Robots helping children with disabilities stay on track
CategoriesSustainable News

Robots helping children with disabilities stay on track

Spotted: Teaching in an inclusive manner that makes full use of accessibility technologies can greatly “improve the potential for learning in children and youth with learning disabilities.” Robots have been used in recent years to assist students with autism spectrum disorder, and now a team of researchers at the Social and Intelligent Robotics Research Laboratory (SIRRL) at the University of Waterloo in Canada has created a robot to help students with learning disabilities stay focused on the tasks at hand.  

Led by Dr Kerstin Dautenhahn, a professor of electrical and computer engineering, the group tested a social assistance robot named QT in classrooms. Instructors use a tablet to communicate with the robot, including indicating when the robot is to lead a one-on-one lesson with a student. 

QT uses hand and head gestures, as well as changing facial expressions and speech to communicate. In order to help students stay attuned to the lesson, the robot uses a mix of jokes, games, breathing exercises, and physical movement.  

The studies found that the students who learned alongside the robot completed more of their tasks than those without QT. Now, the research team is planning further studies of the robot’s assistive capabilities, along with ways in which the technology could be made more widely accessible.  

From an online assessment that identifies children struggling to read to a mobile-first education platform, Springwise is spotting innovations making education fun and easy to access for a range of abilities.

Written By: Keely Khoury

Reference

Timber Revolution logo
CategoriesSustainable News

“We need to start using our wood more efficiently”

A Timber Revolution requires us to focus on reducing mass-timber structures’ raw-material use instead of trying to design the tallest possible wooden building, writes Maximilian Pramreiter.


The renaissance of wood as a building material continues and has major potential to support climate-friendly construction – but it must be used efficiently.

From the second half of the 19th century, almost every product in our lives changed from being made out of a bio-based material to a highly engineered fossil-based alternative. The materials used to construct our buildings changed from natural materials like wood, stone and clay – which were considered antiquated and inferior – to man-made materials like steel, cement and glass.

The renaissance of one of the oldest building materials – wood – has already begun

The combination of steel frames, formwork concrete and glass facades led to the emergence of skyscrapers and marks the beginning of the age of steel at the end of the 19th century. The ensuing race for the design of the world’s highest building reached its temporary climax in 2010 with the completion of the Burj Khalifa at a record height of 828 metres. Today, every well-known city has at least one famous skyscraper in its skyline and concrete, as well as steel, dominates the architectural landscape regardless of the size of the project or its structural necessity.

The debate about how to combat climate change is now putting increasing pressure on the built environment, which currently generates roughly 40 per cent of the world’s annual greenhouse gas emissions. According to the International Energy Agency, around a third of these building-related emissions are emitted during construction, also known as embodied carbon.

Much of the current discussion on climate protection therefore focuses on how to replace modern construction materials with climate-friendly alternatives. Against this background, the renaissance of one of the oldest building materials – wood – has already begun.

Wood has the ability not only to substitute carbon-intensive materials, but also store carbon in the built environment. This makes it the perfect climate-friendly building material and it is without question that wood will play a key role in transforming the global building sector into a carbon sink.

Quite naturally, a similar race to construct the highest timber building has started. Architecture publications are full of the newest, loftiest wooden skyscrapers, such as Ascent Tower in the USA, which is currently the tallest timber structure in the world at 87 metres, followed by the Mjøstårnet Building in Norway at 85 metres, the HoHo Tower in Austria at 84 metres and the Sara Kulturhus Centre in Sweden at 75 metres.

These innovative heights are achieved using a combination of concrete and engineered wood products, primarily cross laminated timber (CLT) and glued laminated timber (GLT). CLT especially has experienced rapid market growth, with production capacities doubling within a couple of years.

Both CLT and GLT have a distinct disadvantage: their raw-material footprint

Among other things, this success story is mainly driven by two factors. Firstly, engineered timber offers a high degree of homogenisation of the natural material wood, which simplifies structural design. Secondly, it provides the possibility to pre-fabricate complete wall and floor elements before delivery to the construction site, shortening overall construction times.

Nevertheless, both CLT and GLT have a distinct disadvantage: their raw-material footprint. It is estimated that roughly 2.5 metres-cubed of roundwood is needed in order to produce 1 metre-cubed of GLT or CLT, not counting cut-outs for windows and doors. The 1.5 metres-cubed of by-products generated are mainly used for low-value products like particle boards or burned. In comparison, timber-frame construction – which is only suitable for low-rise buildings – uses around 2 metres-cubed of roundwood per metre-cubed of timber-frame boards.

To use a real-world example, the aforementioned HoHo Tower is constructed using 365 metres-cubed of GLT and 1,600 metres-cubed of CLT. Based on our research, we estimate that around 4,100 metres-cubed of roundwood was needed to produce these materials.

So, should we stop using GLT and CLT? Quite clearly no. But we need to start thinking about how we can improve the material efficiency of GLT and CLT and whether we can use more resource-efficient wood products like laminated veneer lumber (LVL), laminated strand lumber (LSL) or oriented strand board (OSB) for some constructions.

The race to build the tallest mass-timber skyscraper is therefore missing the point over the longer term. The real race should be to build the mass-timber building with the smallest raw-material footprint.

Relying on a universal solution that can be applied to all projects, regardless of size, will not work and if the current path is followed thoughtlessly then history is going to repeat itself and society will not only have to deal with climate change, but also with severe resource shortages.

If the current path is followed thoughtlessly then history is going to repeat itself

To prevent that from coming to pass, we need to start using our wood more efficiently and to increase the proportion of material used in long-term products and constructions. As well as the raw-material footprint, the energy demand during production and the ability to reuse, repurpose or recycle the whole component or its constituents also needs to be considered.

At the same time, these challenges offer unprecedented architectural and designing possibilities. If we think about all the potential material combinations, as well as currently under-utilised wood species, the timber revolution offers a potential design versatility that is only surpassed by nature itself. It is not going to be a walk in the park, but pioneering never was.

Maximilian Pramreiter is a researcher in the Institute of Wood Technology and Renewable Materials at the University of Natural Resources and Life Sciences, Vienna.

The photo is by Cristina Gottardi via Unsplash.


Timber Revolution logo
Illustration by Yo Hosoyamada

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.

Reference

Saltviga House by Kolman Boye Architects
CategoriesArchitecture

Dezeen Agenda features Norwegian cabin clad with 12,000 offcuts

Saltviga House by Kolman Boye Architects

The latest edition of our weekly Dezeen Agenda newsletter features a weekend retreat with a facade made from wooden flooring material. Subscribe to Dezeen Agenda now.

Stockholm-based studio Kolman Boye Architects has designed a weekend retreat in Lillesand, Norway, with an exterior made from offcuts of wooden floor material.

Studio founders Erik Kolman and Victor Boye came up with the concept after they learned that Danish floor brand Dinesen had a large haul of leftover wood available for use.

“It’s about using what’s available, of trying to find beautiful materials without clicking ‘order’ on a computer,” said Boye.

Portrait of Rafael Viñoly
Uruguayan architect Rafael Viñoly dies aged 78

This week’s newsletter also included a minimalist renovation of a mews house in London by Trewhela Williams, an interview with the “grandfather of mass timber” Hermann Kaufmann and the passing of Uruguayan architect Rafael Viñoly.

Dezeen Agenda

Dezeen Agenda is a curated newsletter sent every Tuesday containing the most important news highlights from Dezeen. Read the latest edition of Dezeen Agenda or subscribe here.

You can also subscribe to our other newsletters; Dezeen Debate is sent every Thursday and features the hottest reader comments and most-debated stories, Dezeen Daily is our daily bulletin that contains every story published in the preceding 24 hours and Dezeen In Depth is sent on the last Friday of every month and delves deeper into the major stories shaping architecture and design. 

Reference

Ikoyi restaurant interior
CategoriesInterior Design

Dezeen Pinterest roundup features eight warm restaurant interiors

Restaurant interiors with natural finishes have been popular on Pinterest this week, including a beach club restaurant in London and a Japanese restaurant in Canada featuring paper lanterns. Follow Dezeen on Pinterest and read on to find out more about the projects.

Pinners have been predominantly drawn to the Dezeen’s boards that feature restaurant interiors. The most popular have soft, warm lighting schemes and make use of natural materials and wooden furniture.

A sushi restaurant in Dubai stood out due to its black tiles, grey plaster and dramatic lighting.

Scroll down to see eight popular projects pinned on Dezeen’s Pinterest and browse our restaurants Pinterest board to see more projects.


Ikoyi restaurant interior

Ikoyi restaurant, UK, by David Thulstrup

Copenhagen-based designer David Thulstup carried out a complete renovation of the interiors of London’s Ikoyi restaurant.

Informed by spices from sub-Saharan Africa, he created a warm and earthy colour palette featuring a variety of materials including copper and oak.

Find out more about the Ikoyi restaurant ›


Milk Beach Soho restaurant by A-nrd

Milk Beach Soho, UK, by A-nrd

Natural materials feature in this eatery designed by London design office A-nrd to resemble an Australian beach club.

The restaurant’s seating is made from timber and rattan, while sandy-hued Palladian terrazzo covers the floor.

Find out more about Milk Beach Soho ›


Paper lantern above bench seating

Hello Sunshine, Canada, by Frank Architecture

Japanese design elements like paper lanterns and ceiling-hung textile artworks feature in the interiors of the Hello Sunshine bar and restaurant in Alberta, Canada.

The studio incorporated plaid curtains, stone and wood to suit the restaurant’s mountain location.

Find out more about Hello Sunshine ›


The interiors of a Moroccan restaurant

Sahbi Sahbi, Morocco, by Studio KO

Influenced by female chefs and Morrocan cuisine, Studio KO used earthy colours and natural materials like wood to create a warm and inviting space for guests at Sahbi Sahbi (above and top).

Finer details include rust-coloured ceramic urns, clay pots and pans and orange-brown paint used for an alcove above a sink.

Find out more about Sahbi Sahbi ›


Saga Hirakawaya restaurant, Japan, by Keji Ashizawa

Saga Hirakawaya restaurant, Japan, by Keji Ashizawa

Materials “with a sense of simplicity” including wood and concrete were used to create minimalist interiors for a tofu restaurant in Japan’s Saga prefecture.

Wood was used for the entrance, windows and undersurface of eaves to match the wood from Ariake, a furniture brand also based in Saga. To complement its stripped-down interior, Japanese designer Keji Ashizawa added wooden furniture and pale grey walls.

Find out more about The Saga Hirakawaya restaurant ›


Bao Express restaurant in Paris by Atelieramo

Bao Express, France, by Atelieramo

Traditional Hong Kong diners informed the design of Bao Express, Paris.

To recreate the 1970s Hong Kong urban atmosphere, the studio included celadon-green walls and curvaceous wooden booths. Pastel colours and neon lights also feature.

Find out more about Bao Express ›


Restaurant interior with table settings and lights

Bacchanalia London, UK, by Martin Brudnizki Design Studio 

Martin Brudnizki Design Studio was informed by classic Greek and Roman mythology when designing the interiors of this London restaurant.

Sculptures more than 2,000 years old can be found at the bar and five specially-commissioned monumental statues by Damien Hirst dominate the main dining room.

Find out more about Bacchanalia London ›


Origami sushi restaurant in The Dubai Mall by VSHD Design

Origami, Dubai, by VSHD Design

A moody and dark interior was created for a sushi restaurant in The Dubai Mall, United Arab Emirates.

To replicate the atmosphere of Japanese underground sushi bars, VSHD Design used textured grey plaster, matte-black tiles and dramatic low lighting.

Find out more about Origami ›

Follow Dezeen on Pinterest

Pinterest is one of Dezeen’s fastest-growing social media networks with over 1.4 million followers and more than ten million monthly views. Follow our Pinterest to see the latest architecture, interiors and design projects – there are more than four hundred boards to browser and pin from. Currently, our most popular boards are Apartments and Concrete houses.

Reference

Fully recyclable, custom 3D-printed footwear
CategoriesSustainable News

Fully recyclable, custom 3D-printed footwear

Spotted: According to Vivobarefoot, a staggering 22 billion pairs of shoes go to landfill every year. Working to make the shoe industry more sustainable is Zellerfeld, with shoes that are “printed, not made.”  

Customers use an app to scan their feet, and the scan is then used to 3D print their chosen style of shoe. Made from washable, breathable mesh, the shoes use no glue and have no seams, eliminating the many weak points at which traditional designs generally break. Because the shoes use no rubber, leather, or textiles, they are 100 per cent recyclable. They are also made from recycled materials that are turned into thermoplastics. By not adding any toxins to the material, the entire production process is made much safer and healthier than typical manufacturing.  

There are currently 15 models available, ranging from the more formal uniform style to high-tops, mules, and several other intricately detailed shapes. The company also offers an array of colours. Customers are encouraged to return their old pairs to the company for a fully circular product lifecycle. As well as recycling the old pair, shoppers can choose to upgrade to the latest version of the style, much the same way we periodically trade in our used smartphones for the newest model.  

The company is currently working to increase production from eight printers to 200, before expanding into a North American factory capable of producing 5,000 pairs a day. It currently takes 40 hours to produce a pair of shoes, something the team is working on reducing so a file can be transformed into product almost immediately with next day shipping.  

From baby shoes that dissolve in water to insoles that prevent workplace injuries, Springwise has spotted many ways that shoe tech is evolving.

Written By: Keely Khoury

Reference

GoneShells juice bottle by Tomorrow Machine
CategoriesSustainable News

GoneShells is an edible juice bottle peeled like fruit

Design studio Tomorrow Machine has created a biodegradable juice bottle made from a potato starch-based material that can be peeled away like fruit skin and then eaten, composted or dissolved.

Called GoneShells, the bottle is currently a prototype that is still being developed by the studio in collaboration with global company Eckes Granini for its juice brand Brämhults.

GoneShells juice bottle by Tomorrow Machine
Top: a short video shows how the material dissolves once peeled and added to water. Above: GoneShells is a juice bottle made from a potato starch-based material

“We wanted a name that symbolised a natural way to protect food, similar to fruit peel or eggshells,” Tomorrow Machine founder Anna Glansén told Dezeen. “‘Gone’ connects to the unique invention behind the material with its multiple ways to make the packaging disappear after usage.”

Curved in shape, the bottle is made from a potato starch-based material and coated in a bio-based, water-resistant barrier on both its insides and outsides to preserve the juice it holds.

Biodegradable bottle that can be peeled and spiralised like fruit
The bottle can be peeled like fruit skin

Once the juice is finished, the bottle can be peeled into a spiral formation a similar way to fruit, which breaks its barrier and immediately begins the material’s decomposition process.

After this, the “peel” can be eaten or dissolved in water. Although Tomorrow Machine can’t currently disclose more details about the material, the studio said that it is biodegradable and compostable and does not contain any synthetic components.

“As long as you don’t activate the degradation process by peeling the bottle or tearing it apart in another way it works similarly to a traditional plastic bottle,” explained Glansén.

Clear bottle with green cap arranged next to sprouting potatoes
It is currently a prototype with a potato starch-based bottle cap

According to its creators, GoneShells can be manufactured using existing equipment designed to process fossil fuel-based thermoplastics.

The material design also aims to tackle landfill and address the lack of recycling and industrial composting facilities in some parts of the world.

“We started this project by asking ourselves, is it reasonable that the lifespan of a package spans over years or even decades when the content inside goes bad after a few days or weeks?” said branding agency F&B Happy, which collaborated on the project.

“By developing packaging with a lifespan that better matched the content inside, GoneShells aims to offer a new form of sustainable packaging, which skips recycling systems in a traditional sense,” it added.

The prototype bottle includes a green top that is also made from the potato starch-based material.

Although the packaging is currently emblazoned with manually foiled lettering, F&B Happy said that it is working on a printing solution “that follows the concept of the bottle”.

Circular sheets of biodegradable material developed by Tomorrow Machine
Tomorrow Machine says the prototype is biodegradable

GoneShells was informed by a previous project by Tomorrow Machine called This Too Shall Pass – edible packaging with a lifespan that matched the food it contained.

“We made a series of prototypes but the packaging was never meant to be put into production due to high material costs and complicated production methods,” said Glansén.

The designer explained that the existing manufacturing techniques and more affordable raw materials used to create GoneShells make it a viable product to market.

Increasingly, designers across the globe are looking for more sustainable ways to package products. Australian biomaterials company Great Wrap created a compostable bioplastic alternative to clingfilm made from waste potatoes while Packioli is peapod- and artichoke waste-based soap packaging.

The images and video are courtesy of Tomorrow Machine.


Project credits:

Branding: F&B Happy
Research partner: RISE Research Institute of Sweden
Funding: BioInnovation, a joint venture between Vinnova, Formas and Swedish Energy Agency

Reference

© JSa Arquitectura, Robert Hutchison Architecture
CategoriesArchitecture

How Rain Harvest Home is Changing the Conversation Around Water Conservation in Mexico

 

Rain Harvest Home – is located within Reserva el Peñón, a landscape-driven development which has achieved water self-sufficiency for a community of 80 families in 450 acres of a nature reserve, two hours from Mexico City. The Reserve framed our thinking around sustainability generally, and rainwater harvesting specifically. It pushed us to think at a larger level where the whole Reserve became the site, and the home was one piece of that. We also thought about how we could explore the larger issues of water conservation in Mexico, with this being an example of how to harvest rainwater on a small scale that could then apply to other projects. That became a driver in a powerful way. It was an idea that evolved over the course of the design process, and as the client became increasingly interested in cultivating a healthy, holistic lifestyle where they could live in harmony with the land.

Architizer chatted with Robert Hutchison from Robert Hutchison Architecture, and Javier Sanchez from JSa Arquitectura, to learn more about this project.

Architizer: What inspired the initial concept for your design?

Robert Hutchison & Javier Sanchez: The brief was simple: the clients wanted a small cabin to enjoy the mountainous site. Valle de Bravo has a dry season and a rainy season, and the sun plays a trick every day in both of those seasons. You can enjoy the sun, but you have to be careful with it. Here, you need to have spaces that are open and covered; enclosed and covered; and outside and uncovered. You need all three qualities, so we needed to make that happen within the three structures.

At the start, the project had a simple, classic program: 2 bedrooms, a bathroom, and a kitchen. When we were on site, we started developing the idea of splitting up the program into separate buildings. It started with wanting to separate the function of bathing, which led to the idea of the bathhouse. And then the separate studio emerged from that.

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?

Rain Harvest Home offers a model for designing regeneratively with water. The home is 100% water autonomous and, in times of surplus, it is water positive and feeds excess water back into the community’s larger reservoir system. Not only does the design help restore the microclimate of the site, but it stands as a testament to the potential of rainwater harvesting for off-grid, self-contained water systems that eliminate reliance on municipal water sources. At the same time, the element of water contributes to the overall spatial and experiential quality of the project, reconnecting people with their environment by engaging the senses. More than any other element, conserving and improving the quality of water as a precious resource has the potential to dramatically improve the health and sustainability of built environments in Mexico, and beyond.

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

What was the greatest design challenge you faced during the project, and how did you navigate it?

Integrating the rainwater system was an initial design challenge, and continues to be an everyday challenge. Now, the rain harvesting system and on-site reservoir are a learning laboratory where the clients are continually learning about how the system performs. Understanding that the water and food systems on site are part of a living process that fluctuates depending on changing natural conditions, the client continues to experiment in ways to optimize the system through seasonal calibrations and refinements. Nothing is as objective as science would make it seem because things are always changing over time depending on how much it rains, and when. The house has to live with that, and it’s a constant learning experience for us as designers. It’s about integrating design into the cycle of water and of life.

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

How did the context of your project — environmental, social or cultural — influence your design?

The site is relatively flat, but sits within a mountainous environment. All around are cliffs and steep slopes, but our site rests in a small plateau vegetated with continuous, single-story-high shrubs and brush. Because of these site conditions, we wanted to make the buildings disappear within the vegetation. This is why we designed a series of three low pavilions that nestle into the landscape and are dispersed across the site. We wanted a strong connection between each building and the landscape. Often as architects, we think about how spaces are created between buildings, but this was about letting the landscape be that interstitial space. The landscape becomes the connection between the buildings, just as it delineates the spaces between them. When you move through the site, there’s an experience of the buildings constantly disappearing and reappearing. It’s a process of discovery.

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

How important was sustainability as a design criteria as you worked on this project? 

Within La Reserva, each home is required to incorporate rain harvesting, with most of it coming from the individual home’s rainwater harvesting system and a small portion coming from the reserve’s reservoirs. We wanted to try and raise the bar and see if we could harvest 100% of our water from our individual site, rather than depend on external sources. This was important because there is a major water shortage in Mexico City, which is absurd because it rains a lot, but we don’t harvest that rainwater. Instead, we pump water in and out from the valley. As designers, we need to talk about those issues within our designs and experiment with new possibilities. Sometimes when you have a built example, it’s easier to understand new possibilities, particularly around rainwater harvesting.

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

Team Members

Sean Morgan, RHA; Bernice Solis, JSa

Consultants

TAF Alejandro Filloy, Bykonen Carter Quinn, Helene Carlo, MicMac Estructuras, Rhometal, Miguel Nieto, Teoatonalli

For more on Rain Harvest Home, please visit the in-depth project page on Architizer.

Rain Harvest Home Gallery

Reference

Tiled bathrooms inside Hotel Les Deux Gares in Paris
CategoriesInterior Design

Eight bathrooms with colourful toilets and sinks

For our latest lookbook, we’ve gathered eight bathrooms where the sanitary ware adds a splash of colour, ranging from a green Portuguese “shower tower” to a bathroom with pink marble washbasins.

Although white toilets and basins are still the default choice, increasingly interior designers are experimenting with adding colourful sanitary ware to bathrooms.

Among the designs in this lookbook are stylish black toilets that add a graphic touch to the bathroom, as well as basins in a range of pastel hues including pale blue and avocado green.

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring interiors with split-level living areas, mix-and-match flooring and homes with cleverly hidden lifts.


Tiled bathrooms inside Hotel Les Deux Gares in Paris
Photo by Benoit Linero

Les Deux Gares, France, by Luke Edward Hall

British designer Luke Edward Hall’s design for this Parisian hotel features plenty of patterns, bright colours and printed furnishings.

This can also be seen in the bathroom, where a green toilet and matching green sink stand out against the mustard-yellow wall and zigzag floor tiles. Above the sink, a mirror in a darker green hue complements the interior.

Find out more about Les Deux Gares ›


Annabel's by Martin Brudnizki

Annabel’s, UK, by Martin Brudnizki

The bathroom at London members’ club Annabel’s is an explosion of pink, from the pink marble sinks to the pale-pink flowers that line the ceiling.

“It’s really about fantasy – this is a club, you don’t come here for reality, you come to be transported somewhere else,” studio founder Martin Brudnizki told Dezeen.

Find out more about Annabel’s ›


Hygge Studio by Melina Romano
Photo is by Denilson Machado of MCA Estúdio

Hygge Studio, Brazil, by Melina Romano

Terracotta tiles decorate this apartment in Brazil and were used in the bathroom alongside red bricks that were formed to create a vanity.

Next to it, a black toilet adds a dramatic contrast against the forest-green wall, while green plants and tan towels match the interior.

Find out more about Hygge Studio ›


House Recast in London
Photo by French + Tye

House Recast, UK, by Studio Ben Allen

House Recast, a refurbished Victorian terraced home in north London, was finished with coloured concrete throughout.

In the bright green bathroom, the colour is contrasted with brass details, which were used for the tap and temperature controls by the small, circular sink.

Find out more about House Recast ›


VS House by Saransh
Photo by The Fishy Project

VS House, India, by Sārānsh

A black toilet almost blends into the veiny green marble backdrop in the bathroom of VS House in India, which was designed to focus on “the nature of the materials used to finish the insides”.

Grey Kota stone, a variety of limestone that is quarried in Rajasthan in the north of India, was used on the floor and walls.

Find out more about VS House ›


Nagatachō Apartment, Japan, by Adam Nathaniel Furman

Nagatachō Apartment, Japan, by Adam Nathaniel Furman

Colour is everywhere in the Nagatachō Apartment by designer Adam Nathaniel Furman, which is located in Tokyo and has a dreamy pastel bathroom.

In the bathroom a pink toilet sits next to a baby blue sink unit contrasted with a bright, sunny yellow tap.

Find out more about Nagatachō Apartment ›


Small house with a monumental shower by Fala
Photo by Ricardo Loureiro

Small House with a Monumental Shower, Portugal, by Fala Atelier

Architecture studio Fala Atelier created a “shower tower” to house the bathroom and shower in this home in Amarante, Portugal.

Inside the tower, minty green tiles clad the walls while a matching sink surround in a pale green marble hue adds material interest.

Find out more about Small House with a Monumental Shower ›


Apartment in Habitat 67 by Rainville Sangaré
Photo by Maxime Brouillet

Unit 622 in Habitat 67, Canada, by Rainville Sangaré

Design studio Rainville Sangaré’s design for an apartment in architect Moshe Safdie’s brutalist Habitat 67 building mostly features discrete colours, but in the bathroom, colourful sinks and a matching mirror break up the monochrome surroundings.

The washbasins have black Corian tops and the smaller of the two is used to wash calligraphy brushes.

Find out more about Unit 622 ›

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring interiors with split-level living areas, mix-and-match flooring and homes with cleverly hidden lifts.

Reference

Growing seaweed between offshore wind turbines
CategoriesSustainable News

Growing seaweed between offshore wind turbines

Spotted: The global commercial seaweed market was valued at almost $17.9 billion (around €16.9 billion) in 2021 and projected to keep growing. This growth is driven by increased use of seaweed in food and cosmetics, and its use as a fertiliser. However, seaweed is disappearing from many places where it used to thrive because of global warming.

At the same time seaweed farming is becoming more difficult, the number of offshore wind farms is growing. Now, non-profit North Sea Farmers hopes to put the two together by locating seaweed farms between offshore wind turbines. North Sea Farmers plans to install its first seaweed farm, located off the coast of the Netherlands, this year and begin harvesting in Spring 2024. The 10-hectare farm is expected to produce at least 6,000 kilogrammes of fresh seaweed in its first year.

The demonstration project will be the world’s first commercial-scale seaweed farm located between offshore wind turbines. The aim is to kickstart more innovation in seaweed agriculture.

Eef Brouwers, Manager of Farming and Technology at North Sea Farmers, said: “Potentially, up to 85,000 full-time jobs could be created in the European seaweed sector by replicating North Sea Farm 1 across the North Sea.”

The project has received €1.5 million in funding from Amazon’s Right Now Climate Fund, which will be spent on constructing the farm.

Seaweed is not only used in food and cosmetics. Springwise has also spotted a seaweed extract that could reduce the methane emitted by cattle, a seaweed-based packaging, and the use of seaweed-derived materials to prevent dendrite growth in batteries.

Written By: Lisa Magloff

Reference

Rafael Viñoly Dies Aged 78: A Look at Some of His Most Iconic Architectural Projects
CategoriesArchitecture

Rafael Viñoly Dies Aged 78: A Look at Some of His Most Iconic Architectural Projects

The University of California, San Francisco, Ray and Dagmar Dolby Regeneration Medicine Building

Completed in 2011, this cutting-edge laboratory for the University of California, San Francisco was designed to maximize the functional space within a compact urban site. The building’s horizontal organization promotes greater connectivity across departments, helps to unify the campus and creates the opportunity for abundant terraces and green roofs. The building structure is supported by space trusses resting on concrete piers, minimizing site excavation and incorporating seismic base isolation to absorb earthquake forces.


Laguna Garzon Bridge

In 2015, the Uruguayan architect returned to his home country with the completion of the Laguna Garzon Bridge, a road connecting two coastal cities that forms a ring when viewed from above. Viñoly was tasked with creating a bridge that would form a direct route between the cities of Rocha and Maldonado, crossing a scenic stretch of water known as a haven for birds and other wildlife. It was imperative that vehicle speeds be reduced within this sensitive environment, and Viñoly’s design naturally slows cars down while also providing drivers and pedestrians with ever-changing views across the surrounding landscape.


Kimmel Center for the Performing Arts

The Kimmel Center for the Performing Arts, home of the Philadelphia Orchestra, evokes the image of two jewels in a glass case. Verizon Hall and the Perelman Theater, the center’s principal programmatic components, are treated as freestanding buildings on a vast indoor public plaza, Commonwealth Plaza, enclosed by a brick, steel and concrete perimeter building. From the perimeter emerges an immense steel and glass barrel vault roof that
floods the interior with natural light.


20 Fenchurch Street

Nicknamed the “Walkie Talkie”, the concept for Viñoly’s distinctive London skyscraper departs from conventional architectural expression by enlarging the floor plates at the top of the building, creating additional floor area to the valuable upper stories. Vertical façade louvers provide sun shading on the east and west elevations and follow the fanning form and organic curves of the building as they open out and wrap over the roof. The tower is crowned by a three-level Sky Garden, London’s first free, public green space and observation deck at the top of a building.


Carrasco International Airport

Rafael Viñoly was tapped to expand and modernize Carrasco International Airport with a spacious new passenger terminal to spur commercial growth and tourism in the region. The design gives prominence to the public zones, including the secure runway-side concourse as well as the fully accessible roadside departure hall and terrace, by providing amenities such as open space, natural light, restaurants, retail, and landscaping, all housed beneath a gently curved roof 1200 feet (365 meters) in length. Carrasco International Airport won a double A+Award in 2013 in the Transport – Airports category.

Learn more about Rafael Viñoly Architects through their firm profile on Architizer.

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