The state of Britain’s ageing homes has become a national shame
CategoriesSustainable News

The state of Britain’s ageing homes has become a national shame

It’s crucial that whoever wins the upcoming general election prioritises fixing the UK’s energy-inefficient housing, but the message doesn’t seem to be getting through to our political leaders, writes RIBA president Muyiwa Oki.


Last summer, as temperatures soared and the sun beat down relentlessly, people around the UK sweltered in their homes.

A few months ago, with near zero-degree temperatures, many of us found the reverse, struggling to decide whether to turn on the heating and bear the rising energy costs.

Despite our best efforts to stay cool or keep warm, our outdated built environment and energy-inefficient homes meant that escaping the stifling heat or freezing cold was nearly impossible. For some, it was not just uncomfortable – it was desperately dangerous.

It is clear something needs to be done

The state of Britain’s ageing homes has become a national shame, and it is clear something needs to be done.

Stark warnings about rising temperatures hit the headlines this month. For the first time on record, global warming breached the critical 1.5-degrees threshold over a 12-month period. In the UK, it was the second-hottest year on record, as we suffered heatwaves and floods. Unfortunately, these trends are set to continue.

We know decarbonising the built environment is crucial to reducing carbon emissions and mitigating rising temperatures; our buildings are responsible for almost 40 per cent of global energy-related carbon emissions. The time to act is now.

With 80 per cent of the buildings that we’ll use in 2050 already built today, we must prioritise bringing these up to scratch – and we need to start with housing. The UK has among the oldest and least energy-efficient housing stock in the whole of Europe, with 19 million homes in dire need of retrofitting.

Yet, this message doesn’t seem to be getting through to our political leaders. On the very same day that the news broke about terrifying temperature rises in 2023, it was announced that Labour is cutting back on funding promises for home-insulation projects should the party win the upcoming general election. The previously announced £6 billion a year to retrofit 19 million homes has been dropped, with plans now to spend £6.6 billion over 5 years, equating to £1.3 billion a year.

It follows prime minister Rishi Sunak’s September announcement that he would be scaling back key green policies – including postponing a ban on oil and liquified petroleum gas (LPG) boilers to 2035 and scrapping energy-efficiency improvements for the private rented sector.

To do nothing would be to condemn the population to many more decades of substandard housing

This general election year is a chance to reset the dial and treat the climate emergency as the urgent, existential threat that it is. To do this, we need the next government to set out a national retrofit strategy – a well-funded, long-term plan to make homes more energy efficient and climate resilient. Not only would this reduce our climate impact, but it would also create jobs, boost green skills and improve prosperity up and down the country.

Of course, this strategy requires ambitious government investment, but we at the Royal Institute of British Architects (RIBA) believe there are clever ways to incentivise homeowners to make their properties greener. A financing strategy to make energy-efficiency upgrades affordable for all homeowners and landlords before they feel the benefit of reduced energy bills will be a crucial piece of the puzzle.

In its 2020 Greener Homes report, the RIBA – along with many other organisations – recommend looking at tax incentives such as a sliding scale of stamp duty, with the most energy-efficient homes accruing significantly less tax than the least energy efficient, and tax rebates for a period after purchase to encourage homeowners to make energy-efficiency upgrades, recognising that they are most likely to make upgrades just after buying a house rather than getting round to it at a later date.

Equally, in the private rented sector, landlords should be incentivised to make energy-efficiency upgrades by being able to claim part of these against their income-tax liabilities.

Putting funding aside, retrofitting has to be done properly to avoid unintended consequences like damp and mould. To achieve this, we must prioritise a fabric-first, whole-house retrofit approach, using architects’ expertise to ensure changes are made in the right order and at the right time. Possible measures include insulating lofts and walls, draught-proofing doors, windows and floors, using double or triple glazing, integrating smarter appliances and making changes to heating and energy systems such as heat pumps and solar panels.

A retrofit revolution will create jobs. Just installing external insulation to all England’s interwar homes, built between 1919 and 1939, could create 5,000 full-time jobs every year until 2032. But it also demands good organisation – a systemic method of decarbonising homes, with defined typical upgrade packs for different housing types. Training will be required to upskill the construction workforce across the country to carry out the work efficiently and effectively.

A nationwide retrofit programme on this scale may be unprecedented, but we need to see the bigger picture. Millions of us live in damp, draughty homes that are leaking energy and money, and to do nothing about it would be to condemn the population to many more decades of substandard housing. I sincerely hope the next government turns this challenge into an opportunity to demonstrate global climate leadership and turbocharge our green economy.

Muyiwa Oki is the president of the Royal Institute of British Architects and an architect at construction company Mace.

The photo is by Lawrence Chismorie via Unsplash.

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Haiku Architecture: Poetic Simplicity Offers an Emotive Alternative to Minimalist Design
CategoriesArchitecture

Haiku Architecture: Poetic Simplicity Offers an Emotive Alternative to Minimalist Design

Last call: The clock is ticking as Architizer’s 12th Annual A+Awards enters its Extended Entry Deadline period. Submit your work before February 23rd for your chance at the global spotlight.  

.けぶりして露ふりて無我な在所哉
keburi shite tsuyu furite muga-na zaisho kana

dew turns to steam
trickling down selflessly…
farmhouse

Kobayashi Issa – 1811

Simplicity and suggestion are the foundation of a successful Haiku, a form of traditional Japanese poetry that strips away all but the essential words and uses them to beautifully convey a single moment in time. In the familiar 5-7-5 pattern of seventeen syllables that make up a Haiku, kigo (seasonal words) and kireji (cutting words) anchor the poem in a specific season, allowing the reader to engage their imagination to recreate a scenario the writer is retelling. Haiku often celebrates the beauty and impermanence of the natural world and invites readers to find profound meaning in nature and everyday experiences.

In architecture, this same principle has been adopted by a number of architects, finding a shared ethos with haiku in pursuit of simplicity, emotional resonance and the power of suggestion. Architects who embrace this ‘haiku approach’ often favor natural materials to celebrate the living world and play with light and shadow to connect occupants with the natural rhythms of the day while creating fluid spatial transitions that suggest rather than dictate how spaces should be used or lived in. It is a minimalist style that is deeply emotive.

The goal of haiku principles in architecture is to build unique relationships between a building and its users that encourage a connection to the environment and each other. Just as haiku strips away all but the essential words to convey a moment, architectural haiku seeks to distill design to its most fundamental aspects — form, light, material and space — creating places that invite visitors to fill the space with their interpretations and emotions.


Casa Sexta

By All Arquitectura, CDMX, Mexico

Popular Choice Winner, 11th Annual A+Awards, Residential Interiors (>3000 sq ft)

Casa Sexta by All Arquitectura, CDMX, Mexico. Photographs by Zaickz Moz.

The white stucco, green foliage, warm tones and light woodwork of Casa Sexta, designed by All Arquitectura, serve as the perfect pallet to celebrate nature’s beauty and impermanence. An idea that is so fundamental in Haiku. The design of Casa Sexta suggests rather than dictates how spaces are to be inhabited. By developing the program across three levels and orienting the walls at a 45º angle to capture sunlight through ten patios, the structure of Casa Sexta encourages a fluid movement between the various spaces.

Each room benefits from natural lighting and ventilation that promote a harmonious flow. Allowing the inhabitants of the home to define their own experiences while always being connected to the natural rhythms of the day. The presence of a black acacia tree at the heart of the project deepens this connection. The living centerpiece links the various spaces of the house while also physically documenting the passage of time.


Panorama Penthouse

By Bureau Fraai, Netherlands

Jury Winner, 11th Annual A+Awards, Residential Interiors (>3000 sq ft)

Panorama Penthouse  by Bureau Fraai, Netherlands. Photographs by Flare Department.

As suggested by its name, Panorama Penthouse was designed to amplify the relationship between the internal living space and the external skyline views. Opting for an open floor plan, the home provides unobstructed and simply breathtaking 180-degree panoramic views of the seaside and the city center. There are free-standing oak volumes that are built to house private areas such as the primary bathroom, office space and bedrooms in the evening. These structures add to the fluidity of the space while ensuring comfortable functionality.

The penthouse’s material palette was thoughtfully selected to reflect the visas beyond, echoing the haiku’s integration with nature. The light oak wood mirrors the dunes and beaches, while the muted grey cabinetry in the kitchen and dining room are intended to echo the distant city skyline. The design follows the capacity of a haiku to capture and convey the essence of a moment or scene – in this instance, the ever-changing colors of the skies, tides and urban landscape.


OG House

By Omar Gandhi Architects, Halifax, Canada

Jury Winner, 11th Annual A+Awards, Residential, Private House (M 2000 – 4000 sq ft) 

OG House by Omar Gandhi Architects, Halifax, Canada, Photographs by Ema Peter Photography.

On a site with deep community ties, OG House and architect Omar Gandhi reflect the principle of haiku in the building by grounding in a specific moment and setting. The transformation of the ground floor of the standout structure into a community studio dedicated to local projects and for local residents takes into consideration the site’s history as well as its present needs, creating a space that is deeply embedded in its community.

The choice of local materials, such as eastern white cedar, buff-colored brick, and white oak paneling, speaks to the project’s commitment to material honesty and the celebration of natural textures — a core of haiku poetry. The weathered cedar façade that blends with the neighborhood’s textures acknowledges the city’s architectural heritage and exemplifies a design that is both of and for its environment.

Within the space, the repeated use of gentle, rounded corners and the incorporation of organic shapes in the stairwells and handrails demonstrate an attention to form that is evocative of haiku elegance and subtlety. These design elements gently guide movement and focus within the house, inviting exploration and reflection.


Empire Loft

By Raad Studio, New York City, New York

Popular Choice Winner, 11th Annual A+Awards, Residential Interiors (>3000 sq ft)

Empire Loft by Raad Studio, New York, NY, United States. Photography by Alan Tansey.

Through a series of deliberate spatial manipulations and material choices, Empire Loft is full of moments of elegance and unexpectedness. The dramatic cutaway of the second floor to introduce a suspended bridge is a bold spatial move that disrupts the traditional apartment layout, making the sinuous dark stone spiral staircase and the bridge focal points of movement and interaction, embodying the principle of simplicity in form yet complexity in experience that is fundamental in the creation of a haiku.

Mirrored elements throughout the apartment create illusions with the depth and boundary, inviting occupants and guests to reinterpret the apartment’s dimensions. Incorporating a recording studio wrapped in corrugated felt illustrates an understanding of sensory restraint—capturing haiku’s minimalist ethos. This thoughtful detail underlines the importance of not only visual comfort but also the management of all sensory experiences when striving for harmonious architecture.

Each design decision, from the layout to the material finishes, is part of a design strategy that aims to provide memorable moments of ordinary residential experience, elevating the every day through craftsmanship and creativity.

Last call: The clock is ticking as Architizer’s 12th Annual A+Awards enters its Extended Entry Deadline period. Submit your work before February 23rd for your chance at the global spotlight.  

Reference

​​Fran Silvestre Arquitectos references pathways for Sabater House in Spain
CategoriesArchitecture

​​Fran Silvestre Arquitectos references pathways for Sabater House in Spain

Spanish studio Fran Silvestre Arquitectos has created a minimalist white house in Alicante, which winds through the landscape to enhance its relationship with the outdoors.

Named Sabater House, the Spanish dwelling unfolds through a series of intersecting, elongated forms that ascend upwards over its 780-square-metre site.

Its slim volumes adapt to the site’s natural topography, navigating existing large trees and framing a series of terraces and courtyards.

Aerial view of Sabater House by Fran Silvestre ArquitectosAerial view of Sabater House by Fran Silvestre Arquitectos
Fran Silvestre Arquitectos has created a minimalist white house in Alicante

According to Fran Silvestre Arquitectos, the sprawling design takes cues from local pathways that are carved into the terrain and lead to a hermitage.

“We were struck by how these winding paths adapt to the terrain, generating a very interesting architecture,” Fran Silvestre Arquitectos told Dezeen.

“This was the starting point to develop a home on a plot with similar characteristics in terms of width and slope of the land.”

Facade of Sabater House by Fran Silvestre ArquitectosFacade of Sabater House by Fran Silvestre Arquitectos
Sabater House winds through the landscape

Sabater House is designed for a client who wanted a home to accommodate his large family while ensuring “enough independence to guarantee the privacy of all family members”.

To accomplish this, each floor of the home features a distinct programme.

Aerial view of white home in AlicanteAerial view of white home in Alicante
Each floor of the home features a distinct programme

The highest level, described as the “nighttime area” of the home, features five bedrooms and bathrooms oriented to look out to the sea above the tree line.

Meanwhile, the middle floors contain an open-plan kitchen, dining and living area with floor-to-ceiling windows framing views out to the garden and outdoor swimming pool.

Exterior of white house in Spain by Fran Silvestre ArquitectosExterior of white house in Spain by Fran Silvestre Arquitectos
The house winds around existing trees

The living spaces are stretched across the long and narrow floor plan in a bid to avoid compacting them and open them up to the outdoors.

“The project is drawn with a very clear geometry of straight elements that are joined by a soft radius of curvature,” said the studio. “Each piece has a relationship with the environment.”

Accommodated on the lower level are the pool basin, a wine cellar, storage facilities and additional sleeping quarters.

With each floor stacked at an angle to create a zigzagging floor plan, a series of courtyards, terraces and bridges are created, further opening the relationship with the outdoors.

All-white interior of Spanish houseAll-white interior of Spanish house
The middle floor features open-plan living spaces

“Something unexpected about the house for us is the character of the interstitial spaces between the blocks and how they envelop you,” explained Fran Silvestre Arquitectos.

“The first acts as an access garden that directs you towards the entrance door, and the second as one of the main terraces. They are versatile spaces that allow you to make the most of the different orientations.”

Bedroom of Sabater House in AlicanteBedroom of Sabater House in Alicante
The top level contains the bedrooms

Fran Silvestre Arquitectos was founded in 2005 by architect Fran Silvestre. The studio is known for its minimalist style, which is applied throughout Sabater House.

Its previous projects that feature its signature pared-back style include an overhanging Hollywood Home and a residence with a T-shaped roof in Valencia.

The photography is by Fernando Guerra.

Reference

In the Mood for Love: The Architecture of Neo-Romanticism
CategoriesArchitecture

In the Mood for Love: The Architecture of Neo-Romanticism

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletters.

Whether it’s the quality, feeling or act, most would argue that a world void of romance is a world incomplete. And while Romanticism may have had its glory days back in the 18th century, romance and allure still pervade today’s built environment

Thankfully, that sought-after feeling is right at our fingertips. Romance is not just realized in the literal sense; there is a physicality that prevails through form, space and structure. The built environment is filled with romance — just have a look around. From the interior and exterior to the landscape, romance ceaselessly permeates like a beating heart.  Listed below are eight built projects, all of which remind us of the love we are all surrounded by, a romance that never leaves our side.


Manshausen Island Resort

By Stinessen Arkitektur, Steigen, Nordland, Norway

Jury & Popular Choice Winner, 2016 A+Awards, Architecture +Cantilever; Popular Choice Winner, 2016 A+Awards, Architecture +Glass; Popular Choice Winner, 2016 A+Awards, Hotels & Resorts

Nothing screams the quintessential “romantic getaway” quite like the Manshausen Island Resort in Norway. Sited in the Steigen Archipelago, this island resort is sandwiched by the Lofoten mountain range and the Barents Sea. Each cabin is partially cantilevered above the sea and has been carefully positioned to create individual panoramic views that equally ensure privacy. The landscape and the changing Northern lights make for an emotional and dramatic experience, underpinned by romance and beauty.


The Mushroom – a wood house in the forest

by ZJJZ Atelier, China

Jury Winner, 10th Annual A+Awards, Architecture +Joy

This guest suite is located in a pine forest, home to a 1600-year-old tale where a fairy is said to have fallen in love with a young farmer. A reminder of the romance in folklore, this guest suite mimics the shape of sprouting mycelium and offers a unique circular resting space. With a horizontal window encircling the entire suite, guests are confronted by panoramic views of the wondrous pine forest.  


Romantic Nest in Amalfi Coast 

By Ernesto Fusco Interior Designer, Amalfi, Italy

Perhaps it’s the magic of the terrace overlooking beautiful Amalfi or the blend of contemporary elements with evocative art and colorful tiles, but this apartment has a charming allure that makes you want to indulge in the riches of the Italian mercattos and sing along to Al Bano. 


Little Cottage

by Bettini Architetto, Bologna, Italy

Photo by Brando Cimarosti

Courtyards are inherently magical spaces — the seclusion and privacy gives way for intimate connections. Located near the historic center of Bologna, this 50 square meter cottage offers guests an intimate yet well-functioning living space. During the day, the home radiates with sun and at night, carefully studied artificial lighting has been selected to produce a soft atmosphere. From the painting choices to the wallpaper, the apartment was designed with intentionality and makes room for individual experience.  


The Painterly Approach

By Arterra Landscape Architects, Tiburon, Belvedere Tiburon, California

Jury Winner, 2015 A+Awards, Private Garden

Photo by Michele Lee Willson

Just like its name, this landscape feels like a piece of art and embraces the romantic art form of hand painting. Conceived to address both functional and aesthetic purposes, this landscape addresses the site’s existing draining issues while creating an exterior space to draw in the family. Designed as a winding swale, the landscape offers a beautiful walking path that leads towards a seating area and outdoor pool. Incorporating many native Californian plants, the bright tones of yellow, red and purple create a painterly effect. Flowers that connect with the beautiful backdrop, almost touching the sky and reminiscent of the Romantic landscapes of the 18eme siècle. 


The Number 6

By Building, Turin, Italy

This project is a complete revitalization of the 17th-century Palazzo Valperga Galleani, realized into a vibrant city landmark and residence. By way of art, lighting and plants, this residential building is both cutting-edge and dramatic. The original garden was completely reconstructed, incorporating decorative elements in two horizontal and vertical planes which creates a romantic gesture towards the city. From the inside flats to the exterior communal courtyard, the warm tones transform this complex into an atmospheric wonder which heightens the site’s beauty and overall sensation of romance.


Shan-shui: A Duality | The Chuan Malt Whisky Distillery

By Neri & Hu, Emeishan City, Leshan, China

Finalist, 2022 A+Awards, Architecture +Branding

With the spiritual landmark of Mount Emei nestled the backdrop, this distillery is located on revered land and carry’s the responsibility of retaining memory while embracing growth. The project explores the notion of duality, otherwise known as shan-shui in Chinese culture, and aims to balance the concept of permeance and transformation. This paradigm is captured in the reckoning between Chinese vernacular architecture and contemporary geometries. As visitors move throughout the distillery’s numerous spaces –– both subterranean and above ground –– they are followed by a powerful romantic sensation. 


Garden Shed

By Avanto Architects Ltd and Linda Bergroth, Finland

Needless to say, the romance in this project speaks for itself. Built with Finish pine, safety glass and an automatic temperature control system, this prefabricated garden can also double as a whimsical outdoor bedroom. With large floor-to-ceiling windows and a glass gabled roof, the interior space is an extension of the outdoors –– creating a profound connection with the surrounding flora and fauna. Emerging like a delicate glass box, this secluded structure intermingles with the sounds of the nearby water and makes for a magical oasis –– a scene right out of A Midsummer Night’s Dream.  

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The allure of the ‘bio’ prefix must be taken with some healthy scrutiny
CategoriesSustainable News

The allure of the ‘bio’ prefix must be taken with some healthy scrutiny

Biomaterials have the potential to significantly cut carbon emissions but designers should approach them with caution to avoid creating a whole new set of problems, warns Sioban Imms.


The vision of a civilisation based on biomaterials is compelling: products, clothes and buildings made from materials that have been “grown”, rather than derived from polluting, extractive fossil industries. The promise is not only lower emissions, but products that are more in tune with the environment – manufactured objects that are part of the natural cycle of life. And consumers are willing to pay a premium for such ostensibly “sustainable” products – 12 per cent more, according to a recent study by Bain.

However, in a bid to gain competitive advantage, marketing narratives surrounding biomaterials are regularly inflated or gloss over important details. Prefixing “bio” to a material name conjures a sense of being natural, compostable, and better all round for personal and environmental health.

Marketing narratives surrounding biomaterials are regularly inflated

But these claims can unravel, or at least become complicated, when researching a little deeper than the material classification, product name and strapline. A report from RepRisk found a 70 per cent increase in incidents of greenwashing between 2022 and 2023. Incoming legislation in the EU is specifically targeting this issue.

The definition and terminology around biomaterials is still evolving. For clarity, we’re not talking here about biomaterial designed for implanting into the body, but biologically derived materials used in product, fashion and architecture.

Often grown using living micro-organisms like yeast, bacteria, cellulose and mycelium, they can be finely tuned at the nanoscale by engineering DNA sequences to produce specific properties. For example, UK company Colorfix tweaks the DNA of bacteria so that they excrete coloured pigments for dyeing textiles. Microbial manufacturing organisms like these tend to be fed, fermented and modified in controlled environments.

The substitution of fossil-derived, high-carbon materials for biomaterials is urgently important. A recently published study by Radboud Universiteit in the Netherlands concluded that biomaterials reduce greenhouse-gas emissions by an average of 45 per cent compared to fossil-based materials.

But biomaterials are not a magic bullet to the multi-faceted nature crisis industrial civilisation is causing. Especially important is avoiding what are sometimes called “regrettable substitutions” – whereby one material is replaced with another that merely introduces a new set of problems.

For example, BioCane disposable food packaging is an alternative to plastic food packaging made from bagasse – pulped sugarcane-fibre, a waste product from the sugar industry. The design is geared to express its natural origins and circularity, from the subtly flecked, neutral colour and matte finish to the embossed logomark featuring a plant within a gradated circle.

Biomaterials are not a magic bullet to the multi-faceted nature crisis

However, for BioCane to be grease repellant (so it doesn’t fall apart before you’ve consumed the contents) it needs an oleophobic coating, unlike plastic packaging. BioCane uses a polyfluoroalkyl substance (PFAS) for this coating. PFAS are termed “forever chemicals” due to their damaging long-term persistence and accumulation in the environment – not to mention our own bodies.

BioPak, which produces BioCane, transparently publishes information about this on its website, highlighting it as an industry-wide problem. The company also includes a timely pledge to phase out PFAS-containing packaging by June 2024, which happens to coincide with a move to phase out PFAS by the Environmental Protection Agency in the US.

Not all manufacturers are as responsible; it’s common to find unlisted additives – or perhaps a fossil-based lamination to improve a material’s durability – under a headline claim of biological origins.

Bioplastic is another material experiencing significant growth, partly driven by high oil prices making fossil-fuel-derived plastic less competitive. Most bioplastic is made from ethanol, commonly sourced from corn, wheat or sugarcane. Sugarcane, for example, is planted in monocultures in tropical and sub-tropical countries like Brazil. The sugar is extracted, fermented and distilled to produce precursor chemicals for bioplastics.

But to assess the environmental value of using this bioplastic, we need to know about how the crops are managed – for example, the pesticides and synthetic fertilisers used to increase crop yield, the land-clearance practices, and the effect on food prices if the bioplastic became widely adopted. At the end of the product’s life, specialised infrastructure for disposal will need to be in place, further complicating the picture.

Biodegradable bioplastic would seem to offer a solution to the worst ravages of plastic – the alarming buildup of microplastic pollution across the world. How much better if the material could be absorbed back into the environment?

Biodegradable doesn’t mean a material will break down in the environment over useful timescales

The market opportunity for biodegradable plastics is alluring, and forecasts predict that they will account for the majority of the bioplastics market – 62 per cent, by 2028. This opportunity is attracting investment and also the potential for greenwashing as companies vie for a competitive advantage over others.

But biodegradable doesn’t mean a material will break down in the environment over useful timescales. A 2022 UCL study of supposedly “home compostable” bioplastics revealed that 60 per cent did not fully degrade within the tested timespans – a finding that unravels the whole purpose for investing in compostable packaging.

Claims relating to bioplastics were at the crux of a recent legal case brought against US biotech firm Danimer Scientific Inc. The manufacturer of biodegradable products had claimed that its proprietary plastic material Nodax PHA is able to biodegrade not only in industrial composting facilities but in landfill and in the ocean.

Danimer’s share prices rocketed, sparking an investigative report in the Wall Street Journal, which stated that “many claims about Nodax are exaggerated and misleading, according to several experts on biodegradable plastics”. Danimer refutes this statement, but what came out in court was that the company performed biodegradability tests on Nodax in a powdered form, which doesn’t relate to real-world product formats like bottles that have variable thickness.

The legal case was eventually dismissed, but nonetheless the alleged greenwashing spiked Danimer’s share price, shaking investors’ trust in the company and having knock-on effects for the wider industry.

Going forward, manufacturers will need to be transparent about what goes into their products. In the EU, legislation tackling greenwashing in product labelling will come into effect in 2026. The new law is a direct response to the rise in misleading claims that companies use.

When specifying a biomaterial, it’s important to dig into its provenance

It comes after a study commissioned by the bloc found that 53 per cent of green claims on products and services are vague, misleading or unfounded, and 40 per cent have no supporting evidence. In the UK, the Competition and Markets Authority has published the​​ Green Claims Code – a six-point guide to help businesses ensure they are not unwittingly misleading customers.

These two initiatives highlight the importance of using the right language when promoting products and materials, and as the impact of the EU’s legislation ripples through the industry, there will be a natural calibration to more transparency.

The takeaway for designers is that, as ever, the picture is complex. When specifying a biomaterial, it’s important to dig into its provenance, as well as to look at the material use and disposal. The allure of the “bio” prefix from an ethical – and marketing – perspective may be strong, but must be taken along with some healthy scrutiny.

Sioban Imms is a colour, material and finish (CMF) and sustainability strategist with a background in design and manufacturing. She is co-founder of consulting agency Substance and a contributing editor at trend forecasters Stylus and WGSN.

The photo, of MarinaTex designed by Lucy Hughes, is courtesy of the University of Sussex.

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.



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tiny café by B.L.U.E. architecture studio pops out amidst traditional marketplace in beijing
CategoriesArchitecture

tiny café by B.L.U.E. architecture studio pops out amidst traditional marketplace in beijing

B.L.U.E. Architecture Studio designs compact café in Beijing 

 

Located within the lively SanYuanLi Food Market in Beijing, this café designed by B.L.U.E. Architecture Studio offers a modern twist amidst the traditional marketplace. Occupying a small 25 sqm space, it stands out at the northern entrance, blending modernity with the market’s historic charm. Inspired by the market’s vibrancy, the café’s design aims to harmonize past and present, revitalizing the community and connecting with the urban environment. ‘Our focus is on establishing both the ‘uniqueness’ and ‘everyday sensibility’ of the community space, seamlessly integrating the distinctive spatial ambiance into daily life,’ describes the team.

tiny café by B.L.U.E. architecture studio pops out amidst traditional marketplace in beijing
all images by Runzi Zhu

 

 

a harmonious dialogue with the Surroundings

 

B.L.U.E. Architecture Studio‘s design captures attention with its juxtaposition of concrete framing and a copper door. Despite its small footprint, this project aims to spark conversations about street life, community renewal, and urban connectivity, exploring innovative ways to enhance public spaces. The facade design maintains coherence with the market’s aesthetic, featuring a clever window mechanism. ‘When open, it showcases interaction and integrates communication between urban life and community scenes. When closed, the hand-hammered copper plate forms a contrast with the bustling market, resembling a piece of art,’ shares the team.

tiny café by B.L.U.E. architecture studio pops amidst traditional marketplace in beijing

 

 

The unique shape of the concrete framing mirrors the market’s vibe, while the copper door adds visual interest without overwhelming the space. ‘With this design, our objective is to initiate a discourse on street, community revitalization, and urban connections, aiming to explore innovative approaches to communal public life’. Inside, the design fosters the ritual of enjoying coffee on the go, with the sculptural bar efficiently dividing the space. The windows blur the lines between the café and the market, encouraging interaction. Material choices, from oxidized copper to hand-cast ribbed facades and elm wood surfaces, further integrate the café with its surroundings.

tiny café by B.L.U.E. architecture studio pops amidst traditional marketplace in beijing
the handcrafted copper door, in contrast with the rough and weighty concrete

tiny café by B.L.U.E. architecture studio pops amidst traditional marketplace in beijing
windows on the inner façade foster interaction among various stalls and blur the boundaries between the café and the market

Reference

Concrete ring connects Hoji Gangneung homes by AOA Architects
CategoriesArchitecture

Concrete ring connects Hoji Gangneung homes by AOA Architects

Seoul studio AOA Architects has created Hoji Gangneung, a series of uniquely shaped concrete dwellings linked by a raised, circular path in the South Korean countryside.

Located in Gangwon-do, Hoji Gangneung includes a family house for the owner and three guesthouses, along with a communal building.

Concrete Hoji Gengneung houses in South KoreaConcrete Hoji Gengneung houses in South Korea
Five buildings are arranged around a raised concrete ring

AOA Architects designed one of the four homes with an octagonal shape and central courtyard while another, named the Round House, has a semi-circular end.

The remaining two dwellings and the communal building have rectangular floor plans and differ from each other by their roof shape.

Hoji Gangneung houses in South KoreaHoji Gangneung houses in South Korea
AOA Architects designed each structure with a different shape

The communal building has a mono-pitch roof and one rectangular house has a regular gable roof. The final house, named the Long House, features a gable roof with a raised central section topped with a skylight, creating an elongated light well.

“Every building has its own shape, size and character, allowing guests to enjoy each space distinctly through shadow play,” said AOA Architects principal Jaewon Suh.

Hoji Gangneung by AOA ArchitectsHoji Gangneung by AOA Architects
Hoji Gangneung is located in the countryside in South Korea

AOA Architects took cues from countryside structures, such as warehouses and cabins, when designing Hoji Gangneung, aiming to create a project that references its surroundings while establishing itself as something new.

“The main concept and goal of the design is to build something familiar and also unfamiliar in a rural area,” Suh told Dezeen.

“For some, the Octagonal House looks like a nomadic tent and feels like an octagonal pavilion, the Long House looks like a milk carton or a grain warehouse, and the Round House looks like a slender piece of wood or a face with a hat, but these associations do not matter.”

A concrete ring elevated above the grassy landscape connects the five buildings, a decision the studio made to prevent the need for multiple paths.

“A circular shape was the best gesture to connect the five buildings at once,” Suh said. “As a result, while avoiding typical countryside alley shape and showing the main concept of the design, an artificial circular raised walkway was created.”

Concrete house in South Korea by AOA ArchitectsConcrete house in South Korea by AOA Architects
The buildings are made from textured concrete

According to the studio, the choice of concrete also deliberately juxtaposes the grassy landscape below.

“By raising a walkway slightly from the land, a tension between the gently floated concrete walkway and weak grasses of the land occurs,” said Suh.

Concrete home interior with a pitched roof and light wellConcrete home interior with a pitched roof and light well
AOA Architects covered the interiors of the homes in wood

The buildings are all built from textured concrete and topped by corrugated metal roofs.

In the communal building, the concrete structure is left exposed. Large glass doors spanning one wall open onto the concrete walkway and give views of the dwellings.

Communal dining area with a concrete structureCommunal dining area with a concrete structure
The concrete structure of the communal building is left exposed inside

The interiors of the houses are finished with wood to add a sense of warmth and “make one feel that they have entered a box of musical instruments”, according to Suh.

AOA Architects was founded in 2013 by Jaewon Suh and Euihaing Lee. The studio previously designed a Minecraft-themed apartment in Seoul with a stepped roof and red- and white-tiled exterior.

Elsewhere in South Korea, architecture studio Atelier Koma recently created a concrete chapel and YounghanChung Architects designed a two-storey study space for a retired university lecturer.

The photography is by Chin Hyosook.



Reference

Building Boundaries: Counter-Surveillance Architecture in the Era of Smart Cities
CategoriesArchitecture

Building Boundaries: Counter-Surveillance Architecture in the Era of Smart Cities

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletters.

“You had to live—did live, from habit that became instinct—in the assumption that every sound you made was overheard, and, except in darkness, every movement scrutinized.” — George Orwell, 1984.

Back in 1949, when George Orwell’s 1984 was first published, it was regarded as a powerful warning about the dangers of totalitarianism and omnipresent government surveillance. The best-selling book speaks of a reality where everything you do, say, and even think is observed, analyzed and meticulously evaluated for compliance. Yet, even though it ranks among the most extensively read novels in history, it appears that, in the 75 years since the text’s publication, Orwell’s stark warnings didn’t quite resonate with some readers, and as a result, our modern cities are increasingly resembling his dystopia to an extent that may have surprised even him.

With political and social instability fueling crime, corruption and chaos around the world, apprehension and perceived peril are consistently driving demand for safer cities. It was and remains a technology hailed as a savior to the plight. CCTV, monitoring and oversight are being lauded as the answer to all our troubles. However, it is clear that as technology has become increasingly sophisticated, our freedoms have gradually eroded, and while for some, this might seem a fair trade for safety and stability, there are many reasons why a surveillance state is counterproductive for society and why certain architects are likely to begin advocating for counter-surveillance measures to be included in their designs in the near future.

When it comes to surveillance rights, the fundamental question is this: How much surveillance is too much, even in the name of security?

Images created by Architizer via Midjourney

Images created by Architizer via Midjourney

Cities like London, Beijing, Singapore and New York are all criticized for their extensive use of CCTV and surveillance for reasons such as crime prevention, anti-terrorism and public order. However, the extent and nature of such surveillance have spawned advocacy organizations and sparked debates over privacy rights, the potential for state overreach, the impact on civil liberties and the effectiveness of this technology. With projects like NEOM, Amaravati and Telosa increasing trepidation about how much the cities of the future will know about its inhabitants.

In today’s cities, cameras have been installed to reduce crime and urban planning has been established to support the most continuous views possible. However, their effectiveness in achieving this goal remains unproven. In the United Kingdom, where public surveillance cameras are widespread, London being one of the most heavily surveilled cities in the world, expert sociologists found that they have not led to a decrease in overall crime rates. In one study, criminologists found that while there were reductions in some categories, they generally failed to establish a significant impact of cameras on reducing either crime or the public’s fear of crime.

A big issue is that surveillance is often disproportionately targeted at specific communities, particularly communities of color or religion. This problem highlights ethical concerns about discriminatory practices and the misuse of surveillance tools for racial profiling. A pertinent example is the use of facial recognition technology in public spaces. This technology can track individuals in real-time and is often utilized for identifying criminals. However, weaknesses in the technology mean it is particularly prone to errors when identifying people of color, trans persons and nonbinary individuals, and can often lead to misidentification and wrongful accusations. Additionally, there are many recorded instances where surveillance tools have been misused for personal gain or political oppression. Examples include law enforcement using surveillance databases for stalking or harassing individuals or the targeting of political activists during periods of social unrest.

Images created by Architizer via Midjourney

Images created by Architizer via Midjourney

The omnipresence of surveillance technologies in urban spaces has raised concerns that almost every movement of an individual can be tracked, recorded and analyzed, infringing on personal privacy and autonomy, with many privacy experts confirming that mass surveillance can lead to a chilling effect on human behavior, causing individuals to modify their actions and speech out of fear of being watched. In democratic societies, freedom of expression, association and movement are fundamental, and pervasive surveillance can inhibit these freedoms, creating a society where people feel constantly monitored and judged. Historical examples illustrate how surveillance can suppress dissent and erode democratic freedoms.

With ever more being understood about the level we are being monitored on and offline, many people are calling for measures that allow individuals a right to privacy. In recent years, personal data has become a highly valuable commodity bought and sold to corporations for any number of reasons, mostly without our knowledge or consent. Proponents of democratic values and civil liberties argue that the implementation of counter-surveillance strategies in our urban environments would reduce the transactional value of our personal information and the exploitation in the name of our data.

In addressing the challenges of privacy, autonomy and social ethics of surveillance, architects and designers are exploring a range of innovative counter-surveillance measures. These measures extend far beyond the evasion of surveillance cameras and are designed to uphold fundamental human rights and promote social equity.

Images created by Architizer via Midjourney

Images created by Architizer via Midjourney

A central aspect of these strategies involves the use of materials that disrupt surveillance technologies. Maintaining anonymity in public spaces can be vital for some individuals, for their own safety, if they are well-known or public figures, or for people who work in particular industries. By designing façades with anti-reflective coatings or patterns that confuse facial recognition software and incorporating infrared-blocking materials to counter thermal imaging, architect consciously aim to safeguard the freedom of individuals to live without the constant unease of being watched. This is significant as psychological studies indicate that the sensation of being monitored can lead to self-censorship and altered behavior.

The strategic planning of urban layouts and spatial organization has also become integral to counter-surveillance architecture. Where previously open and easily monitored spaces were preferred, architects and urban planners are now designing cities with irregular, complex layouts that naturally limit long sight lines and large open spaces favorable to surveillance. This includes introducing winding streets, varying building heights and incorporating dense foliage. These designs not only impede the effectiveness of surveillance cameras but also enrich the urban environment in terms of aesthetics and biodiversity. By crafting urban spaces that inherently limit surveillance capabilities, architects are promoting a sense of security and freedom among city residents, thereby enhancing their mental well-being and fostering a sense of community autonomy.

Finally, with conversations about Smart Cities on the rise, incorporating secure communication and data networks within the urban infrastructure is a critical measure. This kind of integration, encompassing encrypted WiFi networks and secure data centers, plays a crucial role in safeguarding the digital aspect of residents’ lives. Encrypted WiFi networks, employing advanced cryptographic protocols, ensure that personal information transmitted over public networks is protected against unauthorized access and cyber threats.

Images created by Architizer via Midjourney

Images created by Architizer via Midjourney

Secure data centers, functioning as the backbone of urban digital infrastructure, utilize robust security measures like firewalls, intrusion detection systems, and physical security controls to safeguard sensitive data. This approach helps build a commitment to the digital rights and privacy of urban residents. In smart cities, where digital connectivity is as fundamental as physical infrastructure, these secure networks and data centers are indispensable. They provide a shield against unwarranted surveillance and data theft.

These architectural and urban planning strategies represent a shift in how cities are soon to be designed and experienced. They are not ways to evade the gaze of surveillance cameras that will be celebrated by criminals; they are ways to create urban environments that respect and protect individual privacy, promote social equity and strive to foster a sense of community and well-being. By focusing on these broader societal benefits, architects and urban planners can address the concern of surveillance and can also contribute to the creation of more humane, dynamic and livable urban spaces.

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Reference

Modernist architecture informs Bottega Veneta store in historic galleria
CategoriesInterior Design

Modernist architecture informs Bottega Veneta store in historic galleria

Fashion house Bottega Veneta has opened a boutique designed by its creative director Matthieu Blazy inside the Galleria Vittorio Emanuele II shopping arcade in Milan.

Bottega Veneta‘s two-storey store is distinguished by three primary materials: glass, Italian walnut and green Verde Saint Denis marble.

Walnut spiral staircase rising from green marble floorWalnut spiral staircase rising from green marble floor
A spiral staircase greets shoppers at the Bottega Veneta store in Milan

This trifecta is applied in strict grids to evoke Italian modernism and provide an organising principle in the various rooms.

“There are different experiences of space in the store,” said Blazy. “I wanted to express the idea of a domestic interior referring to Italian modernist architecture that contrasts with the aesthetic of a spaceship and to capture the intimacy and the imagination of getting dressed.”

Fashion store with glass-block walls and ceiling, and green marble flooringFashion store with glass-block walls and ceiling, and green marble flooring
Grids are used throughout the store to organise materials

From the galleria, shoppers are greeted by a dramatic spiral staircase made entirely from Italian walnut – a material used throughout the interior as panelling, modular shelving and furniture.

Green marble is laid in squares across the floors, separated by strips of walnut and occasionally swapped for larger patches of dark green wool carpet.

Room with squares of glass blocks across the walls and ceilingRoom with squares of glass blocks across the walls and ceiling
Glass blocks are integrated into the walls and ceilings

Square glass blocks are similarly arranged into grids across walls and ceilings, illuminated from behind to produce a soft warm glow throughout the store.

Green leather chairs and benches are accompanied by custom rounded wood tables and stools to form lounge areas.

“Throughout the space, soft textures are found in leather seating and wool carpets, while modular shelving units build a sense of discovery and play,” Bottega Veneta said.

Fitting room lined in walnut with a green leather niche and wool carpetFitting room lined in walnut with a green leather niche and wool carpet
The fitting rooms feature leather niches that provide a place to sit

Fitting rooms are fully lined in walnut, except for leather-wrapped niches that provide a small seat, giant mirrors with built-in lighting and more green carpet.

Sculptural polished metal elements form the door pulls and clothes hooks, their smooth surfaces contrasting with the more textured golden planters and entrance handles.

On the upper level, recesses formed by the Galleria’s arched windows provide nooks for seating and plants, as places to look out onto the highly decorative arcade.

Designed in 1861 by architect Giuseppe Mengoni, the neo-classical Galleria Vittorio Emanuele II is one of Milan’s most desirable shopping destinations.

Close-up of a polished metal sculptures that forms a door pullClose-up of a polished metal sculptures that forms a door pull
Polished metal sculptures form door pulls and clothing hooks in the fitting rooms

The four-storey, glass-vaulted double arcade is located in the city centre, close to other landmarks like the Duomo and the Teatro alla Scala.

The new Bottega store is the latest to open under Blazy since he took the reigns of the luxury brand in 2021, following locations on London’s Sloane Street and the Avenue Montaigne in Paris.

Exterior of the Bottega Veneta store in Milan's Galleria Vittorio Emanuele II Exterior of the Bottega Veneta store in Milan's Galleria Vittorio Emanuele II
The new store is located in the historic Galleria Vittorio Emanuele II shopping arcade

For the brand’s Spring Summer 2023 runway show, Bottega Veneta collaborated with Italian designer Gaetano Pesce, who envisioned a colourful resin-covered floor and 400 bespoke cotton-and-resin chairs for the set.

Pesce later went on to create a pair of handbags for the brand, which were designed to suggest different bucolic landscapes.

The photography is courtesy of Bottega Veneta.

Reference

Taller Héctor Barroso envisions Mexican houses as “silent architecture”
CategoriesArchitecture

Taller Héctor Barroso envisions Mexican houses as “silent architecture”

Mexican studio Taller Héctor Barroso has used concrete, wood and brick to create a series of holiday homes that merge with the wooded landscape and “allow nature to act in the intimacy of the home”.

The small residential complex – called Los Helechos, or The Ferns – is located in Valle de Bravo, a scenic area that is a couple hours by car from Mexico City.

Los Helechos by Taller Hector BarrosoLos Helechos by Taller Hector Barroso
Taller Hector Barroso has created a series of holiday homes in Mexico. Top photo by Jaime Navarro

The 1,150-square-metre complex consists of four identical houses that sit side by side on a sloped property within Rancho Avándaro, a golf and recreational community.

The architecture studio designed the homes to integrate with the tree-studded landscape and to enable nature to flow indoors.

A courtyard with multiple plainsA courtyard with multiple plains
The four residences sit side by side on a slope

“Los Helechos is a group of houses designed to allow nature to act in the intimacy of the home, creating a silent architecture to accompany the beauty of their gardens,” said Taller Hector Barroso, a studio based in Mexico City.

“The four houses stealthily adapt to the steep slope of the terrain, respecting the existing topography and vegetation to minimize their impact on the site,” the studio added.

An armchair placed next to fireplaceAn armchair placed next to fireplace
Each house faces a central courtyard. Photo by Jaime Navarro

Each house has two levels and a basement. The homes are C-shaped in plan and feature rectilinear volumes arranged around a central courtyard filled with native plants.

“The houses look inward through a central courtyard that becomes a space of transition and contemplation – an area between public and private, allowing the entire house to maintain a direct relationship with nature,” the team said.

To construct the buildings, the team used concrete, pine and red brick plastered with soil-based stucco. Windows are framed with ipe wood, and a pergola is made of laminated pine.

Interior finishes include oak doors and stucco-covered walls, along with floors covered in cantera – a type of stone that came from a local quarry.

Room with exposed wooden beamsRoom with exposed wooden beams
The studio used concrete, pine and red brick plastered with stucco for finishes. Photo by Jaime Navarro

The ground level encompasses two bedrooms and a mix of indoor and outdoors spaces for cooking, dining and lounging. The upper level contains two bedrooms, and the basement holds storage space and a garage.

Founded in 2011, Taller Hector Barroso has completed a range of projects around its home state of Mexico, such as a caramel-coloured apartment complex in Mexico City and a stark tennis venue in Los Cabos made of rammed earth.

The photography is by César Béjar unless otherwise stated


Project credits:

Architect: Héctor Barroso
Team: Alan Rojas, Alice Moreno, Paloma Sánchez, Salvador Saracho

Reference