NEOM: Will the Multi-Billion Dollar Mega-City Ever Come to Life? 
CategoriesArchitecture

NEOM: Will the Multi-Billion Dollar Mega-City Ever Come to Life? 

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!

Load the landing page for NEOM, and you’ll be met with a highly polished promo video of a young woman flying unsupported through a cityscape of towering buildings, flowing waterways and a lush abundance of mature plant life on every façade and elevated walkway. Having been dubbed the next step in humanity’s evolution, it is no surprise that about $500 billion worth of funding has already been poured into developing the online presence of the new city-state NEOM. While the marketing team at NEOM isn’t quite suggesting they can give you the powers of personal flight, they’re not far off.

The ultra glossy website unabashedly announces New Wonders for The World, where exceptional renders, CGI video content and bold statements appear to be the only way to communicate. “A destination like no other on earth” that runs on “100% renewable energy” and is built upon “an unspoilt virgin landscape.” The development claims to set new global standards in “architectural excellence,” “regenerative wellness programs,” “transformative experiences,” “premium luxury,” “protected heritage sites,” “thriving wildlife reserves,” “advanced technology observatory,” and “exclusive hotel, residences and events.” On the surface, it all sounds quite promising. Yet beneath the uplifting music, fantastical visualizations and extortionate production budgets, there are grounds for skepticism surrounding the world’s newest mega-city.

Saudi Crown Prince Mohammad bin Salman, also known as MBS, announced the proposal for his city at the Future Investment Initiative conference in Riyadh, Saudi Arabia, on October 24, 2017. His aim, he said, is to help drive Saudi away from its dependency on finance from the crude oil industry, which has historically been the country’s largest export but is undoubtedly playing a part in the climate change that is adversely affecting areas across the Middle East. 

Born from two words, “Neo,” the Ancient Greek for “New” and “M” from Mustaqbal, the Arabic for “Future,” on its completion NEOM is estimated to cover an area that is roughly the size of Belgium in the Tabuk Province of northwestern Saudi Arabia. MBS defines NEOM as a revolution that will transform Saudi Arabia’s economy and serve as a testbed for technologies that will change lives — not just the people of Saudi, but everyone in the world. According to the ruler, the city will attract foreign investment and diversify the country by attracting global industry, tourism and shipping alongside groundbreaking technology all based in the under-utilized desert.

Significant parts of the project were initially set to be completed by 2020, with a further expansion completed by 2025. But, five years into its development, the project is severely behind schedule and facing further issues at every junction.

While the dominant narrative is that NEOM is being built on “virgin, untouched land,” the area is actually part of the Red Sea coastline, which has long been one of Saudi Arabia’s most neglected territories. There are indeed several towns that exist there. Many of its people are part of a nomadic tribe known as the Huwaitat, who are now settled in the region where Saudi Arabia, Jordan and Egypt meet. There was no place for them in the plans for NEOM, and in early 2020 thousands of people were told that they would be evicted. Unsurprisingly, efforts to relocate the indigenous residents have been turbulent.

While the forceful removal of indigenous people may to many seem a huge roadblock, it is just the tip of the iceberg insofar as the project is predicated on the use of advanced technology that does not currently exist. We’re talking artificial moons, a robot workforce, glow-in-the-dark beaches and flying cars as just some of the examples of what has been envisioned by the sci-fi enthusiast prince. 

In January 2021, MBS introduced NEOM’s most far-fetched component yet, a “civilizational revolution” called THE LINE: a linear city 170 kilometers long that is claimed will generate zero carbon emissions. The 200-meter-wide walled city seeks to host one million residents that would occupy a car-free surface layer sandwiched between two mirrored walls that slice through the desert landscape. The unique city promises to house all essential amenities less than a five-minute walk away for each of its residents. While extensive utility corridors and high-speed trains will be hidden underground along with infrastructure for moving freight. A swimmable waterway as an alternative to roads has also been proposed.

However, once again, despite the surface proposal appearing as innovative, on deeper inspection, it is estimated that the construction of the eco-city of the future would produce upwards of 1.8 billion tonnes of embodied carbon dioxide, equivalent to more than four years of the UK’s total emissions. Many critics suggest that this would counteract much of the proposed green initiatives.

An additional concern surrounding THE LINE is the suggestion that with the help of artificial intelligence, NEOM plans to use data as a currency for facilities such as power, waste, water, healthcare, transport and security. Officials revealed that data would also be collected from the residents’ smartphones, homes, facial recognition cameras and multiple other sensors throughout the city, claiming that this information will be used to help the more efficiently improve the lives of its inhabitants. Meanwhile, critics of the project suggest that Saudi Arabia’s poor human rights record and current use of espionage and surveillance technology for spying on its citizens is a significant and worrying problem that would essentially create a surveillance state in turn limiting the number of people who would want to reside there.

 

Nonetheless, seeing a rare chance to shape a metropolis from the ground up has drawn many architects and designers into the folds of NEOM with an opportunity to test futuristic concepts and challenge the typical parameters of urban design. This is not to mention the immense pay packages offered to experts in the field, which are often upwards of $700,000, with many additional benefits added to sweeten the deal.

Despite this, the area known as TROJENA has shown money isn’t everything. Andrew Wirth, CEO of Squaw Valley Ski Holdings, was hired to work on an extensive proposal for the project: a ski resort in the desert. In reality, the idea is slightly less absurd than it sounds, the mountainous area temperatures are regularly below freezing, and the area sits at roughly 10 degrees lower than the rest of the development. But upon starting work, much like reports for THE LINE, Wirth soon grew alarmed by the project’s environmental implications. The resort plans call for an artificial lake, which requires blowing up large portions of the landscape. During their initial works, the company claimed it couldn’t even estimate the build cost and that the fantasy and reality were intertwined in an utterly unachievable way. In a move many others have since replicated, the company resigned in August 2020, a mere five months into the job.

The latest proposal on the list for MBS’s mega city is the water-bound OXAGON. The industrial city is planned to support NEOM with a vast octagon-shaped city built partly on pontoon-like structures in the Red Sea. On its completion, it would be the largest floating structure in the world. Outlined to be a place where people, industries, and technology come together, focusing on state-of-the-art industry and the circular economy. The plans include factories for the design, development and manufacture of the products of the future where according to the website “innovators and entrepreneurs can accelerate ideas from labs to market,” and it will be “a city where people come together to live, work and play – in thriving communities.” With an aim to be called home by 900,00 people who will live alongside a fully automated port that will offer central connectivity to global markets physically and digitally. Neom’s chief executive, Nadhmi al-Nasr, has said the port city would “welcome its first manufacturing tenants at the beginning of 2022”. However, earlier this year, satellite images of the desert expanse show little more than rows of staff housing.

So far, the chaotic trajectory of NEOM suggests that MBS’s urban dream may never be delivered. Yet, as we speak, NEOM staff continue to work to deliver THE LINE and TROJENA. Early construction has started on the mountain resort requiring the removal of more than 20 million tons of rock—three times the weight of Hoover Dam. At OXAGON, workers dig the foundations of a hydrogen plant while an almost finished data center is said to be near completion. Al-Nasr, CEO of NEOM, claims even NEOM’s legal and political framework is coming to a conclusion. An entity called the NEOM Authority will govern the region with its head appointed by the Saudi king — almost certainly MBS, once he succeeds his 86-year-old father, King Salman. 

To NEOM’s backers, the hypermodern city is a bold initiative, not a ridiculous one, that sets a high bar for imagining what the future of cities should look like. On the other hand, many critics continue to ask if MBS’s utopian vision is simply that — a vision and an unrealistic dream that will never be realized. Is NEOM the ambition of a man with a slight god complex and unending stream of financial faculty that can’t take no for an answer? Or the future of humanity?  

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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Matteo Thun draws on Czech art heritage for design of The Julius Prague
CategoriesInterior Design

Matteo Thun draws on Czech art heritage for design of The Julius Prague

Italian architect Matteo Thun looked to the work of Czech artists Alphonse Mucha and František Kupka for the interior design of this Prague hotel, which features pastel colours and natural materials.

Located in an art deco building in the city centre, The Julius Prague has apartment suites with kitchenettes as well as smaller hotel rooms that were designed to have the feel of a home-away-from-home.

A hotel room at The Julius Prague
Matteo Thun used soft colours for the guest rooms at The Julius Prague

“In exploring new forms of living, we had to think about how to create that home-away-from-home feeling – providing privacy and independence, whilst also offering flexible communal spaces such as co-working areas, meeting rooms, and open lounges,” Thun told Dezeen.

“The rooms are designed as apartments, and the public areas are conceived as an extension of the rooms.”

Conservatory in courtyard of Czech hotel
Rooms overlook a central courtyard

The interior design of the colourful hotel was influenced by the way in which Czech Art Noveau painter Alphonse Mucha and Czech abstract painter František Kupka used colours.

Mucha’s soft, pastel hues were used for the guest rooms, many of which overlook a central courtyard with a light-filled conservatory, while Thun looked to Kupka’s brighter colour palette for the communal areas.

Restaurant with rust-coloured chairs
The hotel’s lighting was informed by bohemian glass work

“Inspired by Mucha’s work, we selected a pared-back palette and pastel hues for the guest rooms, working with natural materials and soft textiles to create a calming and welcoming atmosphere,” Thun said.

“Meanwhile in the communal areas we chose a more vibrant colour palette, drawing on Kupka’s abstract pieces, for a more energetic atmosphere,” he added.

“For lighting, we were inspired by the bohemian art glass work, emitting a warm ambient glow.”

Green walls and orange chairs in hotel restaurant
More vibrant colours were used in the communal areas

Tactile natural materials were used throughout the hotel, including in the bathrooms, which are clad in a striking marble-effect ceramic tile.

“We used ceramic tiles with a marble effect from a leading Italian tile producer for the floorings of the public areas and the kitchens and bathrooms of the residences,” Thun said.

“We love to work with natural materials and have used oak-flooring for the serviced residences, featuring spacious living environments with open kitchen and generous smart-working spaces,” he added.

“Throughout The Julius, custom-made furniture and pieces ensure every space arouses curiosity.”

Bathroom interior at The Julius Prague
Bathrooms were clad in ceramic tiles with a marble effect

The Julius Prague is the first hotel from the Julius Meinl family, a gourmet-food retailer and manufacturer based in Vienna that Thun has previously worked with.

“We have enjoyed a rewarding relationship over the last 15 years and their flair continues to be invaluable in channelling design towards authentic, novel and inspirational projects,” Thun said.

A wall with small potted plants and a bench
The hotel was designed as a “home-away-from-home”

“In this case we have contributed our experience to their first hospitality project, designing a timeless scheme in tune with new expectations: a contextually aware nomadic way of living,” he added.

Other recent projects in Prague include a pop-up market with a turquoise scaffolding design and a spa with curved-cement walls and glass detailing.

The photography is by Gionata Xerra.

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Drinking fountain map of Venice encourages sustainable tourism
CategoriesSustainable News

Drinking fountain map of Venice encourages sustainable tourism

Spotted: There is a now a new way to stay hydrated when visiting Venice’s historic streets and waterways. Visitors to the island can use a map and an app to find a fountain of fresh water near their location. Each fountain is unique and provides a glorious mix of design and location. The map encourages people to carry their own personal water bottles and forego the disposable plastic versions whenever possible.

The Venice Tap Water website lists all currently available fountains within the city and on the surrounding islands. There are nearly 200 listed, making it often only a matter of a few steps to find safe drinking water. Water distribution company Veritas provides detailed water quality information for the area, alongside a map of public restrooms in the city.

As one of the world’s most popular tourist destinations, Venice, like many other top sites, is struggling to find the right balance between preservation of the city and showcasing the beauty that makes it famous. From January 2023, the city will impose a tourist tax that requires visitors to book entry to the island and pay a fee ranging from €3 to €10.

Other innovations spotted by Springwise that are helping to improve the sustainability of global tourism include a satellite-powered platform that lists local ecosystem information and an eco-luxury hotel focused on minimising its carbon footprint.  

Written by: Keely Khoury

Email: info@venicetapwater.com

Website: venicetapwater.com

Reference

Hoopsy is a paper pregnancy test designed to tackle plastic waste
CategoriesSustainable News

Hoopsy is a paper pregnancy test designed to tackle plastic waste

Australian start-up Hoopsy has created a recyclable pregnancy test that is 99 per cent made out of paper, aiming to stop millions of single-use plastic versions ending up in landfill each year.

The Hoopsy “eco pregnancy test” is made almost entirely out of paper, with cardboard packaging that can be recycled in domestic bins. Only the pouch the test comes in is made of soft plastic and needs to be recycled through supermarket collection.

The company aims for its products to replace plastic home pregnancy tests, 12.5 million of which it says are completed each year in the UK before being thrown in the bin.

Hoopsy paper pregnancy test and its packaging sitting on the side of a bathroom sink
The Hoopsy test is 99 per cent made out of paper

Entrepreneur Lara Solomon founded Hoopsy after going through IVF and embryo donation procedures that made her realise just how many times people who are trying to conceive test themselves.

She said she used “countless” pregnancy tests in the 14-day period following her embryo transfer. She then went on to develop the product, naming it after the Dutch word for “hope”.

“I feel that when you do a pregnancy test there is a lot of hope – a ‘hope I am’ or a ‘hope I’m not’!” Solomon told Dezeen. “Plus, it also has connotations with jumping through hoops in life, which is sometimes what trying for a baby feels like.”

Paper pregnancy test and packaging sitting on the edge of a basin
Only the pouch the test comes in is made of plastic

“On top of this, there’s hope for the future that this product can help reduce plastic waste,” she continued.

Hoopsy has been approved for sale by the UK’s Medicines and Healthcare products Regulatory Agency following clinical trials that showed it was over 99 per cent accurate from the day of a person’s expected period.

Like most home pregnancy tests, it works by measuring levels of human chorionic gonadotropin (hCG, commonly known as the pregnancy hormone) in the urine.

The test is taken midstream, which Solomon said most users prefer to strip tests that require prior collection of the urine in a container. To use it, a person holds the end of the test with the Hoopsy logo while placing the other end in their urine stream for three to five seconds.

Cylindrical Hoopsy container with 10 test packets in front
The test has been approved for sale in the UK

They then place the test on a flat surface and wait five to 10 minutes to read the result. Afterwards, the paper test can be cut in half so the part that’s been urinated on can be put in the bin while the clean portion goes in paper recycling.

Hoopy was developed entirely in-house by Solomon and the manufacturer, but she hopes to work with an external design team for the second iteration of the product, which she aims to make from 100 per cent paper.

She would then like to go even further in challenging the pregnancy test market, which also features digital tests that have been shown to sometimes feature extra gadgetry to translate the lines on the test trip into words on a screen.

Woman's hand holds a Hoopsy test strip while sitting in a bathroom
The test is taken midstream and is more than 99 per cent accurate

“I’d love to see all plastic tests phased out eventually,” said Solomon. “I think that the pregnant/not pregnant digital screen version instead of two lines is not necessary.”

“The ‘number of weeks’ tests are more tricky to replicate in a non-plastic way, but I am confident we could look at a non-digital version as a way to stop that waste.”

Another single-use plastic testing product that has recently been given a recyclable reimagining is the Covid 19-test. Design agency Morrama came up with a concept design made from moulded paper pulp and NatureFlex film.



Reference

Wild Wonder named Dulux Colour of the Year 2023
CategoriesInterior Design

Wild Wonder named Dulux Colour of the Year 2023

Paint brand Dulux has revealed Wild Wonder, a pale yellow paint colour that it described as “a soft gold with hints of green” as its Colour of the Year for 2023.

Wild Wonder was selected for its close association with nature. The brand said this echoes the global shift toward sustainability, reconnecting with the outdoors and wanting to be more grounded, particularly following the recent period of uncertainty.

A bedroom interior with one golden wall
Wild Wonder is a golden green paint colour

“Our relationship with the natural world feels more precious and precarious than ever,” said Dulux UK.

“Wild Wonder is a soft gold with hints of green inspired by fresh seed pods and harvest grain,” the brand added.

A pink and yellow wall in a cafe
The colour was selected for its association with nature

As well as its affiliation with nature and raw materials, Wild Wonder is also intended to capture the collective quest for better mental health, which has become increasingly important in light of global events such as the climate crisis and coronavirus lockdowns.

“As people search for support, connection, inspiration and balance in the world today, they’re diving into the wonders of the natural world to find it,” said the brand.

“Wild Wonder is a positive, natural tone that, by connecting us with the natural world, can help us feel better in our homes,” it continued.

“As well as understanding the value of nature more keenly, with climate change becoming a reality for all of us, we also feel the urgency of reconnecting with nature and the necessity of working with rather than against it.”

According to the brand, the colour can be used to add colour to areas in the house, such as living rooms, that require warmth and light. The brand also said that the hue is suitable for commercial spaces across all sectors including schools and hospitals.

“Wild Wonder and four complementary, versatile colour palettes can be used to create stunning spaces across all sectors,” explained Dulux.

Wild Wonder Colour of The Year by Dulux
The paint colour is suitable for all commercial sectors as well as residential interiors

Dulux’s parent company AkzoNobel decided on the shade, which is the 20th colour to be chosen as a Dulux Colour of the Year, after a three-day workshop with a panel of industry experts from across the globe and months of researching with the paint company.

Wild Wonder is a slightly more upbeat hue than Brave Ground, an earthy beige that Dulux selected as its colour of the year for 2021 against the backdrop of the coronavirus pandemic.

The colour is a marked change from last year’s sky blue colour Bright Skies, which the brand said captured collective desires for a fresh start.

The images are courtesy of Dulux.

Reference

Create-your-own soap brand uses all organic ingredients and minimal packaging
CategoriesSustainable News

Create-your-own soap brand uses all organic ingredients and minimal packaging

Spotted: Created to reduce waste in the cosmetics industry, CustomiseMe soap uses all organic ingredients in its made-to-order production. The company reduces waste by producing orders individually by hand and by using recycled and recyclable materials in its shipping packaging. Soaps are made using the cold press technique which involves a four-week curing process.

Organic materials are sourced from responsible producers, and the brand provides a list of ingredients that customers can choose from on its website. The company claims that each ingredient has a benefit for the mind and body – from butters to essential oils.

CustomiseMe can include logos on each soap and uses organic dyes to provide a range of finished colours. For individuals and teams interested in learning more about the process of soap making, the company runs workshops for hands-on creation. Prices for a customer order begin around €34 for four bars of soap.

Springwise has spotted several innovations making bathroom products greener. These include refillable containers for bathroom products, a refillable toothpaste dispenser, and a soap company that salvages plastic dispenser bottles from other brands.

Written by: Keely Khoury

Email: info@customiseme.dk

Website: customiseme.dk

Reference

Fluff Stuff is a plant-based textile filling that isn’t just “serving hippies”
CategoriesSustainable News

Fluff Stuff is a plant-based textile filling that isn’t just “serving hippies”

Fluff Stuff is a textile filling created from plants cultivated on rewetted peatlands in Finland, which has been designed by students at Aalto University and was on display as part of Helsinki Design Week.

Co-founded by engineer Lukas Schuck and designer Tea Auramo, who are currently studying master’s degrees at Helsinki’s Aalto University, Fluff Stuff is a range of prototype soft homeware and clothing.

Fluff Stuff
Fluff Stuff includes clothing stuffed with plant filling

These products include various colourful cushions and duvets as well as jackets, bags and a hooded hat that are stuffed with cellulose fibres.

The pieces are filled with typha latifolia, a type of plant commonly known as broadleaf cattail, which is defined by its long cigar-shaped seed heads and is typically found in Finnish peatlands – a type of wetland.

Cattail plants
The products include cattail plants extracted from rewetted wetlands

Each product is stuffed with plant fibres instead of traditional, carbon-intensive down filling. According to the Fluff Stuff team, cattail absorbs 66 per cent less water than down and dries twice as fast.

“Typha fibres are naturally coated by a wax layer, making them highly hydrophobic,” they explained.

Currently, the plants are harvested from rewetted peatlands in Finland using the team’s first prototype device – a handheld machine that abstracts the cattails through suction.

Fluff Stuff
Fluff Stuff is currently a range of prototype products

“Drained peatlands account for 50 to 60 per cent of agricultural emissions in Finland,” said the Fluff Stuff team, explaining that the project aims to restore rewetted peatlands while also providing a more sustainable solution to creating textile filling.

“Fluff Stuff rethinks Finnish peatland management and the Finnish textile industry by connecting bio-based material innovation with regenerative agricultural practices,” the designers added.

Designer Auramo explained that the team is currently using textiles it has sourced for the project, but in the future, it plans to make its own textiles in which to use the filling, as Fluff Stuff has plans to become a commercial range.

“We chose colours [for the textiles] that would fit with our own dyed colours, so you can see beige and blues and red tones so that they will fit later when we do more prototypes,” the designer told Dezeen.

She also explained that they chose green as a colour for some of the products, due to its “fit in more modern homes”.

“We also chose a more modern colour – lime green,” said Auramo. “We definitely aren’t just serving hippies. We want to speak to different customer groups.”

Plant-filled clothing
The project intends to find a sustainable solution to down

Other recent similar student projects include fabrics created from plants grown in seawater and dissolvable ramen packaging that turns into edible sauce.

The photography is by Aalto University, Mikko Raskinen and Anna Berg.

Helsinki Design Week took place from 1 to 11 September 2022 in Helsinki, Finland. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.



Reference

NFT-funded pavilion by Iheartblob aims to promote decentralisation
CategoriesArchitecture

NFT-funded pavilion by Iheartblob aims to promote decentralisation

Architectural design studio Iheartblob has revealed the puzzle-like Fungible Non-Fungible Pavilion at the Tallinn Architecture Biennale in Estonia, which was partly designed by the public using NFTs.

Located outside Tallinn’s Museum of Estonian Architecture, the experimental structure was built from physical versions of NFT objects designed by the community.

Iheartblob climbing the Fungible Non-Fungible Pavilion in Tallinn
Fungible Non-Fungible Pavilion is an installation at the Tallinn Architecture Biennale

Fungible Non-Fungible Pavilion was the winning entry of the Slowbuilding competition held for the main installation at Tallinn Architecture Biennale (TAB) 2022.

According to UK studio Iheartblob, it is the first pavilion designed by the community using NFTs.

Wooden structure outside Museum of Estonian Architecture
It was designed by Iheartblob with the community

“This is the first NFT pavilion in the world that is designed by the community together, it’s also co-owned by the community and co-funded by the community,” Iheartblob told Dezeen at the installation’s opening.

“The technology we’re using is very new and experimental, and we find it important to integrate it in architecture because architecture can benefit a lot from it.”

Aerial view of Fungible Non-Fungible Pavilion at Tallinn Architecture Biennale
Its puzzle-like form was built using NFT technology

NFTs, or non-fungible tokens, are certificates of authenticity and ownership that exist digitally and can be assigned to both physical and digital assets. Each one is individually recorded, or “minted”, on a blockchain similarly to a cryptocurrency transaction, allowing it to be purchased, sold and collected.

Iheartblob’s intention is for the pavilion to promote a slow and decentralised approach to architecture, in which the community replaces the architect as the “master builder”.

Photo of pixelated wooden pavilion
Its components are physical versions of NFT objects minted by the community

Its design responds to the theme of the sixth edition of the biennial TAB festival, for which Dezeen is media partner. Called “Edible; Or, the Architecture of Metabolism”, it was curated by architects Lydia Kallipoliti and Areti Markopoulou to explore food systems through the lens of architecture.

The pavilion is currently built from 78 unique puzzle-like pieces, although it is expected to expand.

Iheartblob climbing Tallinn Architecture Biennale pavilion
Iheartblob (above) created an NFT-generative tool for the project

To facilitate this, Iheartblob built an NFT-generative tool that anyone can use to design and mint objects. Every NFT minted by this tool funded a unique physical twin that is now used in the pavilion.

The end result is a fragmented structure that has a presence in both the metaverse and real space and is co-owned by and reflective of the community that designed it.

Detail photo of Fungible Non-Fungible Pavilion at TAB 2022
The blocks are made from wood

The tool is still open for use, meaning the pavilion will evolve and grow in size over the course of its installation until the opening of the next TAB in 2023.

“The idea here is that since we have decentralised the process of architecture, since anyone can design a block that becomes part of this piece, since anyone can add to the pavilion, this will change over the course of the biennale,” the studio explained.

“To date, I think we’ve had designers as young as five, create a piece we’ve had people here locally in Tallinn create many of these pieces. We’ve also had people from all over the world from Asia from America, designing different pieces that have come together.”

While Iheartblob handed over the reins to the public when it came to the pavilion’s design, it did provide a series of constraints to ensure the structure could be physically realised.

This included predefined forms for the interlocking components and predetermined timber materiality. There is also a maximum of 165 pieces, which will create a width, depth and height of roughly five metres.

Detail photo of Fungible Non-Fungible Pavilion at TAB 2022
The structure sits on the grass outside the Museum of Estonian Architecture in Tallinn

While promoting the idea of decentralisation in architecture, the studio hopes the Fungible Non-Fungible Pavilion will demonstrate the value of NFTs in the sector.

“We think blockchain and NFTs can feed into many aspects of the profession from having NFTs determine authenticity of architectural drawings to more experimental approaches which determine ownership and authorship, with royalties, of shared housing or even entire cities,” the studio explained.

Pavilion built from wooden blocks
The pavilion is expected to evolve over the course of its installation

The Fungible Non-Fungible Pavilion was selected to create the pavilion shortly after the original competition winners, Australian duo Simulaa and Natalie Alima, withdrew their proposal for an installation made of mushrooms.

Alongside the pavilion, this year’s TAB includes a curational exhibition at the Museum of Estonian Architecture and other fringe events. The event was previously expected to take place in 2021, but it was pushed back to 2022 due to the coronavirus pandemic. The seventh edition remains scheduled for 2023.

It is intended to promote decentralisation in architecture

At the previous TAB in 2019, the central installation took the form of a twisted pavilion designed by SoomeenHahm Design, Igor Pantic and Fologram. The structure explored augmented reality and old-fashioned woodworking such as steam-bent hardwood.

Tallinn Architecture Biennale takes place from 7 September to 20 November 2022 at various locations across Tallinn, Estonia. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

The photography is by Tõnu Tunnel.

Reference

FADAA uses bio-concrete screens to shade D/O Aqaba retail space
CategoriesInterior Design

FADAA uses bio-concrete screens to shade D/O Aqaba retail space

Crushed shells were used to form the bio-brick partitions at this store for a decor brand in Aqaba, Jordan, by architecture studio FADAA.

Designed by the Jordanian studio for Decoration One, the D/O Aqaba retail space is a flexible showcase for the local brand’s craft-focused homeware and ornaments.

Objects on display in the D/O Aqaba store
Bricks made from crushed shells act as sun shades and spatial dividers in the D/O Aqaba store

To protect the interior from the harsh south sun, the studio implemented partitions of stacked hollow rectangular bricks based on the traditional mashrabiya screens found in Islamic architecture.

These bricks are made from the shells of oysters, mussels and clams left over as waste from the coastal city’s seafood restaurants.

Bio-brick screens used as spatial dividers
The bio-bricks are stacked into gridded screens

The shells were crushed and used as aggregate for a bio-based concrete that sequesters the carbon from the molluscs’ protective calcium carbonate coverings.

This material is pressed into a mould to form the brick shapes, dried to harden, and finally assembled into the gridded screens.

Store interior with furniture and displays

As well as shading the shop, the partitions help to divide the boutique and guide customers around the interior.

“Working alongside Decoration One’s craftspeople, a materiality-driven approach created the concept of a flexible retail store that embraces craft and low-carbon materials,” said the FADAA team, led by architects Bisher Tabbaa, Sarah Hejazin and Qussai Yousef.

Sales counter clad in blue tiles
Colour is introduced through blue zellige ceramic tiles cladding the sales counter

Lime-plastered walls and native plant species also feature in the store to create a “healthy indoor environment”.

To accommodate Decoration One’s ever-changing collections, modular oak tables and sheer curtains can be moved and rearranged to organise the space as desired.

More tables, made from hand-chiselled local basalt and limestone, contrast the wood furniture and offer alternative ways to display the products.

A splash of colour is introduced by the zellige ceramic tiles that clad the curved sales counter.

Crushed shells form an aggregate for a bio concrete that is moulded into bricks
The bio-bricks are formed in moulds and feature hollow centres

“Embracing the craft nature of the project as well as economically supporting local industries, materials such as zellige and mother of pearl inlaying were used throughout the design,” FADAA said.

D/O Aqaba is shortlisted in the Sustainable Interior category for this year’s Dezeen Awards, along with projects including a restaurant in London and an office in Tokyo.

The bricks offer a sustainable alternative
The crushed shells form aggregate for the bricks and are visible across the surfaces

Bio-bricks are growing in popularity as a sustainable building material and a variety of compositions have been trialled over the past few years.

Bricks made from mushroom mycelium, sugar cane, charcoal and even human urine have all been put forward as environmentally friendly options.

The photography is by Bisher Tabbaa.

Reference

Using computer vision to monitor hospital wards
CategoriesSustainable News

Using computer vision to monitor hospital wards

Spotted: In countries such as the UK, health and social care workforce shortages are reaching crisis proportions. Each day brings a new report of staff shortages and their implications for patient care. While it can’t replace staff, a Danish health tech startup is developing technology to ensure staff are being deployed as efficiently as possible. The company, Teton.ai, has developed a system that uses computer vision to track patient movements and alert staff when patients are at risk of falling or need other types of assistance.

Teton’s system includes cameras and sensors that are easily installed in patient areas. The system then employs algorithms that can be integrated into existing platforms or supplied as a separate platform. The technology can operate independently of any personal information, and all video is processed offline by the hospital or care facility, preserving privacy. The platform alerts staff when an action needs to be taken so there is no need for staff to monitor or look at the video.

According to the company, the platform uses computer vision to understand different types of activity within a patients’ room, providing analytics and timely information to staff through integration into existing devices. Teton also points out that the platform can replace the use of a large number of “hyper-specific devices and sensors set up to measure all the different things that could happen in a room,” saving both time and money.

In 2019, the hospital services market size was estimated as being worth $8.22 trillion (around 8.28 trillion) and was expected to reach $15.45 trillion (around 15.6 trillion) by 2027. Given these figures, it is not surprising that Springwise is seeing an ever-increasing number of innovations in this space. Recent advances include the use of AI in diagnosing illness and apps that can connect doctors and patients. 

Written By: Lisa Magloff

Email: info@teton.ai

Website: teton.ai

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