Zooco Estudio unveils Cantabrian Maritime Museum restaurant
CategoriesInterior Design

Zooco Estudio unveils Cantabrian Maritime Museum restaurant

Madrid-based Zooco Estudio has created a striking restaurant within the Cantabrian Maritime Museum in Santander, Spain, that celebrates the building’s brutalist architecture.

The restaurant is set within a dramatic vault of concrete paraboloids that were unearthed during the renovation, while a slatted timber ceiling pays homage to the area’s shipbuilding legacy.

Interior of brutalist Cantabrian Maritime Museum restaurant in Spain by Zooco EstudioInterior of brutalist Cantabrian Maritime Museum restaurant in Spain by Zooco Estudio
Zooco Estudio added a restaurant to the second floor of the Cantabrian Maritime Museum

Overlooking the tranquil waters of Santander Bay, the restaurant is located on the second floor of the landmark Cantabrian Maritime Museum, which was designed in the mid-1970s by architects Vicente Roig Forner and Ángel Hernández Morales.

The paraboloids were an original fixture of the structure and supported the roof of what was once the museum’s patio.

Interior of brutalist Cantabrian Maritime Museum restaurant in Spain by Zooco EstudioInterior of brutalist Cantabrian Maritime Museum restaurant in Spain by Zooco Estudio
Oak details were designed to contrast the restaurant’s concrete arches

The studio focused on restoring the historic fabric of the space and reviving the paraboloids, which had been concealed for around 20 years, as “a vestige of the past”.

“In 2003, the building was renovated and as part of this intervention, the paraboloids were covered with a new roof and the space between them and the perimeter of the building was closed with glass, generating a covered space where there was previously a terrace,” Zooco Estudio co-founder Javier Guzmán told Dezeen.

“We wanted the concrete paraboloids to be the absolute protagonists of the space and by removing the paint and the coating, the paraboloids are visible again and regain their full prominence.”

Interior of brutalist restaurant in Spain by Zooco EstudioInterior of brutalist restaurant in Spain by Zooco Estudio
The renovation exposed the raw concrete surface of the paraboloids

The previous renovation also altered the dimensions of the space and reconfigured the volume as a square.

To promote symmetry, four additional concrete triangles were added to balance out the original paraboloids in the brutalist restaurant.

Timber ceiling panels and concrete paraboloids inside a brutalist restaurantTimber ceiling panels and concrete paraboloids inside a brutalist restaurant
Slatted wooden ceiling panels bridge the gaps between the arches

Overhead, a false ceiling of slatted timber panels frames the concrete arches.

The studio designed theses triangular boards to reference the arrangement of timber across the hull of a boat, a nod to the museum and the area’s nautical past.

The panels also serve the purpose of concealing the restaurant’s mechanical systems.

“The wooden slats bring warmth and friendliness to the space while allowing us to solve all the technical needs for air conditioning, heating and lighting, leaving them hidden,” Guzmán said.

“In this way, we ensure that all these elements do not interfere with the dialogue of concrete and wood, which are presented as continuous and clean elements.”

Dining tables overlooking views of the Santander bayDining tables overlooking views of the Santander bay
Walls of floor-to-ceiling glazing offer views across the bay

The interior layout was largely dictated by the low arches of the elliptic paraboloids that dominate the brutalist restaurant.

“The geometry of the existing structure conditions the space, because its height in its lower part is impractical, so a large bench is arranged around the entire contour that allows us to take advantage of that space and organise the distribution of the rest of the floor plan,” added Guzmán.

Concrete paraboloid and dining tables inside brutalist restaurant in Spain by Zooco EstudioConcrete paraboloid and dining tables inside brutalist restaurant in Spain by Zooco Estudio
Grey porcelain floors mirror the concrete paraboloids

Like the ceiling panels, the interior finishes and furnishings allude to the maritime history that the building commemorates.

“The use of wood and steel for all the furniture is reminiscent of the materials used in shipbuilding – the furniture has slight curvatures that are reminiscent of the aerodynamic shapes of boats,” explained Guzmán.

“Likewise, the lamps are inspired by the masts for ship sails.”

Dining tables at Cantabrian Maritime Museum restaurantDining tables at Cantabrian Maritime Museum restaurant
Zooco Estudio also designed the restaurant’s curved timber furniture

Another key change was the replacement of the perimeter glass wall.

The inclined glazing was swapped for vertical glass, a decision that reclaimed external space for the patio, which stretches the length of the restaurant and overlooks the harbour below.

“When we are inside, the feeling is the same as when we are inside a boat, there is only water around, and that is why we used clean glass from floor to ceiling, generating a perimeter terrace as happens on boats,” said Guzmán.

Terrace at Cantabrian Maritime MuseumTerrace at Cantabrian Maritime Museum
The terrace features green curvilinear outdoor furniture

Other projects by Zooco Estudio include a renovated house in Madrid and a co-working space with a kids’ play area in California.

The photography is by David Zarzoso.


Project credits:

Architect: Zooco Estudio
Construction:
Rotedama Constructora SL
Lighting: Zooco Estudio
Furniture: Zooco Estudio

Reference

Standard Architecture refreshes interior of pink Paul Smith store in LA
CategoriesInterior Design

Standard Architecture refreshes interior of pink Paul Smith store in LA

British fashion label Paul Smith’s iconic pink store in Los Angeles has received an interior makeover from Standard Architecture.

Standard Architecture collaborated with the Paul Smith design team to reimagine the 4,740-square-foot (440 square metres) store on Melrose Avenue, West Hollywood.

Paul Smith LA store interior is stone-clad partitions and exposed raftersPaul Smith LA store interior is stone-clad partitions and exposed rafters
Standard Architecture and the Paul Smith team reorganised the LA store to better define the brand’s different collections

The studios also created a new VIP entrance patio for the building, which is notorious for its bright pink exterior that has become a pilgrimage spot for amateur photoshoots.

“The primary goal was to enhance the overall customer experience within the store, which was achieved by creating a more cohesive and immersive shopping environment across the different brand departments,” said Standard Architecture.

Seating area with clothing displays on either sideSeating area with clothing displays on either side
Stone-clad partitions help to define areas, but don’t reach the exposed timber ceiling

The entrance to the store – the only opening in the giant pink wall that faces the parking lot – leads shoppers through a glossy red metal vestibule into the main retail space.

Clearly defined yet interconnected areas for the menswear, womenswear and homeware collections help with navigation around the store.

Suits displayed in colour order on long brass railsSuits displayed in colour order on long brass rails
Long brass rails are used to present tailoring

Partitions clad in dappled beige stone frame these zones, but don’t reach the exposed timber ceiling, to retain the sense of openness.

In places, the stone walls are inlaid with mosaic-style artworks depicting abstract flora, which add splashes of colour to the warm-toned surfaces.

Paul Smith homeware collaborations displayed in a corner of the storePaul Smith homeware collaborations displayed in a corner of the store
Paul Smith’s collaborations with Gufram and Anglepoise are among the pieces on show

Black track lighting is suspended from the rafters, spotlighting the various clothing displays and lounge areas furnished with midcentury-style sofas and armchairs that are dotted around the store.

Long brass rails that appear to be suspended in midair are used to display suit jackets, which are carefully arranged by colour.

Shoes presented on stepped white ledges that resemble bleacher seatingShoes presented on stepped white ledges that resemble bleacher seating
Shoes are presented on stepped white ledges that resemble bleacher seating

In an area dedicated to accessories, the shoes and bags are lined up on stepped white ledges that resemble bleacher seating.

Walnut is used for accents including shelving, door frames, and podiums, as well as for a large open storage system with compartments for presenting individual products and a row of sculptures by Alexander Calder.

Founded by fashion designer Paul Smith in 1970, his eponymous brand is synonymous with the brightly coloured stripes applied to many of its apparel products and other collaborations.

Many of these appear throughout the store, including a colour-tinted Anglepoise desk lamp and a striped version of Gufram’s cactus-shaped coat stand.

Glossy red metal vestibule with store interior beyondGlossy red metal vestibule with store interior beyond
Entry to the store is via a vestibule wrapped in glossy red metal

“Overall, the design reflects a deep understanding of the brand’s identity, which places a strong emphasis on the use of colour and attention to detail,” Standard Architecture said.

Paul Smith retail spaces around the world are equally playful. On London’s Albemarle Street, its boutique has a patterned cast-iron facade by 6a Architects, while the shop in Seoul is encased in a curving concrete shell by System Lab.

Bright pink exterior of Paul Smith store on Melrose AvenueBright pink exterior of Paul Smith store on Melrose Avenue
The store on Melrose Avenue is an icon in Los Angeles thanks to its bright pink facades

Standard Architecture was founded by Silvia Kuhle and Jeffrey Allsbrook, who discussed their work with Dezeen during our Virtual Design Festival in 2020.

Past projects by the firm include a Hollywood Hills residence with a cantilevered swimming pool and a minimal showroom for fashion brand Helmut Lang – which was located just a few blocks from the Paul Smith store before it shuttered.

The photography is by Genevieve Garruppo.



Reference

Historic sanatorium in Greek mountain forest transformed into Manna hotel
CategoriesInterior Design

Historic sanatorium in Greek mountain forest transformed into Manna hotel

Greek architecture offices K-Studio and Monogon have converted the abandoned Manna Sanatorium in Arcadia, southern Greece, into a luxury forest hotel.

Originally built in the 1920s to give tuberculosis patients access to the healing power of nature, the historic structure is now a five-star wellness retreat.

Manna offers 32 rooms fitted out with natural materials and neutral tones, plus gym and spa facilities and a restaurant focused on local produce.

Stone facade of Manna hotel by K-Studio and MongonStone facade of Manna hotel by K-Studio and Mongon
Manna hotel is housed in a former sanatorium for tuberculosis patients

The building sits within a fir forest on Mount Mainalo, the tallest peak in the mountainous region.

The design vision set out by Athens-based K-Studio was to amplify the sense of sanctuary offered by the remote location and enhance the feeling of connection to nature.

Manna owner Stratis Batayas, a Greek entrepreneur who had spent his childhood summers in the area, wanted to create a year-round destination that stayed true to the building’s history.

Manna hotel in Arcadia by K-Studio and MongonManna hotel in Arcadia by K-Studio and Mongon
The building is set in a fir forest in Arcadia, a mountainous region of Greece

“The client’s ambition was to reinterpret the concept of a sanctuary in the mountains with contemporary terms,” reads K-Studio’s design statement.

“The hotel would have to be a place for isolation, as well as community-making and participation in the primary activities of everyday living.”

Lounge at Manna hotelLounge at Manna hotel
Design details include columns with curved corner reveals and ornate gridded ceilings

The renovation was overseen in collaboration with Athens-based Monogon and involved significant building work, including the reconstruction of a derelict rear wing and the installation of a new roof.

When the sanatorium closed – made obsolete following the introduction of penicillin in 1938 – the building had been emptied to prevent looting. Stone window sills were stripped out and relocated, while the original roof was removed and repurposed on a hospital in nearby Tripoli.

Concrete was used to replace the old sills, while the new timber roof was installed over rendered brickwork.

Bar at Manna hotelBar at Manna hotel
The bar features neatly crafted joinery

A reconfigured layout provides a new entrance on the side of the building.

This leads through into a series of elegant reception and lounge spaces where details include columns with curved corner reveals, ornate gridded ceilings and a herringbone-patterned fireplace.

Manna’s bar can also be found here, featuring neatly crafted joinery. Elsewhere, the restaurant run by chef Athinagoras Kostakos has a more casual feel thanks to an open kitchen.

Art is present throughout, with works by Greek artist Nikos Kanoglou, painter Joanna Burtenshaw and ceramicist Diane Alexandre.

Attic bedroom at MannaAttic bedroom at Manna
Attic bedrooms feature dormer balconies

Bedrooms are located on the upper floors of the main building, including a new attic level, and on all levels of the rebuilt northern wing.

Attic rooms offer the most modern feel, extending out to balconies set within large gable-ended dormers.

Bedroom furnitureBedroom furniture
Interiors feature natural materials and neutral tones

The materials palette combines brushed timber with earth-toned textiles. Standout features include the elaborate privacy screens that form a backdrop to the beds.

Terrazzo flooring is inlaid with marble to define different zones, matching the stone used for wash basins. Room numbers are carved into the floor surfaces in front of each room entrance.

“Local craftsmen were involved in all construction phases, as they bear the knowhow of stoneworks, joinery and even the characteristic engraved grouting of the exterior stonewalls,” said K-Studio.

Bath in bedroom at MannaBath in bedroom at Manna
Terrazzo flooring is inlaid with marble to define zones

Manna opened its doors in the summer of 2023 and is represented by Design Hotels, a booking company that specialises in design-led retreats.

K-Studio co-founder Dimitris Karampataki presented the project at the 2023 edition of The Lobby, an annual hospitality conference in Copenhagen.

Manna restaurantManna restaurant
Manna’s restaurant features an open kitchen

He said the design for Manna “embraces the wear and tear, embraces the natural patina”.

“When we first arrived we saw something, which took about a century to make,” he said. “We didn’t want to clean it too much, to be selective of its heritage. It was more important for us to embrace the whole story.”

Balcony viewBalcony view
The design aims to reconnect people with nature

Other destination hotels to open recently include the Six Senses Rome, designed by Patricia Urquiola, and the Sanya Wellness Retreat in Hainan, China, designed by Neri&Hu.

The photography is by Ana Santl.


Project credits

Architectural concept: K-Studio
Technical design: Monogon, CS Architecture
On-site supervison: Monogon, K-Studio
FF&E: K-Studio, Monogon
Art curation: Joanna Burtenshaw
Branding design: MNP
Surveyor: Ioannis Charbilas
Structural engineer: Niki Psilla
Mechanical engineer: Gerasimos Vasilatos/Alexandra Zachopoulou & Partners
Lighting design: Eleftheria Deko and Associates Lighting Design
Sound consultant: Alpha Acoustiki
Kitchen consultant: Xenex
Landscape architects: H Pangalou & Associates
Main contractor: CT Construction



Reference

First full-height timber wind turbine opens in Sweden
CategoriesArchitecture

First full-height timber wind turbine opens in Sweden

The world’s first full-scale timber wind turbine has started turning in Sweden, with a tower built by wood technology company Modvion.

The 105-metre-tall tower, located in the region of Skara, is Modvion‘s first commercial wind turbine tower, and follows on from a smaller 30-metre-high demonstration project the company completed in 2020.

While its rotor blades and generator hub are made of conventional materials, the tower is made of laminated veneer lumber (LVL), a type of engineered wood made of thin veneer strips glued together and often used for beams and load-bearing building structures.

Portrait photograph of a tall wind turbine against a bright blue skyPortrait photograph of a tall wind turbine against a bright blue sky
The tower of a wind turbine in Skara is made of engineered wood

The company says that this type of wood is not only strong enough to withstand the forces of a turning turbine, it is much more environmentally sustainable to build with than the currently used steel.

While wind power plays an important role in providing the world with green renewable energy, there are still ample carbon emissions created during their construction — in part because of the steel towers.

Modvion describes its wood towers as reducing the carbon emissions from wind turbine construction by over 100 per cent, due to the combination of a less emissions-heavy production process and the carbon storage provided by trees.

“Our towers, just in the production of them, they emit 90 per cent less than a steel tower that will do carry the same work,” Modvion chief financial officer Maria-Lina Hedlund told Dezeen. “And then if you add the carbon sequestration, then you actually end up with a minus — so a carbon sink. This is great if we want to reach net zero energy production, and we need to.”

Photo of the inside of a large timber cylinder, with a ladder going up the middlePhoto of the inside of a large timber cylinder, with a ladder going up the middle
The type of wood used is laminated veneer lumber

Hedlund, who is also an engineer, describes LVL as having a construction “similar to carbon fibre”, with strips of veneer just three millimetres thick sandwiched and glued together, giving it a high strength-to-weight ratio.

This lightness is a benefit, reducing the amount of material needed overall. With a heavy material, there is a “bad design spiral”, says Hedlund, as the weight of the tower itself adds to the load that it needs to carry.

And while some LVL has all their veneer strips facing in the same direction, Modvion uses its “own recipe” specifying the directions of the fibres, improving the material’s performance even more.

Photo of three people in work gear on top of an incomplete wooden towerPhoto of three people in work gear on top of an incomplete wooden tower
The turbine tower is the tallest so far built by Swedish company Modvion. Photo by Paul Wennerholm

The production process involves timber boards being made to order in a standard LVL plant and then delivered to Modvion’s factory. There, they are glued together into larger modules and bent into a rounded form in a step called lamination, and then very precisely machined to fine-tune the shape.

“In the wood industry, you usually see centimetre tolerances, while we are in the sub-millimetre scale,” said Hedlund.

The modular nature of LVL construction addresses another problem Modvion has observed with steel: that with turbines getting ever bigger to give more power, it’s becoming impossible to transport steel towers to site.

They are built as essentially large cylinders and transported by truck, but the base diameter desired for the tallest towers is getting to be taller than some bridges and roads can allow.

Photo of a giant module of curved laminated veneer lumber being engineered in a factoryPhoto of a giant module of curved laminated veneer lumber being engineered in a factory
The timber is laminated into modules at Modvion’s factory

“We’re now reaching a point where they will not get through anymore,” said Hedlund. “So we will see a transition in the wind power industry to modular construction, because this is the way to get them there. And one of the big advantages of building in the material we do is that it’s naturally built modular.”

While steel could also be built modular, it would require bolts rather than glue to join it together on site, which Hedlund says is a disadvantage.

“Bolts are not very nice when you have so much dynamic loading, because it will loosen over time,” she said. “So first of all, you have to have to put them in place which is a lot of work, and then you have to also service them over the lifetime.”

Photo of a worksite with a man in hi-vis operating machinery in the foreground and a large curved module being lowered into place in front of himPhoto of a worksite with a man in hi-vis operating machinery in the foreground and a large curved module being lowered into place in front of him
The modules were assembled and glued together on site

The Skara turbine has a capacity of two megawatts, which represents the maximum power output the turbine can achieve under ideal conditions. This is a bit lower than the average capacity for new turbines built in Europe.

On the outside, the tower has a thick white coating that makes it look similar to steel, and it’s rotor blades and generator hub, which are not supplied by Modvion, are made of conventional materials like fibreglass. This may change in the future, however, with another company, Voodin Blades, working on the technology for wooden blades.

Modvion was founded in 2016 by university peers David Olivegren and Otto Lundman. While its current focus is wind turbines, it is dedicated to wooden technology more broadly, and Hedlund told Dezeen that the team believes it has “the world’s strongest joint for timber construction”, which could also be put to other uses.

Another recent milestone for wind power came in the form of a wind-powered cargo ship, which had been retrofitted with two 37.5-metre-tall sails.

Reference

The Sims is a key part of why I ended up in interior design
CategoriesInterior Design

The Sims is a key part of why I ended up in interior design

The Sims has been allowing players to act out their architecture and interior design fantasies for more than two decades. Jane Englefield finds out how the makers of the iconic life-simulation video game keep up with shifting trends.

“People laugh when I mention playing The Sims, but it was hugely significant in terms of spatial planning and was a key part of how and why I have ended up in the line of interior design work that I have,” interiors stylist and editor Rory Robertson told Dezeen.

“The Sims offered people the opportunity to get a feel for design,” he reflected. “You could be as extravagant and outrageous, or as briefed and restricted as you liked.”

A cluster of houses in The Sims 1A cluster of houses in The Sims 1
The Sims was first released in 2000 with three sequels since developed

Created in 2000 by American game designer Will Wright, The Sims is a video game where players make human characters – or “sims” – and build their virtual houses and lives from scratch, catering to their needs and desires.

With four iterations of the main game and dozens of themed expansion packs focussing on topics such as university, parenthood and cottage living, The Sims is one of the best-selling video-game franchises of all time.

“It’s really accessible”

Architecture and interior design has been a major part of The Sims experience from the very beginning.

Having previously created the city-building game SimCity in 1989 – which itself has been credited with inspiring a generation of urban planners – Wright was originally motivated to develop The Sims after losing his home in the Oakland firestorm of 1991 in California.

In fact, early designs were for an architecture game, with the shift to focus on people a relatively late addition to the concept, according to one of the game’s first art directors, Charles London.

Design remained a core part of the offering, however, and the interface features tools that allow players to instantly build structures and decorate and furnish them from an extensive inventory of items.

Decorated bedroom in a house in The Sims 1Decorated bedroom in a house in The Sims 1
Players can choose from a wide inventory of decor and furnishing options

“It’s really accessible, so I think a lot of people get into it without even realising that they’re playing with architecture and playing with space,” said video-games expert and historian Holly Nielsen.

“While it was like catnip for design budding minds, it was also just a wonderful opportunity for procrastination and frivolity for people who aren’t particularly confident or tuned in to interiors or architecture,” echoed Robertson.

Since the original The Sims, a broad set of options has been available for players to suit their tastes and imaginations.

Possibilities have ranged from minimalist bungalows filled with neutral furniture to more outlandish dwellings, such as castles defined by Dalmatian-print wallpaper or hot tubs parked in the middle of multiple living rooms.

“We’ll take any source”

The team behind these possibilities described how they ensure that the architecture and interior design options stay feeling fresh and contemporary with each new game in the series.

“Since we’re a game about real life, anytime we step outside our door we have inspiration by just looking at what’s in our immediate environment,” game designer Jessica Croft told Dezeen.

Art director Mike O’Connor added that he and his team scour the real world and the web for up-to-date references.

“We’ll take any source,” he said. “We’re looking for patterns. If we start to see round furniture, or bouclé, or whatever the trend is, [we ask] has it already gone?”

“The internet doesn’t scrub old ideas. So you know, it’s seeing if there’s a trend, is it sticking, does it apply to what we’re doing now?”

Minimal Sims kitchenMinimal Sims kitchen
The in-game design possibilities have evolved over time to keep up with trends

Furniture and appliances within the game are regularly revised over time to reflect cultural and technological progression in the real world, Croft explained.

“In Sims 2 [released in 2004] I would not be surprised if there was a landline phone – and there definitely isn’t a landline phone in my own house, or Sims 4,” she said.

“Even things like VR [virtual reality] didn’t really exist back in The Sims 2 days, so things like VR consoles, computers – we just added dual-monitor computers, and LEDs are now in most households,” she continued.

That in turn sees the team take a surprisingly deep dive into how interiors are changing, O’Connor acknowledged.

“Over the life of this game, you see an evolution,” he said. “Electronics are probably the biggest category [of change]. Even just how people use TVs, how they place them, has changed.”

The idea, says Croft, is to ensure that The Sims players feel a close connection to the world they are building for their sims.

“The most fun thing for me is being able to allow players to craft stories that are relatable to them,” she said. “So, looking for opportunities to make players feel seen.”

“An element of freedom and fantasy-building”

But, as Nielsen points out, there is an additional aspect to the game’s architecture and design possibilities that is central to its appeal.

“In one sense, it’s reflective of society, but in another way, it’s aspirational,” she said.

“There’s an element of freedom and fantasy-building to playing The Sims,” she continued. “Homeownership is a thing that a lot of us will not get to do.”

As in real life, everything you build or buy in The Sims has a cost.

However, unlike in real life, punching “motherlode” into The Sims cheat-code bar will immediately add a healthy 50,000 simoleons to your sim’s bank account, putting that luxury sofa easily within reach.

Low-lit house within The Sims 4Low-lit house within The Sims 4
The game offers people “the opportunity to get a feel for design”

That possibility remains central to Robertson’s nostalgia for playing The Sims as a young would-be interior designer.

“Once you double-clicked The Sims graphic on your Microsoft desktop, a multi-roomed mansion cost nothing to design,” he said.

This aspirational element has become an increasingly large part of The Sims’ commercial model over the years.

The Sims 4, as an example, is accompanied by 19 purchasable “Stuff Packs” that expand the options of items available to buy, including “Perfect Patio”, “Cool Kitchen” and one based on the products of Milan fashion label Moschino.

And the latest of the more extensive expansion packs is For Rent, which allows players to build rental houses where some sims are landlords and others are tenants.

Within the game, landlords encounter various true-to-life issues, including the potential for toxic mould build-up in their properties – although, unlike in the real world, the mould feature can be toggled on and off.

Inclusivity has also become an increasing focus of The Sims, with integral features now including options to choose sims’ sexual orientation, for instance.

For Nielsen, that traces back to a significant foundational element of the game’s widespread appeal – as well as being one of the reasons it has had such strong interior-design influence.

“It didn’t feel like it was aiming for anyone,” she explained. “One of the things that people bring up a lot is that it has a very female player base.”

“For me, it was a big turning point – it was getting to create the spaces but also play around with the people inside them. It felt like a socially acceptable way to play dollhouses.”

The images are courtesy of Electronic Arts.

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Reference

City of Tomorrow: 8 Stunning Icons of Singapore’s Futuristic Architecture
CategoriesArchitecture

City of Tomorrow: 8 Stunning Icons of Singapore’s Futuristic Architecture

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Singapore’s architectural landscape reflects a rich fusion of diverse influences. This island city-state boasts a skyline adorned with new skyscrapers, garden homes and innovative designs that respond to cultural traditions and tropical weather. Singapore has also undertaken ambitious public and civic building initiatives to address climate change and rapid growth. By looking to the future of the city and the country, architects are imagining new building forms and spaces, architecture that feels progressive, futuristic and inventive.

Singapore gained independence from Malaysia in 1965 and has since grown into a highly prosperous country. It is not part of any larger nation but stands as an independent and sovereign state. Incorporating design elements from different cultures and regions like Malay, Chinese, Indian, and Western traditions, the city-state’s architecture is iconic and varied. It ranges from vernacular homes and local hybrid shophouses to modern concrete and glass high-rises. Taking a glimpse into the city’s design culture, the following eight projects highlight the futuristic and inspiring architectural icons found across Singapore.


The House of Remembrance

By Neri & Hu, Singapore

Jury Winner, 10th Annual A+Awards, Private House (M 2000 – 4000 sq ft)

Neri&Hu were tasked with creating a private residence that would accommodate three adult siblings while preserving the memory of their childhood home. The previous British colonial bungalow with Malay and Victorian influences inspired the new design. Retaining the pitched roof’s symbolic significance, the two-story house organizes communal spaces around a central garden, serving as a memorial for their late mother. The ground level emphasizes visual transparency, connecting living spaces to the lush perimeter gardens, while sliding glass doors provide cross ventilation and direct access to outdoor spaces.

The upper level, featuring pitched-roof forms, houses private bedrooms and establishes a visual connection between public and private realms. A carved void in the roof volume frames a small tree, symbolizing the central memorial garden. The exterior transitions from smooth to board-formed concrete, emphasizing balconies and sky wells. The circular ground floor circulation enhances the experience, reinforcing the garden’s symbolic role as the heart of the home, providing a return to the center both spiritually and physically.


Learning Hub, Nanyang Technological University

By Heatherwick Studio, Singapore

Heatherwick Studio’s Learning Hub was designed to be a new multi-use building for the NTU campus. The university specifically requested a distinctive design tailored to modern learning approaches. In response, the team crafted a structure that would foster collaboration among students and professors from diverse disciplines. The result is an architecture that blends social and learning areas, creating spaces for spontaneous interactions between students and professors. Twelve towers, each a stack of rounded tutorial rooms, taper inwards at their base around a spacious central atrium.

The Learning Hub aims to serve as a nexus where students in Singapore may encounter potential future business partners or collaborate on innovative ideas. The classrooms were conceived by NTU to support interactive small group teaching and active learning. The rooms boast a flexible layout, allowing professors to customize configurations for enhanced student engagement, and facilitating seamless collaboration among students. Opening onto the shared circulation space around the atrium, the rooms are interspersed with open areas and informal garden terraces, fostering visual connectivity among students while providing spaces for gathering together.


The Discovery Slides

By Carve, Singapore

Carve and Playpoint were the designers behind a new slide attraction inside the Jewel Changi Airport. The attraction, situated in the Canopy Park on the highest level of the new development in front of Terminal 1, is part of a comprehensive project that includes a shopping mall, attraction park and garden. The Canopy Park features over 1,400 trees and palms alongside various other attractions, aiming to enhance the overall airport experience and entice travelers to choose Singapore’s Changi airport over others.

Carve’s original concept for the playground was like a sculpture with carved-out sections revealing a colored interior. The playground serves a dual purpose, acting as both a gem balancing on the fifth ring of Jewel and a hidden slide attraction. The sinuous shell evolved into a polished steel skin. The structure’s continuous form amplifies its surroundings, offering surreal reflections for visitors. The viewing deck provides a vantage point within the complex, attracting crowds, social media enthusiasts and families seeking adventure and play in Singapore. It features four slides, including a family slide, a steep drop slide and two glass-covered spiral slides.


Cornwall Gardens

By CHANG Architects, Singapore


This multi-generational home by CHANG Architects is designed as an open tropical paradise, fostering an I-Thou relationship with nature. The house seamlessly integrates plants, water features and living spaces to share the same space, promoting a sustainable and wellness-oriented environment. The foyer, once plagued by a leaking retaining wall, is transformed into a green courtyard with a waterfall feature, offering a lush welcome to visitors.

Utilizing existing terrain, the house incorporates built-ups as planters for tropical fruit trees, creating a green oasis with landscape decks, cascading planters, and a bio pool. The planted verandahs and planter bridge not only enhance aesthetics but also provide sun-shade and privacy. Serving as a popular gathering spot, the house has attracted biodiversity, embodying a contemporary tropical living experience achieved through collaboration between the client and the design team. It’s neo-tropical approach is emblematic of design ideas and culture in Singapore.


Sky Habitat

By Safdie Architects, Singapore

Safdie Architects have long reimagined what contemporary living environments can be. For Sky Habitat, the team redefined urban living with a three-dimensional matrix of homes. The project features terraces, balconies, and communal gardens that infuse every level with landscape, light, and air. The stepped form mimics a hillside town, providing units with diverse orientations, natural ventilation, and expansive views. In contrast to typical high-density buildings, Sky Habitat prioritizes resident well-being by offering amenities such as swimming pools, playgrounds, gardens and communal spaces for family gatherings.

Three bridging sky gardens connect the towers, creating a network of interconnected streets and terraces in the air, fostering common recreation and congregation spaces. The porous massing allows breezes to flow through, while the stepping geometry provides multiple orientations and spacious private terraces for residents. The ground level, above a sunken parking podium, is transformed into lush gardens, encompassing outdoor event areas, swimming pools, a tennis court and walking paths, making Sky Habitat a harmonious blend of nature and urban living.


Ascent, Singapore Science Park

By S333 and Limelight atelier, Singapore

The building concept for the Ascent Science Park focuses on legibility and drawing visitors in during all hours on the campus. A key part of the conceptual strategy for the mixed-use development building was lighting: varied-height translucent glass modules in the facade spandrel encircling the central courtyard serve as a rainscreen, sheltered arcade, and lighting feature. Designed by UK Architecture firm S333, the guiding concept aimed to create a highly efficient scheme that encourages spill over activities at night.

Ascent consists of office headquarters, retail, restaurants and a pharmacy. These programs are set around courtyards, gardens and plazas; Ascent’s upper levels provide large, deep-plan space for offices and laboratories, while lower levels offer exhibition, hosting and event spaces. Overcoming structural constraints and maximizing tenancy spaces, a row of LED lights, concealed at the top of the openable spandrel capping, directs light downward to the courtyard with minimized hotspots. Ascent Science Park was awarded the Building Construction Authority of Singapore’s Greenmark Platinum award in 2015.


Gardens by the Bay

By WilkinsonEyre, Singapore

Early concept ideas for the masterplan for Gardens by the Bay in Singapore were inspired by the orchid (the national flower of Singapore). WilkinsonEyre, part of the winning team in the design competition, played a pivotal role in creating the Cooled Conservatory Complex. This iconic structure, at the heart of the Bay South Garden, features two of the world’s largest climate-controlled glasshouses.

The Flower Dome showcases a cool-dry Mediterranean Zone, while the Cloud Forest presents a cool-wet tropical montane, highlighting flora susceptible to climate change. The collaborative effort with Grant Associates, Atelier One, and Atelier Ten resulted in a unique design featuring a gridshell and arched steel ribs. The conservatories operate as carbon-positive structures, utilizing bio-mass for building services, contributing to Singapore’s vision of becoming a city-in-a-garden.


Marina One, Singapore

By ingenhoven associates, Singapore

“Marina One” stands as a groundbreaking model for urban living and working, particularly in tropical mega-cities grappling with population growth and climate change. The 400,000-square-meter high-density complex, comprising four high-rise buildings, establishes the “Green Heart” — a multi-story public space showcasing a three-dimensional green oasis inspired by tropical flora diversity. The strategic collaboration between ingenhoven architects and landscape architects Gustafson Porter + Bowman resulted in natural ventilation and an innovative climate strategy, as well as a landscaped area surpassing the original site surface.

Marina One integrates office, residential and retail functions, offering a total of 1,042 city apartments and penthouses. With iconic louvres and lush planting, the building complex enhances the microclimate, fosters biodiversity, and mirrors a rainforest’s vertical climate changes. The “Green Heart” features over 350 plant varieties and 700 trees on a 37,000-square-meter landscaped area, providing a habitat for various animal species. This vibrant hub includes retail spaces, fitness facilities, and dining options, promoting social interaction within a harmonious atmosphere. The design prioritizes energy efficiency and sustainable transportation, with direct connections to mass transit and eco-friendly commuting options.

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Juan Alberto Andrade adds workspace to multifamily housing in Ecuador
CategoriesArchitecture

Juan Alberto Andrade adds workspace to multifamily housing in Ecuador

Ecuadorian architect Juan Alberto Andrade has completed an extension to a multifamily housing complex with rammed earth walls in Guayaquil.

Known as El Retiro, the nine-square metre (97-square foot) addition doubles the common space of a 305-square metre (3,282-square foot) residential complex, protruding into the front setback along the street and blurring the line between the private housing and urban realm.

El Retiro residential extensionEl Retiro residential extension
El Retiro is a residential extension to an Ecuadorian home

Following Mexica architect Lucía Martín López’s idea of “the growing house,” Juan Alberto Andrade utilised a strategy for adapting housing López calls “crystallographic growth”: intervening within the limits of the property and following the area and height limits of the neighbourhood.

“Architecture is a response to the continuous need for the reinvention of a habitat,” the team told Dezeen. “Housing is an activity, a built process.”

Rammed earth residential extensionRammed earth residential extension
Rammed earth clads the external walls

Completed in 2022, the simple square addition is composed of a load-bearing, 30-centimetre-thick rammed earth wall – set on top of a limestone rock base – and bahareque masonry, which is a combination of a bamboo frame and clay plaster.

Despite being a different colour than the existing structure, the shape and materiality of the addition works to blend it with the house and the neighbourhood, as does the leafy landscaping along the street.

Communal workspaceCommunal workspace
Juan Alberto Andrade added a workspace to the house

A lightweight pine roof structure slopes from the existing exterior wall to the edge of the addition and is topped by a green metal roof.

Inside, the resin floor serves as a smooth contrast to the raw wooden ceiling and built-in millwork.

Resin flooringResin flooring
Resin floors serve as a smooth contrast to the raw wooden ceiling

A sliding iron door opens to the compact interior, which houses a social space, library, and storage along the street and steps up to a common workspace within the existing floor plan.

A freestanding metal core was inserted into the centre of the plan, joining the addition to the existing room with a kitchenette and bathroom.

Tree within the centre of the extension planTree within the centre of the extension plan
A planted atrium allows a tree to rise in the centre of the plan

A small planted atrium allows a 25-year-old tree to rise in the centre of the plan and light to filter into the building.

A square wooden window – protected by sliding metal shutters – looks across the street to a community park. The pivoting window frame can be opened and the deep structural wall becomes a secondary desk space.

“El Retiro is a project of extension and attachment from an independent body to a multifamily housing, that serves and transforms preexistence into a productive habitat,” the team said.

It was an opportunity to “build specific, viable and productive solutions that attend the progressive growth of housing, and to take advantage of the residual spaces generated by Ecuador’s policies”.

Window with sliding metal shuttersWindow with sliding metal shutters
A square wooden window is protected by sliding metal shutters

Maximizing small spaces is a pillar of Andrade’s practice. He previously designed a flexible installation for a micro apartment in Quito and converted a 1993 Chevy van into a plywood “house-on-wheels” with María José Váscones.

The photography is by JAG Studio.


Project credits:

Architect: Juan Alberto Andrade
Team: Cuqui Rodríguez, María José Váscones, Melissa Toasa, Victoria Peralta, Duda Rodriguez
Suppliers: Baldosas del Ecuador, Acesco, Megakywi

Reference

Sam Crawford Architects tops Sydney home renovation with “garden oasis”
CategoriesInterior Design

Sam Crawford Architects tops Sydney home renovation with “garden oasis”

A private roof terrace enclosed by greenery features in Hidden Garden House, a Sydney home reconfigured by Australian studio Sam Crawford Architects.

Situated within a conservation zone, the home has been updated by Sam Crawford Architects to brighten its dark interior and transform it into an urban “sanctuary”.

Entryway of Hidden Garden House by Sam Crawford ArchitectsEntryway of Hidden Garden House by Sam Crawford Architects
An open-tread staircase has been added to the hallway

Alterations to the 198-square-metre home’s interior are first seen in its entrance, where a stair with open treads and a white-steel balustrade replaces a solid timber structure that previously restricted light from a skylight above.

Down from the entry hall is a spacious ground-floor kitchen and dining area, which is illuminated by 4.5-metre-high glass openings that lead out to a landscaped patio. The patio is paved with limestone tiles that extend out from the interior.

Renovated kitchen and dining area in Sydney home by Sam Crawford ArchitectsRenovated kitchen and dining area in Sydney home by Sam Crawford Architects
A curved concrete roof features in the kitchen

“By extending the ground floor finishes through the full-width doors into the rear yard, the garden and high-level green trellises at the rear of the site form the fourth wall to the rear wing,” studio director Sam Crawford told Dezeen.

“They create a sense of enclosure that draws the occupant’s eye up to the expanse of the sky rather than surrounding suburbia.”

Bathroom interior at Hidden Garden House in AustraliaBathroom interior at Hidden Garden House in Australia
Angled timber screens and greenery ensure privacy for the bathroom

A concrete ceiling in Hidden Garden House’s kitchen curves upwards to help draw in the winter sun and provide summer shading, while operable clerestory windows allow natural ventilation.

Above, this curved ceiling forms a sloped roof terrace filled with plants, which is situated off the main bedroom on the upper floor.

An ensuite bathroom, also lined with limestone floor tiles, has expansive openings offering a scenic yet private bathing experience enabled by angled timber screens and the terrace’s greenery.

“The rolling green roof serves as a visual barrier to the surrounding suburb, whilst allowing the occupants to occupy their private garden oasis,” added Crawford.

Living space interior of Hidden Garden House in SydneyLiving space interior of Hidden Garden House in Sydney
White walls and wooden furniture feature throughout the interior

Hidden Garden House’s consistent material palette of bright white walls and wooden furniture ties its living spaces together, while decorative square tiles line both the kitchen and bathrooms.

Curved details, such as the patio’s shape and the kitchen island and splashback, also feature throughout.

Terrace of Hidden Garden House in Sydney designed by Sam Crawford ArchitectsTerrace of Hidden Garden House in Sydney designed by Sam Crawford Architects
The home aims to be an urban “sanctuary”

Other alterations that were made to improve Hidden Garden House’s layout include the relocation of entrances to the ground floor laundry room and bathroom.

Elsewhere, Sam Crawford Architects has also created a restaurant topped with an oversized steel roof and a bridge modelled on the curving shape of eels.

The photography is by Tom Ferguson.


Project credits:

Architect: Sam Crawford Architects
Builder:
Toki
Structural engineer: Cantilever Engineers
Civil & hydraulic engineer: Partridge
Acoustic engineer: Acoustic Logic
Heritage consultant: Damian O’Toole Town Planning
Quantity Surveyor: QS Plus
Landscape design: Gabrielle Pelletier, SCA
Roof garden supplier: Fytogreen Australia

Reference

Our biggest climate challenge is no longer denial, but despair
CategoriesSustainable News

Our biggest climate challenge is no longer denial, but despair

Climate fatalism stands in the way of a sustainable future but designers and architects are in an ideal position to overcome it, writes Katie Treggiden.


The mainstream media is finally waking up to the realities of climate change. As wildfires, floods and storms wreak havoc across the world, journalists and activists far braver than me are speaking truth to power to make sure we all know just how serious this thing is. And that is vital and right and proper.

However, fear doesn’t motivate action. The biggest obstacle for the environmental movement is no longer climate-change deniers – the evidence is incontrovertible to all but conspiracy theorists. It is those who are fully on board with the fact that humans are the root cause of some very real problems, but just don’t believe that we have what it takes to solve them. Our biggest climate challenge is no longer denial, but despair.

Fear doesn’t motivate action

To spark meaningful change, we need hope. We need to believe not only that a better world is possible, but that we each have the power to help bring it about.

I’m not talking about blind faith or passive optimism. I’m talking about active hope. I’m talking about waking up every morning and making a choice to believe that we can solve this wicked problem, and then choosing to act accordingly. And in today’s climate – political, economic and social as well as environmental – hope is an act of defiance.

So, how can architects and designers inspire defiant hope?

The Berkana Institute’s “two loops” model of systems change proposes multiple roles that people and institutions can play in the transition from a declining system to an emerging one. As the dominant system begins its decline, “stabilisers” keep what is required in place until something better is ready, while “hospice workers” support the process of decline, minimising harm to those still within it.

In turn, the emergent system gathers pace as “pioneers” come up with new ideas, products and systems and they are joined together into networks by “connectors”. Together, they form supportive “communities of practice” that enable them to grow their influence and, eventually, rise up to replace the old system.

In the transition from the declining linear take-make-waste economy to an emerging regenerative and circular economy, we might cast architects and designers in the role of “pioneers” – problem-solvers who can create pragmatic ways to move society towards a better world.

And that is valid; if architecture and design solve problems, then surely they should contribute genuine, impactful, and replicable solutions to arguably the biggest problem ever to have faced humanity.

In today’s climate – political, economic and social as well as environmental – hope is an act of defiance

However, I believe they can also play another part. On the emerging-system loop, there is a role for “illuminators”: people who paint a picture of what a better world might look like.

You see, there is no point in the model where the two loops touch, no simple juncture where people can step off one system and onto the next – they must take a leap of faith. Illuminators are the people who can give them the courage to do that.

One of the questions I get asked most often when I speak at conferences about craft and design in the transition to a circular economy is: “Okay, but how does it scale?”

Firstly, I would contend that scalability is what got us into this mess, and what we need instead are locally replicable solutions, but increasingly I am questioning whether everything we propose as an industry even needs to do that. Perhaps part of our role is simply to inspire hope – defiant, stubborn, active hope.

Kyloe Design’s kelp chair, showcased recently as part of Green Grads at the London Design Festival, may never make it into production and it’s highly unlikely that it will drive the wholesale replacement of leather across the furniture industry. But it does showcase the potential of this incredibly renewable, climate-positive, underutilised material, while provoking the curiosity to learn more.

From responsible material sourcing and advocating for worker welfare to using smartphone components anyone can switch out, Fairphone is offering real-world solutions. But its founder, Bas Van Abel, was realistic about what he could achieve directly, so launched the company with the stated aim of motivating the rest of the industry.

There is little doubt that his efforts have had a hand in both the incoming EU legislation that will require smartphone batteries to be “easily replaceable” and the recent launch of a repairable Nokia phone.

Part of our role is simply to inspire hope – defiant, stubborn, active hope

Zaha Hadid Architects principal Patrik Schumacher might have criticised the “lack of architecture” at last year’s Venice Architecture Biennale, but what if contributions such as the German pavilion (pictured), which he described as nothing more than “piles of construction material”, are exactly what we need to inspire alternative ways of working? Entitled Open for Maintenance, the exhibition was billed as “an action framework for a new building culture” and collated materials recovered from previous installations to be used for repairing and upgrading buildings and public spaces all over Venice.

One of my favourite quotes about hope is from the author Arundhati Roy, who says: “Another world is not only possible, she is on her way. On a quiet day, I can hear her breathing.” The question I would like to pose is: how can we, as an industry, help everyone to hear the sound of her breath?

Katie Treggiden is the founder and director of Making Design Circular, a membership community and online-learning platform for sustainable designers and makers, and the author of Broken: Mending and Repair in a Throwaway World (Ludion, 2023).

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Architects urged “not to work with” British Museum due to BP partnership
CategoriesSustainable News

Architects urged “not to work with” British Museum due to BP partnership

Activist collective BP or not BP? has called on architects not to work on the British Museum’s recently announced redevelopment masterplan as it will be funded by oil company BP.

In an Instagram post on Friday, the organisation, which seeks to end oil sponsorship of culture, said: “Architects: we invite you to pledge not to work with the British Museum until their new partnership with BP is dropped.”

“The British Museum recently accepted the biggest single corporate donation to the arts in the UK,” it added.

“£50 million from oil giant BP, over the next ten years to ‘help deliver the museum’s redevelopment masterplan’. This donation, amidst an escalating climate crisis, has also been described as ‘one of the biggest, most brazen greenwashing sponsorship deals the sector has ever seen.'”

BP or not BP? urged architects to not apply for the job in an Instagram post

In December, the British Museum announced plans for an architectural competition to redevelop around 7,500 square metres of gallery space at its central London location, with applications set to open in spring.

This would be supported by the decade-long partnership with BP.

“A new multi-year partnership with BP will support the future transformation of the museum by contributing £50 million over 10 years,” the museum said.

“The partnership will also help deliver on plans to maintain public access for generations to come. The museum is very grateful for BP’s support at this early stage of the masterplan.”

“Architects can’t in good faith work with The British Museum”

However, BP or not BP?, said that working on the redevelopment would go against guidance from climate network Architects Declare on how to approach projects.

“Guidance from @architectsdeclare_uk encourages firms to approach projects by evaluating their contributions to mitigating climate breakdown,” it stated.

“This redevelopment will do the opposite: allowing BP to continue its extraction and harm Global South communities across the world who face the worst impacts of the climate crisis.”

“Architects can’t in good faith work with The British Museum until this deal is dropped. Join us and tell the museum to #dropBP!” the organisation added.

Architects Declare also stated that it believed it would be consistent with its declaration for architects to turn down the job.

“UK Architects Declare is committed to moving the design of our built environment towards fully regenerative solutions to the planetary emergency,” the organisation told Dezeen.

“As such, the AD Steering Group do believe it would be consistent with our Declaration’s point 5 for architects to turn down this opportunity because of BP’s sponsorship: ‘Evaluate all new projects against the aspiration to contribute positively to mitigating climate breakdown, and encourage our clients to adopt this approach’.”

“A number of companies have publicly declared they will not work on fossil fuel infrastructure and most of the big cultural institutions have now broken links with fossil fuel sponsorship,” it added.

“It is particularly important that when some organisations show such leadership, they are supported by the broader industry.”

British Museum “squarely on the wrong side of history”

BP or not BP? told Dezeen that it believes there are other sponsorship alternatives for the British Museum and that letting BP use its well-known London building for events “continues a neocolonial legacy of extractivism”.

“Just as there are alternatives to fossil fuels, there are also alternatives to taking dirty sponsorship money from fossil fuel producers like BP,” BP or not BP? member Francesca Willow said.

“The British Museum’s decision to keep backing one of the architects of the climate crisis – for a further 10 years – has put the museum squarely on the wrong side of history,” she continued.

“For years, BP has used the iconic museum building as the backdrop for lobbying politicians and burnishing its brand, continuing a neocolonial legacy of extractivism and oppression,” she added. “Architects should refuse to play any part in BP’s planet-wrecking agenda.”

Museum disappointed by call for boycott

In response, the museum said that the campaign was “disappointing” as the redevelopment was aimed at creating a net-zero estate.

“The British Museum is in urgent need of renovation and the masterplan will be one of the most significant cultural redevelopments ever undertaken and private funding is essential,” a spokesperson for the British Museum told Dezeen.

“It’s disappointing campaign groups are calling for a boycott when we’ve said we will be looking at design proposals with a particular focus on sustainable and environmental expertise, working with us responsibly to create a net-zero estate,” it added.

“We look forward to seeing submissions that aim to restore the highly significant and celebrated listed buildings on the site.”

The architectural competition would look to introduce “contemporary architecture and innovative gallery displays” to the museum’s “Western Range”, which contains collections from Ancient Egypt, Greece and Rome.

Architects Declare has previously condemned architecture studios for refusing to stop designing airports.

The issue of sustainability in architecture was also highlighted by the climate action group Architects Climate Action Network in 2022, when it claimed that the Royal British Institute for Architects’ Stirling Prize shortlist “promotes architecture that pollutes the planet”.

The image is by Shutterstock.



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