Sustainable construction using technical wood
CategoriesSustainable News

Sustainable construction using technical wood

Spotted: Wood has been used in construction since time immemorial. However, more recently wood fell out of favour as a building material, both because it was seen as less safe and less sustainable. But the development of technical wood has demonstrated that it can not only be safer than other materials, but more sustainable as well. In Spain, startup Woodea is working to demystify the use of wood as a building material.

Woodea is combining wood, an ancient construction material, with modern production systems to deliver sustainable construction at a faster speed and comparable cost to traditional methods and materials. Its projects use technical wood, which is wood that has undergone high pressure and high temperature treatment to render it more durable. It also has better technical performance than materials such as concrete and steel.

Woodea has completed an initial funding round worth €1.4 million, with support from investors in a number of areas, including construction, engineering, and financial services. The capital will be used to undertake Woodea’s first projects, including construction of 250 wooden homes.

Architects and designers are increasingly rediscovering the advantages of building with wood. Springwise has also spotted a 100-metre tall, all-timber building being planned for Zurich, and a process that allows manufacturers to 3D print a wood composite.

Written By: Lisa Magloff

Reference

MIT student projects 150 year chair
CategoriesSustainable News

MIT students develop concepts for “the next 150-year chair”

A chair that can adapt over time and one fabricated with 3D-printed liquid metal are among the designs that students at MIT came up with for The Next 150-year Chair exhibition in collaboration with furniture brand Emeco.

In total five pieces were created for the exhibition, which was a collaboration between American furniture company Emeco and the Massachusetts Institute of Technology (MIT) to conceptualise sustainable furniture pieces.

MIT student projects 150 year chair
Top: students were asked to design sustainable furniture. Photo by Jeremy Bilotti. Above: Amelia Lee designed a chair called The Wable. Photo by Amelia Lee

Called The Next 150-year Chair, the project was carried out via a course at MIT that guided students through a design process with access to Emeco’s manufacturing technology.

The prompt was based on Emeco’s 1006 Navy chair developed in 1944, which has a “150-year lifespan” according to the company.

“Today, a 150-year chair means making something that lasts a long time, which is a great thing to do,” said MIT associate professor Skylar Tibbits. “But the question is whether that will be the same for the next 150 years – should the goal still be to make things that last forever?”

“That’s one approach, but maybe there’s something that could be infinitely recyclable instead or something that’s modular and reconfigurable.”

MIT student projects 150 year chair
The students took a variety of approaches to the prompt. Photo of Faith Jones’ Rewoven Chair

The students each took a different approach to answering the question, and the results featured a number of complete furniture pieces and components.

Masters student María Risueño Dominguez developed a furniture component based on longevity. Her research on furniture consumption and interviews with people involved in the furniture industry resulted in a concept called La Junta – a cast-aluminium joint with multiple different inserts shaped to fit a variety of components.

MIT student projects 150 year chair
Plastics, textiles and metal were used for the designs. Photo of María Risueño Dominguez’s La Junta

Other designers took a materials-focused approach when addressing the prompt.

Amelia Lee, a student at Wellesley taking courses at MIT, developed a product made from a single sheet of recycled HDPE. Modelled on a rocking chair, the piece can be turned on its side to function as a table.

“This chair can last through childhood, from crawling around it to being able to turn it over and play with it,” said Lee.

Zain Karsan took a different approach by aiming to improve metal 3D printing technology for the frames of his chairs.

“This process is an alternative to the slow process rates of traditional metal additive manufacturing wherein molten material is dispensed at high speed in a bed of granular media,” said Karsan. “A series of chair typologies are presented as a proof of concept to explore form and joinery.”

MIT student projects 150 year chair
The projects accounted for style as well as longevity. Photo of Zane Karsan’s Liquid Metal Design

Faith Jones wanted to create a product that did not sacrifice comfort in a search for sustainability. Her ReWoven chair is designed
with an aluminium frame and a recycled cotton sling, weaving the fabric around the aluminium skeleton in a way that would allow for the removal and replacement of the cotton.

Finally, designer Jo Pierre came up with a product aimed at the changes that will likely come as cities grow and become denser. Called Enhanced Privacy, the product is a plastic partition designed for domestic spaces. The hanging sheet of plastic can be filled with water in order to block sound and diffuse light.

The students’ projects were exhibited at Emeco House, the company’s event space in Los Angeles in a converted 1940s sewing shop.

Other exhibitions that push the boundaries of sustainability and novel materials include one in Mexico in collaboration with Space10 with five uses for biomaterials.

MIT has released a number of conceptual designs addressing sustainability including a project that tests the capability of tree forks as load-bearing elements in architectural projects.

The photography is courtesy of MIT. 


Project credits:

MIT: Jeremy Bilotti (Lecturer, Course Author), Skylar Tibbits (Director of Undergraduate
Design), MIT Department of Architecture.
Emeco: Jaye Buchbinder (Head of Sustainability, course lectures and reviews), Gregg
Buchbinder (Chairman, course reviews).
Exhibition design: Jeremy Bilotti, Jaye Buchbinder, Skylar Tibbits.
Students: María Risueño Dominguez, Faith Jones, Zain Karsan, Amelia Lee, Jo Pierre.
Course Support: Lavender Tessmer (Teaching Assistant), Gerard Patawaran
(Photography), Bill McKenna (Fabrication Support)

Reference

Panama Perfection: IM-KM's Casa Loro Wins "Best in Show" in 2022 LaCantina Competition
CategoriesArchitecture

Panama Perfection: IM-KM’s Casa Loro Wins “Best in Show” in 2022 LaCantina Competition

The 5th Annual Best of LaCantina competition saw its most inspiring range of entries to date, with a diverse range of stunning architectural designs submitted from the United States and beyond, each utilizing the unique qualities of LaCantina Doors‘ systems to blur the boundaries between indoors and outdoors. Of the top projects submitted this year, a striking residence in Panama — Casa Loro — scooped the prestigious title of “Best in Show”. Its designers, the Panama and US-based firm IM-KM Architecture and Planning — led by Kristin and Ivan Morales — win a trip to next year’s AIA Conference, complete with travel and accommodation.

The project was approached with a deep sensitivity to local context. “The intent was to first restore, then relate to and engage with the site,” stated the architects. “The design needed to emerge from the restored forest to find wide open plains through, in, and around the main house. The concept of the main house at Casa Loro was to create a modern tree house made with contextual materials that enclose indoor and outdoor spaces equally.”

IM-KM paid special attention to material selection and spatial layout, seeking to create a home in which each space is uniquely designed to enhance the client’s sensory experience: “As we designed each of these spaces, we wanted them to have unique qualities of sound, materials, and light, that become integrated components that enhance the user’s experience and create specific memories of the place.

“This was achieved by hierarchically separating the spaces by a series of steps and platforms that are surrounded by gardens that attract biodiversity. As you circulate, each space becomes gradually more intimate until you reach the bedrooms and their private gardens. The ocean and fountain provide different acoustics depending on which space or garden you are in, and the shade from the various trees and palms create shadows that move around with the ocean breeze.”

The architects sought to create a hierarchical sequence of spaces that would offer inhabitants a sense of escape as they transition between each living space. IM-KM explained: “The pavilions of the main house are all balanced around the central pavilion which contains the vestibule and indoor and outdoor living rooms. From this central space, you transition from the modern world to somewhere else, where you can forget your day, and just be on holiday.”

Utilizing LaCantina’s sliding door systems, the façades of each pavilion are fully operable. When opened, the perimeter of the interior spaces become permeable and create a single larger room including the adjacent garden spaces and the ocean at the horizon. “When passing through the modern pavilion — from the vestibule into the outdoor living room — you are compressed and released into the vastness of the outdoor living room which looks out to the sea and the surrounding playful roof forms. It is meant to be an exciting, all-encompassing transition,” said the architects.

Casa Loro powerfully demonstrates how smart material and product selection can enable a seamless transition between interior spaces and the surrounding landscape. IM-KM’s adept use of LaCantina Doors systems helped create a serene home that is intimately connected to the unique natural environment of Panama, while producing an open-plan layout that is flooded with natural light. The house is proof that, when the right building products are employed and the details are well considered, a “Best in Show” outcome is possible.

To see every winner of the 5th Annual Best of LaCantina competition, click here, and learn more about LaCantina Doors here.

Photographs by Anita Calero, Fernando Alda, and Emily Kinskey.

Reference

Kitchen interior of Pacific House designed by Alexander & Co
CategoriesInterior Design

Alexander & Co carves out spaces for calm and play inside Pacific House

Australian architecture practice Alexander & Co has overhauled this oceanside home in Sydney to make it more suitable for family life.

Before its renovation, the five-bedroom house had a disjointed floor plan that was proving inefficient for its two young owners and their three children. Many of the rooms were also cut off from views of the garden and the ocean beyond.

Kitchen interior of Pacific House designed by Alexander & Co
Pacific House’s kitchen is decked out with oakwood and different types of marble

“[Pacific House] was substantial in structure but devoid of spirit and certainly absent of any operational utility,” said Alexander & Co‘s principal architect Jeremy Bull.

Tasked with making the home a “functional engineer of family life”, the practice decided to carve out areas for activity and play, alongside spaces with a calmer, more contemplative ambience for the adults.

Breakfast nook in front of curved window
The cosy breakfast nook backs onto a curved window

At the heart of the plan now sits an expansive kitchen. All of the cabinetry is made from warm-hued American oak, while panels of a paler European oak were laid across the ceiling.

Jagged-edged pieces of Grigio Firma, Grigio Lana and Carrara marble were set into the kitchen floor.

Garden of Pacific House designed by Alexander & Co
Arched doorways open onto the garden

Inhabitants can eat at the central island or take a seat at the breakfast nook, which is tucked against a huge concave window.

Its form nods to the architectural style of P&O – an offshoot of modernism that was popular in 1930s Sydney and drew on the streamlined curves of Pacific and Orient-line cruise ships.

Dining room by Alexander & Co with muted colour scheme
Neutral hues were applied throughout the formal dining area

Two arched doors at the front of the kitchen grant access to the garden, where there’s an alfresco seating area.

A new swimming pool was added in an excavation pit that had previously been created in the home’s driveway.

The rest of Pacific House’s ground floor includes a rumpus room for games, parties and recreation, plus a sophisticated dining area decked out in neutral hues.

There’s also a spacious living area with Mario Bellini’s Camaleonda sofa for B&B Italia, which looks out across the ocean waves.

An Afghan rug printed with abstract shapes and a couple of triangular marble coffee tables add to the more fun, graphic look that the practice sought to establish in this room.

Living room interior of Pacific House designed by Alexander & Co
The living area is arranged to prioritise ocean vistas

Spaces become slightly more muted on the floor above, which is accessed via an oakwood staircase.

In the principal bedroom – which features another P&O-style curved window – walls are rendered in concrete.

Grey terrazzo and marble was used to cover surfaces in the bathroom, clashing against the pattern of the grey mosaic flooring.

Bathroom interior by Alexander & Co with pattern-clashing greyscale surfaces
The primary bedroom has a curved window and a greyscale en-suite

Alexander & Co has completed a number of other projects in Sydney including an Italian trattoria and most recently its own studio, which is housed in a converted Victorian-era residence.

Formal workstations are built into the building’s basement, but the remaining residential-style floors accommodate a kitchen, living room and library where staff can brainstorm ideas.

The photography is by Anson Smart.

Reference

High-performance and compact hydrogen fuel cells
CategoriesSustainable News

High-performance and compact hydrogen fuel cells

Spotted: Our reliance on unclean energy sources has catapulted our planet out of stability and into an era of change. Across the globe, fossil fuel usage accounts for 65 per cent of the carbon emissions. But, as the French startup INOCEL aims to prove with its new high-performance hydrogen fuel cell, we can transition our fossil-fuel dependence onto cleaner energy sources.

INOCEL’s very high-power PEMFC, or proton-exchange membrane fuel cell, betters the competition in a few ways. First and foremost, it is three times more powerful than others its size on the market. On top of that, the company claims the product has an energy efficiency level of 60 per cent and a durability performance that makes operating costs more attractive. Finally, its battery size and volume are smaller than other PEMFC fuel cells.

By focusing its applications on fuelling marine, ground transportation, high-performance cars, and stationary applications, INOCEL’s technology will hopefully enable the startup to have a visible impact on a scalable level.

The company will make its unrivalled hydrogen fuel cell available in a 300-kW format in 2024.

Springwise has previously spotted other innovations aimed at making hydrogen power a more accessible energy source, including a startup that’s developed a way to increase the storage capacity of hydrogen, and a system that produces hydrogen on-site to avoid transportation and storage challenges.

Written By: Georgia King

Reference

Photo of a man in hi-vis shining a light into the parts of a large aircraft engine
CategoriesSustainable News

Rolls-Royce and EasyJet test hydrogen-powered aircraft engine

British airline EasyJet and engineering company Rolls-Royce have run a commercial aircraft engine on hydrogen in what they claim is a “world first”, potentially paving the way for the decarbonisation of plane travel.

The companies trialled the engine in a ground test at the UK Defence Ministry’s Boscombe Down aircraft testing site using renewably-made green hydrogen and a converted Rolls-Royce AE 2100 – a regional aircraft engine.

The engine is considered an early concept demonstrator, so the technology is still in its infancy. But both Rolls-Royce and EasyJet say they are committed to proving that hydrogen can be a safe and efficient zero-carbon fuel for civil aviation.

Photo of a man in hi-vis shining a light into the parts of a large aircraft engine
Rolls-Royce has converted one of its aircraft engines to run on hydrogen

“The success of this hydrogen test is an exciting milestone,” said Rolls-Royce chief technology officer Grazia Vittadini.

“We are committed to continuing to support this ground-breaking research because hydrogen offers great possibilities for a range of aircraft,” added EasyJet CEO Johan Lundgren. “That will be a huge step forward in meeting the challenge of net zero by 2050.”

The test, which the companies claim was a “world first”, used green hydrogen supplied by the European Marine Energy Centre and created with the help of wind and tidal power in Scotland’s Orkney Islands.

This renewable electricity was used to power an electrolyser, which separates hydrogen from water in a process called electrolysis.

Photo of a woman in hi-vis adjusting parts on a large aircraft engine
It was produced in partnership with EasyJet

To maximise the amount of hydrogen that fits into a tank, the gas is compressed to a pressure of 200 bar – equivalent to around 200 times the atmospheric pressure on Earth.

Rolls-Royce’s AE 2100-A engine was converted to combust this hydrogen instead of conventional fossil fuel-derived kerosene.

Rolls-Royce and EasyJet now plan to analyse the test data to improve their understanding of how to handle and operate hydrogen as an aviation fuel.

The partners are also planning future tests, starting with further ground tests before they move on to carrying out test flights.

They also plan to bring in a jet engine, the Rolls-Royce Pearl 15. This is more powerful than the AE 2100-A, which is generally used for smaller turboprop planes.

As signatories of the United Nations’ Race to Zero campaign, both Rolls-Royce and EasyJet are committed to achieving net-zero emissions by 2050 in an effort to keep global warming below the crucial threshold of 1.5 degrees Celsius.

Photo of men standing behind a large engine on a testing site
The engine was tested at a military facility in the UK

Coming up with an alternative aviation fuel is a huge challenge for airlines, which currently contribute about 2.5 per cent of global CO2 emissions.

Green hydrogen is seen as a possible solution because it is made using renewable resources – green energy and water – and theoretically could see planes emit only water when used as a fuel.

There are several potential ways to use hydrogen in an engine, including as a liquid rather than a gas and as a fuel cell rather than through combustion.

However, critics have doubts whether jet planes will ever have the capacity to carry as much hydrogen as is needed to make their long journeys, and it is likely that aircraft would need to be quite heavily redesigned.

Several small hydrogen-powered aircraft have already flown, including those from aircraft developer ZeroAvia. Among the large airlines, Airbus is also pursuing the use of hydrogen, and in 2020 revealed three concepts for future aircraft powered by liquid hydrogen.

Rolls-Royce Holdings is the world’s second-largest maker of aircraft engines after General Motors and revealed its net-zero strategy in 2021. The company is separate to Rolls-Royce Motor Cars, which is wholly owned by the BMW Group.

Reference

Rendering the Future City: Designing for Extended Reality (XR)
CategoriesArchitecture

Rendering the Future City: Designing for Extended Reality (XR)

The winners of Architizer’s Fourth Annual One Drawing Challenge have been revealed! Interested in next year’s program? Subscribe to our newsletter for updates. 

Architecture has always been a process of visualizing what could be. Over the last twenty years, as we experienced the growth of immersive technologies, new forms of visualization have followed suit. The result is a diverse array of ways to imagine architecture, as well as how we can rethink design. These technologies have created a way to extend the reality that we experience, either through a complete immersion or a blend of virtual and “real” worlds. As we look to the future, design teams are embracing these ideas to establish new ways to live, work and come together.

Today, many types of immersive reality technologies and formats inform what we share, how we visualize, and what we understand. From virtual and augmented reality to mixed and extended, the possibilities have grown exponentially. In the last decade alone, companies have been finding ways to iterate on immersive design to make rapid advances. The following is a guide and explanation of these changes, as well as some ideas on how they may impact how we design and visualize our future.


Virtual Reality (VR)

 

Virtual reality (VR) has had a real impact on architecture because it allows designers to parallel the movement of people in the real world. VR is a 3D, virtual environment where users are fully immersed in a simulated reality. Usually this involves haptic touch technology, as well as a dedicated headset. Depending on the specific format, it can involve more than images, but could also include sounds or respond to user movement. Individuals can usually experience a 360-degree view of an artificial world, and at times, tune in to other senses they would experience in real life.

While the gaming and entertainment industry were early adopters of VR, it has been used across project types in architecture. The Suspension House was created by Kilograph to work with the natural environment around it, rather than fighting against it. To illustrate this relationship, their Virtual Reality experience portrays the house in nature’s many states. The user is taken on a trip through different key locations as the weather time of day changes. They created hand-sketched storyboards and a cinematic trailer rendered in real-time in Unreal Engine.


Augmented Reality (AR)

 

Unlike VR, Augmented Reality (AR) is closer to something realistic. It simulates fabricated or virtual objects in a real environment. Instead of creating a wholly immersive, new reality, it overlays images, animations, or designs onto what you’re seeing. In turn, individuals typically utilize a device like their phone or tablet to overlay these projections in real life. AR has become widely popular, especially by integrating senses like sound. Think Pokémon Go or Instagram filters, these each add a “layer” to what we are experiencing and seeing right before us. And this can be designed.

Both VR and AR can help accelerate the process of architectural visualization. Instead of taking weeks or months to create physical prototypes and models, people can more quickly create an environment or design that they want others to understand and experience. Today, firms are exploring ways they can use AR to solve design problems and make an impact on construction sites.


Mixed Reality (MR)

Mixed Reality (MR) integrates both VR and AR. It blends real and virtual worlds to create complex environments where physical and digital elements interact in real time. Here, both kinds of elements and objects are interacting with one another, and it usually requires more processing power than VR or AR. Mixed reality is gaining traction alongside wearable technology to create immersive environments in a whole new way.

A great example of MR technology is SketchUp Viewer, an app for Microsoft HoloLens, developed by SketchUp developer Trimble. With this app, architects have the means to fully immerse themselves and experience their ideas in 1:1 holographic scale models, jump-starting decision-making from inception all the way through to implementation. ‘Immersion Mode’ is the feature that gives users the abilities to inhabit their holographic models and move freely through them at any development stage.


Extended Reality (XR)

Extended reality, or XR, is widely understood to be an umbrella term for immersive technologies and design. It includes not only augmented, virtual and mixed realities, but also the integration of advancements like Artificial Intelligence (AI) and the Internet of Things (IoT). The result becomes environments that can realistically match what we are able to access in the real world. While a relatively new term, extended reality will transform the development of our cities.

Rendering of Liberland by Zaha Hadid Architects

One example that relies heavily on extended reality is the metaverse. Aiming to be multisensory, the conceptual idea of the metaverse is that it integrates sensory cues of extended reality like auditory, olfactory, haptic, and environmental. Extended reality and the metaverse utilizes OpenXR and WebXR standards. It includes motor control, perception, vision systems, head-eye systems and auditory processing.

All of these technologies are rapidly growing and being applied across entertainment, marketing, real estate, remote working, gaming and leisure, as well as architecture and design. XR can be a valuable tool in education, engaging students who face cognitive challenges or those who respond better to different learning platforms. With XR, brands can also reach new customers as they engage with products and services. As we imagine what the future holds, extended reality will not only shape how we live, but how we design and come together.

The winners of Architizer’s Fourth Annual One Drawing Challenge have been revealed! Interested in next year’s program? Subscribe to our newsletter for updates. 

Reference

Barcelona apartment by PMAA
CategoriesInterior Design

Ten interiors that make use of statement carpets

A bright red carpet covering the interior of an abandoned Mexico City mansion, a sisal carpet stretched over furnishings and a carpeted bathroom are among the floor coverings in our latest lookbook of 10 interiors with bold carpets.

Not only can carpets bring more texture and statement colour to an interior setting, but they can also help to insulate homes, especially if used in combination with a layer of underlay.

These interiors showcase how carpets in unusual shades and carpets displayed in unexpected ways can bring a unique look to homes and offices.

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring hotel interiors with decadent jewel tones, kitchens with marble surfaces and residential interiors informed by biophilic design.


Barcelona apartment by PMAA
Photo is by José Hevia

Arches Apartment, Spain, by PMAA

Spanish architecture studio PMAA overhauled the interior of this top-floor apartment in Barcelona’s Raval neighbourhood. The apartment is characterised by white-painted partitions with arched openings that run through and divide the interior of the home.

The living area, which is raised on a slight platform, was blanketed in a cool, sea green-toned carpet juxtaposed against the stark white walls. A large modular sofa wraps around the columns of the arched partitions.

Find out more about Arches Apartment ›


Nagatachō Apartment by Adam Nathaniel Furman
Photo is by Jan Vranovsky

Nagatachō Apartment, Japan, by Adam Nathaniel Furman

London designer Adam Nathaniel Furman renovated the interior of this formerly “claustrophobic” Tokyo apartment, adding a bold, pastel and sugar-sweet colour palette.

A low-pile, lilac carpet extends through the interior of the home and serves as a base for a rainbow of pastel hues that cover the walls, joinery and furniture throughout.

Find out more about Nagatachō Apartment ›


New York office by Halleroed
Photo is by Erik Undehn

New York Office, US, by Halleroed

In New York City, Stockholm studio Halleroed made a bold feature out of plush blue carpets and wood panelling throughout the interior of an office building that covers almost 17 stories.

The interior scheme was informed by movies created by American filmmaker David Lynch. Most of the walls and surfaces of the interior were clad in veneer panels made from Makore wood, which is native to central and western Africa.

Find out more about New York Office ›


Antwerp A by Atelier Dialect
Photo is by Piet-Albert Goethals

Apartment A, Belgium, by Atelier Dialect

A rectangular stainless-steel bathtub sat on top of a heavy grey carpet form part of this Antwerp apartment, which underwent a contemporary renovation by Belgian design studio Atelier Dialect.

The primary bedroom has an open-plan design that adjoins an en-suite bathroom. Both spaces are linked by a grey carpet that covers the floor, and minty-green lacquer that stretches across the walls and ceiling of the open-plan spaces.

A reflective tub sits in the middle of the room in front of a wall of subway tiles.

Find out more about Apartment A ›


Mexico City manasion by Masa
Photo is by Genevieve Lutkin

Mexico City mansion, Mexico, by Masa gallery

This 1970s mansion in Mexico City was used as a setting for the inaugural exhibit from Masa gallery. The venue was decorated with bright red walls and also features expanses of red and golden-hued carpets.

The mansion, which had been vacant since the 1970s, was kept as the gallery found it and decorated with works by a number of Mexico City-based designers and architects.

Find out more about Mexico City mansion ›


Barcelona apartment by Arquitectura-G
Photo is by José Hevia

Barcelona apartment, Spain, by Arquitectura-G

Located in the Ensanche district of Barcelona, this 149-square-metre apartment was renovated by Spanish studio Aqruitectura-G, which was assigned with opening up the interior and drawing in natural light.

The studio adapted the floor levels of the home to zone different areas across each floor. In the living area, a warm-hued sisal carpet extends across the stepped levels of the space, while also covering and wrapping around built-in seating, tables and other surfaces.

Find out more about Barcelona apartment ›


New York apartment by Harry Nuriev and Tyler Billinger
Photo is by Dylan Chandler

New York apartment, US, by Harry Nuriev and Tyler Billinger

Crosby Studios founder Harry Nuriev and his partner and CEO Tyler Billinger renovated their NoLita apartment in Manhattan, New York City, in shades of violet. A heavy-pile purple carpet was fitted in the living area amid grey tile-clad surrounding walls and floors.

“We wanted a space that was not only elegant, but also liveable – we wanted to create a cosy sanctuary, which is why we used a warm grey as the base colour, and a vibrant purple as the supporting to give it that Crosby signature boldness,” said Billinger.

Find out more about the New York apartment ›


London townhouse by Studio Hagen Hall
Photo is by Mariell Lind Hansen

London townhouse, UK, by Studio Hagen Hall

Architecture office Studio Hagen Hall transformed this townhouse in north London, decorating its interior with a scheme that nods to 1970s Californian modernism.

The lounge includes a custom sofa upholstered in a mustardy, orange-hued velvet. Beneath the sofa and across the walls, a peach carpet covers the surfaces as well as a circular ottoman at the foot of the sofa.

Find out more about London townhouse ›


Casa Lana by Ettore Sottsass
Photo is by Gianluca Di Ioia

Casa Lana, Milan, by Ettore Sottsass

In 2022, the Triennale di Milano museum reconstructed the interior of a Milanese apartment that was designed by Memphis Group founder Ettore Sottsass.

A magenta-coloured carpet runs through the interior of the replica apartment, while wood-clad and boldly upholstered soft furnishings in contrasting blue hues were also placed in the room.

Find out more about Casa Lana ›


Winona House by Reigo and Bauer
Photo is by Lisa Petrole

Winona House, Canada, by Reigo and Bauer

At Winona House, a family home in Toronto that was designed by local architecture studio Reigo and Bauer, residents and visitors are met by a bright blue carpet in the entrance hall that covers the stairs to the home’s upper levels.

Pops of colour were added throughout the home, including on the exterior, which features a hot pink-painted entrance that is surrounded by black shingles.

Find out more about Winona House ›

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring pop-up shop interiors, kitchens with marble surfaces and interiors with stone furnishings.

Reference

Diagnosing glaucoma with smart contact lenses
CategoriesSustainable News

Diagnosing glaucoma with smart contact lenses

Spotted: Glaucoma is a common condition where the optic nerve, which connects the eye to the brain, becomes damaged. This is often caused by fluid building up in the front part of the eye, which increases the pressure inside. It affects more than 80 million people worldwide. While it’s not possible to reverse any loss of vision that occurs before diagnosis, treatment can prevent further degeneration. And now, startup BVS Sight Inc. hopes to speed up diagnosis with a smart contact lens.

BVS was established to take advantage of technology developed by a Purdue research team. The team was led by Chi Hwan Lee, an Associate Professor of Biomedical Engineering at the Weldon School of Biomedical Engineering, and created smart contact lenses that can continuously monitor intraocular pressure (IOP) in the eye. This is the only known modifiable risk factor for glaucoma.

Previous wearable tonometers, which are devices that measure the pressure inside the eyes, use an integrated circuit chip. This makes the lens thicker and stiffer, and more uncomfortable, than typical soft lenses. Lee’s team gets around this by building on commercial brands of soft contact lenses to allow continuous 24-hour IOP monitoring, even when the wearer is asleep.

Health technology is rapidly advancing. Springwise has also spotted ultrasound stickers that monitor organ function, and self-powering wireless “skin” that can monitor various stimuli.

Written By: Lisa Magloff

Reference

Design Declares tapestry
CategoriesSustainable News

“We need to let designer-makers get sustainability wrong”

The fear of being called out for “greenwashing” is paralysing designer-makers into doing nothing on the climate crisis. It’s time to let them make mistakes, writes Katie Treggiden.


“Carbon washing is the new greenwashing”; H&M called out for “greenwashing” in its Conscious fashion collection; “Greenwashing won’t wash”: all Dezeen headlines from the past few years. In fact, the last one was mine. And it’s important that we call out greenwashing – the practice of making false environmental claims in order to sell products, services or policies.

With 66 per cent of all shoppers – rising to 75 per cent among millennials – saying they consider sustainability when making a purchase, the reward is clear. But making products and services truly environmentally responsible takes time, money, and effort, and the road to get there is full of nuance, compromises and trade-offs – none of which makes for easy profits or simple advertising slogans, so companies lie, exaggerate and bend the truth to scoop those sales.

It’s important that we call out greenwashing

Advertising and sales are hardly known for being bastions of honesty, but greenwashing’s harm goes beyond simply misleading consumers into buying something they didn’t want. All the time, money, and effort invested into these practices is not being spent on actually becoming more sustainable, and companies are let off the hook. Meanwhile, the misled customers are not investing their money in the companies that are sincerely trying to do things better.

“Greenwashing perpetuates the status quo because it leads specifiers, end users, everyone in the chain to believe that they are doing better than they actually are from a sustainability point of view,” said founder of content marketing agency Hattrick, Malin Cunningham. “Equally, the businesses doing the greenwashing have no incentive to improve.”

However, all these “greenwashing” headlines are striking fear into the hearts of designers, makers, interior designers and architects who want to do the right thing, but haven’t quite got it all worked out yet. In a poll of my community of designer-makers, 100 per cent said that fear of getting it wrong had stalled progress on sustainability-driven projects.

Cancel culture and call-out culture are particularly prevalent on social media, which often lacks the nuance for proper discussions about environmentalism and yet, those are the very spaces in which small creative businesses are promoting their products and services.

All these “greenwashing” headlines are striking fear into the hearts of designers

The importance of failure in creativity is well documented. There’s the 5,126 failed prototypes James Dyson went through before finally cracking the technology behind his eponymous vacuum cleaner, the Thomas Edison quote: “I have not failed 700 times. I have succeeded in proving that those 700 ways will not work”, and the fact that Walt Disney’s first film company went bankrupt before he turned 21. But perhaps we’ve heard these kinds of stories so many times that we’ve forgotten what they mean.

In his book Atomic Habits, James Clear gives the example of a cohort of film photography students at the University of Florida. Their professor divided them into two groups. One would be graded solely on the quantity of photographs they produced – the more pictures, the higher the grade, no matter how good they were. The second group need only submit one photograph, but it would be judged on quality – to get an A, it needed to be near-perfect.

The result? The better photographs came from the first group, the group being judged on quantity alone. The moral of the story here is that in order for creative people to succeed, they need to be given permission to fail. Or put another way, holding them to a standard of near-perfection doesn’t create the conditions for success.

“The only way that we’re going to be able to tackle the huge challenges that humanity is facing is by trial and error,” said Cunningham. “Small independent businesses are very well placed to help find these solutions and it’s essential that they are allowed to experiment without being hung out to dry in the process.”

It’s important that we encourage imperfect progress, that we recognise honest intent

The difficulty is that the main difference between greenwashing and honest but imperfect progress is intent, and that can be difficult to discern. For designers and makers, Cunningham recommends transparency in communications.

“It is about having clarity around the environmental impact you’re making as a business and what your goals are – and then being transparent about where you are on your journey towards achieving those goals,” she said. “It means taking action first and communicating second.”

And what about those of us writing those headlines? It is, of course, crucial that journalists “speak truth to power” and continue to call out companies that are knowingly making exaggerated or outright false environmental claims.

But it’s also important that we encourage imperfect progress, that we recognise honest intent and that we ask the right questions to make sure we can tell the difference. In our coverage of sustainable design, we need to celebrate the journey as well as the destination.

We need to let designer-makers get sustainability wrong, so that they can get it right. All our futures depend on it.

Katie Treggiden is an author, journalist, podcaster and keynote speaker championing a circular approach to design. She is the founder and director of Making Design Circular, a membership community for designer-makers who want to become more sustainable.

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