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Climate tile_close up
CategoriesArchitecture

Extending Manhattan Is Not Going to Save New York From Flooding

By Zarkon Group,

Browse the Architizer Jobs Board and apply for architecture and design positions at some of the world’s best firms. Click here to sign up for our Jobs Newsletter.

Global warming has increased volatile weather and is causing sea levels to rise at alarming rates. Combined, these two problems are making coastal regions increasingly vulnerable. Covered in asphalt, concrete and other hard surfaces, cities are already at a disadvantage due to their low porosity. Surface runoff relies heavily on the sewerage system; a very limited amount of water can get away through evaporation.

Unlike more natural or rural areas, where sand and soil can let surface runoff go underground, in cities, water can usually only go down in places where a manhole connected to the city’s sewage system is available. Under such circumstances, water is more likely to accumulate, overwhelming the sewerage system and causing flooding as it takes longer to get back to the underground water system or nearby tributaries. Manhattan is particularly vulnerable.

After Hurricane Sandy hit New York City in 2012, the city was left mourning the deaths of 43 people and assessing damage totalling $19 billion. More recently in 2021, Hurricane Ida devastated NYC. Hurricane, surge and flooding are the problems that the city has to deal with urgently. In January, Professor Jason Barr from Rutgers University proposed a divisive solution aimed to combat future flooding: extending Manhattan. The extension scheme is also to tackle the housing issue of the crowded island.

As proposed by Prof. Barr, the extension scheme by the south of the island is about 1,760 acres large. It runs approximately from Holland Tunnel to somewhere around Manhattan Bridge and extend beyond the Statue of Liberty towards the south. The extension seeks to provide about 180,000 housing units for 247,000 people in total. Constructed wetlands will stand between land and water to protect the city behind it from flooding.

Indeed, constructed wetlands have been proved to be environmentally beneficial and mitigate floods. Soil and plants hold the water when it comes and allow it to penetrate the ground while holding them. Compared to an unobstructed urban hard surface where water can run over immediately, constructed wetlands reduce the intensity of peak flow when flooding.

Furthermore, as they are connected to the sewerage, constructed wetlands function as biofilters for treating rainwater/storm runoff and urban grey water. The plants remove nutrients, heavy metals and other pollutants from the water. The filter bed, which normally consists of sand and gravels, also help remove solid contaminants. If well-planned, constructed wetlands can as well be a pleasant part of the urban landscape, adding to the biological diversity in cities.

Climate tile_close up

The Climate Tiles installed by Heimdalsgade 22-24, Nørrebro, Copenhagen ©Tredje Natur.

Climate tile_drawing

Drawings of the Climate Tiles ©Tredje Natur.

Here comes the question: how large do the constructed marshlands and wetlands need to be on the extension to save Manhattan from damages and losses in future? According to a study after Hurricane Sandy which looked at coastal wetlands’ efficiency in flood/damage reducing, the wetlands covering only 2% of New York State’s land area have saved about $140 million or 0.4% of the state’s total losses.

Looking at the rough plan created by Prof. Barr, it is clear that more careful considerations are needed when planning enough artificial wetlands for protecting the entire Manhattan. Besides, the shown plan is making the East River even narrower, which could reduce its capacity.

There are other urban design strategies to cope with water. The Climate Tile project by Tredje Natur is reintroducing the hydrologic cycle to the city of Copenhagen. The visible part of the project is pavement tiles with small wholes on them that allow water to infiltrate into the ground and down to the sewerage. It is mimicking the natural process where surface runoff joins the groundwater through infiltrating the soil.

An invisible component of the project lies beneath the tiles, where the main part of the artificial water system functions. The rainwater collected from rooftops and the street level gathers through pipes. Connected to the soil under urban green areas, the water collected is then supplied to plants. The excess goes into the city’s drainage system after part of the water and nutrients are consumed by plants. This scheme can let water into the ground faster rather than completely relying on storm drains. By feeding water to plants first, it also controls the amount of water going into the main sewerage.

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The restored Cheonggyecheon River, photo by Isageum on Flickr, accessed from Wikimedia Commons.

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The restored Cheonggyecheon River, photo provided by Cheonggyecheon official website.

While the Climate Tile requires careful corporations with the existing drainage system, the Cheonggyecheon River restoration project in Seoul, South Korea, took the “radical” route in giving the river back to the hydrologic system. The Cheonggyecheon River flowed underground for about 50 years before once again seeing the light of day in 2005. The river was nearly dry when the road and highway that run above it have been removed. Continuing for over three miles, the river banks became a linear urban green space as well as flood plains to hold the river’s overflow during heavy rains.

Flood plains for overflowing are not any kind of modern invention but the most natural way to deal with seasonal flooding. As we harden the land to build more towers, we are also sacrificing the capacity of water bodies around cities. Meanwhile, the sea level keeps rising, pushing our water system even closer to its limit. Cities then become vulnerable when regular or unexpected heavy precipitation comes, leaving tragedies behind. Keeping a respectful distance between the built environment and nature is our way out from the climatic crisis, rather than continuing invading.

Browse the Architizer Jobs Board and apply for architecture and design positions at some of the world’s best firms. Click here to sign up for our Jobs Newsletter.

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What Kéré Architecture’s Renderings Reveal About the Firm’s Design Process
CategoriesArchitecture

What Kéré Architecture’s Renderings Reveal About the Firm’s Design Process

By Zarkon Group,

The 10th Annual A+Awards is still accepting entries! New this season, firms can gain recognition for their entire portfolio of work thanks to the addition of the new Best Firm categories celebrating practices of all sizes, geographies and specializations. Start your entry today.

Images tell powerful stories of people and place. For Kéré Architecture, renderings provide a way to showcase design and relate to larger contexts. Founded by Francis Kéré in 2005, with a dual focus on design and social commitment, the studio’s scope encompasses building, design and knowledge sharing. Known for its use of structure and materials, the practice’s portfolio spans a wide spectrum of projects from civic infrastructure to temporary installations, from concept to execution and across diverse geographies.

Kéré’s architectural reputation is strongly tied to the work’s built realization, and rarely is the process of a project’s creation explored through working images and visualizations. The following article examines a range of Kéré Architecture’s work through rendering, and it does so across different approaches and scales. A common thread emerges that is grounded in the renowned Burkinabè architect’s pioneering approach to sustainable modes of construction and context. The result is a portfolio that centers process and vision as the heart of design.

Inspired by the particularities of each project’s locality and its social tapestry, Kéré and his team work on projects across multiple continents. At the intersection of utopia and pragmatism, the team creates contemporary architecture that feeds the imagination with an Afrofuturist vision. Informed by tradition, the practice explores new modes of construction for which the foundations have long been laid.

Innovative uses of local resources and participatory design methods allow them to work beyond the boundaries of most established design practices and shed dominant norms. Exploring the many crossroads of the architectural realm and other disciplines, from art to technology, they expand their design practice through a deeper understanding of the relationship between rendering, illustration and built work.

Interior of Thomas Sankara Memorial. Render by Kéré Architecture

Interiors: Thomas Sankara Memorial

The Memorial Thomas Sankara is a project to honor and commemorate the memory of the seminal 20th-century Burkinabè thinker, former president and change-maker Thomas Sankara. The design proposal for the memorial reflects the genesis of revolution. The aim is the integration of a structure into an existing landscape that places innovation at its fore. In this rendering, the studio visualizes the interior of the memorial tower, an 285 feet (87 meters) high urban landmark for the Burkinabè capital, a design that stands on the site of the 1987 assassination of Sankara and his comrades.

Visitors are invited to climb the structure using a helicoidal ramp. The path is purposefully long and demanding, emulating the call not to fear the challenging road to change. Tackling the winding route is rewarded with stunning views across the city from a unique vantage point, which also features a restaurant shaped as the contour of Burkina Faso. A suspended funicular cabin provides access to the summit for older people and other abled. This rendering view is used to emphasize materials, light and circulation — all central elements of the design.

Xylem, Render by Kéré Architecture, photograph by Iwan Baan.

Early Concepts & Materials: Xylem

Kéré Architecture designed Xylem, the gathering pavilion for the Tippet Rise Art Centre, as a quiet, protective shelter. Named to evoke the vital internal layers of a tree’s living structure, Xylem is a place where visitors of this vast outdoor art space can gather to converse or sit and contemplate in solitude. Early renderings for the project show a much more playful and artistic interpretation of the finished design. Favoring illustration over realism, the renderings evoke layering that is much more conceptual than later renderings.

The logs of Xylem’s canopy are grouped in circular bundles within a modular hexagonal structure in weathering steel, supported by seven steel columns. The upper surface of the canopy is carved sinuously to blend into the surrounding hills. Simultaneously massive yet light, the roof is inspired by the tuguna, the sacred gathering space of many small Burkinabè communities. These low-level wood and straw shelters offer protection from the sun while allowing for ventilation.

Inside the pavilion, sunlight filters through the vertical logs, creating a soft play of light and shadow on the curvilinear seating and polished concrete circular platform below. The spatial complexity of the carved wooden seating elements encourages visitors to explore different views of the surrounding landscape.

Xylem, Render by Kéré Architecture, photograph by Iwan Baan.

Design Development & Scale: Xylem

Later in the design process you can see how Kéré Architecture’s renderings evolve to a more realistic approach. This brings in scale, sky and photo-realism as an entirely different approach to illustration. Located in a slightly sunken landform between the main facilities of the art center and the start of the hiking tracks, the pavilion nestles in a clearing surrounded by aspen trees, facing a small creek. Entirely carved in wooden logs, the pavilion invites visitors into the heart of the trees. The sustainable pinewood used for the entire pavilion, locally sourced from a natural pruning process that saves forests from parasitic bugs, is used in its raw state.

For Kéré Architecture, the definition of local resources has many layers, all of which are tightly interwoven. The studio believes that to build in a particular location means to engage actively with all aspects of the building practices of that place. Perhaps the most significant local resource is the existing built heritage, which teaches us how to adapt to our given context. In the work of Xylem and the render process, you can see how the studio strongly believes that a comprehensive understanding of local resources grounds each of their projects in its specific site and context.

Waterfront of the Niamey Nyala Masterplan. Render by Kéré Architecture.

Masterplans: Niamey Nyala Masterplan

Not only does Kéré Architecture work at the scale of architecture and pavilions, but also masterplans. The Niamey Nyala Masterplan puts forward a new vision, based on the premise of transforming the city by harnessing the hugely untapped potential of its riverbanks. The plan intends to create a network of public spaces along the Gounti Yéna (a tributary of the Niger River flowing through the city from south to north) and the Yantala Corniche on the left of the river, promoting Niamey’s biodiversity. The studio’s rendering for the masterplan combines an aerial view of the river and city superimposed with textures, architecture and infrastructure for the new project vision.

Along the Yantala Corniche, the existing tree nurseries and market gardens are reorganized to integrate recreational areas. In turn, the illustration shows how housing is planned along the riverside to slow the city’s expansion into the desert, as well as water transport to improve the connection between various points along the banks. The promenade planned along the Gounti Yéna waterway is combined with a series of waste stabilization ponds that filter the water through plants and sand. At the heart of the masterplan, a pedestrian bridge connects the two main promenades and spans the ring road, offering Niamey’s citizens a new vantage point over their city and its river.

Façade of the TUM Tower. Render by Kéré Architecture.

Large-Scale Landmarks: TUM Tower

At the start of 2019, Kéré Architecture was commissioned to design a multi-use civic centre at the heart of the Technical University of Munich’s Garching research campus. Complementing the science facilities, this new central hub aims to promote cross-pollination between the public, faculty, alumni, students and researchers of various disciplines. The rendering especially showcases how each terrace is brought to life by the green façade, which serves as the building’s natural climatization system.

The design explores the organic and flexible possibilities of geometric forms, starting from the simple square. The TUM Tower includes a 360° view of the campus, made possible by the 22.5° rotation of a squared plan around its core axis. Acting as a landmark visible from afar, the TUM Tower brings the form of the campus’s functional architecture to new light. It playfully evokes both the essence and shape of the Bavarian maypole or Maibaum tradition – an annual celebration of communal gathering around a soaring tree-like structure.

Interior of the Serpentine Pavilion. Render by Kéré Architecture, photo by Iwan Baan.

Pavilions & Light: Serpentine Pavilion

Since 2000, the Serpentine Galleries annually commission an international architecture practice to design the Serpentine Pavilion in Kensington Gardens, London. In 2017, they chose Francis Kéré. Taking inspiration from the great tree in his hometown of Gando, under which members of the community meet to reflect on the day, Kéré’s design is based on creating this sense of community while connecting people with nature. A great overhanging roof canopy made of steel and a transparent skin covers the entire footprint of Kéré’s Serpentine Pavilion, allowing sunlight to enter the space while also protecting it from the rain.

Not only does this rendering showcase the materials and vision for natural light, but it also points to a larger approach to pavilion design. The project is defined by wooden shading elements that line the underside of the roof, creating a dynamic shadow effect that changes with the movement of the sun and clouds. The wall system is made of prefabricated wooden blocks assembled into triangular modules with slight apertures, giving a lightness and transparency to the building enclosure. The curved walls are split into four fragments, allowing four unique access points to Kéré’s Serpentine Pavilion. Completely detached from the roof canopy, these elements allow both the air and visitors to freely circulate.

Façade of the Benin National Assembly. Render by Kéré Architecture.

Architecture & Facades: Benin National Assembly

Having outgrown its current building, which dates back to the colonial era of its past, the parliament of the Republic of Benin has entrusted Kéré Architecture to design a new national assembly that will embody the values of democracy and the cultural identity of its citizens. The project takes inspiration from the palaver tree, the age-old West African tradition of meeting under a tree to make consensual decisions in the interest of a community. Here, an approach to rendering not only accentuates the conceptual idea and brings it to life, but also tells a story of structure and the building façade.

The assembly hall is defined by the dynamic reach of the structure. The crown is comprised of offices and auxiliary functions, set back from the deep façade, which filters the sunlight. The trunk is hollow, creating a central courtyard that allows circulation spaces to be naturally ventilated and indirect light to penetrate the plan. A spiral staircase in its center connects the assembly hall on the ground floor to the offices above. In the southeast corner of the site, a public square marks the civic façade of the building, across from the former national assembly where Benin’s independence was historically declared.

The 10th Annual A+Awards is still accepting entries! New this season, firms can gain recognition for their entire portfolio of work thanks to the addition of the new Best Firm categories celebrating practices of all sizes, geographies and specializations. Start your entry today.

Reference

How Universal Design Can Drive Inclusivity
CategoriesArchitecture

How Universal Design Can Drive Inclusivity

By Zarkon Group,

Celebrate a decade of inspirational design with us! The 10th Annual A+Awards is officially underway, and the Extended Entry Deadline is March 4, 2022. Click here to start your entry today.

Despite all the talks around inclusivity and diversity in all aspects of life, the idea of universal design is still not one that is widespread. The term, first coined by American architect Ronald Mace, and then later popularized by architect Selwyn Goldsmith, explores a branch of design that caters to everyone regardless of their age and abilities. This implies going beyond wheelchair-accessible spaces and addressing the vast spectrum of disabilities that can exist.

The limitations of designed environments first became a topic of discussion after the second World War when we saw a large number of injured veterans. While the advancement in medicine made it possible for them to live longer lives, there wasn’t enough infrastructure that was entirely accessible to them. Veterans in the United States demanded equal rights for themselves, leading to the establishment of the Americans with Disabilities Act in 1990.

Enabling Village by WOHA in Singapore | Photo by Edward Hendricks

But having equal rights was not enough. When it came to spaces and environments, Mace was instrumental in creating the seven principles of Universal Design in 1997. These are equitable use, flexibility in use, simple and innovative use, perceptible information, tolerance for error, low physical effort and size and space for approach. They are meant to serve as guidelines for designers to create more inclusive and accessible environments.

Equitable use implies the provision of the same degree of access, security and safety for all users. The principles also point to flexibility by accommodating a wide range of preferences such as left and right-handed access, provision for different paces of movement and so on. They also state that the design should be intuitive in a way that individuals with different literacy and language skills should be able to navigate the space without any difficulties. The information provided should also be presented in graphic, audible and tactile forms. Each space must have warnings of hazards and errors and preferably have these high-risk elements isolated. Transparency in buildings, recurring seating spaces, anti-skid surfaces, tactile floor guides and handrails with easy grips are just a few other examples of elements that can be included.

Enabling Village by WOHA in Singapore | Photo by Edward Hendricks

According to Indian architect and Universal Design advocate Kavita Murugkar, Universal Design is an almost fundamental value given that it ties in with accessibility and, in turn, an individual’s right to freedom. She said, “Everyone is talking about equality and extending equal rights and opportunities for all individuals, and creating equal possibilities of participation in the society. This is possible only through equal means of access.”

While we have come a long way in our understanding of what design needs to do, there is still a slightly limited perspective of disability while designing. The needs of someone who is an amputee might be very different from someone who is visually impaired. The latter might need many more tactile and audible cues to guide them in spaces whereas an amputee could require some more room to accommodate any aids they might have.

Enabling Village by WOHA in Singapore | Photo by Edward Hendricks

Furthermore, someone with missing arms could require alternative ways to use buttons or even open doors. An individual with Parkinson’s might need spaces that have finishes and interventions that are favorable for those who struggle with balance. And that is just on the physical level. People with autism might require quiet rooms and those with dementia could benefit from surroundings that have fewer identical elements.

A project that has tried to address this is the Enabling Village in Singapore. Designed by WOHA, the community space offers retail, recreational and training services for differently abled individuals. All public spaces and restrooms in the building are wheelchair accessible. The event spaces have induction loops that can transmit audio to people using hearing aids with T-coils and they also provide braille maps of the space if needed. Even elements like ATM machines in the center have braille labels and earphone ports. The project includes a center for innovators to gather and test ideas for assistive technology. It is equipped with a room where these inventors can also test their products in fully soundproof and lightproof spaces. Furthermore, they are also creating job opportunities for the differently abled members of the community.

Friendship Park (Parque de la amistad) by Marcelo Roux, Gaston Cuna, Patricia Roland and Federico Lezama, Montevideo, Uruguay | Photos via issuu.com

Another example of inclusive design is the Friendship Park in Montevideo, Uruguay that is designed by Marcelo Roux, Gaston Cuna, Patricia Roland and Federico Lezama. It is made in a way that children of all ages can enjoy the space regardless of their physical or cognitive abilities. Apart from the easily accessible spatial arrangement, materials like concrete, metal and rubber are used in abundance to provide tactile and aromatic cues to the users. The team has tried to incorporate more curved surfaces to avoid sharp edges; they have also used a variety of colors throughout to make it appear more fun and the spaces easy to recognize and remember.

Murugkar said the awareness about Universal Design is still not as much as it should be, especially considering its importance. She introduced it as an elective in Dr. B. N. College of Architecture in Pune, where she is an Associate Professor. But she believes that we need to get to a point where the subject is integrated into the entire curriculum and not just taught as a specialization. “Universal Design is a utopian idea. You can definitely not have a design that addresses the needs of every single individual on this earth,” she said. “It just aims to make the spectrum of usability of a particular service or product or an environment broader and broader.”

Inclusive design is more of a way of approach than a design methodology that must be implemented right from the conceptual stage and carried through to the smallest element in the final product. While this approach may give rise to innovation, the question remains: is actually possible to cater to every individual and make this philosophy a reality?

Celebrate a decade of inspirational design with us! The 10th Annual A+Awards is officially underway, and the Extended Entry Deadline is March 4, 2022. Click here to start your entry today.

Reference

The Architecture of Escapism: 8 Dreamlike Renderings That Showcase Bold Utopian Environments
CategoriesArchitecture

The Architecture of Escapism: 8 Dreamlike Renderings That Showcase Bold Utopian Environments

By Zarkon Group,

Send Us a Rendering. Tell Us a Story. Win $2,500! Architizer’s 3rd Annual One Rendering Challenge is open for entries, with a Regular Entry Deadline of March 11th, 2022. Submit a rendering.

Renderings are more than simple computer-generated images; they tell a story and help us envision how a space feels, is used and interacts within the surrounding environment. Architizer’s annual Rendering Competition the inspiring and striking architectural ideas made possible by architectural visualization. This rendering challenge provides designers with an opportunity to showcase their individual talents and distinctive imaginations.

At its best, ArchViz allows designers to explore the expansive potentiality of what architecture can be through surreal imageries that engage with the absurd, the paradoxical, and escapism. Each of the eight renderings offers a dreamlike vision. Whether it be an idyllic setting, a fascinating paradox, or a dream-like scene, each rendering highlights the fantastical possibilities of bold utopic environments and pushes the boundaries of what an architectural rendering can be — a chance to escape reality. 

Floating Vestiges by Timlok Li

Timlok Li’s rendering takes the viewer off-ground and into the sky. His rendering challenges the notion of architecture as permanent and site-specific, encouraging us to engage in the idea of impermanence. Floating Vestiges is hard to categorize as it flees from a defined architectural style. Instead, it embraces various styles and practices from different eras and periods. From American roadside architecture to imperial China, this floating structure is an amalgamation of historical periods and thus creates an inviting space for all walks of life.

The House of the Rising Sun by Bogdan Begmat

Bogdan Begmat’s paradoxical rendering is seemingly warm as it is brutalist. Made of poured concrete, this monolithic design boasts a warm brutalist aesthetic with a reflective façade. The rounded structure is at once muted through its monochrome appearance and, yet, defiant as it stands tall within the skyline. The building reflects onto the water surface below in what amounts to an almost subliminal effect. The juxtaposition of harsh and warm effects speaks to a surrealist aesthetic. Still, with the help of the surrounding peaceful landscape, a warm and inviting atmosphere is imagined.

Joint Structures by Nash Hurley, Jean-Pierre Monclin and Sonja Guth

A collaborative effort by three architects produces a rendering that responds to society’s ever-changing work culture. Remote work currently dominates over the traditional office space, and this change has required designers to pivot and evolve their practices. This rendered design concept imagines a healthy, functional, and environmentally-conscious workspace. It consists of a skyscraper made of a cluster of separate volumes, all of which are attached in a motif that creates a tree-like design. The workspaces within the structure offer ample daylight and access to fresh air, which encourages good work habits and good health. Moreover, the separated volumes are ideal for small workgroups while equally remaining connected to the others and thus creating a sense of communal belonging.

The Oasis by Nuno Salgueiro

Nuno Salgueiro’s rendering features a pyramid within the middle of a desert and reveals a surreal and oxymoronic design. It employs the traditional tomb structure — a space once used to commemorate the dead — but instead designs an environment for the living. The Oasis is a structure that provides shelter, rest, and a chance to appreciate the surrounding desert topography. The interior is a light spectacle, a space where visitors can appreciate the radiating sunlight that shines through a series of intricately-cut openings. The focal point is the grand staircase, which leads guests to the top of the pyramid and where they can contemplate the surrounding desert landscape.

ISAURA, A city that moves entirely upward by Maria Karim

Maria Karim’s city design takes inspiration from the works of Italian writer Italo Calvino. His imaginative writing and description of cities influenced Karim to design ISAURA, a city that is oriented upwards. Karim’s city design is built above a subterranean like — just as Calvino describes it to be. The lake provides residents with fresh drinking water and also houses many of the city’s gods. This unconventional city organization speaks to Calvino’s vivid imagination and excites our surreal senses.

The Crevasse by Yeong Joon Ko

Yeong Joon Ko’s light-filled gallery was intended for Hongik University in Seoul, South Korea. The space is cubic, boxy and exudes a tranquil morning atmosphere. A series of box-shape volumes were assembled in such a way that creates an arched path that leads visitors to a public space below. A sequence of crevasses and cut-outs connect the space with the outdoors and allows streams of sunshine to brighten the interior space. The rectangular shapes work together with the soft beams of lights to create a calm and warm gallery space.

Enter the Garden by Zana Bamarni

Zana Bamarni’s rendering invites the viewer to a light-filled haven. Enter the Garden is designed to be a tranquil space where for those in need to escape their chaotic and often frustrating work lives. The structure consists of a rounded archway that is deeply ornamented and stands with grandeur. Shining through the archway is a radiating, almost blinding light. What lies beyond the archway is unknown, but the fierce light and large scale create a sense of mystery and a deep urge to explore what may be lying ahead.

Solivagant No More by Joe Parayno

Joe Parayno rendering embodies the widely-felt fear of the pandemic, the intense fatigue of isolation and the desperate desire to travel. This design consists of a home hitched on a giant balloon, which allows the structure to fly freely in the sky. This illustrative rendering depicts a hiker who comes across the flying house and joins the owner of the home on a traveling adventure. Both individuals connected over their shared urgency to travel and see the world. The home is a surreal take on the human necessity for freedom and mobility.

Send Us a Rendering. Tell Us a Story. Win $2,500! Architizer’s 3rd Annual One Rendering Challenge is open for entries, with a Regular Entry Deadline of March 11th, 2022. Submit a rendering.

Reference

Living room with concrete wall
CategoriesInterior Design

Dezeen Lookbooks present interior design inspiration and trends

By Zarkon Group,
Living room with concrete wall

Dezeen has launched Dezeen Lookbooks, a new section featuring roundups of home interiors and decor trends to help designers and design lovers plan their projects.


Published each Saturday, the visually driven Dezeen Lookbooks present roundups of images of contemporary interiors selected from our vast archive of over 750,000 images.

Each roundup is curated by the Dezeen editorial team and addresses a different room and theme.

A peaceful bedroom
Top: an image from our cosy living rooms lookbook. Above: a project from the peaceful bedrooms lookbook

Lookbooks published so far feature living rooms, dining rooms, bedrooms, kitchens and bathrooms.

Dezeen Lookbooks is a response to the surge of interest in home design since the start of the coronavirus pandemic, which has seen people spending much more time at home.

As a result, web traffic to Dezeen posts about home interiors has soared.

Klinker apartment
This Barcelona apartment features in our colourful kitchens lookbook

Popular Lookbook stories we’ve published over the last few months include our showcases of living rooms with calm interiors, bold bathroom designs and thirty kitchens designed by architects.

We’ll be adding more image-led roundups over the coming weeks and plan to expand the section to include other types of interiors plus trend reports in future.

Interior design fans can also check out our sections on residential interiors, apartments and houses.

Reference