Sustainable Practice: When Will Architectural Localism Become a Norm Instead of an Exception?
CategoriesArchitecture

Sustainable Practice: When Will Architectural Localism Become a Norm Instead of an Exception?

Sustainable Practice: When Will Architectural Localism Become a Norm Instead of an Exception?

Architizer’s 12th Annual A+Awards are officially underway! Sign up for key program updates and prepare your submission ahead of the Main Entry Deadline on  December 15th.  

The climate crisis has a number of fundamental ironies. Action is paralyzed by fear of upending the same economic system killing the planet. We need to think about the issue globally, but what happens in our own neighborhood will define how livable the future is. 

Writing for the British newspaper The Guardian, Sarah Newton, a member of the UK’s Science and Technology Select Committee, used the rather acerbic term “biophilia” to describe a unit of people whose motives are driven by love for their home. This connotes a kind of small-minded NIMBYism — more interested in the locality than the global community. Yet concerns for both are unarguably interconnected and far from mutually exclusive. 

This is particularly pronounced in architecture, construction and development. Sticking with Great Britain, its urban powerhouses exemplify the failure of abandoning localism. Cities such as London and Manchester present gleaming glass and steel skylines, which lifelong residents often take umbrage with, branding them intrusive enclaves. 

Qingxi Culture and History Museum by The Architectural Design & Research Institute of Zhejiang University (UAD)

Whether we know the lease holders or not, the assumption is such structures are built with foreign money for overseas investors in need of a crash pad in a country they pay zero tax towards maintaining. Others are buying properties for short term rental on platforms like Air B&B, marketing to more out-of-towners who want to experience life in a metropolis for a few days. 

On the other side of the world, China offers a fascinating juxtaposition. Home to 145 cities with over one million inhabitants, the sheer scale of urban in the second most populous nation on Earth is overwhelming. And yet the size of this landmass also means remote hamlets are in abundance. Like Sangzhouzhen Town, in Ninghai County. Connected to neighbouring villages by a single road, it’s here we find Qingxi Culture and History Museum, an institution built on, and celebrating, all the region has to offer. 

Although modern in design, the structure is made to be at one with a landscape defined by tradition. Age-old practices, local stonemasons, and materials chosen for regional authenticity all contribute to this effect. Sat on terraced fields in an area that still relies on agriculture, overlooked by mountains that have stood here for eternity, the facility looks like it has always been here and is very much part of the scenery. And the fact projects like this are even worthy of comment raises a serious red flag about our prevailing approach to architecture.

Terraced fields at the Qingxi Culture and History Museum by UAD, Zhejiang, China

Just over eighteen hours from eastern China by plane, the Komera Leadership Center makes another great case for localism in building design and use. Providing health, education and mentorship to young women, with a flexible modular interior adaptable to different purposes, the workforce that put this address together comprised a minimum 40% women, and everyone on site lived in the area. The process of making the structure matched its purpose in directly responding to local needs, in this instance high unemployment and low access to training and education, particularly for women.

Materials such as woven eucalyptus help deliver a contemporary space with the kind of low ecological impact most associated with traditional construction practices. And, again, there’s an elephant in the room. For all the lip service paid to keeping things local — cutting emissions from transport and logistics, contributing to the nearby economy — in 2023 this method remains the exception, rather than the norm. 

Komera Leadership Center by BE_Design, Rwanda

Of course, both Qingxi and Komera’s localized approach was almost unavoidable — these are institutions set up specifically to promote, support and celebrate their locations, associated populations and indigenous cultures. To tender employment opportunities they create internationally, or even nationally, would have felt misguided and, more than likely, raised eyebrows.

But this only emphasizes the overall point — that localism is often only adopted when deemed ‘appropriate’ or even essential. Given what we know about its environmental advantages at a time when the built environment accounts for around 40% of global emissions and rising, surely it’s time we stopped thinking of this approach as novelty, brought out to hammer a message home, and instead start considering this as preferred practice.

Architizer’s 12th Annual A+Awards are officially underway! Sign up for key program updates and prepare your submission ahead of the Main Entry Deadline on  December 15th.  

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The raw concrete facade of Trunk Hotel Yoyogi Park
CategoriesInterior Design

Keiji Ashizawa Design and Norm Architects create Trunk Hotel in Tokyo

The raw concrete facade of Trunk Hotel Yoyogi Park

An exposed raw concrete facade fronts the Trunk Hotel Yoyogi Park, which Japanese studio Keiji Ashizawa Design and Danish firm Norm Architects conceived as a minimalist retreat in the heart of the city.

Marking the third location in a trio of Trunk hotels in Tokyo, the design of the boutique hotel was rooted in the concept of “urban recharge”, according to Trunk chief creative officer Masayuki Kinoshita.

The raw concrete facade of Trunk Hotel Yoyogi Park
Trunk Hotel Yoyogi Park features a raw concrete facade

The hotel group said the idea was to balance the opposing elements of tradition and modernity as well as nature and the city and the melding of both Japanese and European craft.

Keiji Ashizawa Design created a textured concrete aggregate facade for the seven-storey building, which is punctuated with steel-lined balconies and overlooks Yoyogi Park’s lush treetops.

Neutral bathroom within Tokyo's Trunk Hotel
Guest rooms feature a muted colour and material palette

The studio worked with Norm Architects to design the minimalist interior, accessed via a copper-clad entrance.

A total of 20 guest rooms and five suites were dressed in a muted colour and material palette featuring hardwood flooring and plush Hotta Carpet-designed rugs informed by traditional Japanese architecture.

Paper-cord chairs and washi pendant lights at Trunk Hotel in Tokyo
Paper-cord chairs and tapered washi pendant lights contribute to the minimalist design

Delicate rattan partition walls delineate spaces within the rooms, which open out onto the building’s balconies that were fitted with slanted ceilings in order to encourage sunlight into each room “as if mimicking the gentle transitions of a day”.

“It’s been an interesting journey for us to find the right balance between a space that is relaxed and vibrant at the same time,” said Norm Architects co-founder Jonas Bjerre-Poulsen.

Minimalist neutral double bed within the Trunk Hotel in Tokyo
The interiors were designed to be both “relaxed and vibrant”

The rooms are also characterised by paper-cord chairs and tapered washi pendant lights as well as abstract artworks, amorphous vases and grainy floor-to-ceiling bathroom tiles.

On the ground floor, oak seating designed by Norm Architects for Karimoku features in the hotel restaurant, which includes a striking copper-clad pizza oven and the same rattan accents that can be found in the guest rooms.

Rattan room dividers in the restaurant of Trunk Hotel
Rattan accents can also be found in the hotel restaurant

“It is a very unique and gratifying experience in the sense that the architecture, interior and furniture, as well as the attention to detail, have created a space with such a strong sense of unity,” said Keiji Ashizawa Design.

An open-air pool club is located on the sixth floor of the hotel.

Sand-blasted concrete flooring was paired with thin bluey-green tiles that make up the infinity swimming pool, which overlooks the park below.

A “glowing” firepit can also be set alight after dark, intended to create a soothing contrast with the bright Tokyo skyline.

Rooftop infinity pool overlooking Yoyogi Park
The Trunk Hotel features a rooftop infinity pool

The city’s first Trunk Hotel opened in Shibuya in 2017, while the second location is an offbeat one-room hotel in the metropolis’s Kagurazaka neighbourhood featuring its own miniature nightclub.

The photography is by Jonas Bjerre-Poulsen.

Reference

Norm Architects creates minimalist HQ for children's brand Liewood
CategoriesInterior Design

Norm Architects devises understated HQ for kids’ lifestyle brand Liewood

Norm Architects creates minimalist HQ for children's brand Liewood

A refined palette of oak, plaster and steel defines the interior of the Liewood headquarters in Copenhagen, Denmark, designed by local practice Norm Architects.

The pared-back 2,200-square-metre office was conceived to give prominence to Liewood‘s colourful, Scandi-style children’s clothes, toys and homeware.

Norm Architects creates minimalist HQ for children's brand Liewood
Norm Architects has completed Liewood’s Copenhagen headquarters

“With the ambition to create a comfortable space with a somewhat understated character, we worked to let the space obtain its significance through the thoughtful use of tactile elements such as textured plaster walls and contrasting elements like oakwood and steel,” explained Sofie Bak, an architect at the practice.

Staff enter the five-floor office via an airy light-filled lobby that is anchored by a rounded counter, roughly washed with sandy-beige plaster.

Norm Architects creates minimalist HQ for children's brand Liewood
Plaster podiums provide display space on the first floor

Cone-shaped pendant lights are strung along the ceiling while oversized stone tiles are laid across the floor, helping to “emphasise the grandeur” of the space.

A pre-existing staircase curves up to the first floor, which accommodates a showroom. This part of the building formerly served as a production hall, with a vast scale that could easily feel empty and unwelcoming, according to Norm Architects.

Norm Architects creates minimalist HQ for children's brand Liewood
At mealtimes, staff can gather in The Parlour

To counter this, the practice constructed what it describes as a “warm wooden core” – a house-shaped oakwood volume with built-in shelves for showcasing Liewood’s products.

Large, plaster-coated display plinths are dotted across the rest of the room. At the back is a short flight of wide, wooden stairs where staff can sit and chat throughout the day.

More products can also be presented here on bespoke podiums that, thanks to cut-outs at their base, are able to slot onto the steps.

The building’s first floor also contains The Parlour – a kitchen and dining area where Liewood employees can enjoy meals together. It features a large travertine table, a series of plump grey sofas and graphic art pieces by the Danish designer Sara Martinsen.

Norm Architects creates minimalist HQ for children's brand Liewood
Traditional work areas can be found across the rest of the HQ

Work areas throughout the rest of the HQ are furnished with practical desks and storage units that match the off-white walls, while meeting rooms are fronted with panes of glass to foster a sense of openness.

As the building’s original staircase didn’t extend all the way to the fifth floor, Norm Architects installed a spiralling set of white-steel steps.

These grant access to a space the practice refers to as The Apartment: a secondary showroom designed to have a more intimate, homely feel.

Norm Architects creates minimalist HQ for children's brand Liewood
The top floor accommodates The Apartment, a more intimate showroom

Elsewhere, Norm Architects recently took its minimalist aesthetic off-shore when designing the interiors of the Y9 sailing yacht, decked out with supple suede furnishings and wood-panelled surfaces.

The photography is by Jonas Bjerre Poulsen of Norm Architects.

Reference