Covid-19 test concept by Morrama is recyclable and biodegradable
CategoriesSustainable News

Covid-19 test concept by Morrama is recyclable and biodegradable

Design agency Morrama has devised a concept for a Covid-19 test that is biodegradable and fully recyclable, right down to its packaging – potentially eliminating a common source of plastic waste.

The ECO-FLO test – which is, for the time being, a concept design only – would be the first in the world to be 100 per cent recyclable and biodegradable, according to Morrama.

The design agency devised the solution to cut down on the amount of single-use plastic generated by the pandemic. While both face masks and Covid-19 tests are at least partially recyclable, it is only through specialised facilities and not through residential collection, so must users have been advised to place them in the waste bin.

A rendering of Morrama's biodegradable Covid-19 test concept beside a photo of the NHS Covid-19 lateral flow test
The ECO-FLO test has fewer parts than today’s lateral flow test (left)

“At Morrama, we were inspired to create a test kit that doesn’t contribute to the amount of plastic ending up in our landfills, so ECO-FLO was born,” said the agency’s founder and creative director Jo Barnard.

Morrama’s proposal achieves this goal by making the test itself from moulded paper pulp, and its outer packaging from biodegradable NatureFlex film, which would both break down in approximately four to six weeks.

The other plastic elements – the swab, test tubes and their associated packaging – are all eliminated, as the agency rethought every step of the testing process to minimise materials and maximise ease of use.

Rendering of the Eco-Flo pulp paper covid-19 test next to its biodegradable film sachet packaging
The test would be made from paper pulp and the sachet from biodegradable film

Instead of the two mainstream test types on the market, polymerase chain reaction (PCR) and rapid antigen (lateral flow), ECO-FLO applies a new method called the Parallel Amplified Saliva rapid POint-of-caRe Test (PASPORT).

It works with only a saliva sample, so there is no need for buffer solution or a nasal swab – an element that can be difficult to use for those with disabilities or impairments, or when testing children.

The user would only need to spit on ECO-FLO’s absorbent pad, close the test package and push the moulded button to transfer the sample from the absorbent pad to the test strip.

Rendering of Eco-flo tests showing every surface printed with instructions
All of the instructions are printed directly on the test

All of the instructions are printed directly on the test so there is no need for additional leaflets, and it is made more readable by replacing the currently used scientific notations – such as “C” for “control” and “T” for test – with simple checkboxes. In Morrama’s conceptualisation, the packaging is the product.

“Thinking about the test as less of a product and more a piece of functional packaging really influenced the direction,” Barnard told Dezeen.

“Packaging by its nature should always be designed for end-of-life, so we started not with a design, but with materials that can be recycled and recaptured.”

While the need for Covid-19 tests may be in decline, Barnard says the ECO-FLO design remains relevant for countries still undertaking mass testing, such as China, which is disposing of over a million kits a day.

It would also assist groups with accessibility requirements, such as the young, old and those with mental health or learning difficulties.

Collage of a person's hands holding the Eco-Flo test marked positive for "result valid" and "covid detected"
Results in simple English make the test easier to read

However, Morrama is also positioning ECO-FLO as a provocation for the world to start thinking about sustainable design for future pandemics now.

“Whilst much of the Western world has moved on from mass testing of Covid-19, there has been regular warnings from experts that pandemics are only set to become more likely,” said Barnard.

“With the failures from our response to Covid still fresh in our mind, we need to act now to ensure we are better prepared in the future.”

Gif showing how to push the button on the Eco-flo concept design to activate the Covid-19 test
The moulded paper design includes a push button to activate the test

For the concept to become a reality, PASPORT would need to be approved for use in at-home test; currently, it is still in trials. Cost should not be a barrier, as Morrama expects the required paper injection moulding or dry moulded fibre processing to be cost-competitive with plastic injection moulding at volume.

In the more immediate future, another British company, SureScreen Diagnostics, has announced it will start making a biodegradable Covid-19 test cartridge from plant-based materials, eliminating one source of plastic from the kits.

Morrama was founded in 2015. The agency’s past projects include the minimal Angle razor, also aimed at reducing plastic waste, and a series of “smarter phone” concepts aimed at improving wellbeing.

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Reference

Chzon studio designs airport departure hall to reference Parisian life
CategoriesInterior Design

Chzon studio designs airport departure hall to reference Parisian life

French design agency Chzon studio has added archways and fountains that reference iconic Parisian monuments to a departure lounge at the Charles de Gaulle Airport in Paris.

Chzon studio redesigned the boarding gate area in Terminal 2G with the aim of creating a dynamic representation of Paris’ design and history in a typically utilitarian area of the airport.

Photograph showing airport departure lounge with green seating and wooden chess tables
The vast space is punctuated by white columns and sculptural installations

The 1,300-square-meter space is populated by rounded seating in dark blue and green upholstery, which takes aesthetic cues from the 1960s and 1970s, arranged in benches, booths and pairs.

To zone the space and instill privacy, the studio added partitions and expressive white sculptures by artist studio Les Simonnets, which double as alternative bench seating.

Photograph showing airport departure lounge with green bench seats and large tree-like rounded white sculptures
References to Paris are made at varying scales throughout the space

The studio made reference to iconic Parisian monuments by installing archways that nod to the Arc de Triomphe, as well as a fountain that is reminiscent of the water feature in the Jardin du Luxembourg and surrounded by green metal chairs similar to those found in Paris’ parks.

Rows of wooden tables have been inlaid with chess boards in another reference to the parks of Paris. Passengers can use these as workspaces, to eat at, or to play games on while waiting for flights.

Photograph showing airport departure lounge with green chairs, white fountain and terrazzo flooring
The miniature fountain is a focal point within the terminal

As well as designing some of the lighting for the interior in-house, the studio also sourced and installed antique lighting and other decorative objects from the city’s St Ouen flea market, including giant wall lights and aluminium sunshades.

To keep the space relevant to its function, Chzon also made references to aeroplane design by employing metallic details, patterned finishes and reclining plane-style seats designed by Italian architect and furniture designer Osvaldo Borsani.

“[The design] dramatises the boarding lounge while keeping the passenger informed,” Dorothée Meilichzon, founder of Chzon studio, said of the interior design.

“The departure lounge becomes a smooth transition between the Paris that we are leaving and the plane that is going to take off.”

Photograph showing airport departure lounge with abstract mural above windows and green seating
The mural is applied to perforated sheets and wraps around the walls above the windows

The space also features a mural inspired by the work of French painter Sonia Delaunay that sits above the windows, which overlook the runways and allow views of planes taking off and landing.

This fresco also references symbols used in airport signage and carries similar rounded motifs to the ones present in the retro-style seating and lighting.

Photograph showing airport departure lounge with green bench seats and abstract mural behind
Rounded elements in furniture, lighting and decor reference the design of the 1960s and 1970s

Charles de Gaulle Airport, also known as Roissy Airport, is the French capital’s principle airport.

Other airport-related projects published on Dezeen include the cosy remodelling of an airport in Colorado, USA by Gensler and an airport that contains the world’s tallest indoor waterfall by Safdie architects.

Images are courtesy of Chzon studio

Reference

An app helps to capture family stories
CategoriesSustainable News

An app helps to capture family stories

Spotted: Stories have always been a part of human culture, but the way we interact with them has changed dramatically in recent years. With the advent of social media, we now consume stories more passively than ever before, scrolling through photos and videos without really connecting with the people behind them. Startup Remento is working to change that. Its storytelling platform encourages users to share personal stories and connect with loved ones on a deeper level. 

The app provides conversation prompts to inspire the sharing of stories from every member of the family. The prompts include questions about a grandparent’s childhood home, to the context of images from wedding photos. The prompts are then selected and customised on the app, after which family conversations can be recorded. An interactive playback allows users to showcase stories from these sessions. These can then be shared and reminisced about at a later time.

The company’s co-founder and CEO Charlie Greene came up with the idea for Remento after recording various interviews with his mother after she was diagnosed with cancer. “The conversations our family recorded after we learned my mother had cancer changed our relationship forever. As she reflected on photos and answered questions about her early years for her grandchildren to one day watch, I learned more about her life than I ever could have imagined,” she explained.

Social media continues to change, and so is the way we interact with it – with growing concerns about its impact on our mental health and relationships. Springwise has spotted several related innovations including social media tools that help the public assess viral posts, and an app teaching people to trust the news again. 

Written By: Katrina Lane

Reference

Louise Hederström designs furniture from building waste materials
CategoriesSustainable News

Louise Hederström designs furniture from building waste materials

Swedish designer Louise Hederström has worked with furniture brand Swedese to use leftover wood and plywood from a Cobe-designed building to create furniture for its public spaces.

Hederström‘s project Rephrased Matter, which was on show as part of the annual design festival Southern Sweden Design Days, saw the designer work together with Swedese to create a collection of furniture for the atrium, restaurant and meeting rooms in developer Skanska‘s Hyllie Terrass building.

Two stools and a table made from waste materials
Above: Louise Hederström’s designs were on show at Southern Sweden Design Days. Top image: a prototype of her stool for Skanska. Photo is courtesy of Hederström

The furniture will be made from materials such as plywood and wooden beams that were used during the construction of the building, which was designed by Danish studio Cobe, and would otherwise have been burned.

Hederström, who approached Skanska together with Linus Davidsson, sales representative at Swedese, said they will instead use the waste material from the building site for both “big and small projects.”

Materials used for furniture designs by Louise Hederström
Waste materials and leftover materials were used to construct the furniture. Photo is courtesy of Louise Hederström

The first item is set of stools and a table that will be used in the building’s atrium. They were made from wooden latches and plywood used on the site to cover elevator shafts and as temporary staircase banisters.

“We don’t really know yet, but that’s also the part of the process – we see something, we save it and we and the latches was really something that was easy to see that this is possible to work with,” Hederström told Dezeen.

Stool on show at Southern Sweden Design Days
Hederström worked together with furniture company Swedese

The time-consuming process of designing furniture from scrap materials requires a lot more preparation than working with virgin wood does.

“You have to have time to collect the material, you have to store it and dry it,” Hederström explained. “It’s a longer process, and we’re learning by doing.”

For the stools Hederström combined waste wood with leftover materials from Swedese, as the padding and fabric material needed was not available from the building site itself.

Instead, the stools have a filling made from leftover sheepskin from Swedese’s production, covered by leather seats that are made from leather with minor imperfections that meant the company was unable to use them for other furniture.

A steel ring used in Swedese’s furniture production and made from 80 per cent recycled metal holds the stool’s wooden legs together.

Table made from leftover wood
A table made from wood matches the stools

The current collection also includes a table made from the same wood and plywood pieces, and Hederström also plans to use the wooden latches to create a long sofa that will sit in the central atrium.

For her, having to use already-cut wood and other materials in existing conditions was a welcome challenge, rather than a disadvantage.

“I like the challenge that you have a material to have to work with,” she said.

“So with the stool, I wanted to change the dimensions of course, but I wanted you to still feel the connection to the material and understand its construction, how it holds together.”

Hederström will also use wood from elm trees that have had to be felled because of Dutch Elm disease, while leftover materials from Swedish furniture and design companies will be used to create accessories for the interior of the building.

Materials used for accessories in Hyllie Terrass
Other leftover materials will be used to create accessories

Hederström hopes that the initiative, which Skanska said it hopes to also expand to other buildings, will become more commonly used when constructing new buildings.

“I hoped that it would open their eyes, but also, I think that when they count and see ‘we have 1,000 metres of wood that we just throw away’ they can also say ‘let’s save it for next building’,” Hederström said.

“They can rethink their way of planning. And I think it was an eye-opener, that they realise that this is something that we could use. Especially when the world is a bit upside down, we have to take better care of material resources.”

Hyllie Terrass, the building that the furniture will be used in, was designed by Cobe for Skanska and is part of a pilot program for NollC02 buildings, which Skanska says will have net-zero emissions over their entire life cycle. It will be ready for occupation in spring 2023.

Hederström has previously made a concrete bench and traffic barrier using waste, while Swedese recently worked with graduate Mika Lindblad on a furniture collection designed without upholstery.

The photography is by Daniel Engvall unless otherwise stated.

Southern Sweden Design Days took place from 19 to 22 May 2022 in Malmö, Sweden. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

Reference

Tsumugu by Archipatch is a wooden house designed to connect with nature
CategoriesArchitecture

Tsumugu by Archipatch is a wooden house designed to connect with nature

Japanese architecture studio Archipatch has completed a house in the seaside city of Kagoshima that is built from timber and features a material palette chosen to complement its natural surroundings.

Tokyo-based Archipatch designed the Tsumugu house as a case study for local house builder Shichiro Construction, which wanted to utilise timber sourced from the Kyushu island where the company is based.

Japanese timber house by Archipatch
Archipatch made the Tsumugu house from locally sourced timber

The single-storey property was built to accommodate a family of four and aims to demonstrate how timber construction can be used to create comfortable and versatile living spaces.

“The house is designed to connect with nature,” said Archipatch, “and to realise a comfortable lifestyle in harmony with the ever-changing natural environment.”

Double-height living area through floor-to-ceiling glass window in Japanese house
The rooms of the house are spread across a single storey

In response to shifting domestic habits in Japan following the coronavirus pandemic, the building provides a variety of flexible spaces that allow the occupants to work and socialise at home.

The house comprises three interconnected volumes that are distinguished externally and internally by their different roof heights.

Timber exterior of Japanese home by Archipatch with overhangs and glass walls
Large overhanging eaves provide shading in the garden

The building was constructed with a wooden framework that is left exposed internally. Wood is also used extensively for cladding the walls and ceilings, with other natural materials chosen to complement the timber.

“The exterior and interior design is warm and inviting, using cedar, cypress, and natural stone grown in the region to give a sense of the texture that only natural materials can provide,” Archipatch added.

Visible timber structure in living area of Japanese house with curved desk
Shoji screens can be used to separate the Japanese room from the rest of the house

The main entrance is located in the central block and provides access to a lower volume to the left that houses a small boot room and three bedrooms.

A corridor leads past two single bedrooms to a suite at the far end with its own walk-in closet and study.

Directly in front of the entrance at the centre of the house is a Japanese-style room with a tatami-mat floor that can be used as a sitting room, a simple guest room or as a space for doing housework.

Traditional shoji screens made from wood and paper can be closed to separate the Japanese room from the rest of the house, or opened to provide different connections with the entrance and living spaces.

The main open-plan living areas are positioned to the right of the entrance in the tallest section of the house. At one end of the space sits a sunken lounge, which is lined on two sides with large windows looking onto the garden.

Sunken living room in open-plan living area by Archipatch with exposed beams and grey wall
The open-plan living space features a sunken lounge

Sections of the glazing can be opened to connect the living space with a terrace. This also allows the cool air passing over an adjacent pond to ventilate the interior.

Large overhanging eaves protect the elevations from direct sunlight, while operable clerestory windows allow hot air to escape.

Bathroom with glass door behind cabinet and back-lit mirror
A glass door in the bathroom can be opened for extra ventilation

Next to the lounge is a dining space and kitchen with a curved island. A bathroom behind the kitchen has a door in its rear wall that can be opened to enable cross ventilation through the house.

The house is designed to minimise energy consumption, with high levels of thermal insulation, a geothermal heating system and natural ventilation contributing to its sustainable performance.

Other homes in Japan include a mud-covered house and restaurant hidden below ground level and a compact family home with a large stairwell.

The photography is by Yousuke Harigane.

Reference

University of the Arts London spotlights six interior design projects
CategoriesInterior Design

University of the Arts London spotlights six interior design projects

Dezeen School Shows: an app that makes use of disused car parks and a community cafe feature in Dezeen’s latest school show by students at the University of the Arts London.

Also included is a museum that examines the role of female workers in the industrial revolution and a scheme that aims to integrate the physical and digital worlds to connect people to their surroundings.


Institution: University of the Arts London
School: Camberwell College of Arts
Course: BA Interior and Spatial Design

School statement:

“Camberwell College of Arts is a renowned art and design college. We give students the space to explore their creativity. Staff will support and challenge you to rethink current practices. Our facilities embrace both traditional craftsmanship and digital technology.

“Our design and fine art courses will make you think about your social responsibility, as well as develop your critical and making skills.

“View our recent graduate’s work online at the Graduate Showcase website.

“Join our online and on-site open days to learn more about Camberwell College of Arts and our courses. Click here for more information.

“For the following projects, Camberwell’s BA Interior and Spatial Design students collaborated with students at IED Kunsthal, a design university located in Bilbao, Spain.

“Students focused on the regeneration of Zorrotzaurre, a post-industrial area of Bilbao built on an artificial island.

“The project’s aim was to design proposals for a former biscuit factory site, which required remote online working with students at IED Kunsthal as they researched and explored the area together.

“Each student created a map of the urban landscape through a variety of media including textiles, projection and interaction.

“Some Camberwell students also visited the site in Bilbao, where they exhibited their urban fabric mappings of the current condition of Zorrotzaurre and design proposals for the future of the island.

“They also took part in a show at the university, as well as delivered presentations and workshops as part of the DRS2022.”


Visualisation showing outdoor pavilion

Community and the Vernacular: Physical and Virtual by Lea Fakhouri

“Community and the Vernacular is an expansion of my thesis around the idea that people in today’s society are considered inert consumers that only use the spaces that they inhabit, and are not actually part of the process of designing them.

“My project explores the merging of the physical and digital world to help revitalise the connection between people and space.

“The physical world houses six separate pavilions suspended across the site of the Artiach Cookie Factory in Bilbao, Spain.

“The virtual world houses the united pavilions suspended together to represent the capabilities of the community to inform and transform its topography.”

Student: Lea Fakhouri
Course: BA Interior and Spatial Design


Visualisation showing multi-use outdoor space

Mobile Community Repair Cafes by Mia Bizard

“Using my research on themes exploring accessibility, connection and communities, this project continues my investigation into the architecture of connection – connecting people, city, and environment.

“Proposing a series of workshops and gallery spaces that essentially become repair cafes, all connected with foldable canopies, this project promotes the reduction of waste and sustainable, social community-focused lifestyles.

“The idea is to bridge and connect these places – located around the island of Zorrotzaurre in Bilbao, Spain – as well as the local community through this fragmented series of spaces.

“It aims to empower residents to take an active part in shaping their communities, as well as building on the legacy of the site by adding a participatory and engaging design that will help promote and attract people to the area.”

Student: Mia Bizard
Course: BA Interior and Spatial Design


Visualisation showing multi-use space

Zorrotzaurre’s Art District by Maya Hammoud

“The project offers a unique experience to its visitors by taking them through a ‘designed walk’ across three spaces: a gallery, an auditorium and a multi-purpose social space.

“The project is aimed at the local community and those with a common interest in Bilbao’s growing art scene.

“The spatial layout explores the act of observing, using thresholds and viewports to make visitors see, experience and question their surroundings.

“The aim of using viewports as a tool for observing fragments of other spaces, allowing sudden interactions to happen between visitors.

“It also forms a deeper understanding of visitor experiences and how it is influenced by the creation of space.”

Student: Maya Hammoud
Course: BA Interior and Spatial Design


3D view of building layout on white background

Time Traveller by Qiao Wang

“I created a temporary exhibition to promote local cultural heritage in Zorrotzaurre, Bilbao, Spain.

“This solar-powered installation is based on the simplified shape of Zorrotzaurre, which is intended to provide visitors with a quick tour of the island.

“To arouse the interest of visitors, they will feel as if they are exploring the maze while walking inside the installation, just like they are discovering and seeking knowledge in an unfamiliar city.

“This project promotes the industrial heritage culture of the region to visitors from all over the world while boosting the local tourism economy and providing educational cultural dissemination.

“In the installation, I used the pulley structure of the factory and woven fabric, which was inspired by my map. All materials used are sustainable.”

Student: Qiao Wang
Course: BA Interior and Spatial Design


Visualisation showing entrance to gallery

Fabric-Women-Museum by Shiyuan Liu

“Fabric-Women-Museum aims to spatialise the inequalities suffered by women in the workplace during the industrial revolution.

“The project is based on research into the history of Artiach during the industrial revolution when approximately 80 per cent of the workers were women.

“Although Artiach offered work opportunities for women, their working conditions and treatment were poor.

“The design translates the inequality of women in the workplace into four thematic rooms: control, inconvenience, isolation and vulnerability.

“The interactive exhibition helps visitors understand the conditions suffered by women workers in workspaces during the industrial revolution.”

Student: Shiyuan Liu
Course: BA Interior and Spatial Design


Visualisation showing outdoor cinema made from converted multi-storey car park

(Junk)scape – Rethinking and Recycling Non-Places by Kiwi Chan

“This project represents creative ways to transform car parks from non-place, anonymous spaces to ones with urban character.

“The (Junk)scape app is a system and service that proposes efficient uses for ‘wasted’ spaces and energy around ‘non-places’ i.e. car parks.

“This app rethinks and recycles underutilised parking lots by using a renting and scheduling system.

“My primary design proposal for my rented ‘non- place’ explores ‘placeless’ people, in hopes to provide support for the local homeless community and raise awareness around this ‘invisible class’ through film.

“This proposal also aims to incorporate responsible involvement with Bizitegi, a non-profit organisation that contributed to the construction of services for individuals from the worlds of exclusion and mental illness in Bilbao.”

Student:Kiwi Chan
Course: BA Interior and Spatial Design

Partnership content

This school show is a partnership between Dezeen and the University of the Arts London. Find out more about Dezeen partnership content here.

Reference

A bio-based electric toothbrush is compostable and recyclable 
CategoriesSustainable News

A bio-based electric toothbrush is compostable and recyclable 

Spotted: The second largest contributor to plastic pollution after plastic bags, plastic toothbrushes are almost all non-recyclable because of the number of tiny parts they contain. Bamboo brushes have become a common replacement, yet for those who love electric toothbrushes, what can they use instead? UK company SURI has the answer. The name stands for Sustainable Rituals, and the brand’s first product is the Sustainable Sonic Toothbrush. 

A mix of recyclable and compostable components, plus a modular design, gives SURI’s electric toothbrush an extensive life. Replacement brush heads come in packs of three, and the company provides a compostable return mailer with each order for users to send back used brush heads in for recycling.

Most current toothbrushes use nylon bristles, a material that contributes to the inability of waste management facilities to recycle them. SURI, on the other hand, uses castor oil for the bristles and corn starch for the brush head. The handle is easy-to-recycle aluminum. Available accessories include a UVC light self-cleaning and charging travel case, a magnetic mirror mount, and a paper washbag. Most components are recyclable or compostable, and the company provides instructions on its website for deconstructing products if a user is unable to ship them back for recycling.

Toothpaste tubes are also part of the personal hygiene pollution problem, and Springwise has spotted innovations seeking to change this through refillable toothpaste dispensers as well as toothpaste tablets.  

Written By: Keely Khoury

Reference

Circularity is “closer than we think” says Hyundai design boss
CategoriesSustainable News

Circularity is “closer than we think” says Hyundai design boss

Mass-market cars built to circular design principles could only be a generation of automobiles away, says Hyundai vice president Simon Loasby.

Loasby, vice president at Hyundai Motor Company and head of its styling group at the carmaker’s design centre in South Korea, said his team is pushing “really strongly” towards eliminating the waste and pollution caused by producing its vehicles.

Hyundai Ioniq 6
Hyundai has revealed the design for its new Ioniq 6 electric car

He was speaking to Dezeen as Hyundai unveiled its new Ioniq 6 electric car to journalists at a launch event in London.

“In every aspect we’re pushing it [circularity] really strongly, though I wouldn’t say we’re the most successful yet,” said Loasby.

“We just need to get the visibility, the understanding”

“Circularity is where we have to be, that’s the vision where we have to get to,” he added. “I’d say design is often the most advanced in thinking in the organisation to some extent, and so that for us is like the Holy Grail.”

Asked how far off a mass-market Hyundai car built to circular economy principles is, he replied: “Honestly, I believe it’s closer than we think. We’re so quick when we get our mindset right, when we get everybody in the same direction.”

Hyundai Ioniq 6
Loasby made the comments while speaking to Dezeen at a media launch event for the Ioniq 6

“It could be a generation [of cars] away rather than three or four generations away,” he continued. “We just need to get the visibility, the understanding of it.”

He said he is trying to convince Hyundai’s seat suppliers to reuse old metal seat frames rather than make new ones.

Hyundai is also working on reusing plastic pieces of car parts that are currently removed and discarded during the assembly process, Loasby added.

“We try to sow the seed at every bit in the organisation,” he explained. “We need to get the whole company on that wavelength – the product managers, the engineers, the purchasing guys, the suppliers.”

New Ioniq 6 car
The car is the second in Hyundai’s series of Ioniq electric vehicles

“In everything we do we can find those examples to get everybody thinking,” Loasby continued. “Once we get that critical mass in the organisation – and we’re getting there – then all of a sudden it’s boom, and then it’s one car away.”

Embodied carbon associated with material production currently accounts for around a fifth of a car’s lifecycle emissions.

“It’ll cost us a little bit more”

At the COP26 global climate conference in November, German auto manufacturer BMW unveiled a concept car designed to be easily disassembled at the end of its life in line with circular principles, using detachable connections in the place of permanent adhesives.

Electric carmaker Polestar is aiming to produce a climate-neutral car by 2030.

Hyundai with LED headlights
Like its predecessor, the Ioniq 6 has pixelated LED headlights

Cars incorporating circularity will initially come with an extra cost to consumers, Loasby admitted, but he believes people will be prepared to pay more for models that are better for the planet.

“People are already prepared to pay a bit more for electric cars, but they’ll come down in price. It’ll be the same with circularity, it’ll cost us a little bit more,” he said.

“It’ll become the norm, it will get over a tipping point and everyone will do it so no longer will there be an extra cost,” he continued. “The early adopters will buy into it earlier, whichever generation that is, and they’ll do it because it makes that statement.”

The Ioniq 6 is the second in Hyundai’s Ioniq brand of electric vehicles, following the hatchback Ioniq 5.

Interior of Ioniq 6
Parts of the Ioniq 6’s interior are made from recycled materials, including the seat fabric and the carpet

Hyundai has said that sustainability is a key part of the Ioniq brand, and the latest model uses some recycled or less energy-intensive materials.

For example, the seas are covered in recycled PET fabric and the carpet is made from recycled fishing nets, while the leather is dyed using a process that reduces the need for chemicals by using flaxseed oil.

“A very nice cocoon that hugs you”

The polyurethane paint on the inside of the doors was derived from vegetable oils, with the black paint around the base of the car’s exterior pigmented using recycled tire rubber.

Aesthetically, the Ioniq 6 is based on Hyundai’s Prophecy concept car with a streamlined shape and an extra-long wheel-base influenced by 1930s sports cars like the Phantom Corsair.

Mood lighting in Ioniq 6
Mood lighting inside the car changes as it accelerates

Like the Prophecy concept and the Ioniq 5, it uses distinctive pixel LED headlights and rear lights.

The Ioniq 6’s interior, which Hyundai calls a “mindful cocoon”, has mood lighting that changes according to driving speed with translucent materials used to enhance the effect.

“You’re going to feel like you’re surrounded by a very nice cocoon that hugs you,” said head of Hyundai’s Global Design Centre SangYup Lee of the experience of sitting in the car during a talk at the launch event.

In a recent interview with Dezeen, Lee shared his belief that cars will increasingly become “more of a living space rather than a driving space”.

Reference

The Future of Architecture: Social Housing Projects From Around the World
CategoriesArchitecture

The Future of Architecture: Social Housing Projects From Around the World

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!

Diverse housing types are the foundation of better cities. This is especially true across households of different multigenerational and socio-economic backgrounds. Architects and developers have a central part to play in the discussion in providing places to rent, own, and provide shelter for a range of rural and urban communities. Exploring more equitable models of living, we’re inviting experts in housing and development to discuss the future of architecture for an entire week this September. The virtual event, Future Fest, will be 100% free to attend.

Register for Future Fest

Housing is becoming increasingly important as we realize the compounding issues of housing scarcity. Social housing is unique in that the defining characteristics of this architecture aren’t shared across projects. Some models are even defined by open source blueprints, hoping to create similar projects in the future. They can be large or small, a mix of programs or a single residential typology. They also differ widely depending on how the projects are supported and developed. Showcasing how cities are thinking about the architecture of social housing, the following projects represent diverse explorations drawn from around the world. Together, they give a glimpse into the future of urban development and how to equitably design for new ways of living.


Housing Z53

By MICHAN ARCHITECTURE, Azcapotzalco, Mexico

Popular Choice Winner, 2015 A+Awards, Architecture +Low Cost Housing

Addressing a high demand for social housing in Mexico City, this project is located on a rectangular plot with its shortest side facing the street. The 42 units are placed in three towers, generating interior courtyards for views and natural ventilation for each apartment, connecting them with vertical cores and bridges above the patios. The masonry brick walls play an important role on the project as they are part of the structure and re-interpret the traditional brick wall, blurring the boundary between structure and ornament. With the use of a single unit; red mud artisanal brick, the team was able to create walls that respond to light and shadow.


Flor 401 Lofts

By Koning Eizenberg Architecture, Los Angeles, CA, United States

Popular Choice Winner, 10th Annual A+Awards, Multi-Unit Housing Mid-Rise (5-15 Floors)

At the heart of the Flor project was an effort to try and stabilize the lives of people in the city. As permanent supportive housing, the project features large windows, units with a micro kitchen, and each with their own doorbell to reinforce a sense of respite and privacy. Tree-canopied courtyards and indoor and outdoor activity spaces encourage social interaction to add a sense of wellbeing and community.

The design team also created a trellised entry to welcome residents home. The cascading courtyard anchors daily life and is encircled by the apartments reached by elevator, stairs and bridges. The design converts required hidden egress into a visible circulation path to encourage informal exercise and social interaction, while also augmenting passive security.


71 Social Housing Units

By Mobile Architectural Office and JTB. architecture, La Courneuve, France

For La Courneuve, two buildings and 18 duplex units were designed to provide a diversity of housing. A meticulous architectural style contributes to the regeneration of the Cité des 4000. Built in 1956 by the Ville de Paris, this large-scale operation was designed as an estate composed of blocks sited alongside each other. This siting principle generated undefined and unused free spaces, preventing the appropriation of public spaces which are wasted. The regeneration aimed to suppress the effect of uniform and impersonal blocks to give, once again, meaning to the public space with a true landscape and human dimension. The proposal gives a new identity to the neighborhood while integrating this diversity previously missing at all scales of the project.


CasaNova Social Housing

By cdm architetti associati, Bolzano, Italy

CasaNova was an exploration that began with a competition publicly announced by the Social Housing Institute based on a Detailed Plan for the residential expansion. This is a tool the municipal administration had to face the need of social housing with a settlement pattern clearly recognizable in the peripheral context. The plan provided the creation of blocks, the “castles”, made of three to four buildings located around an open tree lined court. Following the numerous plan restrictions, the building emphasizes the unity of the plot by working on the concept of block and by identifying a single kind of construction for the front.


Social-Housing Units in Paris

By Atelier du Pont, Paris, France

For this innovative project in Paris, the team wanted to embrace the neighborhood. Close to avenue de Flandre and just a stone’s throw from the canal de l’Ourcq, rue de Nantes is a fairly traditional Parisian street of Haussmann and inner-suburb buildings. The project gently inserts itself into a narrow parcel bordered by dense, adjoining housing. On the street side, it extends the building streetscape in a simple manner. On the garden side, the staggering from the 1st to the 6th floors creates large, private, south-facing terraces and allows for an unencumbered view of the sky. The “L” shape and the general volumetrics allowed for the creation of a true, collective garden at the ground level, planted with tall trees.


Multigenerational Housing

By major architekci, Wrocław, Poland

Looking to the future, multigenerational house is a social housing located in Wrocław, Poland. The building design combines three functions for three generations: flats with a care service for the elderly and the people with disabilities, flats for rent dedicated for the young and families, and a nursery school on the ground floor. House generates 117 apartments with different typologies. The building is part of the model housing estate Nowe Żerniki, where local architects collectively tried to respond to the growing housing problems and poor spatial quality. One of the initial assumptions of the project was to create a facility conducive to the integration of all its residents and users, so the multigenerational house was designed as a quarter.


Collective Mine – Housing in Gungjeong

By Gubo Architect, Seoul, South Korea

The ‘”Gungjeong Social Housing’ project was carried out for a new residential space experiment for the millennial generation of Korean society. For the younger generation in Korea, residential space is turning into a private space and, at the same time, a community space in loosely solidarity with people of similar tastes. They are seeking the possibility of living and sharing various convenient spaces together because of the expensive housing costs in Seoul. In this project, community lounge cafes will be planned for use by residents on the first and second floors, while the remaining three floors will have a shared house that can accommodate a total of 11 people. Four people reside on each floor, and there is a shared kitchen with a high ceiling on the top floor.


The Iceberg

By JDS ARCHITECTS, SeARCH, and CEBRA, Aarhus, Denmark

Jury Winner, 2013 A+Awards, Mid-Rise (5-15 Floors)

Creating a new urban model, the Iceberg development aimed to create an opportunity for Denmark’s second largest city to develop in a socially sustainable way by renovating its old, out-of-use container terminal. Looking to the future while creating a distinct district, the area is comprised of a multitude of cultural and social activities, a generous amount of workplaces, and a highly mixed and diverse array of housing types. The Iceberg Project was designed to work within the goals of the overall city development. A third of the project’s 200 apartments are set aside as affordable rental housing, aimed at integrating a diverse social profile into the new neighborhood development.

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!

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R for Repair London exhibition features “sympathetic” repairs to objects
CategoriesInterior Design

R for Repair London exhibition features “sympathetic” repairs to objects

A rattan cast created to protect the damaged wing of a toy puffin and a fractured plate held together with steel staples feature in R for Repair, an exhibition of repaired objects presented at the V&A museum as part of London Design Festival.

Curated by Jane Withers and Hans Tan, the exhibition is the second edition of R for Repair, and follows the first iteration of the show that was held in Singapore last year.

R for Repair
R for Repair is on display at the V&A in London

The show presented at London’s V&A museum includes 10 damaged objects repaired by 10 different designers from Singapore or the UK. They are displayed alongside three repaired objects from the original exhibition.

Responding to an open call, members of the public were invited to contribute sentimental but broken objects to the project. Designers chosen by Withers and Tan then repaired the objects in various creative ways.

Repaired toy puffin
Ng Si Ying repaired a toy puffin by creating a rattan cast for its wing

Designer Ng Si Ying created a cast and belt out of rattan and thread for Graham Secrets, a toy puffin owned by UK-based Oli Stratford, which was a gift from the owner’s parents on his 30th birthday.

Originally made by Danish silversmith and designer Kay Bojesen in 1954, the object was damaged by Stratford’s cat. Ying created a cast for the puffin’s wing in Singapore using an intricate weaving technique.

Antique sewing chest
Rio Kobayashi used Japanese joinery to adapt an antique sewing chest

“We wanted to pair designers who would be sympathetic to the owner’s emotional attachment and what are often quite moving stories behind the objects and why the owners treasure them, but might also have an unexpected take on the object and add new layers of meaning, enriching this evolving narrative of ownership,” Withers told Dezeen.

“We also looked for designers who might bring interesting techniques and unexpected experimentation to the repairs.”

Repaired sewing chest
The chest now has space to display drawings and paintings

Another object repaired for the 2022 edition of the exhibition is an 18th-century antique sewing chest owned by Eleanor Suggett Stephens in the UK, which she inherited from her grandmother.

Suggett Stephens discovered that the chest contained previously unseen sketches and watercolour paintings by her grandmother, who wanted to be an artist but never achieved her dream.

Doll's house
Other objects include a repaired doll’s house by Studiomama

London-based designer Rio Kobayashi used traditional Japanese joinery techniques to raise the furniture’s feet, and also created a large tabletop designed to display and celebrate the secret artwork.

Kobayashi used walnut, ash, cherry, sapele, paint and glass to repair the chest, which Suggett Stephens said “represents that creative dream which never happened for [my grandma] and reminds me how fortunate I am to have a career in the arts.”

Plate by Studio Dam
Studio Dam put a broken plate back together with staples

Other objects in the exhibition include a porcelain dinner plate that broke down the middle and was repaired with steel staples and epoxy glue by Studio Dam in Singapore.

British owners Karen Birkin and screenwriter Andrew Birkin, brother of actor Jane Birkin, submitted the plate for repair with an entirely open brief. Andrew Birkin quipped that Studio Dam could make a spaceship out of it.

In response, the multidisciplinary studio took visual cues from Stanley Kubrick’s film 2001: A Space Odyssey, which Andrew Birkin worked on early in his career.

Studio Dam was informed by juci, a traditional Chinese porcelain repair technique that involves the use of metal staples.

V&A exhibition
At the V&A, the objects are presented on bright yellow boxes

“On one hand, the primary motivation was to bring creativity to repair through design,” explained Tan, discussing the exhibition.

“At the same time, we thought having designers and objects from two countries would add a dimension to the project as a design and cultural exchange.”

Repaired glass bottle
Tzen Chia playfully repaired a glass bottle for an anonymous owner

Withers also added that the exhibition intends to celebrate the process of repair and encourage the idea of giving possessions a second life.

“I think it is important to broaden the discussion around repair and explore the psychological as well as functional dimension,” concluded Withers.

“To understand why we keep things and how that can inform the design of products. How can things be designed with repair in mind so they improve with age?”

As London Design Festival kicks off in the capital, see other installations that are part of the event, such as a collection of rotating stone chairs by Sabine Marcelis.

The photography is by Zuketa Film Production

R for Repair is on display at the V&A in London from 17 September to 2 November. 

London Design Festival 2022 takes place from 17-25 September 2022. See our London Design Festival 2022 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks taking place throughout the week.

Reference