Architecture enthusiasts are engaged in heated discussions about three controversial design projects featured this week, with opinions sharply divided on bold architectural choices ranging from industrial steel extensions to cluttered hotel interiors.
The most contentious debate centers around Carmody Groarke's conversion of a former textile workshop into an office block in London. The studio added a striking extension clad in galvanized steel to the roof of an existing gray brick structure originally built in the 1970s. The bold addition has sparked passionate responses from readers who can't seem to reach consensus on its merits.
Supporters of the design praised its thoughtful approach to adaptive reuse. "Intelligent, subtle and elegant," wrote commenter David Foster, adding that "it strikes a visual contrast with the surroundings but unexpectedly fits very well with it." Markus expressed even stronger enthusiasm, stating, "I absolutely love this beautiful building and believe it shows the way to a quieter, more considered, respectful and sustainable way to treat and design our environments."
Prado Sellinger offered measured approval, commenting "It's unapologetic and I respect that," while emphasizing their support for "adaptive reuse" projects. The Discreet Architect echoed this sentiment, noting that "it is commendable that the existing building was largely retained and extended rather than demolished – we need more of this."
However, critics were equally vocal in their disapproval of the material choices. Commenter Al argued that "galvanized steel is an unfortunate design choice," describing it as "cold, joyless and too crisply detailed to be considered 'industrial' – it just looks dated and unattractive."
A separate project generating significant discussion was Studio Bark's extension of a Victorian home in Kent using a flatpack U-build system finished with cork panels and timber slats. The unconventional approach left many readers unimpressed, with several questioning both its aesthetics and cost-effectiveness.
"Is this really cheaper than conventional construction, or does it just look that way?" wondered commenter Karl. Souji expressed concerns about longevity, saying "That extension does not look good now, can't even think how badly it will age." The harshest criticism came from Alfred Hitchcock, who sneered, "I suppose if you're happy with the back of your lovely Victorian villa looking like an oversized garden shed, then this is probably just the job for you."
The third project stirring debate was a Madrid hotel designed by French designer Philippe Starck, conceived to feel like a home with extensive collections of books, photographs, vases and objects displayed throughout the spaces. The maximalist approach proved polarizing among commenters.
Critics dismissed the cluttered aesthetic with sharp observations. "So flea market shopping – got it," concluded Robin518, while Ken Steffes added, "Nice place, if you like a lot of clutter." Design Junkie offered a practical concern, simply stating "The housekeeper is crying." However, the design wasn't without its admirers – commenter Franky Four Fingers expressed unbridled enthusiasm with "love love love."
These discussions reflect broader debates within the architecture and design community about sustainability, adaptive reuse, material choices, and aesthetic philosophy. As Dezeen continues to be the world's most commented architecture and design magazine, receiving thousands of comments monthly, these passionate exchanges highlight how deeply readers engage with contemporary design challenges and innovations.
