Spotted: Carbon fibre composites are widely used substances, appearing in aircraft and spacecraft parts, wind turbine blades, bicycle frames, and many other components that need to be strong but light. However, most carbon fibres are difficult to recycle and repurpose. This is particularly problematic in the wind turbine industry. Given that, from 2030 onwards, around 5,700 wind turbines will be dismantled each year in Europe alone, a recycling solution needs to be found.
Fairmat has devised a way to recycle all types of carbon fibre composites. Its process is largely automated and uses robotics and machine learning to deliver precision and efficiency. The proprietary process breaks waste up into small pieces that keep the original resin and carbon fibre together. Fairmat then creates compounds from the waste and coats them with a small amount of additional resin to form a new matrix. The resulting compound is then moulded according to customer needs and hardened.
Ben Saada, Fairmat CEO, explains: “Recycling advanced materials like carbon fibre composites is one of the strongest actions we can take to accelerate the decarbonisation of the manufacturing sector.”
Although the process is still under development, Fairmat has already secured more than 35 per cent of European carbon fibre scrap supply and opened its first factory. The company has also secured €34 million in a series A funding round and hopes to eventually expand into the US, Spain, and Germany.
The growing mountain of used wind turbine blades sitting in landfills is encouraging a number of innovations targeting this waste. Some of those recently spotted by Springwise include blades made from a composite material that can be more easily recycled and reused, a bladeless turbine, and a bioplastic blade material that can be turned into gummy bears.
As part of our Timber Revolution series, we have rounded up the world’s 10 tallest buildings with mass-timber structures, including an engineered-wood shopping-centre extension and a carbon-negative cultural centre.
Compiled using data from the Council on Tall Buildings and Urban Habitat, the roundup also features apartment towers, hotels and a school, demonstrating the potential of mass timber in building tall structures.
While some of the projects have structures made entirely from mass-timber components, such as cross-laminated timber (CLT) and glued laminated timber (glulam), others introduce concrete and steel elements to build taller.
Here are the world’s 10 tallest buildings with mass-timber structures:
Photo courtesy of Korb + Associates Architects
Ascent, USA, by Korb + Associates Architects (2022)
Designed by American studio Korb + Associates Architects, this 86.6-metre-tall luxury apartment and retail tower in Wisconsin was certified last year as the world’s tallest timber building.
Named Ascent, the 25-storey building has a concrete base, elevator and stair shafts, with the rest of its structure made from CLT and glulam.
Photo courtesy of Moelven
Mjøstårnet, Norway, by Voll Arkitekter (2019)
Certified as the world’s tallest timber building at the time of its completion in 2019, the 85.4-metre-tall Mjøstårnet tower by Norwegian architecture studio Voll Arkitekter has glulam columns and elevator shafts made entirely from CLT.
Located in Brumunddal – an area in Norway with an established wood-processing industry – the timber used to build Mjøstårnet was locally sourced.
Photo by Baudevelopment
HoHo Wien, Austria, by RLP Rüdiger Lainer + Partner (2020)
Austrian architecture studio RLP Rüdiger Lainer + Partner designed the mixed-use HoHo Wien building with three connected tower blocks arranged in an L-shape, each with a concrete core supporting the timber structure.
According to the studio, 75 per cent of the 84-metre-tall building above the ground-floor level is made from wood, including walls, ceilings, floors and columns.
Photo by Jannes Linders for Team V Architecture
Haut, the Netherlands, Team V Architecture (2022)
Dutch architecture studio Team V Architecture designed the 21-storey Haut residential building with floors and load-bearing inner walls made from CLT, along with a predominantly glazed facade and a core, basement and foundations made of concrete.
The 73-metre-tall structure features a rooftop garden with rainwater storage and 1,500 square metres of solar panels on its roof and facade, helping it achieve a BREEAM Outstanding sustainability rating.
Photo by Patrick Degerman
Sara Kulturhus Centre, Sweden, by White Arkitekter (2021)
The Sara Kulturhus Centre in Skellefteå, Sweden, is a 72.8-metre-tall structure made from CLT and glulam that architecture studio White Arkitekter designed to be carbon negative over its lifetime.
It was completed in 2021 and contains a theatre, gallery, library, museum and hotel.
“Embodied carbon emissions from materials, transport and construction as well as carbon emissions from operational energy during 50 years are less than the carbon sequestration in wood within the building,” said White Arkitekter partner Robert Schmitz.
Photo by Ossip van Duivenbode
De Karel Doorman, the Netherlands, by Ibelings van Tilburg Architecten (2012)
Dutch architecture studio Ibelings van Tilburg Architecten restored a 1940s shopping centre in Rotterdam and topped it with a hybrid structure of wood and steel containing 114 apartments.
The original shopping centre was ready for demolition before the studio’s intervention, which rests on existing concrete pillars and foundations and extends the building to a height of 70 metres.
“By choosing to ‘top up’ the building we have prevented demolition and the need to remove 15,000 tonnes of concrete,” said the studio.
Photo by Peter Clarke
55 Southbank Boulevard, Australia, by Bates Smart (2020)
Australian architecture studio Bates Smart transformed a concrete building in Melbourne into a 69.7-metre-tall hotel by adding a 10-storey CLT structure on top of it.
Completed in 2020, the studio claims that the project is Australia’s first CLT extension.
“The existing concrete building was designed to support an additional five floors of concrete structure, however by utilising timber, which is 20 per cent the weight of concrete, an additional 10 levels were able to be built providing 15,000 square metres of new floor space and 220 new hotel rooms,” Bates Smart told Dezeen.
Photo courtesy of Zug Estates Holding AG
Arbo, Switzerland, by Manetsch Meyer Architects (2019)
Swiss architecture studio Manetsch Meyer Architects designed three buildings for the Lucerne University of Applied Sciences and Arts campus in the Swiss municipality of Risch-Rotkreuz.
Two of the three buildings were constructed with composite structures of wood and concrete, including the tallest building named Arbo, which is 60 metres tall and currently the world’s eighth-tallest mass-timber building.
According to the project developer Zug Estates, Arbo was the tallest wooden building in Switzerland when it was completed in 2019.
Photo courtesy of CPG Consultants
Eunoia Junior College, Singapore, by CPG Consultants (2019)
Completed in 2019 by building management firm CPG Consultants, the Eunoia Junior College comprises both a 10-storey and 12-storey tower, alongside a five-storey structure topped with a sports field. At its tallest point, it reaches 56 metres.
Described by the firm as Singapore’s first high-rise junior college, the school is constructed with CLT exterior walls clad with aluminium, teamed with floors made up of concrete slabs and glulam beams.
Photo by Michael Elken
Brock Commons Tallwood House, Canada, by Acton Ostry Architects (2017)
This student residence in Vancouver was formerly the tallest contemporary mass-timber building in the world at the time of its completion in 2017.
Although its height of 53 metres has now been well surpassed, Canadian studio Acton Ostry Architects designed the student housing to demonstrate that engineered wood was a viable option for building high-rise structures.
It is constructed from two concrete cores, along with CLT floor panels that are supported by glulam columns.
Timber Revolution This article is part of Dezeen’s Timber Revolution series, which explores the potential of mass timber and asks whether going back to wood as our primary construction material can lead the world to a more sustainable future.
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Architecture and design have many faces, and the kaleidoscopic world of psychedelia is a fascinating one. Entrancing sinuous curves, vibrant hues, and boundless imagination alongside a connection between mind, body and the natural world are the key elements in this energetic aesthetic. Born initially from revolutionary 1960s counterculture, this surreal realm of artistic expression profoundly influenced architecture and interior design during its short reign, with daring architects pushing beyond conventional boundaries to create new, unprecedented environments.
As the reemergence of this enigmatic movement in today’s design landscape unfolds, it’s exciting and informative to delve into the past to understand its enduring allure.
A journey into the psychedelic movement’s history reveals that at its origin, the trend was heavily influenced by the widespread consumption of mind-altering substances and as the 1960s counterculture redefined the boundaries of art, politics, and social norms, a renaissance in artistic expression took hold, with architecture swept up in the beguiling influence.
One early example of psychedelic architecture is in Hamburg, Germany, at the Spiegel Publishing House. In 1969, Danish designer Verner Panton, a pioneer of psychedelic design, unveiled his magnificent office space. His avant-garde vision featured undulating contours, amorphous furnishings, and a riot of colors harmonizing into a symphony of visual delight. This space encapsulated the essence of the movement, defying traditional design’s rigidity and embracing a new world of imagination.
Around the same time, the groundbreaking architectural collective Ant Farm designed the House of the Century, an exemplary psychedelic edifice. This residential project is situated in Texas and boasts a distinctive, futuristic design with a curvilinear exterior and a luminous, open-plan interior. The structure’s seamless integration with its natural surroundings demonstrated the psychedelic movement’s affinity for the organic, a feature that would become a hallmark of the style.
In London, the 1967 opening of the UFO Club, designed by Michael English and Nigel Waymouth, heralded a new era for countercultural gatherings and developed a space that would not only reflect their way of thinking but encourage others to think and experience in new ways. The club’s interior, resplendent with otherworldly patterns and shimmering lights, provided an immersive experience, transporting visitors to a realm of hallucinatory euphoria. As a haven for artists, musicians and intellectuals, the UFO Club became and remains synonymous with the 1960s counterculture and the psychedelic aesthetic.
There are many examples of psychedelic design and our list would be incomplete without mentioning the influence of Austrian artist and architect Friedensreich Hundertwasser. Hundertwasserhaus is an apartment building in Vienna, was completed in 1985 and showcased his penchant for fluid forms, vibrant colors, and ecological awareness. With uneven floors, meandering corridors, and lush rooftop gardens, the Hundertwasserhaus defied conventional architectural norms, embodying the psychedelic spirit of freedom and individuality.
Conemoting Market by Yebin Design, Shenzhen, China Photograph by Xiaoyun
Ordinance of the Subconscious Treatment by Atelier Duyi Han, China Photograph by Atelier Duyi Han
Fast forward to the present, and the reemergence of psychedelic design is evident across various contemporary projects. This resurgence can be attributed to several factors, including a renewed interest in alternative spirituality, eco-conscious design, and a desire to break free from the monotony of minimalist aesthetics. While historically, psychedelia meant the use of vibrant colors and contrasting materiality, today’s refined and developed architectural style has led to architects and designers primarily adopting the movement’s core principles into their own explorations, emphasizing fluidity, form, and connectivity with nature over simply vivid color.
Hafary Gallery by Park + Associates, Singapore Photograph by Khoo Guo Jie
Some critics have suggested that the reemergence of psychedelic architecture directly correlates with the resurgence of interest in psychedelics for mental health and well-being, a field that has undoubtedly risen to the forefront of both healthcare and design as a key focus point. As research into the therapeutic potential of various substances gains momentum and research space, so does the notion that the psychedelic architecture of the past may have had unlocked an essential insight when considering and developing spaces that support our emotional and physical health.
A recognizable cultural shift towards introspection, creativity, and self-expression is widely observed in todays society and this shift dovetails with the core principles of psychedelic design, encouraging architects and designers to revisit and reinterpret the movement’s legacy. Even if today’s architects aren’t necessarily taking the psychedelics themselves, the aesthetics of 1960s have impressed themselves on cultural memory, and it seems that firms dabbling in formal experimentation on this legacy — whether it is consciously or unconsciously.
Serpentine Pavilion by BIG – Bjarke Ingels Group, London, United Kingdom Photograph by Iwan Baan
Notable examples of modern psychedelic-inspired architecture include the Bjarke Ingels Group’s (BIG) Serpentine Pavilion that stood in London in 2016 or the Blur Building by Diller Scofidio + Renfro in Switzerland. The Serpentine Pavilion, completed in 2016, featured an undulating, translucent structure that invites visitors to explore its labyrinthine pathways.
A masterful use of form and light transform the pavilion into an immersive experience, echoing the psychedelic principles of the past. Meanwhile, the Blur Building is an ethereal cloud-like structure on Lake Neuchâtel. A fine mist generated by water jets envelops the structure, creating a dreamlike atmosphere that harkens back to the mystique of psychedelic design and the importance of experience within the movement.
Without question, the 1960s counterculture’s psychedelic movement left an indelible mark on the architectural and design world, pushing the boundaries of conventional architecture. Today it becomes evident that the psychedelic spirit continues reverberating through the world of design. As architects and designers find inspiration in the past and chart new territory, the allure of psychedelic design endures. As humans continue to explore alternative forms of spirituality, eco-conscious design, and the therapeutic potential of psychedelics, the vibrant and innovative legacy of psychedelic architecture remains a powerful source of inspiration.
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All electric vehicles, except Teslas, use public and private L-2 chargers via a J1772 connector, also known as the J-plug. (Tesla vehicles come with the adapter that lets you use the J-plug.) An L-2 charger will typically take about 4-10 hours to fully charge an EV. For home EV charging, that usually works.
“Eighty percent of EV charging is done at home anyway, and they charge overnight,” Myers added. “The average mileage that an EV driver drives is around 30 miles a day. People really don’t need to go in and do a super-quick fill up at home.… You don’t run your cell phone until it’s completely empty and then run to go charge again. You use it during the day, and at night you plug it in and then it charges. That’s really how EVs are run. So we kind of have to get into that mentality [with our cars].”
Public DC fast chargers
Even so, sometimes we need a quick charge to get us home. “Where these [DC] fast chargers come in is along major highways, because that’s where you do need it if you’re traveling from here to here: to provide that 15-minute, half-hour stop,” Myers said. “You get some coffee or whatever, fill up and then be on your way.”
FYI: there are three types of DC fast chargers: CHAdeMO, CCS, and Tesla. Again, you’ll find these DCFC stations in public, but not for home EV charging.
CHAdeMO (the initialism for charge de move is pronounced CHAD-em-oh) has become the standard for manufacturers like Nissan and Mitsubishi.
The more common CCS, or combined charging system, is an open-source standard. In the US, all newly manufactured passenger EVs (except Tesla) will use the CCS connector.
Tesla vehicles utilize their own DC fast chargers, but vehicles come with adaptors for CCS.
For our latest lookbook, we’ve collected eight bathrooms with decorative sunken baths that create a relaxing atmosphere.
Sunken baths are bathtubs that have been sunk into the bathroom floor, decks or patios. They can help to save space in the bathroom and to create a luxurious spa-like feeling.
In this lookbook, we’ve gathered inspirational sunken bathtubs in homes from South Korea to Ukraine, including a peaceful sunken bath on a wood patio and a bath clad in green tiles.
This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring offbeat bakeries, minimalist Tokyo apartments and interiors with natural materials and timeless accents.
Photo by Rohan Venn
Sydney extension, Australia, by Emily Sandstrom
Architect Emily Sandstrom’s extension to a 1930s bungalow in Sydney includes a bathtub that was sunk below floor level.
Clad in small black and grey tiles, the bath was informed by Japanese bathing rituals and also has timber decking that covers the drainage points for an overhead shower. Glass sliding doors provide restful garden views.
Find out more about the Sydney extension ›
Photo by Casey Dunn
The Preston Hollow, US, by Specht Architects
The Preston Hollow was designed to reference brutalist architecture and its clean concrete lines are visible in the interior, too, including in the minimalist bathroom.
Here, a sunken bathtub blends into the wood floor. Marble details and a sculptural chair add decorative, organic touches to the spartan space.
Find out more about The Preston Hollow ›
Photo by Rob Maver
Bruny Island Cabin, Australia, by Maguire + Devin
This wood-lined off-grid cabin in Tasmania comes with two decks to let the owner enjoy both the sunset and the sunrise. The western deck, which provides views of the sunset, has a cosy, sunken outdoor bathtub.
The tub can be hidden under removable decking panels when it is not in use.
Find out more about Bruny Island Cabin ›
Photo by Texture on Texture
Nuwa guesthouse, South Korea, by Z_Lab
This tiny guesthouse (above and main image) in Seoul, South Korea, is located in a small alley in the city’s Seochon neighbourhood. Inside, the serene living spaces are finished in neutral colours.
The living space features a long walnut table with a rough stone base. Next to it sits a sunken bath in which guests can wash their feet.
Find out more about Nuwa guesthouse ›
Photo by José Hevia
Palma hideaway, Spain, by Mariana de Delás
In the all-white bathroom of this Spanish apartment, the floor has been raised in order to accommodate a sunken bath that was lined with green tiles also used elsewhere in the project.
A white marble sink and a couple of green plants add decorative details.
Find out more about Palma hideaway ›
Photo by Andrey Avdeenko
Family apartment, Ukraine, by Sergey Makhno
Japanese influences were blended with Ukrainian design in this family flat in Kyiv, Ukraine.
A bathroom with a sunken bath and garden views is divided from the main bedroom by a gridded Crittall-style glass wall. A small bonsai tree on the floor and a stone sink create a natural feel in the bathroom.
Find out more about the family apartment ›
Sydney cottage, Australia, by Panovscott
The bathroom inside this Australian cottage extension has four alcoves in different sizes and walls and floors made from compressed cement.
A sunken bath made from a single piece of concrete is merged into the floor.
Find out more about the Sydney cottage ›
Photography by Radu Palicica
Sunken Bath, UK, by Studio 304
This glazed bathroom, called Sunken Bath, was added to a Victorian terraced house in east London by local designers Studio 304.
The bathing area is enclosed by glass walls and a glass roof and features a sunken bath designed to follow the Japanese ritual of bathing.
Find out more about the Sunken Bath ›
This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring offbeat bakeries, minimalist Tokyo apartments and interiors with natural materials and timeless accents.
Spotted: Agriculture is highly vulnerable to climate changes and extreme weather events, and as global warming heats the planet, this vulnerability will get worse. Seasonal climate variability already frequently undermines farm yields, reduces food availability, and lowers income. Small-scale agricultural producers, who often feed themselves from their farms as well as others, are especially affected by unpredictable rainfall. Oko was created to help farmers deal with this uncertainty.
The startup provides low-cost crop insurance for small farmers. Oko (which is the name of an African deity who protects harvests), uses the concept of index insurance. This uses data analysis and risk calculation, rather than onsite inspections, to create cheaper and more accessible insurance.
Farmers sign up and manage their insurance using their mobile phones. They pay around $20 (around €18.60) for one season’s coverage of approximately 1.7 hectares. Oko analyses the risk to each plot and the cost of insurance using historical and weather data.
The company uses real-time satellite data and rainfall monitoring to monitor for floods and check the amount of rainfall needed for a good harvest. If there is a flood or if rainfall drops below a certain amount, a payment to the farmers is triggered automatically. Because farmers only need to sign up once to receive future payouts automatically, it reduces the chances that these smallholder farmers will fall victim to fraud and fake insurance scams every time a drought hits.
Tackling climate change is partly about building resiliency, and insurance that is affordable and easy to use is one way to do this. Springwise has also spotted other innovations aimed at building climate resilience. These include improving the biodiversity of forests with fungus, and using modular greenhouses to protect farmers from the effects of extreme weather.
Next in our Timber Revolution series is a profile of Mjøstårnet, an 85.4-metre-high tower in Brumunddal, Norway, that was one of the world’s first true timber skyscrapers.
The 18-storey mixed-use building was named world’s tallest timber building by the Council on Tall Buildings and Urban Habitat (CTBUH) when it was completed in March 2019, comfortably surpassing the 53-metre Brock Commons Tallwood House in Vancouver.
Architecture studio Voll Arkitekter believes that the milestone demonstrated what the future of sustainable architecture could look like.
Mjøstårnet is located along Norway’s lake Mjøsa
“Wood construction has gained a new renaissance and we are proud to be able to help wooden architecture reach new heights,” Voll Arkitekter partner Øystein Elgsaas told Dezeen.
“Mjøstårnet is not the blueprint of a tall timber building but a contributor to further sustainable development,” Elgsaas added.
“Sustainable-wise, the most important aspect of our building was to show that it is possible to build large, complex timber buildings, and in that fashion, inspire others to do the same.”
The building is surrounded by abundant forestry
Located on the shore of Norway’s biggest lake, Mjøsa, which lends its name to the building, the 18-storey tower contains apartments, a hotel, office space and a restaurant.
It was built using two types of engineered wood: cross-laminated timber (CLT) and glue-laminated timber – also known as glulam. Because both kinds of wood are formed of layers of lamellas glued together crosswise, they are significantly stronger than standard wood.
It was constructed with CLT and glulam. Photo by Øystein Elgsaas
Large glulam trusses made from light-coloured spruce wood support the structure along its facades as well as forming its internal columns and beams. Meanwhile, CLT was used to support the building’s three elevators and two staircases.
The structural mass timber was left exposed inside, making the tower quick to build. The groundwork for the project began in April 2017 and the first timber construction took place just six months later.
The building is 85.4 metres tall. Photo by Øystein Elgsaas
The studio was particularly keen to use timber because of its sustainability credentials. Trees act as carbon sponges, absorbing atmospheric carbon which is then locked up in the wood and stored in the building.
“Wood is a better option than concrete when it comes to the carbon storage in the material itself,” said Elgsaas.
“Where you traditionally need a large quarry to source the material for the concrete production, it leaves large scars in the environment that don’t ‘heal’ in the same way as a large area used for harvesting trees does,” he continued.
“A sustainably managed forest and harvesting of the trees would actually benefit the area’s biological diversity.”
The timber was sourced from spruce and pine trees nearby. Photo by Øystein Elgsaas
Brumunddal’s proximity to a major forestry and wood processing hub meant that the materials for Mjøstårnet were sourced from nearby spruce and pine forests.
“The spruce used in the construction of the glulam elements, such as trusses, columns and beams, were sourced locally in the area of Ringsaker,” Elgsaas recalled.
“The timber is cut to standard board size planks at the local sawmill and then processed at Moelven, where they make the final glulam products used in the construction,” he added. “Moelven is just a fifteen minutes drive from Brumunddal.”
Mjøstårnet houses an office, hotel and restaurant. Photo by Øystein Elgsaas
Scandinavia’s access to large woodlands gives it an abundance of local wood resources, fuelling a surge in architects turning to wood for projects in the region.
Among the notable tall timber projects in Nordic countries is Sweden’s Kajstaden Tall Timber Building by CF Møller Architects and Finland’s tallest wooden apartment block, Puukuokka, by OOPEAA.
According to Elgsaas, the timber industry has changed since Mjøstårnet was built and public scepticism over the potential of timber for tall buildings has subsided.
“The focus on the environment and the benefits of using wood has changed dramatically since we began our project back in 2015,” he said.
“People have discovered the possibility and benefits of using different building materials and that there is no longer a predetermined solution to what a larger and more complex building could be made from.”
All of the timber was processed in nearby Moelven
Although the studio was committed to using timber, the material did not come without its issues. The inherent lightness of timber proved tricky for the architects because the top of the building was prone to shifting in the wind.
“Peak accelerations due to wind on the top floor of Mjøstårnet is on the limit of what is acceptable for residential buildings,” said Elgsaas.
“The acceleration in the movement is quicker than in a heavier building of steel and concrete and if not kept within the required levels, it could lead to nausea.”
Voll Arkitekter believes the building pushed the limits of timber construction
Architects create composite buildings – wood-concrete-hybrid structures or timber frames with concrete cores to avoid this problem. However, Voll Arkitekter decided to incorporate concrete within Mjøstårnet’s floors to give it the necessary sturdiness and weight.
“We increased the weight on the upper floors: floors 12 to 18 are 300 millimetre-thick concrete made of a precast element at the bottom and an in-situ layer of topping concrete,” Elgsaas explained.
“Replacing wood flooring with concrete flooring on the upper floors meant that the building would be heavier towards the top and that would slow down the acceleration in the movement of the building when affected by wind forces.”
The studio hopes it encourages more sustainable building creation
In 2022, Mjøstårnet was overtaken as the world’s tallest timber building by Ascent, an 86.6-metre-tall tower in Wisconsin, which was designed by Korb + Associates Architects.
Ascent is unlikely to hold the top spot for long, as a 100-metre-tall housing block in Switzerland timber building by Danish studio Schmidt Hammer Lassen is set to become the world’s tallest when it completes in 2026.
The photography is by Ricardo Foto unless stated otherwise.
This article is part of Dezeen’s Timber Revolution series, which explores the potential of mass timber and asks whether going back to wood as our primary construction material can lead the world to a more sustainable future.
Ultra Architects form ‘Broken Down House’ in Poznan
Ultra Architects takes over the construction of a three-story residence designed following the unfavorable shape of a sloping plot in Poznań, Poland. Confined by the requirements imposed by the development conditions, the ‘Broken House’ forms a fragmented structure on the elongated parallelogram site, while retaining the mandatory building line that specifies the placement of walls, the angle of inclination of the roof, and the maximum height of the ridge. The frame’s main body contains functional interiors, and its elevations covered with raw larch slats fit perfectly into the natural, green surroundings.
all images by Przemysław Turlej
classical barn-like shape revised and fragmented in blocks
The design team at Ultra Architects revises the classical barn-like shaped block for the design of the contemporary residential project. The body of the house fits into the plot through a bent in the place of the ridge. The volume forms a roof with two slopes, with the eastern elevation based on the building line indicated by the office. The rather problematic geotechnical terrain leads to the construction of a reinforced concrete frame of adequate rigidity and economic efficiency, allowing the design of more daring spatial solutions. The structure expands three levels along the descending plot. The middle floor arranges the entrance area, garage, children’s rooms, and a small independent apartment, while the living and kitchen area and a conservatory reside on the lowest story. The upper level assembles the master bedroom and a study zone.
the design revises the classical barn-like shaped block
a structural staircase interconnects all floors
The binding element between all the floors is a spatially designed staircase. The formed staircase acts as a ventilation chimney in summer, forcing the natural movement of air, while in winter it draws the heat generated by the sun into the house, along with the adjacent conservatory. The facade and roofs of the house, as well as the fence, are finished with raw larch slats. In the interior, the structural frame of the house made of concrete remains unplastered. All furniture in the interior is designed from lacquered plywood, and the floors of the living and communication areas are made from terrazzo.
the facades covered with wooden slats fit perfectly into the natural, green surroundings
the facade and roofs of the house, as well as the fence, are finished with raw larch slats
the structure expands three levels along the descending plot
Design studio Linehouse has used natural, tactile materials for the interiors of the Coast restaurant in Shanghai for China’s casual dining brand Gaga.
The restaurant is set inside a traditional mid-century Shikumen house – a blend of Western and Chinese architecture – with a renovated interior informed by its Mediterranean menu.
“We aimed to create a deep connection with coastal elements and Mediterranean soul,” said Linehouse co-founder Alex Mok.
Linehouse has completed the Coast restaurant in Shanghai
According to the studio, the restaurant’s aesthetic is one of “refined rusticity” – a contemporary reframing of rough-hewn vernacular styles, that creates a laid-back and tranquil atmosphere.
Throughout the scheme, Linehouse was informed by the idea of coastal terrain, including earthy and fired elements.
Linehouse chose a natural material palette, which in turn informed the colour scheme that flows throughout the interior of the three-storey restaurant.
Green-glazed lava stone surrounds the ground-floor cafe and bar
The aim was to take the visitor on a “vertical journey” by giving each of the three floors its own unique identity.
“The colours and materials shift on each floor, telling a different part of the story,” Mok said.
The bar is finished in the same tiles
On the ground floor, where a daytime cafe transitions into an evening bar, green and earthy tones link to the leafy garden beyond. Walls are wrapped in a green-glazed lava stone, with a deliberately hand-made patina, “representing the earth element”.
Custom furniture pieces designed by Linehouse were used throughout the restaurant, while lighting was chosen for its intriguing, sculptural forms from designers including Santa & Cole and Studio KAE.
Natural timbers were used for the centrepiece bar counter, while the timber-framed windows open up to the silver-grey of the olive trees outside.
An open-hearth grill features on the first floor
Above this on the first floor is an intimate dining space lined with white-washed stone and timber panelling. Layered oak panels hung horizontally from the ceiling create intimate dining nooks, with taupe-toned banquette sofas and oak dining tables.
The focal point of this room is the parrilla – an open-hearth grill – and a chef’s table.
“The concept of the open parrilla grill captures the quintessence of Mediterranean cuisine,” Mok told Dezeen.
On this level, fire-informed red and brown tones punctuate the space including the tiles that line the kitchen, which were repurposed from used coffee grounds.
Finally, on the top floor under the exposed timber beams of the pitched roof, Linehouse created a string-wrapped wine room and a lofty private dining space.
Panels of string line the staircase structure
The walls were again clad in white-washed stone. But here, it is contrasted with the intense black of yakisugi, or fire-preserved wood, which serves as a backdrop to a chef’s table.
The space also features a generously-sized balcony, providing views out across this bustling neighbourhood.
Linehouse created a string-wrapped wine room on the top floor
The spaces are linked by a staircase that weaves up through the centre of the building. Its chalky-white outer walls are patterned with a sculptural relief of sea creature exoskeletons, echoed by collections of shells displayed in glass jars nearby.
Panels of string, woven into simple grids, line the staircase structure, allowing natural light to flow into the heart of the building.
“We chose materials that tell the story of the coastal journey, while the exoskeleton wall is a modern representation of the sea,” said Mok.
The top floor also houses a private dining room
Linehouse was founded by Mok and Briar Hickling in 2013 and the duo went on to win emerging interior designer of the year at the 2019 Dezeen Awards.
The studio has completed a number of other projects in Shanghai, including a space-themed cafe decorated with real meteorites and an office housed in a former swimming pool.
The photography is by Wen Studio, courtesy of Linehouse.
Spotted: With food price inflation remaining at historically high levels, many consumers are seeking savings wherever they can find them. While the isolation of the Covid-19 pandemic has largely eased, some of the habits acquired during that time, such as grow-your-own herbs and veg, remain strong. To help new growers access the advantages of home-grown, organic produce, French company Urban Cuisine designed a stylish indoor hydroponic garden container that makes it fun and easy to cultivate fruits, vegetables, and herbs.
Named Liv, the connected garden comes with an app and the choice of over 17 different plants. The app guides growers through the set-up and planting process, provides regular advice on the growth of each variety, and includes an FAQ section and connections to Urban Cuisine’s horticulturalists for urgent queries. The garden’s sleek design fits a self-contained water tank, a micro-climate, ventilation controlled by integrated sensors, and a low-power LED light panel.
When setting up a garden, growers choose Grow Pods based on how long they want to wait for a harvest and what they want to use the produce for. Each organic Grow Pod contains the essential substrate and nutrients for the seeds to grow. Liv is available as the garden alone, as a subscription of monthly deliveries of Grow Pods, or as a garden and subscription together.
Other ways that Springwise has spotted innovators improving local food systems include an automated indoor herb garden and a no-smell countertop compost system.
