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former swimming pool converts into multi-use timber education space for london college

Studio DERA Transforms former Swimming Pool into Learning Hub

Studio DERA has repurposed a former school swimming pool into a sustainable multi-purpose learning and wellbeing space for Waltham Forest College in London. With the college rapidly expanding its student body, finding new ways to accommodate educational and extracurricular needs was a priority. Studio DERA had already run a sustainable materials workshop for WFC students, while building a hempcrete and timber community center and nursery in nearby Higham Hill. College Principal & CEO Janet Gardner, invited Studio DERA directors Max Dewdney and Marcel Rahm to reimagine the long disused swimming pool site and do a feasibility study. The architects decided that retrofitting the original structure and utilising natural materials was the most sustainable and efficient way to transform the space into an attractive and inspiring hub for students and staff. A RIBA Stage 2 Report and a strong design narrative that aligned with the college’s estate strategy resulted in a successful funding bid to the Department for Education.

From the outset, Studio DERA’s work was shaped by ongoing consultations with educators, curriculum leaders, facilities managers, and students. The architects ran a series of workshops and engagement sessions to test spatial strategies, technical requirements, and user priorities. This informed key elements of the final design, including the subdivision of the Pool into zones, the use of biophilic and acoustic elements, and the inclusion of a stage and IT suite. Balancing architectural ambition with operational need, Studio DERA worked closely with the college to coordinate infrastructure upgrades and ensure long-term adaptability and maintainability with the installation of a new renewable energy system. The project was completed in 48 weeks, but fine-tuning continues post-completion, based on real-time user feedback from students and staff. The result is a versatile, welcoming, and light-filled space of 994 sqm.

all images courtesy of Studio DERA

Light, Material, and Adaptability Anchor Pool’s Adaptive Redesign

The Pool has five learning zones, each tailored to support a range of teaching styles and group sizes. A raised stage positioned at the former pool’s deep end creates a focal point for lectures, performances, and assemblies. Beneath it, a new IT room cleverly uses the original pool depth to deliver a high-performance digital learning infrastructure. The original high-level windows were cut down to the external floor level, dramatically increasing the natural light. Studio DERA installed integrated window seating along the old pool concourse, and fixed desks around the perimeter of the former pool tank for study and small group work. To increase thermal performance to meet DfE standards, triple-glazed windows were installed, along with insulation of both external and internal walls, and new insulated pipework. Operational energy use is expected to fall significantly thanks to air source heat pumps, mixed-mode ventilation, and LED lighting.

Material choices were guided by principles of low embodied carbon, durability, and circularity, and include FSC-certified timber, recycled acoustic panels, and low-VOC finishes. ‘We wanted the Pool to be an inspiring and practical space that elevates student learning and staff functionality, and, above all, brings joy. We were really keen to show just what is architecturally possible in the education sector, which is so often sadly under-funded and under-prioritized. Janet Gardner at Waltham Forest College was a visionary leader for this project, and together with our great contractors, we’ve delivered an ambitious, design-led and sustainable hub which puts the user experience front and center,’ shares Max Dewdney, Studio DERA’s director architect.

Studio DERA transforms a disused school swimming pool into a multi-purpose learning space in London

the design prioritizes natural materials and low embodied carbon construction methods

retrofitting the original pool structure minimized waste and preserved the site’s existing framework

integrated seating along the pool’s former edge encourages informal study and collaboration

a raised stage at the pool’s deep end forms a focal point for lectures, assemblies, and performances

fixed desks line the perimeter, offering flexible spaces for group and individual work

the project features FSC-certified timber, recycled acoustic panels, and low-VOC finishes

the project supports Waltham Forest College’s expanding educational and wellbeing programs

The Pool stands as an example of how adaptive reuse can renew educational architecture sustainably

project info:

name: The Pool
architect: Studio DERA

location: London, UK

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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foldable cinema-style seats let users fit their bike and bags in modern škoda 1000 MBX car

cinema-style seats inside modern škoda 1000 MBX car

The modern concept Škoda 1000 MBX car comes with foldable cinema-style seats that allow users to fit their bike, gears, and luggage in the passenger seat. A modern twist from the automobile’s interior designer, David Stingl, the 2+2 seating setup in the cabin makes the space inside flexible. The front seats can merge and become a bench, so there’s nothing hindering between the driver and the front passenger, while the riders at the back can feel as if they were in a theater with the cinema-style tip-up chairs. The upgraded Škoda 1000 MBX car can then easily transform from a two-seater coupe into a cargo vehicle without adding or removing anything from the ride.

David Stingl explains that when the rear seats are folded upwards, there’s sufficient space for luggage, or even a bicycle or other sports equipment. ‘The concept car even features air suspension, allowing the ground clearance to be adjusted: low for a sporty stance or high for tackling rough paths and easier cargo loading,’ he adds. If the passengers look around, they can notice that the side panels at the door have plus and minus buttons. When pressed, the windows ascend and descend, a design element that steers away from the typical push button.

all images courtesy of Škoda

dashboard with glass-covered oval module and projection

Still inside the Škoda 1000 MBX car, the dashboard comes with a glass-covered oval module into which images are projected, courtesy of the interior designer David Stingl. The oval shape appears throughout the cabin, from the steering wheel to the headrests. It is a direct reference to the company’s original sedan, 1000 MB, which was produced briefly in the 1960s. In the upgraded one, the central console is still absent, but the chrome accents, which were alive in the original model, now come through as clean graphics highlighted by ambient lighting. The silhouettes inside the vehicle are reminiscent of the sharp lines found in brutalist architecture.

That is, in fact, an influential visual element for the design team, more visible on the exterior designed by Antti Mikael Savio. Here, the designer admits to studying several buildings and objects in that style and incorporating it whenever he can. The vehicle subtly nods at some of the features from the previous model, including the raised headlamps above the bonnet line, the character crease along the flanks halfway up the sides, and the distinctive C-pillar treatment. The rear seat, however, has no windows to make extra cargo space and give the vehicle a sportier and more compact look. Instead of a window, there’s a rearview camera replacing it. 

instead of a rear window, there’s a rearview camera replacing it

A brief design recap of the 1960s Škoda 1000 MB

Revisiting the 1960s Škoda 1000 MB, the sedan that the designers based their Škoda 1000 MBX car on, was the first Škoda car with a self-supporting body and a new aluminum engine block made by pressure casting. The two-door version, called the 1000 MBX, started production in 1966 and had frameless doors and no B-pillar, which gave the vehicle a more open look. In 1968, Škoda released another model, the 1100 MBX, with a 1,107-cc engine producing 52 horsepower. Production was small, with only a few cars built each day. In total, Škoda made 2,517 units before production ended in 1969, making the 1000 MBX and especially the 1100 MBX version rare to find.

Fast forward to today, Škoda designers Antti Mikael Savio (exterior) and David Stingl (interior) create a modern and conceptual version of the Škoda 1000 MBX car. It forms part of a series called Icons Get a Makeover, where Škoda designers reimagine classic cars from the company’s history. It is a collection of design studies that are not meant for production, and for the 1000 MBX model, the designers worked on it for about a month: Antti focused on the exterior, starting with sketches made on paper, while David worked on the digital 3D model, shaping the car’s inside first and then adding details to the overall structure. The resulting concept car has the look of a modern crossover, combining a strong structure with usable space. Antti wanted the new version to look sporty but still friendly, while David focused on keeping the car’s original meaning: a stylish, functional car for everyday life.

the 2+2 seating setup in the modern Škoda 1000 MBX car makes the space inside flexible

there are foldable cinema-style seats for the back passengers

when the back seats are folded up, users can fit their bikes and other equipment there

the dashboard comes with glass-covered oval module and projection

the upgraded vehicle has a sportier and more compact look

project info:

name: 1000 MBX

company: Škoda | @skodagram

interior design and architecture: David Stingl | @davidstingl

exterior design: Antti Mikael Savio

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iris ceramica group transitions to water-based printing technology for ceramic surfaces

ECOLOGICAL TRANSITION with WATER-BASED PRINTING TECHNOLOGY  

At Cersaie 2025, Iris Ceramica Group introduced a revolutionary water-based printing technology applied to its high-end ceramic surfaces. This technological advancement, utilizing water-based inks and materials for both creating and decorating the ceramic surface structures, achieves superior aesthetic and structural performance. Not only is the development an industry novelty, but it also marks a significant step in the Group’s ecological transition while exalting textures, colors, and depth to create ceramic surfaces with extraordinary visual intensity. It is already applied to two product lines of the brands Ariostea, Fiandre, FMG, and Sapienstone in thicknesses of 6, 12, and 20 mm.

Iris Ceramica Group at Cersaie 2025 | all images courtesy of Iris Ceramica Group

BLENDING SUSTAINABLE CERAMIC SURFACES  WITH TECHNOLOGY

Driven by a strong pioneering spirit and constant attention to environmental sustainability, Iris Ceramica Group acts as a trailblazer in the ceramic world. Sustainable innovation is one of the pillars of their applied technological research, applying to both the re-engineering of the production process and the materials used to manufacture ceramic surfaces. Further expanding this material-meets-technology approach is the integration of Alchimia. 

Through an exclusive collaboration with VBH, this cutting-edge technology is flawlessly integrated with the Group’s ceramic surfaces. Alchimia conceals screens and audio-video systems beneath a continuous ceramic surface, allowing them to appear and disappear on command. The metamorphosis transforms surfaces into invisible displays and speakers, transmitting visuals and sound while preserving the elegance and continuous aesthetic of the ceramics, bridging the worlds of high-end technology and timeless design.

Alchimia conceals screens and audio-video systems beneath a continuous ceramic surface

IRIS CERAMICA GROUP’S IMMERSIVE JOURNEY AT CERSAIE 2025

The powerful synthesis of technical innovation and environmental commitment forms the material core of Iris Ceramica Group’s immersive exhibition space at Cersaie 2025. Titled ‘The Magical Journey,’ the exhibition guided visitors through various stages that interpret the transformation of ceramics as an alchemical process. The work of visual artist Lorenza Liguori, specialized in 3D graphics, demonstrated how the ceramic surfaces become an active, dynamic part of the architectural display, using light, texture, and indefinite forms to fully immerse the spectator.

The transformative journey was conceptualized through the exhibition space — a step-by-step exploration divided into three stages. The first stage, Breaking, represents the moment that triggers growth and transformation. The second stage, Glowing, marks a shift in perspective — a process of renewal that distances itself from conventional concepts. The journey culminates in Revealing: the moment of awareness, when we recognize the transformation we have undergone and discover a new way of perceiving and interpreting matter — and, more broadly, reality itself. This evolution was brought to life through the digital morphing of visual artist Lorenza Liguori, who interpreted the first two stages — Breaking and Glowing. The final stage, Revealing, took shape through the ‘ceramic skin’ (classical architectural elements turned upside down), the installations, and the applied technologies such as Alchimia, which together created the unexpected space of revelation.

Iris Ceramica Group’s immersive exhibition, titled ‘The Magical Journey’

advanced technology is used to elevate the aesthetic and functional value of the ceramic surfaces

the immersive journey revealed a powerful synthesis of technical innovation and environmental commitment

the exhibition space was designed to interpret ceramics as an alchemical process

project info:

name: The Magical Journey

company: Iris Ceramica Group | @irisceramicagroup
event: Cersaie 2025

location: Bologna, Italy

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steinway & sons unveils ultra black and ultra white grand pianos in monochrome design

STEINWAY & SONS’ LIMITED EDITION IN MONOCHROME DESIGN

Steinway & Sons elevates its legendary craftsmanship by unveiling the Ultra Black and Ultra White Limited Editions, two strikingly contemporary grand pianos that embrace pure, uncompromising monochrome design. Produced at the Hamburg factory, this collection is limited to just 52 instruments worldwide — 26 in each finish, split between 18 Model B and 8 Model D concert  grands. The most radical design departure is the instruments’ total color saturation, culminating in the all-black and all-white keyboards. At the exclusive press event, the launch was celebrated with a live performance by the Piano Brothers, perfectly matching the evening’s theme.

‘Performing on the Ultra Black and Ultra White pianos in a concert setting was a unique experience. When I first found out that all the keys would be the same color, I was intrigued as to how this would feel, especially in a situation where I was expected to deliver at concert level. Elwin and I had a very short time to acquaint ourselves with the instruments; at first it was a surreal experience, particularly for the Ultra Black. I think this is because the keys on a normal piano are predominantly white, so for every single key to be black took some getting used to. But after a few hours of playing, it became much easier – particularly as I was playing the Ultra Black for 90% of the concert – so we spent a lot of time together. As with every Steinway, each of the pianos had its own personality – both Elwin and I were so pleased that they complimented each other perfectly,’ comments Dominic Ferris, one of the musicians, after having debuted the pianos.

Steinway & Sons’ Ultra Black and Ultra White Limited Editions | all images courtesy of Steinway & Sons

FROM HERITAGE TO NEW EXPRESSIONS IN PIANO MAKING

Since its founding in 1853, Steinway & Sons has set the uncompromising standard for sound, craftsmanship, and design in piano making. As the choice of nine out of ten concert pianists, the brand balances a deep heritage with continuous innovation. The Ultra Black and Ultra White editions mark a departure from the classic finish, experimenting on new expressions with a sharp, modern design sensibility. 

‘We were looking for a design in a pure and yet modern style, with a smooth and sleek charm, a design that exudes elegance and sophistication. We started experimenting with the colours of the cast-iron plate and the soundboard. We did the first renderings with the standard keyboard and at that moment, we simply asked ourselves, what if… and once we saw the monochrome keys on each piano, we knew we had reached the concept we were looking for,’ explains Camilo Daza Tapia, Head of Product Management at Steinway & Sons Germany. The entire limited run is produced at the company’s factory in Hamburg, Germany, a facility that, along with its New York counterpart, maintains the brand’s global standard.

the contemporary grand pianos embrace pure, uncompromising monochrome design

ULTRA BLACK & ULTRA WHITE ENSURE UNCOMPROMISING PERFORMANCE

The design of the two editions is meticulous and total. The Ultra Black strikes with a bold, all-black identity. Its rim is finished in Jet Black, celebrated for its dramatic depth, and the monochrome look is carried through every detail: a stained black underside, a black-stained soundboard, and a cast-iron plate in Liquid Black Yellow. Even the metal fittings are Black PVD, extending the palette with a subtle sheen, culminating in an all-black keyboard.

the most radical design departure is the total color saturation, culminating in the all-black and all-white keyboards

The decision to invert the traditional keyboard color raised functional questions, yet the design team had a precise solution: ‘We knew it was going to be an unexpected if not puzzling visual surprise for some pianists, so we decided that the 36 sharp and flat keys should have a matte surface, and the 52 keys for the basic notes should have a polished surface, which makes them perfectly distinguishable,’ explains the Product Manager. This subtle, tactile difference ensures the pianist’s required orientation is maintained. The functionality was confirmed by internal testing.

‘We are lucky to have many colleagues at Steinway who play the piano well, some even professionally. They were the first ones to have had access to the prototypes. When we saw the ease with which one of them started to play Rhapsody in Blue and another played some boogie-woogie, all our worries disappeared immediately,’ Daza Tapia further explains.

the Ultra Black and Ultra White Editions are limited to just 52 pianos worldwide

Conversely, the Ultra White is a striking contrast, featuring a Pure White rim — a luminous, soft white radiating clarity and brightness. It features a washed underside, a white-stained soundboard, and a high-gloss white cast-iron plate, accented by chrome metal fittings and studio double casters. In a discreet design move, both pianos only feature an engraved Steinway logo on the front, leaving the sides completely clean.

Additionally, both models are equipped with Steinway’s SPIRIO | r technology, the world’s most advanced high-resolution player piano. This technology uses Steinway’s patented sensor system to capture every nuance of the performance. It’s an innovation to preserve live performances for the next generation, replicating the artist’s exact motion to create an experience that feels authentic, unfiltered, and immediate. The feature allows the instrument to play live and even share performances in real-time globally via SPIRIOCAST.

both models are equipped with Steinway’s SPIRIO | r technology

The launch also celebrated a collaboration with Bentley Motors, where the Ultra Editions were mirrored by a Bentley Flying Spur Speed finished in Arctic White with a Piano Black veneer interior. The partnership underscores the shared tradition of craftsmanship, with both brands exchanging knowledge on woodworking and veneering to create objects designed to last for decades. 

‘As part of this partnership, we didn’t just design side by side. We exchanged knowledge. Bentley’s team visited our workshops and our artisans visited theirs. And what came from it was a deeper understanding – that precision and passion aren’t industry-specific. It has been and continues to be a conversation, a dialogue between two worlds, discussing the best of craftsmanship in the details. It is about the finishes, the story behind the wood, mastering the veneers, the way every line, every curve, every stitch carries intention,’ the Product Manager concludes.

the Piano Brothers live at the press event in Hamburg

the Ultra Editions were mirrored by a Bentley Flying Spur Speed in Arctic White with a Piano Black veneer interior

project info:

name: Ultra Black and Ultra White Limited Editions

company: Steinway & Sons | @steinwaygermany

product: 52 grand pianos — 18 Model B in Ultra Black; 18 Model B in Ultra White; 8 Model D in Ultra Black; 8 Model D in Ultra White

partnership: Bentley Motors | @bentleymotors
location: Steinway & Sons Manufactory, Hamburg, Germany

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self-sufficient bivouac shelter by carlo ratti produces its own water and electricity in the alps

Carlo ratti’s alpine structure to debut at 2026 winter olympics

Carlo Ratti Associati introduces the self-sufficient wooden alpine bivouac shelter that can produce electricity and collect water on its own in the Alps. The project is a collaborative work with Salone del Mobile.Milano, which is set to debut as an urban pavilion during the 2026 Winter Olympics in Milan. After that, it is to be moved by helicopter to its permanent place in the Alps to serve as a safe resting point for climbers and trekkers. The main goal of the bivouac shelter is to become a structure that can work by itself in remote mountain areas. 

In fact, the one Carlo Ratti Associati has designed can source its own energy, collect its own water, and support basic needs without outside help. It is because the design team used digital technology to study the local environment and build the structure so it fits well into the Alpine setting. They started it with a 3D scan of real rock formations in the Alps, where the scan captured the shape, size, and angles of the rocks to help the designers understand how the natural landscape is formed. Using the data, they designed the shelter’s shape and structure to follow the forms found in the mountain rocks, which made sure the design would fit well with the ground and weather conditions.

all images courtesy of Carlo Ratti Associati

bivouac shelter that handles its own electricity and water

Carlo Ratti Associati’s efforts result in a small prefabricated building made in pieces that can be transported easily, so the design can also be repeated or adjusted for other sites if needed. The bivouac shelter that can handle its own electricity and water uses cross-laminated timber for the main structure to make the remote installations easier when airlifted by helicopter. The team adds aerogel insulation to protect the bivouac shelter against extreme temperatures and a metal layer to strengthen the outer shell and protect the surface from snow, ice, and wind. 

Then, there’s a glass front wall that allows natural light to enter and offers a direct view of the surrounding mountains. As mentioned, the bivouac shelter produces its own electricity through a five-kilowatt photovoltaic system placed on the roof. The power is stored in an integrated battery system that keeps the lights, sensors, and digital communication systems working even when there is no sunlight. Because there are no rivers or lakes nearby, the bivouac uses an air condensation system to make drinking water. The system works by cooling air until moisture turns into liquid, and it can produce several liters of potable water per day, enough for a small group of climbers. The structure also includes network connectivity, allowing emergency contact if needed.

the structure also provides space for mountaineers to rest, sleep, and take shelter from weather changes

red warning light that turns on in low-visibility conditions

Traditional mountain shelters are often painted in bright colors to make them easy to find during fog or storms. The team at Carlo Ratti Associati took a different approach because its bivouac shelter that can take care of its own water and electricity matches the tones of its natural surroundings to reduce visual contrast. Instead of paint, it uses a red warning light that turns on automatically in low-visibility conditions. This way, the shelter remains visible when safety requires it but blends with the terrain the rest of the time. 

Inside, the structure also provides space for mountaineers to rest, sleep, and take shelter from weather changes during their hike break. The project has two phases. The first phase will take place in Milan during the 2026 Winter Olympics, where the structure will be installed as a temporary pavilion that presents the design to the public. After the event, the bivouac will be dismantled, lifted by helicopter, and transported to its final mountain site. There, it will be reassembled and permanently fixed on the Alpine terrain, becoming the self-sufficient bivouac shelter with its own electricity, water, and essentials.

there’s a glass front wall that allows natural light and offers a direct view of the surrounding mountains

the shelter remains visible when safety requires it but blends with the terrain the rest of the time

the structure is set to debut as an urban pavilion during the 2026 Winter Olympics in Milan

the structure uses a red warning light that turns on automatically in low-visibility conditions

project info:

name: Bivouac

design: Carlo Ratti Associati | @crassociati

event: Milano Cortina 2026

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