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Zhengzhou Grand Theater by The Architectural Design and Research Institute of HIT
CategoriesArchitecture

Putting On a Show: 7 Remarkable Venues With Real Wow-Factor

By Zarkon Group,

Architizer’s 11th Annual A+Awards is open for entries! With a Final Entry Deadline of January 27th, 2023, the clock is ticking — get started on your submission today.

Venues are the vessels of performance, and architecture is perhaps the most overlooked player on the stage. The geometries of events structures must perfect a complex dance that juggles elements such as acoustics, scale, sightlines, illumination and atmosphere. All the world may be a stage, to quote Shakespeare’s enduring words, but it’s the task of the architect to shape the stage into its own palpable world.

Performance spaces, whether theatrical, cultural or athletic, have a storied history that reaches back millennia. Yet, these typologies continue to be revised and rewritten in exciting new ways, as these outstanding winning projects from the 10th Annual A+Awards show. From concert halls and theaters to stadiums, discover seven of the most innovative contemporary venues deserving of a standing ovation.

 Zhengzhou Grand Theater

By The Architectural Design and Research Institute of HIT, Zhengzhou, China

Popular Choice Winner, 10th Annual A+Awards, Hall / Theater

Zhengzhou Grand Theater by The Architectural Design and Research Institute of HITZhengzhou Grand Theater by The Architectural Design and Research Institute of HITEnvisaged as a boat traversing China’s Yellow River, this remarkable performing arts venue resembles a vast ship anchored amid the urban sprawl of Zhengzhou. A series of dramatic metal sails define the exterior; however, the structure’s imposing scale is softened by its receptiveness to the surrounding landscape. Angular glass openings create a rapport between the building and the street outside. After nightfall, the sails illuminate and the interior glows, beckoning passers-by into its theatrical world.

Inside, the complex is home to four large theaters with unique architectural identities. The spaces have been carefully designed to accommodate their differing acoustic needs while ensuring there’s no noise interference between the venues. Undulating balconies, curving forms and dynamic solid surface patterns shape an immersive visual and audio experience.

 Andermatt Concert Hall

By Studio Seilern Architects, Andermatt, Switzerland

Jury Winner, 10th Annual A+Awards, Hall / Theater

Andermatt Concert Hall by Studio Seilern ArchitectsAndermatt Concert Hall by Studio Seilern ArchitectsOriginally an underground convention hall, this concrete structure has been transformed into a contemporary concert hall in the picturesque Swiss Alps. The ceiling of the subterranean space was raised to amplify the venue’s acoustics and increase its capacity. From the origami-inspired timber cladding to the inclined balconies and suspended sound reflectors, the interior topography has been carefully orchestrated to create an enveloping space where sound rises and falls around the audience like a wave.

The redesign rejects the conventional notion of the concert hall as an insular, enclosed space. The glazed upper volume protrudes up into the rural landscape, allowing light to pour down into the venue and creating a mercurial backdrop for concerts that shifts with the seasons. Externally, the structure takes on the appearance of an art installation at first glance, the acoustic reflectors floating ethereally amid the mountain peaks. The result is an intriguing invitation to find out more…

Hayward Field

By SRG Partnership, INC, Eugene, Oregon

Popular Choice Winner, 10th Annual A+Awards, Stadium & Arena

Hayward Field by SRG Partnership, INCHayward Field by SRG Partnership, INCThe site of sporting venues since 1919, this state-of-the-art track and field stadium has a hallowed history. The newest iteration of this legacy was inspired by the energy of competing athletes. The asymmetric oval frame of the stadium dips and rises in height as though it’s in motion — a considered decision that increases the density of seats near the finishing line. Meanwhile, a canopy of wooden ribs covered in a translucent skin allows daylight to permeate the stands, shielding the heart of the stadium, the spectators, from the elements.

The athletes’ experiences are prioritized in the architectural fabric of the structure too. As well as a vast complex dedicated to training and recovery below the stands, every element of the stadium has been designed as a vehicle for practice, from the winding stairs at the entrance to the public concourses and ramps clad in track surfacing.

Montforthaus

By HASCHER JEHLE Architektur, Feldkirch, Austria

Jury Winner, 10th Annual A+Awards, Cultural & Expo Centers

Montforthaus by HASCHER JEHLE ArchitekturMontforthaus by HASCHER JEHLE ArchitekturThis experimental venue is situated in a medieval town in western Austria. It was designed as a fluid space, capable of hosting everything from conventions and balls, to theater, pop concerts and classical performances. While its architectural form is strikingly contemporary, the structure doesn’t stand in conflict with its historic surroundings. Instead, traditional regional materials have been reimagined in a modern lexicon, creating a continuity between old and new.

The complex comprises an array of multipurpose events spaces, each shapeshifting in their scale and functionality. The large concert hall features over 300 square meters of adjustable surfaces, including six movable acoustic sails across the ceiling for a customizable aural experience. Height limitations posed an initial challenge to the  design, which meant rethinking the theatrical rigging system. Instead, the classic fly tower was reimagined as interchangeable segments, an especially innovative configuration.

Quzhou Stadium

By MAD Architects, Quzhou, China

Jury Winner, 10th Annual A+Awards, Stadium & Arena

Quzhou Stadium by MAD ArchitectsQuzhou Stadium by MAD ArchitectsEmbedded within an urban park, this extraordinary sports complex in Quzhou was devised to blur into the rolling topography. Six hills, a lake and sunken gardens sit in harmony with the structure, which is nestled within a crater-like recess in the ground. The entrances to the stadium appear as apertures in the earth, oversized burrows of sorts. From a distance, the only tell-tale sign of the arena’s presence is the translucent halo of the roof, which seemingly floats above the landscape like a cloud.

Encircled by woodland, the park sits at a distance from the city, the organic terrain a counterpoint to the developed skyline. The project offers a rebuttal to the typology of the stadium as a display of power — one that often appears to dominate the landscape. Instead, the sporting spirit is sensitively imbued into a communal outdoor space, placing the training of elite athletes alongside the quotidian physical activities of city dwellers.

Intuit Dome

By Cloud Architects, Inglewood, California

Jury Winner, 10th Annual A+Awards, Unbuilt Sport & Recreation

Intuit Dome by Cloud ArchitectsIntuit Dome by Cloud ArchitectsCombining sports with sustainability, the ground-breaking basketball stadium of the LA Clippers is striving to become the world’s first carbon-neutral arena. Harnessing Southern California’s sunny climate, the stadium, which is currently under construction, will be enveloped by a gridshell crowned with a solar array. The building will run entirely off electricity derived from the sun, while its solar battery storage system will have enough capacity to power a basketball game or concert. Coupled with natural ventilation and initiatives to eradicate landfill waste and improve local air quality, the arena will have an overwhelmingly positive impact on the region.

Embracing environmental responsibility hasn’t compromised the experience of fans either. The pioneering design will feature a bowl-style seating arrangement that ensures each seat has an unimpeded sightline, as well as integrated at-seat refreshment services. Meanwhile, the architects conceived the arena’s interior to optimize the Clippers’ home-court advantage — 51 rows of seats will flank one of the baskets, dubbed the ‘Wall of Sound’.

Winter Park Library & Events Center

By Adjaye Associates, Winter Park, Florida

Jury Winner, 10th Annual A+Awards, Libraries

Winter Park Library & Events Center by Adjaye AssociatesWinter Park Library & Events Center by Adjaye AssociatesThis community development in Florida was designed as a cultural micro-village amongst the tropical terrain. Encompassing the northwest corner of Martin Luther King, Jr. Park, the complex comprises three pavilions that house a two-story library, an events center and a welcome portico, as well as a number of outdoor socializing areas. The scheme’s radical design articulates its core principles of empowerment, education and unity with the natural world.

Just as the indoor buildings flow out seamlessly to the exterior meeting spaces, the divisions between the designated interior zones are porous. The library and events center feature flexible floor plans that promote the cross-pollination of ideas. Rather than a traditional, closed design, the tiered auditorium is open at the back to the rest of the events complex, encouraging engagement and participation. Here, the venue is not a singular confined space but a permeable zone of collaboration.

Architizer’s 11th Annual A+Awards is open for entries! With a Final Entry Deadline of January 27th, 2023, the clock is ticking — get started on your submission today.

Reference

Acne Studios store designed by Halleroed
CategoriesInterior Design

Halleroed combines the futuristic and the primitive for Chengdu Acne store

By Zarkon Group,

Fashion brand Acne Studios has opened its latest store in China, which was designed by Stockholm studio Halleroed and is located in the submerged SKP department store designed by Sybarite in Chengdu, China.

The 338-square-metre store has a discrete sandstone exterior marked by a red LED sign displaying the brand’s logo.

Inside, grey sandstone walls contrast against sculptural tie-dye furniture in earthy tan hues by British designer Max Lamb.

Acne Studios store designed by Halleroed
The store is located inside Chengdu’s SKP department store

“Our inspiration was aesthetically playing with design from the 1980s and 90s, and how that period looked at the future,” Halleroed founder Christian Halleroed told Dezeen.

“The inclined stone clad walls, the futuristic lighting together with the Daniel Silver mannequins – we thought of a futuristic space/computer age feel, but in a contemporary way of putting it together,” he added.

“We clashed this with the Max Lamb sculpture-like furniture that has a more primitive, earthy feeling.”

Bic fabric sculpture by Max Lamb in Acne Studios store
It features tactile, soft seating by Max Lamb

As well as the furniture, Lamb designed four fabric-clad touchscreens that are mounted on slim poles throughout the store and provide an overview of the brand’s current collection and stock availability.

Expressive mannequins by artist Daniel Silver and a light installation by designer Benoit Lalloz help to add a futuristic feel to the space.

Interior of Acne Studios store in SKP Chengdu
Lighting was designed to feel “like a spaceship”

Halleored, which has designed a number of Acne Studios‘ stores, normally works with Lalloz on the lighting but said the Chengdu store lights have a different feel to those in other stores.

“These were done a bit differently than previous since they are recessed in the ceiling, but still has the typical look of Benoit Lalloz,” Halleroed said.

“We wanted the lighting to feel like a spaceship,” he added.

A large mirrored column in the middle of the store reflects its pared-down interior, which features a colour palette informed by the grey hues used for early computer designs.

Large mirror inside Acne store designed by Halleroed
A large mirrored column sits in the centre of the sandstone room

“We used a very restrained palette with the grey, monochrome sandstone on the floor and angled walls, high gloss white walls and ceiling, the black coves in the ceiling, and for the fixtures brushed stainless steel,” Halleroed said.

“The Max Lamb and Daniel Silver pieces contrast this, with their brown batik fabric and the white with patina and silver mannequins.”

Previous Acne Studios store designs featured on Dezeen include a “monolithic” store in Paris and a pink-ceiling flagship store in Milan’s Brera district.

The photography is courtesy of Acne Studios.

Reference

Three innovations revolutionising food production
CategoriesSustainable News

Three innovations revolutionising food production

By Zarkon Group,

When it comes to food, the world faces a two-pronged challenge. According to the Food and Agriculture Organisation of the United Nations, by 2050 we will need to produce 60 per cent more food to feed a world population of 9.3 billion. At the same time, food systems cause 25 to 30 per cent of global greenhouse gas emissions, and this figure rises to around one-third when we include all agricultural products.

We therefore not only need to produce more food – we also need to build a more sustainable food supply chain. As a result, by 2043, we are likely to produce food in a very different way. To shed some light on the topic, we asked some of the world’s leading futurists a simple question: what will we eat in 2043?

“The biggest impact on what we eat will be the personalisation of our diets,” explains food futurist Tony Hunter. “As we continue to explore our genetics and microbiome, we’ll come to understand just how individual we are in our nutritional responses to food,” he adds.

Hunter also argues that, “By 2043, we’ll have a range of new protein and other food products unlike anything we’ve ever seen before.” However, Christophe Pelletier, founder of The Food Futurist, is more skeptical in his assessment. According to him, “The future of food comes down to three boring but important aspects: price, the ability of food businesses to control costs, and the level of management skills of the business leadership.” In his assessment, “alternative protein producers come quite short on all three counts.”

So, will we be tucking into a whole host of exotic new proteins for our Wednesday lunch in 2043? Only time will tell. In the meantime, discover three innovations that represent the cutting edge of food innovation today.

Photo source Marcus Harland-Dunaway/UCR

‘ARTIFICIAL PHOTOSYNTHESIS’ COULD BE THE FUTURE OF FOOD

Through photosynthesis, plants convert water, carbon dioxide, and energy from sunlight into sugars that they use to grow biomass. This process has been the basis of the food chain for millions of years, yet it is surprisingly inefficient. In fact, only about one per cent of the energy found in sunlight actually ends up in the plant. Now, scientists at the University of California Riverside have found a way to improve on mother nature by bypassing biological photosynthesis entirely. Read more

Photo source MyForest Foods

WORLD’S LARGEST VERTICAL MYCELIUM FARM SCALES UP PRODUCTION OF ALTERNATIVE BACON

It only takes MyForest Foods 12 days to grow an entire crop of mycelium, with the harvesting taking only a single day. Such rapid growth is made possible by the simulated forest inside Swersey Silos, the company’s newly expanded growing facilities in New York. The vertical farm contains seven growing rooms with just under two acres of total farm space. Read more

Photo source Olga Kudriavtseva on Unsplash

UPCYCLING BARLEY BYPRODUCTS INTO HIGH-PROTEIN FLOUR

Seoul-based food upcycling startup RE:Harvest has created a new flour alternative made from upcycled barley from the production of beer and sikhye – a traditional sweet Korean beverage. The company says that its powder is not only more sustainable than traditional flour, but that it also has a higher protein content. The company is currently working on scaling up its production so that it can meet the demand from both domestic and international customers – as well as expanding their byproduct sourcing. 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

Nontalo stools arranged in four different positions
CategoriesSustainable News

Olive pits form modular Nontalo kids’ stool by Eneris Collective

By Zarkon Group,

Design duo Eneris Collective has collaborated with Barcelona-based biomaterials company NaifactoryLAB to produce a playful stool for children made from waste olive pits.

The Nontalo stool is constructed from six modules – three P-shaped pieces that can be combined and positioned in different ways and three straight rods that hold them together, forming a variety of shapes from a three-legged stool to a bench seat and many alternatives in between.

Nontalo stools arranged in four different positions
The Nontalo kids’ stool can be assembled in various ways

All of the modules are made entirely of Reolivar, a smooth cork-like material that NaifactoryLAB created by mixing olive pits with bio-based binders and other natural ingredients.

Spanish designers Irene Segarra and Irene Martínez, who came together under the name Eneris Collective for this project, describe Nontalo as a seating design “where play, spontaneity and sustainability are in harmony”.

Close-up on the Nontalo stool by Eneris Collective
The stool is made of Reolivar, a biomaterial made from olive pits

The duo created the stool after NaifactoryLAB invited them to experiment with Reolivar and develop new applications for the biocomposite.

“For four months, we worked with this new material,” Martínez told Dezeen. “We got to know the possibilities it has, the pros and cons, and what its limits are.”

“The idea was to generate a structure that doesn’t have the obvious shape of a stool with a seat and legs, but maintains the same function,” she continued.

Nontalo stool in background with pieces disassembled in foreground
Three rods hold the stool together

The designers began by deciding on a series of words and concepts to define their intention of the project before sketching proposals and interweaving these different ideas.

“Our inspiration throughout this design stage was children’s construction sets,” said Martínez.

The duo initially created a right-angled design for the P-shaped modules but ended up turning the legs out by five degrees after realising it created better weight distribution as well as bringing a sense of harmony.

To lock the pieces together, users simply have to slot the straight rods through their central opening.

Eneris Collective shaped the Reolivar pieces in custom moulds, which Martínez says has the benefit of limiting waste as there are no offcuts.

The material can be composted at the end of its life or returned to NaifactoryLAB for recycling. The stool’s mono-material design makes this particularly straightforward, as there are no other materials or components to separate.

A hand assembles several pieces of brown, cork-like furniture by Eneris Collective
The design is meant to invite play and spontaneity

Over the course of its life, the material will age according to its environmental conditions and will last longer in dry, indoor environments away from humidity and rain, according to NaifactoryLAB.

The biomaterials company first developed Reolivar in 2020 using a bunch of olive pits grabbed from a dish at the end of a meal. Since then, it has been turned into a range of products including lamps, bowls, mirrors and trophies.

Eneris Collective is now working to develop a wider Nontalo Kids seating collection, building on the same shapes and ideas.

A number of other designers are experimenting with biomaterials in an attempt to produce more sustainable furniture. Some recent examples include mycelium lampshades from Estonian company Myceen and a stool and side table by Carolina Härdh, made from food waste for Gothenburg restaurant Vrå.

The photography is by Valentina Masallera and Caetano Portal.



Reference

designed from the inside out, 'keturah' reserve in dubai immerses occupants into bio-living
CategoriesArchitecture

designed from the inside out, ‘keturah’ reserve in dubai immerses occupants into bio-living

By Zarkon Group,

introducing ‘Keturah’ bio-living Reserve in Dubai

 

Keturah Reserve is an innovative new luxury residential project in Mohammed Bin Rashid City, Dubai that immerses occupants in nature through the principles of bio-living. Designed by Taiwan-born, South Africa-raised architect Charlie Wu, the development is the first of its kind in the Middle East and consists of several townhouses, villas, apartment blocks, as well as public parks and activity zones surrounded by lush nature. The result is a reserve that combines interior design, architecture and landscape, while respecting the surrounding ecosystem and placing the emotional, physical and spiritual balance of the residents at the heart of the project. The AED 3 billion (US$ 817 million) project is scheduled for completion in Q2 2025.

designed from the inside out, 'keturah' reserve in dubai immerses occupants into bio-living
the courtyard of the reserve | all images courtesy of Keturah Reserve

 

 

DESIGNED FROM THE INSIDE OUT

 

The Keturah Reserve (find more here) is designed from the inside out, utilizing the golden ratio to create harmony in space. Both the interiors and architecture are crafted from the same raw materials and colors to blend the architecture with the surrounding desert landscape subtly. Travertine, wood, and bronze connect the interior to the exterior. The understated color palette of bleached bone, champagne, and bronze brings the natural landscape inside the home. Lush nature is visible from all sides, including olive trees, palm trees, green walls, balcony plants, and roof gardens.

 

The residential units are designed with double-volume interiors that increase the flow and circulation of naturally cooled air. Open spaces without corridors and hallways optimize transit. Furniture and fixtures are individually designed and manufactured for each space. They fit perfectly into the interior, freeing the flow of movement and increasing the physical and mental well-being of residents. The homes are oriented to capture and optimize natural daylight, diffusing it gently into the interior without heat or glare. As daylight fades, architectural lighting optimizes the body’s circadian system, improving mood, well-being, and alertness, and enhancing sleep quality, while creating a subtle and healing atmosphere in the home.

designed from the inside out, 'keturah' reserve in dubai immerses occupants into bio-living
the bridge connecting the different residential units

 

 

The Keturah Reserve is designed to create a thriving and harmonious community with common areas such as the park, outdoor pool, men’s and women’s gyms, and spas. The facilities are easily accessible on foot via cool, tree-shaded paths. Like the architecture, activities such as the Pilates studio, WaterBike pool, Silk Rope classes, rooftop meditation and yoga space are designed to develop and strengthen the body’s core from the inside out.

 

The Kids’ Zone is designed for mindful, educational play activities tailored to all ages, from babies to toddlers, preschoolers to school-age children, pre-teens to teens. Facilities include a nursery, educational daycare and summer camps, Montessori classes, a music and dance academy, a wading pool and outdoor play areas, a children’s spa, an organic living farm, a fitness room and an activity center.

designed from the inside out, 'keturah' reserve in dubai immerses occupants into bio-living
exterior view of the townhouses

designed from the inside out, 'keturah' reserve in dubai immerses occupants into bio-living
view of the courtyard

Reference

Outside the Saga Hirakawaya tofu restaurant
CategoriesInterior Design

Keiji Ashizawa draws on “whiteness of tofu” for Saga Hirakawaya eatery

By Zarkon Group,

Japanese designer Keiji Ashizawa paid homage to the food on offer when designing the Saga Hirakawaya tofu restaurant, which hopes to revitalise a depopulated community in Japan.

Located in the hot spring resort Takeo Onsen in Japan’s Saga prefecture, the curved restaurant was designed to blend in with the surrounding environment, including a historical tower gate.

Outside the Saga Hirakawaya tofu restaurant
The Saga Hirakawaya restaurant is located next to a historical tower gate

“Tofu, a food culture rooted in the region of Saga prefecture, is the main ingredient of this restaurant,” Ashizawa told Dezeen. “Since tofu is a simple food, we chose materials with a sense of simplicity such as wood, concrete and walls finished in plaster to bring out the texture in the materials.”

“With a background of wishing to use local materials, wood was used for the entrance, windows and undersurface of eaves to match the wood from Ariake, a furniture brand based in Saga.”

Foot bath outside tofu restaurant
Volcanic ash was used for the plaster

The studio also used shirasu – a type of volcanic ash from Mount Sakurajima in Kyushu – as a plastering material for the building’s exterior walls.

Saga Hirakawaya has a curved design forming a semi-open interior courtyard, which holds a foot bath with hot spring water that aims to encourage the restaurant’s customers to eat and stay outside the establishment for longer.

Wooden furniture inside Saga tofu restaurant
Wooden furniture matches the pared-down interior

Inside the 435-square-metre restaurant, the interior matches the exterior with pale grey walls that nod to the food on the menu.

“As the ceiling and walls are curved, pale colours are used to extend the light beautifully in the restaurant, complemented by the use of grey colours on the walls and floors,” Ashizawa said. “It also signifies the whiteness of the tofu.”

The restaurant’s ground floor houses a shop selling tofu-based products and sweets, while the first floor is home to a restaurant serving onsen yudofu – a type of tofu made using hot spring water.

An open atrium connects the shop and restaurant, which both feature large windows.

Central counter at Saga Hirakawaya restaurant
The ground floor houses a shop

Circular lamps made by local paper manufacturer Nao Washi hang over the tables while the wooden furniture was made by furniture brand Ariake, which manufactures in Saga prefecture.

The decision to open the Saga Hirakawaya restaurant in Takeo Onsen was made by its owner, who was born and raised in the area and wanted to help revitalise the community, which has suffered from a population decline.

Washi paper lamp about table in restaurant
Paper lamps hang over tables

“Depopulation is inevitable in rural areas of Japan,” Ashizawa said. “But in order to revitalise a region, it is important to attract people to the area through tourism.”

“The client decided to create a restaurant serving onsen yudofu, believing that the region’s unique culinary culture could be an incentive to visit the area for sightseeing.”

Dining space in Saga tofu restaurant
A restaurant space is located on the first floor

“We deeply sympathise with the client’s hope to make the most of the wonderful location in front of the historical tower gate of Takeo Onsen, an important cultural asset, and to combine it with the region’s unique food culture to attract tourists from both inside and outside of Japan, contributing to the revitalisation of the area,” he added.

Other recent projects by Ashizawa include a Blue Bottle Coffee shop in Kobe and a mid-century-modern-informed residence in Tokyo.

The photography is by Ben Richards.

Project credits:

Architect: Keiji Ashizawa Design
Project architect: Keiji Ashizawa, Kentaro Yamaguchi, Tsubasa Furuichi
Construction: Yamakami Inc
Furniture: Hirata Chair/Legnatec
Lighting: Saito Shomei/Nao Washi

Reference

How innovation is driving energy efficiency
CategoriesSustainable News

How innovation is driving energy efficiency

By Zarkon Group,

The third Monday of January is considered by some to be the most depressing day of the year. And, although the concept of ‘Blue Monday’ is a marketeer’s invention, energy consumers in Europe will certainly have been feeling glum in the face of a challenging outlook for energy prices.

The current energy crisis has heightened awareness of energy consumption and the need for improvements in energy efficiency. And this has translated into government action to slash energy demand in the short term. The EU, for example, has introduced voluntary measures to cut overall electricity use by 10 per cent in the EU by the end of March 2023, with obligatory reductions of 5 per cent during peak hours.

Longer-term energy efficiency improvements are also on the agenda. The UK plans to cut its energy usage by 15 per cent by 2030. And the European Commission plans to increase the EU’s binding target for energy efficiency improvements by 2030 from 9 per cent to 13 per cent (compared to a 2020 baseline). Some groups in the European Parliament want to increase it even further to 14.5 per cent.

Looking globally, the International Energy Agency (IEA) highlights that that Government ambition on efficiency has grown in 2022, with global investments in energy efficiency increasing by 16 per cent compared to 2021. And, while the energy crisis has been felt most acutely in Europe, energy efficiency affects the whole world. According to the IEA’s Sustainable Development Scenario, energy efficiency represents more than 40 per cent of the emissions abatement needed by 2040.

Efficiency gains in industry will play an important role in reducing emissions. But innovation is also needed to deliver energy savings in the home. Read on to discover some of the most exciting solutions that are making our homes consume energy more efficiently.

Heating and cooling

In the US, heating and cooling rooms accounts for 38 per cent of domestic greenhouse gas emissions. Finding more efficient ways to manage the temperature of our homes is therefore an important area for innovation. One solution is better insulation, and, in the UK, the issue has become so charged that it has spawned Insulate Britain, a group demanding that the Government insulate all social housing by 2025.

And while fresh research has cast doubt on the long-term effectiveness of insulation for reducing natural gas consumption, new materials that reduce reliance on energy-guzzling heating and cooling systems have been an important area of development. Swiss-Belgian startup Gramitherm, for example, makes bio-based carbon negative insulation out of grass, and engineers from Germany and China have developed a new wood-based cooling foam that could reduce the cooling needs of a building by a third.

Another approach is to make temperature management systems themselves more efficient. And in the US, a startup called Carbon Reform has developed a process to retrofit traditional HVAC systems to work more efficiently.

 Energy monitoring

In order to implement energy efficiency measures, consumers need to be able to monitor their consumption. Smart meters –  devices that track price and consumption data and provide automatic meter readings – have become increasingly popular in recent years. And Springwise has spotted ‘bridge’ devices that connect hard-to-reach areas with smart meter infrastructure. But beyond smart meters, Springwise has spotted a range of other solutions for tracking and acting on energy usage data.

UK startup measurable.energy has developed smart socket technology for commercial use that can safely monitor the electricity use of each socket, helping organisations save energy and money. And in Tunisia, a startup called Wattnow has developed an AI-powered system that tracks energy usage in a building. Through a dashboard accessible via both mobile and desktop, the system identifies ways to consume energy more efficiently and sends early alerts when maintenance is needed. The AI also puts together predictions for future use patterns.

Making the most of government incentives

In both the UK and US, government initiatives are encouraging the adoption of energy efficient practices. And innovators are on hand to help consumers make the most of them.

In the UK, grants are available to help retrofit the least energy-efficient homes to make them greener. But funding for the scheme is not open-ended meaning that the grants need to be targeted where they can make the most difference. To help with this, UrbanTide has developed artificial intelligence-based software that identifies homes and areas with the poorest energy efficiency. It does this by combining anonymised smart meter data with other data streams to produce detailed fuel poverty risk maps.

Meanwhile, in the US, Elephant Energy is helping homeowners electrify their properties to benefit from rebates introduced by the recent Inflation Reduction Act. The company develops customer-tailored electrification plans incorporating measures such as the installation of heat pumps, hybrid water heaters, EV chargers, and induction hobs.

Sign-up to our Sustainable Source newsletter for bi-weekly updates on the green innovations that matter.

Reference

Photo of the Malala bag by Luca Nichetto and Angela Roi showing four pockets built into the top
CategoriesSustainable News

Luca Nichetto designs apple-leather Malala handbag for Angela Roi

By Zarkon Group,

Designer Luca Nichetto has made his first foray into fashion accessories with the Malala handbag, which was partially produced from apples for vegan leathergoods brand Angela Roi.

Malala is Angela Roi‘s first accessory made from apple leather, a fabric that is created using scraps such as peels and cores from apple processing that would otherwise go to waste.

However, while the Angela Roi website describes apple leather as an “entirely plant-based alternative to real leather”, the brand clarified to Dezeen that the material is a mix of apple-derived fibres and the petroleum-derived material polyurethane plastic that is commonly used for vegan leathergoods.

Photo of the Malala bag by Luca Nichetto and Angela Roi showing four pockets built into the top
The Malala bag is made of an apple-based leather alternative

This apple-polyurethane blend is then applied on a mixed cotton-polyester backing material.

According to Nichetto Studio, the fabric retains both the feel and the look of leather, and will similarly change over time, developing a softer texture and natural sheen.

“I believe that considering the economic situation, the environmental challenges and this crisis in the world, design should try to find answers in the creation of objects that are durable and sustainable,” said Nichetto.

Photo of the Malala bag by Luca Nichetto and Angela Roi arranged in a still life
The bag is meant to offer a more sustainable alternative for high-end consumers

The bag was named after Pakistani education activist and Nobel Peace Prize laureate Malala Yousafzai and features a distinctive design with four functional pockets built into the top opening.

Its design was informed by the idea of a cabinet of curiosities or a traveller’s trunk with many compartments. At the same time, its shape references potato chip containers from fast food outlets, giving the bag what Nichetto Studio describes as a “pop soul”.

The Malala bag is cruelty-free, with no animals being involved in the production. The apple leather used for it comes from Italian company Pelletteria Fusella, which uses apple scraps from an orchard in the South Tyrol region.

The orchard’s apples are used for products such as juice and jams and produces an estimated 30,000 tonnes of scraps, such as cores and peels, every year that were either being sent to landfill or burnt.

Photo of a black tote bag on its side with objects spilling out of the pockets
The bag features four functional pockets built into the top

According to Angela Roi, by using a mix of plant- and petroleum-based materials, the brand can reduce the carbon emissions of polyurethane bag production while also delivering the durability that high-end consumers expect.

“As it currently stands, petroleum-based materials play a pivotal role in the durability of bio-based leathers because extending the life cycle of a product is an incredibly important aspect of sustainability,” said brand founder Angela Lee.

“The material’s potential for impact depends on the brand and consumer adoption, and a majority of consumers will not accept big sacrifices in quality compared to leather. We have not yet seen a completely plastic-free product that meets brand and consumer requirements for softness, strength and suppleness.”

Photo of the Malala tote bag in beige arranged in a still life
The bag’s shape is partly based on potato chip containers

Lee says Angela Roi’s aim is to consistently look for better material options and eventually use one that is 100 per cent plastic-free and biodegradable as technology improves.

“Recently there has been the development of polyester yarns that are impregnated with enzymes that activate to degrade the polyester once placed in biodegradable conditions,” said Lee.

“There has also been a development of chemically engineered natural fibres that act like petroleum-based yarns. Both options are exciting and could be used as a backing material in the future.”

While many plant-based leather alternatives are now hitting the market, many still contain a plastic component, particularly as a coating, to ensure the kind of durability that is expected of consumer goods.

A similar apple leather comes from Dutch company Beyond Leather, whose Leap fabric is made by mixing the scraps with natural rubber and using a textile backing and thin plastic protective coating.

Reference

exterior image of Urban Farming Office
CategoriesArchitecture

Vo Trong Nghia Architects designs Urban Farming Office for own studio

By Zarkon Group,

Vietnamese studio Vo Trong Nghia Architects has completed Urban Farming Office, its own head office in Ho Chi Minh City, creating a concrete-framed building covered in a “vertical farm” of vegetables, fruits and herbs.

Located on a corner site in the city’s Thu Duc district, the Urban Farming Office was designed to be emblematic of the plant-filled, low-energy architecture for which Vo Trong Nghia Architects is known.

Alongside the office, the practice has also constructed a version of its low-cost housing prototype, S House, designed to withstand typhoons and earthquakes and first unveiled in 2012.

exterior image of Urban Farming Office
Urban Farming Office was designed by Vo Trong Nghia Architects

“Under rapid urbanisation, cities in Vietnam have diverged far from their origins as sprawling tropical forests,” explained the practice. “The lack of green causes various social problems such as air pollution, floods and the heat island effect.”

“In this context, new generations in urban areas are losing their connection with nature, [and] increasing droughts, floods and salinisation jeopardise food supplies,” it continued.

The core of the office building is constructed using an exposed concrete frame, while the planters themselves are supported by a shelving-like external structure of thin steel, allowing them to be flexibly rearranged as plants grow or swapped out entirely.

Image of the facade at Urban Farming Office
The building is covered in a vertical farm

Completely covering the building’s glazed southern side, the wall of plants acts to filter sunlight and air, preventing overheating and creating a shaded microclimate for the office interiors.

Inside, workspaces are organised around a central atrium, and full-height sliding glass doors provide access onto balcony areas for moving or harvesting from the planters, with a rooftop garden providing further space for growing plants.

“Together with the roof garden and ground, the system provides up to 190 per cent of green ratio to the site area, which is equivalent to 1.1 tons of harvest,” explained the practice.

“[The vegetation] is irrigated with stored rainwater, while evaporation cools the air,” it continued.

Interior image of Urban Farming Office
The building is the architecture studio’s own office

The concrete structure has been left completely exposed internally, complemented by dark wood furniture and minimalist light fittings to provide a contrast to the bright green of the planted facade.

To allow the office areas to be as open as possible, the lift and stair core has been pushed to the northern corner of the building, where brick walls with small openings for ventilation have been left bare to allow for the possibility of future rear extensions.

Interior image of the concrete office
It has an exposed concrete interior

Architect Vo Trong Nghia founded his eponymous practice in 2006, and it has since become known for its explorations of low-energy architecture, often incorporating plants and bamboo into its designs.

Other projects recently completed by the studio include a bamboo welcome centre for a resort on the island of Phu Quoc, and a home in Bat Trang wrapped by a perforated brick wall and a series of elevated garden spaces.

The photography is by Hiroyuki Oki.

Reference

Fireside lounge of Château Royal hotel
CategoriesInterior Design

Irina Kromayer designs Château Royal to feel “authentic” rather than retro

By Zarkon Group,

Interior architect Irina Kromayer has overseen the design of Berlin’s Château Royal hotel, creating a series of eclectic spaces that reference the heyday of the German capital at the turn of the 20th century.

The 93-room Château Royal is located in the heart of Mitte, on a street parallel to Unter den Linden boulevard and close to the iconic Brandenburg Gate.

Fireside lounge of Château Royal hotel
Château Royal has 93 rooms (top image) as well as a fireside lounge (above)  

The hotel comprises two buildings dating from 1850 and 1910, as well as a newer building and roof extension designed by David Chipperfield Architects.

The renovation project, led by Kromayer with support from Swiss architect Etienne Descloux and interior designer Katariina Minits, aims to reflect the periods during which the heritage-listed buildings were constructed.

Wooden staircase in guest room of Berlin hotel by Irina Kromayer, Etienne Descloux and Katariina Minits
Built-in joinery features in all the guest rooms

“Our design goal was to provide the traveller with an ‘authentic’ experience of being in Berlin, using materials and colours that traditionally stand for the city’s heyday,” Kromayer told Dezeen.

Oak panelling, art nouveau tiles, sisal carpets and hardware in brass and nickel were incorporated into the scheme based on the finishings commonly found in Berlin’s historic buildings.

Sitting area and bathroom of guest room in Château Royal hotel
This was informed by the storage walls of traditional West Berlin apartments

Kromayer designed much of the furniture herself – as well as in collaboration with Porto-based German designer Christian Haas – in order to achieve a seamless merging of contemporary and classic details.

“We didn’t want the hotel to be retro but rather to feel classic so we simplified things into less decorative shapes,” she explained.

In addition, vintage pieces were sourced from all over Europe to give a lived-in “patina” to the interior and explore a more sustainable approach to furniture sourcing.

Seating area of guest room in Berlin hotel by Irina Kromayer, Etienne Descloux and Katariina Minits
Loupiotte pendant lights emphasise the building’s high ceilings

The pendant lights for the guest rooms were created in collaboration with Berlin-based manufacturer Loupiotte and are intended to emphasise the building’s high ceilings.

Made from Japanese paper and brass, the lamps are based on a 1920s design from Josef Hoffmann, one of the co-founders of the Wiener Werkstätte art movement.

The hotel’s custom-made wooden beds feature headboards crafted from Viennese wickerwork. Kromayer also created outdoor lanterns that reference traditional Berlin street lights and include unique glass panels made by artist Paul Hance.

Built-in joinery found in each of the bedrooms was informed by the partition walls with integrated storage, which are typical of traditional West Berlin apartments.

Blue-tiled guest bathroom of Château Royal hotel
Glazed blue tiles can be found in the guest bathrooms

Paintings by early 20th-century artists associated with the expressionist and new objectivity movements influenced the hotel’s bold colour scheme, which is applied across surfaces including tiles and upholstery textiles, along with curated artworks.

The interior features colourful glazed bricks and tiles similar to those found in Berlin’s underground stations, as well as stained glass and coloured marble.

Stained glass backsplash to bar in Berlin hotel by Irina Kromayer, Etienne Descloux and Katariina Minits
Stained-glass panels brighten up the hotel bar

The hotel bar is made from tin – a material Kromayer says was widely used at the turn of the century but is rarely found in contemporary German interiors. Nickel and chrome bathroom fixtures were chosen to reference the modernist and Bauhaus design movements.

Alongside its guest rooms, which include 13 suites and an apartment, Château Royal also accommodates a lobby, bar, restaurant, private dining room, fireside lounge and winter garden.

Dottir restaurant inside Château Royal hotel
A Karl Holmqvist artwork hangs inside the hotel’s Dóttir eatery

Built-in carpentry used throughout the public areas helps to create a sense of consistency with the bedrooms, while vintage furniture, rugs and lamps made for the hotel by KL Ceramics add to the eclectic feel of the spaces.

The hotel’s restaurant, called Dóttir, features upholstered oak seating by Bauhaus designer Erich Dieckmann. Artworks including a neon piece by Karl Holmqvist bring character to the ground-floor eatery.

Other recent renovation projects from Berlin include a pistachio-toned revamp of one of the city’s oldest cinemas and a hotel housed inside an abandoned women’s prison.

The photography is by Felix Brueggemann.

Reference