This exclusive video published by Dezeen reveals the launch of a new global architecture competition to reimagine affordable housing, hosted by construction-scale 3D-printing company ICON.
The competition is called Initiative 99 and invites architects and designers to submit home designs that can be built for under $99,000 (USD).
Initiative 99 has a $1 million total prize purse and is open to all countries. Firms, individuals, and university students are all encouraged to participate.
The company has committed to building a selection of the winning designs in locations to be announced in the future.
ICON has launched a global architecture competition reimagining affordable housing
More than 1.2 billion people across the planet lack adequate shelter, according to ICON, which invites designers and architects to leverage robotic construction techniques in tackling this issue with their home designs.
By employing ICON’s 3D-printing technology, submissions can depart from more traditional flat walls in order to create “entirely new types of homes”.
The multi-phase, year-long competition enlists the help of a judging panel of architectural practitioners, academic leaders and policy makers.
Among the panelists are Shajay Bhooshan, associate director at Zaha Hadid Architects.
Entry for the Initiative 99 competition is now open
ICON is headquartered in Austin, Texas, where it is currently building a neighbourhood of 100 3D-printed homes, designed by Danish architecture studio BIG.
In 2022, NASA awarded ICON a $57 million contract to develop roads, launchpads and homes on the moon.
Submissions for the Initiative 99 competition are now open. To read more about Initiative 99, visit its website.
Partnership content
This article was written by Dezeen for ICON as part of a partnership. Find out more about Dezeen partnership content here.
Spotted: According to the World Economic Forum, between 15 and 20 per cent of the global population is neurodiverse. This includes individuals with autism spectrum disorder, ADHD, and dyslexia.
For many neurodiverse individuals, it is easy to become overwhelmed when navigating public spaces and everyday activities. Now, Magnusmode is working to help neurodiverse people gain independence in daily living with step-by-step digital guides.
Magnusmode has developed a free mobile app called MagnusCards that provides digital ‘card decks’ for everyday activities in categories such as money, safety, shopping, and food. Each deck provides images, detailed step-by-step instructions, and positive, encouraging reinforcement for basic transactions. The collectible decks have been created in partnership with various businesses and non-profits and are designed to walk users through tasks such as ordering food in a restaurant and getting a library card.
In December 2022, Magnusmode teamed up with Huntington Bank to create a card deck specifically designed to help neurodiverse individuals become more financially independent. The Huntington Card Decks feature real-life scenarios such as paying with a debit card, using an ATM, and paying bills. The guides feature two Huntington Bank employees who are themselves neurodivergent.
Increasingly, innovators are looking at ways to boost accessibility across various industries. In the archive, Springwise has also spotted an education platform to help unbanked communities and a plugin that helps travel agencies serve disabled customers.
A building envelope is the armor that protects inhabitants, as well as interior finishes, furnishings and equipment. In the walls, roof, flooring, healthy materials are important to anyone suffering respiratory problems, like allergies and asthma. A well-designed home envelope is durable, healthy, insulating, and tightly sealed. Panelized construction homes are engineered to bring these qualities together.
In a well-sealed building, fresh air is provided through controlled ventilation systems, ensuring occupants breathe healthier, filtered air, and removing pollutants produced inside the home (dust, CO2, natural gas byproducts, etc.). Heating and cooling are maintained more efficiently and more comfortably, without leaking conditioned air through gaps in doors, walls, and ceilings. This means no drafts or ingress of polluted air, particularly during pollen or smoke advisories! SIPs have uniform insulation, which means there are no cavities where moisture might accumulate and promote mold, mildew, or rot.
Where you’re stopping air leaks you’re also blocking noise transmission pathways, leading to a quieter, and perhaps more private, living situation.
The components in insulated panels (including adhesives) meet some of the most stringent standards for indoor air quality, with low off-gassing. SIP panels have such low formaldehyde emission levels that they easily meet or are exempt from US Housing and Urban Development and California Air Resources Board (CARB) standards.
Architizer is thrilled to announce the winners of the 11th Annual A+Awards! Interested in participating next season? Sign up for key information about the 12th Annual A+Awards, set to launch this fall.
The new EU Deforestation Regulation (EUDR) has now been enacted as part of the wider European Union Green Deal. This mandates heightened due diligence on the value chain for operators and traders in various commodities, including soy, palm oil, cattle, coffee and wood.
Between 1990 and 2008, the bloc’s imports in products now covered by the revised rules amounted to 36% of total associated deforestation worldwide. The changes won’t bring an end to this, but any firm that wants to do business in the economic union, no matter where their headquarters, now needs to prove sustainable sourcing of these materials and that products have not contributed to deforestation that occurred after 31st December 2020.
Last October, Construction Europe reported on a lack of EUDR preparedness across built environment sectors within the context of a rise in timber as a building material. The ‘plyscraper’ race is perhaps the most visible sign of this, with several World’s Tallest Timber Building hopefuls topping out in the past few years. Ascent by Korb + Associates currently holds the title in Milwaukee, US, at 284 feet (87 meters). This is followed by the 280-foot (85-meter) Mjøstårnet by Voll Arkitekter, in Brumunddal, Norway, and HoHo Wien by RLP Rüdiger Lainer + Partner, a Vienna mid-rise boasting 18 floors at 275 feet (84 meters).
Shor House by Measured Architecture Inc., Mayne Island, Canada | Photo by Ema Peter Photography
A little shorter, Sara Kulturhaus by White arkitekter AB in Skellefteå, Sweden, is a strong example of the carbon savings good timber design can offer. Housing a library, gallery, museum and hotel, over 50 years this 239 foot (73 meter) cross-laminated timber (CLT) design will sequester more carbon than the total of its embodied footprint from materials, transportation, construction and operation. The carbon negative status is thanks in part to properties of the core structure, but this isn’t always the case.
Two of construction and architecture’s greatest environmental adversaries are steel and concrete. But the widely-trumpeted climate gains from switching to timber aren’t guaranteed. The real test is always in the quality of what is built. In the best case scenarios, impacts from physical construction, ongoing use and material sourcing will be outweighed by carbon sequestration and storage capacity. In the worst, building with wood can be worse for the planet than its alternatives, but recycled timber is often a safe bet in ecological terms.
Measured Architecture Inc’s Shor House, Popular Choice Winner in Sustainable Private House at this year’s Architizer A+ Awards, is a beautiful example of what can be done with reclaimed wood. Completed in 2022, the design focuses on one truth: “The most progressive edge of designing with wood is to recycle it.” Much of the lumber was sourced from the old home and barn that occupied the site at Mayne Island, Canada. The original structures were dismantled rather than demolished, so cladding, floors and frames could be de-nailed, stored and reused.
Shor House by Measured Architecture Inc., Mayne Island, Canada | Photo by Ema Peter Photography
Some timber also came from the remnants of the Englewood Railroad, Northern Vancouver Island, which was decommissioned in 2017. The outside is then clad in Corten raw plate steel, chosen for its low upkeep and long lifespan. Architect and the property owner Clinton Cuddington describes the material as “eminently recyclable”, and its use emphasizes the importance of product diversity in green construction. Without this rust-colored layer, timber would be far more exposed to the elements, increasing the speed of degradation and likelihood of repairs. The steel also has the potential for reuse at a later date.
Of course, however it features recycled timber presents some problems. These woods are often thought of for the rustic aesthetics of a “past life effect.” Surfaces may be marked, nailed or chiseled, giving them stacks of personality but — crucially — often a lack of uniformity.
There’s also a cost issue. Reclaimed wood is usually priced higher than virgin timber because additional resources are needed to bring it back to spec. Toxins, contaminants, natural pests and other risks must be eliminated before it re-enters the supply chain. Nevertheless, the benefits are significant, not least in emissions terms. Recycled timber extends wood lifecycle, and with it the time carbon is stored before decomposition releases it into the atmosphere. At Shor House, dating suggests some lumber can be traced to trees that stood for 1,000 years.
Shor House by Measured Architecture Inc., Mayne Island, Canada | Photo by Ema Peter Photography
The materials certainly pack the aged, historic look people love reclaimed wood for, but elsewhere developments are underway that could bridge a gap between this and the mass timber many new wooden structures rely on, which can be a major cause of deforestation. University College London researcher Dr. Colin Rose won Rambøll’s 2022 Flemming Bligaard Award for his work on CLST, or cross laminated secondary timber, which uses reclaimed rather than virgin wood as the feedstock for ‘new’ CLT stock.
In an interview published when the prize was announced, Rose explains his belief this material can be a viable alternative to steel and concrete in strength, production levels and affordability. He also says built environment professionals have not caught up with CLST yet, and most still see the material as “in lab phase”. He then predicts this will change as embodied carbon begins to define our approach to construction, which CLST performs well on, as do recycled woods generally.
According to his estimates, you could build around 1,000 new homes each year using the discarded wood from building sites in London alone. Widening the lens, every 12 months we create 16 million tonnes of waste wood globally, and currently recycle just 15% of that. These facts emphasize the idea that access and systems are major obstacles to wider use of reclaimed timber, and how urgently change is needed to maximize the way lumber is used to minimize waste and deforestation. Achieving that requires a number of things, including the scaling up of operations and infrastructure, not to mention fresh thinking on the part of architects and designers.
Shor House by Measured Architecture Inc., Mayne Island, Canada | Photo by Ema Peter Photography
Architizer is thrilled to announce the winners of the 11th Annual A+Awards! Interested in participating next season? Sign up for key information about the 12th Annual A+Awards, set to launch this fall.
UK studio Most Architecture has converted an industrial shed in west London into an all-black-and-white showroom and production facility for electric car start-up Charge Cars.
Created to manufacture Charge Cars‘ first vehicle the ’67 – an all-electric version of the 1960s Ford Mustang Fastback built using components from electric vehicle brand Arrival – the facility also acts as an office and showroom.
Most Architecture has created a factory for electric car start-up Charge Cars
“Charge designs and makes its unique cars in a single facility,” said Most Architecture founder Olga McMurdo. “Like an open-kitchen restaurant, everything is on display to the staff and customers.”
“So we created an environment that allows immediate access to every aspect of the process from design through to production,” she told Dezeen. “The factory, and all of its contents, are at once an agile design and manufacturing centre, a customer showroom, and a design statement.”
The building is arranged around the workshop
The facility in Stockley Close, west London, was designed around the idea of promoting a connection between Charge Cars’ clients and the engineers building and customising the cars.
At its centre is a large open workshop where the cars are built and customised, which is overlooked by various offices and meeting spaces.
Charge Cars’ ’67 will be manufactured in the factory
“Our client came to us with an ambition to re-define a classic design icon using cutting-edge electric vehicle technology and to create a customer experience that engenders a visceral response to the product, and the process of creating it,” said McMurdo.
“Their space had to accommodate both the manufacturing and the design process, facilitating teamwork and recreation, testing, a showroom, and areas for customer engagement,” she continued.
“All that had to happen within one architectural volume, and so the primary challenge was to facilitate all of these activities simultaneously and symbiotically, whilst projecting a clear and coherent design statement reflecting the client’s philosophy.”
Office spaces overlook the workshop
Unlike the majority of car factories, the Charge Cars facility was designed so that its customers can visit at any time to observe how the vehicle is designed and assembled.
“Charge wanted the customer journey to be mapped out by the design of the building,” said McMurdo.
“The customer’s access to, and experience of, the factory is an integral part of the product,” she continued.
“They have a personal relationship with the engineers that are making their car, and are able to see the car as it is being constructed.”
The Charge Cars factory is almost entirely black and white
Most Architecture designed the spaces with a stripped-back aesthetic united by a largely white and black colour palette, including a black light fixture above the building’s entrance.
“The white and the black amplify each other by contrast, representing the fusion of a laboratory and a garage, and the constant dynamic between research and production,” explained McMurdo.
“Using this pallet we also wanted to make an impactful design statement on entry to the building. The result was a large anamorphic light fixture, which coalesces into a Feynman diagram from a single vantage point, becoming a composition of independent pieces.”
Cars are designed, built and tested at the facility
Other recent electric car factories featured on Dezeen include a black steel and glass facility designed by Snøhetta for car brand Polestar in Chengdu, China. In Sweden, Danish architecture studio Cobe is designing a development centre for Chinese car manufacturer Geely, which it describes as a “chamber of secrets”.
Client: Charge Cars Lead architect: Most Architecture Interior concepts: Evgeniy Bulatnikov Mechanical engineer: Airon Electrical engineer: Smart Techno Systems Structural engineer: HLS Structural Lighting: Gaismas Magija Building control: The Building Inspectors Wind consultant: Buro Happold Fire engineer: QFSM CDM advisor: Andrew Goddard Associates Main contractor: Hansa Group Steel mezzanine contractor: System Store Solutions Lighting manufacturer: Esse-Ci
Spotted: As industries around the world push ahead in their plans to reduce greenhouse gas emissions, some of the changes being introduced are, ironically, contributing to the continued growth in the global plastics market. As vehicles seek to reduce weight in order to run more efficiently, plastics are often one of the first materials to be considered as a replacement for steel and other heavy metals. That is only a short-term solution, however, as UN member states negotiate a legally binding agreement to end plastic pollution.
Innovators are increasingly looking for multi-purpose solutions to the complex plastics problem. Many companies seek to reduce waste or emissions while cleaning current damage to the environment. One such company, Paris-based Dioxycle, created a system that uses industry emissions as feedstock for the production of sustainable manufacturing of the chemical ethylene.
The process directly captures emissions from manufacturing plants and separates the carbon from impurities. After cleaning, the captured carbon passes through layers of catalytic membranes in the company’s proprietary low-temperature electrolyser. Powered by renewable energy, the carbon is then transformed into ethylene, a building block of modern manufacturing. The chemical is used in heavy industry to produce products that range from diesel and ethanol to recyclable plastics, adhesives, and furniture. Dioxycle’s goal is to recycle 600 megatonnes of carbon annually and it is currently testing the technology in two locations – one in France and one in California.
An important aspect of the system is its affordability. The company explicitly works to provide end users with a sustainable ethylene chemical product that is equal to or lower in cost than fossil fuel-produced versions.
In the archive, other innovations spotted by Springwise that highlight ways of using captured carbon include nanotubing that could replace copper wires in myriad items and carbon-negative textiles.
kodomari fuji, a ship-like retreat crowned with cherry trees
In the town of Fujimi, close to the Nagano-Yamanashi prefectures border, Kodomari Fuji emerges as an exclusive and snug retreat designed by Japanese architect Terunobu Fujimori. Standing on a small hilltop and overlooking the rural landscape as if it were the sea, the property’s elongated structure recalls the body of a ship drifting into open waters. Charred cedar panels envelop the building skin, while a roofscape composed of hand-crafted copper plates and planted cherry trees crown the retreat — offering visitors the chance to enjoy the property’s changing appearance over the years. According to Kodomari Fuji, a nearby 300-year-old weeping cherry tree inspired the planting along the roof. This is Fujimori’s first accommodation project in Japan.
all images courtesy Kodomari Fuji
Terunobu Fujimori brings pristine qualities to the interiors
As for the interiors, Terunobu Fujimori used plaster to coat the walls and chestnut wood to cover the floors and build the furniture. The material palette ultimately echoes the ‘pristine’ quality of the Fujimi context. Visitors pick up on this impression by entering the living room, boasting a relaxing atmosphere and an open deck, devoid of unnecessary ormanents and distracting color compositions. Meanwhile, the bedroom, a 63 sqm private space, provides a quiet space for a peaceful slumber. Kodomari Fuji provides guests with environmentally friendly amenities, including air conditioning, underfloor heating, wood stove, electric kettle, refrigerator, rice cooker, a full set of cooking utensils, a full set of tableware, Wi-Fi, and a Bluetooth speaker.
the small inn is located in Fujimi, close to the Nagano-Yamanashi prefectures border
creating an exclusive atmosphere amid the japanese hillscape
Considering its geo-historical and folkloric context, the 4,000 sqm property area has established a strict set of rules to maintain an exclusive atmosphere for current and future visitors. Essentially, access is limited to registered guests and to five people per day; sharing interior photos on social media is forbidden; and wearing strong fragrances or heavily scented fabric softeners is advised against so as not to ‘distub’ the aromatic character of Kodomari Fuji. Lastly, as the inn occupies a small village where children and elderly reside, visitors are encouraged to reduce driving speed upon arrival and to avoid entering nearby fields, gardens, or private areas when taking a stroll in the surroundings. The address to the inn is also provided at the time of booking.
Visualisation artist Charlotte Taylor discusses how she is translating her digital design work into built architecture projects for the first time in this interview.
Taylor is the founder of 3D-design studio Maison de Sable, where she collaborates with other 3D designers on renderings of imaginary, fantastical interiors and buildings.
Recently Taylor’s designs have become less fantasy-driven and closer to real spaces, with some of them set to get built as physical architecture projects.
“In the long term, I’d like to move more into architecture,” Taylor told Dezeen.
Taylor is venturing into built architecture projects for the first time. Image by Thea Caroline Sneve Løvstad and top image by Nicholas Préaud
Having not pursued formal architecture training, the designer believes there should be more non-traditional pathways to designing buildings.
“I didn’t train in architecture at all,” she said. “I think it would be great if there were more entries into architecture because it’s such a hard career to get into.”
“I’d like to think that there’s hope that you can get into building physical spaces through unconventional means.”
Casa Atibaia is a fictional home in Brazil that is due to be built. Image by Nicholas Préaud
One of Taylor’s designs due to be built is Casa Atibaia, a house that was originally conceived as an imaginary project in collaboration with designer Nicholas Préaud.
The duo imagined the house situated by the Atibaia River in São Paulo, creating a digital model of part of the riverbank based on information from Google Maps.
The interior of Casa Atibaia features on the front cover of Taylor’s book
From this, Taylor and Préaud designed a concrete and glass fantasy home raised on huge boulders, the interior of which features on the front cover of Taylor’s first book, Design Dreams, published last month.
Although the project was not originally intended to be built, Taylor is now in the process of finding a plot of land suitable to actualise the design.
The fantasy home is raised from the floor on boulders. Image by Nicholas Préaud
Taylor has also collaborated with architectural designer Andrew Trotter on a house in Utah, which forms part of Trotter’s wider design for a hotel and retreat centre named Paréa.
The house, which is currently under construction, was designed to blend into the desert landscape with large spans of glazing and walls finished in lime plaster.
Taylor also worked on a house in Utah that is currently under construction. Image by Klaudia Adamiak
According to Taylor her fictional designs have received a mixed response from architects, with some saying that “in the real world, it doesn’t work like that”.
But for Taylor, not having an architecture degree and exploring spatial design digitally without being constrained by lighting, noise, safety and budget requirements allows for more creativity.
The house in Utah was designed to blend into the landscape. Image by Klaudia Adamiak
“It acts as a sort of creative playground for me in which I can test out all these concepts and see how they work visually,” said Taylor.
“Then bringing that into the physical world and working with engineers and architects, it becomes pared down.”
“I think not having architectural education makes you find different solutions or ideas to bring to the real world that wouldn’t have come from just designing an actual space,” she added.
According to Taylor, digital design allows for more creativity than designing for the real world. Image by Klaudia Adamiak
The designer mentioned that her design icon Carlo Scarpa also never became a licenced architect.
“My icon, Carlo Scarpa, never had his full qualification, so there are little stories that inspire me, but the general thinking is quite rigid – this particular entry is a bit frowned upon from what I’ve experienced,” said Taylor.
Having learned most of her design skills from experimenting with digital design and collaborating with other designers, Taylor describes herself as “self-studious” and encourages other designers to create work that they feel best represents themselves.
“Strive to build a portfolio that excites you and represents you the most,” Taylor said.
“Through building a portfolio and working with 3D designers and architects was how I learnt – it’s very research-heavy.”
She founded the 3D-design studio Maison de Sable. Image by Klaudia Adamiak
Taylor’s Design Dreams book features 3D designs of buildings and interiors created by herself and other artists.
The curation includes fantasy-like environments as well as renderings of interiors that appear like real, tangible spaces.
“[The book] became a space in which to share my personal projects, the artists I work with and work I admire around the field of interiors and architecture,” said Taylor.
Taylor recently published her first book. Image by Klaudia Adamiak
Although most of the images are already widely shared online, by collating them all into one volume Taylor hopes readers will enjoy getting lost in the printed format.
“The same way that the Instagram page acts where people go to get lost in the images, to have that in a physical format means you are able to spend more time in detail than you can on a phone screen,” she said.
Design Dreams features work by Taylor and other digital designers
“To take something digital that doesn’t exist in the physical world and bring it to print was quite important for me, to see it in that way,” the designer added.
Although they work in the digital sphere, Taylor maintains that 3D-visual creators play a part in interior design trends.
It collates digital designs into a physical format
“The arts trends that happen in 3D gradually make their way into interior spaces, and it’s really interesting to see the Pinterest effect,” she said.
“People love to collect images and make their ideal moodboard with them, and these spaces really play into that. People are constructing their own ideas and making architecture and interiors more accessible rather than something very professional.”
In her own interior visual designs, Taylor includes elements from her actual home to make the spaces feel more relatable than traditional architecture renderings.
The Design Dreams book includes fantasy interiors and ones that look like real spaces
“It’s down to the construction of the images, they have this sort of lightning and familiarity, and we always put little props that will often be things from my home,” she said.
“These little details make it lived-in and more relatable versus traditional architectural visualisation, which can be very sterile and not aesthetically relatable.”
Taylor has also previously worked on various NFT projects, including a video artwork informed by an OMA-design sculpture and NFT capsules that contain digital images of fantasy architecture projects.
The images are by Charlotte Taylor unless stated.
Dezeen In Depth
If you enjoy reading Dezeen’s interviews, opinions and features, subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.
Dutch architecture studio Overtreders W has created Stable Stack, a temporary cabin hotel built using straps and borrowed materials, in Veenhuizen, the Netherlands.
The studio found the materials for the cabin in the village of Veenhuizen, sourcing concrete gutters and wood from carpenter Peter Kroes and roof tiles and paving slabs from Riedstra farm.
Stable Stack features a strap-fastened structure built with borrowed materials
Instead of gluing, drilling or screwing, Overtreders W opted for tie-down straps to fasten the structure, so that the borrowed materials could be returned without damage and devaluation.
The studio also used the green straps as decorative elements and to add another layer of texture to the stable, “emphasising the versatile and innovative character of the structure,” it said.
Stable Stack is a temporary hotel room with a view of farmland
The studio designed the temporary accommodation to highlight Veenhuizen’s craftsmanship, history and environment.
The village, which is now a World Heritage Site, was first built as a reform housing colony, Landbouwkolonie Veenhuizen [agricultural colony Veenhuiz] by the forced labour of homeless people 200 years ago.
“In line with the modest history of the place, where labour and life took place with limited resources, this cosy dwelling has been created,” said Overtreders W.
“Stable Stack showcases the beautiful possibilities that the combination of craftsmanship and sustainable handling of materials can offer.”
Components were stacked and secured with straps
Stable Stack, which is located in a peat meadow landscape and overlooks farmland, forms part of Veen Huis Hotel.
This is a project that celebrates 200 years of the village by maker and thinker collective Ketter&Co and local hotel Bitter & Zoet.
Stable Stack is one of seven temporary accommodations
It comprises seven temporary accommodations, created in unconventional ways, and opens its door for guests from May to October 2023.
“With a revaluation of the relationship between man and landscape and an explosion of creativity, the Veen Huis Hotel inspires an urgent conversation about the future of Veenhuizen as an experimental agricultural colony,” said Ketter&Co.
It was secured and decorated with green straps
Hester van Dijk and Reinder Bakker founded and head Overtreders W, a small Amsterdam architecture studio specialising in temporary structures.
At Dutch Design Week 2017, the studio collaborated with Bureau SLA and designed the People’s Pavilion with borrowed and reclaimed materials. The pavilion was the venue for Dezeen’s Good Design for a Bad World talk series.
More recently, the studio built a demountable exhibition pavilion with pink hempcrete and recycled timber.
Spotted: Storing living cells is a tricky and expensive process due to the necessity of temperature control to keep them stable, and the vast majority of biological material currently needs to be stored either in freezers, refrigerators, or more rarely as freeze-dried powders. One group of researchers hope to change this.
Researchers at California Polytechnic State University have developed a new way of storing such biological materials, in a solid state. The solid-state storage transforms the material or protein into something that resembles a tablet shape that can then be dissolved and utilised, without the fear of it having degraded.
The advent of solid-state storage represents a new ability in the scientific community to far more easily and cheaply store and transport biological material. Research lead Dr Javin Oza referred to the innovation as “easy as an Alka-Seltzer tablet, just drop it into water, mix, and it’s ready to go”. The storage technique has been demonstrated on RNA (a nucleic acid that’s essential for protein synthesis) and also on CRISPR-Cas9 (a genome-editing tool).
While in its early stages, researchers are optimistic that further improvements will allow the solid-state storage to become refined. It will need to be developed for specific uses, with specific coatings to help it be resistant to extreme heat, humidity, and chemicals. The method could also allow biological material to one day be taken as a tablet rather than intravenously, potentially meaning that medicines like insulin would be taken orally, transforming the lives of millions of diabetics.
Springwise has spotted other innovators in the archive working to improve access to therapeutics, including some who’ve developed a vaccine printer and one startup delivering solar fridges for vaccination transportation.
