Giant glass dome over a neoclassical lobby
CategoriesInterior Design

Restored Book Tower in Detroit features hospitality venues by Method Co

Several restaurants and a hotel have opened within Detroit’s historic Book Tower as part of a years-long restoration project of the building undertaken by its developer and architecture studio ODA.

The 1920s skyscraper has undergone extensive restoration work over the past seven years by local developer Bedrock, which has transformed the former office building into a mixed-use space.

Giant glass dome over a neoclassical lobbyGiant glass dome over a neoclassical lobby
Among Book Tower’s restored features are a grand glass dome, which sits over the lobby’s Bar Rotunda

A collaboration with Method Co has led to the first phase of restaurant and bar concepts, which were introduced through the course of 2023.

“We have been ever-mindful of what the restoration of Book Tower means to this city,” said Randall Cook, CEO and cofounder of Method Co, “and we’ve worked hard to create hospitality concepts that will excite and reconnect Detroiters to Book Tower once again, and at the same time honour the heritage of this magnificent property.”

View through an arch in a stone wall of an atriumView through an arch in a stone wall of an atrium
Developers Bedrock worked with architects ODA on the restoration of the 1920s neoclassical building

Located on Washington Boulevard in Downtown Detroit, the 38-storey neoclassical building was designed by Louis Kamper – a prolific and celebrated architect in the city during its Gilded Age.

New York architecture firm ODA was hired to update and expand the programming and existing structures, resulting in half a million square feet (46,450 square metres) of mixed-use space.

Le Suprême brasserie interior with green tiles and wood accentsLe Suprême brasserie interior with green tiles and wood accents
Method Co was brought on to conceptualise and operate multiple culinary offerings within the building, including Le Suprême brasserie at street level

The work included restoring the exterior windows and stonework and bringing an ornate domed glass ceiling back to life.

Method Co was then brought on to conceptualise three restaurants and bars, as well as a hotel, and operate each of these venues within the building.

Le Suprême restaurant with zinc bar top, hand-made tiles and mosaic marble flooringLe Suprême restaurant with zinc bar top, hand-made tiles and mosaic marble flooring
Designed with Stokes Architecture + Design, Le Suprême includes a zinc bar top, hand-made tiles and mosaic marble flooring

Dining options include Le Suprême, a classic French brasserie that offers an all-day menu and both indoor and outdoor seating at street level for up to 210 guests.

Designed in collaboration with Stokes Architecture + Design, the 6,200-square-foot space features a traditional zinc bar top, hand-made art nouveau tiles, mosaic marble flooring and oxblood leather booths.

Furniture and decor were chosen to reflect Detroit’s cultural heritage, and photos on the walls of the Le Mans car race tie to the city’s automobile legacy.

Kamper's rooftop cocktail bar with exposed brickwork and dark wood accentsKamper's rooftop cocktail bar with exposed brickwork and dark wood accents
On the 14th floor is Kamper’s, a rooftop cocktail bar designed with ODA

On the 14th floor is Kamper’s, a rooftop cocktail bar designed with ODA comprising an indoor lounge that opens onto an expansive outdoor terrace via large French doors.

The cosy interior has exposed brick walls and dark wood accents, complemented by marble mosaic flooring, antiqued mirrors and velvet drapery.

Expansive outdoor terrace with views across DetroitExpansive outdoor terrace with views across Detroit
Kamper’s opens onto an expansive terrace with views across Detroit

Bar Rotunda sits below the glass dome and acts as an all-day lobby cafe and bar, with 70 seats surrounded by ornate architectural details that recall the grand eateries of early 20th-century Paris.

“The space is canopied by a beautifully restored 100-year-old Keppler Glass dome that features more than 7,000 individual jewels and 6,000 glass panels making it an architectural centerpiece,” said Method Co, which also worked with ODA on this space.

Also planned to open soon within Book Tower are sake pub Sakazuki, and izakaya and omakase-style dining spot Hiroki-San.

The hotel component of the building, Roost Detroit, offers short and long-stay accommodation in contemporary apartment-style spaces, alongside The Residences that are purchasable as permanent homes.

Studio hotel-apartment with a bed, kitchen and sofaStudio hotel-apartment with a bed, kitchen and sofa
The building’s accommodation component, Roost Detroit, is Method Co’s latest iteration of its apartment hotel brand

Roost Detroit is the latest iteration of Method Co’s apartment hotel brand, joining multiple outposts in Philadelphia – including the Morris Adjmi-designed East Market – along with Tampa, Cleveland and more across the US.

The company also operates The Quoin boutique hotel in Wilmington, Delaware, which offers 24 guest rooms within a converted bank building, and the Whyle extended-stay property in Washington DC that was longlisted in the hotel and short-stay interior category of Dezeen Awards 2021.

Contemporary residential interior with lounge and dining areasContemporary residential interior with lounge and dining areas
Roost Detroit offers short and extended stays within contemporary spaces of various sizes and configurations

Downtown Detroit’s revitalisation has taken shape over the past few years, and a handful of new hotels have opened to accommodate visitors who are returning to witness its cultural and creative rebirth.

They include The Siren Hotel, designed by ASH NYC to recall the city’s glamorous past, and the Shinola Hotel, which Gachot Studios designed for the local watch company of the same name.

The photography is by Matthew Williams unless stated otherwise.

Reference

Biogas digesters: an affordable solution for clean fuel and fertiliser
CategoriesSustainable News

Biogas digesters: an affordable solution for clean fuel and fertiliser

Spotted: Analysts expect that almost a third of the world’s population will still be cooking with polluting fuels in 2030. This is bad news for the environment, and threatens the health of those cooking in polluted spaces – a burden that disproportionately impacts women and girls in countries with developing economies.  

Nigerian environmentalist and entrepreneur Tunde Adeyemi wants to relieve those burdens and improve the health and wellbeing of rural communities across the African continent. His solution is customised, portable biogas digesters that turn organic waste into electricity, clean cooking fuel, animal feed, and fertiliser. The Kitchen Box is the home solution, and the Bio-Tank is the agricultural version for smallholder farmers.  

The digesters are not only affordable, costing one-tenth of current biodigester systems – enabled by artificial intelligence (AI) and produce biogas that is safe and emissions-free. Adeyemi’s company, D-Olivette, produces all parts of a biogas production system, from tanks and bags for transporting the gas to a biogas-powered stove. The digesters take 10 minutes to set up and come with a five-year guarantee.  

The Kitchen Box is relatively small at 500 litres, making it suitable for use in diminutive kitchens and cooking spaces. Organic waste is emptied into the container where it ferments into biogas. Once the gas is combusted, it can power super-hot, clean cooking. The byproducts of the process are available for use as organic fertiliser. 

The Bio-Tank works the same way and is available in a variety of capacities from 500 to 50,000 litres, and can be designed and sized to bespoke requirements. The tanks are suitable for fermenting farm and human waste, as well as byproducts from food industry businesses. D-Olivette also offers bags for storage and transport of the biogas, making it easy to share and sell the clean fuel. 

The accompanying app uses AI to maximise use of the system for each owner and help communities earn carbon credits for emissions mitigation. To make the system easy to implement, D-Olivette offers training on the set-up and use of its biodigesters with every purchase.  

D-Olivette recently won the Africa Prize for Engineering Innovation by the Royal Academy of Engineering and has sold more than 4,000 units of the Kitchen Box. The digesters are currently available across Nigeria and Benin Republic, and Adeyemi plans to continue expanding availability of the systems to reach as many rural communities as possible.  

Other biogas innovations featured in Springwise’s library include municipal and farming systems for transforming organic waste into fuel.

Written By: Keely Khoury

Reference

Dekton Ukiyo: Cosentino’s New Material Collection Celebrates the Aesthetic Wisdom of Japan
CategoriesArchitecture

Dekton Ukiyo: Cosentino’s New Material Collection Celebrates the Aesthetic Wisdom of Japan

Most people who love design also love Japan. In fact, it is impossible to truly appreciate the modern history of Western art and design without recognizing Japan’s influence. From the woodblock prints of Hiroshige that inspired Van Gogh to the Zen tea rooms that laid the foundation for minimalist architecture, Japanese aesthetics paved the way for modernism.

It is not just that Japanese design is beautiful. The nation has a long tradition of thinking carefully about aesthetics, and how the contemplation of beauty contributes to human flourishing. Consider the concept of wabi-sabi, or the art of imperfection, that was recently explored in an Architzer op-ed. Centuries before American architects lamented the homogeneity of the clean and orderly suburbs, Japanese philosophers recognized the paradoxical truth about beauty: that it requires flaws.

Dekton Ukiyo NACRE. Image courtesy Cosentino

It is this aspect of Japanese aesthetics — the theoretical side — that most inspired world-renowned interior designer Claudia Afshar in the development of her new collaborative collection with Cosentino, Ukiyo. The tagline for the series is “The Inner Texture,” which speaks to the Japanese understanding of interior design as an art that evokes a mental atmosphere of inner serenity. In the Japanese tradition, beauty and well-being go hand in hand.

The collaboration consists of a series of new patterns and textures for Cosentino’s versatile Dekton surfaces, a product we love and have profiled many times in the past. Scratch resistant, stain resistant, and able to endure the elements, Dekton is the surface of choice for designers looking for a material that is both resilient and visually alluring. The introduction of Dekton into the marketplace in 2013 completely upended the old conventional wisdom that natural materials are more beautiful than composites.

With Ukiyo, Claudia Afshar showcases the extraordinary potential of Dekton. Most Westerners recognize the term ukiyo as referring to a genre of woodblock prints that flourished in the 19th century, epitomized by the work of artists like Hokusai and Hiroshige. But in the promotional materials for this new collection, Afshar and Cosentino have chosen to emphasize the literal meaning of this term, listing the dictionary definition on the top of the collaboration webpage: “[u-key-yo], Japanese, (n). Living in the moment, detached from the bothers of life. ‘The floating world.’” The idea is drawn from Zen. It means that paradise is always at hand; all it takes is a choice to live in the moment.

Dekton Ukiyo KRETA. Image courtesy Cosentino

In a recent webinar hosted by Architizer, Cosentino’s Lauren Dron quoted Coco Chanel’s statement that “An interior is the natural projection of the soul”, emphasizing the depth of the question architects and designers must ask every time they take on a project. “Meaningful design in the built environment continues to be rooted in our minds and in our emotions,” she declared. “Design is a reflection and enhancement of the human experience.”

This second part — enhancement  — is key, and it is the place where architects can really have an impact on the world. In a social environment dominated by stress, conflict, and speed, architects can create environments of serenity and calm. They can remind people that “the floating world” is alway at hand if one is willing to adjust their perspective.

This, then, is the noble aim of Ukiyo, which features textures and colors that are simple, yet rich. As lush as any natural stone, and as meditative as a pool of still water, these surfaces bring serenity into all sorts of interiors, from domestic to commercial. Each Dekton color features the same delicate ribbed texture, which is reminiscent of the wood slats one often finds in Japanese homes. The texture also evokes the delicate patterns one finds raked into the sands of Zen gardens.

There are two different options when it comes to the size and spacing of the grooves. Ukiyo GV2 is wider, with 25 mm slats and grooves that are 5 mm wide and 3 mm deep. GV3 is finer, with 11 mm slats and grooves that are 4 mm wide and 4 mm deep.

Dekton Ukiyo BROMO. Image courtesy Cosentino

BROMO is the first color in the series. It is described as “a dark gray shade inspired by slate featuring subtle faded graphics and a carefully crafted texture with a natural aesthetic.” The graphics are really key here. The material is actually deeper and richer than slate, yet it has the same soothing matte finish, exuding sophistication.

The next color, KRETA, is inspired by concrete, a material that retains modernist cache despite its ubiquity. Some of the most lyrical architecture ever made with raw concrete was created by Japanese architects, including Tadao Ando. Cosentino notes that KRETA can “create lighter or darker spaces.” In this way, it  plays off the light conditions in its environment, just like real concrete — a true neutral.

NACRE and REM are both shades of cream or beige. NACRE is the lighter of the two, and can even be considered an off-white. It is a great choice for designers looking for a minimalist finish but wary of stark brightness. This tone is both light and warm. REM has a similar impact but is marked by more dramatic veining patterns. There is a luxe quality here that is perfect for commercial interiors.

Dekton Ukiyo UMBER. Image courtesy Cosentino

Finally there is UMBER, the most adventurous and unique color in the series. It is hard to look at this delicately textured terracotta without imagining the rooms one could create with this tone. Unlike the other colors, which are notable for their versatility, UMBER is a showstopper. It is the kind of color you build a room around.

Ukiyo is a truly inspiring series of surfaces. It is also ethically manufactured. Dekton is  the only “Cradle-to-Grave Carbon Neutral surface” as Cosentino offsets 100% of their CO2 emissions over the product’s life cycle. This too is very Zen. Dekton exists in harmony with its surroundings.

To learn more about Dekton Ukiyo and talk with Cosentino about how to integrate it into your next project, visit their website.

Reference

Office reception with meeting room visible through glass and mint green sliding doors
CategoriesInterior Design

Civilian draws on “grandeur” of early cinemas for Sandbox Films offices

New York studio Civilian has designed the headquarters for a documentary production company in Manhattan’s Flatiron District, which includes an art deco-influenced screening room.

The offices for award-winning Sandbox Films are located in a landmarked 1920s neo-gothic skyscraper, and provide the company with its first dedicated workspace.

Office reception with meeting room visible through glass and mint green sliding doorsOffice reception with meeting room visible through glass and mint green sliding doors
Civilian’s interiors of the Sandbox Films offices draw upon multiple references, from old movie theatres to colours used by Danish modernist Poul Henningsen

Spread across 4,200 square feet (390 square metres) of space, the program includes an open-plan reception area that doubles as an events space, a conference room, private and open offices, and production and editing suites.

There’s also a 22-seat screening room with a Dolby Atmos sound system, in which the team and their visitors can preview the completed or in-progress cuts.

A custom, double-sided sofa upholstered in velvet and boucle fabricA custom, double-sided sofa upholstered in velvet and boucle fabric
In the centre of the reception area is a custom, double-sided sofa upholstered in velvet and boucle fabrics

The non-profit documentary production company makes cinematic science films, many of which have won or received nominations for prestigious awards.

Among them are Fire of Love, which was nominated for Best Documentary Feature at the 95th Academy Awards in 2022; Emmy-winning Fathom; Sundance winner All Light, Everywhere; and Fireball, co-directed by Werner Herzog.

Meeting room with table featuring ash legs and a white lacquered topMeeting room with table featuring ash legs and a white lacquered top
Another custom design is the meeting room table, which has ash legs and a white lacquered top

“Inspired by [our] clients’ love for the craft of storytelling, the space was informed by the grandeur of the amenity-rich yet intimate early movie houses of Stockholm and Amsterdam, art deco cinemas, the architectural colour gestures of Danish modernist designer Poul Henningsen, and the vanished world of interwar New York conjured by the project’s Broadway address,” said Civilian.

The reception area revolves around a circular stone-topped bar, which demarcates a staff pantry area by day, and can be used for serving food and drinks for events.

A pair of swiveling Milo Boughman chairs with a sculptural side tableA pair of swiveling Milo Boughman chairs with a sculptural side table
Vintage pieces sourced for the space include a pair of swivelling Milo Boughman chairs

“With an active roster of screenings, events and a residency program for independent filmmakers, the space acts as an office as well as a dynamic center of gravity for New York’s nonfiction film community at large,” the team said.

A custom double-sided, Pierre Chareau-inspired boucle and velvet sofa sits opposite a pair of refinished Milo Boughman swivel chairs.

Bar and pantry area with plaster walls and oak millworkBar and pantry area with plaster walls and oak millwork
A bar area in reception acts as a pantry by day and is used for hosting events in the evening

Marquee lights are installed in rows along the sides of the existing ceiling beams, with additional sconces mounted on the plastered pantry wall.

Structural columns have been wrapped in travertine cladding to highlight thresholds between the different spaces.

Swivel chairs in front of a periwinkle blue divider, with film posters behindSwivel chairs in front of a periwinkle blue divider, with film posters behind
Wood panelling and film posters hark back to art deco movie theatres

On either side of the reception, acoustic partitions with glass panels and mint-green frames cordon off the bright conference room and a private office.

Furnishing the conference room is a custom-designed meeting table that combines a solid ash frame and a high-gloss curved lacquer top, surrounded by vintage Tobia Scarpa Sling Chairs.

A communal workspace withsit-stand desks, oak dividers and plenty of ledges for plantsA communal workspace withsit-stand desks, oak dividers and plenty of ledges for plants
A communal workspace features sit-stand desks, oak dividers and plenty of ledges for plants

From reception, a neon-lit burgundy door leads into the screening room, where three tiers of seating face the large screen like in a mini movie theatre.

The cushioned seats are upholstered in soft powder-blue fabric, which contrasts with walnut wainscoting, and sound-absorbing brown wool wall panels that conceal the equipment.

Each chair has an individual armrest table for placing drinks or writing notes, complete with a small light created in collaboration with Lambert et Fils.

More private offices, sound-proofed editing suites and an open workspace are accessed via a short L-shaped corridor.

A 22-seat screening room with three seating tiersA 22-seat screening room with three seating tiers
A 22-seat screening room allows the team and their visitors to preview documentary films

In the communal work area, sit-stand desks feature white oak divider panels and are topped with a stone ledge for displaying objects and plants.

“This project has given us an opportunity to draw from so many inspiring references, from its iconic Broadway location to historic theatre architecture, to create an elevated and layered space that supports the work Sandbox is doing to uplift documentary film talent,” said Civilian co-founder Ksenia Kagner.

Screening room chairs with individual armrest tablesScreening room chairs with individual armrest tables
The screening rooms boasts a Dolby Atmos sound system, and includes chairs with individual armrest tables for drinks or note-writing

“We also felt it was important to be responsive to the changing priorities of the modern workplace, creating open, multipurpose spaces that nurture interaction and foster a sense of community,” she added.

Civilian was founded in 2018 by Kagner and Nicko Elliott, and the designers have since completed projects ranging from the transformation of Detroit’s historic Book Depository into a headquarters for tech company Newlab, to the renovation of a historic Bed-Stuy townhouse for themselves.

The photography is by Chris Mottalini.


Project credits:

Client: Sandbox Films (Simons Foundation)
Client rep: Cushman and Wakefield
Civilian scope: Interior design, creative direction, furniture design
Architect of record: LB Architects
Mechanical engineer: WB Engineers
AV engineer: Spectra
Acoustic engineer: WSDG
Production studio consultant: Tom Paul
Contractor: L&K Partners

Reference

Can an additive boost photosynthesis in plants?
CategoriesSustainable News

Can an additive boost photosynthesis in plants?

Spotted: Plant photosynthesis is limited by the amount of CO2, light intensity, and temperature. Plants typically convert just two to four per cent of available energy in radiation into new plant growth. This low efficiency has led to attempts to genetically alter plants to make them more efficient, which has provoked concerns over the associated risks to food security.

However, Malaysia-based agritech startup Qarbotech claims that its new product, QarboGrow, can enhance photosynthesis without resorting to genetic modification. It does this through the use of organic compounds with properties similar to chlorophyll. The startup’s product, QarboGrow, is sprayed onto crops, where it penetrates the leaf’s surface and interacts with chloroplasts. This interaction promotes greater energy transfer, helping to boost the rate of photosynthesis within a plant.

Qarbotech claims its nanotechnology-based solution can be used in-soil or on-plant, and can enhance the photosynthesis rate of plants by 30 per cent. This translates to a 30 per cent increase in plant growth, a 25 per cent reduction in crop growth cycles, and a 20 per cent increase in the sweetness of fruits.

The company recently announced that it has raised $700,000 (around €640,000) in seed funding, grants, and awards. Qarbotech will use the funding to strengthen research and development and expand its manufacturing facility to produce up to 50 times its current capacity.

Climate change and the growing global population are spurring a host of innovations aimed at improving agriculture. Recent developments that Springwise has spotted include a plan to make regenerative farming easier and cheaper to adopt and using bespoke bio-inoculants to improve soil health and reduce fertiliser use.

Written By: Lisa Magloff

Reference

"Emerging Ecologies" at MoMA Celebrates the Utopian Side of Environmental Design
CategoriesArchitecture

“Emerging Ecologies” at MoMA Celebrates the Utopian Side of Environmental Design

Architizer’s 12th Annual A+Awards are officially underway! Sign up for key program updates and prepare your submission ahead of the Main Entry Deadline on  December 15th.  

In 2023, terms like environmentalism and sustainability have a decidedly bleak emotional valence. Although the worst consequences of climate change are expected to arrive in future decades, the looming specter of this slow leviathan is having an emotional impact on people today. According to the Yale Program on Climate Communication, 3% of Americans regularly experience anxiety about climate change. The number is higher if you look at individual demographics. For instance, 5% of Americans under 35 suffer from climate anxiety, as do a shocking 10% of Hispanic Americans. 

Fear. Depression. These are the emotions that the phrase climate change evokes. Morally, the term coincides with a demand for austerity, an idea of living with less. It is no surprise, then, that many climate activists, like countless religious movements of old, have a decidedly iconoclastic rhetorical bent. The notorious Just Stop Oil organization made headlines by throwing soup on famous paintings like Van Gogh’s Sunflowers. Like Girolamo Savonarola, who burned Renaissance masterpieces to protest sexual immorality, Just Stop Oil carries a grim and uncompromising sermon. They desecrate art, they say, to mirror the way industrial society desecrates nature. 

Girolamo Savonarola leading a “Bonfire of the Vanities” in 15th century Florence, encouraging his followers to burn “immoral” painitngs. Painting by Ludwig von Langenmantel, 1879, via Wikimedia Commons.

But here is the problem with puritanical movements: they fizzle out. Some people are motivated by a call for austerity, but most are not. People want joy. They want beauty. They want to be told that there is a way for them to live well, today, in this life. They do not want to forsake the present for the world to come. Well intentioned or not, if the vision of a sustainable future is a vision of deprivation, it will not motivate people to change their behavior. 

This has been my perspective for a while now. And it is why I enjoyed “Emerging Ecologies”, MoMA’s new exhibition on environmental design. Unlike another exhibition I recently visited on sustainability — “The Future is Present at the Design Museum in Denmark — “Emerging Ecologies” is not a dystopian lecture about the way our progeny will need to learn with less. To the contrary, the exhibition celebrates architects of the past who grappled with the question of how to design with the environment, taking their cues from the landscape. The show reveals how this approach is not only ethical, but has the potential to produce buildings that are beautiful, quirky, creative and stimulating. Drab this show is not. 

“Emerging Ecologies” showcases a few contemporary projects, but the emphasis is on work from the 1960s and 70s, the period when the idea of ecology was still “emerging.” The first thing visitors to the exhibition see is a magnificent model of Frank Lloyd Wright’s Fallingwater, perhaps the only 20th century building that both modernists and traditionalists agree to be a masterpiece.

The centrality of Fallingwater is, I think, the most inspired curatorial choice in the exhibition. But what does it have to do with sustainability? Quite a bit, it seems. Frank Lloyd Wright’s building is designed to complement the landscape rather than dominate it. While the building might not have been created with the purpose of lowering carbon emissions, it does represent the type of attitude architects might come to embrace if they are serious about the ideal of sustainability. Working with nature, rather than against it, could lead us to a future where people live and work in buildings like Fallingwater — an attractive prospect indeed.

Other projects featured early on in the show include Malcom Wells’s design for subterranean suburban dwellings, an approach playfully known today as “hobbitecture.” Wells was interested in these types of dwellings in the early 1960s, but they really caught on in the 1970s, when the oil crisis led individuals to consider ways to reduce their consumption of fossil fuels. Wells’s view was a bit more ambitious than this. He hoped that subterranean architecture would allow “wilderness” to reclaim the American suburbs, quipping that it has the advantage of “millions of years of trial and error” over human civilization. On the surface, this quote seems to echo the misanthropy of Just Stop Oil, but the designs themselves belie this reading. Wells’s houses are cozy habitats for human flourishing. 

“Emerging Ecologies” is the inaugural presentation by the Emilio Ambasz Institute for the Joint Study of the Built and Natural Environment. Many of Ambasz’s works are among the 150 projects on display, and the curation, handled masterfully by Carson Chan, speaks to Ambasz’s commitment to an imaginative, even utopian vision of sustainable architecture. As Matt Shaw notes in his review for e-flux, the show “traces the twentieth century of American idealism, from crank scientists like Buckminster Fuller to later hippie fever dreams, such as Anna and Lawrence Halprin’s sixties-era nude summer workshops, in a surrealist collection of alternative US futures.” Within the exhibition, low-tech back to nature fantasies exist alongside futuristic visions such as that of the Cambridge Seven Associates, who proposed a lush and self-sustaining rainforest enclosed in a geodesic dome for the Tsuruhama Rainforest Pavilion in 1995. 

“Emerging Ecologies” is refreshing in its lack of pedantry. It does not propose to know the way forward. Rather, it looks back to a history of environmental architecture in order to highlight a number of potential pathways. If you are in New York this holiday season, I strongly recommend skipping the Rockettes and seeing this instead. The exhibition runs until 20 January. 

Cover Image: Vincent Van Gogh, Sunflowers, 1888. Image via Wikimedia Commons. 

Architizer’s 12th Annual A+Awards are officially underway! Sign up for key program updates and prepare your submission ahead of the Main Entry Deadline on  December 15th.  

Reference

Anfibio by Bacana Studio restaurant
CategoriesInterior Design

Bacana Studio designs interiors for riverfront Lisbon restaurant

Lisbon interior design practice Bacana Studio took cues from Portugal’s coastal traditions for the interiors of a João Luís Carrilho da Graça-designed Anfibio restaurant.

Located alongside the Tejo river, the restaurant was designed to “merge the duality of the sea and the land,” the interiors studio told Dezeen.

Anfibio by Bacana Studio restaurantAnfibio by Bacana Studio restaurant
Striped benches create a corridor from the bar to the terrace

Named Anfibio – Latin for amphibious, meaning suited for both land and water – the restaurant serves both local seafood and “countryside produce”.

It is located in a glass-walled, pavilion-like structure designed by local architecture studio João Luís Carrilho da Graça alongside the Tejo river and its interiors were informed by its riverfront location drawing on the “dazzling reflections of the sun on the water”.

Anfibio by Bacana Studio restaurantAnfibio by Bacana Studio restaurant
The lighting is designed to “allow Anfibio to transform between day and night”

Within the 500-square-metre restaurant, which is used as a nightclub in the evenings, wooden flooring was stained with a “watery green” colour and a mirror-like fabric was used on the ceiling to reflect and refract light.

“The building’s architecture aims to blend in and go unnoticed, striving to merge with the river and reflect the city of Lisbon,” said Bacana Studio founder Ingrid Aparicio.

Anfibio restaurantAnfibio restaurant
The restaurant is located on the Tejo river

According to the Bacana Studio, the open plan layout and five-metre-high ceilings posed a lighting and acoustic challenge.

As a result, the studio focused on “creating visual and functional interest from the ground up” with decorative elements, lighting and architectural features rising up from the floor.

“It’s the lighting itself that shapes and defines the spaces,” Aparicio explained. “We devised a concept where lighting emanates from the furniture, creating intimate spaces and avoiding the sensation of being in a vast and cold space.”

Anfibio by Bacana Studio restaurant lightingAnfibio by Bacana Studio restaurant lighting
Light fittings emerge from the furniture

Small brass-shaded table lamps and arched brass and glass lamps, which were crafted to resemble the antennas of aquatic creatures, provide ambient lighting for each table and unify the space.

Visitors are greeted by a curvilinear “snake sofa” that divides the restaurant into two areas – an intimate zone with smaller tables on one side, and a more communal area with a large 10-seater table on the other.

“The design is meant to encourage you to let loose, which is why the organic shapes in the sofas, tables, and chairs, create an interesting flow to the space,” explained Aparicio.

On either end of the intimate zone is a long, 20-seater community table. The studio designed these with an aim to pay homage to the spirit of Lisbon’s traditional fish markets, serving as “a symbolic nod to the shared dining experiences fostered in such lively and communal settings”.

The wait-staff station and the wood, wicker and brass bar separate the kitchen from the dining area.

Anfibio by Bacana Studio restaurantAnfibio by Bacana Studio restaurant
The “snake sofa” divides the space

Two long, striped benches, positioned with their backs facing each other, lead out to the terrace, “segmenting the expansive layout of the restaurant into more intimate sections”.

The terrace, overlooking the port and the city of Lisbon, aims to “evoke the essence of an authentic beach club”.

Stripes were prominently used on the walls, upholstery, and furnishings, reminiscent of Portuguese fishermen’s cottages and coastal awnings.

Anfibio by Bacana Studio restaurant terrace.Anfibio by Bacana Studio restaurant terrace.
Natural materials such as wood and wicker were prominently used

Other restaurant interiors recently featured on Dezeen include a Mexico City restaurant arranged around an upside-down pyramid bar and a converted Norwegian restaurant covered in restored paintings.

The photography is by Filipe Neto.

Reference

Playing tennis with a purpose
CategoriesSustainable News

Playing tennis with a purpose

Spotted: Tennis is one of the most popular sports around the world, suitable for a huge range of ages and abilities. In fact, according to the International Tennis Federation, around 87 million people play the sport, with even more enjoying watching it on TV. Inspired by his personal love of the sport, Rich Neher founded Conga Sports in 2021, to support grassroots tennis and make it more accessible with innovative programmes and tournaments.

The organisation’s big flagship programme, called City Slams, involves teams of six (three men and three women) playing for their city and community, competing for “trophies and bragging rights”, as Rich explained to Springwise. Contrary to your average tennis match, Conga Sports makes fun a priority in its tournaments. For instance, the City Slams teams must come up with a creative group name, as well as dress in inventive costumes and perform a team song.

When Rich moved to the States from Germany in 1985, he was shocked by the lack of recycling. “At that time we already had a flourishing recycling environment in Germany (…) I came to this country and there was nothing. Even today, there’s very little recycling in buildings: the trash goes out and everyone throws everything in the same dumpster.” This same wastefulness is also reflected in the world of tennis – from equipment packaging, racquet strings, and most importantly, tennis balls. Rich highlights that 400 million tennis balls are used every year, with 200 million of those ending up in landfills.

To make tennis greener as well as more inclusive, all Conga Sports balls are sent to Vermont-based RecycleBalls for repurposing. After grinding them up, the balls can be used for various purposes, including for horse footing and new tennis court surfaces.

Rich also wanted to take sustainability to the next level, and partnered with One Tree Planted earlier this year. Through this partnership, Conga Sports has committed to planting one tree for every can of tennis balls used in its programmes. Although Rich emphasises that because Conga Sports is a young company and it’s limited in how many trees it can contribute, he hopes it can have a much bigger impact in future. “Our goal for 2030 – it’s a very ambitious goal I must admit – is to have planted 1 million trees. It’s a big goal, but I’m determined,” Rich told Springwise.

Springwise has spotted other ways innovators are making the sports industry less harmful to the planet, including by turning plastic water bottles into tennis accessories and using natural rubber to make greener wetsuits.

Written By: Matilda Cox

Reference

Exterior of duplex with modern styling in xeriscape setting; glows warmly against dusk sky - photo
CategoriesSustainable News Zero Energy Homes

SIPs for High-Performance Enclosures: Faster, Better, and Greater Value

Exterior of duplex with modern styling in xeriscape setting; glows warmly against dusk sky - photo

Increased productivity

SIPs offer a huge productivity advantage that helps builders reach lower cycle times: building construction can happen at the same time as site development and foundation work. (With site-built construction, building can’t start until site development and foundation work are complete.) Then, once foundation work is done, you assemble the pre-built panels on site. It’s faster, creates much less waste, and there’s hardly any site restoration.

Builders using SIPs for high-performance enclosures typically see a 30% to 50% time savings over on-site construction, according to Rashkin. “Consider that the average days on-site for SIP construction is 65, compared to 95 days for stick framing,” he explained. “If costs are between $500 and $800 per day, shaving 30 days off your build time could translate to a savings of $15,000 to $24,000.”

Insulation against labor shortages

“Over 90% of builders and remodelers reported framing crew and carpenter shortages in 2022. On top of that, we have an aging workforce. The median age of US construction workers is 42, and the industry continues to struggle to attract younger workers. So, this massive labor shortage is almost locked in,” said Rashkin. Since the shortage is unlikely to be solved by an influx of workers, it needs to be addressed on the builders’ side.

SIP construction can help reduce labor shortages by eliminating the need for some trades, like framing, insulation, air sealing, and air barriers. It also reduces the scope of work for drywall, finishes, trim, inspections and testing, site clean-up, and waste removal (another large productivity bonus for SIPs versus conventional framing).

exterior view home under construction: SIPs exterior framing is erect and additional SIP panels lie adjacent, ready for installation; construction workers laboring - photo

High-performance enclosures: better

“High-performance homes don’t only offer significant time savings for builders; they also result in a better quality enclosure,” Rashkin explained.

Moisture control

High-performance homes have more insulation, which can increase the risk of moisture control problems. First, added insulation raises wetting potential by increasing the temperature difference between the warm and cold sides of a wall. Second, it decreases drying potential by restricting air leakage.

“When building high-performance enclosures, we have so much more moisture risk that has to be managed, and we’re using materials and systems that are prone to quality control challenges,” said Rashkin. “This is a real problem when you consider that air leakage points in these tightly-sealed homes can create exponentially greater moisture flow than you’d see in a low-performance enclosure with widespread air diffusion.”

SIP construction is inherently better for minimizing moisture problems because it has ultra-low thermal, air, and vapor flow. “You’re taking the condensation problem out of the equation completely when it comes to moisture inside the construction assembly,” said Rashkin. “That’s a huge advantage for any builder.”

Air sealing

Air leakage represents significant potential for energy loss, disrupting the effective R-value of all the insulation you spent time and resources to install. Proper air sealing is the only way to get what you pay for from insulated enclosures. Plus, it helps protect the home from outdoor contaminants, like smoke and other air pollutants, and make the structure more resilient.

“I suggest aiming for a target air leakage level of 1.5 ACH50 or lower, a goal that’s readily achievable with SIPs,” said Rashkin. “SIPs optimize air tightness, automatically getting you to 1.5 ACH50 or lower. So you know you’ll reach your ACH50 target, no matter what your local code requires.”

Reference

undulating canopy by new office works shelters waterfront promenade in hong kong
CategoriesArchitecture

undulating canopy by new office works shelters waterfront promenade in hong kong

New Office Works’ canopy uplifts Cheung Sha Wan Promenade

 

New Office Works has introduced an undulating canopy to the Cheung Sha Wan waterfront promenade in Hong Kong. The structure is intended to offer shade and protection, resembling the aggregation of docked boats commonly seen along the harborfront. Positioned amidst a mix of older and newer developments on the west side of the Kowloon Peninsula, it links residential and commercial zones to the northwest with a wholesale food market to the southeast. As a part of a broader waterfront upgrade, it establishes connections between the pier and promenade and the city through three main pathways: an open-air route leading to the MTR station, a pathway through the neighboring hotel’s central courtyard, and a more secluded path next to the residential complex. 

undulating canopy by new office works shelters waterfront promenade in hong kong
all images by Rory Gardiner

 

 

a Design taking its cues from Waterfront Heritage

 

The design of the canopy draws inspiration from the site’s history, particularly the active cargo offloading and the docking of boats around the pier. Divided into five shifting strips, the canopy allows for varied spatial experiences and promotes natural ventilation through well-placed voids. During the day, sunlight filters through the shelter, creating interesting light and shadow effects. At night, the interior lighting gives it a distinct profile floating above the water. 

 

The canopy is built using a steel framework consisting of cylindrical columns and curved beams. Its highest section is positioned centrally, gradually declining in height on both sides. To avoid duplicating columns along the roof’s edge, the lower roof is hung from the higher one by a system of suspension rods. The upper roof is covered with a standing seam roof featuring grooves that accentuate its curved shape, while satin aluminum panels form the reflective ceiling below, mirroring the rippling water’s surface.

 

undulating canopy by new office works shelters waterfront promenade in hong kong
the canopy is inspired by docked boats and historic cargo activity

undulating canopy by new office works shelters waterfront promenade in hong kong

undulating canopy by new office works shelters waterfront promenade in hong kong
the design allows natural ventilation and light play

undulating canopy by new office works shelters waterfront promenade in hong kong

undulating canopy by new office works shelters waterfront promenade in hong kong
the steel framework is made with cylindrical columns and curved beams

Reference