Spotted: Rotating electrical contactors are integral components of many devices, including utility-scale direct-drive wind turbines. These magnets help to transmit electrical current along an ultra-low-resistance path, but they can be expensive to produce. In order to reduce the cost of these magnets, researchers at Sandia National Laboratories have developed a new type of rotary electrical contactor called Twistact.
Twistact uses a pure-rolling-contact device to transmit electrical current, which eliminates the need for rare-earth magnets. The technology has been proven to be beneficial in lowering costs, improving sustainability, and reducing maintenance. With the help of this new technology, wind turbines can become more affordable and more efficient.
Twistact is also designed to address two physical degradation processes that are common in certain types of wind turbine component. These processes, known as sliding contact and electrical arcing, can reduce performance and lead to short operating lifetimes. The Twistact system, by contrast, has been proven capable of operating over the full 30-year service time of a multi-megawatt turbine without maintenance.
Twistact is still in the early stages of development, but Sandia is already exploring opportunities to partner with generator manufacturers and others in the renewable energy industry to assist with the development of next-generation direct-drive wind turbines. The potential applications for Twistact are not limited to wind turbines, however. Sandia is also open to partnering for applications such as electric vehicles or doubly-fed induction generators. With its unique capabilities, Twistact has the potential to make a significant impact in a number of industries.
As the world continues to transition to more sustainable forms of energy, Springwise has spotted numerous innovations in wind generation. For example, one company has developed floating vertical axis wind turbines while researchers are looking at how wind turbine bioplastic can be recycled into gummy bears.
Designers need to stop feeling guilty about making products and start using their creativity to become part of the climate solution, writes Katie Treggiden.
Eighty per cent of the environmental impact of an object is determined at design stage. This statistic, which is usually credited to the Ellen MacArthur Foundation, often gets bandied about in discussions about sustainability, and it is absolutely true. From material choices to end-of-life considerations, by the time an object goes into production its fate is largely sealed from a sustainability point of view.
But when designers hear that statistic, what they often hear is: “80 per cent of this mess is my fault.” And it really isn’t.
By the time an object goes into production its fate is largely sealed from a sustainability point of view
A report published in 2017 found that 71 per cent of industrial greenhouse gas emissions since 1988 could be attributed to 100 fossil fuel producers. Much like the tobacco industry before it, the energy industry has not only contributed to the problem but worked hard to curb regulations and undermine public understanding.
Oil and gas giant Exxon conducted cutting-edge climate research decades ago, and then pivoted to “work at the forefront of climate denial, manufacturing doubt about the scientific consensus that its own scientists had confirmed”, a 2015 investigation by Inside Climate News found.
In 1989, then British prime minister Margaret Thatcher gave a powerful speech at the UN. “It is mankind and his activities that are changing the environment of our planet in damaging and dangerous ways,” she warned. “Every country will be affected and no-one can opt out. Those countries who are industrialised must contribute more to help those who are not.”
These arguments were not new, even then, but coming from her they gained traction and environmentalism went mainstream.
However, Thatcher’s position was short-lived. In her autobiography, Statecraft, she writes: “By the end of my time as prime minister I was also becoming seriously concerned about the anti-capitalist arguments which the campaigners against global warming were deploying.”
And so, in a perceived trade-off between planet and profit, she chose profit.
The climate crisis might have been resolved before many of today’s designers were even born
Her policies in the UK led to urban sprawl that threatens biodiversity, to prioritising investment in roads over rail and bus services that could help us all reduce our carbon footprints, and to the privatisation of water companies that results in polluted rivers and oceans to this day.
But her influence in the Global South was even more profound. Under her leadership, Britain, together with the US, led World Bank, International Monetary Fund and World Trade Organisation moves that forced more than 100 indebted countries to undertake now widely discredited “structural adjustment” programmes. These programmes pushed for deregulation and privatisation that paved the way for transnational farming, mining and forestry companies to exploit natural resources on a global scale.
In her autobiography she credits books by Julian Morris, Richard Lindzen and Fred Singer for her dramatic U-turn. All three authors were members of free-market think tanks receiving funding from the fossil fuel industry.
Had Exxon acted ethically on the results of its own research, had Margaret Thatcher stuck to her guns instead of being lured by the temptations of free-market economics, and had the momentum she galvanised continued, the climate crisis might have been resolved before many of today’s designers were even born.
If we’re looking to apportion blame, let’s look to enterprises making excessive profits while caring for neither people nor planet
It might well be their fault. It is certainly not yours.
But what about that statistic? If 80 per cent of the environmental impact of an object is determined at design stage, doesn’t telling designers that it’s not their fault let them off the hook? Quite the opposite.
Think about the last time you had a brilliant idea, solved a problem, or came up with an innovative solution. How were you feeling at the time? Guilty? Overwhelmed? Hopeless? I’m guessing not, because those feelings are not the soil in which creativity thrives. I’m guessing you were feeling curious, optimistic and collaborative – all the impulses that draw designers to our industry in the first place.
To design is to solve problems and this is the biggest problem humanity has ever faced
We need designers to stop feeling guilty, so they can reconnect with those feelings, tap into their creativity and become part of the solution.
The climate crisis is a “wicked problem” – a term coined by design theorist Horst Rittel to describe social or cultural problems that seem unsolvable because of their complexity, their interconnectedness, their lack of clarity, and because they are subject to real-world constraints that thwart attempts to find and test solutions.
In other words: there are no magic bullets. Previous generations might have kicked the can down the road hoping that future technology would save us, but we no longer have that luxury.
So, if you’re a designer, none of this is your fault, but it is your responsibility. To design is to solve problems and this is the biggest problem humanity has ever faced. It is not something the design industry can solve alone. Of course we need politicians and big corporations to get on board, but we can lead the way by demonstrating the power of creativity and innovation.
We have a unique, and perhaps the final, opportunity to tackle this issue head on and do something definitive. But we can’t do that mired in guilt.
To overcome the climate crisis, we need to design, not from a position of pessimism and shame, but in the mode in which we all do our best work: when we are driven by curiosity and excited about a future that, together, we can help create.
Katie Treggiden is an author, journalist, podcaster and keynote speaker championing a circular approach to design. She is the founder and director of Making Design Circular, a membership community for designer-makers who want to become more sustainable. She is also a Dezeen Awards judge.
How can architecture be a force for good in our ever-changing world? During Future Fest, we’re pose this question to some of the world’s best architects. We’re hosting daily virtual talks from September 12th to 30th, which are 100% free to attend. Check out the full schedule!
Construction has began on the first two-story 3D-printed structure in the United States. Located in Houston, the 4000-square-foot home will soon become one of the world’s largest and tallest printed buildings, showcasing the rapidly expanding possibilities of 3D printing technology and mass customization in the field of architecture.
The project caps off a two-year collaborative effort between HANNAH, an experimental design firm and research studio based in Ithaca, PERI 3D, an international 3D construction printing provider, and CIVE, the leading engineering service and general contractor in Houston. The design uses a hybridized construction method that will combine printed concrete modules with wood framing, making it one of the first 3D printed to use wood and concrete in an integrative manner.
Spearheaded by Leslie Lok and Sasa Zivkovic, assistant professors at the College of Architecture, Art, and Planning at Cornell University and principals at HANNAH, the project began with the objective of developing a 3D printed construction system that could be scalable and applicable for multi-family housing the future — not an easy feat given the additional structural challenges when printing beyond a single story. As such, Lok explains that it was necessary to develop the design in relationship to the material and construction process.
“Every aspect of the project, from the overall spatial configuration to the scale architectural detailing — such as how we create shelving and openings — was informed by the unique fabrication logic of 3D printed concrete,” Lok said. “With the structural engineering expertise from CIVE and the extensive printing knowledge of PERI 3D, we were able to develop an approach to 3D print the second story.”
Once completed, the project will alternate between concrete modules and glazed wooden frames; rendering by HANNAH
Though a handful of 3D printed multi-story projects have been built abroad, mostly in Europe, HANNAH’s design stands out for its adaptation to the American construction culture of wood framing. Whereas the use of precast concrete components for floors and ceilings has long been a European norm, wood framing as a construction technique is much more prevalent in North America, though their integration in 3D printed construction has so far been limited. In response to this, HANNAH sought to create a design that would be more easily applicable to the U.S. market. The final result is a house that alternates between wood and printed concrete volumes, a strategy that combines the best of both materials, the pair explain.
“What is unique about our modular design is that the printed concrete and the wood framing work hand in hand and we use them where they’re best performing,” Zivkovic said. “It’s not about printing concrete everywhere because you could, but where it makes sense.”
Photos by Anthony Vu via HANNAH
In part, the project is showcasing the usefulness of 3D printing for the future construction industry. The modular 3D printer — a COBOD BOD2 gantry printer — takes only one day to set up, and the printing can run 24/7. Although a handful of people are still needed on the worksite to supervise the machine, the printer does virtually all the heavy lifting.
Achieving the right printing mixture for the concrete was one challenge that necessitated the help of other industry partners. The PERI 3D printing team worked with engineers at Quikrete, a manufacturer of packed concrete, to achieve improved printability for their new generation of printing mixture at the specific site in Houston. The team conducted test prints on site earlier this summer to dial in the various printing parameters.
Designing the 3D printed house was another demanding part of the project, since unlike (human) contractors, 3D printing machines don’t read architectural plans but lines of code. The architects at HANNAH used special software to manually design the path that the printing machine uses to pour one continuous line of concrete for the new house; a meticulous process known as the ‘toolpath’ that equally comprises structural and aesthetic considerations, leaving no room for error.
Far from letting this complex process limit their design, HANNAH used the printing toolpath as an opportunity to push the design possibilities of 3D-printed structures. The repeated use of incremental cantilevers within the concrete modules serves as an architectural motif that is both ornamental and functional. Paired with the distinct horizontal layers of printed concrete, HANNAH creates a bold stylistic statement about 3D printed architecture; hinting at the opportunities of new design language for printed projects.
More broadly, the project is offering a glimpse of a future where 3D printing could become a major force in the construction industry; where automated construction could address a variety of pressing issues, from alleviating workforce shortages to constructing affordable housing. Still, much work lies ahead. For this project, the team hope to use the project as a learning opportunity to streamline the construction process, as well as to optimize material usage and cost for 3D printing buildings — all necessary steps that need to be undertaken if 3D printed architecture is to attain newer heights.
How can architecture be a force for good in our ever-changing world? During Future Fest, we’re pose this question to some of the world’s best architects. We’re hosting daily virtual talks from September 12th to 30th, which are 100% free to attend. Check out the full schedule!
After 6,000 votes, projects by Adam Kane Architects and Hollaway Studio are ahead in the Dezeen Awards 2022 public vote interiors categories. Vote now for your favourite!
Other studios in the lead include Random Studio for its blue pop-up installation for Jacquemus in London’s Selfridges and Ennismore for its hotel inspired by the late architect Ricardo Bofill in Spain.
The public vote, which closes on 10 October, gives readers the chance to vote for projects shortlisted in the architecture, interiors, design, sustainability and media categories, as well as architects and designers who are battling to be named studio of the year.
Voting is open for another two weeks, so you still have time to vote for your favourite interiors!
Click here to vote ›
Public vote winners crowned in October
Public vote winners will be published 17 to 21 October on Dezeen. The public vote is separate from the main Dezeen Awards 2022 judging process, in which entries are assessed by our jury of renowned industry professionals.
We will be unveiling the Dezeen Awards 2022 winners in late November.
Who is in the lead?
Of almost 30,000 votes that have been cast and verified across all categories so far, the interiors categories received over 6,000 verified votes.
Continue reading on to see which projects and studios are ahead in the public vote.
House interior
› 26 per cent – Barwon Heads House, Melbourne, Australia, by Adam Kane Architects › 23 per cent – West Bend House, Melbourne, Australia, by Brave New Eco › 22 per cent – Twentieth, Los Angeles, USA, by Woods + Dangaran › 16 per cent – Clear Oak, Los Angeles, USA, by Woods + Dangaran › 14 per cent – House in Marutamachi, Kyoto City, Japan, by Td-Atelier and Endo Shojiro Design
Browse all projects on the house interior shortlist page.
Apartment interior
› 28 per cent – Tribeca Loft, New York City, USA, by Andrea Leung › 23 per cent – Earthrise Studio, London, United Kingdom, by Studio McW › 18 per cent – Shoji Apartment, London, United Kingdom, Proctor and Shaw › 13 per cent – Flat 6, São Paulo, Brazil, by Studio MK27 › 11 per cent – The Hideaway Home, Gdańsk, Poland, by ACOS › Seven per cent – Iceberg, Tel-Aviv, Israel, by Laila Architecture
Browse all projects on the apartment interior shortlist page.
Restaurant and bar interior
› 31 per cent – Spice & Barley, Bangkok, Thailand, by Enter Projects Asia › 24 per cent – Connie-Connie at the Copenhagen Contemporary, Copenhagen, Denmark, by Tableau and Ari Prasetya › 22 per cent – Terra, Vynnyky, Ukraine, by YOD Group › 13 per cent – Dois Tropicos, São Paulo, Brazil, by MNMA Studio › 11 per cent – Koffee Mameya Kakeru, Tokyo, Japan, by Fourteen Stone Design
Browse all projects on the restaurant and bar interior page.
Hotel and short-stay interior
› 25 per cent – The Hoxton Poblenou, Barcelona, Spain, by Ennismore › 23 per cent – Downtown L.A. Proper Hotel, Los Angeles, USA, by Kelly Wearstler Studio › 21 per cent – Inhabit Queen’s Gardens, United Kingdom, by Holland Harvey › 16 per cent – Schwan Locke, Munich, Germany, by Locke › 15 per cent – Well Well Well Hotel Renovation, Beijing, China, Fon Studio
Browse all projects on the hotel and short-stay interior page.
Large workspace interior
› 47 per cent – Dyson Global HQ St James Power Station, Singapore, by M Moser Associates › 24 per cent – Victoria Greencoat Place, London, United Kingdom, by Fora › 16 per cent – Midtown Workplace, Brisbane, Australia, by Cox Architecture › Eight per cent – Design District Bureau Club, London, United Kingdom, by Roz Barr Architects › Six per cent – Generator Building, Bristol, United Kingdom, by MoreySmith
Browse all projects on the large workspace interior page.
Small workspace interior
› 30 per cent – Alexander House, Sydney, Australia, by Alexander & Co. › 19 per cent – OTK Ottolenghi, London, United Kingdom, by Studiomama › 15 per cent – HNS Studio, Nanjing, China, Muhhe Studio Institute of Architecture › 14 per cent – Samsen Atelier, Stockholm, Sweden, by Note Design Studio › 13 per cent – The F.Forest Office, Linbian, Taiwan, by Atelier Boter › Nine per cent – Asket Studio, Stockholm, Sweden, by Atelier Paul Vaugoyeau
Browse all projects on the small workspace interior page.
Large retail interior
› 33 per cent – An Interactive Spatial Design and Scenography for Jacquemus at Selfridges, London, United Kingdom, by Random Studio › 29 per cent – Deja Vu Recycle Store, Shanghai, China, by Offhand Practice › 15 per cent – XC273, Shanghai, China, by Dongqi Design › 12 per cent – Kolon Sport Sotsot Rebirth, Cheju Island, South Korea, by Jo Nagasaka / Schemata Architects › 11 per cent – Proud Gallery Gotanda, Gotanda, Japan, by Domino Architects / HAKUTEN / Nozomi Kume (Studio Onder de Linde)
Browse all projects on the large retail interior page.
Small retail interior
› 33 per cent – MONC, London, United Kingdom, by Nina+Co › 20 per cent – Aesop Yorkville, Toronto, Canada, by Odami › 18 per cent – Durat Showroom, Helsinki, Finland, by Linda Bergroth › 15 per cent – Haight Clothing Store, Rio de Janeiro, Brazil, by Aia Estudio › 13 per cent – The Market Building, London, United Kingdom, by Holloway Li
Browse all projects on the small retail interior page.
Leisure and wellness interior
› 39 per cent – Patina Maldives Spa, Fari Islands, Maldives, by Studio MK27 › 24 per cent – Self Revealing, Taipei City, Taiwan, by Studio X4 › 16 per cent – Barlo MS Centre, Toronto, Canada, by Hariri Pontarini Architects › 13 per cent – Bath & Barley, Brussels, Belgium, by WeWantMore › Nine per cent – Wan Fat Jinyi Cinema, Shenzhen, China, by One Plus Partnership
Browse all projects on the leisure and wellness interior page.
Civic and cultural interior
› 40 per cent – F51 Skate Park, Folkestone, United Kingdom, by Hollaway Studio › 34 per cent – Stanbridge Mill Library, Dorset, United Kingdom, by Crawshaw Architects › 12 per cent – The Groote Museum, Amsterdam, Netherlands, by Merk X › Eight per cent – Yorck Kino Passage, Berlin, Germany, by Batek Architekten › Five per cent – Designing Ecole Camondo Méditerranée’s Interior, Toulon, France, by Émilieu Studio
Browse all projects on the civic and cultural interior page.
Small interior
› 34 per cent – A Private Reading Room, Shanghai, China, by Atelier Tao+C › 22 per cent – OHL Cultural Space for the Arts, Lisbon, Portugal, by AB+AC Architects › 19 per cent –Relaxing Geometry with Pops of Yellow, Antwerp, Belgium, by Van Staeyan Interior Architects › 14 per cent – Fatface Coffee Pop Up Shop, Shenyang, China, by Baicai Design › 11 per cent – Sik Mul Sung, South Korea, by Unseenbird
Spotted: Pesticides are widely used in agriculture in order to protect crops from pests and diseases. However, even at levels deemed safe by regulators, pesticides can have a negative impact on the environment. Studies have shown that pesticides can cause a loss of biodiversity, including reduced numbers of beneficial insects, as well as birds, and amphibians. In addition, pesticides can contaminate soil and water, and may also pose a risk to human health. As a result, there is an increasing focus on finding ways to reduce the use of pesticides in agriculture. One promising approach is the use of robotics, as they can be used to target pests more accurately, which in turn reduces the amount of pesticide required. Among the companies working on this is Solinftec, a company that recently developed a robot that can provide autonomous and sustainable spot-spray applications on growers’ fields.
Solinftec partnered with McKinney Corporation to introduce the new Solix Sprayer robot. This technology has the potential to help producers reduce chemical inputs and deliver a lower carbon footprint. In addition, the robot provides reports on crop populations, weed densities, disease and insect identification, nutrient deficiency identification as well as other layers of data maps for analysis. And best of all, all of this activity is powered by four solar panels.
“Weed detection is a leading issue in fields across the North America and the Solix Sprayer is designed to not only monitor and scan fields like the original scouting version, but detect and manage weeds with technology which allows the device to spot-spray into the plant instead of from above, eliminating drift and soil compaction caused by larger machines and help lower environmental impact,” explains Leonardo Carvalho, Solinftec’s director of operations.
Solix is currently piloting the robot in North America in partnership with the agricultural co-operative GROWMARK and Purdue University in the US, and Stone Farms and University of Saskatchewan in Canada. The technology is simulated to become commercially available to the entire agricultural market in 2023.
As the world population continues to grow, it is essential that we find ways to sustainably increase food production. Other similar innovations spotted by Springwise include a new way to produce sustainable fertiliser on site and a biohacking method that protects crops against fungal attack.
Architects and designers have a key role to play in reducing carbon emissions, pollution and waste.
In celebration of Earth Day, which falls on 22 April every year, we compiled a list of 50 individuals and studios that are doing pioneering work – from architects exploring timber construction to designers thinking radically about circularity.
Norman Foster “to assemble the best minds” to rebuild Ukrainian city of Kharkiv
Other stories in this week’s newsletter include Norman Foster’s plan for the “rehabilitation” of Kharkiv, Thomas Heatherwick’s tree-covered sculpture design for Buckingham Palace and an exclusive interview with British artist duo Langlands & Bell.
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Brightly coloured chairs and personal memorabilia feature in the Parables for Happiness exhibition showcasing the works of London-based designer Yinka Ilori at the Design Museum.
Opened during London Design Festival, the exhibition is the first major display of Ilori’s vast number of vibrant designs, including graphic murals, furniture and public installations.
Parables of Happiness showcases a wide selection of Ilori’s designs
Ilori’s designs are exhibited alongside pieces that influenced his work and objects representing his Nigerian heritage, including Nigerian textiles adorned with colourful geometric patterns and a traditional Dùndún drum that visitors can play.
The show also includes models of some of the 80 sculptural chairs that Ilori has designed.
Ilori started his career designing chairs
One of Ilori’s chair designs is presented in a line-up of iconic and recognisable chairs with the aim of giving context to his work. Included in the display is the RCP2 chair by Jane Atfield, who was Ilori’s tutor at university.
“One of the reasons I started designing was because of a brief given by Jane Atfield called Our Chair,” Ilori told Dezeen. “Purely because of her brief is why I started designing chairs when I finished uni.”
A chair designed by David Adjaye is exhibited alongside Ilori’s work
Another chair on display is the Washington Skeleton Side Chair designed by British-Ghanian architect David Adjaye, who Ilori credits with having “opened doors for designers like me”.
“Over the years, my work has gained recognition for the strong use of colour, pattern and narrative that comes from my Nigerian heritage,” said Ilori. “However, it has often deviated from design trends and has been misunderstood”
“This display charts my inspirations and creative journey as I transitioned from furniture design to community-driven public installations,” he continued.
His work is influenced by Nigerian textiles
Visitors to the exhibition can discover Ilori’s architectural projects through photographs, drawings and models including his Colour Palace pavilion, which was erected in Dulwich in 2019.
Details of Ilori’s Launderette of Dreams – an installation that involved reimagining a launderette in London as a children’s play zone for Lego – are displayed. A lego chair that formed part of the Launderette of Dreams installation is also on display at the show.
“A fast-rising star of contemporary design, Yinka Ilori’s unique aesthetic – drawing on Nigerian textiles with a nod to postmodernism – employs a mix of visual references that come together to inspire joy,” said the exhibition’s curator Priya Khanchandani.
“This display is a testament to how cultural fusions, frissons and juxtapositions can be rich fuel for creativity and for generating more inclusive architectures in the city.”
Chairs and details of the designer’s public installations are included in the exhibition
As well as showcasing Ilori’s bright, playful designs and examples of his design influences, the exhibition features some of the designer’s personal items.
Visitors can see his name badge from working at Marks and Spencer and a pair of paint-splattered trousers that Ilori wore while painting a number of his graphic murals.
Ilori is known for his use of colour and graphic representation
“I’m a huge believer in memory making and storytelling – how do we relive or revisit memories?” said Ilori.
In Parables of Happiness, Ilori hopes to “open up new conversations about design in the UK and internationally, to see how other people view design around the world”.
“I am truly humbled and honoured to have my work exhibited at such an early stage in my career and hope the display provides inspiration for the next generation who might feel they don’t fit into the status quo,” the designer continued.
Known for his colourful designs, Ilori has recently completed a pavilion in Berlin with a canopy made up of brightly coloured translucent disks and transformed his London studio and office with bold hues indicative of his signature art style.
Parables for Happiness takes place from 15 September 2022 to 25 June 2023 at the Design Museum in London. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
Spotted: The world is increasingly looking for new sustainable sources of energy. Solar, wind. and water power are all environmentally friendly energy sources that don’t produce harmful emissions. However, renewable energy solutions can be costly, and it’s important to find cost-effective ways to implement them.
In light of this, researchers at the University of Oulu in Finland have developed a new way to generate renewable hydrogen fuel that is both cost-effective and environmentally friendly. Their new nickel-based catalyst uses sunlight to split water into its constituent atoms: oxygen and hydrogen. The hydrogen can then be harnessed as a clean and renewable source of fuel.
As the world looks for cleaner and more sustainable sources of energy, hydrogen has emerged as a leading contender. Hydrogen fuel cells are highly efficient and emit no pollutants at point of use, making them an appealing option for the future of energy production. However, one major obstacle to widespread adoption of hydrogen fuel cells is their cost. Precious metals such as platinum and palladium are often used in the electrodes, making production expensive. Some researchers are exploring alternatives to precious metals, with nickel emerging as a promising option.
To understand the effectiveness of the design, the University of Oulu team analysed the materials they used for their catalyst at the University of Saskatchewan (USask). Findings have now been published in the journal Applied Energy.
This breakthrough provides hope that we can develop cost-effective renewable energy solutions that will help us to reduce our reliance on fossil fuels. On this topic, Springwise has spotted an off-grid hydrogen generation technology for on-demand power and a way to power the planet through ultra-deep geothermal energy.
Düsseldorf studio Urselmann Interior has renovated its own office interiors using biodegradable, recycled or upcycled materials, including glueless joinery and a cellulose-based wall cladding.
The interior design studio said that it renovated its self-described “circular” office in the German city to only feature materials that are either recycled, upcycled or biodegradable.
Urselmann Interior’s office is in Düsseldorf
These include existing wooden and terrazzo flooring that was salvaged during the renovation, as well as heaters obtained from resource-efficient building material platform Concular.
Spread over one main workspace, a kitchen and a meeting room, the single-level office features clay paint walls and is designed to be used as both a co-working space and a showroom.
The renovation includes a kitchen
“The office also serves us as a laboratory in that we can [use it to] test new qualities, materials and construction methods,” project manager Liz Theißen told Dezeen.
A solid wooden frame was used to create simple kitchen cabinets, which were constructed without glue so that the structure is fully demountable.
Joinery was created without glue in much of the project
The frame was fitted with panels formed from recycled strips of fabric supplied by textile brand Kvadrat from its Really collection.
For its walls, the studio used Honext wall cladding – a cellulose-based material that is produced using paper sludge and cardboard waste.
Poplar wood from a tree felled in the nearby city of Krefeld was chosen for the ceiling, which was also assembled without glue.
Throughout the office, neutral and minimal colour and material palettes were applied to the interior design, which also includes clusters of carefully arranged potted plants and books.
Second-hand lighting encased in wiggly orange felt from Hey-Sign adds a splash of colour to the otherwise sandy-hued atmosphere.
Wiggly orange lighting adds a splash of colour
Theißen explained that all of the components that Urselmann Interior used for the renovation have been listed in a published “material passport” that can be referred to for future projects.
“We want to develop a new design language for ourselves, in which we smartly combine high-quality materials such as solid wood with ecological building materials as well as reusable components [to achieve] a positive footprint in the construction industry,” she said.
“Our design principles follow the school of thought of ‘cradle to cradle’, which is the safe and potentially infinite circulation of materials and nutrients in cycles.”
“All constituents are chemically harmless and recyclable. We aim to eliminate the design flaw of waste in our processes,” concluded Theißen.
Honext panels line the clay paint walls
Urselmann Interior is a Düsseldorf-based interiors studio founded by Sven Urselmann.
Similar projects to the studio’s office renovation include a Madrid restaurant by Lucas Muñoz with furniture formed from site construction waste and a bar made out of recycled stereos, bottle crates and fridges by Michael Marriott.
A winding wooden path leads to a natural amphitheatre created by rippling mounds of grass at this garden in Lijiang, China, which was designed by landscape studio Z’scape and has been shortlisted for the Dezeen Awards 2022.
Located at the Linjiang Hilla Vintage Hotel complex, the Wilderness Garden and Amphitheatre extends an existing landscape designed by the Beijing-based practice last year.
Z’scape added a winding path and a natural amphitheatre to the site in Lijiang
The new additions have been shortlisted in the landscape project category of Dezeen Awards 2022.
For the new area of wild grassland, Z’scape worked with a botanist and local villages to find native plant varieties that would naturally thrive without needing any maintenance or irrigation, introducing greater biodiversity to the site.
A raised boardwalk allows animals and insects to move freely around the landscape
A wooden boardwalk, raised 60 centimetres to allow animals and insects to move underneath, cuts through this wild garden, with an elevated platform providing a lookout.
Areas of open grass, large rocks and two small wildlife ponds are interspersed throughout the garden and were also designed to help minimise the risk of wildfires spreading.
The amphitheatre is formed by mounds of grass in a sunken region of the site
“Providing a critical habitat that offers rich nutritional value and shelter, Wilderness Garden is a haven for wildlife,” said the practice.
“To strike a compelling dialogue, a zigzag boardwalk weaves its way through the grassland to give visitors an extraordinary experience with dramatic and intimate overlooks,” it continued.
The wooden boardwalk leads to the new amphitheatre at the north of the site, making use of an existing sunken area in the landscape’s topography and defining it with concentric ridges that overlook a central performance lawn.
Recycled timber has been used to create simple benches that follow the contours of the amphitheatre’s ridges and are dotted with works by local sculptors.
As well as a space to watch performances, the amphitheatre looks out across a dramatic landscape, including the UNESCO heritage site of Baisha and Jade Dragon Snow Mountain.
Long benches in the amphitheatre offer spaces for children to play
“Natural play opportunities are embedded in the landform, where children can run, climb, jump, dance or roll,” said the practice.
“A series of long benches offer historic views to the snow mountain and the best views of the central performance lawn,” it continued.
Long recycled timber benches wrap around the circular feature
The original landscape design incorporated the remains of an abandoned village built by the Naxi people, and every year a traditional torch festival creates an “immersive and interactive environment” for celebrating Naxi culture and craft.
Z’scape was founded by Zhou Liangjun and Zhou Ting, and has a particular focus on landscaping projects for cultural tourism projects, boutique hotels, urban spaces and residential developments.
Other projects that join the Wilderness Garden and Amphitheatre on the landscape project shortlist of Dezeen awards 2022 include a rural farm in Iran co-designed with local communities, and Heatherwick Studio’s Little Island in Manhattan.
Spearheaded by Leslie Lok and Sasa Zivkovic, assistant professors at the College of Architecture, Art, and Planning at Cornell University and principals at HANNAH, the project began with the objective of developing a 3D printed construction system that could be scalable and applicable for multi-family housing the future — not an easy feat given the additional structural challenges when printing beyond a single story. As such, Lok explains that it was necessary to develop the design in relationship to the material and construction process.
Far from letting this complex process limit their design, HANNAH used the printing toolpath as an opportunity to push the design possibilities of 3D-printed structures. The repeated use of incremental cantilevers within the concrete modules serves as an architectural motif that is both ornamental and functional. Paired with the distinct horizontal layers of printed concrete, HANNAH creates a bold stylistic statement about 3D printed architecture; hinting at the opportunities of new design language for printed projects.
