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Interior Design

“The world ran out of pink” due to Barbie movie production

By Zarkon Group,08/06/2023

The sets of Greta Gerwig’s upcoming Barbie movie required such vast amounts of pink paint, they swallowed up one company’s entire global supply, according to production designer Sarah Greenwood.

Speaking to Architectural Digest, Gerwig revealed that the team constructed the movie’s fluorescent Barbie Land sets almost entirely from scratch at the Warner Bros Studios Leavesden – all the way down to the sky, which was hand-painted rather than CGI rendered.

“We were literally creating the alternate universe of Barbie Land,” she told the magazine. “Everything needed to be tactile, because toys are, above all, things you touch.”

To recreate the almost monochromatic colour palette of Barbie’s Dreamhouses, the set design team had to source a bottomless supply of pink paint to cover everything from lampposts to road signs.

Barbie movie cast dancing in a pink town square — Almost everything from lamp posts to sidewalks is rendered in vibrant pink

In particular, the production used a highly saturated shade by US manufacturer Rosco to capture the hyperreality of Barbie Land.

“I wanted the pinks to be very bright, and everything to be almost too much,” Gerwig told Architectural Digest.

So much paint was needed, in fact, that Greenwood says the movie’s production caused a worldwide shortage of that particular hue.

“The world ran out of pink,” she joked.

Rosco later told the LA Times that the company’s supply chain had already been disrupted when the movie began production at the start of 2022, due to the lingering aftereffects of the coronavirus pandemic and the winter storm that shocked Texas the previous year.

“There was this shortage and then we gave them everything we could – I don’t know they can claim credit,” Rosco’s vice president of global marketing Lauren Proud told the LA Times, before conceding that “they did clean us out on paint”.

Margot Robbie in a pink car — Margot Robbie plays the movie’s main character

Since stills for the upcoming movie were first released a year ago, the all-pink hyper-feminine “Barbiecore” aesthetic has infiltrated the design world, with Google searches skyrocketing and the term accumulating more than 349 million views on TikTok.

Earlier this year, Barbie manufacturer Mattel collaborated with Pin-Up magazine to release a monograph on the architecture and interiors of Barbie’s Dreamhouse to mark its 60th anniversary.

“There have been so many books and entire PhDs on Barbie, but never really on her many houses and her furniture,” Pin-Up founder Felix Burrichter told Dezeen.

“So we thought it would be a good idea to make one and treat it as a serious subject, in the same way that Barbie has been treated as a serious subject over the years.”

The image is by Mattel.

Reference

Sustainable News

Design of the Workplace report reveals sustainability is “non-negotiable”

By Zarkon Group,08/06/2023

Promotion: companies that prioritise sustainability in their office design are preferred by workers according to a report commissioned by developer Brookfield Properties and architecture studio Foster + Partners.

Named Design of the Workplace, the report reveals that 93 per cent of people working in an “environmentally friendly office” feel happier in their job. It was also found to boost workers’ productivity and wellbeing.

“The workplace of the future is about creating spaces that support a greater range of activities and diverse working practices while focusing on wellbeing and offering people a sense of community,” said senior partner at Foster + Partners, Dan Sibert.

“Allied to this is a thorough analysis of the building’s carbon footprint – both operational and embodied carbon.”

Natural ventilation and lighting important

The publication, which surveyed more than 3,000 office workers in the UK, was released by Brookfield Properties and Foster + Partners at the Ecocity World Summit conference.

Participants said a sustainable workplace design means having good quality air and natural ventilation, as well as natural lighting and recycling facilities.

However, a fast internet connection, effective heating control and adaptable desks and chairs were also important factors to employees.

Installation at Ecocity World Summit — Brookfield Properties and Foster + Partners are showcasing a co-designed workspace installation at Ecocity World Summit

“Since Covid-19, every aspect of the building design needs to show how it impacts human health,” said Foster + Partners deputy head of workplace consultancy, Grant Kanik. “Workers, particularly younger workers, want to know what the air filtration systems are like, they want to know what the fresh air return rates are.”

“They want to understand their lighting systems, not only if they are energy efficient, but also if they are healthy. Basically, they simply want control over their environment. And that is what buildings should deliver,” he continued.

Material reuse should be considered

According to Design of the Workplace, if factors such as natural lighting and recycling facilities are not considered in a workplace, happiness levels drop to 55 per cent.

Three in 10 office workers who participated also said they would consider leaving their job if their company were not committed to sustainability. However, as many as 65 per cent of office workers were unaware of their office’s carbon footprint, with 75 per cent wanting to know more about it.

Team also showcasing workspace installation

Foster + Partners deputy head of workplace consultancy Kanik said longevity is also key.

“There’s the inherent sustainability of a building – the carbon embodied, the design and the energy consumption that goes into our design parameters as a matter of course now. But I think real sustainability goes beyond that, it’s about longevity,” he said.

Alongside the report, Brookfield Properties and Foster + Partners are showcasing a co-designed workspace installation at Ecocity World Summit.

Woman sitting at desk — The installation includes new “climate-forward” products by Foster + Partners

The installation includes new “climate-forward” products by Foster + Partners that will later be used at Brookfield Properties’ own workspaces.

“Design of the Workplace and our workstation installation at the Barbican in collaboration with Foster + Partners reflects the feedback from our occupiers and office workers generally,” said Brookfield Properties’ executive vice president, Dan Scanlon.

“There is a strong desire from companies and individuals to understand the carbon footprint of their workplace, and importantly how they can make meaningful reductions and deliver upon their own ESG goals.”

To download and read the report, visit Brookfield Properties’ website.

Partnership content

This article was written by Dezeen for Brookfield Properties as part of a partnership. Find out more about Dezeen partnership content here.

Reference

Sustainable News

The Springwise Top 5 – Springwise

By Zarkon Group,08/06/2023

This year has seen renewed momentum around the need to conserve marine and coastal habitats, and not before time. The international community has failed to meet the Convention on Biological Diversity’s target to protect 10 per cent of the ocean by 2020. However, even if that goal had been hit, it wouldn’t have been enough to reverse the damage wrought by the current 1.1 degree Celsius increase in global temperatures, estimated to be a 60 per cent degradation of the world’s marine ecosystems. The more ambitious target agreed at COP 15 last year, to protect at least 30 per cent of the world’s global ocean by 2030, could be more effective at sustaining long-term ocean health, if met.

Innovation is crucial to hit the 30 by 30 goal. Our Top 5 this week, in recognition of the United Nations World Oceans Day (June 8) provides just a snapshot of what is happening around the world to help preserve and restore crucial ecosystems.

A new kind of cubism to restore the seabed

A key contributor to the decline in marine ecosystems is the mass alteration of seafloor habitats and the over-industrialisation of fishery resources. Offshore wind farms, for example, are a crucial provider of renewable energy but they require foundations that are drilled deep into the seabed, stiring up large amounts of sediment and damaging habitats. Likewise, the construction of deep-sea cables.

ARC Marine, a UK-based firm, has a solution designed to be used by renewable energy firms, as well as aquaculture companies looking to create thriving ecosystems while farming fish and other marine life. ARC’s founders comprise engineers and scientists, who are also committed divers who witnessed first-hand the degradation of their local marine environment in the South West of England. The team developed its flagship technology, the reef cube, in response. Low-carbon, plastic free, and made from 98 per cent recyclable materials, the cubes feature circular passageways on each face leading to spherical chambers, ideal for lobsters. The surface is rough and uneven to encourage plant life and shellfish. The cubes can act as ‘anchors’ for wind turbines, preventing shifts in the sediment surrounding the structures and restoring precious ecosystems. The impact has been encouraging – the company’s own research has shown that typically after deployment, the cubes support three times as many species as controls, including blue mussels, feather stars, cuttlefish and squid, as well as providing a safe haven for shark eggs.

For more, visit arcmarine.co.uk

3D bricks promise to restore reefs

Meanwhile, one Swiss-based company, Rrreefs, has focused on coral reef replacements and creates bespoke solutions that provide multiple environmental benefits.

Using pure clay, the company 3D prints reef bricks that are customised to best suit the nearest shoreline and local environment. By understanding water flows and marine topography, the company builds structures that provide microenvironments for thousands of animals and plants to thrive. Protecting shores from erosion improves the growing environments for underwater forests of mangroves and seagrass, both of which are crucial to the capture of carbon dioxide. And a single cubic metre of the reef blocks provides a new home to more than 20,000 tiny animals, 20 corals, 60 fish, and more. Using 3D printing allows for modular production and complete customisation of the height, width, and length of the overall reef structure. The process also allows for local manufacturing, which further reduces the carbon footprint of each reef.

For more, visit rrreefs.com

An aquaculture solution that works in harmony with nature

Mangrove forests are rich in biodiversity, can effectively act against coastal erosion, and are valuable carbon ‘sinks’. However, over the last 50 years degradation and deforestation has destroyed 20-35 per cent of global mangrove cover.

A programme called Selva Shrimp by Swiss company Blueyou is making inroads into the restoration of mangrove forests in Vietnam, with a view to replicating its success in Indonesia. Blueyou is an established global group of companies focused on sustainable seafood. What sets Selva Shrimp apart is the role local communities play in the cultivation of shrimps in mangrove swamps laid waste by the damage wrought during the Vietnam War. The shrimps are introduced to the swamp and from there, it’s very light touch – no external inputs such as feed, fertlisers, or chemicals, are required. The creatures get what they need from the natural environment and, in turn, the mangrove forest thrives.

The programme provides a regular income for more than 3,500 small-scale farmers in South Vietnam. The shrimps are caught by net and the final product comes with a trace code that allows consumers track it back to the mangrove forest where it was caught.

For more, visit blueyou.com

The ‘jellyfish’ robot that could clean the oceans

The United Nations Environment Programme (UNEP) estimates that the 11 million metric tonnes of plastic currently entering our oceans every year is set to triple in volume in the next 20 years. Without intervention, this waste will take hundreds of years to degrade, severely harming marine life in the process.

Roboticists at the Max Planck Institute for Intelligent Systems in Stuttgart (MPI-IS) have developed an underwater robot inspired by jellyfish to collect waste from the bottom of the ocean.

The ‘Jellyfish-Bot’ is a versatile, energy-efficient, virtually noise-free robot that is just the size of a hand. It can also operate alone or with several others in combination. In the Jellyfish-Bot, the team decided to mimic a jellyfish’s ability to swim upwards and trap objects along its path. This function helps the robot collect waste particles that can then be transported to the surface, where they can be recycled.

For more details, click here.

Photo source Aponiente

‘Super grass’ takes on a whole new meaning

Seagrass is described as an “incredible tool” to fight climate change by the WWF. The plant accounts for up to 18 per cent of the ocean’s carbon storage annually, despite covering less than 0.1 per cent of the seabed. Although there are meadows full of the wild species across Europe, the plant is still dying at a concerning rate, and mass reforestation of Zostera marina has proven difficult. However, a new programme spearheaded by the research lab of Aponiente, a restaurant owned by Spanish chef Angel Leon, has found a way to cultivate the plant, in order to grow it as a sustainable crop suitable for human consumption, and to create a seedbank, which will make it easier to repopulate areas where the plant has been lost.

More widespread cultivation of Zostera marina could be a crucial weapon against climate change while providing us with a sustainably produced and highly nutritious food source. And as more Zostera marina meadows are restored, they will help to mitigate the effect of rising sea levels, regenerate marine life, and contribute to the survival of numerous marine species.

For more, visit cerealmarino.com

Written By: Angela Everitt

Reference

Architecture

What is a Design District and How Has Their Rise Transformed Our Cities

By Zarkon Group,08/06/2023

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.

In the ever-evolving landscape of urban design, the emergence of design districts has become a defining characteristic of progressive cities worldwide. These vibrant enclaves, often juxtaposed against the backdrop of industrial relics or purposefully planned developments, have become catalysts for economic growth, creative collaboration and community engagement.

At its core, a design district is a concentrated area within a city that serves as a thriving hub for creative and design-focused activities. These are places where architects, designers, artists and entrepreneurs converge to showcase their talents, exchange ideas and create an immersive experience for visitors. The value of a design district extends beyond its aesthetic allure; it breathes life into the local economy and community, fostering economic growth, cultural enrichment and a sense of place.

Grand Bazaar of Istanbul by IV. Murat

Long before the rise of modern metropolises, ancient civilizations laid the foundation for what we now recognize as design districts. These neighborhoods of artisans and craftspeople played a crucial role in the cultural and economic fabric of their respective societies. The Agora of Athens was a bustling marketplace that served as a hub for artists, philosophers and traders. Within its grand colonnades and stoa, the Agora fostered the exchange of ideas, the birth of democracy and the creation of iconic architectural wonders like the Parthenon.

While across the Aegean Sea, the 61 covered streets and 4,000 shops that make up the Grand Bazaar of Istanbul traces its origins back to the 15th century. This labyrinthine marketplace encapsulated the rich heritage and diverse influences of the Ottoman Empire. Within its alleyways, artisans, jewelers and carpet weavers transformed the Bazaar into a beacon of trade, attracting visitors from far and wide and establishing Istanbul as a global exchange hub.

Since then, we have borne witness to the emergence of many design districts across every continent and over centuries of design movements, and it was the demise of the industrial era that may have resulted in the most significant growth of the “design district.” Following the Second World War, countless factories and warehouses were left empty, creating opportunities for revitalization and adaptive reuse.

Soho neighborhood, Lower Manhattan, New York by Rafael Sanchez Lopez/Wirestock Creators

Starting with SoHo in New York City of the 1960s, abandoned factories and warehouses became fertile ground for architectural reinvention across the world. Once-decaying cast iron structures have since been transformed with design districts emerging from the ashes of these forgotten structures, infusing new life into their once-decaying shells. More recently, in the heart of London, the vibrant community of Shoreditch has flourished within the remnants of its industrial past. Former factories have been imaginatively transformed into studios, galleries and creative workspaces, attracting a new generation of artists, designers and entrepreneurs.

Similarly, the Meatpacking District in New York City underwent a remarkable metamorphosis from a gritty industrial zone to a thriving hub of fashion, art, and design. Repurposing the neighborhood’s historic meatpacking warehouses, the district now teems with high-end boutiques, galleries and avant-garde restaurants, redefining the concept of urban cool.

In the modern era, design districts have become invaluable commodities to thriving cities and the creatives who inhabit them. They serve as vibrant cultural epicenters, nurturing collaboration and cross-pollination of ideas across disciplines. These districts attract designers, artists and entrepreneurs, fueling economic growth through increased tourism, job creation and consumer spending. Their impact transcends economic gains; design districts contribute to the cultural fabric of a city, hosting exhibitions, events and festivals that celebrate creativity and artistic expression.

Shoreditch Chimney By Dani

However, patience is not a characteristic often coveted in urban development in the modern age, and today design districts may not be gifted the same lengthy development time as their predecessors. Rather than coming into existence as a natural ecosystem of designers, artists and makers drawn to an area with cheap rent and little in the way of planning restrictions, design districts are now often shaped by the vision of architects who are tasked to create places that accommodate the needs of the creative community while appealing to the broader public. Architects embarking on the design of a design district face multifaceted challenges to create authentic experiences.

The synergy of function and aesthetics lies at the core of successful design district architecture. Striking a balance between iconic structures that inspire and functional spaces that accommodate diverse businesses and creative enterprises is paramount. Architects must navigate the delicate balance between creating visually striking environments and ensuring that these districts cater to the needs and aspirations of the creative community and local residents.

Flexibility and adaptability are key considerations when designing design districts. The ability to evolve with changing trends, technologies and creative practices is crucial for their long-term success. Modular and versatile design principles that allow for easy reconfiguration are essential for fostering an environment of continuous innovation and adaptation.

Greenwich Peninsula Low Carbon Energy Centre by C.F. Møller Architects, London, England, United Kingdom. Photo by Mark Hadden

Similarly, connectivity and accessibility play pivotal roles in the design of these districts. Careful planning of transportation networks, pedestrian-friendly spaces and digital infrastructure is required to ensure the communities are accessible and inclusive. By integrating design districts with the larger urban fabric, architects foster connections, diversity and interactions, nurturing a sense of community and place.

While purposeful planning and intentional programming are important aspects of design district creation, striking a delicate balance is paramount. Single programming can inadvertently inhibit the natural “ecosystem” of different proprietors, stifling the organic growth and diversity that defines traditional neighborhoods. Design districts should feel as though they have evolved naturally, allowing for the emergence of a rich ecosystem of creative ventures and businesses intermingled with places to eat, linger and take part in cultural events. Their restaurants and music venues often define design districts.

Burò Furniture by Mezzo Atelier, Milan, Italy

Purposely designing a design district is challenging, and caution should be taken against over-planning and segmenting a district into areas for function which can lead to districts failing to be vibrant homogenous neighborhoods and echoing shopping malls with an area to eat, a zone to shop, and a place to work. The Greenwich Peninsula in London has been criticized for this very reason. The purpose-built design district lacks the balance of function needed to meet the aspirations of the creative community and local residents, which is crucial for creating spaces that resonate with authenticity and a sense of belonging.

Successful design districts bear the imprints of visionary architects who have shaped these urban landscapes. Zona Tortona, Milan, Italy, was designed by a collective effort of visionary architects, including Fabio Novembre, Giulio Cappellini, and Piero Lissoni. Zona Tortona has become one of the most iconic design districts in the world and is renowned for its cutting-edge design, fashion and art events. The former industrial area now comprises sleek showrooms, galleries and creative venues. Zona Tortona’s success lies in its seamless integration of contemporary architecture and historic industrial structures, creating a captivating and vibrant atmosphere for visitors and design enthusiasts.

Poblenou, Barcelona, Spain by Pavel

In Barcelona, the Poblenou Design District started around twenty years ago, when artist collectives took over abandoned factories to work and host parties. Early adopters of Poblenou included the artist Antoni Miralda and Mariscal, creator of the legendary Palo Alto design studio. Although large swathes of the area still retain a gritty nature, the neighborhood is now dotted with warehouse conversions containing open-plan homes, galleries, coworking spaces and architects’ studios, making it the historic city’s creative heart.

The economic and cultural benefits of design districts are far-reaching. They attract diverse businesses, from galleries, studios and showrooms to boutiques, cafes and restaurants. The influx of visitors and tourists fuels economic growth, job creation, and increased consumer spending. Design districts become vibrant cultural epicenters, hosting exhibitions, workshops, and events that celebrate artistic expression, foster cultural exchange, and enhance the local community’s quality of life. And so, if you ever find yourself at the forefront of designing a design district, consider the marketplaces of ancient Athens, the revival of SoHo by the struggling artists of New York or the design geniuses of Barcelona and perhaps 500 years from now, your efforts will stand as a testament of great design as the streets of Grand Bazaar of Istanbul continue to do so to this day.

Top image: Ancient Agora of Athens in Greece by nejdetduzen

Reference

Interior Design

Christian + Jade explores the Weight of Wood at 3 Days of Design

By Zarkon Group,07/06/2023

Danish design studio Christian + Jade has created an exhibition in collaboration with wood flooring manufacturer Dinesen that explores the density of wood and its significance and history as a commodity.

The Weight of Wood exhibition, which takes place at the Dinesen showroom as part of Copenhagen festival 3 Days of Design, was the result of a year-long research project commissioned by the brand’s recently founded Dinesen Lab.

Dinesen Lab invited Christian Hammer Juhl and Jade Chan, founders of Christian + Jade, to take part in a residency in which local artists were asked to work with wood harvested by the company to produce a research project and explore the weight of wood.

The Weight of Wood installation is located within a large exhibition space at the brand’s showroom in Copenhagen. This was divided into a series of smaller rooms via sheets of textured paper hung vertically from a wooden pavilion.

Photo of an installation at the Weight of Wood exhibition — It takes place at the Dinesen showroom

Each of the smaller rooms separates the exhibition into three different parts titled Forest and Wood, Wood and Wood, and Human and Wood.

Throughout the exhibition space, wooden tables hold a number of experiments and interventions completed by Christian + Jade using different types of wood that were harvested by Dinesen.

“We were fascinated by the idea that no two pieces of wood weigh the same, not even if it comes from the same tree trunk,” the studio explained at a preview of the exhibition. “This was really what sparked our interest in this project.”

Photo of Weight of Wood — The exhibition explores the ways in which wood has been commodified

“Through this exhibition, we have tried to work with this idea in various scales,” the studio founders added. “It sort of presents a design methodology, combining different pieces of wood with different densities.”

“What we have created is not only a series of furniture but also a rocking horse, a rocking chair and lots of small experiments that visualise this intangible quality of wood, which is the weight of wood.”

A collection of different-sized cubic wooden volumes were presented in the exhibition, made from 11 different species of wood including beech, cherry, Douglas fir and elm. Each of the pieces of wood weighs 250 grams and conveys the different densities of wood through volume and size.

A seesaw placed at the rear of the exhibition space featured a base made from Douglas fir and topped by a seat constructed from equal parts Douglas fir and oak. As a result of oak having a higher density than Douglas fir, the seesaw will always lean towards its oak-constructed side.

Photo of a wooden scale at Weight of Wood exhibition — The designers used Dinesen’s wood for their experiments

“We chose three different furniture archetypes that require weight and balance in their function – the seesaw, the rocking chair and the rocking horse,” Chan said.

“So in designing or reimagining the furniture, we’ve worked with four of Dinesen’s main wood species; that is Douglas fir, oak, pine and ash.”

Photo of the exhibition — The exhibition was divided into three parts

“The seesaw is an example of one of the simple principles that we apply – the pivot point is made using Douglas and the seat is made using oak and Douglas,” Chan added.

The rocking horse was constructed from 87 per cent Douglas fir and 13 per cent ash. Because of its Douglas fir-heavy construction, the horse always tilts towards one side, which provides it with a unique movement.

Chan concluded the preview of the Weight of Wood exhibition with a poem by H P Dinesen, a relative of the company founders:

“To those who love the tree, those who may be fighting the tree, the one who plants the tree, the one who fells the tree, the poet who praises the tree, and the one who simply settles with enjoying the tree.”

Also at this year’s 3 Days of Design, Nemo Lighting unveiled a light designed by architect Le Corbusier and a lamp by architect Charlotte Perriand and Takt launched a fully disassemblable sofa that can be replaced and recycled.

The photography is by Claus Troelsgaard.

Weight of Wood is on show as part of 3 Days of Design 2023, from 7 June to 9 June 2023. See Dezeen Events Guide for information about the event, plus a list of other architecture and design events taking place around the world.

Reference

David Yonker, Vice President, Insights Research Center at SAP, photo by Daniel Salemi

Sustainable News

“Build empathy with users” says industrial designer Ayse Birsel

By Zarkon Group,07/06/2023

Designing with empathy for the consumers of today and the future is a challenge we must take on, says Birsel + Seck co-founder Ayse Birsel at a talk filmed by Dezeen for Global Design Forum in partnership with SAP.

“If we have the users in the room thinking with us and using our tools to think creatively, that changes everything,” Birsel said.

Called Creating a Compelling Reason for Change as part of the Circular Design Series, the talk brought together a panel of design and digital thought leaders to discuss how to design for consumers in the face of global economic, environmental and social pressures.

“When we get to designing and changing the system, it’s a multifaceted challenge,” said vice president at SAP Insights Research Centre David Jonker during the talk.

“Those who will be the disruptors are those who are willing to question some of the fundamental assumptions that we take for granted,” he continued.

Eli Halliwell, chairman at Hairstory, photo by Daniel Salemi — Eli Halliwell is the chairman of haircare company Hairstory

There is an opportunity to design products to be inherently better and cleaner, said executive chairman and co-founder of Hairstory Eli Halliwell.

“The step-function change comes from rethinking the actual problem that you’re trying to solve, versus just iterating on the delivery mechanism or the packaging,” Halliwell said.

Ayse Birsel, co-founder of Birsel + Seck, photo by Daniel Salemi — Ayse Birsel is an industrial designer and co-founder of Birsel + Seck

Birsel also spoke about how inclusive consumer research can promote change, explaining that consumer datasets historically tend to be skewed towards men.

“For example, pianos are not measured and made for women, and that means there are very few great pianists who are women in the world, not because they are not talented, but because the products are not designed for that data set,” said Birsel.

“It’s on us to design great products for this new era, which is our future,” she continued. “We’re living longer and longer but the planet’s life is shorter and shorter.”

Birsel expressed that consumers in today’s world have the opportunity to collaborate with designers.

“When I think of circularity of design, it’s not only design and brand together anymore, it also includes the user. When we can do that, we build incredible empathy with our users. They feel heard, they feel seen,” she said.

The Standard High Line Hotel, photo by Daniel Salemi — The talk was held at The Standard, High Line in New York City

Global Design Forum is London Design Festival’s curated thought-leadership programme. Its flagship event will take place as part of the London Design Festival in September.

Photography is by Daniel Salemi.

Creating a Compelling Reason for Change is the second talk filmed by Dezeen as part of Global Design Forum’s The Future of Packaging symposium, which took place on 23 May 2023 at The Standard High Line Hotel during design festival NYCxDesign. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

Partnership content

This video was produced by Dezeen as part of a partnership with London Design Festival. Find out more about Dezeen partnership content here.

Reference

Sustainable News

An AI-powered management hub for sustainability data

By Zarkon Group,07/06/2023

Spotted: While many companies strive to have more sustainable practices, research by Bureau Veritas reveals that only a third of clients surveyed publish a sustainability report. Companies and their managers struggle to stay updated and use many resources to manage their sustainability data. But Danish startup, BeCause is working to help companies manage their data so they can make better decisions for themselves and the world.

BeCause is an artificial-intelligence-powered (AI) all-in-one hub for collecting, coordinating, and communicating sustainability data. The ‘collect’ hub allows companies to input existing data, including past awards and certifications, diversity information about the company make-up, sustainability statements, and Sustainable Development Goals (SDGs) priorities. With ‘coordinate’, companies and stakeholders can assign and track ongoing tasks related to sustainability targets. Finally, in the ‘communicate’ hub, users can manage their company’s public profile, easily generate reports, and retrieve widgets for company emails or websites that will automatically update with new sustainability data.

BeCause’s technology speeds up, and reduces costs for sustainability management, cutting the time and energy normally spent on repetitive and error-prone manual administrative tasks. This helps companies ensure compliance as well as maintain competitive advantage, allowing them to clearly communicate sustainability efforts to travellers and stakeholders.

One of the target sectors for the startup is tourism, and here the software can speed up the process of transferring sustainability information and certifications to online travel agencies. Meanwhile, in the investment sector, BeCause can reduce manual data collection processes for venture capital and private equity funds, and in the electronics indystry the software makes it easy to communicate data such as the percentage of recycled material in a product.

BeCause recently secured a €416,000 investment from Danish investors Carsten Mahler and Daniel Heskia, which will be used to scale the platform.

Springwise has spotted many innovations looking to make travel and tourism more sustainable. One startup aims to simplify the booking process for sustainable travel, while another promotes nature-based getaways.

Written By: Anam Alam

Reference

Architecture

saudi arabia pavilion at the 2023 venice architecture biennale

By Zarkon Group,07/06/2023

a walk through ‘IRTH إرث’ at the 2023 saudi arabia pavilion

2023 Venice Architecture Biennale: For its third participation at the international fair, the National Pavilion of Saudi Arabia presents ‘IRTH إرث’ (meaning ‘legacy’ in Arabic), a spellbinding and multi-layered sensory exhibition under the curation of Basma and Noura Bouzo. Designed by architect AlBara Saimaldahar, the show examines the symbiotic relationship between material and immaterial properties and links past to future using one of the most historically significant and primary materials used in Saudi architecture: earth.

exploring material vs. immaterial, and linking past to future

Materials used to shape built environments can be thought of as quiet storytellers. Their unique properties, both tangible and intangible, tell us plenty about the inhabitants of a country or region. They are, in other words, embedded with narratives and hold valuable lessons that bridge traditional knowledge with new practices, creating a constantly evolving line of continuity. At this year’s Venice Biennale, ‘IRTH إرث’ physically explores this line linking past and future by celebrating Saudi Arabia’s most characteristic building material. Used as both a structural and cladding element, earth is spotlighted here through its textures and colors — spanning the entire spectrum of the country’s natural tones, from its desert dunes to the red sea coast.

six arches clad internally with wood panels and externally with 3D-printed clay tiles

a multi-layered, sensorial journey into Saudi Architecture

Illustrating this concept, the 2023 Saudi Arabia Pavilion design takes on a multi-layered approach, allowing visitors to experience the exhibition from different perspectives. The first layer is the structure itself, divided into several sections and reflecting on the method and use of vernacular components jointly with innovative technologies. The second layer, defined as the exhibition content, provides an overview of earth’s present and future in Saudi architecture.

The distinctive layout envisioned by AlBara Saimaldahar (see more here) combines nostalgia, legacy, and ongoing adaptation. It looks to the future through the lens of the past; it enhances the intrinsic essence of Saudi craftsmanship through elaborate artifacts, takes traditional patterns and motifs from Al-Balad, the Historical Jeddah, and transforms them into fluid forms. The evolution of the very concept of legacy is challenged in a crescendo that reaches its climax at the end. At the heart of the project is an experiential component: a simple, immersive room that stimulates the visitors’ senses, triggering individual reactions in an independent and uninfluenced manner.

celebrating the primary material in Saudi architecture: earth

‘The destination itself is not the end but rather a call for reflection and eventual examination of how one’s senses not only take but generates imprints within space and time. It is here that architecture brings to the surface the value of the unseen, allowing its occupants to build their own cognitive reconnaissance and placemaking,’ comments Saimaldhar.

The journey through the Pavilion’s three main structures begins by passing beneath six arches as authentic gateways. With their imposing eight-sided metal structures clad internally with wooden panels and externally with 3D-printed clay tiles – featuring an undulating pattern reminiscent of desert dunes – the portals convey both grandeur and lightness. On the one hand, they evoke monumental works of architecture carved in stone and in caves — mighty, seemingly indestructible, and enduring across time — and, on the other hand, the transience of materials, unstable like the sand of the Rub’ al-Khali desert or the Empty Quarter, as the outer covering gradually fades until it disappears.

the exhibition provides an overview of the material’s present and future

Meanwhile, an olfactory experimentation emerges in the middle of the Pavilion. A large and empty rectangular room is imbued with a fragrance created especially for the exhibition: notes of lavender, frankincense, and myrrh rise in the air, resonating with Arab culture in its most homely form. An immersive sensory hub, this dematerialized environment offers a glimpse of the future through the lens of tradition — an existential experience allowing visitors to experience something exceptional, sensing a ‘moment’ in time and triggering a memory of the Pavilion that will be different for each person.

The only material element inside the hall is a 3D-printed clay column illuminated by interior lights that project mystical patterns onto the Pavilion’s floor, walls, and ceiling. When the Biennale concludes, the sculpture will be transported to the bottom of the Red Sea, acting as an artificial stone to stimulate the growth of a marine ecosystem.

‘Underwater structures play a key role in the formation of habitats. Gradually, as more columns are printed, this ‘first stone’ will be joined by new elements: a gradual and continuous pattern of growth that will transform a single object artificially placed in a natural setting into an expanse of vertical lines, a labyrinth from which corals and other life forms will come forth. The contrast between the pure geometric form of the columns and the irregular expansion of life within them will visualize the relationship between nature and artifice: a human artifact is reclaimed and incorporated by nature in a dynamic balance that is both fragile and enduring,’ writes the curatorial team.

The layout concludes by passing through two more portals: here, the visitor is invited to get involved in their transformation, adding new tiles (from the legacy of earth/clay tiles) to an octahedral structure through an interplay of progressive change, day after day.

According to Basma and Noura Bouzo, the experiments and explorations on display at the Saudi Arabia Pavilion combine the interdisciplinary perspectives of architects and designers, inviting the public to take part in a journey that will help define a legacy for future generations. ‘The pavilion brings to the forefront the notion of collaborative practice as a foundation of the laboratory of the future. It invites visitors to breach their role as spectators and actively engage in the process. The experience itself mirrors the future of architecture and materiality as a work in progress, determined not only by the practitioners but by its occupants.’

Reference

India Mahdavi revamps Villa Medici in Rome

Interior Design

India Mahdavi enlivens Rome’s Villa Medici with bold geometric furnishings

By Zarkon Group,06/06/2023

Architect India Mahdavi has updated six rooms within Rome’s 16th-century Villa Medici to feature an array of contemporary and colourful furniture.

The intervention comes as part of a three-year project called Re-enchanting Villa Medici, which was launched in 2022 to amplify the presence of contemporary design and craft within the Renaissance palace.

While the first phase of the project saw fashion brand Fendi revamp Villa Medici’s salons, Mahdavi was asked to freshen up rooms on the building’s piano nobile or “noble level”, where the main reception and the bedrooms are housed.

She worked on a total of six spaces including the Chamber of the Elements, Chamber of the Muses and Chamber of the Lovers of Jupiter, which once served as an apartment to Cardinal Ferdinando de Medici.

The three other rooms – titled Debussy, Galileo and Lili Boulanger – were formerly used as guest quarters.

In the Chamber of the Muses, which is topped with a dramatic coffered ceiling, Mahdavi inserted sea-green editions of her Bishop stool alongside an enormous hand-tufted rug by French workshop Manufacture d’Aubusson Robert Four.

Its geometric design features green, purple, red, and rosy pink shapes, recalling the flowerbeds that appear across the villa’s sprawling gardens.

Only subtle alterations were made to the Chamber of the Elements and Chamber of the Lovers of Jupiter, where Mahdavi has repositioned an existing bed to sit against an expansive wall tapestry.

Some of the chairs here were also reupholstered in raspberry-hued velvet.

A cluster of bright yellow sofas and armchairs sourced from the French conservation agency Mobilier National was incorporated into the Lili Boulanger room, named after the first female composer to take up residence at the villa.

The furnishings sit on top of a blush-pink rug by French manufacturer La Manufacture Coglin and are accompanied by octagonal tables designed by Mahdavi.

A Renaissance-style four-poster bed was added to the room named after astronomer Galileo Galilei, who reportedly visited Villa Medici twice in his lifetime.

The bed’s tiered wooden base and headboard were inlaid with graphic, berry-toned marquetry by cabinetmaker Craman Lagarde. The pattern, which also appears on the curtains that enclose the bed, takes cues from the design of the villa’s flooring.

A similar bed can be seen in the room named after French composer Claude Debussy. But this time, the marquetry done by French furnituremaker Pascal Michalon is executed in more “acidulous” colours that Mahdavi said reminded her of Debussy’s piano piece Clair de lune.

Mahdavi has lent her distinctive colour-rich aesthetic to a number of significant venues. Recent examples include the lavish London restaurant Sketch, to which she added sunshine-yellow and golden furnishings.

The photography is by François Halard.

Reference

Sustainable News

Takt creates flat-pack sofa that is “designed for repair”

By Zarkon Group,06/06/2023

Danish furniture company Takt has launched Spoke Sofa, a sofa that can be fully disassembled and have its parts replaced and recycled, in Copenhagen for 3 Days of Design.

Spoke Sofa, which is the brand’s first sofa, was developed in collaboration with Norwegian studio Anderssen & Voll.

Rooted in circular principles, it aims to provide an alternative to conventional sofas, which are “notoriously wasteful,” according to the brand.

The brand intends for the Spoke Sofa to be passed down through generations by undergoing maintenance when required.

Rather than disposing of the entire seat and replacing the sofa, users can take the sofa apart and replace parts of it themselves.

“All of the joints are exposed and mechanical, so simple tools can be used to disassemble the sofa, then you can order a replacement part from our website to repair it yourself,” said the brand.

“Spoke is fully EU Ecolabelled – the official European Union label for environmental excellence – and has been designed for repair, so that all components and upholstery can be replaced with spare parts, extending the life of the sofa indefinitely,” Takt added.

Lilac sofa in Scandi-style interior — The cushions can be upholstered in a choice of seven coloured fabrics

Takt chose to focus on the sofa as a product as they can be difficult to recycle.

“The sofa category is notoriously wasteful, so we always had our eye on it as one to address,” Takt founder and CEO Henrik Taudorf Lorensen told Dezeen.

The Spoke Sofa’s base is made from a choice of responsibly sourced beech or oak grown in Europe.

Its upholstery is deliberately loose-fit, allowing easy removal for cleaning purposes, and was made by textile brand Gabriel from 98 per cent post-consumer recycled polyester.

The material itself is 100 per cent recyclable, the brand said.

“We designed and specified the upholstery to ensure the user could actually take it off, wash it at home at 40C and mount it again – or replace it with a new set if it’s damaged or you want to change the appearance,” Takt said.

Detail of back of sofa with wooden spokes visible — Wooden spokes along the back of the sofa give it its name

The three-seater sofa is topped by lozenge-shaped cushions that can be moved freely to accommodate a range of uses, including socialising, lounging and as a day bed.

The frame itself is characterised by the rhythmically placed tapered spokes that run along the back of the seat.

“Spokes such as these are an age-old means of creating a flat supporting surface and have been a feature of English and Scandinavian utility chairs for centuries,” said Takt.

“Spoke Sofa takes this traditional craft technique and incorporates it into a distinctly contemporary aesthetic expression, foregrounding simplicity, comfort and natural materiality.”

Detail of sofa legs — The sofa was designed to be passed down

The brand hopes that the sofa’s design will give it a longer life.

“We believe that furniture should be loved, cared for and handed down to future generations,” Taudorf Lorensen continued.

“This is why all of our furniture is designed for repair. Our customers become familiar with every component during the surprisingly enjoyable assembly process. So when life happens, they can identify the right part to repair or replace.”

Other recent sustainable furniture designs include outdoor seating with woven seats made from old fire hoses by Local Works Studio and furniture and accessories for a restaurant made from its own food waste by Carolina Härdh.

The photography is by Claudia Vega.

Spoke Sofa is on view at at Original Coffee, Store Kongensgade 124 as part of 3 Days of Design 2023, from 7 June to 9 June 2023. See Dezeen Events Guide for information about the event, plus a list of other architecture and design events taking place around the world.

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saudi arabia pavilion at the 2023 venice architecture biennale

a walk through ‘IRTH إرث’ at the 2023 saudi arabia pavilion

exploring material vs. immaterial, and linking past to future

a multi-layered, sensorial journey into Saudi Architecture

India Mahdavi enlivens Rome’s Villa Medici with bold geometric furnishings

Takt creates flat-pack sofa that is “designed for repair”

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