Spotted: Since their creation, fossil fuel vehicles have been a major contributor of greenhouse gas emissions. While we are beginning to lessen the environmental cost of road transport by travelling in fossil fuel-free cars, auto manufacturers still rely on fossil resources when building their products. And, with the Paris Agreement giving automakers until 2040 to produce net-zero greenhouse gas emissions in the entire value chain of vehicle production, this is an issue.
In a bid to resolve this, the Swedish steel manufacturer SSAB has harnessed new technology that leverages electricity and hydrogen to create fossil fuel-free steel. As steel is elemental to assembling cars and trucks, this innovation gives auto manufacturers a chance to fulfill the Paris Agreement and achieve net-zero emissions.
Showing its environmental commitment, Volvo Trucks has become the first truck manufacturer in the world to use fossil-free steel. The hydrogen-produced steel will be placed into the frame rails that form the backbone of Volvo’s electric trucks, where all the other main parts are mounted. Once the availability of fossil fuel-free steel increases, Volvo claims it will then be introduced in other parts of the truck.
“Our journey to net zero emissions includes both making our vehicles fossil-free in operation and over time fully replacing the material in our trucks with fossil-free and recycled alternatives,” says Jessica Sandström, Senior Vice President of Product Management at Volvo Trucks.
Volvo began their small-scale introduction of the SSAB steel in May 2022 and it became commercially available the following month, just nine months after the first fossil-free vehicle concept was unveiled.
Springwise has spotted other innovations seeking to decarbonise steel, such as the implementation of AI within steel and cement plants, and using green hydrogen to manufacture green steel.
As yet another COP fails to put the world on a path to avert climate catastrophe, it’s time for architects to fundamentally rethink the work they do, writes Michael Pawlyn.
The outcome of COP27, and Antonio Guterres’ grim warning that “we are on a highway to climate hell”, requires us as designers to do some serious thinking about what we do next. Aside from the breakthrough on “loss and damage” payments to the countries most affected (generally the poorest and least responsible for the problem) there was virtually no progress in getting the world on-track for a safe future. It would be easy to feel overwhelmed by the magnitude of the challenge, but the more courageous thing to do is to engage in an urgent debate about how change happens – and then to take radical action accordingly.
It may also be tempting to think that we can carry on broadly as normal and try a bit harder at sustainability, but that would be a disastrous course of action. We need to accept that the degree of change required is far greater than the industry has embraced to date.
There was virtually no progress in getting the world on-track for a safe future
We urgently need to transcend conventional sustainability approaches to pursue regenerative solutions that are net-positive rather than simply mitigating negatives. We need to move from mechanistic approaches towards more systemic approaches and to widen our perspectives from being solely human-focussed to recognising the whole web of life on which we depend. In short: architects need to embrace radical change if we are to avoid the hellish future predicted by Guterres.
Change needs to occur at the level of mindsets. This has been the focus for Architects Declare UK, in the way the declaration points were written, the events we have organised and the practice guide that was produced. The source of inspiration has been the systems thinker Donella Meadows, who asserted that the best way to change a system is by intervening at the level of the mindset, or paradigm that drives the system, and by shifting its goals.
If we ask ourselves “what drives the way architects work?” it’s probably fair to say that it’s a mixture of worthy aims, such as transforming the built environment to enhance people’s lives, as well as less comfortable motivations, such as the glory gained from publicity or completing a project. Younger, and future, generations are likely to judge harshly those who are motivated by the latter and some of the big-name architects who would like to think of themselves as avant-garde are at risk of being on the wrong side of history.
If, as many have argued over the years, architecture is a celebration of the age in which it was created, then a good test of its relevance is to consider how a contemporary work will be considered in, say, 20 years. Buildings that are little more than gimmicky manipulations of form that help a developer make more money, or extravagant showpieces paid for by luxury brands are likely to be regarded by future generations as some of the most trivial and morally detached artifacts ever created.
Big-name architects who like to think of themselves as avant-garde are at risk of being on the wrong side of history
Societal norms like democracy and human rights are coming under increasing threat and it is worth contemplating how an informed teenager would regard architects who seem content to be photographed with genocidal leaders or those who design projects for murderous autocrats. If we want to be “Good Ancestors”, to use Roman Krznaric‘s term (in turn, borrowed from Louis Kahn’s client Jonas Salk), we need to think much more consciously about how we spend our limited lifespans and how we will be remembered over longer timescales.
An urge to create monuments or icons has been a significant driver for (mainly male) architects and that now needs to be challenged. Ever since the first skyscrapers, we have fetishised supertall buildings and continually competed to go ever taller. A growing body of evidence is showing that this is an extremely profligate way of building; both in terms of embodied and operational carbon.
Surely, in a planetary emergency we should be competing to design buildings that are best aligned with long-term planetary health? Earlier this year Architects Declare UK wrote an open letter to the Council for Tall Buildings and Urban Habitats (CTBUH) in which we proposed that it was time to transform its register of “The World’s Tallest Building”. We called on the CTBUH to shift its focus from a fixation on height to the other part of its mission: Urban Habitats. As an organisation they have done a lot to promote sustainability and now there is an opportunity for them to engage with regenerative thinking.
As a profession, we risk being left behind by other sectors that are embracing change more rapidly. Many large businesses are now accepting that the pursuit of profit is not a sufficiently inspiring purpose to attract the best staff and are defining bold new purposes. Similarly, many institutions are recognising that their original purposes are in need of updating. The 1828 Royal Charter for the Institute of Civil Engineers declared that civil engineering “is the art of directing the great sources of power in nature for the use and convenience of man”.
We risk being left behind by other sectors that are embracing change more rapidly
Architects Declare UK has written to the president of the Royal Institute of British Architects (RIBA), Simon Allford, proposing that its mission statement should be updated to align with the planetary emergency. Whether he chooses to make this part of his legacy remains to be seen.
It is encouraging to see that some awards such as the Pritzker Architecture Prize are moving with the times, choosing to celebrate architects who champion retrofit, those who work with low-energy materials and, recognising a more diverse range of architects than was conventionally the case. There are, however, plenty of awards systems that still reward highly damaging approaches, as Architects Climate Action Network (ACAN) have argued in connection with the RIBA Stirling Prize.
Ideally, this mindset change would be shared by governments. After two years of requesting, and being refused, a meeting with the UK prime minister or former energy secretary Kwasi Kwarteng (during which time it was revealed that ministers from his department held hundreds of meetings with fossil fuel companies), Architects Declare UK recently met with shadow climate change secretary Ed Miliband and engaged in a constructive dialogue about systems change.
There are, of course, limits to our agency as architects and designers, but it’s no longer acceptable to claim that our existing limits are the end of the story. Where change is necessary, and exceeds what’s possible for an individual company, we need to collaborate to drive systems change. This means joining groups like Architects Declare, Design Declares, Architects Climate Action Network – wherever you feel most at home – and working together to drive change.
Modernism was all about clean lines, raw surfaces, and celebrating the uncompromising rationality of the machine. The vision of LeCorbusier was revolutionary in its time, and caught on in ways he would likely not have expected. Today, most of the public spaces we move through, from offices and schools to hospitals and transport hubs, owe something to the modern movement and its penchant for no-frills design.
Not everyone is happy with this state of affairs. Today, there is a renewed interest in the textures, patterns, and curves, the very features of classical architecture that modernists once avoided. Design-thinkers have learned that natural forms, from the vein patterns in leaves to the curves of the human body, are based on fractals rather than grids. As human beings, we find fractals pleasing to the eye and emotionally restorative. Right angles, in contrast, are harsh and even exhausting. This is why so many people describe modern spaces as feeling grim, sterile, or anxiety provoking.
Wall art by Inpro
For architects that are looking to warm a space with natural forms, bringing in some of that fractal energy people literally crave, the experts at Inpro are providing new, high-tech solutions. They create high-end, digital artwork optimized for spaces such as offices, schools, hospitals and more, bringing vitality to spaces that would otherwise be merely functional
Through their critical design research into art and biophilia, and from the inspiration that guides it, Inpro is looking to make art “work” for the occupants in any commercial building. How art, working through digital imagery or printed on an architectural product, can bring a brand, an idea or even a feeling to life.
Nick Cotter, Creative Director at Inpro, says: “The right image can have a calming effect, especially in healthcare environments where patients might be experiencing anxiety, fear or pain. Images of nature offer serenity in an otherwise sterile space, while bright and colorful artwork can stimulate interest and put smiles on faces.” Studies have shown that looking at images of nature is healing, much like spending time in nature. Art, then, is a crucial component of any healthcare space.
As the company explains in their Imaging Products brochure, “North Americans spend nearly 90% of their time indoors. . . Whether it be promoting healing in healthcare, productivity in office environments, stimulating creativity in education, triggering brand recognition in hospitality or reinforcing positive transactions in retail and restaurant, the use of imagery, pattern and color can have an influence. . . these influences are seen even in our sleep, diet and mood.”
Inpro offers six product types for people looking to bring art and photo prints into their office, including Aspex® Printed Wall Protection, a printed, protective wallcovering that can be applied directly to the wall at virtually any size, and printed wall art, which hangs on the wall just like a painting. The brand also produces printed signage, which allows art to be integrated in creative ways throughout the space, durable wall panels that can be used in high traffic spaces like elevator interiors, and printed window shades, which can turn any office into a room with a view. Made from fiberglass, polyester, vinyl, and acrylic, these high-tech Solar Shades help to block glare and unwanted heat while still allowing a degree of natural light.
Elevator interior with prestige gold trim and Aspex panels showcasing local artwork.
Each of these products is durable and super high resolution. Furthermore, they are fully customizable. Inpro works with clients to select imagery suited to their brand. If no stock images fit the bill, the brand can help facilitate collaborations between clients and local artists to curate unique artwork for their space. In 2023, Inpro is also launching curated art galleries that can be printed on products based on moods, including categories like “comfort”, “focus”, “restore”, “inspire” and “energize”.
The key is to think about your design needs, choose a theme, and stick to it. Like a real natural landscape, the whole is greater than the sum of its parts, and artworks function better when they are placed in harmonious relation to one another.Through the careful selection of Inpro products, shades can be integrated with wall coverings, art, and signage, creating a fully integrated space.
Personalized dorm room window shades by Inpro
“Adding imagery throughout your spaces brings continuity throughout your building and how people experience it,” Dan Roller, Product Manager at Inpro, explains. “For example, use an overall nature theme and create variations on each floor to help people remember different locations and change up the scenery.” This type of cohesiveness will strengthen your brand, whatever industry you are in, and elevate the experience of clients or other visitors to your professional space.
If biophilia isn’t your thing, Inpro can also create graphics that have a more streamlined, minimalist look. The key thing to remember is that with new digital imaging and printing techniques, the possibilities are endless when it comes to wall coverings. One is not limited to solid colors or patterned wallpaper. Any image you can think of can find a place on your walls, your signs or your window treatments.
Coordinated window shades and wall art by Inpro
Art is no longer something that hangs on the wall – an ornament for spectators to gaze at – but something that is ultimately functional, helping spaces work better for everyone. This sounds like something even LeCorbusier would approve of.
To learn more about Inpro’s extensive range of architectural products, check out their website and their brand profile on Architizer, or download their visual inspiration guide here.
Australian designer Nickolas Gurtler has drawn from the nightclubs of 1970s Milan and Florence to create the interior for a cosmetic clinic in Perth, Australia.
It is the third interior that Gurtler has created for Youth Lab, a clinic that offers a range of non-surgical cosmetic treatments that include anti-ageing procedures, hair removal and skin rejuvenation.
The waiting area features a mirror wall, gold lights and a green silk carpet
Located in Joondalup, Youth Lab 3.0 is the brand’s most experimental space so far.
While the two other locations – in Claremont and West Perth – occupy heritage buildings, this one is set inside a commercial block from the 1990s. This meant Gurtler could be more daring in his approach.
A Dina Broadhurst artwork provides a focal point
While the design was partly informed by the brand’s minimalist identity, it also features playful details that include mirror walls and a grand geometric reception desk.
“There were some really outrageous and glamorous concepts that I really responded to and had filed away for the right project,” said Gurtler.
“When Youth Lab approached us again for their third clinic, I knew that this was the right time to bring them to life.”
The reception desk is formed of Arabescato marble and Venetian plaster
The starting point was the palette of forms and materials that Gurtler has worked with previously for the brand, which includes decorative marble, plush velvet and metal cabinetry.
While the Claremont space that Gurtler designed for the brand has a New York loft vibe, here these elements are paired with shades of olive green and gold to create a more retro Italian feel.
“This language is a kind of style guide for us on each project,” said Gurtler.
“Common elements such as mixed metals, monolithic forms, plush textures and rich colour are used in each of the clinics, but we translate these elements completely differently each time.”
The colour palette centres around olive green and gold
Arabescato marble is combined with Venetian plaster and polished aluminium to create the cuboidal forms of the reception desk, which sits beneath a custom glass and brass lighting pendant by designer Lost Profile Studio.
A large gridded mirror installation provides the backdrop to a waiting area furnished with a green silk carpet, a blocky marble coffee table and sculptural white armchairs.
A sculpture by American potter Jonathan Adler sits in front of a second mirror wall
Rows of golden-hued ceiling lights are reflected in the mirrors, doubling their visual impact, and an artwork by Dina Broadhurst creates another focal point.
As customers are led through for treatment, they also encounter a second mirror wall, a ceramic by American potter Jonathan Adler, custom wall lights and brass door numbers.
Custom lighting scones embellish the walls
Youth Lab 3.0 was longlisted for Dezeen Awards 2022 in the leisure and wellness interior category, along another of Gurtler’s designs, the Cole Hair Studio.
The designer hopes the space offers “an immersive and sensorial experience which is as much invigorating as it is calming”.
“The Youth Lab experience is a luxury and the interior reflects that,” he added.
Spotted: Smallholder farms, those covering two acres or less, produce around a third of the world’s food. Yet, there are almost no data services aimed at small farmers. As a consequence, many smallholders are cut off from access to wider farming services, support, and policy. To support smallholders, especially those using regenerative practices, the Smallholder Farmers Alliance, Data Economics Company, and Terra Genesis International have formed Smallholder Data Services to help smallholders better utilise their data.
Smallholder Data Services (SDS) uses a platform built on DECO’s Lydion Software Engine. This is used to develop blockchain-based middleware that allows data to be converted into digital assets which can then be shared in secure, private data vaults and data economic networks. SDS operates on a decentralised Data Economic Network (DENET), wherein each smallholder farmer is in control of their own data vault. Corporate partners can then join a regional or crop-specific DENET to examine traceability, regenerative standards, broader sustainability, and community impact.
SDS focuses on those smallholders who are engaged in regenerative farming—a system of farming methods that seek to enhance the entire ecosystem—or those who are looking to move towards regenerative practices. The platform is designed to manage farm-level data that relates to regenerative farming by enabling companies, consumers, and smallholders to verify sustainability standards. By packaging farm data as Lydion assets, the SDS platform both economically empowers these smallholder farmers while providing verification tools for crop buyers.
According to SDS co-founder Tim Tensen, “This is an exciting moment for Regenerative Agriculture as more companies and brands from around the world are taking steps to act from a whole systems perspective and make bold investments in the future of agroecosystems. Web3 technologies like the platform in development by Smallholder Data Services, represent a unique opportunity to support the livelihoods of smallholder farmers and do so in a way that intrinsically develops trust and integrity throughout supply systems, from farmer to consumer.”
This project is one of the latest to leverage blockchain to monetise data. Springwise has spotted other innovations including a platform that builds transparency in coffee supply chains and brings transparency to the diamond industry.
Despite growing concerns about the carbon emissions associated with their construction and operation, skyscrapers continue to spring up around the globe. Here, Philip Oldfield sets out seven ways to design tall buildings that are more sustainable.
Is there such a thing as a low-carbon tall building? Or are skyscrapers inherently unsustainable, the SUV of the built environment?
By rising up above their surroundings, tall buildings are exposed to more sun and wind. This could, in principle, be a good thing (think free heating and ventilation). But since so many towers are fully glazed, with little shade, instead they often experience overheating or excess heat loss, increasing operating emissions.
Tall buildings also suffer from what skyscraper architect and engineer Fazlur Khan calls the “premium for height”. As we build taller, towers face higher and higher lateral forces from the wind and seismic loads. To resist these, tall buildings use more structural materials – typically carbon-intensive concrete and steel. The upshot is that taller buildings have a higher embodied carbon than mid- and low-rise blocks.
Across their lifecycle, tall buildings typically generate more emissions
A major challenge we face over the next few decades is housing billions of people comfortably and safely while radically reducing emissions; 1.6 billion people currently live in inadequate housing, according to the UN. Mid-rise could, and should, provide the basis for much of this. But it’s naive to think there’s a one-size-fits-all solution for every city, and every site.
Where land is scarce, tall buildings can provide greater density, putting more people in close proximity to low-carbon public transit, and the civic infrastructure of the city. The question is: how can we design towers to have far fewer carbon emissions than the norm?
Below are seven principles to follow:
Quay Quarter Tower in Sydney is an example of a retrofit skyscraper project. Photo is by Adam Mork
Retrofit first
Given that they are an investment of thousands of tonnes of steel and concrete, it seems senseless to demolish a tall building. We only need to look at 270 Park Avenue in Manhattan, built in 1960, retrofitted to LEED Platinum in 2012, but then demolished to howls of despair from architects, historians and environmentalists alike only nine years later so that it can be replaced by a slightly taller and shinier edifice.
A much better approach is to retrofit, reuse and reimagine existing towers, rather than raze and rebuild. The Quay Quarter Tower, by 3XN and BVN, upcycles a 1976 modernist tower block in Sydney, maintaining the core and much of the existing floor plates but entirely transforming the architecture – and increasing the floor area by 35 per cent. This approach reduced embodied carbon by around 8,000 tonnes compared to a new build.
The National Commercial Bank in Jeddah has solid external walls and glazed inner courtyards. Photo is by Wolfgang Hoyt/Esto
Reject the curtain wall
Glazed curtain-walling is the go-to cladding of any skyscraper. Visually monotonous, but also environmentally criminal. You don’t need to be a building physicist to understand why. Even the highest-performance triple-glazing with argon gaps, e-coatings and all the bells and whistles won’t perform thermally as well as a simple insulated wall.
Of course, we need daylight and view, so some glazing is essential – but do we really need to glaze down to the floor and illuminate the tops of our feet? Future tall buildings should embrace shade and solidity in their facades, with glazing limited to perhaps no more than 40 per cent of the wall area.
We can take inspiration from the National Commercial Bank in Jeddah. Designed by Gordon Bunshaft of SOM (who ironically also helped design one of the first fully glazed towers in the world, Lever House, in New York), it has glazed inner courtyards but solid stone external walls as a response to the harsh desert sun.
The under-construction 1075 Nelson Street is the tallest Passivhaus in the world. Image courtesy of WKK Architects
Embrace Passivhaus
One of the environmental benefits of tall buildings is that they are compact, meaning they have less envelope to lose heat from compared to low-rise buildings. This characteristic lends itself to Passivhaus – a performance standard that achieves very low operating energy needs through compact forms, super-insulation, air-tightness and heat recovery.
The tallest Passivhaus in the world is the 178-metre-high 1075 Nelson Street skyscraper designed by WKK Architects, currently under construction in Canada. Better still, why not save both embodied and operational emissions by retrofitting an existing tower to Passivhaus, like ERA Architects have done with the Ken Soble Tower in Hamilton?
Woha’s The Met building in Bangkok uses deep balconies to aid cross-ventilation. Photo is by Kirsten Bucher
Flush out the heat
The flipside of a compact shape is that once unwanted heat gets into a high-rise it can be more challenging to get it out again. People and equipment inside buildings give off heat, and because towers are compact and often bulky, they can be more challenging to cross-ventilate.
There are some solutions – designing high-rises with atriums, skygardens, or with permeability can create pathways for breezes to flush out unwanted heat. In Woha’s The Met, in Bangkok, deep balconies provide shade from the sun, while voids cut through the building channel breezes and allow units to be cross-ventilated. Residents have reported little need for air-conditioning as a result, even in the hot tropical climate.
The Sara Kulturhus Centre in Sweden features the world’s second-tallest wooden tower. Photo is by Patrick Degerman
Build with timber
Cement, the primary ingredient of concrete, is responsible for around eight per cent of all human-made carbon emissions. Since tall buildings are big consumers of concrete, can we look to use something else?
Step forward timber. Timber structures have the benefit of lower embodied-carbon emissions than steel and concrete. They are also able to store carbon in the wood for the lifetime of the building.
White Arkitekter’s 20-storey Sara Kulturhus Centre is built from cross-laminated timber (CLT) and glued laminated timber (glulam). The timber in the building stores twice as much carbon as was emitted during its construction.
TU Wien’s Plus-Energy Office High Rise produces more energy than it uses. Photo is by Matthias Heisler
Reduce first, generate second
It’s much better to embrace energy efficiency and low-embodied-carbon strategies first before thinking about on-site energy generation. The TU Wien Plus-Energy Office High-Rise in Vienna is the retrofit of a 1970s office block (are you seeing a trend here?).
Through the use of a super-insulated and airtight facade, a heat-recovery system, night-flush ventilation and low-energy appliances, primary energy was reduced from 803 kilowatt-hours per square-metre per year to just 56kWh/m2/year. This radical reduction means that with photovoltaic panels on the roof and facade, the tower will generate more energy than it uses over the year.
It’s tempting to add wind turbines to the top of a skyscraper – but don’t do it! While it might create a bold green visual statement, it won’t reduce emissions much. Wind speeds increase with height, so it seems sensible to use this to generate clean energy, but turbines also create noise, meaning their use in urban areas is far from ideal.
The Kingdom Tower in Jeddah is intended to be the world’s tallest skyscraper but construction has stalled. Image is by Adrian Smith + Gordon Gill Architecture/Jeddah Economic Company
Forget about supertalls
Supertall buildings (those over 300 metres) and megatall buildings (those over 600 metres) need exponentially more materials for construction. More concrete, more steel. This means more embodied carbon. Too often towers of this height are created merely as icons, symbols of power and corporate wealth rather than providing essential societal needs. When was the last time you heard of affordable housing in a supertall building, for instance?
Fortunately, there are signs that we are moving away from using tall buildings as urban trophies. In China, where most supertalls have been built, the government has announced a ban on towers over 500 metres, with those over 250 metres “strictly restricted”.
In our climate-change challenged world, every kilogram of material we use is precious – so let’s not waste them on an inane race for height. Low-carbon tall buildings are possible – but we have to put environment before elevation.
Philip Oldfield is Head of School of the Built Environment, UNSW Sydney. He is the author of the Sustainable Tall Building: A Design Primer (2019).
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By design, glass ceilings tend to attract attention to themselves. Their functional purposes are fairly limited, and their shortcomings can be sizable (depending on how good the glass is at insulating), but we keep building them because they’re just so appealing. Glass ceilings enliven everything under them, imbuing the indoors with natural lighting that we seem to be instinctively drawn to.
These 7 glass ceiling projects are all of the above, yet, they are even more eye-catching, thanks to designs that boldly imitate nature. The structures below twist and curve in impressive, unorthodox and biomorphic ways, stretching the limits of what’s possible with glass ceilings.
44 Union Square/Tammany Hall
By BKSK Architects, New York, NY
Jury & Popular Choice Winner, 9th Annual A+Awards, Architecture +Collaboration
Photos by Christopher Payne/Esto and Francis Dzikowski
BKSK Architects’s recent redevelopment brings a historical landmark back to its former glory with a meticulous façade restoration that revamps the original building’s bronze and limestone storefronts. However, the new, eye-catching 3-story glass ceiling addition draws attention to an even earlier history. The free form grid dome made with a hipped roof of steel, glass and terracotta sunshades mimics the shell of a turtle – a homage to the Indigenous Lenape people native to New York. For BKSK Architects, juxtaposing these two sources of the city’s history “creates a meaningful visual dialogue between contemporary and historic architecture”.
Bálna Budapest
By ONL [Oosterhuis_Lénárd], Budapest, Hungary
This redevelopment in Budapest seeks to reconnect the urban landscape with the adjacent Danube River with an aquatic-inspired glass addition to an old commercial center. Most noticeably, the curving glass dome imitates a streamlined body of a whale. But the design is subtle enough that the glass addition takes a life of its own, beyond its biomorphic origins.
Joe and Rika Mansueto Library at the University of Chicago
By JAHN, Chicago, IL
Given the eclectic mix of architecturally distinct campus buildings in its vicinity, it was fitting that this new library at the University of Chicago should stand out as well. The elliptical glass dome design elegantly rejects the common utilitarian box-shaped university libraries; in doing so creates a more natural and people-friendly place to do studies. Like a biodome, the library’s reading room offers a sunny, outdoor-like atmosphere without the inconveniences of being outside.
Middelfart Savings Bank
By 3XN, Middelfart, Denmark
This new multi-purpose commercial space in the seaside town of Middelfart, Denmark brings a brisk change to the architectural cityscape, without excessively sticking out. The white slanted roofs offer a sharp contrast to the old town’s color palette, but the structure’s scale and proportions are not out of line with the neighborhood. Similarly, the triangular-shaped cornices that adorn the roof — which cleverly double as skylights — are a bold architectural choice, yet they simultaneously offer an imitation of ocean waves. It’s not a coincidence that those very windows provide a direct view of the Lillebælt seaside.
China Pavilion for Expo Milano 2015
By Studio Link-Arc, LLC, Milan, Italy
Photo by Hufton+Crow Photography
Photo by Hengzhong Lv
The unique curving roof of the China Pavilion at Expo Milano merges the profile of Milan’s skyline with the rolling natural landscapes nearby. It’s a statement of hope that city and nature can exist harmoniously, though the pavilion reminds us of this elsewhere as well. Outside, layered collections of shingled bamboo float above the roof, muddling the sun rays as they enter the skylight’s translucent membrane. The result is an ethereal atmosphere for visitors inside.
Salvador Bahia Metro Station
By JBMC Architects, Salvador, Brazil
The central motif of this new transport hub in Salvador, Brazil consists in large overlapping semi-cylinders stacked like fallen dominoes. Conveniently enough, this slanted pattern allows for slivers of sun to pass through concealed, arching skylights, brightening the main station considerably.
MyZeil
By knippershelbig, Frankfurt, Germany
While the design concept for the roofing on this project was supposedly based on the shape of a canyon, this retail center in Frankfurt turns curving glass on its head very literally. The resulting concoction, a light and airy shell, appears like a water funnel, a vortex or a portal into another dimension.
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A renovated dwelling in rural China and a converted stable in Ibiza feature in our latest lookbook, which collects 10 cottage interiors that promise rest and relaxation.
Cottages are small dwellings that are traditionally characterised by a sense of comfort and cosiness. However, interior designers are increasingly pushing the boundaries of how to dress the insides of these homes, as seen in these innovative examples.
As the weather cools down in the northern hemisphere, here are 10 calming interior spaces in cottages by architects and interior designers from across the globe.
This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring neutral living rooms, homes in converted warehouses and Bauhaus-informed interiors.
Photo is by courtesy of Sun Min and Christian Taeubert
Hai Zhen cottage, China, by Sun Min and Christian Taeubert
Located in Hai Zhen, a village just outside of Beijing, this previously neglected cottage was renovated by fashion designer Sun Min and architect Christian Taeubert.
A large, open-plan lounge area displays a mixture of rustic features such as the original roof and timber beams, which are presented alongside more contemporary elements including stainless steel and spindly, wireframe lighting.
Find out more about this Hai Zhen cottage ›
Photo is by Timothy Kaye
Barwon Heads House, Australia, by Adam Kane Architects
Barwon Heads House is a renovated cottage by Melbourne-based studio Adam Kane Architects with a barn-style extension defined by an open-plan living area.
Shortlisted for the 2022 house interior of the year Dezeen Award, the cottage interior features a monochrome interior palette and statement geometric furniture, such as a pair of Kangaroo Lounge Chairs by designer Pierre Jeanneret.
Find out more about Barwon Heads House ›
Photo is by Jim Stephenson
English cottage, UK, by Invisible Studio
Architecture practice Invisible Studio added a double-pitched extension to this cottage that is located on the borders of Hampshire and Surrey in England.
Exposed concrete accents contrast with rectilinear sliding glass doors in the living space, which cantilevers over the sliding patio doors below with the support of a concrete chimney.
“All the materials are fair-faced so had to be perfectly made,” explained studio founder Piers Taylor. “Nothing is covered up and everything exposed.”
Find out more about this English cottage ›
Photo is by Youri Claesens
Casa Campo, Ibiza, by Standard Studio
Casa Campo is a cottage in Ibiza that Standard Studio converted from a 200-year-old stable to an off-grid showroom and home for the owners of an interior design shop.
Original beams crafted from Ibiza’s native Sabina pine trees are paired with contemporary low-slung furniture in the double-height living space that is illuminated by bright white walls.
Find out more about Casa Campo ›
Photo is by Jim Stephenson
Made of Sand, UK, by Studio Weave
Architecture office Studio Weave designed a wooden extension to a stone cottage in Devon’s Blackdown Hills in the English countryside, which was created as a creative workspace for its owners and visiting artists.
Called Made of Sand, the extension’s interior is defined by built-in timber window seats and wall storage that is framed by large glass windows.
“The contrast between materials, old and new, in and out, are foregrounded to create a distinct sense of rest and relaxation in the new spaces,” said studio director Je Ahn.
Find out more about Made of Sand ›
Photo is by Ronan Mézière
La Brèche, Canada, by Naturehumaine
Two volumes connected by a walkway make up La Brèche, a ski cottage in Quebec by Montreal studio Naturehumaine that features facades informed by the area’s vernacular architecture.
Floor-to-ceiling corner windows illuminate the living space, which is characterised by a polished concrete floor and minimal accents of colour and texture.
Find out more about La Brèche ›
Photo is by Joel Esposito
Muskoka Cottage, Canada, by Studio Paolo Ferrari
Named after its location in Canada’s Muskoka region, this cottage interior features exposed finishes informed by the surrounding natural forests and the area’s geological details.
These include sandy-hued, Douglas fir exposed ceilings and large slabs of granite that make up various statement islands throughout the home, as well as a large fireplace in the living space.
“The granite is coarse-grained and hard,” noted Studio Paolo Ferrari. “It references the minerality of the site and imbues the interiors with a sense of ruggedness.”
Find out more about Muskoka Cottage ›
Photo is by Paul Crosby Photography
The Marlboro Music Cottages, USA, by HGA Architects and Engineers
The Marlboro Music Cottages are a series of cabin-style dwellings by HGA Architects and Engineers (HGA) for musicians staying in New England over the summer during the Marlboro Music School and Festival, an annual event.
HGA took cues from the single-storey boxy dwellings with gabled roofs that populate Cape Cod for the cottages’ architecture. Cedar plank cladding and pitched roofs were used to embrace the homes’ natural setting.
Inside, the cottage interior features exposed timber ceilings, pine-sheathed walls and slate flooring, adding to this pared-back approach.
Find out more about The Marlboro Music Cottages ›
Photo is by Michael Moran
Hamptons cottage, USA, by Birdseye Design
A double-height living space offers views of the surrounding Hamptons at this cottage by architecture studio Birdseye Design, which is wrapped in thin wooden slats that nod to local traditional buildings.
Eclectic geometric furniture makes up dining and living areas that anchor the west side of the property and open out onto an outdoor dining space.
“Operable glass walls open to a large stone terrace off the living room and the kitchen opens to a wood-slatted, pergola-covered porch,” said Birdseye.
Find out more about this Hamptons cottage ›
Photo is by Trevor Mein
Captain Kelly’s Cottage, Tasmania, John Wardle Architects
Australian studio John Wardle Architects has repaired this weatherboard cottage in Tasmania, which originally belonged to its architect, harbourmaster Captain Kelly, in the 1840s.
Furniture created from materials left over at the end of the project’s renovation feature in its updated design, while a focus on wooden interiors maintains a sense of the dwelling’s history.
“Over 175 years there had been many unsympathetic alterations to the small cottage,” said the studio. “Part of our work involved the removal of these non-original works, to respectfully return the cottage to its original form.”
Find out more about Captain Kelly’s Cottage ›
This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring neutral living rooms, homes in converted warehouses and Bauhaus-informed interiors.
Spotted: It is estimated that global capacity for wind power will be over 955 gigawatts by the end of 2022, with China leading the way with 359,770 turbines as of June this year. However, the large number of wind turbines across the globe also means there is a rapidly growing need for innovative wind turbine maintenance systems – especially for offshore turbines. Company Aerones has designed a system that uses drones to conduct such maintenance work.
Aerones offers inspection, cleaning, and repair services using a variety of different drones and tools. For example, its robotic cleaning system uses a powerful brush to clean dust and oil, reusing water during cleaning to reduce waste. Other drones in the company’s repertoire can repair blades using a modular tool base that can sand, fill eroded surfaces, apply protective coatings, and more.
In addition to the utility of its system, Aerones offers reassurance that the system does not take jobs away from technicians. Instead, the company says that the drones are each controlled by certified technicians “from the comfort of a warm vehicle”. In addition, it claims that the robotic tools are more precise and efficient than technicians acting alone, resulting in four to six times less downtime.
The company adds that its “unique proprietary system brings high-quality robotic services enabling our wind turbine technicians to perform inspections, cleaning, maintenance and repairs (…) Robots will allow the wind industry to turn towards fast and efficient preventive maintenance.”
Wind power is big business and is increasingly being seen as a vital tool in reaching net zero. Springwise has also spotted a floating vertical axis wind turbine and recyclable onshore turbines.
Treehouse Studio is Stilt Studio’s latest hospitality addition in Bali, Indonesia. Tucked away in the coastal village of Canggu, the elevatedtreehouse complex overlooks a vast landscape of rice fields, connecting travelers with the natural surroundings while also providing a memorable design experience with a unique indoor-outdoor living concept. The project is built as part of an ensemble of four prefabricated buildings on a site of 745 sqm, and is designed with the intent to create an elevated hospitality and retreat space, that becomes a sanctuary outside of the constraints of daily life.
the elevated treehouse complex overlooks a vast landscape of rice fields | all images courtesy of Indra Wiras
a refuge amidst Bali’s lush surroundings
The Treehouse Studio is designed as a refuge amidst Bali’s lush surroundings, an ideal place to pause, retreat and relax. In keeping with Stilt Studios’ ethos ‘treading lightly on earth’, the architects used prefabricated building elements, relying on a conscious choice of materials from responsible sources, and using as much wood as possible to minimize the carbon footprint of the project.
The outdoor patio of the complex opens to a vast view of rice fields, providing striking visuals while creating intimacy in the natural landscape. ‘Thoughtfully positioned for unobstructed views of the glorious western sunsets, the iconic Treehouse Studio reimagines the idea of a two-story indoor-outdoor living concept, allowing for two contrasting experiences for the guests,’ mentions Therresa Shannen Budihardjo, Architectural Design Lead at Stilt Studios (find more here). When guests arrive at the treehouse, they are invited to descend and relax in a private plunge pool, stretch out on a terrace furnished with comfortable sun loungers, or gather around the dining table. They slowly ascend a spiral staircase into the treehouse and enter the warm, wooden interior, complemented by bright colors and houseplants.
the Treehouse Studio is tucked away in the lush landscape of the Canggu village
non-specific, versatile living environment
In the living room above, large sliding glass doors open the interior to a large wooden balcony that extends the horizon into the natural surroundings. The 6×6 interior space extends to a 9 sqm balcony and offers a total of 45 sqm of living space. The open layout of the studio divides the main programs into two floors: sleeping, living, and bathing upstairs, dining, lounging, and swimming downstairs. The plans and drawing set can also be purchased from the designers to be built anywhere in the world.
With a nod to Japanese sensibilities and Balinese culture, the interior is designed to inspire guests and provide a space for contemplation and leisure. The furniture was carefully designed to make efficient use of the limited space. The L-Sofa, the centerpiece of the space, is designed for multiple functions, including lounging, storage, recharging and working.
‘For the interior of the upper level, we designed a non-specific, versatile environment that encourages a variety of small-space interactions,’ explains Cokorda G. B. Suryanata, Product Design Lead at Stilt Studios.
the prefabricated structures are elevated above the 745 sqm site
the architects used prefab building elements, relying on a conscious choice of materials from responsible sources
the structure treads lightly on the earth, following Stilts Studios’ ethos