There are just 35 days left to enter Dezeen Awards 2020

Today marks 35 days to go until the Dezeen Awards 2020 entry deadline on 2 June. We've put together a list of the most frequently asked questions we've been getting over the last few weeks to help you with your entry!

When is the entry deadline?

At 23:59 British Summer Time on Tuesday 2 June.

Can I get an extension to the deadline if I can't finish my entry before then?

If you miss the deadline, you can still enter until Tuesday 9 June. But you will have to pay a late fee if you submit your entry after 2 June.

Will the deadlines change due to coronavirus?

No. We need to get all the entries in on time so we can start the judging process. If you subscribe to our newsletter, you will receive all important updates, news and information about Dezeen Awards 2020.

What are the entry fees for Dezeen Awards?

Standard entry until 2 June 2020

For individuals and companies with 10 employees or fewer: £100 per category entry
For companies with more than 10 employees: £200 per category entry

Late entry until 9 June 2020

For individuals and companies with 10 employees or fewer: £150 per category entry
For companies with more than 10 employees: £300 per category entry

Prices exclude VAT.

Can I enter my project into more than one category?

Yes, as long as your project is suitable, it can be entered into multiple categories.

Can I enter a product collection?

Collections to be accepted as long as there is a strong, easily demonstrable theme in common that unites all the products within it.

How do I pay for my entry?

Once you have completed the entry form and all mandatory fields, you will see a 'review and submit' button on your account page next to your entry. You can review your entry and, when happy with it, proceed to the payment stage.

Are there any additional costs apart from the entry fee?

No, apart from the entry fee there are no other costs involved.

Do projects have to be completed to enter?

Yes, projects must have been completed between 1 June 2018 and 2 June 2020 to be eligible. Conceptual or unbuilt projects cannot be entered.

Can collage images be used in my submission?

Although collages are allowed, we advise against them. Please make sure the majority of your images are good-quality, untouched photographs.

Can I upload renders?

You may upload plans and drawings but please don't upload renders or computer-generated images.

I don't work for a company. Is Dezeen Awards open to individual designers?

Yes, you may enter Dezeen Awards as an individual designer.

Can the same projects be entered two years in a row?

You may enter a project two years in a row as long as it is entered into a different category the second time around. Make sure your project was completed within the indicated time frame.

Can I return to my submission and submit at a later date?

Yes, you can save your entry and submit it at a later date. Once you have paid for your entry, you won't be able to make changes to it anymore.

I have a question that is not listed here...

No problem! Send an email to awards@dezeen.com and someone from the team will get back to you.

Good luck with your entry!

The post There are just 35 days left to enter Dezeen Awards 2020 appeared first on Dezeen.

from Dezeen https://ift.tt/2YiWB5n

Nendo adorns tuna fishing ship with graphic patterns to recall life on land

Straight lines and geometric symbols feature inside and out this longliner tuna fishing ship, which Nendo designed to relieve the mental and physical stress imposed on its crew when out at sea.

Designed for Japanese tuna fishery Usufuku Honten, based in Kesennuma City in Japan's Tohoku region, the Shofukumaru longliner ship weighs a total of 486 tonnes and has capacity for 15 crew members.

Nendo was given a brief with three key words – straight lines, unevenness and massiveness – which it used to create exterior and interior designs that offer a "sense of security on solid ground".

The crew spends a month at sea at a time, catching bigeye and bluefin tuna for the fishery – a job that is strenuous on their mental and physical wellbeing.

According to the company, this results in a turnover rate of more than 50 per cent among the younger members of the crew.

The fishery therefore tasked Nendo with designing an interior and exterior for the fishing vessel that would help alleviate the stress of the team, and in particular would appeal to its younger workers.

Nendo deconstructed Usufuku's trademark, comprised of the Japanese emblems including a chigai-yama (mountains), hoshi (star) and ichi (one), and modernised them to create a simple graphic pattern made up of straight lines and circles.

This pattern was then repeated in adapted forms across both the exterior surfaces and interior elements such as the onboard flooring.

"The idea was conceived from the notion that our species, not originally accustomed to spending long periods of time at sea, might be comforted by linearity reminiscent of life ashore: the straight lines of buildings, windows, doors, and smartphone and TV screens," Nendo explained.

Striped joints and rectilinear openings were incorporated into the interior design, softened with curved surfaces in certain locations to ensure safety.

The studio also wanted to create an "unevenness" in the boat design, to avoid creating repetitive interiors that are often seen in environments focused on functionality, such as hospitals.

According to Nendo, these homogenous designs often cause "psychological stress" for users.

Linear patterns and materials were therefore scattered at random and in moderation across the vessel, to create spaces with different characters that the crew won't get bored with.

According to its creators, the Shofukumaru boat is the first domestic tuna fishing vessel to be equipped with a Wifi system.

Other additional features designed to recall life on land include the furniture, which sees bulky tabletops and "stump-like" stools that appear to be rooted to the floor.

The boat also boasts an increased per-person occupancy area alongside a higher ceiling height than conventional interiors.

Nendo is not the only studio to foray into boat design. Danish studio Norm Architects designed homely interiors for a 20-metre-long luxury yacht named Bella.

Back in 2014 architecture firm Foster + Partners designed a 20-metre-long motor yacht with a white leather interior, while in the same year Zaha Hadid designed the Jazz superyacht for German shipbuilders Blohm+Voss.

The post Nendo adorns tuna fishing ship with graphic patterns to recall life on land appeared first on Dezeen.

from Dezeen https://ift.tt/2zD8Dfx

Marazzi reveals new Crogiolo tile collection with designs that celebrate ceramic Italian tradition

Dezeen promotion: Italian flooring manufacturer Marazzi has released its Crogiolo ceramic and stoneware collection with four new series, including designs based on majolica pottery and tiles with a brush-stroke effect.

The new tile series – Lume, Scenario, Zellige and D_Segni Blend – join the D_Segni, D_Segni Scaglie and Colore series also in the Crogiolo collection.

The Lume range boasts an ultra-glossy finish

The Lume stoneware draws on Marazzi's extensive research into glazes and colour to offer a design that resembles the ultra-glossy handmade majolica tiles that are typical of southern Italian architecture.

Made with a dense glaze, each tile celebrates flaws such as smears, irregularities, pitting and variations in shade and pattern, making each piece and their relative compositions unique.

The Lume tiles come in the unconventional size of six-by-24 centimetres

The Lume range boasts an "unusual" size of six-by-24 centimetres and, according to the manufacturer, boasts straight edges that allow for almost joint-free installation.

It is available in six colours, including white, black, green, blue, musk and greige. The Lume tile is suitable for use as a wall covering in both residential and contract projects and is only recommended for use on floors in private homes where there is a low level of traffic.

The Zellige range celebrates the irregularities that occur during production

The Zellige tile is a 10-by-10-centimetre version of the traditional Moroccan terracotta tiles with the same name, which typically feature glossy glazes.

Like the Lume range, Zellige retains the "delightful flaws" that occur in the manufacturing process, resulting in a variety of textures and variations of the range's 12 different colours ranging from turquoise and sage green to sand and coral.

The collection is completed by three 30 by 30-centimetre mosaics that can be made on demand using unevenly shaped chips and slant-cut pieces taken from the plain tiles.

The Scenario tiles feature geometric designs and "brush-stroke" effects

The new Scenario stoneware features graphic motifs and tone-on-tone "brush-stroke" effects, informed by Marazzi's historic I Pennellati collection designed in 1958 by Italian painter and potter Venerio Martini.

The 20 by 20-centimetre Scenario tiles include two different surfaces that can be used together. One is matt and comes in three colours including Bianco, Nero and Blu, and is suitable for floors and walls.

The other is ultra-glossy and comes in the shades Bianco, Blu, Azzurro, Nero and Grigio. This version is more suited to wall coverings.

The D_Segni Blend range boasts a high degree of slip resistance

The final D_Segni Blend range of porcelain stoneware cement tiles was produced using Marazzi's new StepWise technology, which grants products a high degree of slip resistance without compromising on the surface's soft feel.

Available in 20 by 20-centimetre and 10 by 10-centimetre sizes, the Blend range is available in six colours, three brighter shades of Azzurro, Verde and Terra, and three more neutral tones of Grigio, Carbone and Osso.

More information on Marazzi's Crogiolo collection can be found on the company's website.

The post Marazzi reveals new Crogiolo tile collection with designs that celebrate ceramic Italian tradition appeared first on Dezeen.

from Dezeen https://ift.tt/3eV3AHn

Studio Edwards designs minimal house on wheels Base Cabin

Studio Edwards has turned the simple A-frame cabin into a mobile home with a sleek rubber skin.

Base Cabin is a wooden micro home on wheels – a far cry from the typical caravan or trailer.

Melbourne-based Studio Edwards wanted the mobile retreat to be more akin to a minimal, contemporary building.

Architect Ben Edwards looked to both the Airstream – famous for its streamlined shaped – and the A-frame hut for inspiration.

The A-frame structure gives the building a distinct asymmetric geometry, but also makes it more structurally efficient.

"The geometry is inspired by a combination of the A-frame cabin and the iconic Airstream trailer," the architect told Dezeen.

"The A-frame uses less material than conventional portal framed buildings," he said. "This was an important consideration in regards to the overall mass of the building – it had to be transportable."

Like the Airstream's polished aluminium exterior, the Base Cabin is predominantly clad in just one material. Black rubber gives the structure as homogenous aesthetic, but also keeps it weatherproof.

"It was chosen for being both durable, mute in its appearance and able to seamlessly wrap the angular form," said Edwards.

Inside, the cabin is divided into three rooms. A bathroom at the centre of the floor plan separates the main living and dining space from a more secluded bedroom area.

The kitchen comes equipped with a sink, fridge and various cabinets, while the bathroom includes a shower, toilet and sink.

The faceted geometries of the exterior create sloping walls inside, offering a sense of intimacy. This creates a triangular, tent-like space in the bedroom.

Wooden panels line the walls, while a skylight at the highest point of the roof brings daylight into all three rooms.

Edwards founded his architecture studio in 2016, having previously been a director of Edwards Moore Architects.

The architect often works on small-scale projects, with previous examples including a mini art studio in a car park and an industrial-style roof extension.

He developed Base Cabin as the first design model for a company of the same name. Base Cabin builds bespoke mobile homes and micro homes. Customers can order this model or design their own.

"Collaboration with designers is at the core or what we do," reads the company statement.

"Whilst the cabins we build are small in size, we seek out the best finishes to incorporate them into our spaces. We believe in quality over quantity."

Edwards hopes his design will help people rediscover the simple pleasures of the great outdoors.

Photography is by Studio Edwards.

The post Studio Edwards designs minimal house on wheels Base Cabin appeared first on Dezeen.

from Dezeen https://ift.tt/3aDG9Pn

"This is not a hospital" says architect behind conversion of McCormick Place

Convention centres that have been rapidly turned into facilities for coronavirus patients should not be called hospitals, says Doug King, the healthcare principal of Stantec, which has overseen the transformation of Chicago's McCormick Place.

Stantec worked with contractor Walsh Construction to turn three halls in the centre into an alternative care facility with 3000 beds. The team, which was assembled on 26 March, was tasked to complete it within three weeks.

"We were under construction within 12 hours of contract"

"From the day we got the contract to completion of all 3000 beds is 25 days," King told Dezeen. "We were under construction within 12 hours of contract."

"We were starting to build support spaces within 12 hours," he added. "The first 500 beds were delivered in less than a week."

Stantec's project marks the latest convention centre that has been turned into facilities for coronavirus patients – including the ExCel in London and the Javits Center in New York – as hospitals reach capacity due to the pandemic.

"That's one of the mantras – not a hospital"

But King said it shouldn't be considered as a replacement for its hospital counterpart.

"This is not a hospital," King said. "That's one of the mantras – not a hospital. It's an alternative care facility."

King's view is echoed by Jason Schroer, the director of health at architecture firm HKS's Dallas outpost. He similarly argued that "a non-healthcare building converted to a patient care space is not quite a hospital" in an Opinion piece for Dezeen.

The McCormick Place facility comprises 2250 for patients that aren't diagnosed with Covid-19 and a separate area with 750 beds for those that have the disease.

King said that the main intervention was to introduce a mechanical system that created negative pressure in the areas with Covid-19 patients. Negative pressure forces air that could be carrying the virus out of spaces and helps to prevent cross-contamination.

Ductwork and fans direct contaminated air out of the centre

To achieve this, the team inserted scaffolding to create a lower ceiling in the centre – which typically reaches heights of 30 to 40 feet (nine to 12 metres) – to hold ductwork at 10 feet (three metres) high.

HEPA (high-efficiency particulate air) filters are then used to collect and suck pollutants "like a vacuum cleaner" into the ductwork.

"We directed the air into that ductwork and basically sucked it out of the building with a series of fans," King said. "So that was the largest intervention that we did."

"That flushed air goes through the HEPA filter so all of the virus is captured in the HEPA filter, which gets changed out regularly," he added. "Then it goes up into the ductwork that gets pulled to the outside of the building."

Nurse stations customised

King said while it wasn't straightforward to transform the centre there were a number of advantages. For example, there are regular hubs across the floor that provide electricity, water and often WiFi that could be used for nurse's stations.

The team had to be creative with the design of each station so they connect to hubs and are also located to enable medical workers views of the patients.

"That became a bit of a design exercise that required collaboration with the contractors and for us to quickly customise every single nurse station location," he said.

"Every single nurse station location had to be customised to its services, or origin of its services. So when you look at the layout, you'll see the nurse stations, but many times they have, they're shaped like Zs or shaped like circles with one leg on them or something."

Future hospitals will have dedicated pandemic areas

King added that the current crisis, which has put extreme pressure on hospitals and medical workers, will impact the ways that hospitals are arranged and designed in the future.

He said that they will start to include specific areas dedicated to "pandemic-stricken individuals" and those that need other types of care.

"Hospitals are going to start to acknowledge the need to be able to separate their facilities into what we'll call pandemic-stricken individuals, virus-stricken individuals versus those that are basically just regularly in the hospital," he said.

"In the future, you're going to see hospitals thinking like that."

Photograph courtesy of Walsh Construction.

The post "This is not a hospital" says architect behind conversion of McCormick Place appeared first on Dezeen.

from Dezeen https://ift.tt/2xUxpr6