Spotted: The takeaway food delivery market is expected to continue its steady growth following the explosion of interest during the pandemic. The growth in recycling facilities, however, is not keeping pace, which is bad news for the environment. Countries across the globe are producing millions of metric tonnes of single-use plastic waste each every year.
Even the cardboard and paper containers that are becoming more common are not truly sustainable. Most contain a plastic coating to prevent leaks, something that Singapore-based startup Alterpacks wanted to change. After analysing the most common types of agricultural and food waste around the world, the company chose spent grain for its new line of compostable food containers.
Malt and barley grain waste created by the beer brewing process provide the majority of Alterpacks’ raw material. And rather than relying on a coating, the creators of Alterpacks chose to make the whole container leakproof, microwaveable, washable, and home-compostable.
Currently, the packaging is available as stackable containers with a cover, a bento box, and a set of cutlery. Having recently raised $1 million (around €922,000) in pre-seed funding, the company plans to begin commercial production and distribution of the packaging throughout Asia, Australia, and Europe.
Reusable food and drink container options have proliferated in recent years, providing consumers with feel-good ways to enjoy the ease of takeaway and on-the-go coffees without the environmental footprint. Two recent examples Springwise has spotted are reusable takeaway containers for restaurants, and a vegetable oil-based reusable coffee cup.
As the global energy crisis shone a light on fossil-fuel dependence this year, we continue our review of 2022 by looking at 10 of the most innovative projects demonstrating more renewable, efficient and affordable ways to power our lives.
After Russia’s war in Ukraine sent energy costs spiralling to record heights, designers and architects argued that now is the time to double down on the renewable energy transition.
“This is a pivotal moment in which we need to shift our societies onto a safer path,” architect Michael Pawlyn told Dezeen earlier this year.
From a sand battery to a portable wind turbine and a low-cost solar-heated blanket, here are 10 projects covered on Dezeen in 2022 that demonstrate how it can be done:
Photo by Iris Rijskamp
Solar Metal Smelter by Jelle Seegers
An oversized magnifying glass focuses the sun’s heat to melt metal in this smelting machine, developed by design graduate Jelle Seegers to reduce the emissions and soaring energy costs associated with powering industrial furnaces.
“By making this thing manual, it really changes the casting craft from one where you just have endless energy coming into your workshop to one where you personally cooperate with the sun in order to melt the metal,” he told Dezeen.
Find out more about Solar Metal Smelter ›
Photo courtesy of University of Massachusetts Amherst
Sweat-powered biofilm by the University of Massachusetts Amherst
Researchers from the University of Massachusetts Amherst have developed a biofilm that is worn like a plaster and can generate electricity to power users’ wearable electronics using their sweat.
The film is made by bacteria that can convert energy from the sweat’s evaporation into electricity, meaning that compared to traditional batteries it does not need to be changed or charged while cutting down the need for mined metals.
In the future, researchers believe the technology could be used to power devices at a larger scale as around 50 per cent of all solar energy that reaches Earth is spent on evaporation, making it a “huge, untapped source of energy”.
Find out more about the biofilm ›
Photo courtesy of Mireille Steinhage
Solar Blanket by Mireille Steinhage
Conductive yarn runs through this heated blanket, which can be charged using a mini solar panel to provide an accessible and affordable way to stay warm over the winter in the face of the energy crisis.
Designer Mireille Steinhage estimates the Solar Blanket could retail for less than £10 and, unlike a gas-powered boiler, would not cost anything to run.
“The emphasis on personal responsibility when it comes to sustainability is big,” said Steinhage. “However, it’s not so simple for the reported 14.5 million people living in relative poverty in the UK.”
“These people might not be able to make sustainability a personal priority, even if they wanted to,” she continued. “If we want to realise a more sustainable future, being sustainable should be accessible to everyone.”
Find out more about Solar Blanket ›
Photo courtesy of Polar Night Energy
Sand battery, Finland, by Polar Night Energy
This year saw Finnish company Polar Night Energy install the world’s first operational “sand battery” at a power plant in the town of Kankaanpää, which promises to overcome one of the key obstacles to the renewable energy transition.
It works by transforming green energy into hot air using a resistive heating element and then feeding it into the sand, heating it to around 500 to 600 degrees Celsius.
The sand is able to retain that heat for weeks or even months, offering a long-term, low-cost solution for storing excess renewable energy for those times when the sun isn’t shining or the wind isn’t blowing – particularly for winter when demand is at its peak in many places.
Find out more about the sand battery ›
Photo by Adrià Goula
Solar Greenhouse by the Institute for Advanced Architecture of Catalonia
This prototype Solar Greenhouse co-locates renewable energy generation and food production on the same plot of land, in a bid to demonstrate how the world could feed its growing population while racing to reach net-zero emissions by 2050.
The two-storey structure is made from locally sourced timber, wrapped in glass louvres for light and ventilation, and designed to be scalable and adaptable to a variety of settings including inner-city rooftops.
Find out more about Solar Greenhouse ›
Photo courtesy of Aurea Technologies
Shine Turbine by Aurea Technologies
This portable wind turbine folds down to the size of a water bottle so it can fit in a backpack for camping trips or emergency situations.
It can generate up to three phone charges worth of power in an hour, with a power-to-weight ratio of 29.5 watts per kilogram that makes it more efficient than any comparable solar panels, thermoelectric stoves or water turbines, according to Aurea Technologies.
Find out more about Shine Turbine ›
Image courtesy of Tega Brain, Alex Nathanson and Benedetta Piantella
Solar Protocol by Tega Brain, Alex Nathanson and Benedetta Piantella
Websites on the Solar Protocol network are serviced by solar-powered servers placed in different time zones around the world to make use of the most naturally available energy at any given time.
The project hopes to provoke discussions about whether the internet can function within planetary limits.
“In the field of computer science, there’s always been this idea of computing being unlimited and infinite,” co-creator Tega Brain told Dezeen. “There’s not a culture of considering the material impacts and the fact that these systems are reliant on giant energy-sucking, water-sucking data centres that are all around the world.”
Find out more about Solar Protocol ›
Photo courtesy of BVN
Systems Reef 2 by BVN and the University of Technology Sydney
Australian architecture practice BVN collaborated with the University of Technology Sydney to create a 3D-printed air-conditioning (AC) system dotted with tiny pores that effectively mist cool air into the space below, mimicking frog skin.
Combined with swapping the traditional angular sheet metal construction of ACs for a more aerodynamic network of branching tubes, this means the system uses less energy in operation and reduces embodied carbon by 90 per cent.
Find out more about Systems Reef 2 ›
Photo courtesy of Lightyear
Lightyear 0 by Lightyear
This year saw Dutch startup Lightyear launch the “world’s first production-ready” solar car, which has photovoltaic panels integrated into its roof, bonnet and boot that automatically top up its battery.
The hope is that this will help electric cars rival their fossil-fuel counterparts by making them less reliant on charging points and potentially free to run.
“I think most electric vehicles will have a solar roof in the future,” Lightyear’s lead solar engineer told Dezeen in an exclusive interview. “It’s a topic that all big car manufacturers are working on.”
Find out more about Lightyear 0 ›
Photo by Martos Martinovic
Cosmic Studio by Cosmic
In a bid to make zero-emissions, off-grid living more accessible, US startup Cosmic developed a modular accessory dwelling unit that can be slotted onto any property and generates all of its own energy with no need for fossil fuels.
The tiny home is constructed using an efficient “hybrid prefab” construction system and powered via an integrated rooftop solar array plus an air-source heat pump that takes care of heating and cooling.
Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletter.
Mexican uses of concrete span thousands of years, stretching as far back as the Aztecs to the present day. It is no surprise then that the country has a rich culture of architectural styles that incorporate the age-old material; whether through a deep understanding of cement’s varied textures and patterns or a knowledge of how cement interacts with the country’s diverse climactic conditions, which range from lush vegetation to arid deserts.
Mexico’s concrete architecture is as varied as the country’s geography. The recent projects below illustrate how architects are drawing from this rich natural and historical heritage to create unique styles of concrete construction.
Casa Candelaria
By Cherem Arquitectos, Mexico
Popular Choice Winner, 2020 A+Awards, Private House (XL > 5000 sq ft)
This multi-residential project by Cherem Arquitectos on the outskirts of Mexico City is the contemporary equivalent of the traditional Mexican Hacienda. The project consists of a dozen flat roofed buildings interspersed by three main courtyards and large, lush gardens. Inside, the firm aimed to create a strong contrast between the large paneled concrete walls and the natural light entering from skylights. This is accentuated by the rich display of plants and native artwork throughout, suggesting an artisanal quality to the houses’ rough concrete finishes.
House P
By Cherem Arquitectos, Mexico
Photos by Enrique Macias Martinez
This house ensconced among trees in the state of Mexico plays with theatricality in many ways. The open triangular shape of the house — appearing to be folded onto itself — opens onto a large, dramatic luminous courtyard overrun by bushes and stooping trees. For their part, the exterior walls are like concrete curtains framing the free-reigning nature. The overall result is a house which engages dynamically with its surrounding environment: a concrete canvas onto which nature can play a starring role.
Pabellón 3E
By TACO Taller de Arquitectura Contextual, Mérida, Mexico
This 1960s suburban house in Mérida, Yucatán was recently renovated by TACO Taller de Arquitectura Contextual to accommodate the accessibility needs of the aging property owners. As part of the renovation, the firm gave a nod to the original era of the house with a new second skin: a lattice of compressed white cement made with discontinued molds from the sixties. The semi-permeable walls provide a new textured intermediary between interior and exterior, where both sunlight and interior light play in unique ways with the circular patterns.
L House
By Dellekamp Schleich, Mexico
Photos by Sandra Pereznieto
This L-shaped house goes to extreme lengths to preserve the pre-existing trees on the wooded lot by incorporating them quite literally into the building’s footprint. The house includes a series of small courtyards that interweave pre-existing vegetation and offer ample privacy for each section of the building. Meanwhile, the faded smooth paneled concrete quietly blends in with the house’s stone walls, adding to the house’s peaceful harmony with the surrounding forest.
Nuestro sueño
By Espacio 18 Arquitectura, Oaxaca, Mexico
This new home designed for a retired couple on the outskirts of Oaxaca is what the firm Espacio 18 Arquitectura has described as “an oasis at the city limits”. The house is modeled like an old colonial house from downtown Oaxaca with a floorplan centered around the kitchen and the central patio, where the couple hopes to host numerous social events. Likewise, the architectural combination of smooth concrete, timber and bright red clay brick creates a warm, hospitable atmosphere in the house’s congregation spaces. No doubt the homeowners will be recurring dinner party hosts.
Casa Estudio
By Intersticial Arquitectura, Santiago de Querétaro, Mexico
This modestly sized house located in an industrial neighborhood of Santiago de Querétaro manages to look rugged and hospitable at the same time. Intersticial Arquitectura undertook major renovations to this once deteriorating one-story concrete house, decluttering the space with the addition of a luminous and well-ventilated second floor. The renovation also combines rugged and smooth concrete sections for the new walls – a play of textures that pays homage to the local industrial heritage without losing the warm touch of the former building.
Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletter.
Italian fashion brand Fendi has teamed up with the French Academy in Rome to refresh six salons inside the Villa Medici – a 16th-century Renaissance palace set amongst sprawling gardens in the heart of Rome.
The villa has been home to the French Academy in Rome since 1803, and today is used by the French art institute to host creative residencies and public art programmes.
Fendi has introduced new furnishings to Rome’s Villa Medici
The building’s salons had not been significantly modified in some 20 years, leading the academy to initiate a revamp in the hopes of establishing a better connection between the centuries-old rooms and contemporary design.
Fendi was brought on board to consult on Villa Medici’s interior scheme alongside Mobilier National – France’s national furniture collection and conservation agency.
The project also saw the academy call in French architect Pierre-Antoine Gatier to restore some decorative features of the Grand Salon, while conservation specialist Bobin Tradition carried out preservation work on the building’s existing wall hangings.
Umbrella pine trees informed the shape of the table in the Salon des Pensionnaires
Fendi’s artistic director of couture and womenswear Kim Jones worked with Silvia Venturini Fendi, the brand’s artistic director of accessories and menswear, as well as Mobilier National to curate a selection of modern French and Italian furnishings for the salons.
Many of the pieces were pulled from Fendi Casa, the brand’s homeware collection, and chosen for their ability to slot in amongst the building’s existing heritage pieces and classical artworks.
Noé Duchaufour-Lawrance’s tables for the Salon Bleu mimic ancient Roman paving slabs
The focal point of the Petit Salon is now a huge modular sofa by Milan-based designer Toan Nguyen, upholstered in a rust-orange fabric that matches the colour of the walls.
Over in the Salon des Pensionnaires is a table by French designer Noé Duchaufour-Lawrance. This is supported by spindly black legs, which resemble the branches of Rome’s ubiquitous umbrella pine trees.
The slightly moodier feel of this room is complemented by grey-blue sofas and armchairs by Italian designer Chiara Andreatti.
Duchaufour-Lawrance was also responsible for crafting the tables found in the villa’s Salon de Lecture and Salon Bleu, shaped to look like the time-worn paving slabs of the Appian Way – one of the oldest roads that lead to Rome.
The Grand Salon houses rows of the sinuous Belleville chair, created by French design pair Ronan and Erwan Bouroullec for Vitra.
Contemporary chairs were added to the building’s Salon de Musique
Both here and in the other salons, Fendi and Mobilier National introduced tapestries from well-known artists including Louise Bourgeois, Sheila Hicks and Sonia Delaunay.
Acoustic panels by Devialet were tucked behind selected artworks to discreetly enhance the sound quality inside the villa.
Seats by the Bouroullec brothers line the Grand Salon
Over the past few years, high-end fashion designers have become increasingly involved with interior design projects.
In London, Roksanda Ilincic and Bella Freud applied their respective styles to two separate penthouse apartments, while Jasquemus founder Simon Porte Jacquemus has devised a summery interior scheme for a restaurant in Paris.
Spotted: Although organic solar cells – those that use carbon-based materials and organic molecules – are one of the greenest solar cell technologies, manufacturing them still relies on carcinogenic petrochemical processes. With the health of workers and the planet in mind, researchers at the King Abdullah University of Science and Technology (KAUST) in Saudi Arabia have replaced the toxic solvents with plant-derived alternatives.
By applying a framework called the Hansen solubility formulation, the KAUST team searched for a new solvent that was similar on a molecular level to the toxic solvent presently used for organic solar cells. With this, they found that plant-based solvents called terpenes could suitably replace them without impacting the cells’ light-capturing performance.
Daniel Corzo, a PhD student in Derya Baran’s lab, who led the work, said: “We obtained solar cells with efficiencies above 16 per cent using terpene-based inks — essentially the same as from chlorinated solvents — but with an 85 per cent lower carbon footprint and with the potential to become carbon negative in the future.”
In a bid for their discovery to make an impact, the KAUST researchers have made their findings freely available in an interactive library for green solvent selection.
Springwise has previously spotted other innovations aimed at improving solar energy, from replacing silver with copper in solar panel production, to a startup that hopes to divert solar projects to more impactful sites.
After a year that saw designers come up with numerous ideas for how to decarbonise transport, we round up 10 of the most interesting as part of our review of 2022.
Transport accounts for around a fifth of global carbon dioxide emissions and has the highest reliance on fossil fuels of any sector, according to the International Energy Agency.
Ranging from concepts to products set for mass manufacture, the designs featured in this list seek to reduce emissions from cars, planes, boats or motorbikes and to boost cycling.
Read on for Dezeen’s top 10 sustainable transport designs of 2022:
Image courtesy of Layer
Pendler by Layer
This concept electric bike from design studio Layer, which aims to tackle the pain points of urban commuting, has a distinctive U-shaped frame, a concealed motor and detachable timber accessories.
Designed with a “crafted” aesthetic, the Pendler is intended to provide built-in solutions to the challenges associated with city cycling, such as storage, fitting the bike on public transport and navigating traffic.
Find out more about Pendler ›
Image by Madhav Dua
Arrival Multi-Utility Farming Vehicle by Madhav Dua
Indian designer Madhav Dua came up with an idea for a multifunctional, customisable electric tractor that would make modern tools more affordable to Indian farmers, making agriculture more efficient.
It also features solar panels that provide energy to a mobile electricity reserve that could be used to power farmers’ homes.
The concept won first place in Dezeen’s Future Mobility Competition, a global design contest powered by electric vehicle brand Arrival.
Find out more about Arrival Multi-Utility Farming Vehicle ›
Photo courtesy of X Shore
X Shore 1 by X Shore
In a bid to bring electric boats to a wider audience, Swedish company X Shore launched this model that it says is priced competitively with fossil-fuel vessels.
To reduce costs, the 6.5-metre-long boat was made light and efficient enough that it only needs a single battery to run, also reducing its carbon footprint.
Find out more about X Shore 1 ›
Photo courtesy of Lightyear
Lightyear 0 by Lightyear
Dubbed the “world’s first production-ready” solar-powered car when launched this year, the Lightyear 0 is an electric car that has photovoltaic panels covering its roof, bonnet and boot to charge its battery while driving.
In an interview with Dezeen, the chief executive of the Dutch startup Lightyear Emanuele Cornagliotti predicted that solar cars will be “normal within 20 years”.
Find out more about Lightyear ›
Image courtesy of Van Geest Design and Rob Doyle Design
Domus by Van Geest Design and Rob Doyle Design
While X Shore was exploring how to make electric boats more affordable, yacht design studios Van Geest Design and Rob Doyle Design were working on a concept for a luxury trimaran that is “truly zero-emission”.
The 40-metre Domus would be powered by a combination of hydrogen fuel cells, hydro generation and solar energy.
UK architecture studio Zaha Hadid was also looking at electric yachts this year, presenting its concept for the photovoltaic-covered Oneiric at Milan design week.
Find out more about Domus ›
Photo by Mikita Yo
Cambio by the city of Milan
A key aspect of decarbonising transport is encouraging people to take more of their journeys by bike, with many cities coming up with plans to become more cycling-friendly after the coronavirus pandemic.
Among them is Milan, which in early 2022 committed to constructing the Cambio network of 24 cycle highways by 2035 based on data about the daily movements of its residents. These will be accompanied by dedicated bicycle parking stations, physical and digital wayfinding displays and low-impact lighting.
Find out more about Cambio ›
Photo courtesy of Volkswagen
ID Buzz by Volkswagen
Electric vehicle launches came thick and fast in 2022, and among the most interesting was the ID Buzz by Volkswagen.
The van is an electrified update of the German carmaker’s famous T1 Transporter camper van, which became associated with the hippie movement of the 1960s and 70s, and has the same flat front and a similar V-shaped face as the original.
Find out more about the ID Buzz ›
Photo courtesy of Stilride
SUS1 by Stilride
Swedish startup Stilride this year unveiled the Sport Utility Scooter One (SUS1), an electric scooter built using an unusual origami-like process that reduces the amount of material used, limiting the environmental impact of manufacture.
While conventional scooters consist of a tubular frame and a plastic body, the SUS1’s chassis is constructed by taking a single sheet of stainless steel and cutting and folding it.
Find out more about SUS1 ›
Photo courtesy of Cake
Anti-Poaching bikes by Cake
Another interesting example of an electric motorcycle seeking to cut carbon emissions is the anti-poaching series from Swedish brand Cake.
The solar-charged bikes were created specifically for use by rangers in the South African bush, allowing them to quietly approach illegal animal poachers thanks to the lack of engine noise while also negating the need for polluting petrol deliveries by truck or helicopter.
Find out more about Cake Anti-Poaching bikes ›
Photo courtesy of Rolls-Royce and EasyJet
Hydrogen jet engine by Rolls-Royce and EasyJet
Aviation is a major contributor to global transport emissions, and while there are still doubts over whether it will ever be practical to fuel planes with hydrogen, 2022 saw the world’s first test of a commercial jet engine powered by the non-carbon-emitting element.
British airline EasyJet and engineering company Rolls-Royce used renewably-made hydrogen to power a converted Rolls-Royce AE 2100 aircraft engine.
The technology is still in its infancy, but Rolls-Royce chief technology officer Grazia Vittadini called the test “an exciting milestone”.
Spanish practice LAMA studio has converted a commercial property and warehouse into a vibrant, multipurpose workspace for Codea Studio, a creative agency based in Barcelona. Covering 355 sqm, the space occupies one highly elongated floor and features a 6-meter-wide front façade that originally kept very little natural light from entering the building. The front area is a commercial space with a height of 4.5 meters, varying widths, with flat slabs and metal beams. At the back is a charming open-plan warehouse with a 5.5-meter-high gable roof constructed using wooden trusses, the most characteristic element of the entire space.
To meet the agency’s requirements, the architects focused on two interventions. The first was creating a central core to house service areas (storage, technical rooms, meeting rooms, and lavatories), allowing LAMA studio to retain the entrance and rear warehouse as large open spaces. The central core also functions as a transition area between both spaces. The second intervention focused on building a continuous, linear element that runs the full length of the dividing wall from the entrance to the back of the warehouse; this elements takes on different functionalities according to the needs of each area, with various materials and idioms.
‘Specifically, the plan sees the property distributed into four distinct zones. First, the open-plan space adjacent to the street acts as the point of entry to the premises. Next, we come to the central service area which runs down a long hallway. Then, at the back, we come to the unique warehouse area. This will become the main space where the day-to-day running of the agency happens. Finally, in order to open a new back façade and bring light into the building, the old courtyard at the back of the property was restored and three large openings were made to connect it to the interior,’ writes LAMA studio.
In terms of materials and finishes, the goal was to preserve the original presentation of the different spaces, merely cleaning and painting them in white to create a neutral backdrop against which the renovation stands out. While the office backdrop was kept simple, Codea Studio opted for raw materials and contrasting textures and colors, resulting in a design that reflects a Mediterranean vernacular style coupled with textures and hues of Mexican influence. ‘Rough-finished concrete block with pink tones was chosen to create the main core area and the continuous linear element. This brings personality and robustness to the project while acting as a self-supporting element for constructing the entire perimeter and dividing walls of the core area,’ note the architects.
The different extensions appearing in the linear element were built on-site and given a rather rough plaster finish, painted in white, highlighting their handcrafted character. Furthermore, LAMA studio adorned the lavatories, planters, work areas, and other spaces needing special attention with complementary cladding materials like traditional Catalan rasilla bricks and red and green glazed ceramic from La Bisbal. Finally, raw MDF board was incorporated into the renovated warehouse as a more contemporary material with a strong visual accent. ‘It offers smooth surfaces to work with, bringing practicality, as well as elegance, to the project,’ continues the practice.
the service core is built using concrete blocks and tiles, and is detailed using MDF
a multipurpose and light-filled workspace
The entry area is a foyer and multipurpose room characterized by its spare nature, as it has to be adaptable for many uses. At the back, the start of the service core emerges, built using concrete blocks, tiling, and MDF. On the left, a bench appears as a continuous element that runs through the courtyard and changes functions according to each area. The central core, delimited by the high concrete block walls that establish a strong, solid volumetry, hosts two large passageways that function as a sort of antechamber.
The first passage leads to the lavatories, and the second to the storage areas and meeting rooms. In these semi-open foyers, the doors are paneled from floor to ceiling in raw MDF to create maximum contrast with the roughness and color of the blocks. The meeting rooms open onto the main hall through large glass doors, extending the reach of natural light while fostering a visual relationship between the spaces. In the main hall, the varying uses required for the workspace are expressed in the continuous element as it runs along the entire side wall with cupboards, work surfaces, a planter, a bench, and finally, to the kitchen and the patio worktop. Here, too, cement blocks, elements of masonry, and other materials alternate according to the function of each section.
The kitchen, located at the back of the former warehouse, consists of different modules, either open or closed, with MDF. The extended cooking area, clad in ceramic tile, extends towards the outdoor courtyard. In the center is a large island with a porcelain worktop holding a work and storage area on one side and a bar with stools on the other. Only minimal treatment was given to the outdoor courtyard. It was cleaned and painted in the same way as the rest of the original architectural elements of the project. Still, the team coated the surfaces using a terracotta-colored paint, contrasting with the interior’s white backdrop.
meeting rooms open onto the main hall through large glass doors that extend the reach of natural light
Opposite the kitchen is the dining area, where an imposing metal table by Cristian Herrera Dalmau with an MDF top is rooted to the floor. Dalmau also designed a suspended metal zig-zag lamp hung atop the table, boasting a unique iridescent bichromate finish, as well as the Grillo chairs and Poni stools from Branu. In the central area of the hall, tiered levels and a tall planter clad in rasilla bricks separate the work zone from the kitchen and dining areas. In addition to the plants acting as a lattice between the spaces, this element functions as a relaxation area and a platform for presentations and other agency activities.
Last but not least, the work area sits in front of large windows fronting the meeting rooms, with two lines of white lacquered metal tables topped with MDF. The suspended lamps, with the same zinc finish as the one in the dining room, were also devised by Cristian Herrera Dalmau.
general view of the main hall
tiered levels and a planter clad in rasilla bricks separate the work zone from the kitchen + dining areas
a continuous linear element runs from the entrance to the back, adopting different functionalities
Plush velvet upholstery, Moroccan rugs and chinoiserie-style ottomans feature in this lookbook of hotel interiors that use saturated jewel colours to bridge the gap between cosiness and luxury.
Shades of ruby red, cobalt blue and emerald can help to create interiors that are rich in depth and dimension, especially when accompanied by tactile materials such as silk or leather.
Read on for eight hotel interiors that demonstrate how to translate this palette into modern interiors without it feeling stuffy.
This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring 70s-style interiors, biophilic homes and innovative stone furniture.
Photo by Paul Costello
The Chloe hotel, USA, by Sara Ruffin Costello
Interior designer Sara Ruffin Costello set out to emphasise the grand Southern Victorian architecture of this 1800s family mansion in New Orleans when converting it into The Chloe hotel (top and above).
Cobalt blue walls and matching chinoiserie ottomans help to complement the building’s original tall ceilings and dark wooden floors, as well as the burnt umber tiles that encircle the fireplace in the reception room.
“The Chloe is moody with dark, antique furniture, with an emphasis on Orientalism but updated and made culturally relevant through a very special art collection,” Costello told Dezeen.
Find out more about The Chloe hotel ›
Photo by Ricardo Labougle
Nobu Hotel Barcelona, Spain, by Rockwell Group
This Barcelona hotel by restaurant-turned-hospitality chain Nobu introduces elements of Japanese craft and design into the Catalan capital, with nods to traditional ink paintings, shoji screens and the gold-lacquer mending technique of kintsugi.
In the hotel’s moody suites, this is realised in the form of inky blue carpets and built-in millwork finished in saturated lacquer colours, while bathrooms feature traditional ofuro soaking tubs.
Find out more about Nobu Hotel Barcelona ›
Photo by Christian Harder
Esme Hotel, USA, by Jessica Schuster Design
Interior designer Jessica Schuster worked with the Historic Preservation Board of Miami to revive the Mediterranean revival “grandeur” of this 1920s hotel in Miami, making liberal use of plaster and travertine. Pecky cypress, a type of cypress wood containing small holes, was used on the ceilings.
These are complemented by decadent furnishings, vibrantly clashing patterns and saturated colours, with bedrooms finished in either a rose quartz or emerald green colour scheme.
Find out more about Esme Hotel ›
Photo by Nicole Franzen
Hotel Kinsley, USA, by Studio Robert McKinley
Interior designer Robert McKinley wanted to steer clear of the typical upstate New York aesthetic of “antlers or plaid” when designing Hotel Kinsley in the Hudson Valley.
Set over four historic buildings – including a former bank – the hotel instead draws on an unexpected material palette of boiled wool, intricate garnet-red Moroccan rugs and velvet upholstery in shades of mustard yellow and topaz.
Find out more about Hotel Kinsley ›
Photo by Atelier Ace
Maison De La Luz, USA, by Atelier Ace and Studio Shamshiri
Housed inside the former annex to New Orleans’ town hall, this 67-room guest house offers a modern take on Southern hospitality by integrating furnishings and artworks that draw on the city’s uniquely multicultural heritage.
Among them are references to New Orleans as the home of America’s first pirate, alongside quirky details such as the sapphire-blue concierge desk, where guests can collect their tasselled keys.
Find out more about Maison De La Luz ›
Chief Chicago, USA, by AvroKO
Down to the service ducts, every surface in the lobby of this Chicago members’ club is painted a rich shade of green, with matching tiles laid across the floor.
This serves to set the backdrop for a mix of eclectic furnishings and abstract artworks, which design firm AvroKO chose to provide an alternative interpretation of traditional old-world luxury.
“Saturated walls are intentionally bold, balanced by the warmth of plush upholstery and broken-in leather, creating approachability with an overall style that is fresh and enduring,” the studio said.
Find out more about Chief Chicago ›
Photo by Riikka Kantinkoski
Hotel Torni, Finland, by Fyra
Originally built in 1931, Helsinki’s Hotel Torni once served as a meeting place for spies during world war two and was later favoured by artists, journalists and other cultural figures, including Finnish composer Jean Sibelius.
Now, local studio Fyra has renovated the building while preserving its “bohemian ambience”, sticking to a moody emerald-green colour palette and layering different styles of furniture, including modern pieces by Swedish designer Gustaf Westman alongside tubular steel seats that were typical of the time.
Find out more about Hotel Torni ›
Photo by Heiko Prigge
The Hoxton Poblenou, Spain, by Ennismore
The Hoxton’s outpost in Barcelona proves that jewel tones can also work in sunnier climates, drawing on a slightly more muted palette of rust red, mustard yellow and aquamarine.
The scheme was informed by the distinctive colours and forms used by Spanish architect Ricardo Bofill, whose studio was located nearby.
Find out more about The Hoxton Poblenou ›
This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring 70s-style interiors, biophilic homes and innovative stone furniture.
Spotted: Lithium-ion batteries form the basis of today’s electric vehicle (EV) technology, and their production is ramping up rapidly. According to one estimate, the global production of lithium-ion batteries is expected to increase five-fold between 2001 and 2030. But as more batteries are produced, the question of what we will do with the leftover waste becomes more pressing, as currently only a small percentage of used lithium-ion batteries are recycled (5 per cent is an often-quoted, but disputed, figure).
Now, researchers at Rice University have found a way to recycle one of the key components of a lithium-ion battery: the graphite anode. Today, used anodes are either burned for energy or sent to landfill.
Rice researchers developed a process called ‘Flash Joule heating’ back in 2020 to produce graphene, a ‘wonder material’ that can enhance plastics, paint, metals, asphalt, and cement. Now, a team of chemists, led by James Tour and Weiyin Chen, has re-configured the process for use in battery recycling. In the latest iteration of Flash Joule heating, a sudden and powerful jolt of energy, lasting just a few seconds, decomposes inorganic salts, such as lithium, cobalt, nickel, and manganese, found in spent anodes. These can then be recovered using dilute hydrochloric acid and re-used in anodes for new batteries.
The team estimates that it would cost roughly $118 (around €110) to recycle one tonne of untreated anode waste using the new process. And, the researchers estimate that the ‘flashed’ anodes retain 77 per cent of their capacity after 400 recharge cycles.
Springwise has been tracking the development of Flash Joule heating for several years and has previously spotted it being used for recovering metals from electronic waste, and turning plastic from old cars into graphene.
Promotion: Seoul Design Award is seeking entrants who have designed projects that solve everyday problems in sustainable ways for its annual design prize.
Submissions to this year’s Seoul Design Award, which is free to enter and has a top prize of KRW 50 million (£31,500), are set to open in March 2023.
The awards will be given to designers “whose projects have contributed to a sustainable daily life that aims for a harmonious relationship between people, society and the environment”.
The award considers sustainable designs from across the world
Designers can submit any design from the past five years that was built to solve everyday problems – from reducing food waste to conserving energy.
The projects can be submitted by an individual or group and will be judged based on five core values, including sustainability, public and shared, creativity and innovation, participation and cooperation, and inspiration and influence.
Previously known as the Human City Design Award, this year’s Seoul Design Award will be open for entries from 14 March to 28 June 2023. Now in its fourth edition, the 2023 edition of the award will expand to include 25 accolades.
“Over the past three years, design projects that have been awarded the Human City Design Award have addressed everyday problems such as environmental pollution, regional inequality, the gap between the rich and the poor, and discrimination against the socially underprivileged,” said the organisation.
“Ahead of 2023, the Human City Design Award will change its name to the Seoul Design Award in order to pursue the sustainability of daily life beyond the city.”
One of the projects that received an award in 2021 was the Goyohan Taxi
In 2021, which was the last edition of the award, the top prize in the safety and security category was won by Goyohan Taxi – a taxi service run by hearing-impaired people that was created by South Korean designer Song Min-Pyo to make travelling easier for those with hearing loss.
The project included a mobile device that aims to improve methods of communication between passengers and taxi drivers with a voice-to-text conversation app, which enabled passengers to communicate their destination, preferred drop-off point and choice of payment method.
The project involved recycling water from air conditioning units to irrigate planting on the exterior of a building in Seville, Spain.
Gardens in the Air was designed to reduce Seville’s heat island effect and provide drinking water to the 70 species of birds in the surrounding area.
Gardens in the Air reuses water from air conditioning units
One of the finalist projects of the 2020 award was Sururu Da Mundaú by Brazilian manufacturer Portobello, a decorative tile made from recycled mussel shells.
According to Portobello, the Sururu Da Mundaú tile makes use of the 300 tonnes of mussel shells produced every month in Mundaú, Brazil, which would otherwise be discarded as waste.
Portobello worked with local artisans on the project, which the Seoul Design Award recognised as demonstrating “the value of cooperation and innovation”.
The project also created a range of new community activities by encouraging local citizens to participate in the tile making.
For more information on the awards or to apply, visit its website.
Partnership content
This article was written by Dezeen for the Seoul Design Award as part of a partnership. Find out more about Dezeen partnership content here.