Migaloo.

"The needs of superyacht owners for their vessels are more complex than ever [and] do not just include performance, length or design," explained the company's CEO and chief designer Christian Gumpold.

"Owners are looking for privacy, security and protection for themselves, their guests and their valuables, or for the fulfilment of unique experiences up to scientific desires as well as for the greatest possible exclusivity."

Migaloo, which describes itself as a "private submersible yacht" design studio, says it is taking orders for the $2 billion submarine although no prototype has been revealed to date.

The company suggests the vessel would measure 165.8 metres in length and 23 metres across at its widest point, with a range of roughly 15,000 kilometres and a speed of 20 knots surfaced or 12 knots submerged.

To ensure feasibility and safety, the M5 utilises technologies borrowed from existing motor yachts and submersibles, such as its double-hull construction, multiple pressure hulls and diesel-electric propulsion augmented by air-independent propulsion.

A helipad is included on the M5's aft deck and a dedicated pressure hull would be used as a hangar for storing a helicopter. Drones and a hot air balloon could provide further aerial transportation options.

Owners could also specify Migaloo's Limo Sub Tenders (LST) – smaller submarines that can accommodate up to 12 guests for underwater exploration, along with various surface tenders and landing craft.

According to Gumpold, the preliminary design for the M5 is intended as inspiration and any Migaloo vessel would be designed in collaboration with the owner to meet their specific preferences and requirements.

The default design for the interior shows spaces including a large salon with a DJ booth, a swimming pool and spa, a gym, an art gallery and a cinema, along with a multitude of lounges and dining areas.

The owners' area at the front of the vessel includes a salon, bar, children's playroom, office and private art gallery. The bedroom has his-and-hers dressing areas and bathrooms, as well as underwater viewing spheres that protrude from the port and starboard sides.

Migaloo envisions its submersibles being painted white to distinguish them from conventional submarines. This idea led the firm to borrow its name from a rare albino humpback whale famously found off Australia's east coast.

The company aims to offer a holistic management service, including overseeing the yacht's engineering and construction, as well as addressing all technical and legal concerns throughout the process.

Previous attempts at creating luxury submarines have come from carmaker Aston Martin, which developed a concept for a $4 million limited-edition submersible to "redefine luxury for a select few".

Others have focused instead on harnessing submersible vessels for the good of the planet, with Indonesian designer Faris Rajak Kotahatuhaha proposing an iceberg-making submarine that could re-freeze the Arctic.

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A trio of design students from Hongik University in Seoul has developed a walking aid for dogs that uses a mechanism similar to a car seatbelt to provide support while allowing a good range of movement.

Steady was designed as a non-motorised support system for elderly dogs that are susceptible to mobility issues due to disc problems, arthritis and bone dislocation.

Based on their own experiences of living with and assisting senior dogs, Hongik University students Jungmin Park and Chaewon Lee set out to create a walking aid that prioritises autonomy, flexibility and adaptability.

They teamed up with fashion design student Seungha Baek and experts from the University of Zurich's faculty of veterinary medicine to develop a solution that ensures a secure and comfortable experience for the animals.

Based on their research, the designers identified limitations with existing products that can prevent the dogs from behaving normally during their daily walks.

"We discovered pain points where dogs using wheelchairs or other assistive devices couldn't mark freely or smell scents along the roadside," Lee told Dezeen.

"Therefore, we aimed to design a structure that utilises the structure of seat belts to provide some degree of freedom but also firm support in the event of impact."

The designers sought a solution that could work on different terrains to protect the animals from stumbling or tipping over when they encounter an obstacle.

They took inspiration from the way seatbelts are manufactured to allow some freedom of movement during use while holding the body firmly in place if an impact occurs.

Steady's vertically descending straps attach to a harness that can be used alongside joint-protective clothing. The wide harness supports the dog's belly from behind, creating a free area below to allow for normal walking.

The straps unravel and retract like a seatbelt so they can constantly move with the animal. In case of a sudden stop, an integrated locking mechanism tightens and holds the dog securely upright.

The straps are attached to a two-wheeled walker that rolls along behind the dog and incorporates a foot brake so both pet and owner can safely pause at any time.

A knob on one side of the stem releases a telescopic slider so the device can adjust to fit small to medium-sized dogs. The handle can be folded to make the product easier to store.

Steady also incorporates sensors that measure and analyse the dog's walking data. Users can view this information on an app designed to help detect inconspicuous signs of joint issues in older animals.

According to Lee, the designers hope to one day bring the product to market "and contribute to improving the lives of senior dogs." In the meantime, they have been invited to participate in a support programme for aspiring entrepreneurs studying at Korean universities.

Other designs for canines that have recently been featured on Dezeen include a flat-pack kennel by architecture studio Foster + Partners and a dog-friendly private members' club in London.

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Interior designer Isabelle Heilmann has used glazing and level changes to turn a former textile workshop in Paris into an open-plan apartment with a dedicated home office.

The owners of the property on Rue Jean-Pierre Timbaud asked Heilmann's studio Epicène to rationalise the interior and create a space for home working while maintaining the apartment's quirky layout.

The existing loft featured several impractical and dilapidated spaces including a cramped bedroom and three mezzanines with low ceilings that were once used for storing rolls of fabric.

Heilmann removed some of the existing structures and introduced changes in floor height to delineate the new spaces while adding internal windows that retain a visual connection between the rooms.

"Using differences in level and glass partitions allows you to demarcate the different living spaces while allowing light to circulate," the designer told Dezeen.

"Now, from the moment you enter, you have a global vision of the volume of the apartment," she added. "It's a way to have a very open plan without the disadvantages of the loft."

The partitions enclosing the existing bedroom were removed and a platform built in their place now contains a home office housing two workstations and a wall of library shelving.

Two of the mezzanines were also demolished, leaving just one beside the entrance that was transformed into a room for gaming and accommodating overnight guests.

Throughout the interior, Heilmann sought to preserve the spirit of the old workshop that had attracted the owners to this space. The raised platform recalls the height changes of the old mezzanines, while geometric sculptural elements evoke the original layout.

"The partitions and interlocking shapes of the old workshop have been simplified, but we find this play of asymmetrical cubes in the shape of the headboard or the glass partition between bedroom and living room," she explained.

"The industrial spirit is also suggested in the choice of lighting fixtures or the sobriety of the bathroom tiling."

Examples of the recurring geometric motif include a series of cubic volumes containing cupboards and storage niches on either side of the steps leading up to the platform.

An asymmetric window creates a bold feature that connects the living room with the new bedroom, where a stepped headboard creates shelf space for books, paintings and objects.

The kitchen is located opposite the office platform and features a simple L-shaped layout that slots in underneath the mezzanine and windows.

The cupboard units have birch plywood doors and a marbled Corian worktop that complements the minimal, industrial look of the interior.

A full-height glass-and-steel wall that was part of the original workshop was carefully preserved and now separates the living room on one side from the kitchen and dining area on the other.

A door in the central glass partition leads into the living area, where a swing suspended from the ceiling makes the most of the room's height.

The owners wanted a blank canvas for showcasing their collection of vintage objects, so walls and floors throughout the apartment are painted white to provide a muted, minimal backdrop.

The scheme also aims to create a playful, relaxed and creative atmosphere evocative of 1960s modernism, with classic pieces such as Achille Castiglioni's Snoopy lamp and an Enzo Mari print providing pops of colour.

In the bedroom, a yellow-painted door and green bedspread catch the eye, while a bright green door in the dining space conceals a WC with a sink set against punchy pink cement tiles.

The bedroom features a large dressing area with cupboards made from birch plywood, which is housed in a space previously occupied by a bathroom.

The main bathroom offers a playful take on the geometric theme used elsewhere in the apartment, with its geometric sink clad in rounded tiles from French firm Pop Corn.

Isabelle Heilmann studied at the École Boulle in Paris before founding her agency Epicène in 2018. The studio designs public and residential spaces that combine a minimalistic sensibility with a love of colour and characterful statement pieces.

Other Parisian home interiors that have recently been featured on Dezeen include an apartment with a wine-red kitchen and another that was designed to resemble a "chromatic jewellery box".

The photography is by BCDF studio.

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Japanese studios Td-Atelier and Endo Shorijo Design have transformed a townhouse in Kyoto into a noodle restaurant that combines traditional residential details with modern geometric interventions.

Kawamichiya Kosho-An is an outpost of soba restaurant Kawamichiya, which can trace its history of creating dishes using buckwheat noodles back more than 300 years.

It occupies a 110-year-old property in the downtown Nakagyo Ward that retained several features typical of traditional Japanese houses, including a lattice-screened facade and an alcove known as a tokonoma.

Architect Masaharu Tada and designer Shorijo Endo collaborated on the townhouse's conversion into a 143-square-metre restaurant, restoring some of the original elements while adapting others to suit its new purpose.

"Originally it looked like a townhouse with an elaborate design, but various modifications were made for living and those designs were hidden or destroyed," said Tada.

"Therefore, we tried to restore the elements of the townhouse such as hidden or lost design windows and alcoves and add new geometry to them to revive them as a new store."

A lattice screen at the front of the building was restored to help preserve its residential aesthetic, while renovations were carried out on walls, pillars and eaves within the open-air entrance passage.

The entryway leads to a small genkan-niwa garden, where paving stones are laid to create a path using a traditional technique known as shiki-ishi.

Customers enter Kawamichiya Kosho-An through a small retail area containing freestanding partitions that allow the original wooden ceiling structure to remain visible.

Built-in bench seating is positioned along one wall and a window seat offers a view of the street outside. Customers here can eat with their shoes on, while beyond this space they are required to remove footwear as is customary when entering a Japanese house.

The use of different materials and changes in floor height help to delineate areas within the restaurant and create a range of experiences. Guests can choose to sit on chairs in a porch-like space known as a doma or on floor cushions in the traditional Japanese parlour.

The kitchen is positioned at the centre of the building and is set slightly lower than the surrounding floors, allowing staff working behind the counter to have a clear view of each diner.

"We control the line of sight to the audience, the garden and the street by the height of each floor," Tada said. "As a result, it is an original townhouse element […] and a new design that fuses old and new."

Some of the existing features that help to preserve the building's character include the tokonoma alcove in a room on the first floor, which also has a curved wooden ceiling known as a funazoko-tenjo.

In Kawamichiya Kosho-An's main dining area, a tokonoma was replaced with a low decorative shelf while the original screened window in this space was retained. Traditional wooden doors and paper shoji screens were also adapted and used to partition the space.

Tada studied at Osaka University before founding his studio in 2006. He has collaborated on several projects with Endo, who completed a master's in plastic engineering at the Kyoto Institute of Technology before establishing his studio in 2009.

The pair's previous work includes the renovation of a typical machiya townhouse in Kyoto, which they modernised to better suit the living requirements of its occupants.

The photography is by Kohei Matsumura.

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Spanish architect Juan Gurrea Rumeu used a palette of warm, textural materials and carefully positioned voids to create atmospheric living spaces inside this house he designed for himself and his wife in Barcelona.

Rumeu and his wife, the Madrid-born artist Beatriz Dubois, decided to move to the architect's home city for work after living for several years in Paris.

They purchased a site occupied by a derelict storage building in the Vallcarca district that was affordable due to its northern aspect, narrow proportions and busy urban context.

Bolívar House is located on the Carrer de Bolívar and is surrounded by buildings from various eras, ranging from early 20th-century art nouveau houses to industrial workshops and 1970s apartment blocks.

In this chaotic and energetic environment, Gurrea Rumeu's practice Gr-os – working with local architects Mercè Badal and Teresa Rumeu – sought to create a restful retreat defined by its considered use of space and light.

"Despite its complicated urban setting, surrounded by taller buildings and heavy traffic, the interior atmosphere is surprisingly peaceful," Gurrea Rumeu told Dezeen.

"The position and scale of openings frames views and curates intimacy and light."

The building itself comprises a monolithic grey box punctured by three square openings, which animate its street-facing elevation while defining views from within.

A concrete plinth becomes a column that supports a visible steel lintel, which also acts as a recessed channel to hold utility cables as they pass across the simple frontage.

The exposed beam provides a subtle ornamental detail that references the facade composition and, in particular, the decorative frieze found on a traditional residence across the street.

The house's exterior is rendered using a textured stucco that evokes rustic Catalan properties called masias. According to the architect, this finish adds a textural element to the otherwise minimal elevation that recalls an artist's brushstrokes.

The dwelling shares its long and narrow site with a multi-storey apartment building, in which Gurrea Rumeu and Dubois were able to add a studio on the basement level.

The studio is visible across a central courtyard separating it from the home's kitchen and dining area, which also looks onto the lush tropical planting through a full-height opening.

At the front of the property, a double-height concrete volume containing the garage and a stairwell provides an acoustic barrier between the living areas and the street.

Three bedrooms and the main living room are accommodated on the first and second floors, with the bedrooms at the rear overlooking the tranquil courtyard.

Despite being a north-facing house, the design is not focused on capturing as much natural light as possible, Gurrea Rumeu explained, but rather on emphasising the moody atmosphere through careful material choices.

"We decided to use honest and expressive materials which are pleasant for the senses and accentuate the value of shadows," the architect pointed out.

"In-situ concrete walls, dark walnut floors, white marble and glazed tiles create a rich atmosphere in which subtle changes of light become apparent throughout the day and the seasons."

Gurrea Rumeu also used simple architectural interventions to amplify the sensorial experience within the home, with voids and openings allowing sunlight to illuminate the spaces in intriguing ways.

Monolithic wooden staircases located in the entrance lobby and living room follow the home's two main axes and add complexity to the circulation. Their bold presence helps to emphasise the volume of these double-height spaces.

The majority of the building's structure is left exposed, with services and false ceilings concentrated towards the centre of the plan.

A central concrete core conceals the upper flights of stairs and supports the floor slabs, while one of the structural steel columns is left exposed on each level as a nod to the building's construction.

The columns become a feature in their respective rooms, becoming thinner higher up in the building as the load reduces.

The property contains a limited and carefully curated selection of furniture including vintage pieces, bespoke elements and classic designs chosen for their special significance to the owners.

Gurrea Rumeu received his master's from the Royal College of Art in London before completing his Professional Practice diploma at the AA School of Architecture. He worked for firms in Beijing, Paris and Barcelona before establishing his own studio in 2020.

Other recently completed homes in Barcelona include La Clara by CRÜ, which is set inside a former public laundry, and a brick extension to a 19th-century terrace house by H Arquitectes.

The photography is by Max Hart Nibbrig.

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Design studio Yatofu has completed a furniture showroom in Hangzhou, China, featuring a playful pastel colour palette and a display area housed on a steel-mesh platform.

The 80-square-metre retail space belongs to Chinese design brand Jianze and forms part of an emerging cultural district in the city's Liangzhe New Town.

Yatofu set out to create a "relaxed holiday atmosphere" inside the showroom, which was influenced by the semi-public garden terraces found in European cities and features a full-height opening with retractable glazed doors that connect it with the outdoors.

"This blurring of the boundary between the inside and outside allows passing pedestrians to easily observe the activities that take place within the showroom while maintaining visual continuity between the street level and interior space," the studio explained.

Inside the space, Yatofu used contrasting colours and materials to portion up the floor area while introducing a whimsical touch to reflect Jianze's products.

One example is the decision to juxtapose glossy white floor tiles and rough pink micro-cement to create a visual separation between different zones.

"The playfulness of the flooring's colour and configuration evokes a sense of joy and vibrancy, inviting visitors to linger and explore the brand and its products with wonder and curiosity," said Yatofu.

The delicate colour scheme also contrasts with the raw concrete ceiling, where exposed ducting and lighting tracks add to the industrial feel.

Close to the centre of the open room, a lightweight steel mezzanine provides additional space for displaying some of Jianze's furniture. A spiral stair in one corner offers a fun and space-efficient way of accessing the platform.

The raised enclosure is clad in a perforated steel mesh that allows its contents to remain visible as visitors walk around the space below.

The structure is painted a light shade of sage green that complements the pink micro-cement walls and floors, adding to the calming feel of the interior.

Built-in cabinets and shelving made from pale birch wood add tone and texture to the space. The wood was also used to create a monolithic desk in one corner that functions as a service and payment area.

On a nearby wall, rows of detachable stainless steel pegs form an adjustable display system that can be used to support various products.

This use of flexible displays combined with the unconventional partitioning of space contributes to "an experience that exists somewhere between a pop-up and conventional showroom", according to Yatofu.

The versatile space can function both as a showroom and a place for hosting events such as exhibitions or markets, in particular thanks to its connection with the surrounding public realm.

"The showroom invites its visitors to connect to the brand through a concept that communicates joy, ease, acceptance and a willingness to share in the appreciation of lifestyle and home," the studio said.

Yatofu was founded in Helsinki, Finland, in 2017 and now operates globally, working across disciplines including interior architecture, product and furniture design, visual communication and strategic design.

The studio has previously converted a post office in Zhejiang into a boldly coloured gift shop and events space, and designed the interiors for a teahouse in Helsinki featuring a palette of brick, oak and oxidised steel.

The photography is by Wen Studio.

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Designer Haneul Kim has joined forces with CGV, South Korea's largest cinema chain, to form a series of table lamps from the company's discarded screens.

Over the past two years, CGV has had to remove or replace more than 70 of its cinema screens due to damage or theatre closures in the wake of the pandemic, resulting in a large volume of potential waste.

Each screen has a total area of over ten square metres and is made from a PVC-backed plastic that is extremely robust, flexible and fire retardant, which Kim says makes them suitable for various uses.

The material is also able to diffuse light due to its finely perforated surface, which allows sound from speakers located behind the cinema screen to reach the auditorium.

"Looking at these holes in the waste screen, I discovered a visual similarity with the aluminium perforated plate used in industrial materials," the designer told Dezeen. "I imagined what it would be like to replace the sound emitted through the screen with light."

The first lights Kim produced for CGV were small portable table lamps with a cylindrical body and larger cylindrical shade.

The designer makes the lamps himself by cutting the screens into strips that he wraps around simple shades made from wire and translucent PVC found in typical lampshades.

The first 100 of these lamps are now used in CGV's premium movie theatres, providing ambient lighting when placed on table surfaces next to the auditorium's comfortable lounge chairs.

As a homage to one of his favourite design icons, Kim also used the same process to create his interpretation of the Shogun table lamp developed by Italian architect Mario Botta for Artemide in 1985.

Botta's original features a striped, painted base and a pair of overlapping diffusers made from perforated steel that can be adjusted to create a unique interplay of light and shadow.

Kim used narrow strips of the PVC screen to recreate the shades as well as the striped pattern on the base, alternating the white front of the screen and the silver backing, which is used for showing 3D films.

All of the lamps incorporate LED light sources with three colour settings and a memory dimmer control. They are rechargeable via USB-C and have a battery life of up to 16 hours, allowing them to be used for several screenings between four-hour charges.

Kim is based in Seoul and regularly works with waste materials, making furniture from discarded face masks and cardboard boxes.

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Spanish studio Plantea Estudio has completed a cafe and bakery inside an early 20th-century building in Madrid, contrasting the original dark tones of the interior with modern steel surfaces.

Taking over a former gem store on a busy street in the Justicia district, the Acid cafe and bakeshop was designed to provide a place for quiet conversation away from the bustle of the city.

It occupies the ground floor of a turn-of-the-century building, which is rich with historic details such as a deep storefront made from wood and green marble, with curved windows on either side of the entrance.

Plantea Estudio sought to retain the original character of the space by restoring elements including the facade and the internal wood shelving and windows, as well as a decorative plaster frieze above the new serving area.

Minimal architectural interventions and a carefully chosen material palette help to define Acid's interior ambience while supporting the new function of the space.

"We completed and adapted what was there and added the rest to match this same character – or to contrast as an opposition that enhances it," Plantea Estudio architectural designer Carla Morán told Dezeen.

"Old and new, figurative and abstract, colour and shadow, rough and soft, matt and satin, all in the same space as different sides of the same coin."

The shop was previously divided into two parts, with the rear part housing storage and toilets. Plantea Estudio retained this configuration but looked to make better use of these neglected space at the back by creating a cosy lounge area for patrons.

In the front part of the space, wooden shelves were sanded and varnished to return them to their original condition. Any anachronous additions were removed and replaced with shelves or doors painted in a deep red chosen to complement the wood tones.

A mirror added to the ceiling above Acid's entrance increases the sense of space in this area and multiplies reflections produced by the curved windows.

The building's original terrazzo was uncovered from underneath layers of flooring, while the walls and ceiling were finished with a warm-grey lime wash paint that contributes to the cosy atmosphere.

A coffee machine and pastry display sit on a stainless steel counter that provides a point of contrast with its precise and modern appearance, softened by a matte finish that produces blurred reflections.

The elongated lounge area at the rear of the unit is designed as a refuge from the busy neighbourhood, where guests can relax in semi-darkness with a coffee and pastry.

"The interior space was quite dark, only connected to the exterior part by two openings in a structural wall," Morán recalled. "So we thought about a room in shadow and quietness, with the reflection of the soft light over a stainless steel shared table."

The room's new floor is made from plywood that produces a soft sound underfoot as guests transition from the terrazzo-floored shop to this calmer and quieter space.

The wood is painted a deep blue colour to match the walls at either end of the room and contribute to the intimate half-lit atmosphere. A row of exposed light bulbs hangs above the table to provide gentle illumination along with shimmering reflections.

This is the third project that Plantea Studio has completed for the owners of Acid cafe in Madrid, following the Gota wine bar with its cave-like dining room.

The studio was founded in 2008 by brothers Luis and Lorenzo Gil. Its other projects include a raw and minimal shop for footwear brand Veja and a multi-purpose entertainment space housed in a former erotic cinema.

The photography is by Salva López.

Project credits:

Architecture and interior design: Plantea Estudio
Promoter: Acid café
Furniture: Plantea Estudio and Frama
Lighting: Frama, Santa & Cole, Vitra, Ferm Living and Anglepoise
Graphic design: Koln studio
Art: Armando Mesías
Paint: Bauwerk colour

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US start-up Clicks Technology has launched a mechanical keyboard attachment for iPhones, featuring tactile raised buttons that mimic the phone's virtual keyboard while adding a few extra keys.

Unveiled at the Consumer Electronics Show, the Clicks Creator Keyboard was informed by early smartphones such as the BlackBerry, which were popular in the early 2000s prior to the launch of Apple's touchscreen-only iPhone.

Available for the iPhone 14 Pro, iPhone 15 Pro and iPhone 15 Pro Max, the accessory aims to provide a more tactile experience and allows users to type with greater accuracy whilst on the move due to the feedback of a physical key click.

According to Clicks, the company's first product also frees up on-screen real estate that was previously occupied by a virtual keyboard to make more space for apps and other content.

The device features a silicone unibody design, available in grey or yellow, with 36 polycarbonate keys arranged in the same format as an English-language Qwerty computer keyboard.

Features such as keyboard shortcuts and dedicated buttons – including a Command and Tab key – that are missing from the iPhone's digital keypad help to enhance the product's functionality.

"We use keyboards on our desktops, laptops and tablets every day – so it's kind of odd that we abandoned physical buttons on the smartphone," said Clicks Technology co-founder Michael Fisher, who moonlights as a YouTube tech reviewer with 1.2 million subscribers.

"Clicks brings the tactility and precision of a physical keyboard to iPhone, so people don't have to wait until they get back to their desks to create or communicate with the satisfying feedback only real buttons can provide."

Fisher, who is known online as MrMobile, founded Clicks Technology with fellow content creator aKevin Michaluk – known as CrackBerry Kevin – alongside a team of designers with experience at Apple, BlackBerry and Google.

The keypad design mimics the virtual keyboard in Apple's iOS operating system, with punctuation and alternate keys configured in the same way to make interacting with the device intuitive for existing iPhone users.

The phone slides into the case and connects through its lightning or USB port so it does not rely on Bluetooth. A built-in backlight illuminates the keys at night, while a pass-through port on the bottom means the phone can be charged while the case is attached.

Other practical design details include a vegan leather grip pad on the rear of the case and a small metal ballast to improve weight distribution when the accessory is attached.

Clicks is currently only available for iPhone but Fisher said he hopes to evolve the design for use with Android phones as well.

Other products launched at this year's Consumer Electronics Show include Rabbit's AI-powered R1 device, which is designed to carry out tasks such as booking flights or editing images, as well as a device that allows users to conduct four different medical checks at home.

All images courtesy of Clicks Technology.

CES 2024 took place in Las Vegas from 9 to 12 January 2024. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Ukrainian designer Anastasiia Tempynska combined futuristic details with fleshy materials that evoke the human body when creating the interior of the 13 Laser clinic and spa in Kyiv.

Tempynska created an interior for 13 Laser that reflects the innovative technologies used by the clinic to perform procedures such as laser hair removal and skin resurfacing, on top of traditional treatments like massage and facials.

"I aimed to achieve a contrast between natural softness, expressed in textures and materials, and something unnatural that is connected with human activity – mirrors, neon, metal – something that looks like perfection," Tempynska told Dezeen.

"I also wanted to achieve an unobtrusive but simple luxury aesthetic," added the designer, who founded her studio Temp Project in 2021.

The clinic consists of a generous reception and five treatment rooms including a larger space that can be booked by couples or friends. It is located on the ground floor of a modern residential complex and, prior to the fit-out, was an empty shell with red-brick walls and concrete columns.

Tempynska introduced a palette of muted grey and white tones that provides a minimalist background, upon which she layered metallic finishes and matte textures informed by the design of medical equipment.

The result is a futuristic aesthetic that is brightened and warmed by accents of pink and sky-blue, applied to furnishings and elements such as a neon sign in the reception area.

The technological aesthetic is reinforced by custom-made elements such as an angular mirror that looks like it was cut by a laser.

Scientific equipment such as flasks and beakers informed the glass block wall in the reception area, while the exposed utilities on the ceiling contribute to the sci-fi feel.

The designer also sought to evoke the spa's focus on the human body through the use of tones and textural materials that recall anatomical features.

The bouclé texture of several soft seating areas was chosen to reference the irregularities of skin when magnified under a microscope, while a lumpy side table was painted in a fleshy pink colour.

"I was looking for a second-order association to manifest the theme of corporeality within the futuristic concept," said Tempynska.

"It was the colour pink – the colour of redness on the skin that reacts to cosmetic procedures. It is also the colour of the palm of your hand when you look at it on a sunny day."

The theme of nature was manifested in the monolithic reception desk, which weighs 400 kilograms and is made from concrete painted to resemble a solid chunk of stone.

Other roughly textured or patterned elements were chosen to enhance the natural feel, with ceramic floor tiles complementing the desk's stone-like surface.

The pock-marked edge of a console table evokes the texture of a pumice stone used to exfoliate skin, while the uneven wall behind the reception desk recalls the mud used for some of the spa's treatments.

Most of the furniture featured in the project was custom-made, including a tubular floor lamp with integrated flower vases that is situated near the entrance.

The angular mirror on wheels was designed for taking interesting selfies, while the bespoke neon sign references the pulse of a laser.

Tempynska worked for several design studios prior to setting up her own office. Russia's full-scale invasion of Ukraine at the start of 2022 left her briefly without work. However, clients gradually returned and she has since completed numerous projects despite the challenges posed by the ongoing war.

"There was a time when we worked without communication and electricity," the designer recalled. "I couldn't leave the Dnipro left bank and often couldn't call the builders."

"When I came to their workshop, they illuminated the products with a flashlight, but we work and believe in our victory," she continued.

Other projects that have recently been completed in Kyiv include Olga Fradina's soothing, monochromatic interior for a wellness centre called Space and a refurbished attic apartment with views over the city.

The photography is by Yevhenii Avramenko.

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A pared-back palette of raw materials creates a calm backdrop for PSLab's lighting products inside the brand's Berlin workshop and showroom space, designed in collaboration with Belgian firm B-bis architecten.

The newly opened studio occupies the ground floor and basement of a 1907 residential building in the city's Charlottenburg district.

PSLab, which designs and manufactures light fixtures for architectural projects, set out to create a showroom where customers can experience lighting effects in a home-like environment.

"PSLab is not a digital platform where clients pick and buy products," the company's founder Dimitri Saddi told Dezeen. "Therefore the physical space as a 'home' is most important for one-on-one communication."

"In Berlin, as with all our studios, we wanted to design a canvas to show the quality of our light and to show the process of our bespoke design approach by integrating a material library of endless opportunities and possibilities."

Working together with B-bis architecten, the design team looked to create a contemporary space that contrasts with Charlottenburg's classical architecture whilst retaining references to common elements like colonnades, arches and symmetrical forms.

The entrance takes the form of a large zinc-and-glass sliding door that is set into the facade of the building on Niebuhrstrasse. Moving the door aside reveals a full-height opening that welcomes visitors into the studio.

Inside, a double-height space with a six-metre-high ceiling allows lighting products to be hung in various heights and configurations.

Arched openings on either side of the staircase void lead through to a garden room that looks onto a leafy courtyard. Daylight streams into the space through large windows to create a tranquil atmosphere.

The workshop space includes a materials library where visitors can touch and explore the physical qualities of the brand's lighting products. A movable ladder provides access to items on the library's upper rows.

The cosy basement level is a place for informal conversations with clients. A projector in this parlour space also allows the team to display the company's extensive digital library.

Throughout the studio, PSLab chose materials and finishes including lime wash, concrete, zinc and textiles that focus attention on how the space is lit rather than its architectural features to create a kind of "sacred place for light".

"It is all about monochromatics and textures, which are specific to the location," said Mario Weck, a partner at PSLab GmbH. "The atmosphere lets people focus on our approach."

On the ceiling of both the front room and garden room is a grey-steel gantry that helps unify the spaces whilst supporting various light sources as well as technical elements, much like on a theatre stage.

Furniture is mostly built in, with simple cushions providing casual seating while cylindrical wooden side tables and coffee tables offer somewhere to place a cup or catalogue.

PSLab has studios in Antwerp, Bologna, London, Stuttgart and Beirut, where the firm originated. For its UK headquarters, the company commissioned JamesPlumb to convert a Victorian tannery into a space that evokes the "quiet brutalism" of the former industrial building.

Previously, the lighting brand has collaborated with Parisian studio Tolila+Gilliland on the design of an Aesop store in London featuring felt-covered walls and slim black pendant lights.

Photography by Nate Cook and video directed by Lana Daher.

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Ukrainian designer Olga Fradina has completed a monochromatic interior for Space, a wellness centre in Kyiv, where textures rather than colours provide interest and create a soothing atmosphere.

Space is a holistic wellness centre that includes areas for practising yoga, meditation and acupuncture, as well as traditional healing practices such as reiki and qigong.

The project commenced just before the Russian invasion of Ukraine, with the company's founder – entrepreneur and wellness enthusiast Kateryna Bakhirka – eventually deciding to move forward as she felt a space for healing practices was important at a time of global turbulence.

Bakhirka had previously commissioned Fradina to design her private apartment in the city and asked the designer to follow a similar direction, although with a warmer palette than the cosily dark residence.

"I aimed to make the space as comfortable as possible, creating somewhere people would like to stay longer and where they could easily relax," Fradina told Dezeen.

Space is located on the ground floor of an early 20th-century building in Kyiv's Podil district that once functioned as a candle factory.

The four-storey building had previously been divided into several apartments and Fradina began by removing internal partitions to open up the cellular space.

The reconfigured interior comprises several functional zones – a small entrance hall, a locker room, a room for group classes, two massage rooms, a tea lounge and a room with a bathtub that is used for certain healing practices.

The bright and airy hall used for group sessions is lined with mirrors on one side, while the opposite wall is painted with a subtle gradient to evoke a sunset.

A darker palette is employed in the massage rooms to create a more soothing and intimate ambience. The only touch of brightness is provided by a brass panel painted with a dynamic symbol by Ukrainian artist Nikita Vlasov.

The tearoom is also rendered in muted shades and accommodates a three-metre-long raw-edged wooden table that was custom-made by local workshop Staritska Maysternya.

A nearby bar counter is clad with bricks salvaged from an old house and is topped with Cambrian Black granite. Objects purchased by Bakhirka on her travels through Asia and South America are displayed on backlit shelves.

The main materials used throughout the project are micro cement, plaster, wood, copper and vintage brick, which Fradina chose due to her fondness for "monochrome interiors where the main accents are textures".

"I love natural and tactile materials, playing a little bit on the slight contrast of textures such as wood, stone and rough plaster," the designer added. "Each one has its own structure, reflectivity, roughness. Coming together they create an expressive but not flashy emotion."

Regular blackouts in Kyiv due to the ongoing war made construction work challenging, according to Fradina, with contractors often needing to bring their own generators to provide electricity.

The designer herself regularly had to take cover in a subway station during site visits when shelling was taking place. The war has also taken an emotional toll and altered her approach to her practice, Fradina revealed.

"It's hard enough for me to design now, it feels like I've lost my connection to the physical world," she said. "During these years of active war, I have been mostly involved in digital art and I'm better able to interact with abstract matter now."

Also in Kyiv, Yana Molodykh has designed a light-filled interior for a compact attic apartment while Makhno Studio has created an all-beige residence with bumpy textures and intricate ceramic walls.

The photography is by Yevhenii Avramenko.

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New York-based designer Kickie Chudikova worked with cannabis brand Gossamer to develop The Nesting Set, a glass ashtray, pipe and one-hitter that can be integrated stylishly into a user's home.

The company, founded in 2017 by David Weiner and Verena von Pfetten, asked Chudikova to help it create a set of accessories that could offer a more refined and premium experience than other smoking products currently on the market.

The Nesting Set comprises a lidded ashtray, standing pipe and matching one-hitter (a slender pipe designed for a single inhalation of smoke). The items are all made from soda lime glass and borosilicate glass in a minty green hue that aligns with the brand's visual identity.

The set was designed to be functional, sculptural and timeless so that it can sit comfortably in a wide range of interiors without obviously signalling its purpose.

"We wanted to create a modern, beautiful and functional home object that would appeal to a wide audience even beyond people who like to smoke weed," Gossamer's creative director Verena Michelitsch told Dezeen.

Michelitsch added that the design process focused on three key objectives: multi-functionality; desirability for an audience that appreciates design and craft; and timeless aesthetics to ensure the products feel elevated rather than trendy.

Multi-functionality was achieved by designing the base as an ashtray that can be used to store items including keys, jewellery or small objects, as well as smoking paraphernalia.

The tray includes compartments sized to neatly hold the pipe and one-hitter, along with ground cannabis flower and joints. It can also double as an incense holder and nests neatly on top of the lid, which can be used as a pedestal.

Chudikova explained that the shapes of the various items were designed with ergonomics in mind. The two pipes feature proportions that are comfortable to grip and have flat bottoms, so they won't roll or topple when placed on a surface.

The designer chose materials that aimed to enhance the set's more premium look and feel.

The designer told Dezeen she wanted to create an object that "didn't scream 'this is for weed,' but rather one that blends seamlessly into your home."

"Gossamer's customers have an eye for sophisticated aesthetics, so The Nesting Set can seamlessly fit into the laid-back yet stylish vibe of their interiors," said Chudikova.

"The lid can discreetly keep smoking essentials neatly tucked away or proudly on display when placed underneath," she added. "Its minimal aesthetic is sculptural yet unobtrusive and that is why it's a perfect accessory for your home."

Borosilicate glass was used for the smoking set due to its durability and resistance to high temperatures, which makes it less prone to cracking or breaking.

The heavy-lidded ashtray is made from six-millimetre-thick opaque soda lime glass that lends it a reassuring heft. The glass is moulded into fluid, sculptural shapes that are easy to clean.

"Soda lime glass is also more cost-effective compared to some other types of glass, making the final product more accessible to a broader audience," Chudikova added.

"By choosing these materials, we were aiming for a balance between accessibility, aesthetics and functionality."

The Nesting Set is the latest in a series of products produced by Gossamer to complement its biannual print magazine focused on weed-adjacent stories about travel, design, art, culture and food.

The gradual legalisation of marijuana in parts of the US and Canada has led to a recent explosion of design-led cannabis-related products aimed at the more experimental consumer.

Previous examples include a range of stacking accessories including a grinder and a cone-shaped pipe made from pink glass, and a trio of boldly coloured ceramic bongs intended to exist in the space "between performing products and home decor objects".

The photography is by Sean Davidson.

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3D-printed shelving structures informed by Catalan-modernist buildings were used for shelving in this store designed by External Reference for a Spanish jewellery brand.

Experimental jewellery designer Adriana Manso asked Carmelo Zappulla's studio External Reference to develop a suitably unusual interior concept for her first physical store in the city.

The project involved designing a window display and shelving for the 25-square-metre store, which is located in Barcelona's Eixample district just a few metres from the house where Manso was born.

Manso is known for her playful pieces made from recycled plastic, which she wanted to display in a space that evokes the luxury feel of an haute-couture boutique.

External Reference sought to combine the contemporary plasticity of La Manso’s jewellery with motifs influenced by Barcelona’s early 20th-century architecture, including the building in which the store is situated.

"Our design concept revolved around bringing the exterior facade inside, creating a melted and fluid background that would serve as an artistic canvas for showcasing the jewellery," Zappulla told Dezeen.

"By blending the expressive elements of Catalan modernism with the organic forms inspired by La Manso design, our goal was to craft a visually captivating environment that elevates the overall shopping experience."

The designers selected fragments from the decorative facade and abstracted them using a process involving hand drawing and computational design techniques.

In particular, floral details from the elaborate canopy at the store's entrance were reinterpreted as large rosettes incorporating futuristic glitches and bas-reliefs.

The organic shapes form shelving units that range in height from 90 centimetres to 1.7 metres. Jewellery and accessories are displayed on the shelves, as well as on a small table at the centre of the space.

The furniture is made from biodegradable cellulose and was produced with technical support from specialist 3D-printing workshop La Máquina.

Zappulla and his team refined the digital models to optimise them for printing. This involved splitting them into manageable parts that could be processed by the machine's robotic arm.

All of the printed elements are finished in a muted off-white shade that matches the rest of the interior and provides a neutral backdrop for displaying the jewellery.

Large, mirrored surfaces help to make the interior feel more expansive, while spotlights provide targeted illumination for highlighting the collection.

In addition to the main furniture, the designers also developed a window display and 3D-printed signage that extend the store's conceptual design out into the street.

Large-scale 3D-printing technology offers designers possibilities to create unique elements for branded interiors, which makes it increasingly popular for retail spaces.

Spanish design studio Nagami has created a store for sustainable clothing brand Ecoalf featuring transparent 3D-printed displays that recall melting glaciers, while Dutch architecture practice Studio RAP used the technology to produce a wave-like tiled facade for an Amsterdam boutique.

The photography is courtesy of External Reference.

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London-based Studio Indigo and craftsmen Little Halstock have created a sculptural gimbal decanter for whisky distillers The Glenrothes that can be used aboard a yacht to protect and pour its rare Demijohn 1969 spirit.

The Glenrothes creative team worked with Studio Indigo and Little Halstock to develop the artistic object, which houses a 70-centilitre crystal decanter filled with a 44-year-old whisky.

The project was initiated by Anna Lisa Stone, head of creative at Scottish distillers The Glenrothes, who had the idea of protecting the whisky in a gimbal device.

Named after the Greek inventor Philo of Byzantium, who first described the workings of a gimbal in the third century BC, Philos features a pivoted support that can rotate on three axes to keep the decanter steady on the rolling sea.

To bring her vision to life Stone commissioned Studio Indigo, which has previous experience working on yacht interiors and was already collaborating with The Glenrothes on a guesthouse at the distillery's estate.

The designers set out to create an uncompromising luxury item for whisky enthusiasts that would combine precision engineering, contemporary aesthetics and fine craft.

Standing at over one metre high, Philos is scaled appropriately to give it a dramatic presence when displayed on some of the world's largest superyachts. Its design references maritime history and the colours of its outer sheath evoke those of the ocean and the sky.

"Overall, our aim was to create a world-first across yachting, whisky and design through a decanter that protects every drop of this precious liquid and a beautifully enriching experience," said Stone.

Stone suggested that the object also needed to display "unparalleled beauty, attention to detail and storytelling to envelop our prized whisky," adding that, "the experience must be seamless, delightful, and with a dash theatre."

The whisky in Philos was drawn from a cask that was filled in 1969 and spent 44 years maturing before being decanted into six glass demijohns.

Philos comes with its own set of six reloadable decanters that can be stored and displayed in the accompanying bespoke presentation boxes.

Focusing on the preciousness of the Demijohn 1969 whisky, the project aims to provide a way for connoisseurs to enjoy the liquid on the open sea without any fear of spillage when pouring it.

The 'cage' containing the decanter is mounted within three rings that allow it to move freely in response to pitch and roll. A hand-painted aluminium globe formed of six interlocking concave leaves creates a further protective shroud around the whisky.

The sphere is set at a 23.5 degree angle to mirror the Earth's rotation axis. When it is unlocked and the leaves are drawn back by hand, the decanter is revealed against a lining of soft Alcantara fabric.

The contraption rests on a base with a layered design informed by the topography of the Glen of Rothes where the distillery is located.

According to Studio Indigo, the look and feel of Philos aims to accentuate its modern character whilst referencing objects associated with maritime exploration such as Renaissance globes, as well as luxury items including traditional humidors and drinks cabinets.

"Even though Philos is rooted in history, we wanted the piece to have a contemporary feel," explained designers Olga Fox and Lyne Arbid.

"This meant a desire to stay away from the traditional woods and brass typical of historic armillary spheres. Instead, the mix of contemporary materials in cool steel tones embody the future of craft."

Little Halstock was tasked with devising a sophisticated pouring sequence that safely releases the liquid and provides an engaging spectacle.

The fully mechanical process uses a system of hidden cogs to charge a waiting glass with a perfect 50ml pour. The precise gears were manufactured in workshops usually reserved for aerospace engineering.

The Dorset-based company, which is known for producing fine cabinetry and heirloom objects, also crafted each of Philos' components using a material palette of soft silver metals complemented by hand-painted surfaces.

Philos was first presented in Saint-Tropez during Les Voiles regatta and is set to appear at various international events throughout 2024. While the inaugural version is available to purchase, future commissions will be customisable at the client's request.

Recently, fellow Scottish distillery The Dalmore launched a 48-year-old single malt whisky housed in a unique wood and steel sculpture designed by Japanese architect Kengo Kuma.

Artist James Turrell also recently designed a sculptural Glenturret whisky bottle for glass brand Lalique.

The photography is by James Reeve.

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Examples of practical and playful paper packaging were presented at this exhibition curated by designer Makoto Umebara as part of the Takeo Paper Show in Tokyo, Japan.

The exhibition was organised by Takeo Co, a specialist paper trading company established in 1899.

Since 1965, Takeo has presented an annual showcase of paper that explores the material's meaning and value through collaborations with leading designers.

This 49th edition of the Takeo Paper Show occupied two floors of the Kanda Square Hall exhibition venue near the company's Mihoncho Honten store.

Titled 'Packaging: Function and Laughter', the exhibition was divided into two main sections, with simple scenography by graphic designer Kenya Hara helping to differentiate each part.

The first section focused on the functional possibilities of paper, as well as examining how its use is evolving in response to technological advancements in areas such as printing and transportation.

"In today's world, in which new light is being directed to paper as a material, not only as a substitute for plastic, this exhibition asks that we pay attention to, what forms will emerge from these organic fibres, and what new value is created," said Takeo Co.

Curator Umebara selected projects by 13 designers and studios that highlighted innovative uses for paper in packaging, including a series of mechanical paper sculptures by graphic designer Masaya Ishikawa and artist and engineer Hiroaki Nakaji.

"These individuals understand the true value of paper and appreciate its unique sensory properties," the organisers added.

"Their proposals for packaging, both containers and wrapping, have been thoroughly considered on a practical level."

Other projects featured in the 'Function' section included graphic designer Agata Yamaguchi's piece resembling a bunch of flowers made using simple cardboard tubes set on paper straw stems.

Satoshi Yoshiizumi's studio Takt Project created a series of objects that transform from flat templates to three-dimensional forms when the paper is dampened.

One side of the paper is coated using a UV silk screen process that doesn't react to humidity, while the uncoated side causes the paper to bend and form predetermined shapes.

Nomena's playful food packaging features faceted forms that nest together to create simple orthogonal shapes. Each constituent element contains its own item, such as tea bags, chocolates or bags of juice.

The exhibition's second section, called 'Laughter', examined the emotional appeal of paper and how it can be used to produce creative and engaging containers and packaging.

Umebara selected 100 projects to feature in this part of the show, such as a set of novelty tea bags featuring paper holders printed with pictures of the British royal family.

Alongside the exhibition, Takeo Paper Show also presented a display focusing on paper as a sustainable material, including details of circular manufacturing processes and the importance of forest management.

The company also produced a book containing images of all the packaging examples displayed in the exhibition, along with input from Hara and Umebara and discussions about the relationship between people and paper.

Japanese designers are behind some of the most innovative examples of paper-based products in recent years, including a range of recyclable soap dispensers by Nendo that look like milk cartons and Kai's plastic-free disposable razor informed by origami.

Packaging: Function and Laughter was on show from 13 to 22 October 2023 as part of the Takeo Paper Show. See Dezeen Events Guide for more architecture and design events around the world.

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French designer Philippe Starck has created a hydrogen refuelling station featuring a mirror-polished stainless-steel casing and colour-changing dichroic glass designed to give it a futuristic feel.

Starck designed the dispenser for HRS, a leading European designer and manufacturer of hydrogen stations.

HRS by Starck is based on the company's high-capacity refuelling points, which can dispense hydrogen gas to power cars, HGVs, buses, boats, trains and construction machinery.

The prototype design is being presented at the COP28 climate summit in Dubai as part of the Green Zone – a hub dedicated to energy transition technologies, innovation and decarbonisation.

Starck explained that the design aims to be "almost invisible", in order to emphasise that the fuel it supplies takes the form of a colourless gas that offers an alternative to fossil fuels.

"Hydrogen is clean; it is nothingness, the ether," said the designer.

"It is clear that HRS By Starck hydrogen refuelling stations should be dematerialised. No particular style or design, for an object, which, like all other smart devices, has already disappeared."

The hydrogen station is contained within a polished stainless-steel box with a window that displays the interior. This glass panel features a dichroic treatment that creates a subtle colour-changing effect.

"HRS by Starck is elegant and intelligent energy, at the service of hydrogen, which is the minimum that gives the maximum, serving people and the future," Starck added.

HRS's modular and scalable refuelling stations are filled with highly compressed hydrogen gas that is stored and cooled so that it can be dispensed using the system's outlet points.

The various hydrogen stations are compatible with all types of vehicles thanks to their two available pressure settings (350 bar and 700 bar).

The products can be adapted to meet both professional and public needs, with examples already operating in several locations across Europe. The first of the HRS by Starck dispensers will be installed in 2024.

Hydrogen power is seen as an important alternative to fossil fuels as it has the potential to deliver lower-carbon, efficient and affordable energy at scale.

The fuel is already being used to power vehicles including a 19-seater prototype aeroplane and an off-road vehicle developed by Japanese carmaker Lexus.

British airline EasyJet and engineering company Rolls Royce have produced a hydrogen-powered aircraft engine, while London design studio Layer has created a system of products for retrofitting vehicles to run on green hydrogen.

Starck has worked across many disciplines including product and furniture design, architecture, and marine and aerospace engineering.

The designer recently told Dezeen in an interview that he has spent his career fighting against "macho products" targeted at men and called on the next generation to focus on creating a more "asexual" design aesthetic.

Visuals are courtesy of Philippe Starck.

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A grape-based leather alternative and sequins made from tree cellulose are among 15 material innovations on show as part of fashion house Stella McCartney's exhibition at the COP28 climate conference.

In partnership with Stella McCartney's parent company LVMH, the Sustainable Market showcases "the possibilities of current cutting-edge or soon-to-be available technologies" that could transform the fashion industry.

The 15 chosen innovators range from start-ups to established brands, providing plant-based alternatives to plastic, animal leather and fur as well as regenerative alternatives to traditional fibres.

"The fashion industry accounts for eight per cent of global greenhouse gas emissions," McCartney said. "We need to get creative and innovative with alternatives, moving beyond the limited materials that the industry has been working with traditionally."

"If we can work collaboratively with these goals, we can actually begin doing business in a way that regenerates our planet instead of only taking from it."

Among the featured companies is Radiant Matter, which produces plastic-free iridescent BioSequins, and Mango Materials, which transforms captured methane emissions into plastic as seen in Allbirds' Moonshot trainers.

US start-up Natural Fiber Welding is presenting its plant-based leather alternative Mirum, which has already been used across Stella McCartney's Falabella and Frayme bags as well as a series of fragrance-infused jackets by MCQ.

The Sustainable Market also showcases examples of finished products including crochet dresses and bags by Stella McCartney that are made using seaweed-based Kelsun yarn and the first-ever garment crafted from biologically recycled polyester by US company Protein Evolution.

Another stall highlights Stella McCartney's collaboration with Veuve Clicquot to develop a grape-based leather using waste from the champagne house's harvest.

The Sustainable Market also highlights three student projects from the Maison/0 incubator at design school Central Saint Martins, which is supported by LVMH.

Automating Violacein by Charlotte Werth explores how an automated microbial dye process can be used to produce printed patterns for luxury textiles.

Other projects examine how bacteria, algae and food waste could offer bio-based alternatives to synthetic dyes, and how lab-grown keratin fibres could be used for luxury clothing.

The products are displayed in market stalls featuring 3D-printed walls infused with a compound by Spanish materials company Pure Tech, which it claims can remove CO2 and volatile organic compounds (VOCs) from the air by converting them into harmless mineral particles.

Other brands invited to participate in the market include US company Brimstone, which claims to have created "the world's first carbon-negative portland cement", and Chargeurs Luxury Fibers, which produces wool using regenerative farming methods.

McCartney was asked to represent the fashion industry at COP28 to advocate for policy and regulatory change to incentivise sustainable business and the decarbonisation of the industry.

Her delegation also seeks to promote human and animal welfare while building a coalition of global government and business leaders to scale investment in material innovations.

Recently named among Time magazine's 100 most influential climate leaders, McCartney bills her eponymous brand as the world's first luxury fashion house to never use animal leather, feathers, fur or skins.

The Sustainable Market concept was first launched as part of her Summer 2024 runway show during Paris Fashion Week and will continue to evolve over the coming year following COP28.

The exhibition is taking place at the climate conference until 12 December in Dubai, United Arab Emirates.

Last year's Conference of the Parties (COP), which was held in Sharm El-Sheikh, Egypt, saw architect Norman Foster launch a set of sustainability principles for architects while a team of researchers developed an app that predicts damage to global cities from rising sea levels.

The event was described as "deeply depressing" by architect and engineer Smith Mordak in their opinion piece for Dezeen, with other architects and sustainability experts expressing frustration at the slow pace of global action to reduce carbon emissions.

The photography is courtesy of Stella McCartney.

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Designer Yves Béhar's studio Fuseproject has created a family of portable power stations with accompanying solar panels for US start-up Yoshino, utilising ultra-efficient solid-state batteries.

Californian firm Yoshino set out to disrupt the portable charging market by introducing the latest SSB tech, which is made using solid instead of liquid electrolytes and can provide twice the amount of energy in half the weight compared with standard lithium-ion batteries.

Béhar's San Francisco-based studio was tasked with overseeing the industrial design, user interface, brand identity and packaging design for the power station, which comes in four different sizes, as well as a series of folding solar panels with which it can be charged.

Fuseproject's design aimed to redefine what a battery power station brand could be, reflecting Yoshino's positioning as a green energy company that is hoping to provide a powerful alternative to fossil-powered generators.

"A new tech advance such as this new type of battery needs a design that expresses technical leadership while demonstrating the many use cases it solves in people's everyday lives, whether it's for working on an outdoor project or construction, or a weekend trip," Béhar told Dezeen.

Yoshino says its product is the "world's first solid-state portable power station", delivering up to 2.5 times the energy density of standard lithium-ion batteries so it can be used in contexts such as camping trips or even as a back-up generator for the home.

This focus on everyday users prompted Fuseproject to pursue a more lifestyle-oriented approach with a muted colour palette and comfortable handles, rejecting the masculine and technical associations that typically define products like generators.

"We achieved a softer look for these products by stepping away from the often black and bright colour accent approach that is quite common," the designer said. "Instead, we used tonal variations of greens and greys."

"For the whole product line, we also designed comfortable built-in handles to make them more portable and protected," he added.

The sleek and strong metal handle forms a design signature that recurs across the product range. Its ergonomic form makes it easy to pick up and move the battery stations, emphasising their lightness and portability.

Each product features a dynamic, angular form intended to enhance its stability and communicate the concept of power. A shatterproof and water-resistant interface with gently rounded corners extends the products' cohesive aesthetic.

Another recurring motif is the hexagon shape that appears in the venting ports, carrying-strap attachments, base pads and the design of the user interface. This form was inspired by bees as "a symbol of nature, hard work and non-stop energy", according to the studio.

Fuseproject opted for a subtle colour palette that expresses green energy and aligns with other products designed for outdoor recreation.

The battery stations feature AC, DC and USB outlets to power gadgets and devices on the go. Wireless charging pads on the top surface offer an alternative option for charging phones and tablets.

The power station comes in four different sizes, with the smallest delivering 330 watts of power while the largest provides 4,000 watts and includes a 30-amp RV outlet for recreational use.

Yoshino has also developed a range of portable solar panels that can be used to charge its power stations, providing a sustainable and reliable source of energy.

The new design language extends to a dedicated app that allows users to check their power station's status, charge levels, runtime and settings from their phone screen.

Yves Béhar founded Fuseproject in 1999. Since then, the multidisciplinary studio has designed innovative projects including the Cionic Neural Sleeve – a bionic wearable that uses electric pulses and artificial intelligence to correct muscle movements in people with limited mobility – which was named design project of the year at the 2023 Dezeen Awards.

The studio also designed the Frame TV for Samsung, which looks like a framed artwork when not in use, and partnered with robotics company Cobalt to create an unthreatening design for its security robot.

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London design studio Blond has worked with Electric Air to develop an elevated product design and visual identity for the start-up's heat pump system, in a bid to bring low-carbon heating and cooling to more US homes.

Electric Air founder Chris Mui recruited the design agency to help him fulfil his mission of convincing homeowners to ditch their gas-guzzling boilers.

With this aim, the former aerospace and Tesla engineer set out to develop a full hardware and software system that improves on the aesthetics of air-source heat pumps whilst also making the installation process more straightforward.

Blond was tasked with creating a brand identity and the industrial design for a family of four products that make up the heat pump system. The studio aimed to create a solution that is desirable, intuitive to use and easy to integrate into existing homes.

"Heat pumps, condensers and other home heating and cooling products tend to be fairly unconsidered in terms of their aesthetics because they're often hidden away in a loft or basement," Blond director James Melia told Dezeen.

"We felt that if you're going to spend a significant amount of money making a big change to your home infrastructure it helps if the objects you're buying are attractive and desirable."

The all-electric heating and cooling system comes with an integrated air filtration system and features a cohesive, minimal design, designed to blend seamlessly with a range of buildings and interiors.

Blond set out to elevate the appearance of the appliance, which is often encased in chunky, plain casings to conceal its functional components, with the addition of soft curves and a mix of contrasting matt and gloss surfaces.

The Electric Air system comprises four products: a condenser unit – which is placed outside the home – an indoor air handling module, a thermostat and an optional wall unit.

An app allows users to see and control their home's heating and cooling, as well as their indoor air quality.

The condenser unit exchanges energy with the outside air using refrigerant and a compressor. The warmed air is fed through the air handler and humidifier module, which heats, cools and dehumidifies it.

The thermostat helps to optimise the heat pump's efficiency whilst also monitoring humidity levels. If it detects harmful particulate pollution or excess CO2 in the air, it can trigger HEPA filtration and fresh air intake to improve indoor air quality.

"This thermostat has a kind of superior functionality to existing products from the likes of Nest or Hive," Melia explained.

"It is able to read the air quality inside the home and then adjust the filtration further down the system to be able to deliver the kind of air that is required to provide a balance inside the home."

An important part of the project's focus was the need to improve how heat pumps are assembled, installed and repaired. Blond helped to develop proprietary software that makes it easier for contractors to size the system, therefore increasing the potential for more home installs.

"The system will appeal to installers who are often the ones recommending products and systems to clients," Melia said.

"If they can see that installing the Electric Air systems is much easier because of how it's designed that will help increase uptake considerably."

The heat pump's stacked aesthetic is designed to allow a technician to conduct repairs or servicing by opening one of the hatches rather than having to remove a large cover.

This configuration also reduces costs relating to manufacturing, shipping and disassembly, according to Blond.

Alongside the hardware, the studio created a brand identity that complements the product's minimal and timeless design language. Blond chose a simple logo and versatile Neue Montreal font to provide visual balance and legibility.

A monochromatic colour palette is used for all of the products, with pops of green, blue and red adding what Blond described as "a lifestyle sensibility and softness to the brand".

The agency also developed the user interface for the thermostat, the user control app and the website that Electric Air is using to take pre-orders ahead of its US launch in winter 2024.

In lieu of a full-scale prototype, which is costly to produce for a start-up when it comes to a product of this scale, Blond's renders give prospective customers an idea of what the products will look like before production is complete.

The studio often collaborates with start-ups to reimagine common product typologies.

Previously, Blond has designed a stripped-back bank card for Revolut and the packaging for refillable deodorant Fussy.

The images are courtesy of Blond.

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Design studios Map Project Office and Modem have developed a concept for a diagnostics kit backed by artificial intelligence that would allow patients to perform basic triage on themselves.

The Smart Aid Kit offers a vision for how generative artificial intelligence (AI) could help to provide universal healthcare with the help of four different sensors – modelled on a stethoscope, spirometer, ophthalmoscope and a skin scanner.

Map and Modem developed the concept to show how individuals and communities without ready access to healthcare might conduct tests that would usually be carried out by a nurse or GP.

"Many people, especially in underprivileged areas, lack basic healthcare services, highlighting the need for universal healthcare," Modem co-founder Bas van de Poel told Dezeen.

"Recent technological advancements, particularly in AI, present opportunities to address these disparities," he added. "AI-powered devices can aid in diagnosing and managing health conditions, especially where access to healthcare professionals is limited."

The Smart Aid Kit would make use of large language models (LLMs) – a type of AI capable of analysing vast amounts of data and using it to generate answers in response to users' questions.

Map and Modem noted in a research paper produced as part of the project that Google's AI-based Med-PaLM system is already being trialled in the United States to answer consumer health questions.

The team wanted to show how these technologies could be merged with purpose-built hardware to enable users to manage their healthcare independently.

They developed a range of robust, approachable and easy-to-use tools that can scan and evaluate various health conditions, enabling the kit to act as a virtual practitioner.

The information gathered by the sensor devices is relayed to a core unit containing the LLM, which can then diagnose conditions and provide instant feedback.

The studios envision the Smart Aid Kit being placed in public spaces much like an automated external defibrillator (AED).

A case equipped with solar panels for charging would contain the four sensors designed to evoke equipment currently used by medical practitioners, with simple forms dictated by their functions.

A stethoscope with a large white diaphragm would relay sound waves produced inside the body to the AI, which would measure and analyse temperature, blood pressure and oxygen saturation.

The spirometer would gather air and saliva droplets from the user's breath, allowing the LLM to perform microbiome analysis as well as nutrition and dietary assessments that could provide metabolic feedback and facilitate cancer screening.

An ophthalmoscope would be used to inspect the inside of the eye and its surface, which could help the AI to detect neurological disorders and auto-immune diseases as well as assess cardiovascular health.

The designers also developed a new tool for assessing skin health including hydration and pigmentation. This domed scanning device could be used to diagnose dermatological conditions, detect allergies and support the early detection of skin cancer.

The products' simple forms are designed to be familiar and intuitive to use. Visible colour bands that help to distinguish each tool nod to the primary colours currently found in the healthcare ecosystem.

"Together we wanted to showcase a series of simple objects that could perform well and are instinctive to use," said Map creative director Emilie Robinson.

"Although Smart Aid Kit is experimental, crafting the tools physically was important to understand how the designs would look and feel when used," she added.

"The resulting designs feel elevated, clean and trusted, all important for tools that might be used when assessing your healthcare."

The first-aid box itself would integrate a text-based user interface powered by the LLM.

Designed specifically for non-professionals, the UI would use both voice and text to provide simple instructions on how to use the various devices, along with friendly advice delivered in the style of a GP consultation.

Van de Pool hopes the conceptual project will serve as a springboard for discussions with brands and "inspire specialised companies to transform this vision into reality."

"Design has the power to transform healthcare accessibility and we hope to inspire companies who can have an impact here," Robinson added.

Dezeen's recent AItopia series explored AI's impact on design, architecture and humanity, including a comprehensive overview of the key terms in the field and why they matter.

As part of the series, designer Madeline Gannon talked about how anthropomorphised robots could be given human traits to make them more approachable while AI ethicist Alice Xiang voiced concerns about the potential for algorithmic biases to entrench existing societal inequalities.

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Chinese materials company Yi Design has developed a porous brick made from recycled ceramic waste that could be used to prevent flooding in urban areas.

The Permeable YiBrick is made from 90 per cent recycled ceramic waste sourced from industrial porcelain manufacturers in the city of Jingdezhen, which is known as the ceramics capital of China.

Yi Design was established by curator and artist Caroline Cheng and designer Karl Yin in response to the enormous volume of waste materials generated by the country's ceramics manufacturers.

According to the company, China produces approximately 18 million tonnes of ceramic waste each year, the majority of which is dumped or buried illegally.

Yi Design collects waste from selected local producers, before grinding and binding it together using a specially developed non-organic chemical binder, which the company claims is free from plastics and cement.

The resulting material is used to create a series of durable products such as bricks and glazed tiles in the company's own factory in Jingdezhen, which was set up in 2021.

The Permeable YiBrick uses up to 97 per cent recycled waste in its production, making the product both highly porous and robust.

As a result, the building blocks can be used as a more absorbent alternative to conventional cement bricks in various architectural contexts.

"This brick can harvest rainwater, redirecting it from the sewage system to the water table by permeating through the ground," Cheng told Dezeen.

"It is perfect for sponge cities – urban spaces that retain stormwater before gradually filtering and releasing it – or for outdoor use in paving areas and gardens," she added. "It can also be used as a base of water fountains."

The company's products have already been used in several projects including the tiled wall of a store for fashion brand COS in Shanghai's Century Plaza shopping mall.

The Permeable YiBrick is shortlisted in the sustainable building product category of the 2023 Dezeen Awards alongside a hexagonal paver system by Norwegian firm Snøhetta and Erosion Mitigation Units made from recycled oyster shells.

Earlier this year, we rounded up seven examples of alternatives to conventional bricks, including products made using construction waste, expanded cork and human urine.

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Chilean designer Juan Bruce has developed an expressive typographic family that supports both the Latin and the Bengali alphabet.

It includes the Noort Latin typeface – originally developed by Bruce in 2017 – and its evolution Noort Bengali, with both sharing key characteristics so they can be used together as a family while also retaining Bengali's unique character.

The aim was to create "a bilingual family that respects cultural differences", according to the designer, who was inspired by research showing that computer software is often developed with only Western writing systems in mind.

Up until recently that meant Bengali speakers, who hail from Bangladesh and parts of north-eastern India, could only send text messages using the Latin alphabet.

"The globalised world demands the coexistence of multiple cultures and languages, but globalisation shouldn't mean minorities adapting to majority ideas to be recognised and respected," Bruce said.

"Noort Bengali is a fresh proposal that brings together two cultures and prioritises them equally."

Published by font foundry TypeTogether, the original Noort typeface is a serif font family influenced by 17th-century Dutch maps.

Noort Bengali features the same five weights, stoke style and low contrast as its forebearer but is distinguished by an interrupted headline and distinctive diagonal linework reminiscent of calligraphy.

In this way, the typeface aims to retain the dynamism of traditional Bengali handwriting while meeting modern standards of character sets, glyph reordering and vowel attachments so it can be used as a scalable digital font.

The Noort font family is geared towards Bengali and bilingual books and editorials. It also comes with a suite of cartographic and way-finding icons so it can be used for information design.

Bruce told Dezeen that his main motivation for the project was "just the plain fun of exploring new shapes, languages and cultures".

"The idea was never to be all high and mighty about how Bengali designs should be," he said. "It's about understanding new things."

"I also find it very challenging to harmonise two different scripts that follow very different rules. The coexistence of such diverse writings in the same line of text or paragraph is, in my opinion, pleasing to the eye."

By creating a multi-script typeface that treats both Latin and Bengali equally, he also wanted to provide a tool that might help to protect the future of this widely used yet vulnerable language.

"Typography is in a way the simplification of shapes for mechanised writing," Bruce said. "But some scripts compromise too much of their nature."

"I think since we have the technologies to do so, we should enable more of these native traits to enter into typography."

Noort Bengali has been shortlisted in the graphic design category of the 2023 Dezeen Awards alongside a rebrand for boxed wine and an interactive calculator that projects damage to coastal cities from rising seas.

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Interior architect Ntaiana Charalampous has developed a customisable kitchen system formed from stainless steel modules, which has been shortlisted for a 2023 Dezeen Award.

Charalampous, who is the co-founder and creative director of multi-disciplinary design studio Dedàleo, developed the Ilo+milo system as an alternative to what she calls "the rigid and static nature of traditional kitchens".

The concept is aimed at homeowners and young individuals seeking adaptable solutions that can be used to create their ideal kitchen layout.

"Recognising that modern lifestyles are dynamic and ever-changing, the project aims to provide a solution that allows for flexibility and versatility within the kitchen environment," said Charalampous.

"By introducing a revolutionary modular system, Ilo+milo 2.0 enables users to rearrange and reconfigure their kitchen layout effortlessly," the Cypriot designer added.

The Ilo+milo 2.0 system, which was updated in 2022 following its initial launch the previous year, comprises square stainless-steel modules measuring 60 by 60 centimetres.

The modules can combine in various ways to create a highly personalised design. Users can choose to create a generous, open layout combining wall units with a kitchen island or can opt for a more compact configuration to make the most of small spaces.

The square units are complemented by modules featuring curved surfaces and height-adjustable legs, which can be detached and used to form a separate dining table.

Each module can be specified in different materials and finishes, with the metal doors, drawers and pull-out tops available in a wide range of colours to suit the user's personal style.

The vertical metal elements can be plain, perforated or corrugated, while the work surfaces are made from stainless steel or a terrazzo-like material crafted using pieces of recycled metal and glass waste.

The development of the Ilo+milo 2.0 concept prioritised sustainability throughout the product's lifecycle. Its recyclable stainless-steel frames and worktops made from recycled materials help to minimise waste and maximise the potential for reuse.

The system's modularity also ensures components can be easily replaced, therefore reducing the need to discard the entire kitchen if one element needs to be updated.

The Ilo+milo 2.0 kitchen features on the shortlist for the bathroom and kitchen product category at the 2023 Dezeen Awards alongside faucets with a hidden smiley face detail and a "nomadic" hose-powered outdoor shower by Formafantasma.

Images courtesy of Fine Art Photographer.

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London studio Seymourpowell has combined an insulated water bottle and a cup with a lid into a single product, Bottlecup, so users only need to remember one item when leaving the house.

The owners of Bottlecup, Kate and Mark Arnell, asked multidisciplinary agency Seymourpowell to help them create a single item that could replace both disposable water bottles and coffee cups.

They found that approximately 2.5 billion disposable coffee cups are used and then thrown away each year in the UK, with only one in 400 of those being recycled.

Recognising that reusable-cup owners often forget to carry their vessel with them, they looked for a way to unite a vacuum-insulated bottle with a lidded cup that can be used for takeaway drinks.

The project team identified that existing reusable bottles or flasks on the market either didn't provide a cup lid, or didn't allow the bottle and cup to be used independently of one another.

"Bottlecup innovated to combine a reusable water bottle and reusable cup and cup lid into one seamless item, where both items functioned in their fullest independently of each other without compromise," the designers explained.

The stainless-steel water bottle slots inside the cup and twists to lock it in place when carrying both items. The two elements each feature a gently curved silhouette that improves their ergonomic properties.

The cup can be released with a simple twist and used on its own or with the silicone lid, which is stored in its base so users don't need to carry it separately when drinking beverages such as smoothies, beer or soups.

The silicone waist provides a tactile surface for holding the product, which makes twisting the cup on and off easier. The coloured band also prevents liquid from leaking into the user's bag when the two elements are united.

A variety of colour options for the silicone band and cup lid allows Bottlecup to be personalised by selecting a favourite hue when purchasing the product. The cup is also available in a range of colours or in plain stainless steel.

Sustainability and circular design were key concerns throughout the project, leading to the creation of a product that uses no mixed materials so all of the component parts can be easily recycled.

"Designing without plastic meant features like push-close lids and mouldable rigid shapes were all restricted from the design," the project team explained.

"The majority stainless-steel finish has a satisfyingly engineered and qualitative feel," it added.

The 18/8 stainless steel used for the bottle and cup can be collected by curbside recycling services, while the band and cup lid are made from food-grade silicone that can be returned to Bottlecup to be recycled responsibly.

Bottlecup features on the shortlist for the product design (consumer design and wearables) category at Dezeen Awards 2023, alongside projects including the latest version of Samsung's Galaxy Z Flip smartphone and a bicycle that can easily switch between analogue and electric riding modes.

Other designs that respond to the issue of waste generated by disposable drinking cups include biodegradable cups made using home-grown vegetables and a circular-economy service called Cupclub that supplies and then recycles its own reusable coffee cups.

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