Office space with dark wood desks, wall panelling and a yellow sofa in office interior by The Mint List
CategoriesInterior Design

The Mint List fits out London office with mid-century-style movable furniture

Bespoke furniture with a mid-century feel can be rearranged to alter the use of this office space in north London, which interior design studio The Mint List has created for a music management company.

Camilla Kelly of The Mint List designed the headquarters for management company Everybody’s, which recently upgraded to larger premises on the ground floor of a former shipping depot.

Office space with dark wood desks, wall panelling and a yellow sofa in office interior by The Mint List
Everybody’s office is located in a former shipping depot

Architect Duncan Woodburn developed plans to reconfigure the large, light-filled unit as an open-plan workspace including a high-ceilinged entrance along with a kitchen and dining area.

For the interior scheme, Kelly worked closely with Lucy Tudhope of Everybody’s, ensuring the focus was on retaining the building’s existing character and creating a flexible workspace with a midcentury feel.

Flexible office space with white walls and floors, decorated with dark wood midcentury furniture
The Mint List designed custom joinery to divvy up the interior

“We wanted to ensure that we respected the modernist nature of this industrial site, whilst integrating a sense of creativity that was absolutely key for the client,” Kelly said.

One of the main challenges was zoning the large space to create different functional areas. This was achieved using custom-built joinery to separate self-contained yet open-plan spaces.

Modular kitchen island in a double-height space with overhead pendant lighting in office interior by The Mint List
Modular furniture features throughout the office interior

Much of the joinery is modular, allowing the space to be reconfigured if required. Large storage units at the entrance are accessible from both sides and completely movable so they can be rolled away to create an open event space.

Most of the time, the units serve to separate the office from the entrance area and provide staff with a degree of privacy from visitors.

Lounge room with parquet flooring, grey sofa and cream armchair
The office also houses a lounge for playing music

The main workspace is flooded with light that enters through the building’s glazed frontage. It contains desks and bespoke oak credenzas that can also be easily moved to completely clear the open-plan room.

At one end of the office is a kitchen with built-in storage, including coloured drawers and cupboard fronts that complement the African sapele wood joinery.

The kitchen contains bar seating next to the windows and a dining space arranged around a three-metre-long leather-topped artist’s table.

A full-height glazed wall specified by the client separates the workspace from private offices and a cloakroom on the ground floor, as well as a mezzanine that houses an acoustically sealed meeting room and a lounge for playing music.

Staircase with brown tile walls, white panelling and glass pendant lamp in hallway by The Mint List
Glossy tiles feature in the stairwell

“The brief was a seamless, vertical grid of glass,” explained Kelly. “So we helped to translate that in terms of the finishes – textured glass to obscure vision through to the office and a beautifully finished oak frame that complements the midcentury scheme.”

Throughout the project, The Mint List applied a palette of tactile and honest materials including sapele wood, oak, concrete and burnished brass.

Office meeting room with parquet flooring wooden table and wooden chairs with black upholstered seats
The Mint List added wood surfaces and brass details

A colour scheme based on natural hues including greens, creams and earthy browns adds visual richness to the spaces.

The office’s Marmoleum flooring is a custom design that subtly separates the space into different zones. The renewable material was chosen for its excellent acoustic properties in order to help absorb sound within the open spaces.

Bathroom with white sink and toilet and pink and white tiled wall in office interior by The Mint List
The bathrooms are playfully decorated with colourful tiles

Bathrooms located on the ground floor feature retro sanitary- and brassware complemented by playful tiles, with each wall laid in different patterns and colours.

Other recent office makeovers in London include Office S&M’s self-designed studio inside a former paint-making workshop and creative agency Ask Us For Ideas’ Soho office, which is split across two diametrically opposed floors.

The photography is by Dave Watts.

Reference

Computer vision, automation, and machine learning boost insect farming
CategoriesSustainable News

Computer vision, automation, and machine learning boost insect farming

Spotted: Experts are becoming increasingly concerned about how the world’s growing population will be fed in an equitable and sustainable way. One solution is edible insects – both for human consumption, and as pet food in order to help free up land and resources. Insects require far less space and fewer resources to farm than other proteins like beef or chicken, but producing them en masse has proved challenging so far. Tech company Entocycle is using innovative technology to help. 

The London-based startup uses smart technology to help insect farms work efficiently and sustainably (and manage billions of insects at any one time). Its technology aims to help farms improve accuracy, efficiency, and enable less need for manual involvement, such as by measuring populations in a farm to automate food requirements and controlling the temperature to optimise insect health.

The company focuses on black soldier fly farms, an insect that grows very rapidly – and can survive on food waste. They contain all the nutrients humans need for good health, including more zinc and iron than lean meat, and more calcium than milk.  

Entocycle recently raised $5 million (around €4.7 million) in a recent Series A funding round, which the startup will use to expand the commercial roll-out of its products and services. 

Entocycle is not alone in developing technology to help make insect-growing a viable and sustainable operation. Springwise has also spotted vertical mealworm farms that produce plant and animal feed, and AI-powered insect microfarms.

Written By: Jessica Bradley

Reference

Mission Invisible: Door Details That Blend Seamlessly With Modern Interiors
CategoriesArchitecture

Mission Invisible: Door Details That Blend Seamlessly With Modern Interiors

There isn’t much an architect loves more than clean lines, seamless details and high quality materials, but successfully combining all three is an endless challenge. As many of their clients seek increasingly streamlined spaces in which to live and work, designers are being tasked with perfecting the art of Minimalism  — and it’s only made possible in collaboration with manufacturers that appreciate the complex technical considerations behind this goal.

Led by Isabel & Jan Karcher, door furniture business Karcher Design embraces this challenge. This innovative German company designs and manufactures door hardware with incredible rigor, constantly considering how its products will fit with the wider context of a project. Their latest lever set, entitled “Mission Invisible”, takes their vision of minimalism to another level, reducing the door handle to its purest form and providing architects with the perfect solution to their clients’ needs. The product topped the jury vote in the 2022 A+Product Awards.

Architizer spoke with Karcher to learn more about the inspiration behind Mission Invisible, how its design was developed, and the company’s plans for the future.

Congratulations on winning a 2022 A+Award! What does winning this accolade mean to you and your brand?

As a leading manufacturer of door and window levers in the European market, this award and the recognition it brings will help us bring even more of our modern but timeless style to America and expand our market there.

What inspired the design of your product?

Drawing on our European roots, we are always developing designs that are a little smaller, a little more sleek, a little more elegant. Mission Invisible is the pinnacle of minimalism, reducing the lever set to its bare essentials without compromising on quality. This trend can be seen everywhere in modern design, and we wanted to offer architects a product range which can blend seamlessly into their minimalist design concepts.

Tell us about the manufacturing process — What are the key stages involved and how do these help ensure a high quality end product?

Our company motto “Edles aus Stahl” is a bit of a German play on words – Edelstahl, meaning stainless steel, directly translates as Nobel Steel. We recognized decades ago the value of using high quality materials — where brass and aluminum are cheap and easy to manufacture, stainless steel is more durable and adds that extra hint of quality and luxury.

Because of this, our Mission Invisible set (and many of our other lever sets) is made entirely of high quality stainless steel. Through precision investment casting and CNC machining processes, we ensure that our parts fit together every time and with as little play as possible. Combined with our European mortise locks, we ensure a long lasting, good-looking door opening experience.

What detail of your product was most challenging to design, and why? How did you resolve it?

The standard door preparation for a lever set is a 2 1/8” diameter hole which is bored through the door. A standard lever set is designed to make use of this space. Now, imagine you have only a 1” diameter hole in the door, but you have to fit the same technology into less than half the space. Everything has to be thinner and smaller, but it can’t be more fragile.

The secret was to develop a lever rose which wasn’t fixed onto the door, but one which integrated itself into the door itself. The stainless steel rose has an array of flexible hooks which balance out any misalignment between the latch and the door. Once the handle is inserted into the rose, these hooks are pressed into the wood of the door and provide an incredibly stable base for the lever set. A small, but precision-cast, nylon bearing sits between the lever and the rose, ensuring a long life and silent operation.

What makes your product unique and of great value to specifying architects?

First and foremost, its minimalistic design and clean look is unique. Mission Invisible is also compatible with various different designs and finishes, so there are many possible applications. Then there is the size: Compare a standard lever rose (2 5/8” diameter and 7/16” thick) with the Mission Invisible mini-rose (1 3/16” diameter and 1/8” thick!).

Architects don’t have to accommodate the size of a Mission Invisible lever set; it blends into its surroundings. Combine this with a range of durable, powder coated finishes and lever designs specifically made for the Minimalist look, and you have a product which fits in anywhere. You don’t have to stand out to make a statement!

What has the reception to your product been like from architects/clients/consumers?

Architects have said that Mission Invisible opens up new ways to unify the look of a door within a room. They love how it combines with invisible hinges for a complete look, and is very easy to install. The overall reception from both architects and their clients has been very positive.

How do you see the product evolving in future?

Developing an even smaller system isn’t really realistic, but if the minimalist trend in architecture continues, we might develop more products which compliment seamless transitions between design components. We’re also slowly introducing our range of European products to the USA. These are a great compromise for those who want something a bit more elegant, but aren’t quite into the full minimalist aesthetic.

To find out more about Karcher and Mission Invisible, visit their website, and reach out to one of their experts to learn how to implement the product in your next project.

All images courtesy of Karcher Design

Reference

Clothes on displays 3D-printed from recycled plastic by Nagami
CategoriesInterior Design

Nagami 3D-prints plastic to mimic melting glaciers in Spanish boutique

Spanish design studio Nagami has completed a shop interior for sustainable clothing brand Ecoalf near Madrid that is almost entirely 3D printed from recycled plastic.

Walls, shelves and display tables inside the store in the Las Rozas Village designer outlet are made from 3.3 tonnes of repurposed plastic waste, sourced mainly from hospitals and used to create transluscent surfaces that resemble melting glaciers.

Clothes on displays 3D-printed from recycled plastic by Nagami
Nagami has 3D-printed the interior of Ecoalf’s boutique near Madrid

Additive manufacturing specialist Nagami created the plastic panels using a robotic arm equipped with a custom-built extruder that can print complex 3D forms, with the aim of uniting design and technology to raise awareness about the climate crisis.

“We wanted to highlight the melting of the polar glaciers due to climate change,” Nagami co-founder Manuel Jiménez García told Dezeen. “So the walls are meant to represent a glacier that is cracking.”

“The 3D-sculpted texture is a reference to the way the wind and snow erode the ice over time,” he added. “The idea was to recreate the sensation you might have when walking inside a glacier.”

Clothes on displays 3D-printed from recycled plastic in Ecoalf shop near Madrid
The interior was designed to resemeble a melting glacier

The Ecoalf store is the first fully 3D-printed interior completed by Nagami. And García believes it may be the first in the world to be fully 3D-printed using recycled plastic.

The project was completed with a very short lead time of just three months from design to installation.

Clothes on displays 3D-printed from recycled plastic by Nagami
Almost all of the surfaces are made from recycled plastic

According to García, the undulating forms that cover almost all of the store’s internal surfaces pushed the robotic printing technology to its limit.

“The machines needed to literally dance to create all of these different angles,” the designer explained. “Traditional 3D printing uses layers. But we can change the angle of the robot to make the kinds of curved and wavy forms you see in this project.”

The walls are divided into panels and joined using connectors that form part of the printed structure. This meant that the tolerances needed to be very precise so that the components can slot together neatly.

On the floor, natural stone tiles feature veins reminiscent of cracking ice to enhance the feeling of walking on a glacier.

All of the components used for the interior can be disassembled and reused or recycled for future projects. The plastic itself is almost infinitely recyclable, losing just one per cent of its structural performance with each new use, Nagami claims.

Interior of Ecoalf store in Las Rozas Village by Nagami
The shop is located in the Las Rozas Village designer outlet

Both companies share an interest in sustainable manufacturing, with Ecoalf creating clothing, footwear and accessories using recycled materials including plastic bottles, discarded fishing nets, used tyres and post-industrial wool and cotton.

Similarly, Nagami works with recycled plastic to create furniture, sculptures, interiors and architectural elements as part of a closed-loop production process.

The studio’s previous projects include several window displays for Dior, as well as a mobile toilet cubicle called The Throne and a collection of 3D-printed chairs by designers including Ross Lovegrove and Zaha Hadid Architects.

Robotic 3D-printing arm printing clear plastic
Nagami used special robotic arms to 3D-print the panels. Photo by Nagami

During the coronavirus pandemic, Nagami also made use of its quick-fire production process to 3D print face shields for medical staff.

“We see 3D printing as one of the most sustainable forms of production,” García explained. “You don’t have to produce stock, it doesn’t create any fumes and it’s very versatile so you can create things on demand.”

“In the future as we expand we want to have production sites around the world making things locally and reducing our carbon footprint even further.”

All photography is by Alfonso-Quiroga unless otherwise stated.



Reference

Three innovations for the future of transport
CategoriesSustainable News

Three innovations for the future of transport

The most obvious recent development in transport has been the ongoing shift in how we power our vehicles. And although the roll-out of electric vehicles (EVs) has been uneven – with China, the US, and Europe leading the way – significant progress has been made. In fact, in 2022, the world passed a key milestone, with EVs making up 10 per cent of all new cars sold. EVs are also one of the few areas where the International Energy Agency deems the world to be on track to meet its net zero 2050 scenario.

However, although there remains some way to go before all cars on the road are electric – if indeed that point is ever reached – EVs are in some ways old news. As Susan Cox-Smith, a partner and director at Changeist puts it: “The tipping point for electric vehicles has already been hit.”

For our Future 2043 Report, we took a much longer view when asking the world’s leading futurists how we will move around in the year 2043. Will the idea of the personal or family car still be around in 20 years’ time – even if we wean our vehicles off fossil fuels? Well, in Cox-Smith’s view: “full ownership will probably decline as micro-rentals and shared vehicles become the norm.”

So if the car owner is out, what about the driver? Will autonomous vehicles – long predicted by technologists – be accepted by the mainstream? And what will this mean for our legal and ethical systems?

“Ethically and psychologically, I see driverless cars as a major step towards redefining a shift in social responsibility, that will likely have repercussions for other industries from medicine to food,” explains creative technologist Jude Pullen.

How we will move around in the future is one of the big unanswered questions. But, in the meantime, discover three innovations that might provide us with a clue. Will we even do away with roads Back to the Future style?

Photo source Infinite Mobility

SOLAR-POWERED TUK-TUKS COULD BE COMING TO A CITY NEAR YOU

Increasingly, those interested in city planning and energy saving have been pointing out that it just doesn’t make sense to transport people or smaller amounts of goods around urban areas in traditional vehicles – even EVs. Cars are large, heavy, and energy-intensive. Startup Infinite Mobility has developed an alternative – a solar-powered tuk-tuk designed for last-mile deliveries, or to efficiently carry just one or two people. Read more

Photo source Urban-Air Port

STARTUP PLANS TO CREATE A WORLDWIDE NETWORK OF FLYING TAXI AND CARGO DRONE HUBS

The urban air mobility market is on the up, with forecasts predicting it could reach $1 trillion in the next 20 years. From flying taxis to delivery drones, emerging technologies have the potential to transform how people and goods move around cities, by-passing congested road transport systems by – literally – rising above them. To date, most of the investment has gone into the development of flying vehicles themselves. But a lack of ground infrastructure remains a limitation on the mass roll-out of these vehicles. To fill this infrastructure gap, UK-based Urban-Air Port intends to build 200 advanced air transport hubs – called ‘vertiports’ – around the world. Read more

Photo source XPENG

ELECTRIC FLYING CAR COMPLETES PUBLIC EXHIBITION FLIGHT

Flying cars are becoming a reality. China’s XPENG mobility technology experts recently completed a public flight of the electric flying car XPENG X2 at an event at the Dubai World Trade Centre. The zero-emission vehicle is a two-seater car that uses vertical lift-off and landing to transition from road travel to air. Designed specifically for the complexities of urban driving, the X2 flies at low altitude and can be driven manually or autonomously. Read more

Want to discover more about what the world will look like in 2043? Download our free Future 2043 report which draws on the insights of 20 of the world’s leading futurists. For more innovations, head to the Springwise Innovation Library.

Reference

Sian Sutherland, co-founder of PlasticFree and A Plastic Planet, on stage
CategoriesSustainable News

Watch PlasticFree’s forum of talks on the climate crisis on Dezeen

Dezeen teamed up with PlasticFree to present its interdisciplinary forum of talks focussing on the climate crisis in New York City. Watch the talks here.

Called Our Incredible Future Now, the talk took place at Parsons School of Design in New York City on 2 February 2023 and was hosted by Sian Sutherland, co-founder of PlasticFree and A Plastic Planet.

Sian Sutherland, co-founder of PlasticFree and A Plastic Planet, on stage
PlasticFree co-founder Sian Sutherland

The event brought together creative professionals across various disciplines to explore why the issue of climate change continues to be discussed at length instead of being addressed practically with the many proposed solutions that currently exist.

Featured speakers included chief innovation officer of Pangaia Amanda Parkes, Slow Factory founder Celine Semaan, and Birsel + Seck co-founder Ayse Birsel, among other designers and climate specialists.

The event followed the launch of the PlasticFree database, an online platform created in a bid to help architects and designers source plastic-free materials for their projects and avoid misinformation around more sustainable alternatives.

The subscription-based service provides detailed reports on more than 100 plastic alternatives that have been vetted by scientific advisors, highlighting their properties, production and sourcing in order to offer reliable and trustworthy information.

Five speakers sitting on stage during a talk at the Our Incredible Future Now talk
Creative professionals from different disciplines discussed the climate crisis

The platform’s advisory council comprises scientists, business leaders and industry figureheads including Stirling Prize-winner David Chipperfield, designer Tom Dixon and curator Aric Chen.

Partnership content

This competition is a partnership between Dezeen and PlasticFree. Find out more about Dezeen partnership content here. 

Reference

World’s Best Design Details: Bendheim’s Bespoke Glass Façades
CategoriesArchitecture

World’s Best Design Details: Bendheim’s Bespoke Glass Façades

Architizer’s A+Awards Best Firm categories allow design firms of all sizes to showcase their practice and vie for the title of “World’s Best Architecture Firm”. Start an A+Firm Award Application today. 

Architecture is shaped by form, transparency and light. Today, glass is one of the key materials specified to control what we experience inside a building, from views and daylight to heating and cooling. Glass has been used for thousands of years, holding both practical uses and cultural meaning. A major turning point came with the advent of the float glass process,  invented by Sir Alastair Pilkington in 1952, which used a molten tin bath to produce a continuous ribbon of glass. Now, architects are working with manufacturers to rethink conventional building envelopes and construction techniques.

Bendheim is one of the world’s foremost resources for specialty architectural glass. Founded in New York City in 1927, the family-owned company offers in-stock and custom glass varieties for interior and exterior building applications. In the early 1980s, Bendheim began its Architectural Glass division with new tempering and lamination processes to transform hundreds of decorative glass varieties into safety architectural glass products. Bendheim now maintains production facilities in New Jersey and a Design Lab in New York City. The following projects showcase Bendheim’s products in architecture across the United States, from residential to cultural projects.


Devon Energy Center

By Pickard Chilton, Oklahoma City, OK, United States

The Devon Energy Center was designed to create a focal point for the company and the city by integrating civic-scaled spaces. The headquarters consolidates Devon’s Oklahoma City-based workforce into a single facility. Rising fifty floors, the tower’s unique three-sided footprint allows it to be viewed from all of greater Oklahoma City. The curtain wall is composed of state-of-the-art continuous floor-to-ceiling glazing and a highly articulated mullion system.

Defining an urban edge between business and arts districts, the auditorium is a prominent, multi-use venue designed to support private and public events. Bendheim was brought on with double-glazed, solar channel glass to create feature exterior walls with angle cuts at the entrance. The SF-60 framing system was utilized for setting the glass.


Shaw Center for the Arts

By Schwartz/Silver Architects, Baton Rouge, LA, United States

Made to house Louisiana State University’s Museum of Art, this project also included studio art facilities, a regional performing arts facility with a 320 seat main stage, a hundred-seat black box theater, and a dance recital theater. An historic older building, the “Auto Hotel,” houses classrooms, offices, curatorial spaces, and a gallery for the LSU School of Art. The innovative Bendheim channel glass rainscreen creates a highly recognizable façade, while protecting the building and the works of art it houses from the elements.

The façade features approximately 40,000 square feet of the channel glass. Most of the flanges face outward, adding texture to the building. There are 2-inch gaps between the channels, and the glass rainscreen sits approximately 6 inches off a layer of waterproof aluminum. The resulting varied texture emulates the shimmering surface of the nearby Mississippi River. The unique flange-outward design adds visual complexity, while preventing wind and rain from accessing the metal panels behind the channel glass.


Swiss Embassy Residence

By Rüssli Architects AG, Washington, DC, United States

Looking out with a view to the Washington Monument, this residence was made as a multifunctional microcosm of living and working space as well as rooms for official receptions and for the staff. The strictly geometrical structure of the Swiss Embassy is a cross-shaped volume on a massive, rectangular base. The outer sides of the cross, which are part of the base too, and the the resulting exterior spaces are allocated to adjacent areas.

Bendheim’s U-profile channel glass, contrasting with slate-trimmed grey concrete, produces a crisp, clean effect in this cross-shaped design. The complex features 10,000 square feet of tempered, low-iron, sandblasted, solar textured channel glass. The Swiss Embassy residence operates at high levels of efficiency, consuming half as much energy as a typical building structure. The project also conforms to the LEED Silver green building standard.


Institute of Contemporary Art

By Diller Scofidio + Renfro, Boston, MA, United States

The ICA was the first museum to be built in Boston in 100 years. The 65,000 square foot building includes temporary and permanent galleries, a 330 seat multi-purpose theater, a restaurant, bookstore, education/workshop facilities, and administrative offices. The site is bound on two sides by the Harbor Walk, a 47-mile public walkway at the water¹s edge reclaimed from Boston’s industrial past. The ICA offers the city some of its ground floor footprint in exchange for rights to cantilever over city property with a 18,000-square-foot gallery illuminated by an uninterrupted skylight.

A 504 Rough Cast channel glass façade envelopes the upper level of the Institute of Contemporary Art on three sides. The glass rainscreen is functional, protecting the building from harmful moisture damage, as well as being aesthetically pleasing. The glass is illuminated from the top, allowing the entire upper level to glow at night and to act as a beacon over the harbor.


C-Glass House

By deegan day design, Marin County, CA, United States

The C-Glass House is an elegant retreat in northern California. Set on a spectacular site, the residence opens to a panoramic view of Tomales Bay and the open ocean, while bracing against winds from multiple directions. C-Glass House brokers between the Leica-like precision of high modern glass houses and the cinematic wireframe of the Case Study generation. The home was also inspired by artists’ explorations of glazed enclosures as much as it is to the precedents of Johnson and Mies.

The C-Glass House opens up to a panoramic vista but also modulates and reflects back on architecture’s evolving role in the American landscape. Affixed in Bendheim’s SF-60 framing system, solar textured channel glass defines the house’s exterior, creates privacy, and diffuses the strong Californian sunlight. Captured at the top and bottom, the tempered channel glass spans the height of the house, seamlessly turning corners without the need for extra metal supports.


Visual Arts Building, University of Iowa

By Steven Holl Architects and BNIM, Iowa City, IA, United States

SHA and BNIM designed the new Visual Arts Building for the University of Iowa’s School of Art and Art History. It provides 126,000 square feet of loft-like space for all visual arts media, from ancient metal-smithing techniques to the most advanced virtual reality technologies. The building replaces an original arts building from 1936, which was heavily damaged during the 2008 flood of the University of Iowa campus. Seven vertical “centers of light” are carved out of the building’s volume filling the interior with natural light and ventilation.

Channel glass by Bendheim soars at 20 foot heights throughout the project. The combination of Bendheim’s 504 Rough Cast™ channel glass texture with translucent insulation inserts delivers ideal daylight, as if filtered through a translucent cloud. With no glare requiring shades or other window treatments to block it, classrooms, studios, and lounge spaces are flooded with natural light that appears to have no direct source. The idea was to create evenly dispersed light that would make the best possible atmosphere in which to work and create.

Architizer’s A+Awards Best Firm categories allow design firms of all sizes to showcase their practice and vie for the title of “World’s Best Architecture Firm”. Start an A+Firm Award Application today. 

Reference

Shop front with stone facade and large window looking into a store with rammed-earth islands
CategoriesInterior Design

Gonzalez Haase AAS includes rammed-earth “islands” at clothing store

Architecture studio Gonzalez Haase AAS has completed a store on London’s Regent Street for Icelandic clothing brand 66º North, featuring curved walls and freestanding plinths made from rammed earth.

The Berlin-based studio headed by Pierre Jorge Gonzalez and Judith Haase set out to create a holistic concept for the store that represents Iceland in an original way, rather than relying on stereotypes.

Shop front with stone facade and large window looking into a store with rammed-earth islands
The shop interior was informed by Iceland’s volcanic landscapes

Gonzalez Haase AAS let the natural elements and the country’s geology inform key design features such as curved grey walls that evoke the shifting weather and rammed-earth islands that represent the earth.

“The weather in Iceland is a very real and prominent feature in the land and we classified this as static (the island) and forever changing (the weather),” the studio explained. “The static island of Iceland stands still in comparison to the constantly evolving and adapting weather, but this influences the perception of the island.”

Shop interior with grey floor and rammed-earth displays
Rammed-earth islands add colour and texture to the shop’s interior

Upon entering the space, visitors encounter a series of curved walls rendered in natural pigmented clay sourced from Cornwall in the south of England.

The designers said the use of different grey tones represents the changing weather: “the immaterial, movement, changing, blurry and informal”.

Shop interior with grey floor, silver island and rammed-earth steps and partition wall
Grey walls represent Iceland’s shifting weather

The curved walls vary in height and frame different views within the store. At the entrance, one of the walls stretches back 18 metres, drawing the viewer’s gaze into the space and offering a tactile introduction to the experiential interior.

“These curved walls create different perspectives and atmospheres,” the design team added. “They sit in front of the existing white walls to create a dramatic foreground of rolling soft curves.”

A series of monumental rammed-earth islands are inserted throughout the floor plan, adding colour and texture that evokes the earth and magma of Iceland’s volcanic landscape.

The islands were created by artist Lennart Frank, who cast and sculpted them from an aggregate mix of different lava rocks to create a layered effect.

Close up of the rammed-earth display islands at the 66 Degrees North clothing store
The islands were made from an aggregate mix containing different lava rocks

A combination of pigmented aggregate and sand gives the islands their reddish-brown hue, while the rugged texture brings a tactile element to the space that complements the brand’s clothing.

The earthy tones are echoed in the metal clothes rails, as well as in the colour of a carpet applied to the surfaces within a more intimate space at the rear of the store.

Shop interior with rammed-earth floor, steps and partition wall
Earth-toned carpet was used in parts of the shop

A custom-made mesh ceiling was designed to evoke a misty white sky, while also concealing lights and technical equipment.

Mirrors and screens displaying films of the Icelandic landscape help to define the flow of movement through the space and add a playful dimension to the shopping experience.

Shop front with stone facade and large window looking into a store with rammed-earth islands
The shop is located on Regent Street in London

Gonzalez and Haase founded their Berlin-based studio in 1999. The firm works on commercial, residential and cultural projects, developing spatial concepts and experiences that foreground the interplay between light and architecture.

Previous interiors designed by Gonzalez Haase AAS include a minimal office for a Berlin communications firm and a sparse, white-walled concept store in Lisbon that occupies a disused warehouse.

The photography is by Thomas Meyer, Ostkreuz Photography.



Reference

Boards made from grass replace timber 
CategoriesSustainable News

Boards made from grass replace timber 

Spotted: Fast-growing grasses that are turned into construction panels use nine times less land than traditional timber products. With the global engineered wood market projected to be worth over $400 billion by 2027 (around €374 billion), the potential of new grass-based panels to help decrease the construction industry’s footprint is significant. A culmination of more than 20 years of research and development, biotechnology company Plantd’s panels are carbon negative and produced in all-electric manufacturing plants.  

Using a perennial plant called giant reed grass, Plantd’s process is designed for easy scalability and minimal resource use by farmers. Giant reed grass grows 20 to 30 feet tall, and a single acre of land can produce up to 20 million tonnes of grass, which would contain 25 to 30 million tonnes of atmospheric carbon. The boards made from these grasses are lighter, stronger, and more moisture-resistant than traditional wood boards. And because Plantd’s production process sequesters 80 per cent of the carbon contained in the grasses, the boards are also carbon negative.  

The manufacturing plants are modular and capable of producing multiple products, including panels and studs, from a single location. Modularity makes it easy for production to scale up or down depending on location and market size, and as all-electric plants, the process produces minimal carbon emissions. Because the grass can be farmed on arable land already in use, the switch from timber products to grass panels could also help reduce deforestation.  

Springwise has spotted other recent innovations focused on transforming the construction industry, including wood-based biocomposites, and the first-ever carbon negative portland cement.

Written By: Keely Khoury

Reference

a mosaic of colored voids & glass adorns new apartment buildings in the czechian mountains
CategoriesArchitecture

colored glass mosaics adorn ‘apartments filipovice’ in czechia

celebrating traditional morphologies in freestyle fashion 

 

Set in the Czechian highlands of Jeseniky, the ‘Apartments Filipovice’ by Atelier CL3 Studio celebrates the region’s traditional architectural morphology in freestyle fashion. The new complex features two residential buildings designed as monolithic rectangular foundations, each clad in locally sourced larch shingles and crowned with a classic wooden gable roof. The larch cladding will naturally darken over time, allowing the built volumes to gently blend into the mountainous landscape.

 

Steadily contrasting the naturally greying larch shell is a mosaic of colored loggias and windows — painted blue for the first building and yellow for the second. ‘The crystalline shine of the colored glass mosaic, together with the strictly square windows of the same frame color, define the character of the buildings,’ writes CL3. 

a mosaic of colored voids & glass adorns new apartment buildings in the czechian mountains
all images © Tomáš Slavík

 

 

a rich material palette composing  ‘apartments filipovice’ by CL3 

 

As clearly displayed, ‘Apartments Filipovice’ relies on traditional materials, characteristic of the Jeseniky region and Czechian culture. Atelier CL3 (see more here) first erected the buildings atop strip foundations before composing each residential part as a hybrid of sand-lime brick walls and reinforced concrete ceilings. Meanwhile, larch shingles extracted from the local forest were used to clad each building exterior — ‘a free paraphrase of the façades of local barns, and gabels of residential buildings,’ continues the studio.

 

Indoors, the spaces take on a more contemporary and minimalist quality, with vibrant blue and yellow staircases set against a clean white backdrop. The bedrooms, however, while simple in their design, evoke the traditional barn experience, with scenic views of the pastoral landscape ahead. 

a mosaic of colored voids & glass adorns new apartment buildings in the czechian mountains
‘Apartments Filipovice’ – a celebration of traditional architecture with a modern twist

 

 

Lastly, each building has been designed to be as self-sufficient as possible in respect to the mountainous environment; the only supplied utility is power. ‘Heating is based on a groundwater heat pump, common areas are equipped with air recuperation, water comes from its well with water-supplying equipment, and wastewater will be disposed to a domestic sewage treatment plant with cleaned water absorption to the ground,’ notes CL3.

a mosaic of colored voids & glass adorns new apartment buildings in the czechian mountains
a mosaic of windows and voids completes the design

a mosaic of colored voids & glass adorns new apartment buildings in the czechian mountains
Atelier CL3 clad each building in larch shingles

a mosaic of colored voids & glass adorns new apartment buildings in the czechian mountains
using yellow and blue as accent tones

a mosaic of colored voids & glass adorns new apartment buildings in the czechian mountains
colored loggias define the ground floor of each apartment building

Reference