New York firm EL Studio has placed a contemporary box-shaped extension on top of this suburban home in Maryland to more than double its size.
The Lincoln Street Residence was recently completed by EL Studio founders Elizabeth Emerson and Mark Lawrence for a young family with two small children. The clients wanted to expand their living space while preserving their existing home in the small town of Bethesda.
“[The clients] wanted more space for play and individual bedrooms, but expressed a desire not to ‘lose one another’ in a home too vast or impersonal,” said the architects.
To create more living space, the architects removed an existing portion of the home and replaced it with a two-storey structure. The upper storey takes the shape of a cuboid, and extends over the flat portion of the bungalow to meet a side of its main gabled roof.
This extension houses a play room for the kids on the ground floor and a bedroom of each of them above, as well as a master suite that overlooks the back yard. It adds 2,980 square feet (277 square metres) to the 2,265-square-foot (210-square-metre) home.
The upper storey is accessed by a long flight of stairs sheltered by a slatted wooden screen. The volume cantilevers above a porch, providing protection to the outdoor spaces below.
A tall, slender window illuminates the double-height play space at the centre, which the architects described as the focal point of the home’s new configuration. “The playroom’s double-height volume binds all of the programmes, and provides access to the garden through a covered porch tucked under the master suite,” they said.
The front of the house retains its original appearance, which the architects describe as “a relic of the first wave of suburban development in this area”.
The exterior was painted a bright shade of blue on areas of the earlier building, and left blank across the new addition. This colour choice complements the materiality of the roof, which is made of reflective metal panels.
Summarising the project, the architects said that the renovation “resists the current inner-ring suburban trend towards demolition of older, smaller homes in favour of new over-scaled ‘farmhouses'”.
Located near Dublin’s docklands, this three-storey Georgian terraced house has been converted from three bed-sits into one light-filled “upside-down house” with a charred-larch extension at the back.
Designed by Scullion Architects, the refurbishment flips the traditional house layout on its head, positioning the open-plan kitchen and living room on the top floor, bedrooms on the floors below, and the bathrooms in the new charred-larch extension.
“Our clients were a young couple who wanted to turn this city centre property into a home for entertaining and enjoying the views of its Dublin docklands setting,” explained Scullion Architects.
The property, which formerly housed separate studio bed-sits on each of its three floors, was in a run down state when works began.
“Most of the original decorative plasterwork and joinery features of the home had been lost, with the exception of the main hallway and staircase, which were reasonably intact,” the studio recalled.
“The roof was in poor condition, and in need of total replacement. As each floor has been converted into bedsits, poorly constructed bathrooms interrupted the floor plan on every level,” it added.
The firm managed to retain the perimeter walls of the house, as well as the stairs, entrance hall and floors. An entirely new roof structure with vast rooflights at its apex was inserted, providing clear views of the sky from the repositioned living room and kitchen.
A tower-like extension that houses the new bathrooms, was added to the rear of the house. Spanning three floors, the extension also incorporates a terrace that leads from the ground floor down to the garden on the lower ground level.
The architects chose to clad the tower in Shou Sugi Ban, or charred larch, for its “shadow-like presence” and the contrast its dark carbon crust created next to the untreated natural copper parapet.
The bathrooms and upper-ground floor terrace have shielded views through charred-timber screens that obstruct direct over-looking from the neighbouring rear gardens.
While the open-plan kitchen and living room were repositioned on the top floor where the occupants could best enjoy the light and views, bedrooms were placed on the upper ground floor, with a garden-level living area and bedroom below.
To maximize on space, sliding doors give access to storage concealed within the thickness of walls, and opaque glazed steel framed sliding doors give access to the new bathrooms from the staircase.
In addition, all stairwell doors feature Crittal-style glazing to allow light to funnel down into the middle of the house and new full-size windows were inserted into existing window openings with secondary frames concealed behind the brickwork.
Photographer Jade Doskow has spent the last decade documenting crumbling and thriving World’s Fair sites across North America and Europe for her Lost Utopias series.
Once a display of the time’s most pioneering ideas, these exposition sites now exist predominantly in a state of decline or dereliction.
The dystopian-style series has seen Doskow travel to and photograph the remaining art, architecture and landscaping at 27 of the World’s Fairs sites across North America and Europe.
The images illustrate the urban sites in their recent states, having either been left victim to the elements like New York’s 1964 State Pavilion, or revived and maintained as popular tourist attractions like Paris’ Eiffel Tower.
The concept for the Lost Utopias project initially developed from a family trip to Seville in 2004, when New York-based Doskow came across the 1992 World’s Exposition site.
“I was immediately captivated by the surreality of the situation and the seemingly hodgepodge use of the huge site,” she explained.
“Canals were filled with tall grasses, a decorative fountain glistened with beer cans and algae, many structures were overgrown with weeds, yet several buildings were still in use, including for the RTVA radio station of Seville.”
Following this experience, in 2006 Doskow began to plan her project of photographing numerous World’s Fairs sites across the world, which took off a year later with the 1939 and 1964 New York sites, then moving on to locations in Chicago and Europe.
Doskow described the project as “a cross-disciplinary extravaganza encapsulating science, industry, art, architecture, as well as the historical and cultural frameworks in which each past fair had happened, which influenced the specific context in which everything was constructed and conceived in regards to technology, race, and design.”
Not only was the history compelling, Doskow told Dezeen, but the different ways in which each city dealt with the sites after their closing also revealed a lot about the city itself and how it has approached historic preservation and urban planning.
Doskow devotes around three to five days to each place, researching their current condition and contemporary layout in comparison to the original fair maps. In doing so, she aims to capture images that “reflect the current use of the structures and landscaping as well as the emotional and metaphysical state of the place”.
Out of all the sites captured, Doskow said the “most successful metaphor” for the project was the 1964 New York State Pavilion in Queens.
Despite being situated in one of the world’s most well-known cities, and built by the modern architect Philip Johnson, the site nonetheless exists in a half abandoned “limbo state”, being too difficult and costly to be repurposed and yet too important to be demolished.
Deserted sites like this stand in stark contrast to the various existing sites like Paris’ Eiffel Tower, Trocadero, and Palais de Chaillot (all constructed for Paris’ 1937 Exposition Internationale) which have been consistently used and improved upon.
Taking a slower, more meditative approach to shooting the sites, Doskow uses a large-format camera for the project, similar to what would have been used by the photographic pioneers of the early World’s Fairs.
After processing the film, she then “painstakingly perfects” the images using photoshop, sometimes taking up to a year to complete a final print.
“As any artist can tell you, it is important to sit with an image for quite a while and figure out if it works and if it makes sense in the greater context of the project,” Doskow told Dezeen.
“Also photography and world’s fairs had a direct and reciprocal relationship, as the first major photography exhibition was at the Great Exhibition of 1851 in Crystal Palace in London, so I appreciate being able to use similar tools as to what the early pioneers would have used.”
She finished photographing the North American sites in 2015, and by 2016 the first monograph of her work, Lost Utopias, was published by Black Dog London. She has since spent the last few years revisiting sites that have changed since she last shot them.
Following this decade-long project, Doskow now wishes to focus more on sites outside of America and Europe, and plans to base her photography in places like Japan, China, South Korea, and Australia over the next five years.
French designers Marion Pinaffo and Raphaël Pluvinage have designed a set of 13 electronic toys that are cut, folded and assembled from paper printed in special ink.
The pair set out to create toys that would highlight the omnipresence of electronics, using paper printed with conductive or thermosensitive ink, and a kit of components such as batteries and propellors.
“As pointed out in its title, Papier Machine is mainly made of paper, a familiar material that one isn’t afraid to mess up,” Pinaffo told Dezeen.
“Paper can be layered, creased, folded, bent, cut, fragmented, frayed, flattened, hung on walls, assembled into volumes – these simple actions enable super low-tech though interactive experiences.”
The Switch toy requires a piece of bundled foil to be thrown into it to complete a circuit and allow five black dots to change colour, while the Playing Track sends a ball bearing down a zigzag path to create different noises.
Another toy needs a pencil to make marks and create different sounds, and another, target-style device uses humidity sensors and colour-changing ink to respond to spitballs by revealing secret letters. The pair also used wind sensors to create a ghost-shaped toy with paper fringes that bleeps when it’s blown on.
“We wanted to show that electronics are not magical, but have chemical and physical principles and that all these invisible sensors have shapes,” added Pinaffo.
Pinaffo and Pluvinage based the bright colours and patterns of the Papier Machine toys on classic arcade games, creating pieces that were “both functional and decorative” with space to incorporate the circuitry required.
“We used a geometrical and abstract alphabet of shapes to leave room for the user’s appropriation,” added Pinaffo. “Anyone is free to see monsters, or cities via sports fields or race tracks in our toys, in the same way you see different things when you look at the electronics of mobile phones under the microscope.”
The duo say that the toys will last as long as their owner cares for them but concede that paper is a more fragile material. They suggest damaged toys can be fixed with tape, or broken circuits repaired using silver pen.
Papier Machine has already been shown at the Musée des Arts Décoratifs in Paris, and the pair are also working on bigger versions of the toys that could be displayed floor-to-ceiling in other exhibition spaces or museums.
For his book, Residents: Inside the Iconic Barbican Estate, London-based photographer Anton Rodriguez aimed to highlight the stylish living spaces created by many of the current residents of the brutalist complex, which is home to over 4,000 people.
OMA’s trouser-shaped CCTV tower and Herzog & de Meuron’s Bird’s Nest stadium feature in this photo series by architect Kris Provoost named The Beautified China, which documents the “weird architecture” the country has tried to ban.
Belgian photographer Jan Kempenaers documented a series of second world war memorials across Europe for his photoset, which focuses on a series of ruined concrete monuments built in the 1960s and 70s across the former Yugoslavian territories.
Left fascinated by Pyongyang after a one-day trip from China, photographer Raphael Olivier returned to the city to spend more time documenting its buildings and monuments – which is based on austere Soviet architecture, but features quirks taken from Korean culture.
Canadian photographer Matt Van der Velde captured the decaying hospitals once used to treat patients suffering from psychiatric disorders, having developed a “morbid curiosity” from his own mental health issues.
Built in Nara Prefecture in 1961, this theme park was expected to become Japan’s answer to Disneyland. But it struggled to compete when both Disney and Universal Studios opened up their own parks in nearby Osaka and Tokyo, and it eventually closed in the summer of 2006. Ahead of its demolition in 2016, photographer Romain Veillon photographed the abandoned rides to create this eerie image set.
Artists Robin Lasser and Adrienne Pao created a series of structures that can both be donned as extreme gowns and used as shelters, before capturing the result as whimsical imagery. The costumes and photos were all brought together for the first time during a show at the Center for Photographic Art in Carmel, California, last summer.
These images are inspired by a recent trip photographer Sebastian Weiss took to France, and feature landmark buildings including Jean Nouvel’s Philharmonie de Paris concert hall and the cauliflower-like balconies of the Choux de Créteil tower blocks by Gérard Grandval.
German photographer Peter Ortner spent seven years documenting 500 bus stops across former Soviet countries. Unlike the grey concrete buildings often associated with socialist architecture built throughout the 20th century, Ortner found an eclectic, colourful micro-architecture that emerged on the roadside, including a triangular pavilion, a winged shelter and several mosaic designs.
The final nail in the coffin of the Thomas Heatherwick-designed Garden Bridge came with the closure of the Garden Bridge Trust, which cited a lack of support from London mayor Sadiq Khan. A financial inquiry into the scheme had found that although the project originally came with a £60 million price tag, it would cost British taxpayers an estimated £200 million.
And the Vantablack saga continued as Massachusetts manufacturer NanoLab emerged as the latest contender to take on Anish Kapoor’s exclusive hold on the world’s blackest black, with their new version called Singularity Black.
Petite Friture‘s Abstraction collection includes lighting and wallpaper featuring geometric patterns based on optical illusions and modernist buildings.
The range – which will be unveiled at Maison&Objet in Paris – includes pendant lamps with circular details, lights that hang together in clusters and wallpaper that takes inspiration from architectural details.
French design brand Petite Friture plans to show the collection among an installation of mirrors and brightly coloured geometric panels, designed to emphasise the pieces’ connection with optical art.
Included in the range is French-Austian duo Celia-Hannes‘ Kling lighting, which pairs bell-shaped shades with anthracite brass rings. The lamps come in several different table and pendant versions, attached to a single circle or to an arched support that contrasts shades in different shapes and sizes.
Belgian designer Sylvain Willenz has designed a set of lamps that function as a “lighting garland”, featuring subtly ridged black shades that can be arranged as a single light or in groups that are hung bunched together.
The Abstraction range also features wallpaper that borrows from architectural forms, including French designer Leslie David‘s postmodern-style Constellation 1 and 2, which pair slender lines with chunky circles and rectangles.
Mexico-based illustrator Ana Montiel‘s Utopia Ascending wallpaper is more riotous, featuring a jumble of overlapping shapes that also seem to have been borrowed from modernist buildings.