Bamboo interior of The Arc at the Green School Bali
CategoriesSustainable News

Bamboo will “be a major player” in architecture says Chris Matthews

The strength and availability of bamboo give it the potential to be as dominant in construction as concrete and steel, argues Atelier One engineer Chris Matthews in this interview.

“This idea that we have a sheet of rigid, extremely polished buildings, built from all kinds of steel and concrete, it has to change,” Matthews told Dezeen.

“Bamboo has a real part to play as a low-carbon material, and it needs to be part of the toolkit that we have moving forward,” he continued. “It’s going to be a major player.”

“The speed of growth is amazing”

Matthews spoke to Dezeen from the London office of British engineering firm Atelier One, where he is an associate director specialising in structural bamboo.

Bamboo is an extremely fast-growing species of giant grass that grows abundantly, quickly and cheaply around the world. Atelier One believes so much in its potential to become a dominant construction material that it has a team dedicated to its use in architecture.

While wood takes approximately 30 years to grow before being harvested as structural timber, a bamboo culm takes just three years.

Bamboo interior of The Arc at the Green School Bali
Top image: Chris Matthews is an engineer at Atelier One where he specialises in bamboo. Photo by Tomasso Riva. Above: his firm was among those to work on The Arc at the Green School Bali. Photo by Ibuku

“The speed of growth is amazing,” Matthews explained. “And the other wonderful thing is that you can grow bamboo on degraded land,” he continued.

“Land that wouldn’t otherwise be being used, you can actually regenerate using bamboo.”

Another key property of bamboo is that it is incredibly strong. In fact, its strength is comparable to aluminium, Matthews said.

“People always say it’s as strong as steel – it’s not as strong as steel, it’s close to aluminium,” Matthews said. “It is also actually stronger than concrete,” he continued.

“So in terms of structures, there’s no reason why you can’t use it.”

Locking carbon in buildings “the way forward”

Yet for Matthews, one of the characteristics of bamboo that makes it most attractive for the future of architecture is that it is an effective carbon store.

Similarly to timber, it sequesters carbon as it grows. In fact, there is even ongoing research to suggest that the material stores more carbon than timber, Matthews highlighted.

“There’s no kind of definitive paper on this yet because it’s such a hard thing to measure, but some papers say it’s between two and six times as much [sequestered carbon],” he said.

“It’s a great way of taking carbon out of the environment and making sure it doesn’t get re-released.”

As with many other advocates of sustainable materials, Matthews believes that the architecture and construction industries must urgently turn focus to the use of biomaterials such as bamboo to design buildings that sequester carbon, rather than expel it.

“In general, the idea of bio-based materials where we are capturing carbon and locking it up in a building, that has to be the way forward,” he said.

“So instead of thinking of a building as something that we have to use up our carbon budget to make, we’re instead thinking of the building as a way of locking up some carbon over the lifetime of the building,” he added. “I hope more and more of that will happen.”

Atelier One now testing structural limits of bamboo

Atelier One’s interest in bamboo was sparked by its founder Neil Thomas’ involvement in The Arc, a bamboo gymnasium at the Green School Bali designed by architecture studio Ibuku.

The sculptural building, which was highly commended in the 2021 Dezeen Awards, is distinguished by its complex double-curved roof made entirely from tensioned bamboo.

“The school has shown that, whereas bamboo was once seen as a ‘poor man’s timber’, actually, the beauty of the structures that result really is amazing,” reflected Matthews.

He argued that it also demonstrates it is possible to overcome the main disadvantage of the material, which has previously been a susceptibility to insect and fungal attacks, which in turn reduces its longevity.

This is achieved by ensuring the bamboo is not exposed directly to the sun, water or the ground. The bamboo is also treated to remove starch to help prevent these attacks, said Matthews.

“The issue has been that [bamboo is] prone to fungal attack and insect attack,” he said. “You’ve now got a material that not only has this amazing speed and strength, but it’s also able to have longevity as well.”

Today, Atelier One’s focus is primarily on maximising the strength and structural capabilities of bamboo, specifically through 3D-printed connections to link culms together.

“So you’ve got this amazingly strong material and now what we’re trying to play with is how you actually get the full strength out of it,” Matthews said. “It’s all about the connections.”

“We’ve started playing with 3D-printed connectors to link pieces of bamboo and get a longer piece of fabric. Once you start playing with the shapes, there’s no end to the possibilities.”

Laminated bamboo “seems to be performing better than timber”

The team is also exploring the potential of laminated bamboo – engineered bamboo products typically formed of layers of bamboo glued, stacked and pressed together.

According to Matthews, laminated bamboo can be used in the same ways as cross-laminated timber (CLT) but actually outperforms it in terms of strength.

“You don’t just have to use the crops whole and unprocessed, there is a whole industry of laminated bamboo,” Matthews said.

“Laminated bamboo actually seems to be performing better than timber, and also just like timber you can encapsulate it, so you put plasterboard on if you need to, it can be used as part of a build-up.”

“People are doing it, it’s early days, but the properties are amazing,” he added. “And it’s really starting to take hold.”

Among the varieties of engineered bamboo are scrimber, cross-laminated timber-bamboo (CLTB) and a type of radial laminated bamboo called Radlam.

The latter is Atelier One’s favourite, Matthews said, as it is processed in a way that retains all the layers of a bamboo culm, reducing waste and maximising strength.

“The reason we like this is because you get the whole culm, so the whole thickness of the bamboo – you’re not wasting material as you process it,” he said.

“And also, by not passing off the outer skin, you’re getting the full strength,” he continued. “It’s three times stronger than standard timber, so the properties are amazing.”

Another advocate for bamboo is Vietnamese architect Vo Trong Nghia. In an interview with Dezeen, he described the material as the “green steel of the 21st century”.

“I think bamboo and laminated bamboo will replace other materials and become the ‘green steel’ of the 21st century,” said Nghia.

“I hope many architects realise the potential of the material and build with bamboo more and more.”

Dezeen In Depth

If you enjoy reading Dezeen’s interviews, opinions and features, subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.

Reference

Robots and AI speed up homebuilding
CategoriesSustainable News

Robots and AI speed up homebuilding

Spotted: A global housing shortage is keeping millions of people out of affordable homes. In Canada, more than 3.5 million new housing units are required by 2030, and that is in addition to those already in development. Labour shortages are a further challenge affecting most industries, including construction. 

Artificial intelligence (AI) could help builders keep up with demand, and Toronto-based Promise Robotics uses off-the-shelf industrial robots to power its proprietary homebuilding production system. A cloud-connected software platform oversees every stage of construction, from initial building designs to scheduling factory operations and on-site logistics. 

The system is offered as a service to homebuilding professionals seeking ways to run their businesses more efficiently. No robotics knowledge is required, and construction partners can use the platform to oversee operations for multiple building locations and projects.  

The AI optimises designs and factory operations for everything from single-family units to multi-story, mixed-use structures. Businesses can then deploy their staff to the most efficient roles. By increasing efficiency across the entire homebuilding process, Promise Robotics believes that up to 560 megatonnes of carbon emissions could be prevented annually.  

The company is currently completing construction on its pilot factory in Alberta, and following a series A funding round that raised CA$20.8 million (around €13.9 million), has plans to expand across North America.

From regenerative farming to cleaning the hulls of boats, Springwise’s database features a number of innovations making effective use of versatile robotics technology.

Written By: Keely Khoury

Reference

a peek into world architecture festival's 2023 edition — this time, in singapore
CategoriesArchitecture

a peek into world architecture festival’s 2023 edition in singapore

previewing world architecture festival 2023 in singapore

 

Landing in Singapore after almost a decade, the annual World Architecture Festival (WAF) is launching its 2023 edition at the city’s Marina Bay Sands between November 29 and December 1, 2023. This year’s program, themed as Catalyst, encompasses the prestigious WAF live award judging, inspirational talks and keynotes led by 76 renowned speakers, as well as fringe events around Singapore — including a Mario Cucinella exhibition and a Wes Anderson-inspired film. Overall, this highly anticipated three-day festival invites experts and the public to uncover the latest debates and concepts put forth by the architectural community, which designboom has packaged into a comprehensive preview right here. Read on to discover the highlights of WAF 2023. 

a peek into world architecture festival's 2023 edition — this time, in singapore
Marina Bay Sands | image © Ravish Maqsood

 

 

outlining the main stage program

 

The World Architecture Festival 2023 program breaks down into five categories: keynotes and talks, live awards judging, gala dinner, exhibitions and networking at The Festival Hall, and Fringe events. Following this year’s theme, Catalyst, the keynotes and talks will unpack how architecture and design catalyze beneficial change for the environment, individuals, and institutions. In three days, 76 international speakers will lead these discussions on the Main stage and in The Festival Hall. Highlights include Charu Kokate from Safdie Architects; Mario Cucinella, Sir Peter Cook; OBMI‘s Islam El Mashtooly; Verform‘s Mouaz Abouzaid; and Herzog de Meuron‘s Wim Walschap. Running in parallel is Inside, the World Festival of Interiors that the likes of English RIBA architect Nigel Coates will headline. You can see the complete list of speakers here. Complementing the speaker event is the live WAF awards judging, where 495 shortlisted projects will compete in front of a jury across 17 crit rooms. Categories are Completed Buildings, Future Buildings, and Landscape — with projects ranging from hospitality and mixed-use to education, religion, and sport. Discover all the 2023 finalists on the festival website

a peek into world architecture festival's 2023 edition — this time, in singapore
Gardens by the Bay | image courtesy WAF

 

 

WAF’s fringe events — from guided tours to short film 

 

World Architecture Festival 2023 completes with a series of Fringe events: (1) Seven guided architectural tours, (2) the Architecture Drawing Prize exhibition, (3) Mario Cucinella Architects’ The Future is a Journey to the Past exhibition, and a Wes Anderson-inspired short film. To begin, the tours will allow WAF attendees to discover local landmarks and previous award-winning projects from the festival. All tours will be guided by qualified architects and, in some cases, the lead architect on the project itself. Landmarks include Heatherwick Studio‘s Learning Hub building, Wilkinson Eyre‘s Gardens by the Bay, W Architects | M Moser‘s St James Power Station, and Safdie Architects’ Jewel at Changi Airport. Spaces are available on a first-come, first-serve basis. The complete tour guide program is available here

a peek into world architecture festival's 2023 edition — this time, in singapore
Esplanade Theatres on the Bay | image courtesy WAF

 

 

Up next is the seventh edition of the Architecture Drawing Prize exhibition, which continues to celebrate the art of drawing in three categories: hand-drawn, digital, and hybrid. Sponsored by Iris Ceramica Group, the Prize has attracted a record number of entries with nearly 250 drawings from around the world. This year’s winners are: ‘Grundtvig’ by Ben Johnson in the hand-drawn category, ‘The Archatographic Map of the Incomplete Landscape on Pedra Branca’ by Eugene Tan in the digital category, and ‘(Re)membering the See Monster’ by Eldry John Infante in the hybrid category. Sir John Soane’s Museum in London will exhibit both the winning and shortlisted drawings from 31 January to 3 March 2024. WAF will host a second exhibition curated and designed by Mario Cucinella Architects. Titled The Future is a Journey to the Past, this showcase explores the past and present of sustainable thinking — focusing the narrative around a timeline that traces the evolution of environmental awareness and activism from prehistory to today.

a peek into world architecture festival's 2023 edition — this time, in singapore
Experimental Shortlist 2023 – Absorbent Sand Storm Skyscraper by Kalbod Studio | image courtesy WAF

 

 

Last but not least, the WAF Fringe event features a wrap-up of a three-year architectural adventure documenting the built environment in Singapore by architectural photographer and content creator from Singapore Kevin Siyuan. The short film — dubbed A Wes Anderson-ish Singapore Vol.2 — is inspired by the cinematography of American movie director Wes Anderson (‘Asteroid City’ & ‘The Wonderful Story of Henry Sugar’). It captures the many different aspects of urban land use, paying tribute to signature Wes Anderson aesthetics and infusing the style with Kevin’s own personal touch of cinematographic adaptations and localizations in the local context.

a peek into world architecture festival's 2023 edition — this time, in singapore
Singapore Pavilion 2023 | image © Chiara Becattini

a peek into world architecture festival's 2023 edition — this time, in singapore
The Future is a Journey to the Past by Mario Cucinella Architects | image courtesy WAF

a peek into world architecture festival's 2023 edition — this time, in singapore
Sir Peter Cook at WAF 2022, joining this year’s edition as speaker | image courtesy WAF



Reference

Cox Architecture design studio office in Sydney
CategoriesInterior Design

Cox Architecture celebrates heritage features of its own Sydney studio

A brick, steel and timber structure is left exposed in this office interior in Sydney, which local firm Cox Architecture has revamped to house its own studio.

Cox Architecture removed previous alterations to the structure, which occupies five floors of the heritage-listed Metcalfe Bond Stores warehouse in Tallawoladah, to highlight its original features and complement them with pared-back, flexible workspaces.

Cox Architecture design studio office in Sydney
Cox Architecture has designed its own studio in a Sydney warehouse

“Our objective was to do more with less, balancing the poetic with the pragmatic,” explained the studio.

“Restrained interventions allow the heritage to be the hero and minimise the project’s embodied energy,” it continued. “Our starting point was a process of reduction, removing non-heritage elements to create clarity.”

Interior view of office space by Cox Architecture
The studio exposed its existing structure

The interior is defined by the original steel and timber structure’s columns and beams that have been painted white, and the brickwork of the outer walls that are left exposed.

New elements such as glass doors and walls, room dividers, curtains and furniture were chosen to touch the existing structure “as lightly as possible”, and feature alongside dark-wood carpentry and gallery-style lighting tracks.

View of office interior featuring a steel and timber structure
Dark-wood carpentry features throughout

The workspaces themselves are designed to be flexible and “hackable”, allowing areas to be reconfigured and subdivided easily by staff.

This includes a forum space on the fifth level of the building, which has a wall lined with magnetic whiteboards and can be used as anything from a collaborative workshop space to a presentation area for 200 people.

Alongside it is a kitchen with a backdrop of exposed brickwork and two long counters topped with unsealed brass that will patinate over time.

A black-steel stair leads up to a mezzanine level above containing further desk spaces. This sits at the top of the building, lit by skylights in the apex of the pitched roof.

View of workspace by Cox Architecture in Sydney
The workspaces are designed to be flexible

“Anchored by a generous kitchen, a flexible forum space is a magnet for serendipitous exchange between Cox’s own people and the wider design community,” said the studio.

“The majority of elements within the space are movable, creating an experimental, nimble workspace allowing teams the autonomy to control their space and future-proofing the studio as the workplace evolves,” it continued.

Cox Architecture design workspace interior in Sydney
The presentation space is lined with magnetic whiteboards

Facing the street, Cox Architecture created a “shopfront window”, giving staff the opportunity to populate vitrines with the studio’s work.

Cox Sydney Studio has recently been shortlisted in the large workplace interior category of Dezeen Awards 2023. Another office interior completed by the studio is the Midtown Workplace in Brisbane, which features a large, plant-filled atrium with by a weathered-steel staircase.

The photography is by Nicole England and Cameron Hallam.

Reference

Photo of Blast Studio's Tree Column made of 3D-printed mycelium set within an exhibition
CategoriesSustainable News

Animal-centric interspecies design goes “beyond sustainability”

A new design trend prioritises the needs of bugs and animals above human beings. Rima Sabina Aouf finds out if “interspecies design” is the next step in creating more sustainable spaces and objects.

An exhibition designed to invite in animals, a garden optimised for the senses of pollinators rather than humans and architecture designed with nooks in which birds and insects can nestle form part of the novel approach.

“This is a subject that we have been more and more interested in,” the co-founder of London design practice Blast Studio Paola Garnousset told Dezeen.

Blast Studio started out by making 3D-printed structures from waste coffee cups where mycelium – the filamentous part of fungus that has applications as an architectural and design material – could grow.

Photo of Blast Studio's Tree Column made of 3D-printed mycelium set within an exhibition
Blast Studio is now making its 3D-printed mycelium structures with thought to other species. Top photo is courtesy of Serpentine Gallery

But as the designers gradually optimised their designs with more folds and interstices that would meet the organism’s preference for darkness and humidity, they found themselves thinking about other species as well.

The studio is now working on an outdoor pavilion whose intricately structured columns will accommodate ladybirds, bees and birds.

“The 3D printing techniques that we use give us the possibility to create artefacts that are designed both at the micro scale of fungi and insects and the macro scale of human beings,” said Garnousset.

Interspecies design about “changing our level of respect” for other creatures

London’s Serpentine Gallery has hosted two projects that centred interspecies approaches in the last two years.

Alexandra Daisy Ginsberg’s Pollinator Pathmaker is an artificial-intelligence-powered tool that designs gardens to be as appealing as possible for bees and other pollinators, while Tomas Saraceno’s Web(s) of Life exhibition involved making several changes to the building so it would be welcoming for the animals and insects of the surrounding park.

Ginsberg considers the interspecies approach to be an attempt to create with empathy for other lifeforms. She came to it after spending several years researching the idea of what it means to make life “better”.

Screenshot of Alexandra Daisy Ginsberg's Pollinator Pathmaker tool designing a garden
Alexandra Daisy Ginsberg’s Pollinator Pathmaker project is about optimising gardens for the pleasure of pollinators

“Exploring how other species experience the world and – in the case of Pollinator Pathmaker – how they experience the things that humans create, opens up a world filled with empathy,” said Ginsberg.

“We need to think beyond sustainability towards prioritising the natural world.”

MoMA’s senior design curator Paola Antonelli has also developed an interest in interspecies design. She suspects the approach has a “very long history” but that it is reemerging in the West in line with the recuperation of indigenous knowledge and the rise of the rights of nature movement, which involves granting legal personhood to entities like rivers and mountains.

“I think that we get closest to real interspecies design when we think like that,” Antonelli told Dezeen. “When we change our level of respect and communication and really try to position ourselves in a different way, not as colonisers but rather as partners in crime, so to say.”

A “process” towards the impossible

True interspecies design, as Antonelli sees it, may be impossible since human designers have a fundamentally human-centric view of the world.

But Antontelli considers the term a useful umbrella for a range of works that call for an “unlearning and learning process”, dismantling the hierarchy that humans uphold between ourselves and other species.

Her version of the canon includes earlier works that attempt to find “a common language” with animals, like Sputniko!’s Crowbot Jenny, for which the designer, scientist and polymath created an instrument in order to communicate with crows.

Then there is Thomas Thwaites’ GoatMan project, for which the designer spent three days living as a goat.

Photo of Thomas Thwaites wearing a contraption that enables him to walk on four legs in a goat-like stance as part of his GoatMan project. He stands within a flock of goats on a steep hill and is appearing to converse with one of them
Thomas Thwaites spent three days living as a goat in his GoatMan project. Photo by Tim Bowditch

While Thwaites told Dezeen he doesn’t consider GoatMan to be a true work of interspecies design – “the impetus of GoatMan was my desire to have a holiday from being a human, so pretty selfish” – he does see the connection.

“Goatman was definitely intended to contribute to a shift in how we think of non-human creatures,” he said. “Goats are just as highly evolved as humans – there’s no hierarchy.”

“I feel that interspecies design is a process,” said Antonelli. “That it goes from designing for animals to designing with animals to – what’s the next step? Enabling animals to design for themselves?

“That would be the real gesture, right? If we were able to actually let go of the tools of production. That’s what I would like to see at some point.”

The thorny status of biodesign

A practice of creating together with organisms as they conduct their natural processes, known as biodesign, is emerging. It includes making mycelium bricks or bacteria-produced textiles.

These objects are created by human and non-human actors together, but different projects treat their creature-collaborators in varying ways.

Antontelli considers Neri Oxman’s Silk Pavilions, a biodesign project created in collaboration with silkworms, as one of the closest examples yet to a true work of interspecies design.

Oxman studied silkworm behaviour in detail for the work and ended up finding a way to encourage the caterpillars to lay down their silk in sheets rather than cocoons, creating unusual structures.

Photo of Neri Oxman's Silk Pavilion II – a tall, ethereal tube of sheer white silk material suspended between the floor and ceiling in the Museum of Modern Art New York
Neri Oxman’s Silk Pavilion II was made by silkworms encouraged to lay down silk in a different shape

In contrast to traditional silk harvesting, the silkworms are not killed during this process but instead caught safely as they metamorphose and left to carry on living.

This level of care and symbiosis make the Silk Pavilions stand out as works of interspecies design, even if, in fact, we can’t know for sure that the silkworms are happy with this arrangement.

Curator Lucia Pietroiusti, who is head of ecologies at the Serpentine Gallery where Saraceno and Ginsberg’s works were presented, thinks the area of biodesign distils a key tension in the budding practice of interspecies design.

“Many completely legitimate, genuine and compassionate attempts to design with more-than-humans at heart also exist within capitalist consumerism, within a chain of production,” she said.

“No matter how you slice it, making more of something new is always going to be making more of something.”

And what is ultimately good for other species is probably that we make as little as possible.

A new look for sustainability

While it can be tempting to conclude that the best design for other species is no design at all, that downplays the role that projects like these can play in changing the way we think about production.

Pietroiusti sees interspecies design as part of an evolution of the idea of sustainability towards something more like “thrivability”, where we design for the planet to thrive, not just survive.

“Sustainability as a notion has been in too close a contact with zero-sum principles – this is sustainable because I do it and then I do something else to offset it,” she said. “In the maths of the planet, that is very rarely the case.”

Photo of a very dark gallery room with enormous spiderwebs at either end. A woman stands examinging one of them up close
Tomás Saraceno included consideration for the comfort of spiders in his environmentally focused Serpentine Galleries exhibition

“Are there situations in which certain projects or initiatives can think more ambitiously than sustainability or than reducing harm, and into ‘can we leave things actually better than they were before?'”

Seven years on from GoatMan, Thwaites believes that while the real shifts to recognise and protect non-human creatures need to come at the legislative level, design can contribute commentary and explore how the change might materialise.

“I hope people will one day look back once the cultural shift has happened and wonder at how we didn’t have interspecies design,” he said. “Like smoking in pubs and all the more important social shifts that have taken place over the decades.”

Dezeen In Depth
If you enjoy reading Dezeen’s interviews, opinions and features, subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.

Reference

Volcanic batteries for industrial heat solutions
CategoriesSustainable News

Volcanic batteries for industrial heat solutions

Spotted: Heat is crucial for many manufacturing processes. However, generating that heat is also emissions-intensive, with industry responsible for 30 per cent of all of the UK’s heating-related greenhouse gas emissions. One solution is the use of renewable sources, like solar, but this is an intermittent energy source and is not always available when it is needed. To solve this problem, British startup Caldera has developed a new type of heat storage system.

Caldera’s system includes a solar array of almost any size. The solar power is stored as heat, using novel storage cells made of an aluminium-volcanic rock composite encased in vacuum insulation. These highly efficient modular cells are rapidly heated to 500 degrees Celsius and can store this energy for hours, ready to deliver heat on demand at temperatures between 80 to 200 degrees Celsius, which is the temperature range needed for many industrial processes.

The cells can deliver heat whenever required, allowing businesses to substitute on-site solar for more expensive, and non-renewable, gas and electricity. As Caldera explained, the system allows industrial players to capitalise on affordable and abundant solar energy, which can be generated on-site or nearby, and stored until it’s ready to be used.

Video source Caldera

In June of this year, Caldera was awarded £4.3 million (around €4.9 million) from the UK Department for Energy Security & Net Zero to build a full-scale demonstrator of the system.

Heat storage is a focus of a number of recent innovations spotted by Springwise, including using scrap aluminium to transport heat and hydrogen and a storage system that captures waste energy for reuse.

Written By: Lisa Magloff

Reference

100+ Top Tech Tools for Architects and Designers
CategoriesArchitecture

100+ Top Tech Tools for Architects and Designers

If there is one thing architects love almost as much as designing buildings, it’s the technology they use to do it! Throughout the past decade, of all the thousands of articles Architizer has published, those related to tech have garnered many millions of views, and the number shoots up daily. Whether it’s SketchUp plugins, AI tools, design-foward laptops, or any number of rendering tutorials, architects and designers have shown an insatiable appetite to learn about technology that can augment their workflow and help realize their client’s perfect project.

It makes perfect sense then, for Architizer to provide a permanent home for these tools — a place where architects and designers can research and learn about the ever-evolving landscape of AEC technology and keep ahead of the curve.

To this end, we are thrilled to announce the launch of Architizer’s Tech Directory, a database of tech tools that benefit all those involved in architecture, from concept to construction.

The directory features the latest generative design and AI (artificial intelligence) software, as well as listings for rendering and visualization, 3D modeling, project management and many more. Explore the complete library of categories here.

Without further ado, check out the first 100+ tools to make the platform:

Explore Top Tech Tools for Architects

Screen recording of Architizer Tech Directory for Architects

Review Your Favorite Architectural Tools — and Get Featured!

A key element of the Tech Directory is the ability for users to write reviews. Architizer is a community-based site, and there is incredible potential for architects and designers to share knowledge and gain insights on the latest AEC technology through this platform.

If you have a tech tool that you love and rely on to do your best work, we encourage you to search for it in the Tech Directory and leave a review for others to read! We’ll include select quotes from the most insightful reviews in upcoming editorial features, offering you the chance to become a thought leader in AEC technology.

Write a Tech Review

Writing a review is quick and easy: Simply go to the Tech Directory, click ‘Sign In‘ in the top right corner, and create your Tech Directory user profile (this is distinct from your Architizer profile, if you have one). Then, search for and select the tool you’d like to leave a review for and click ‘Write a Review‘. You can give the tool a star rating (from 1 to 5) and write your thoughts about the tool.

Try to include as much detail as possible: What are the best features of the tool and why? What differentiates the tool from its competitors? Does the tool have any missing features or drawbacks?

Comprehensive, authentic reviews will help grow the utility of the Tech Directory, and provide the brands that make these tools with valuable insights they can use to improve their products in future. We’ll share more on how to create a good review in an upcoming editorial feature, so stay tuned!

Make Architectural Software or Hardware? Add Your Listing for Free

The Tech Directory launches with just over 100 tools, but this is just the beginning: We invite all makers of architectural software and hardware to create their own listings, and help us grow this database into a comprehensive home for architectural technology.

A basic listing is free to create, and you can get started here (all listings are subject to approval from Architizer’s editorial team before they go live). Architizer’s editorial team can help you perfect your profile and guide you on how to best promote your listing. (Hint: Start by inviting your super fans and power users to leave an insightful review about your tool!)

Create a Listing

Beyond the free listings, there are Professional and Enterprise Plans for those looking to enhance the visibility of their brand and provide prospective clients with more insights into their tools. Those on the Professional Plan can upload more images, enabling them to add additional screenshots, case studies and product shots. They can also add an email contact to their profile, and will see their listing prioritized in the featured section of the Architizer Tech homepage.

In addition to these features, Enterprise members can add videos to their listing, enabling them to include showreels, demos, and tutorials as desired. They can also add a contact phone number and additional details to their listing — click here to see a full list of subscription benefits.

Architizer Tech Directory Categories InfographicWe hope you enjoy exploring the Tech Directory and find it useful when doing your research into the latest architectural technology. As noted, this is just the beginning: We plan to develop this platform into a comprehensive directory that will benefit everyone in the construction industry.

Ultimately though, the success of the directory will come down to you: The people that use these tools every day. Reviewing your favorite applications will give your go-to brands priceless insights and feedback that they can then use to improve their products, creating a virtuous cycle of technological innovation. As mentioned, your review might just get you featured in our next editorial!

With this in mind, we look forward to seeing your thoughts on the top tech tools for architects — head this way to get started!

Reference

Exterior of Lai Zhou Bar by RooMoo features offcuts from wooden whiskey barrels
CategoriesInterior Design

RooMoo resuses old whiskey barrels inside Shanghai’s Laizhou Bar

Chinese interiors studio RooMoo has used nearly 6,000 pieces of oak from discarded distillery barrels to adorn this whiskey bar in Shanghai.

Laizhou Bar is located in the city’s buzzy Xuhui District and is an offshoot of Laizhou Distillery, a Chinese whiskey producer based out of Sichuan province.

Exterior of Lai Zhou Bar by RooMoo features offcuts from wooden whiskey barrels
Wood offcuts from Laizhou Distillery’s whiskey barrels feature across the bar’s facade

The distillery prides itself on reducing its environmental impact by using low-temperature saccharification machinery and collecting wastewater so it can be converted into biogas energy.

So Shanghai-based studio RooMoo placed a similar emphasis on sustainability when designing the bar, where almost 6,000 pieces of wood from the distillery’s discarded oak barrels were reused as decoration.

Interior of Lai Zhou Bar by RooMoo features offcuts from wooden whiskey barrels
The offcuts were then used to construct a ringed structure on the bar’s ceiling

“The bar imports the materials used in the distillery’s production process, creating a symbiosis between the two spaces,” said the studio.

“Each dismantled barrel piece was different in terms of width, length and grain, so we classified them and applied them to different positions.”

Interior of Lai Zhou Bar by RooMoo features offcuts from wooden whiskey barrels
RooMoo assessed and classified all of the offcuts before use

Barrel pieces are first seen on the bar’s facade, where they have been placed horizontally to create a lattice-like effect.

The facade is otherwise only punctuated by a wide-set door and an expansive window, where barrels printed with the distillery’s logo are displayed.

Interior of Lai Zhou Bar by RooMoo features offcuts from wooden whiskey barrels
The bar’s slatted partition walls are also made from barrel offcuts

Once inside, guests step into a whiskey sampling area with a green marble tasting counter. Suspended directly above the space is a dramatic double-ringed sculpture crafted from barrel offcuts.

More wooden barrel pieces were used to construct a curving, slatted partition in front of the main bar.

A long seating banquette bends around the back of the room, accompanied by a series of black tables and leather chairs. There is also a huge light-up wall where liquor bottles are put on display.

Interior of Lai Zhou Bar by RooMoo features offcuts from wooden whiskey barrels
Black leather furnishings were incorporated throughout the main bar area

On the ceiling here are the beginnings of another ringed sculpture, which will be completed as soon as the distillery has used up more barrels for the studio to use.

“We made the ceiling structure beautiful enough to open the bar first,” explained the studio. “We are not hurrying to finish it, but following the production process and waiting for the wasted materials to be produced.”

Off to the side of the main bar is a more private VIP tasting room. At its centre hangs a bespoke light crafted from the circular metal bands, which once held together the distillery barrels.

Interior of Lai Zhou Bar by RooMoo features offcuts from wooden whiskey barrels
The ceiling sculpture will be completed once the studio receives more offcuts

Lai Zhou Bar has made it to the shortlist in the sustainable interior category of the 2023 Dezeen Awards.

The project is up against Edit restaurant by Elly Ward and Joe Morris, which is clad with salvaged terracotta tiles, and the Big Beauty store by Nina + Co, which is decked out in biomaterials like mycelium.

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Blue Sky Lab collection by Nio Life
CategoriesSustainable News

Carmaker Nio unveils fashion made using waste from its own production

Chinese car manufacturer Nio has launched Blue Sky Lab, its own sustainable fashion brand, which has been shortlisted for a 2023 Dezeen Award.

Blue Sky Lab creates garments and accessories using materials left over from the car manufacturing process including seat belts, airbags and other car-grade fabrics to demonstrate how waste can be “creatively repurposed”.

Blue Sky Lab collection by Nio Life
Nio has launched its own fashion brand

Nio claims the label is “the world’s first sustainable fashion brand launched by an automotive company and brought to mass production”.

Blue Sky Lab made its debut in 2021 at the Shanghai Auto Show and has since reused nearly 55,000 metres of waste fabric.

Male model carrying a white backpack by Blue Sky Lab
The pieces are made using leftover materials from car manufacturing

These car-grade surplus materials can help to create new high-performance products, according to the brand.

“Blue Sky Lab enjoys an innate advantage by adopting auto-grade materials in its fashion products as these materials outperform their consumer-grade counterparts to a large extent,” the brand said.

“We think more about improving our products rather than blindly catering to the external environment. For example, the recycled materials from the airbags are light and durable with high strength, a perfect fit for lightweight fashion items.”

Blue Sky Lab by Nio Life
Blue Sky Lab launched in 2021 at the Shanghai Auto Show

The materials are simply sterilised and repurposed into a variety of products in line with the brand’s minimal futuristic aesthetic.

“Regarding environmental protection, most visual communication tends to adopt nature and green elements,” the company said.

“However, rather than being confined by such a monotonous style, we have chosen to find inspirations from our DNA and business areas including innovative technologies, manufacturing and industrialization, and lifestyle in carrying out product design.”

“Blue Sky Lab has joined with global design talent including Nio’s designers, Japanese architect Shuhei Aoyama, French leather goods designer Vincent du SARTEL, Finnish designer Rolf Ekroth, NIO user designers and designers from Parsons School of Design, Li-Ning and Allbirds,” the brand added.

The brand told Dezeen it has mass-produced over a hundred different fashion items since its inception alongside tables, stools and lighting fixtures.

Blue Sky Lab has produced over 100 products using excess car manufacturing materials
Blue Sky Lab has also created furniture and lighting

The brand also partnered with an independent product testing and certification agency to calculate the carbon footprint of its bestselling products.

“Compared with their counterparts made of traditional raw materials, their footprint per unit is 18 to 58 per cent less,” the brand said.

Blue Sky Lab is a collection made from excess car materials
Blue Sky Lab has been shortlisted for a Dezeen Award

Blue Sky Lab has been shortlisted in the sustainable consumer design category of this year’s Dezeen Awards.

Here, the brand is competing against the world’s “first refillable” edge styler and soap-in-a-can brand Kankan.

Reference

Will cashless credits sow the seeds of success for Mexican farmers?
CategoriesSustainable News

Will cashless credits sow the seeds of success for Mexican farmers?

Spotted: Mexico is one of the world’s leading food producers, but more than 90 per cent of farmers lack access to formal financing, limiting their opportunities to invest properly in their fields. But Mexican agri-fintech Verqor is hoping to change that with its digital solutions for farmers. 

The startup is working to make credit accessible to every farmer in Mexico by using a financing process that takes into account the sector’s specific characteristics. Verqor analyses the actual paying capacity of a farmer by considering various data points, including normalised difference vegetation index (NDVI) factors (the greenness and density of crops), supply chain trends, weather patterns, and changes in crop prices. Unlike most traditional financial providers, Verqor also reviews information like a farm’s sales history, any contracts for selling their crops, and past inputs. This gives a more comprehensive view of a farm so Verqor can better assess credit viability.  

Verqor provides cashless credit quickly, so farmers can access the inputs they need to grow crops, including fertilisers, agrochemicals, organic products, trailers, and macrotunnels. Farmers repay the credit with their produce sales at the end of the crop cycle. This financing covers up to 90 per cent of a farmer’s initial costs, allowing them to invest in essential inputs that can help to improve produce quality and yields every cycle. 

The startup recently raised $7.5 million (around €6.9 million), including $4 million (around €3.7 million) in a pre-series A round led by Yara Growth Ventures. The funding will allow Verqor to expand its operations in Mexico and broaden its network. Verqor is also further developing its technology so that its approval process can be seven times faster than normal financing options. 

Springwise has spotted many innovations looking to digitise and reshape various industries, including an all-in-one digital health clinic for women, as well as a digital platform for energy retailers.

Written By: Anam Alam

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