The interior of a bedroom in Octothorpe House
CategoriesInterior Design

Fourteen homes where cross-laminated timber creates cosy interiors

Our latest lookbook features cross-laminated timber interiors, including a colourful German vacation home and a tenement-style housing development in Edinburgh, and is part of Dezeen’s Timber Revolution series.

Architects looking to offset the carbon emissions of a building often choose cross-laminated timber (CLT), a type of mass-timber made from laminated timber sections that can be used as structural building materials.

The material, which is normally made from larch, spruce or pine, absorbs atmospheric carbon as it grows and subsequently retains it during its life in a building.

In interiors, CLT can create a luxurious effect even for projects with a tight budget and gives rooms a light, modern feel.

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.


The interior of a bedroom in Octothorpe House
Photo is by Jeremy Bitterman / JBSA

Octothorpe House, US, by Mork-Ulnes Architects

The natural forms, custom furniture and organic colours and textures that appear throughout Octothorpe House were selected by studio Mork-Ulnes Architects for their resemblance to the surrounding Oregon desert landscape.

The cabin-cum-house was built using American-made CLT for a client that wanted an “environmentally progressive” and flexible design.

Find out more about Octothorpe House ›


Interior of Bert treehouse by Precht
Photo is by Christian Flatscher

Bert, Austria, by Precht

Hidden in the woodland surrounding the Steirereck am Pogusch restaurant in the rural village of Pogusch, this playful tubular guest dwelling was informed by cartoon characters.

It was designed by Austrian architecture studio Precht to feel dark and cosy inside, with the structural CLT walls providing contrast against the black flooring and dark textiles.

Find out more about Bert ›


Kitchen and dining space in Haus am Hang by AMUNT
Photo is by Rasmus Norlander

Haus am Hang, Germany, by AMUNT

German architecture office AMUNT was drawn in particular to CLT’s sustainability credentials when creating this hillside vacation home in the Black Forest.

Designed for a client who wanted to promote sustainable travel, the home features surfaces and joinery finished in shades of green inspired by local tree species and its layout was organised to make the most of natural light.

Find out more about Haus am Hang ›


Kynttilä by Ortraum Architects
Photo is by Marc Goodwin

Kynttilä, Finland, by Ortraum Architects

Structural CLT was used to form the floor walls and angled roof of this 15-square-metre cabin on Lake Saimaa in Finland.

Its gabled form encloses a bedroom and a small kitchen, which feature natural CLT walls. A large bedroom window provides views of the forest outside the cabin.

Find out more about Kynttilä ›


Interior of CLT House in London by Unknown Works
Photo is courtesy of Unknown Works

CLT House, UK, by Unknown Works

Named after its spruce CLT structure, CLT House is a semi-detached house in east London that architecture studio Unknown Works remodelled and extended to open up and improve its connection to the back garden.

On the ground floor, the timber walls, storage and seating areas create a minimal backdrop for the family’s musical and creative pursuits, parties and family gatherings.

A combined kitchen and dining space are housed in a bright yellow rear extension that opens onto the garden’s brick-paved patio.

Find out more about CLT House ›


The Rye Apartments by Tikari Works
Photo is by Jack Hobhouse

Rye Apartments, UK, by Tikari Works

The four-storey Rye Apartments block in south London was designed by local studio Tikari Works, which used CLT for the structure and left it exposed across the majority of the apartments’ gabled walls and ceilings.

This was combined with spruce wood kitchen cabinetry, storage units and shelving. Terrazzo-style flooring with amber and cream-coloured flecks was added to compliment the timber finishes.

Find out more about Rye Appartments ›


R11 loft extension by Pool Leber Architekten
Photo is by Brigida González

R11 loft extension, Germany, by Pool Leber Architekten

The R11 loft extension is a two-storey CLT extension that Pool Leber Architekten added to a 1980s housing block in Munich, creating a series of loft spaces.

Inside the lofts, the structural timber was left visible on the walls, ceilings and floors. The material was also used to create sculptural storage cabinets that double as window seating.

Find out more about Pool Leber Architekten


Barretts Grove by Amin Taha Architects
Photo is by Tim Soar

Barretts Grove, UK, Amin Taha Architects

Amin Taha Architects created this six-storey CLT block, which contains six apartments, between a pair of detached brick buildings in Stoke Newington, London.

“The ability of the CLT to serve as structure and finish removed the need for plaster-boarded walls, suspended ceilings, cornices, skirtings, tiling and paint; reducing by 15 per cent the embodied carbon of the building, its construction cost and time on site,” the studio said.

Find out more about Barretts Grove ›


A CLT split level interior
Photo is by Markus Linderoth

Twelve Houses, Sweden, by Förstberg Ling

The CLT structure that forms the foundations of Twelve Houses by Förstberg Ling has been left exposed throughout the walls, floors and ceilings of the interior living areas, giving the space a warm and inviting feel.

A back bedroom on the first floor overlooks a double-height area of the living room, which has a concrete floor and reddish-brown wall panelling.

Find out more about Twelve Houses ›


Villa Korup kitchen interior
Photo is by Gabrielle Gualdi

Villa Korup, Denmark, by Jan Henrik Jansen Arkitekter

A CLT structure made from Baltic fir was used to construct this home on the Danish island of Fyn, which features exposed CLT panels throughout the interiors.

Designers Jan Henrik Jansen Arkitekter, Marshall Blecher and Einrum Arkitekter treated the material with soap and lye to lighten and protect the timber inside.

Find out more about Villa Korup ›


Interior of Simon Square apartments by Fraser/Livingstone
Photo is by Fredrik Frendin

Simon Square, UK, by Fraser/Livingstone

Comprised of six flats set within a mass-timber tenement-style housing development in Edinburgh, Simon Square has a structural timber frame that has been left exposed internally.

Architecture studio Fraser/Livingstone hoped that the presence of CLT indoors would improve the residents’ well-being. Potted plants and a neutral interior colour scheme provide an added sense of calm.

“When solid timber is exposed internally, the D-limonene the timber gives out has been shown to produce calm environments, with occupants’ hearts beating slower, and stress reduced,” project architect Ayla Riom told Dezeen.

Find out more about Simon Square ›


Interior of the Biv Punakaiki cabin by Fabric Architecture
Photo is by Nancy Zhou

Biv Punakaiki, New Zealand, by Fabric

In an attempt to balance the high carbon levels of the cabin’s concrete floor and aluminium cladding, architecture studio Fabric chose to use CLT for the cabin’s structure, which was left exposed inside.

From the double-height living room, the residents can look up through large skylights that punctuate the ceiling and gaze at the stars above.

Find out more about Biv Punakaiki ›


A cross laminated timber kitchen interior
Photo is by José Hevia

MAS JEC, Spain, by Aixopluc

Catalan architecture office Aixopluc used lightweight materials for this CLT extension, which it added to a traditional Catalan house in the city of Reus.

The building was prepared off-site and erected in just two weeks. Another advantage of using CLT is that the thermal mass of the exposed CLT interiors helps to ensure a comfortable internal temperature when the afternoon sun hits the building.

Find out more about MAS JEC ›


Houten Herenhuis by MAATworks

IJburg Townhouse the Netherlands, by MAATworks

This Amsterdam townhouse was designed to reference wooden Scandinavian homes.

Architecture studio MAATworks arranged it around an angular staircase made from cross-laminated pine wood, which was also used to create the wall and ceilings of the home.

Find out more about IJburg Townhouse ›

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.

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

A platform for tracking the climate footprint of food products
CategoriesSustainable News

A platform for tracking the climate footprint of food products

Spotted: The global food market is worth more than $9 trillion (about €8.5 trillion) and is going to continue growing. This volume of food has an equivalently large carbon footprint, something growers are aware of and working to change. Helping to capture those improvements is French software-as-a-service (SaaS) company Carbon Maps. Carbon Maps’ platform automates emissions calculations for food products. 

Such complex calculations rely heavily on algorithms, and Carbon Maps uses internationally recognised data standards and scientific models for its computations. Product life cycle assessments (LCAs) examine data from basic growing techniques to water usage, processing systems, recycling and more. By utilising the power of artificial intelligence (AI), Carbon Maps enables large industrial food distributors to assess the sustainability of a range of their products, even those that use a multitude of ingredients.  

As well as providing eco-scores for each foodstuff, the Carbon Maps system allows for easy updates of LCAs as information changes. A grower may alter their farming practices meaning less water is needed, so the automated emissions calculation system makes it easy for that improvement to be included in the scores for the many products that use those crops.  

Carbon Maps includes details such as biodiversity, animal welfare, and soil health in its calculations, allowing for a much more holistic view of the sustainability of an item. The company is currently working with two businesses on pilot programmes, and recently closed a €4 million seed funding round that will be used to expand its operational capacity. 

Reducing carbon emissions is such a global priority that – as Springwise has spotted– innovations in two of the worst polluting industries, food and fashion, are pushing the technology and tracking capabilities ahead as quickly as possible.

Written By: Keely Khoury

Reference

wooden hedge facade enfolds villa on the coastline of stockholm
CategoriesArchitecture

wooden hedge facade enfolds villa on the coastline of stockholm

‘Fenced Maximalism’ stands on a coastal area of Sweden

 

Swedish architectural studio Byggfenomen takes over a domestic villa program congested inside a fence-like facade located in a coastal area of Stockholm. Standing on the eastern waterfront region of the capital, the residence is surrounded by weathered pine trees that divide the landscape plane into vertical strips while the low and harsh ground cover gradually transforms into naked bedrock towards the waterline, a typical disposition of seafront topography. Emerging from the dense vegetation, the wooden cladding enclosing the structure expands vertically fusing with the woodland and leaving specific external surfaces uncovered. The openings set up glass frames overlooking the scenery. Deviating from conventional villa-type structures spreading the program on the site, ‘Fenced Maximalism’ assembles all functions within the defined plan, namely the lawn, flowerbed, pond, gravel, breakfast terrace, evening terrace, conservatory, social space, guestroom, bedroom, bathroom, wine cellar, kitchen.

wooden hedge facade enfolds villa on the coastline of stockholm
all images by Henrik Nielsen

 

 

The layout spreads ten levels treated with specific materiality

 

To avoid the elimination of trees and plantation on the site, the plot condenses all indoor and outdoor functions inside a strictly defined plan forming a fence structure that applies wood cladding throughout the exterior. The double-skin facade blends with the surrounding nature allowing open views from specific parts where the hedge subsides and through the vertical slits of the sheltering formation. The project by Stockholm-based studio Byggfenomen distributes ten levels laying out each zone on the plan treated with specific materiality.

 

The planes overlap and connect in a spiral-like circulation and the intersections are emphasized in different ways to allow sensory negotiations between the environments. The different layers of the construction present convenient spaces and features, such as the ‘Bacchus’ temple that shapes a folding framework stored beneath the building cooling the wine naturally before it is elevated into the common dining area. Another sufficient element is the rainwater collector holding the water on one floor and draining it as a natural shower in the pond below.

wooden hedge facade enfolds villa on the coastline of stockholm
the wooden cladding enclosing the structure expands vertically merging with the woodland

wooden hedge facade enfolds villa on the coastline of stockholm
the double-skin facade allows light to pass through the vertical slits of the sheltering formation

Reference

Marble staircase at The Tampa Edition
CategoriesInterior Design

Tampa “about to explode” as a destination, says The Edition’s Ian Schrager

American entrepreneur Ian Schrager’s hospitality group The Edition has opened the first five-star hotel in Tampa, Florida, which includes a “jungle” lobby and a party room with 350 disco balls.

The Tampa Edition, which started taking bookings in October 2022, is housed in a new 26-storey building that includes 172 rooms and 38 private residences.

Marble staircase at The Tampa Edition
A focal point in the lobby of The Tampa Edition is a snaking marble staircase

It forms part of the Water Street development, a huge urban mixed-use expansion project just south of Downtown and a couple of blocks from the waterfront.

“[Tampa] has established its time is now, and I think it’s about to explode on the scene,” said Schrager, the hospitality mastermind who co-founded the legendary New York nightclub Studio 54, and is also behind the Public hotels chain.

Custom travertine pool table with yellow top in the lobby
Between the tropical plants, the tall lobby features a custom travertine pool table

“It’s got a good quality of life and a great food scene,” he continued.

“It’s a city in the sun, but it’s not a vacation-only spot, it’s a real living breathing city and that’s what I think is so special about it.”

Bright yellow carpet and seating in the lobby
Bright yellow carpet and seating contrast the greenery

Schrager’s team at ISC Design Studio designed the new Edition property, along with Morris Adjmi Architects, Nichols Architects, Bonetti Kozerski Architects, and Roman and Williams.

The white and glass building features art deco-influenced curves, which wrap the hotel on the larger lower floors and the residences in the tower portion above.

Lobby bar surrounded by plants
A scalloped walnut bar serves Mediterranean-influenced cocktails and light bites

The hotel’s lobby features 20-foot ceilings and full-height glazing along the front facade.

A large stainless-steel lilac orb greets guests as they enter the travertine-clad space, which is filled with tropical plants.

Lilac Restaurant
The Lilac restaurant features bright green seating that matches the tiles lining the semi-open kitchen

“I put the landscaping in the lobby,” Schrager told Dezeen. “I wanted to have a jungle, and I kept saying ‘more, more’ plants. At night they’re lit from below and you get the shadows of the leaves on the ceiling. It’s almost all green.”

Among the greenery are areas of lounge seating and a custom travertine pool table with a bright yellow top.

The Punch Room features walnut panelling and jewel-toned sofas
Entertainment spaces on the second floor include the Punch Room, decorated with walnut panelling and jewel-toned sofas

The same colour is repeated in the carpet and seat upholstery in the bar area, which is arranged around a scalloped walnut counter from which Mediterranean-influenced cocktails and small plates are served.

“Using really bright colors – the yellows and blues and greens – or putting plants in the lobby, were not additive,” said Schrager. “Those things will surprise you.”

Arts Club room with 350 disco balls on the ceiling
A party room with 350 disco balls on the ceiling forms part of the Arts Club

The restaurant, Lilac, features bright green seating that matches the tiles lining the semi-open kitchen, which offers a Mediterranean menu from chef John Fraser.

At the other end of the lobby, a white marble staircase provides a focal point as it snakes up to several more entertainment spaces.

All-black room at the Arts Club
The Arts Club also includes an entirely black room with lounge seating

These include the Punch Room, a cosy walnut-panelled space with chartreuse sofas, and royal blue velvet banquettes and curtains.

The Arts Club, intended for late-night events, comprises a series of rooms – one is completely black, while 350 disco balls cover the entire ceiling in another.

Bedroom with understated decor
The guest bedrooms are designed to look understated, with a focus on materials

The spa is also located on the second floor, while another bar and restaurant can be found on the ninth, which opens onto a roof terrace where guests can also enjoy an outdoor pool, sun loungers and cabanas.

Guest rooms and suites have an understated aesthetic, with particular attention paid to lighting and materials, including marble bathrooms, walnut panelling and white oak furniture.

“The design is simple and pure,” said Schrager. “There isn’t anything superfluous or gratuitous, nor a wasted gesture.”

“Leonardo da Vinci said ‘simplicity is the ultimate sophistication’. It’s supposed to be restful and peaceful,” he added.

Azure restaurant on the ninth floor
A bar and restaurant on the ninth floor, named Azure, opens onto a roof terrace

The Edition now has 15 locations around the world, with West Hollywood, Tokyo and Madrid – which was longlisted for the Dezeen Awards 2022.

“I’m selling a visceral emotional experience, and it’s hard to pull that off,” Schrager said of the Edition as a brand. “Because you can’t take it out of a brand book or a rule book. It’s got to be balanced between refinement and being raw and edgy, so it can all come together in some mystical way.”

Pool terrace with flower-covered cabanas
The roof terrace includes a swimming pool, loungers and cabanas for guests to relax in

The Tampa Edition is a major draw for the $3.5 billion Water Street development project, which encompasses nine million square feet and will form a new neighbourhood in a previously neglected corner of the city.

Tampa, as with other Floridian urban centres, has seen a boom in interest from tourists and new residents over the past few years, and therefore a need has grown for more homes, hotels and restaurants.

The photography is by Nikolas Koenig.

Reference

A plastic alternative made from onions
CategoriesSustainable News

A plastic alternative made from onions

Spotted: By now, we are all familiar with the environmental impacts of single-use plastic. Made from fossil fuels, these plastics don’t really break down, but they do break up – into microplastics and chemicals that are harmful to all life. And each year, half of all plastic we produce is used once and thrown away.

Textile designer Renuka Ramanujam has now developed a plastic packaging alternative made from onion skins, after testing an onion-based fabric dye. She has dubbed the new material Huid (Dutch for ‘onion skin’).  

Although the proprietary process has not been fully revealed, it involves boiling ground, waste onion skins, then binding them together with a natural casein-based adhesive. The result is a material that is strong and waterproof. And, onion skin contains anti-bacterial and antioxidant compounds that slow down the oxygenation process that causes food to go off, making the finished product especially useful for food packaging. 

Ramanujam has recently won a Scottish Edge award of £10,000 (around €11,300) and a £5,000 (around €5,600) Young Innovator award to help develop the material. She is also looking for investment to fund a prototype 3D modelling process for the material. 

Ramanujam is not alone in using food waste to develop a circular plastic substitute. Similarly innovative products Springwise has spotted include a helmet made from waste scallop shells, and food packaging made from surplus grain.

Written By: Lisa Magloff

Reference

Schmuttertal Gymnasium, Diedorf by Hermann Kaufmann
CategoriesSustainable News

“Timber is being abused” says architect Hermann Kaufmann

Sloppiness and misinformation are threatening to prevent large-scale wood construction from reaching its full potential, argues Hermann Kaufmann – the “grandfather of mass timber” – in this interview as part of our Timber Revolution series.

“Now is a really dangerous time for wood as a resource,” the Austrian architect told Dezeen. “You can say it’s the saviour of the construction industry. And I believe it has a part to play, where it makes sense to use it.”

“But it’s also a limited resource so you have to be careful not to overuse it, especially now that other industries are jumping on the bandwagon,” he continued. “Timber is being kind of abused.”

Mass timber could “shoot itself in the foot”

Since buildings offer long-term storage for the carbon locked away in wood, Kaufmann argues that the construction industry should have first dibs on the world’s limited timber supplies.

But currently, the industry is being held back by a lack of skilled craftsmen and technical knowledge, which he warns could have a detrimental effect on building quality.

Schmuttertal Gymnasium, Diedorf by Hermann Kaufmann
Hermann Kaufmann (top) has designed notable timber buildings including Schmuttertal secondary school (above photo by Stefan Müller-Naumann)

“Building with wood requires diligence but diligence is disappearing,” Kaufmann said. “If you compare the building culture across Europe, there are huge differences in the execution quality when looking at a building in Switzerland or in, say, France or England.”

“If you do a sloppy job when you’re building with wood, and you get condensation or water ingress that you don’t notice right away, the material will rot quickly and you can get huge structural damages,” he added.

“So I’m a bit scared that there will be some cases of damage in the future, and mass timber could shoot itself in the foot.”

Building in mass timber for more than 30 years

Although perhaps less well-known outside of the German-speaking world, Kaufmann is considered a pioneer of modern timber construction, dubbed the “grandfather of mass timber” by Canadian architect Michael Green.

Born to a long line of carpenters, Kaufmann dedicated himself to the “forgotten topic” of wood construction as early as the 1970s, when he was studying architecture at the technical universities of Innsbruck and Vienna.

“At the time, there was beginning to be some modern timber construction in the Alpine region,” he said. “But internationally, there was almost nothing. Even in Japan, the good architects that are now working in wood didn’t do much back then.”

IZM Illwerke Zentrum Montafon-Vandans by Hermann Kaufmann
Kaufmann perched an office for an Austrian power company on top of a hydropower lake. Photo by Bruno Klomfar

“I questioned whether I was on the right path when my fellow students were getting bigger and bigger projects and I was still working on relatively small things,” he added. “Back then, there were no really big projects in timber.”

“You had to go to a welder and get them to make you custom screws and steel parts so that you could build modern wood structures.”

Kaufmann started his own practice, Hermann Kaufmann + Partners, in 1983 and later founded one of Europe’s first dedicated institutes for timber construction at the Technical University of Munich, with the aim of reviving wood as a modern construction material.

Among his seminal projects is a Passivhaus apartment block that made use of prefabricated mass-timber modules back in 1997, a timber-skeleton secondary school that won the German Architecture Prize in 2017 and an office building perched over an artificial hydropower lake, which at one point was the largest building of its kind in Europe.

Kaufmann’s expertise in tall wood structures was also crucial in the construction of Brock Commons – a student residence at the University of British Columbia that was the tallest mass-timber building in the world upon its completion in 2016.

But even in places like Canada and Scandinavia, which currently have a number of other record-breaking mass-timber projects in the works, the architect says that there is still a considerable skills gap that needs to be addressed.

“Timber architects live off good craftsmen,” he said. “And in countries where you don’t have that, it’s difficult.”

“We advised on the construction of a high-rise in Canada with 18 storeys, which was the tallest at the time, and we were happy we found any craftsmen that knew what they were doing,” Kaufmann continued.

“And whenever I visit the nordic countries like Sweden and Finland, my colleagues complain that they don’t have any more craftsmen, just big manufacturers that end up screwing their buildings together.”

“It will be an evolution, not a revolution”

Kaufmann predicts that timber could only become the main building material in “very few countries” such as his native Austria, where timber is an abundant local resource and where manufacturers and craftsmen can build up the necessary skills to work with the material at scale.

“Many architects are changing course and discovering timber but the industry can’t keep up,” he said. “We need to have apprenticeships to train young people up and we need to build know-how amongst engineers.”

“This whole chain needs the right knowledge to get moving,” Kaufmann added. “This is happening at the moment and it could happen relatively quickly. But it won’t explode. It will be an evolution, not a revolution.”

Brock Commons Tallwood House
The architect also advised on the construction of Brock Commons. Photo by Michael Elkan courtesy of Acton Ostry Architects

At the same time, he warns that a growing number of architects are already “playing fast and loose” with the term mass-timber and using it to greenwash their buildings.

“People will screw a couple of square metres of wood onto their facade and say the building is sustainable,” Kaufmann explained, comparing the process to adding a decorative spoiler to a vehicle to make it look like a racing car.

“It’s become a bit of an epidemic,” he added. “I will only speak of a sustainable building if the majority of its mass is made up of wood. Everything else is greenwashing.”

Architects can find opportunity in challenge

While the increased complexity and precision required for timber construction poses a challenge for the industry, Kaufmann says it also presents an opportunity for architects to once again become more involved in the process of building their projects, rather than just designing them.

“When you’re building with wood, you have to bring construction know-how into the process way earlier if you want the project to be successful,” he said. “This change in the planning culture is extremely exciting for us because it’s asking way more of the architect.”

“It’s much more interesting, and the competencies of the architect will likely have to go much deeper into the building process again, rather than just acting as a surface or colour designer and making renderings for anyone to build.”

This interview was conducted in German and has been translated into English by the author.

The photography is by Lisa Dünser unless otherwise stated.


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

Uruguayan architect Rafael Viñoly, who designed hundreds of projects including skyscrapers 432 Park Avenue and the Walkie Talkie, has passed away aged 78.
CategoriesArchitecture

Uruguayan architect Rafael Viñoly dies aged 78

Uruguayan architect Rafael Viñoly, who designed hundreds of projects including skyscrapers 432 Park Avenue and the Walkie Talkie, has passed away aged 78.

Breaking news: Uruguayan architect Rafael Viñoly, who designed hundreds of projects including skyscrapers 432 Park Avenue and the Walkie Talkie, has passed away aged 78.

Viñoly passed away early today in New York City, according to an announcement made by Elisa Carrió, an Argentine politician and friend of Viñoly’s.

The news was reported in Latin American News.

Born in Montevideo, Uruguay, he studied at the University of Buenos Aires before co-founding his first studio Estudio de Arquitectura Manteola-Petchersky-Sánchez Gómez-Santos-Solsona-Viñoly in 1964. The studio would go on to be one of the largest in South America.

In 1978 he relocated to America and established his studio Rafael Viñoly Architects shortly after, which now has offices in the US, UK, UAE and Argentina. 

His studio was responsible for designing numerous buildings across the globe including the super-skinny 432 Park Avenue skyscraper in New York.

In the UK he designed 20 Fenchurch Street in London, which is widely known as the Walkie Talkie due to its shape, along with the masterplan for Battersea Power Station and the Firstsite visual arts centre in Colchester.

More to follow.

Reference

Blue-rimmed doors at ÅBEN brewery designed by Pihlmann Architects
CategoriesInterior Design

Pihlmann Architects creates ÅBEN brewery in former slaughterhouse

Bulbous steel tanks hang from where carcasses used to be suspended at the ÅBEN brewery in Copenhagen, which local studio Pihlmann Architects transformed from a slaughterhouse into a restaurant and bar.

Located in Copenhagen’s Meatpacking District, the brewery is housed in a 1932 butchery that has been used for various commercial activities since the early 1990s.

Blue-rimmed doors at ÅBEN brewery designed by Pihlmann Architects
Visitors enter ÅBEN through the building’s original blue-rimmed doors

Pihlmann Architects maintained and restored many of the slaughterhouse’s original features as part of the renovation for Danish beer company ÅBEN.

“Turning the space back into a food production facility, with all the pragmatic measures we had to keep in mind, generated our ideas from the very beginning,” studio founder Søren Pihlmann told Dezeen. “Bringing back the authentic character of the space was key.”

Conical steel fermentation tanks within ÅBEN brewery in Copenhagen
Conical steel fermentation vessels were suspended where carcasses used to hang

Arranged across one open-plan level, the brewery features the original gridded rail system from which 980 carcasses used to hang when the space was a slaughterhouse.

Pihlmann Architects replaced the carcasses with conical fermentation tanks that are reached via a low-hanging galvanised steel walkway – also suspended from the listed building’s original sawtooth roof.

White tiles lining the walls of ÅBEN brewery in a former slaughterhouse
Pihlmann Architects was led by the building’s industrial history

Geometric clusters of white wall tiles that have been preserved since the 1930s were also kept in place, echoing the brewery’s original purpose.

“Bringing the key elements back to a worthy condition was more of a task than deciding on which [elements] to keep,” noted Pihlmann.

Semitransparent curtains within brewery designed by Pihlmann Architects
Semitransparent curtains divide spaces and control acoustics

Spaces are delineated by slaughterhouse-style semitransparent curtains, which cloak various dining areas that are positioned around the restaurant’s central open kitchen where visitors can experience the brewing process up close.

Furniture was kept simple and “unfussy” in order to emphasise the restaurant’s industrial elements, including angular chairs and bar stools finished in aluminium and wood.

“The [material and colour] palettes are true to function on the one hand and [true to] history on the other,” said Pihlmann.

Crimson red flooring runs throughout the brewery, which was in place when the building was purchased. It was maintained to add warmth to the otherwise clinical interiors.

At night, the restaurant’s electric light absorbs this colour and reflects from the fermentation tanks, creating a more intimate environment.

Central open kitchen within ÅBEN brewery
A central open kitchen is flanked by bar stools

Making the food production processes visible was at the core of the design concept, according to the architecture studio.

“It’s not only about the preparation of the food, it’s more about the brewing taking place,” continued Pihlmann.

“The space which produces thousands of litres every day is open for everyone to step into, and actually see how and where the product they consume is produced.”

“Today, we are so detached from what we consume, we just go to the supermarket and pick it up from the cold counter having no clue where it’s coming from,” he added.

“I’m not that naive to think that ÅBEN alone will change anything, but I’m convinced that it’s important to change this detachment.”

Steel fermentation tank within brewery in Copenhagen
The slaughterhouse’s original white tiles were preserved

Pihlmann described his favourite aspect of the project as “how the elements we’ve added both submit to and utilise the existing space, not just visually but also through their structural function”.

“The building is built to carry a huge load,” he reflected. “Back then, it was tonnes of dead meat. Today, it’s enormous serving tanks from the ceiling.”

Founded in 2021, Pihlmann Architects was included in our list of 15 up-and-coming Copenhagen architecture studios compiled to mark the city being named UNESCO-UIA World Capital of Architecture for 2023.

Previous slaughterhouse conversions include a training school for chefs in Spain that was once used to butcher meat and a cultural centre in Portugal that is currently being developed by Kengo Kuma and OODA.

The photography is by Hampus Berndtson.



Reference

Sustainable B Corps that go beyond expectations - Springwise
CategoriesSustainable News

Sustainable B Corps that go beyond expectations – Springwise

What is a business? What does and should it do? Is making profits all that matters?

According to the principles of the B Corporation Movement, business should be a force for good. And in this time of climate crisis and rapid change, this idea has never been more important.

B (‘Benefit’) Corporations adhere to high standards when it comes to environmental, social, and governance (ESG) issues. They also measure success by the positive impact they cause. In this way, they are going beyond the current model of ‘business as usual’ by taking action to proactively change the status quo.

B Corp Month is an annual, month-long event that promotes the values of the B Corp Community. And, this year, the celebrations are based around the theme of ‘We Go Beyond’. This will invite people to understand how and why B Corporations go beyond expectations to pursue a more impactful path.

As one of the first certified B Corporations in the UK, Springwise is proud to support this campaign. Every day we spot the latest innovations that matter, developed by a whole range of different organisations from startups and non-profits to large corporations and established universities. But a significant proportion of the innovations in our library come from environmentally focused B Corporations who are living their commitment to positive impact through the products and services they produce.

Here are some of the best.

Photo source Wild

Embarking on its B Corp journey in February 2021, Wild Cosmetics was first featured on Springwise early last year. Since then, many UK consumers will have become familiar with the brand from both billboards and supermarket shelves. And the vegan, refillable deodorant is also available in Ireland, Germany, Austria, and Norway. The company’s flexible subscription service allows users to receive personalised, mix-and-match refills of vegan deodorant. With their first package, subscribers receive a lightweight case made largely from aluminium with a small number of recycled plastic parts. They then receive scent refills with their subsequent deliveries. These refills come in a bamboo pot that can be composted at home or recycled with other papers. Switching to this model helps to save a lot of plastic. In fact, according to the company’s latest B Corp impact assessment, its community of 1 million users has saved up to 150 tonnes of plastic from entering landfill. Most recently, the company announced the addition of a new camomile tea and French lavender scent to its range. Read more

Photo source Cabinet Health

Another B Corp providing sustainable packaging refills – this time for medicine – is Cabinet Health. The company has developed the world’s first refillable and decomposable medicine system, under which pharmacy HealthHavenRX refills prescriptions using Cabinet Health products – which include refillable bottles and biodegradable pouches. In addition to prescriptions, Cabinet Health’s packaging is also used for over-the-counter medicines, such as those for hay fever relief, pain relief, cold and flu treatment, and digestive health. According to the company, by switching to its refillable system, customers can eliminate up to one pound of plastic annually and hundreds of pounds of plastic over the course of a lifetime. Read more

Photo source Canva

All kinds of businesses can become a B Corp, and in late 2021, Springwise spotted Leaf & Limb, the first-ever tree service company to achieve B Corp certification. This longstanding family business employs a unique approach. In the tree service industry, a significant proportion of revenues comes from cutting down trees. For example, until 2019 – when the company shifted its approach – half of Leaf & Limb’s revenue came from tree felling. Today, however, the company only cuts down diseased trees – and only when completely necessary. Instead, it focuses on caring for existing trees by providing pruning services, improving the soil through practices such as adding wood chips and leaf compost, and avoiding harmful practices such as the use of herbicides and mulch volcanoes. Furthermore, it plants new trees and shrubs with a focus on choosing the right native species for a given location. Read more

Photo source Oxwash

First spotted by Springwise in 2020, Oxwash became a certified B Corporation last year. The company has developed a comprehensive system for improving the sustainability of commercial laundry. Oxwash’s solution revolves around the use of ‘wet’ cleaning, which replaces the harsh solvents used in dry cleaning with biodegradable detergents. The startup also uses ‘ozone technology’ to deodorise and sanitise clothes at lower temperatures than those used in traditional commercial laundry processes – a method also used in hospital sterilisation and during space missions. To improve sustainability further, electric vans and e-bikes are used to pick up and deliver orders, with robots assisting with ironing and folding at scale. Read more

Photo source Dayrize

Meeting the stringent criteria for becoming a B Corporation is not easy and takes time. One company currently undertaking this process is Dayrize, a climate tech startup that has developed a platform to rapidly and cost-effectively evaluate the environmental impact of consumer products. Dayrize’s Sustainability Assessment Tool uses geospatial analytics, datasets, and a complex algorithm to collect and cross-reference information for individual products and calculate a score out of 100, called the Dayrize Score. This allows consumers to easily understand and compare the sustainability of products as they shop. Read more

Please note: Dayrize is a Pending B Corp and is working towards full certification.

Written By: Matthew Hempstead

For more innovations, head to the Springwise Innovation Library.

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Timber Revolution logo
CategoriesSustainable News

“We can’t detox buildings by swapping fossil-fueled materials for timber”

The way we build must fundamentally shift to harmonise with tree and carbon cycles in order to realise the Timber Revolution, writes Smith Mordak.


There’s an argument that’s often trotted out against building with timber: there isn’t enough of it. The fear is that if we built everything out of wood there wouldn’t be a tree left standing.

This fear seems to be rooted in the idea that sustainability is about substitutions. For example, swapping out concrete, steel, and masonry for timber, but otherwise carrying on exactly as we have been. If we did that, we could well deforest the earth; meeting our targets while catastrophically missing the point. The pursuit of sustainability shouldn’t be to find a ‘green’ way to destroy ecosystems – yes I’m going to poison you, but don’t worry, the poison is organic – it should be about finding a way to live as part of a healthy, regenerative ecosystem.

The pursuit of sustainability shouldn’t be to find a ‘green’ way to destroy ecosystems

I sometimes detect an accompanying undertone to the not-enough-trees argument that almost suggests building buildings out of living things is somehow wrong; that exploiting bio-based materials is worse than exploiting ‘dead’ stuff; some kind of extreme architecture veganism. I wonder whether this comes from the idea that what would be best for Earth is if humans buggered off: put a big KEEP OUT sign at the edge of the atmosphere and divert humanity into little uber-urban enclaves on other planets.

Some might accept the premise of not-enough-trees and tackle it with supply and demand logic: sure, humanity is demanding too much stuff, but that’s okay – we just need to innovate on the supply side by finding ways to grow more trees faster, thereby permitting us to take more trees faster. It’s tempting to accept that argument and leave it at that, because then we don’t have to confront this deep-seated ideology that nature gives and humans take.

There’s a very seductive myth around trees being the original givers in this dynamic: that trees evolved and promptly forested the world to create a cosy oxygen-rich environment that allowed humanity to come forth. However, despite so many sexy tree-woman depictions of Mother Earth (just google it, you’ll see), I don’t buy that trees’ destiny is to provide for us.

Yes, wood is pretty amazing stuff: from a structural engineering perspective it works in compression, tension and bending making it super versatile, and it’s got a strength-to-weight ratio any gladiator would dream of. Combining these properties with its ability to suck up and store carbon from the atmosphere, it’s no wonder wood is hailed as the superfood of the built environment salad. But using timber needs to be more than a fad diet. We’re not going to address the long-term sustainability of creating habitats for humanity with the engineering equivalent of a juice cleanse.

Trees do have form when it comes to calibrating the atmosphere, but they didn’t create Earth for our liking. Early plants colonised land from around 470 million years ago, and sucked up so much carbon from the atmosphere it was never the same again. Within 50-ish million years, oxygen reached present day levels such that it was possible for large, breathing animals to evolve. This incredible feat was achieved in collaboration with fungal mycorrhizal symbionts. The plants’ fungus buddies could access the rock-bound nutrients that made all that lovely growth possible.

But this was a big change for those early plants. They were used to getting lashings of carbon dioxide through their open stomata without having to worry about drying out. In the now-carbon-dioxide-depleted environment, they were losing water fast so needed a better system of sucking up moisture from the soil. Enter lignin. Lignin is what makes your barbeque taste like barbeque, and also, one of the forms of organic polymer that create robust drinking straws for woody plants. It’s these tough, dead cells that allowed plants to evolve into towering forests.

Using timber needs to be more than a fad diet

Which brings us to another myth. This is lesser known, but you might have heard the theory that there was a lag between the evolution of lignin and the evolution of microbes and fungi that could break it down, resulting in billions of trees growing, falling over, not rotting, piling up, and eventually being squished down to create great fat seams of coal. It’s a great story, but the evidence doesn’t back it up.

There are indeed fat seams of coal that were all deposited at around the same time, but this peak actually occurred because wet tropics coincided with nice big basins for collecting the future-coal as part of the assembly of the supercontinent, Pangea. And yes, all that carbon sequestration did cool temperatures. It was an important factor in bringing about the Late Paleozoic Icehouse.

We started extracting from these thick ‘Carboniferous’ coal seams a couple of hundred years ago, and have since been making quick work of transferring all that sequestered carbon back up into the atmosphere under the auspices of ‘nature gives, humans take’. The last few decades we’ve been worrying that there’s not enough for us to take. Not enough coal, not enough oil, not enough timber, not enough ecosystem services.

We don’t seem to appreciate that we’re never really taking stuff, we’re just breaking it down and moving it about, often making it useless to the ecosystem in the process. We never really consumed that carbon, we just shifted it into the atmosphere and a few people amassed great privilege in doing so.

We characterise emissions and other toxic effluents as pollution; as stuff that’s leaked out from where it’s supposed to be to where it isn’t supposed to be. We seem to think that the solution to the climate crisis is to tackle this pollution by working out how to stop things from leaking. We seem to think that we have that much control! But we can’t detox our built environment by swapping out fossil-fuelled building materials for timber any more than we can detox ourselves by swapping out our lignin-flavoured barbeque for a juice cleanse.

What if, instead, we stopped trying to solve the problem of an unhealthy ecosystem by trying to build impenetrable walls between the ‘good’ parts and the ‘bad’ parts: walls between nature and humanity, between humans and polluting industrial processes, between polluting industrial processes and the atmosphere? What if instead we accepted that we are continuous with everything on Earth and, like those early plants, need to nurture our relationships with our buddies – fungus and otherwise – to ensure we slot into an ecosystem that can support life as a whole?

We should definitely build with timber, but not because nature is there for us to pilfer

It’s just like skipping (or jump rope). You’ve got two friends spinning the rope and you want to jump in. You don’t just career in and steal the rope. You watch, you listen, you internalise the rhythm, and then at a carefully judged moment you make a dash, and keeping pace with the rotations you jump, jump, jump as the rope goes round, round, round. It’s true for the rotations of the skipping ropes and it’s true for the water cycles, carbon cycles, nutrient cycles, rock cycles – all the cycles. We need to observe, understand the rhythm, and then keep pace.

We should definitely build with timber, but not because nature is there for us to pilfer and not because it’s a silver bullet for balancing the carbon budget. We should build with timber because we and trees evolved in the same oxygen-rich environment, so we can cohabitate; we can share our water and nutrients and carbon and lifecycles.

This means slotting our buildings into the big game of carbon jump rope in such a way that respects and keeps pace with the rhythm. This means building buildings such that the resources we use to make them can regenerate within the building’s lifetime. We should cohabitate with trees because they’re the best Earth-mates a human could dream of.

Smith Mordak is a multi-award-winning architect, engineer, writer and curator and the incoming chief executive of the UK Green Building Council.

The photo is by Jason Leem 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.

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