Dog-friendly London club refurbished with giant 3D dachshund relief
CategoriesInterior Design

Dog-friendly London club refurbished with giant 3D dachshund relief

Dog-friendly private members’ club George in London has been refurbished by restaurateur Richard Caring with David Hockney murals and Mayfair’s largest dining terrace.

The revamped club was designed to be dog-friendly throughout as well as displaying a large collection of dog-related artwork.

British painter Hockney created a mural for the dining room that sits alongside other original works of his, while London sculptor Jill Berelowitz has crafted a giant sculptural relief of a dachshund on the stairs descending to The Hound Club in the basement.

dining room with artwork metalwork and mirrored glass
A bespoke David Hockney artwork fills a mirrored wall panel at the George club

George was designed to be “a home away from home” for its members and their pets, Caring told Dezeen.

It was painted navy blue and features expansive navy awnings over an outdoor dining terrace that is the now the largest in Mayfair, providing space for guests and their pets.

3D dog sculpture on staircase
London sculptor Jill Berelowitz crafted a giant sculptural relief of a dachshund

Named after the club founder Mark Birley’s own dachsund, the George has been refurbished as “an oasis for both members and their four-legged friends –  continuing its legacy as London’s most dog friendly club”.

Served from the revamped open kitchen, which has been clad in copper panels, a menu of snacks has been curated just for the canine guests, which includes “dog caviar”.

The richly decorated interiors were painted a dark navy and furnished with bespoke furniture made in-house by The Birley Clubs’ design team.

dining tables with flowers beneath mirrored ceiling
Paintings hang in mirror-tiled panels of the dining room, under a mirrored ceiling recess

A circular bar, embellished with ornate metal work, separates the two dining rooms. Metal latticework cornicing echoes the level of decoration and detail throughout the scheme.

Artworks hang in mirror-tiled wall panels, below similarly mirror-tiled ceiling recesses.

A private dining room seats 16 and showcase works from Hockney’s iPad series, such as his 2011 work The Arrival of Spring in Woldgate.

circular bar with metal latticework and high bar stools
The main bar of George features high stools and intricate metal latticework

Berelowitz’s dachschund sculpture dominates the main stairwell. The work was cast in bronze and patinated to match the club’s interior palette. The sculpture measures five by three metre and weighs 1.5 tons.

The navy ground floor area leads to a burgundy red basement that houses The Hound Bar. An Art Deco theme dictated the use of antique brass and fluted mahogany panels for the bar.

More mirrored glass has been used on columns and doorways almost to the effect of a hall of mirrors, creating an after-dark, subterranean feeling.

red sofas and polished wood panel work
The Hound Bar is a dark and dramatic subterranean space in the basement

Highly polished mahogany was used to clad the vaulted ceilings and the same fluted panels from the bar were repeated in niches and around seating areas.

Caring, who designed the interiors of George with his team, previously commissioned Martin Brudnizki Design Studio to renovate his other London club, Annabel’s, in 2018.

He also worked with Martin Brudnizki Design Studio on the launch of Bacchanalia London, which features monumental sculptures by Damien Hirst.

Other restaurant interiors recently featured on Dezeen include nearby 20 Berkeley, also in Mayfair, where Pirajean Lees has created an Arts and Crafts-style interior, and an intimate cocktail lounge in Austin, USA, by Kelly Wearstler.

The photography is by Ryan Wicks and Milo Brown.

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Jelle Seegers uses giant magnifying glass to melt metal
CategoriesSustainable News

Jelle Seegers uses giant magnifying glass to melt metal

As part of the Design Academy Eindhoven student show at Dutch Design Week, graduate Jelle Seegers has presented a smelting machine with an oversized magnifying glass that focuses the sun’s heat to melt metal more sustainably.

The Solar Metal Smelter features a large lens that is manually moved to follow the path of the sun and direct its heat into a crucible holding metal. Once liquid enough, the metal can be cast into a sand mould and made into a variety of products.

Jelle Seegers turns the crank on the Solar Metal Smelter
Jelle Seegers presented his Solar Metal Smelter at Dutch Design Week. Photo is by Iris Rijskamp

Seegers is a self-described maker, who uses the smelter in his own workshop and proposes it as a solution for metal casting companies looking to save the emissions and spiralling energy costs associated with powering industrial furnaces.

“By making this thing manual, it really changes the casting craft from one where you just have endless energy coming into your workshop to one where you personally cooperate with the sun in order to melt the metal,” he told Dezeen.

Seegers was moved to create the project, his final-year bachelor’s work, after undertaking an internship at a casting company and realising what an “enormous” amount of energy is used there.

Jelle Seegers removes a metal object from a sand mould
The smelter melts metal so it can be cast into sand moulds

He arrived at the concept of the Solar Metal Smelter after he remembered using a magnifying glass to make fire as a child. Compared to all the other methods of heating something, this seemed to him the most efficient.

“Electrical solar panels, they never have an efficiency of more than about 20 per cent,” Seegers said. “Only 20 per cent of the sunlight gets converted into electricity. So we need a huge amount of solar panels to create a huge amount of electrical energy.”

“But if you just take the sun’s heat, and you only bend it and direct it, you don’t need to do this complex conversion to electricity. And for that reason, you can achieve an efficiency of about 95 per cent.”

Photo of the lens on the Solar Metal Smelter
Seegers made its lens himself by cutting facets into a sheet of polycarbonate

The lens of the Solar Metal Smelter, which measures approximately five square metres, is attached to a machine to enable it to be moved directly underneath the sun throughout the day. It takes a small turn of a hand crank every five to ten minutes to move the lens along a track to its ideal position.

Seegers integrates this action into his wider process, usually working on an adjacent table to make his sand moulds and stopping periodically to turn the crank.

While this movement might be automated in future, the designer values the manual approach as a way of rethinking our relationship with energy.

“We’re now in this energy transition,” said Seegers. “We’re going more towards wind power, solar power, all these things but we’re not changing our mentality on how we use energy.”

“I really advocate for using energy when it’s there and in the shape that we get it,” he added. “For example the sun’s heat, we can use it as heat and as light during the day.”

Seegers made the lens himself from a sheet of polycarbonate, using a machine he constructed himself to cut ultra-precise circular facets in the material. The rest of the machine he made from durable stainless steel he found at scrapyards or obtained secondhand.

Process photo of a machine cutting circular facets into a sheet of polycarbonate
Seegers also fashioned a machine to cut the facets for the lens

The Solar Metal Smelter produces about four kilowatts of energy at a temperature of about 800 to 1,000 degrees Celsius and can melt a maximum of 20 kilograms of zinc or five kilograms of aluminium at one time.

The largest object Seegers has produced using this process to date is a flywheel for one of his other machines. But he plans to make a bigger version of the smelter that could potentially be sold to casting companies.

He also wants to continue to develop his own practice, eventually having a manufacturing process for his workshop that runs completely on solar, wind and human power.

Jelle Seegers operates the Human-Powered Tool Grinder
Seeger’s previous projects include the Human-Powered Tool Grinder. Photo is by Iris Rijskamp

In addition to the Solar Metal Smelter, he has already produced the Human-Powered Tool Grinder – a foot-powered machine also made of scrap materials, which keeps the hand tools in his workshop sharp enough so they can be viable alternatives to electric ones.

At the Design Academy Eindhoven graduation show, the Solar Metal Smelter was awarded the school’s Melkweg Award, which is given to “the most striking and outspoken talent with a bachelor’s project full of potential and originality”.

Another recent project that advocated working creatively with the limitations of solar energy is the Solar Protocol, a solar-powered network for accessing the internet.

Photos are courtesy of Jelle Seegers unless otherwise stated.

The Design Academy Eindhoven graduation show was on show from 22 to 30 October as part of Dutch Design Week 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

Reference

Giant algae-filled ponds sequester carbon
CategoriesSustainable News

Giant algae-filled ponds sequester carbon

Spotted: The past few years have seen a string of net-zero targets unveiled by some of the world’s largest companies. As many of these organisations will need to rely on carbon offsetting to reach their goals, this has created an enormous demand for high-quality, scalable solutions that remove carbon dioxide from the atmosphere. These solutions come in all shapes and sizes – both nature-based and man-made. Now, UK company Brilliant Planet has developed one that has the potential to remove CO2 at a gigatonne scale.

The company captures carbon through enormous open-air ponds situated on coastal desert land. These ponds are teaming with photosynthesising algae that remove excess carbon dioxide from the air.

Brilliant Planet’s approach has a number of key benefits. First, it does not use fresh water, meaning there is no additional burden on water resources. Moreover, the ponds are situated in empty desert, employing under-utilised natural resources. The process also helps to de-acidify local coastal seawater.

Most importantly, the approach taken by Brilliant Planet is both cost-effective and verifiable – resolving a dilemma often faced by companies seeking to offset their emissions. “Nature-based solutions to climate change are normally the most scalable and cost-effective but it is often difficult to verify the amount of carbon removed by these methods,” explains Brilliant Planet CEO Adam Taylor. “On the other hand, man-made solutions such as direct air capture can be easily verified but are prohibitively expensive,” he adds.

Taylor argues that the company has found a way to deliver on all these requirements by delivering, cost-effectiveness and scalability in a way that is verifiable.

The company’s approach has certainly impressed investors who this month awarded the startup $12 million (around €11 million) in Series A funding. One participating investor, Toyota Ventures, pointed to the depth of the company’s fundamental research – which has included four years of trials at its three-hectare research facility in Morocco.

Other carbon capture innovations recently spotted by Springwise include liquid trees for urban environments, a new plan for storing carbon under the sea, and a startup that uses microbes to boost carbon sequestration.

Written By: Matthew Hempstead

Email: info@brilliantplanet.com

Website: brilliantplanet.com

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