Spotted: By 2050, Africa is expected to be home to an additional 1.1 billion people, which is almost 75 per cent of the world’s projected population growth of 1.5 billion people. Analysts believe that 80 per cent of the buildings that will be needed to accommodate that growth have yet to be built. This opens up vast and varied opportunities to develop circularity in urban planning and development, and construction practices.
Ghanian company Ecovon is already working towards more sustainable building practices by upcycling a common agriwaste product into an all-natural, compostable building material. Ghana is one of the world’s largest coconut producers, something the Ecovon founders wanted to take advantage of. The industry produces upwards of 750,000 tonnes of coconut waste each year.
Using coconut husks as the basis for wooden building panels allows farmers and processors to earn additional income while also reducing the amount of organic waste needing disposal. Husks are dried, milled, combined with sugarcane, and then pressed into shape. The production process is carbon neutral and the boards can come in a mix of colours and sizes.
In tests, the resulting panels proved stronger than traditional wood, as well as being much less expensive to produce. They’re also naturally antifungal, flame retardant, and do not use any chemical binding agents. Without those toxins, the boards are fully compostable.
Using the material reduces demand for hardwood, which helps reduce deforestation. Following decades of deforestation in Asia and South America, attention has shifted to include African forests. They are now in serious danger as deforestation across the continent is happening at twice the global average.
From seaweed bricks to invisible solar panels that blend in with historic buildings, innovations in Springwise’s library are finding ways to improve many of the most common construction materials.
The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available. Order your copy today.
There is a quality one finds in people who really believe in what they do. It is not excitement in the voice or a twinkle in the eye. No, it is simply the fact that they are eager to explain what they do as clearly as they can. With this type, there is no space for any sort of conversational filler. Time is of the essence, and at the end of the discussion, they want to make sure, above all, that you “got” it, that you grasped their message.
The type I am thinking of is the opposite of the dissimulating salesperson who speaks with an agenda in mind. Ironically, of course, a person who believes in what they do is far more convincing than any salesperson.
In any case, this was my experience speaking with Philippe Block, a structural design researcher at ETH Zurich who is best known for his commitment to “strength through geometry,” or the idea that the mass of buildings — and with it their embodied carbon footprints — could be greatly reduced if architects were more thoughtful about load distribution. Instead of beams and flat floor plates, Block envisions a future of vaults and curves. With the right shapes, he argues, we could create high-rise buildings with far less concrete and, in many cases, almost no steel reinforcements whatsoever. And like the Gothic cathedrals he loves, these structures would stand for centuries, persisting through hurricanes, earthquakes and floods.
The fan-vaulted stone ceiling of King’s College chapel at the University of Cambridge, UK: fully unreinforced, standing over five centuries, and proportionally as thin as an eggshell. Photo by J. Kurt Schmidt. Used with permission from Block Research Group.
Reducing the amount of concrete used in construction would have a major impact on climate change. It is estimated that 8% of global carbon emissions are caused by the manufacture of cement, the binding agent in concrete.
Block, it must be noted, is no longer simply a researcher. He recently launched a company called VAULTED AG which produces customizable modular floor plates made from unreinforced concrete. The plates, of course, use the most sustainable concrete available on the market. But the most important aspect of them is not what they are made from, it is their shape. Due to the use of vaulting, these floor plates use 60% less concrete and 80% less steel than the standard floor plates used in the industry.
Yet they are just as strong, and can easily be used in the construction of high-density, high-rise buildings, meeting a practical need in a world with a population projected to grow by over 2 billion in the next thirty years. Geometry, Block explained, is not just about beautiful shells, opera houses and stadiums. It isn’t just for show.
VAULTED AG commercialises a low-carbon, fully circular prefab vaulted floor, called the Rippmann Floor System (RFS), that reduces the global warming potential (GWP) compared to a flat slab in reinforced concrete by at least two-thirds. Here, workers install a Rippmann floor plate in a 10 story project in Zug, Switzerland. Photo by Gabriele Mattei, used with permission by VAULTED AG.
When I spoke to Block over Zoom, he was eager to get down to the nuts and bolts of the discussion, which ended up lasting over an hour. The questions I had prepared ended up being irrelevant, as his slideshow presentation covered all that I wanted to ask and more. It never occurred to Block that I might be interested in talking about his background or personal life. From the jump, our conversation was all about proving his thesis that geometry, or building technique, is more important than materials when it comes to sustainable construction. This, he explained, is the concept behind VAULTED AG’s revolutionary floor plates. And if this principle were widely applied, it could change the future of construction forever.
“When speaking of sustainability, so many people, in a very un-nuanced and simplistic way, talk about materials only, right?” he said, about a minute into the conversation. “Wood is good, concrete is bad. That is an absolute absurdity. It is not just about material, it’s also about how much you need, which is where structural design and optimization comes in, and then, increasingly important, the extending of resources or entire components past the first life of a building — to keep things in the loop in a circular construction economy.”
The three main levers that contribute to the environmental impact of a building or construction, focusing on embodied emissions and resources. Graphic prepared by Catherine De Wolf & Corentin Fivet. Used with permission from Block Research Group.
Here Block pulled up a graphic showing how he calculates the environmental impact over the lifespan of a building. He emphasized that his goal was not only to lower the mass of buildings, reducing the amount of carbon, but also to use forms of concrete that are recyclable, and that can be reused once a building has been demolished. Concrete used correctly, he explained, is just as sustainable as wood, especially if one takes into account the lifespan of the building and the ability for unreinforced concrete to be reused and repurposed.
At this point, Block moved to a slide of the famous fan vaulting over the nave of King’s College Chapel at the University of Cambridge, England. This structure, he explained, has stood for over 500 years. More impressive than this, the stone vaults of this structure are simply “masonry systems… just pieces of stone held together in compression. They stand because they have a good geometry while being proportionally as thin as an eggshell.”
The Armadillo Vault, shown at the 2016 Venice Architecture Biennale: 399 pieces of cut stone, held together through geometry, without mortar, glue or reinforcement, using the same principles as Gothic Cathedrals and demonstrating the beauty of strength through geometry. Photo by Iwan Baan. Used with permission from Block Research Group.
Block then opened his next slide, an installation he and his team created for the 2016 Venice Architecture Biennale. “What you are looking at are 399 pieces of cut stone that are held together because of their geometry, no glue, no mortar, no reinforcement, fully dry assembled,” he explained. “So the same principles as to why the cathedrals are standing make this possible.” What struck me about this installation was just how thin the shell was. With the right geometry, a lot can be done with a small amount of materials.
Concrete, he explained, essentially behaves like stone once it is cast, so masonry principles apply to concrete construction. However, most modern buildings require massive amounts of steel-reinforced concrete because the structure is not assembled according to intelligent masonry principles. The key is to “align the structure to where the compressive forces naturally want to be,” unlike a “typical beam,” which does not offload the weight in any kind of strategic way, but simply braces the structure.
Concrete is an artificial stone, and like stone, it does not want to be a straight beam, it wants to be a masonry arch. A rib-stiffened, arched floor with tension ties uses up to 70% less concrete and 90% less steel compared to a flat slab in reinforced concrete for the same structural requirements. Graphic prepared by Block Research Group, ETH Zurich. Used with permission.
These are the principles that underlie Block’s vaulted floors, called the Rippmann Floor System or simply RFS. Aesthetically, I told Block, I really appreciated how these floors looked once installed, especially from underneath, where they can be installed to appear as beautiful vaulted ceilings. In the future, I proposed, perhaps flat roofs and ceilings will be associated with the 20th century, while geometrically informed construction will be considered a more contemporary building practice.
Block agreed, adding that there is something about these spaces that, like Gothic cathedrals, “feel good” to the visitor. One can tell that the materials are “happy,” that they are in an arrangement that “makes sense.” However, he added, he did not want to really push this point too hard. One could hang a simple flat suspended ceiling, concealing the expressive elements under thin shells. Architects who want to work with flat ceilings are still free to do so with this new system. Plates are fully customizable and easy to dry assemble on site. They are just as easy to work with as traditional floor systems; they just use drastically less material, and have a much smaller carbon footprint.
The CreaTower project in Zug, Switzerland, designed by Gigon+Guyer Architects, introduces the Rippman Floor System in a 10-story office tower. In the interior view, note the beautiful ribbed detailing on the ceiling, which makes structural elements of the flooring system visible. PONNIE images. Used with permission from Gigon+Guyer
The Rippmann Floor system is already being employed in commerical projects. In Zug, Switzerland, Gigon+Guyer is using the system for their CreaTower project, which includes a 10 story, 40 meter office tower.
I left my conversation with Block with a renewed sense of optimism about the future of architecture. Beautiful, powerful buildings need not be accompanied by a guilty conscience. With the right kind of ingenuity, we can have dense urban construction without catastrophic waste. Sustainability does not mean thinking smaller — just thinking differently. And maybe lighter…
Cover image: An early, sand-3D-printed prototype of the discrete masonry floor, which was further developed into the Rippmann Floor System. Used with permission from Block Research Group.
The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available. Order your copy today.
Spotted: Seaweed has become a versatile ingredient used in everything from animal and human food to cosmetics, packaging, and biofuel. Yet despite such growth, experts believe the industry’s potential is still largely untapped. Currently, the vast majority of the world’s seaweed is grown in Asian countries, one of the reasons researchers consider that the “opportunities for growth in new regions and applications are high.”
One new company getting involved in the industry is Australia’s Phycoforms, which has developed a collection of commercial composites made from waste seaweed sourced from Tasmanian seaweed farms. This innovation grew out of an exploratory project during founder Shimroth Thomas’ master’s degree at Australia’s RMIT University. After graduation, at which he received a sustainability award for his work, Thomas continued his R&D programme in order to further develop and commercialise the materials.
The seaweed-based materials are biodegradable and designed to replace bricks, concrete, and more in traditional construction work. Depending on the item being produced, Phycoforms adds other materials to the seaweed, such as waste coffee grounds, seashells, and other beach detritus. The composites are available as large pressed sheets as well as in products that include tables, chairs, bowls, floor lamps, and other homewares. Thomas has also explored the feasibility of a ‘PhycoWall’.
From removing overabundant algae blooms to create new products to using seaweed to increase the lifespan of electric vehicle batteries, innovations spotted by Springwise are transforming the easy-to-grow plant into sustainable solutions in many different industries.
Architecture firm K.A Studio has designed the remodel of an apartment building in Ho Chi Minh City, Vietnam, that included the addition of green space.
In an area filled with concrete and hard lines, this updated apartment building, which is now used for staycations, has been designed as an oasis in the city, with the curved balconies creating a soft edge on the facade.
Overhanging plants cascade down the side of the building, while taller plants add different layers and grow up between the voids created by the balconies.
The underside of the balconies is lined with wood, adding to the natural look of the building.
At night, uplighting creates shadows on the balconies above.
The balconies overlook a pool that’s located on the ground floor and has curves that mimic the exterior of the building.
Throughout the building materials like woods, local split stones, concrete, terrazzo, and rattan are featured.
Bright hallways with lighting embedded in the concrete floors, and in the ceiling, guide guests to their private apartments.
The apartments are minimal in their design, with simple wood furniture in the living room, and a kitchenette.
In the bedroom, a horizontal wood accent above the bed hides LED Lighting, which also complements the lighting on the opposite wall. There’s also a floating wood desk that lines the wall, and a sliding door opens to a balcony.
Photograph: Hiroyuki Oki | Architects: K.A Studio | Lead Architects: Doan Quoc Khanh | Design team: Dang Anh Khoa, Hoang Anh Dung, Tran Quoc Nhat, Le Duc Duy | Construction: La Maison Du K
PAULO MERLINI architects has designed the offices of E-GOI & CLAVEL´S KITCHEN in Portugal, and one of the main design features central to the interior is a spiraling ramp.
The former warehouse, which has now been transformed into offices that span multiple floors, includes a ramp that replaces the need for a staircase.
The elegantly curves of the concrete form is accentuated by the use of white bars and edges.
The circling ramp connects the floors of the office and adds a sculptural element that doesn’t block the light from traveling throughout the interior.
Here’s a glimpse of the ramp looking down from the top floor, and up from the ground.
Let’s take a look at the rest of the office…
The exterior of the office has walls of glass providing a glimpse of the interior for the pedestrians on the street.
There’s a variety of different seating areas in the office interior, including spaces for casual meetings in house-shaped alcoves.
More private work rooms with glass walls that keep the sound in or out.
A larger meeting room with a blue curtain that’s filled with beanbags and has LED lighting in the ceiling.
Other more traditional work spaces exist too, with desks that include multiple work stations.
There’s also a photo studio with a minimalist white kitchen with floating wood shelves. Adjacent to the kitchen are tall wood shelves filled with photography props and kitchen equipment.
When it’s time to take a break from working, there’s a communal area with long wood tables, a kitchenette, seating by the windows, and an outdoor space.
Photography by Ivo Tavares Studio | Architecture Office: PAULO MERLINI architects | Main Architects: Paulo Merlini/ André Santos Silva
the renovation of 5 x 7 building in Zhejiang, China
Greater Dog Architects was commissioned to renovate a small brick and concrete mixed-use structure in Zhejiang, China. Situated on the edge of a riverfront plot, the structure’s previous function was as a backup room for a substation, now transformed into The 5 X 7 building as a stopping point during touristic tours organized at the nearby é é é | BSH headquarters — a multi-use complex featuring a retail space, an office, an R&D, and production unit, several restaurants, and a factory that produces bedding made from high-quality goose down (the bird’s soft under plumage). In response, the architects employed an adaptive reuse strategy, effectively repurposing the existing space and floor height to create a suitable hub for the public to relax and enjoy tea.
Under tight budget cost control, the aluminum-clad building 5 X 7 retains the old structural boundaries, while the extended canopy is used to break the conventional boxy shape, which also serves as the main entrance; this unique feature not only fulfills its function of providing shelter from the elements but also introduces subtle ‘reconstruction’ changes within the existing architectural framework. As a new structural element, it brings a sculptural language to the building, and the abstract goose-foot shape infuses it with vibrancy and humor.
greater dog architects pairs aluminum with vivid orange hue
Furthermore, Greater Dog Architects (see more here) integrated the large windows on the original 5 x 7 building’s four facades into partially small circular windows. Throughout, the architects achieved optimal thermal insulation on the original exterior walls by adjusting the window-to-wall ratio, effectively combining the forms of southeast-facing windows and roof skylights to increase daylight pouring in.
Facade-wise, the structure primarily features a neutral gray textured paint, while the special-shaped entrance canopy sports lightweight and corrosion-resistant natural aluminum cladding and orange-painted aluminum panels. The orange columns add a splash of color, rejuvenating the corner and making the building noticeable from a distance. Natural aluminum, as a 100% recyclable sustainable material, also boasts lightweight characteristics that ease installation and reduce the load on the original building structure, while its corrosion resistance ensures long-lasting durability. Simultaneously, the application of textured paint and aluminum materials accelerates construction, reducing the cost of renovating small-scale buildings.
abstract goose-foot shape infuses the building with vibrancy and humor
flexible and skylit interiors for tea and relaxation
As for the interiors, Greater Dog Architects carefully reconfigured the 5 X 7 spaces, using the original building’s 6.8-meter ceiling height to divide it into two levels of use. On the one hand, a new orange-painted steel staircase added to the south side of the first-floor bar counter creates a vertical connection, linking the first-floor bar area with the second-floor tea lounge. On the other hand, the roof skylights above the staircase bring more natural light to the second floor and stairwell, creating unexpected spatial opportunities within the limited interior space. Additionally, large windows on the outward-facing facade offer views of the surrounding river and maximize transparency within the compact interiors.
The building serves as an external tea and relaxation space for the BSH goose-down tourist factory and extends its display functions to maximize the flexible layout and shared use of the functional area. The architects have utilized the vertical space of the wall to design display shelves of various scales, meeting the future needs for product display within the space. Similarly, the materials used in the building extend into the interior space, establishing a visual connection between inside and outside. Lastly, as night falls, the 5 X 7 structure becomes a shimmering elf in the corner.
the architects coated the structure primarily in a neutral gray textured paint
a touch of vivid orange makes 5 X 7 recognizable from a distance
sing the original building’s 6.8-meter ceiling height to divide it into two levels
Spotted: Two issues that often face developing economies are a deficit in recycling infrastructure and the availability of affordable housing. Timao Group is aiming to provide an answer to both these problems through its provision of modular homes made from recycled plastic.
Timao transforms post-consumer plastic into the materials necessary to create its modular homes, like interlocking blocks, universal beams, and plastic beams. In converting the recycled plastic into generic component parts, the homes can easily be constructed and extended, crucially reducing the cost of maintenance and labour. The company also utilises turnkey delivery and installation methods to make sure that construction of the houses is as simple as possible, with the construction systems being produced off-site to then be delivered and fully assembled on-site.
The group believes in a triple-impact philosophy of its business model, meaning it aims to have a positive impact on both the social and environmental levels, without neglecting or risking economic profitability.
Earlier this year, Timao received the SME Award at the Africa Climate Summit (ACS) High-level CEOs Roundtable and more recently, was selected as a participant in the third Project NINJA accelerator programme, which will help the company scale within the Kenyan market.
The construction industry is brimming with new methods and materials to help make the homes of tomorrow more sustainable and affordable. Springwise has also spotted one company that upcycles plastic into building materials, as well as another that creates sustainable home insulation using natural wool.
BIRI Revitalizes Oscar Niemeyer’s JK Housing Complex
BIRI Arquitetura takes over the semi-duplex renovation of the Governador Juscelino Kubitschek housing complex in Brazil. The complex, originally designed by architect Oscar Niemeyer in 1951, comprises a ground-floor commercial area and two prominent residential towers, adding character to the Belo Horizonte skyline, offering a total of 1086 apartments. In 2022, the JK building received recognition from the Cultural Heritage Council of Belo Horizonte, solidifying its historic significance. The project revolves around the semi-duplex of block B, one of the 13 distinct typologies of JK apartments. This typology, initially conceived by Niemeyer for the Quitandinha hotel in Petrópolis and later adapted to Minas Gerais’ capital, employs the ‘section planning’ technique, an approach dating back to the 19th century. This strategy not only optimizes spatial arrangements but also enhances privacy, thermal comfort, and natural ventilation by minimizing collective circulation.
restoring Spatial Horizontality through versatile furniture
The renovation proposes an enhancement of the apartment’s east facade, transforming it into a balcony/garden area, and replacing a section of the natural wooden parquet floor with hydraulic tiles to facilitate plant care. The kitchen floor is similarly updated to combat humidity issues. Adjacent to the hydraulic plumbing, the intervention reinforces spatial horizontality through multifunctional furniture design. This piece serves as a versatile storage unit, alternately functioning as a shelf, archive, office, cabinet, wet bench, oven, pantry, and wine cellar, maintaining unity in materiality and proportions. The design team ensures cohesion by fenestrating the dividing wall of the stairs with an oval shape, fashioned from weathering steel.
On the upper half-level, a headboard/gallery is crafted using marine plywood, and the existing joinery is revitalized. Additionally, the original concrete structure is exposed to create a contrast against the masonry’s thickness and tone. The revealing of support infrastructure is intentionally carried through the apartment renovation.
the kitchen floor is coated with hydraulic tiles to combat humidity issues
the original concrete structure is exposed to create a contrast against the masonry’s thickness and tones
the versatile furniture functions as a shelf, archive, and office
American entrepreneur Ian Schrager’s The Edition group has landed in Rome, opening a hotel in a converted bank that makes use of its soaring lobby, original marble staircases and hidden front courtyard.
The Rome Edition began welcoming guests earlier this year to the 91-room hotel, located a block away from Via Veneto – the street that was immortalised in the 1960 movie La Dolce Vita.
Arrival to The Rome Edition is via a path under a bronze pergola that leads to the lobby
Schrager and his in-house team spearheaded the renovation of the grand building, utilising many of the original features including a cipollino marble staircase, central courtyards, statues and lamps.
“Built in the 1940s and formerly occupied by one of the main Italian banks, the building is a striking example of the rationalist style and was created by Cesare Pascoletti in collaboration with the famed architect Marcello Piacentini,” said The Edition team.
The plant-filled, sunken courtyard acts as an all-day lounge and dining spot
Unusually for Rome, arriving guests are escorted through a sunken garden “piazza” – which acts as an outdoor lounge, restaurant extension and gathering place – before reaching the lobby.
Once inside, dramatic seven-metre-high ceilings, full-height windows and green curtains, and travertine floors and walls set the tone for The Edition’s signature brand of soft minimalism.
The dramatic hotel lobby features seven-metre-high ceilings and full-height green curtains
Symmetrical arrangements of custom white furniture and low coffee tables exaggerate the strict geometry of the architecture.
“The lobby is Edition at its most dynamic,” said the team. “It is a place to relax and make merry; a place to see and be seen or play a few games of pool on the custom-made table.”
The Amina restaurant is divided into two dining spaces, one of which is accented with chartreuse-coloured upholstery and carpet
For the hotel’s signature restaurant, Anima, the team partnered with local chef Paola Colucci on a menu that puts a modern spin on family recipes and traditional Roman dishes.
Amber glass separates the kitchen from the two dining areas, one with chartreuse-toned accents across furniture and artwork, and the other blue.
The restaurant’s second dining space is decorated with blue accents
The various bar areas on the lobby level each provide guests with a experience. The Punch Room is a concept borrowed from other Edition properties including another recent opening in Tampa and occupies a cosy room with warm wood panelling and deep red tones, for sharing bowls of punch – a 17th-century tradition that’s been given a contemporary spin.
A dark walnut bar, Rosso Levanto marble fireplace, dark pink velvet sofas, and custom armchairs in rosewood and dark brown leather all add to the cosy atmosphere in the dimly lit space.
Off the lobby, The Punch Room bar is lined in walnut and includes dark pink velvet furniture
With space for just 10, the intimate Jade Bar features a rotating cocktail menu and is fully lined in deep green antique marble.
This small and dramatic room is furnished with emerald-hued velvet soft seating and satin brass and gold accents – including a wall-mounted sculpture influenced by artist Jeff Koons.
The Jade Bar is wrapped in antique green marble, with emerald seating and brushed brass accents
In the front courtyard, The Garden is filled with over 400 plants and lightly perfumed by the jasmine that climbs over the facade.
A bronze awning divides the outdoor space in two, with an al fresco dining area for Amina on one side, and an all-day casual terrace for cocktails and light bites on the other.
Teak banquettes and free-standing furniture are surrounded by “an Italianate arrangement of lanterns to give it the feel of a traditional Roman garden”.
The roof terrace on the seventh floor features a pool and bar area that offers sweeping views over the Eternal City’s rooftops.
Walnut wall panelling and herringbone floors feature in the bright guest rooms
In the bright guest rooms, walnut wall panelling and herringbone floors are paired with custom beige leather furniture.
Carrera marble basins and brushed brass fixtures stand out against the grey stone bathrooms, and frosted glass partitions are used to conceal showers and toilets.
Carrera marble sinks contrast the dark grey stone in the bathrooms
The Rome Edition is the group’s 16th global property, following locations that include Times Square in New York, West Hollywood in Los Angeles, and Tokyo.
The Madrid Edition, designed with British minimalist John Pawson, was longlisted in the hotel and short-stay interiors category of Dezeen Awards 2022.
From mattresses on concrete bases to beds encased within timber surrounds, this lookbook rounds up ten single, double and day beds that have been built into interiors.
Some designers choose to integrate beds into the building’s wider structure to create cohesion throughout interiors, eliminating the need to add matching furniture.
Built-in beds are often seen in buildings situated in warmer climates, such as Central America and the Mediterranean, where stone or concrete is used to keep spaces cool and to create bespoke, unmovable furniture.
Incorporated beds are also a popular choice when designing wooden cabins, due to their space-saving nature and the way they lend themselves to creating a cosy atmosphere.
This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring lime plaster walls, red interior schemes and interiors informed by retro design.
Photo by Spyros Hound Photography
Wooden Cave, Greece, by Tenon Architecture
A double and a single bed were sunk into this striking cave-like hotel suite in Greece designed by Tenon Architecture, which is made from over 1,000 pieces of spruce wood.
The tiered wooden stricture has a smooth, biomorphic appearance that recalls the grotto dwellings used by early humans.
Find out more about Wooden Cave ›
Photo by Rory Gardiner
Casa Alférez, Mexico, by Ludwig Godefroy
Two stark bedrooms are found in architect Ludwig Godefroy’s brutalism-informed home, situated in a pine forest in Mexico.
Concrete was used for the walls, ceilings, floors, storage and furniture of the house – the harshness of which is offset in the plush day bed in its office area.
Find out more about Casa Alférez ›
Photo is courtesy of Caspar Schols
Cabin Anna, The Netherlands, by Caspar Schols
A double bed – including headboard and bedding – was integrated into the floor of this modular cabin created by architectural designer Caspar Schols.
The structure and some of the furniture within it are flat-packed, allowing the space to be reconfigured depending on the needs of the user.
Find out more about Cabin Anna ›
Photo by César Béja
Villa Petrico, Mexico, by CO-LAB Design Office
A glazed arch-shaped door dictates the shape of the rest of this tunnel-like bedroom in a concrete holiday home in Tulum.
Platforms are present throughout the bedroom, one of which acts as a broad base for an understated mattress bed.
Find out more about Villa Petrico ›
Photo by Jonas Bjerre-Poulsen
Swedish forest retreat, Sweden, by Norm Architects
A sunken day bed takes advantage of the dramatic views of a pine forest in this cabin by Norm Architects.
Linen upholstery and pillows compliment the natural wood texture of the bed’s base and the rest of the floor – a combination that extends throughout the rest of the interior.
Find out more about Swedish forest retreat ›
Photo by Edmund Sumner
Cometa House, Mexico, by Mauricio Rocha and Gabriela Carrillo
A rustic wall made up of irregularly shaped stones provides the backdrop for the pared-back built-in bed in this coastal home in Oaxaca.
A jute mat separates the mattress from its wide stone base, which has built-in steps separating it from the rest of the space.
Find out more about Cometa House ›
Photo by Taiyo Watanabe
4/Way House, USA, by Deegan-Day Design & Architecture
A birch plywood platform bed blends into the interior of a house in California by Deegan-Day Design & Architecture.
The bed is surrounded by integrated panelling with a shelf for books and has an angular footprint to accommodate a built-in bedside table.
Find out more about 4/Way House ›
Photo by José Campos
Chestnut House, Portugal, by João Mendes Ribeiro
A double bed saves space in this small-scale rural cabin by sitting flush with the surrounding structure that makes up the floor.
The mezzanine bed is flanked by a bedside table area on one side and a ladder platform on the other that allows access to the level above.
Find out more about Chestnut House ›
Photo by Yiorgis Yerolympos
NCaved house, Greece, by Mold Architects
Pale bedsheets blend in with light-coloured cast concrete platform and steps in this split-level bedroom.
The built-in bed allows for other design features to take centre stage in the double-height space, including the stone wall, lancet windows and exposed structural beam.
Find out more about NCaved house ›
Photo by Ondřej Bouška
Cabin Above the Town, Czech Republic, by Byró Architekti
A curtain separates a sleeping nook from the rest of this hilltop cabin’s open-plan interior.
A single plywood volume snakes around the edge of the space and provides storage, seating and a bathroom as well as a built-in bed, with a further guest bed atop the structure accessible by a ladder.
Find out more about Cabin Above the Town ›
This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring lime plaster walls, red interior schemes and interiors informed by retro design.
