Graphic from IRP's GRO24 report showing global material extraction, four main material categories, 1970 – 2024, million tonnes
CategoriesSustainable News

Buildings “biggest lever” for improving global resource efficiency says UN

Graphic from IRP's GRO24 report showing global material extraction, four main material categories, 1970 – 2024, million tonnes

The built environment is the fastest-growing consumer of materials in the world – but it also offers the most potential for improvement according to Julia Okatz, advisor on the UN’s landmark Global Resource Outlook.

Making buildings and neighbourhoods more efficient could reduce the global need for raw materials by 25 per cent by 2060, the International Resource Panel (IRP) report found, while slashing energy demand and emissions by 30 per cent.

“Built environment patterns are the single most important determiner of a country’s emissions,” Okatz told Dezeen.

“[Firstly] because of its direct impacts, because of heating and all the climate impacts embodied in materials, but also because of its impact on people’s behaviour,” she continued.

“The built environment isn’t just concrete use, it has all these other implications on energy use, so it is probably the biggest lever overall.”

Graphic from IRP's GRO24 report showing global material extraction, four main material categories, 1970 – 2024, million tonnesGraphic from IRP's GRO24 report showing global material extraction, four main material categories, 1970 – 2024, million tonnes
Above: IRP report shows resource use has skyrocketed since 1970. Top image: De Sijs housing in Belgium offers an example of more resource-efficient design

The need for carefully considered buildings that reduce resource use while maintaining or even improving inhabitants’ quality of life presents an exciting opportunity for architects to take more control of the planning process, Okatz argues,

“I think architects would be one of the major benefitting industries in this scenario,” she said.

“We need less mass deployment of inefficient options and much more architectural design. So I think for architects, it’s actually a growth agenda.”

Resource use tripled in the last 50 years

Launched during the sixth session of the UN Environment Assembly this month, the 2024 Global Resource Outlook is the IRP‘s latest review of the world’s resource use since the last edition of the report was published in 2019.

Our “insatiable use of resources” has tripled over the last 50 years, the latest report found, and is now responsible for over 55 per cent of global emissions and 40 per cent of air pollution impacts, making it the “main driver” of the planetary crisis.

While environmental impacts are escalating, the economic and wellbeing benefits brought by our increasing use of the Earth’s resources have stagnated – and in some cases even declined

Left unchecked, material extraction looks set to rise by a further 60 per cent by 2060, compounding these negative impacts.

FoamWork formwork for concrete slabs by ETH ZurichFoamWork formwork for concrete slabs by ETH Zurich
Clever formwork could be used to make buildings less concrete-intensive. Photo by Patrick Bedarf

Buildings and construction are chief among the four sectors responsible for this increase, according to the Global Resource Outlook. “The built environment globally is the fastest growing material consumer,” said Okatz, who is the “right hand” of IRP co-chair Janez Potočnik and the director of natural resources at consulting firm Systemiq.

But the report also outlines an achievable path by which the industry could reduce its use of raw materials by 25 per cent by 2060, while helping to deliver “global prosperity”.

“You can lift a lot of those people now living in poverty onto a level of really good quality of life in a really efficient way if – and this is the important if – high-income countries also get a lot more efficient,” Okatz said.

Single-family homes “bad urban design”

Concrete makes up the biggest and fastest-growing chunk of the built environment’s material demand.

Sand, gravel, limestone and other “non-metallic minerals” used to make concrete account for half of all materials extracted globally and around half of the industry’s entire climate footprint, according to the Global Resource Outlook.

More efficient structural design – making use of innovations such as vaulted flooring and clever formwork – can reduce concrete use per building by around 30 per cent, Okatz estimates.

And switching to low-carbon concrete or biomass-based alternatives like timber can help to mitigate some of the adverse environmental impacts.

But perhaps the biggest and most undervalued solution highlighted in the report lies in changing what kind of buildings are built – not just how they are constructed, according to Okatz.

“About 50 per cent of residential construction in Europe is single-family homes and, to be honest, that’s just bad urban design,” she said.

“It’s also not particularly future-proof because demand might still be quite high now but the overall trend, largely, is people moving into city centres and wanting to be less car-dependent,” she added.

“So we think a lot of that will basically be a bad investment beyond 20 years from now, even if it wasn’t resource inefficient.”

Architects can lead the charge

Instead, the data suggests we need more “medium-density” residential buildings, which require fewer resources to build and operate while offering a superior quality of life compared to more dense developments.

“In a European context, the average is to say something like six-unit houses are probably best,” Okatz said. “Because it still allows people really good green space access and good noise insulation, all of these things. But it’s quite efficient.”

Following the example of Belgium’s De Sijs project (top image) and Virrey Aviles Street housing in Buenos Aires (below), making these kinds of dwellings more aspirational and attractive presents a key opportunity for architects, according to Okatz.

Aluminium Virrey Aviles Street apartment surrounded by lush greenery by Juan Campanini and Josefina SpositoAluminium Virrey Aviles Street apartment surrounded by lush greenery by Juan Campanini and Josefina Sposito
Virrey Aviles Street housing balances resource efficiency with green space access. Photo by Javier Agustín Rojas

“Architects and great design should be valued more because everyone can do a boring single-family home but not everyone can do an amazing six-unit community living space,” she said.

“What good architecture can do to slightly denser living – to me that is where I would see architects really leading the way,” Okatz continued.

“To say: if you do it right, this is how amazing life can be in these kinds of set-ups so people don’t even want to live in their own little thing anymore because it’s lonely, inefficient and expensive.”

The top image of the De Sijs housing project in Belgium is by Stijn Bollaert.

Reference

Render of water-powered home by Studio Bark
CategoriesSustainable News

Studio Bark designs water-powered Breach House in UK countryside

Render of water-powered home by Studio Bark

London-based practice Studio Bark has unveiled plans for Breach House, a water-powered family home located in Leicestershire, UK.

Designed to enable the owners to “live off the land”, the proposal by Studio Bark will be powered by photovoltaic (PV) panels and micro-hydro energy, creating a home capable of running off-grid.

Render of water-powered home by Studio BarkRender of water-powered home by Studio Bark
Breach House will be powered by photovoltaic (PV) panels and micro-hydro energy

The 430-metre-square proposal will comprise the new home, along with the restoration of an existing agricultural barn and extensive landscaping.

Making use of the site’s location among a network of small brooks, streams and ponds, run-off water from the surrounding fields will be used to provide a portion of the home’s energy needs. It will also be harvested on-site and filtered for use within the house.

View of 'water tower' within Breach House by Studio BarkView of 'water tower' within Breach House by Studio Bark
The ‘water tower’ connects the home’s two wings

“The concept is a rural home which establishes a reciprocity between ecology and human needs through water,” studio director Tom Bennett told Dezeen.

“The massing echoes the typology of a traditional farmstead, blending contextual influences to create a contemporary building which resonates subtly with its setting.”

Interior render of Breach House in Leicestershire Interior render of Breach House in Leicestershire
The design references the typology of traditional farm buildings

Drawing on the local typologies, the home will be arranged in clusters complemented by courtyards and sheltered outdoor spaces formed by deep overhanging eaves.

A ‘water tower’, which will sit centrally on the site, will house ventilation and circulation functions as well as water filtration.

It will also hold a staircase and corridor to connect the home’s two wings and was designed to be a visual reference to the use of water throughout the scheme.

Low carbon and natural materials suggested for the proposal include reclaimed brick, UK-sourced timber and reclaimed tiles, which were chosen in response to the character and heritage of the surrounding landscape.

Renders of the proposal reveal a largely timber structure, with exposed beams interspersed with skylights featuring on the home’s interior.

On the exterior, trapezoidal-shaped roofs will be clad with decorative tiles and provide shelter for a balcony adjacent to the bedroom on the upper floor.

Render of living interior at water-powered home by Studio BarkRender of living interior at water-powered home by Studio Bark
Exposed timber beams and skylights will feature on the home’s interior

According to the studio, the residual carbon impact of the building is expected to be countered by landscaping proposals – including the planting of around 200 trees – that will accelerate carbon drawdown on the site.

Calculations undertaken by the studio suggest that these landscaping proposals will sequester roughly three times the amount of carbon that will be released over the building’s lifetime.

Render of living space within Breach House in LeicestershireRender of living space within Breach House in Leicestershire
Run-off water will be harvested and filtered for use within the home

“Proposed works include a new woodland area, wet meadow, enriched wildflower meadow, reinstated historical copse, successional tree planting, new ponds and reinstated field boundaries,” Bennett said.

“These measures will sequester carbon, greatly enhance the ecological value of the currently agricultural site, in addition to assisting with natural flood management in the locality.”

Proposed bedroom interior within Breach House by Studio BarkProposed bedroom interior within Breach House by Studio Bark
Breach House is expected to result in a 65 per cent biodiversity net gain

The proposal is anticipated to result in a 65 per cent biodiversity net gain, with additional habitat measures incorporated into the home set to include a bat attic.

Other architectural projects with a heavy focus on sustainability include the UK’s “most sustainable” and largest neighbourhood made from timber and a neighbourhood in Paris made up of limestone buildings.

The renders are courtesy of Studio Bark.


Project credits:

Architect: Studio Bark
Planning consultant/agent: Studio Bark
Client: Private Domestic
Structural engineer: Structure Workshop
Landscape architect: Studio 31
Energy consultant: Max Fordham
Hydrologist: Amber Planning
Ecologist: Elton Ecology
Arboriculturalist: RJ Tree Services
Highways: Create Consulting Engineers

Reference

The Phoenix sustainable neighbourhood by Human Nature
CategoriesSustainable News

UK’s “most sustainable” neighbourhood receives planning approval

The Phoenix sustainable neighbourhood by Human Nature

Development company Human Nature has received planning approval to transform a former industrial site in Lewes into a sustainable 685-home neighbourhood that will be the UK’s largest made from timber.

The Phoenix, which was granted planning permission last week, will be built from engineered timber and be the most sustainable neighbourhood in the UK, according to Human Nature.

The Phoenix sustainable neighbourhood by Human NatureThe Phoenix sustainable neighbourhood by Human Nature
The buildings in the Phoenix development will have engineered timber structures

“One year after proposals were announced for the transformation of a 7.9-hectare brownfield site into the UK’s most sustainable neighbourhood, the Phoenix development has today been granted planning permission, taking the visionary project a step closer to reality,” said Human Nature.

“When complete, it will be the UK’s largest timber-structure neighbourhood and a blueprint for sustainable placemaking and social impact that can be deployed at scale.”

Sustainable neighbourhood in Lewes by Human NatureSustainable neighbourhood in Lewes by Human Nature
It will be located on a former industrial site

Located in the South Downs National Park, the Phoenix will contain energy-efficient homes, public space and healthcare, retail, hospitality and industrial space, all constructed from engineered timber including cross-laminated timber.

It will be the largest structural timber neighbourhood in the UK by number of units, Human Nature’s head of sustainable construction Andy Tugby told Dezeen.

The buildings will range from two to five storeys tall and be clad in prefabricated panels made from locally sourced timber and biomaterials such as hemp.

Sustainable development in Lewes by Human NatureSustainable development in Lewes by Human Nature
A riverside walk will feature in the neighbourhood. Image by Carlos Penálver

Industrial structures on the site will be repurposed to house most of the community spaces, including a canteen, event hall, taproom, fitness centre, workspace and studios.

The Phoenix’ homes will be designed to be energy efficient and powered by renewable energy sourced from on-site photovoltaic panels and an off-site renewable energy facility.

Aiming to create a place for all generations and for people with mixed incomes, 30 per cent of the 685 residences will be affordable homes – 154 of which will be built to the government’s Local Housing Allowance rates and the remainder built as part of the First Homes scheme.

The Phoenix will be designed as a walkable neighbourhood that prioritises people over cars, with a mobility hub providing electric car shares, car hire, electric bike services and shuttle buses to help encourage a shift away from private vehicle use.

Public squares, gardens, community buildings and a riverside pathway that stretches the length of the site will provide space designed for interaction between residents.

Timber structure neighbourhood by Human NatureTimber structure neighbourhood by Human Nature
The development will contain energy-efficient homes

The Phoenix masterplan was designed by Human Nature’s in-house design team with UK architecture studio Periscope and Kathryn Firth, director of masterplanning and urban design at Arup.

Developed designs for the scheme will be made in collaboration with UK architecture studios Archio, Ash Sakula, Mae Architects, Mole Architects and Periscope and engineering firms Expedition Engineering and Whitby Wood.

Drawing of a park surrounded by buildingsDrawing of a park surrounded by buildings
The Phoenix aims to provide sustainable housing to people with a range of income brackets. Image by Carlos Penálver

Human Nature is a development company based in Lewes that was founded by former Greenpeace directors Michael Manolson and Jonathan Smales.

Other timber developments published on Dezeen include a zero-carbon housing scheme in Wales by Loyn & Co and Henning Larsen’s plans for Copenhagen’s first all-timber neighbourhood.

The images are by Ash Sakula, courtesy of Human Nature, unless stated.

Reference

Woman running in front of white stucco house rising out of hedges
CategoriesSustainable News

Inaba Williams creates mirrored stucco-clad residences in California

Woman running in front of white stucco house rising out of hedges

US studio Inaba Williams Architects has created two mirrored houses with courtyards in Santa Monica, California that are clad in white stucco and have net-zero energy use, according to the studio.

Completed in 2023, the twin five-bedroom houses measure 3,900 square feet (362 square metres) each and are divided by a privacy wall and rectangular lap pools.

Woman running in front of white stucco house rising out of hedgesWoman running in front of white stucco house rising out of hedges
Inaba Williams Architects has completed two white-stucco-clad houses in Santa Monica

Brooklyn-based practice Inaba Williams Architects followed strategies laid out in Title 24 – California’s Building Energy Efficiency Standards – to create net-zero emissions houses “better suited to our future climate conditions”.

“Having far fewer windows, the buildings reduce heat gain and energy use, while allowing residents to enjoy indoor outdoor living,” the studio told Dezeen. “With less need for air conditioning and generous access to landscaped areas, they offer a more natural, less tempered experience with the environment.”

White stucco home with small tree and soaking pool in courtyardWhite stucco home with small tree and soaking pool in courtyard
The two structures are mirrors of each other and are divided by a courtyard with a privacy wall in the middle

Set on 40-foot (12-metre) wide lots, the linear homes measure only 20 feet (6 metres) at their widest, leaving plenty of space for outdoor areas on either side of the house for residents to enjoy.

Residents enter from a small courtyard on the outside street-edge corner of the lot into a rounded entryway that passes directly into the main exterior courtyard.

White stucco home with open doorWhite stucco home with open door
The studio said the home has achieved net-zero emissions

At the northern end of the site lies a small two-storey volume that holds a media room and a private suite.

Moving deeper into the house, the living, dining and kitchen areas are collected into an open-plan space with windows and sliding doors that look onto the outdoor areas – including a dining patio – which bring daylight in from three sides.

Living room with pool seen through courtyard doorsLiving room with pool seen through courtyard doors
The white of the exterior continues inside

A bedroom suite, garage, and a secluded zen garden hold the southern edge of the site.

Above, a family room and terrace sit at the top of the staircase in the centre of the plan. Two suites are located on the rear of the site, while the primary suite takes up the rest of the level with a private embedded balcony.

Bedroom with white walls and minimalist furnitureBedroom with white walls and minimalist furniture
Wood flooring was used for the top floor

“The courtyards are the focal point of the side-by-side homes,” the team said. “Following the Energy Standards’ option to use glass on just 20 per cent of the exterior surface area, the limited amount of glazing is concentrated around these central outdoor areas. “

Positioned to maximize daylight, the courtyards and auxiliary areas capitalise on the coastal location’s mild climate and can be used every day.

Curved white windowsCurved white windows
Windows were strategically placed to maximise light and limit heat gains and losses

“Similarly, taking into account the solar path, the building massings let ample sunshine into the courtyards over the day and year,” the team said.

The all-white houses have simple materials to accentuate their forms, with stucco on the exterior. White walls and terrazzo and hardwood floors feature on the interiors. The coving along the ceiling is made of glass fibre-reinforced concrete from a local vendor.

Skylight over oak staircase in white Santa Monica homeSkylight over oak staircase in white Santa Monica home
The houses were constructed under California’s Title 24 guidlines

Outside, brick pavers are set in a herringbone pattern that provides a soft geometrical detail to the smooth forms and green planted beds add color and texture.

Combined with the low glass-to-surface area building envelope, root-mounted solar panels help the homes meet California’s Zero Net Energy criteria, however hitting performance metrics wasn’t the team’s driving force.

“We think the more approaches there are to creating a sustainable future the better, and the Standards could have a cumulative climate benefit,” the studio said. “Just as the New York 1916 Zoning Resolution shaped the highrise tower type, California’s Energy Code can help shape the house type by being a framework for experimenting with its form and layout.”

“Its requirements can be guidelines to think inventively about climate-oriented design – to evolve our collective thinking about the type in a positive way.”

White walls along street of Santa Monica houseWhite walls along street of Santa Monica house
Exterior walls provide privacy for extensive outdoor space

Other recently built courtyard houses in Santa Monica include a brick house centred around a decades-old olive tree by Woods + Dangaran and a cedar- and zinc-clad L-shaped home by Walker Warner Architects.

The photography is by Brandon Shigeta.


Project credits:

Design architect: Jeffrey Inaba, Darien Williams, Sharon Leung, Nabila Morales Perez, Yasamin Mayyas, James Brillon, Andre Macias-Yanez
Executive architect and general contractor: Modative
Civil engineer: Obando and Associates
Structural engineer: Gouvis
Title 24 consultant: Title 24 Guys
Landscape architect: Studio H2O

Reference

Kitchen inside Low Energy House designed by Architecture for London
CategoriesSustainable News

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

Kitchen inside Low Energy House designed by Architecture for London

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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Reference

Portrait photograph of a tall wind turbine against a bright blue sky
CategoriesArchitecture

First full-height timber wind turbine opens in Sweden

Portrait photograph of a tall wind turbine against a bright blue sky

The world’s first full-scale timber wind turbine has started turning in Sweden, with a tower built by wood technology company Modvion.

The 105-metre-tall tower, located in the region of Skara, is Modvion‘s first commercial wind turbine tower, and follows on from a smaller 30-metre-high demonstration project the company completed in 2020.

While its rotor blades and generator hub are made of conventional materials, the tower is made of laminated veneer lumber (LVL), a type of engineered wood made of thin veneer strips glued together and often used for beams and load-bearing building structures.

Portrait photograph of a tall wind turbine against a bright blue skyPortrait photograph of a tall wind turbine against a bright blue sky
The tower of a wind turbine in Skara is made of engineered wood

The company says that this type of wood is not only strong enough to withstand the forces of a turning turbine, it is much more environmentally sustainable to build with than the currently used steel.

While wind power plays an important role in providing the world with green renewable energy, there are still ample carbon emissions created during their construction — in part because of the steel towers.

Modvion describes its wood towers as reducing the carbon emissions from wind turbine construction by over 100 per cent, due to the combination of a less emissions-heavy production process and the carbon storage provided by trees.

“Our towers, just in the production of them, they emit 90 per cent less than a steel tower that will do carry the same work,” Modvion chief financial officer Maria-Lina Hedlund told Dezeen. “And then if you add the carbon sequestration, then you actually end up with a minus — so a carbon sink. This is great if we want to reach net zero energy production, and we need to.”

Photo of the inside of a large timber cylinder, with a ladder going up the middlePhoto of the inside of a large timber cylinder, with a ladder going up the middle
The type of wood used is laminated veneer lumber

Hedlund, who is also an engineer, describes LVL as having a construction “similar to carbon fibre”, with strips of veneer just three millimetres thick sandwiched and glued together, giving it a high strength-to-weight ratio.

This lightness is a benefit, reducing the amount of material needed overall. With a heavy material, there is a “bad design spiral”, says Hedlund, as the weight of the tower itself adds to the load that it needs to carry.

And while some LVL has all their veneer strips facing in the same direction, Modvion uses its “own recipe” specifying the directions of the fibres, improving the material’s performance even more.

Photo of three people in work gear on top of an incomplete wooden towerPhoto of three people in work gear on top of an incomplete wooden tower
The turbine tower is the tallest so far built by Swedish company Modvion. Photo by Paul Wennerholm

The production process involves timber boards being made to order in a standard LVL plant and then delivered to Modvion’s factory. There, they are glued together into larger modules and bent into a rounded form in a step called lamination, and then very precisely machined to fine-tune the shape.

“In the wood industry, you usually see centimetre tolerances, while we are in the sub-millimetre scale,” said Hedlund.

The modular nature of LVL construction addresses another problem Modvion has observed with steel: that with turbines getting ever bigger to give more power, it’s becoming impossible to transport steel towers to site.

They are built as essentially large cylinders and transported by truck, but the base diameter desired for the tallest towers is getting to be taller than some bridges and roads can allow.

Photo of a giant module of curved laminated veneer lumber being engineered in a factoryPhoto of a giant module of curved laminated veneer lumber being engineered in a factory
The timber is laminated into modules at Modvion’s factory

“We’re now reaching a point where they will not get through anymore,” said Hedlund. “So we will see a transition in the wind power industry to modular construction, because this is the way to get them there. And one of the big advantages of building in the material we do is that it’s naturally built modular.”

While steel could also be built modular, it would require bolts rather than glue to join it together on site, which Hedlund says is a disadvantage.

“Bolts are not very nice when you have so much dynamic loading, because it will loosen over time,” she said. “So first of all, you have to have to put them in place which is a lot of work, and then you have to also service them over the lifetime.”

Photo of a worksite with a man in hi-vis operating machinery in the foreground and a large curved module being lowered into place in front of himPhoto of a worksite with a man in hi-vis operating machinery in the foreground and a large curved module being lowered into place in front of him
The modules were assembled and glued together on site

The Skara turbine has a capacity of two megawatts, which represents the maximum power output the turbine can achieve under ideal conditions. This is a bit lower than the average capacity for new turbines built in Europe.

On the outside, the tower has a thick white coating that makes it look similar to steel, and it’s rotor blades and generator hub, which are not supplied by Modvion, are made of conventional materials like fibreglass. This may change in the future, however, with another company, Voodin Blades, working on the technology for wooden blades.

Modvion was founded in 2016 by university peers David Olivegren and Otto Lundman. While its current focus is wind turbines, it is dedicated to wooden technology more broadly, and Hedlund told Dezeen that the team believes it has “the world’s strongest joint for timber construction”, which could also be put to other uses.

Another recent milestone for wind power came in the form of a wind-powered cargo ship, which had been retrofitted with two 37.5-metre-tall sails.

Reference

Paper planes by Architects Climate Action Network
CategoriesSustainable News

Architects urged “not to work with” British Museum due to BP partnership

Paper planes by Architects Climate Action Network

Activist collective BP or not BP? has called on architects not to work on the British Museum’s recently announced redevelopment masterplan as it will be funded by oil company BP.

In an Instagram post on Friday, the organisation, which seeks to end oil sponsorship of culture, said: “Architects: we invite you to pledge not to work with the British Museum until their new partnership with BP is dropped.”

“The British Museum recently accepted the biggest single corporate donation to the arts in the UK,” it added.

“£50 million from oil giant BP, over the next ten years to ‘help deliver the museum’s redevelopment masterplan’. This donation, amidst an escalating climate crisis, has also been described as ‘one of the biggest, most brazen greenwashing sponsorship deals the sector has ever seen.'”

BP or not BP? urged architects to not apply for the job in an Instagram post

In December, the British Museum announced plans for an architectural competition to redevelop around 7,500 square metres of gallery space at its central London location, with applications set to open in spring.

This would be supported by the decade-long partnership with BP.

“A new multi-year partnership with BP will support the future transformation of the museum by contributing £50 million over 10 years,” the museum said.

“The partnership will also help deliver on plans to maintain public access for generations to come. The museum is very grateful for BP’s support at this early stage of the masterplan.”

“Architects can’t in good faith work with The British Museum”

However, BP or not BP?, said that working on the redevelopment would go against guidance from climate network Architects Declare on how to approach projects.

“Guidance from @architectsdeclare_uk encourages firms to approach projects by evaluating their contributions to mitigating climate breakdown,” it stated.

“This redevelopment will do the opposite: allowing BP to continue its extraction and harm Global South communities across the world who face the worst impacts of the climate crisis.”

“Architects can’t in good faith work with The British Museum until this deal is dropped. Join us and tell the museum to #dropBP!” the organisation added.

Architects Declare also stated that it believed it would be consistent with its declaration for architects to turn down the job.

“UK Architects Declare is committed to moving the design of our built environment towards fully regenerative solutions to the planetary emergency,” the organisation told Dezeen.

“As such, the AD Steering Group do believe it would be consistent with our Declaration’s point 5 for architects to turn down this opportunity because of BP’s sponsorship: ‘Evaluate all new projects against the aspiration to contribute positively to mitigating climate breakdown, and encourage our clients to adopt this approach’.”

“A number of companies have publicly declared they will not work on fossil fuel infrastructure and most of the big cultural institutions have now broken links with fossil fuel sponsorship,” it added.

“It is particularly important that when some organisations show such leadership, they are supported by the broader industry.”

British Museum “squarely on the wrong side of history”

BP or not BP? told Dezeen that it believes there are other sponsorship alternatives for the British Museum and that letting BP use its well-known London building for events “continues a neocolonial legacy of extractivism”.

“Just as there are alternatives to fossil fuels, there are also alternatives to taking dirty sponsorship money from fossil fuel producers like BP,” BP or not BP? member Francesca Willow said.

“The British Museum’s decision to keep backing one of the architects of the climate crisis – for a further 10 years – has put the museum squarely on the wrong side of history,” she continued.

“For years, BP has used the iconic museum building as the backdrop for lobbying politicians and burnishing its brand, continuing a neocolonial legacy of extractivism and oppression,” she added. “Architects should refuse to play any part in BP’s planet-wrecking agenda.”

Museum disappointed by call for boycott

In response, the museum said that the campaign was “disappointing” as the redevelopment was aimed at creating a net-zero estate.

“The British Museum is in urgent need of renovation and the masterplan will be one of the most significant cultural redevelopments ever undertaken and private funding is essential,” a spokesperson for the British Museum told Dezeen.

“It’s disappointing campaign groups are calling for a boycott when we’ve said we will be looking at design proposals with a particular focus on sustainable and environmental expertise, working with us responsibly to create a net-zero estate,” it added.

“We look forward to seeing submissions that aim to restore the highly significant and celebrated listed buildings on the site.”

The architectural competition would look to introduce “contemporary architecture and innovative gallery displays” to the museum’s “Western Range”, which contains collections from Ancient Egypt, Greece and Rome.

Architects Declare has previously condemned architecture studios for refusing to stop designing airports.

The issue of sustainability in architecture was also highlighted by the climate action group Architects Climate Action Network in 2022, when it claimed that the Royal British Institute for Architects’ Stirling Prize shortlist “promotes architecture that pollutes the planet”.

The image is by Shutterstock.



Reference

Paris zero-carbon neighbourhood by TVK
CategoriesSustainable News

TVK designs limestone buildings for “first zero-carbon district” in Paris

Paris zero-carbon neighbourhood by TVK

French architecture practice TVK has completed a neighbourhood in Paris made up of limestone buildings surrounding a garden and designed as a sustainable development that aims to increase biodiversity.

Located on a triangular site in Paris’s 19th arrondissement, the project is “the capital’s first zero-carbon district”, according to TVK.

Named Îlot Fertile, which translates to “fertile island” in French, it contains apartments, a youth hostel, student residences, a hotel, offices, restaurants, shops and sports facilities.

Paris zero-carbon neighbourhood by TVKParis zero-carbon neighbourhood by TVK
TVK claims Îlot Fertile is the first zero-carbon district in Paris

The four buildings that make up the neighbourhood range in height from seven to nine storeys tall, each with ground-floor levels made from low-carbon concrete and designed to achieve large, unobstructed interior spaces.

The upper levels were made from load-bearing limestone sourced mainly from the local Ile-de-France region, aiming to reduce the carbon cost of transportation.

TVK claims the 35,200-square-metre development is the largest load-bearing stone building site since Georges-Eugène Haussmann’s reconstruction of Paris in the mid-19th century.

Îlot Fertile zero carbon neighbourhood in Paris by TVKÎlot Fertile zero carbon neighbourhood in Paris by TVK
The buildings were made from load-bearing stone and concrete

“Each material is used in the right place and the right quantity,” TVK founders Pierre Alain Trévelo and Antoine Viger Kohler told Dezeen.

“We chose to use mainly limestone from the Paris region – it’s the same one used to build the Haussmann buildings.”

Public spaces, including restaurants and shops, are located on the ground floors of the buildings and open onto the central garden.

Hotel accommodations and apartments are on the upper levels, and a raised outdoor level provides additional garden spaces with an orchard, vegetable patches, insect hotels and nest boxes.

Office spaces are located in a building that sits parallel to a railway line and, aiming to work with the site’s existing topology and move as little earth as possible, TVK designed a sunken sports centre in a large hole on the site to create an interior with high ceilings.

“The biggest challenge of the project was to bring together more than a dozen programmes and turn them into a fully-fledged part of the city,” said Trévelo and Kohler.

“The shape of each building is linked to the very specific geometry of the site shaped by the railway infrastructure,” they continued. “This brings diversity to a building complex of this scale.”

Îlot Fertile zero carbon neighbourhoodÎlot Fertile zero carbon neighbourhood
It is located on a triangular site next to a railway

TVK designed Îlot Fertile to have a minimal carbon footprint in its construction and operation. It topped the buildings with photovoltaic panels and green roofs to produce energy while also aiming to increase biodiversity.

“Its proximity to public transport means that Îlot Fertile does not require any car parking, and we used a bioclimatic design to keep energy requirements to a minimum for heating, cooling and lighting,” said Trévelo and Kohler.

“For the small amount of energy that will be consumed, the project plans to compensate for it by producing green energy via bio-solar roofs.”

Tennis court in a sports centreTennis court in a sports centre
The development includes a sports centre built into an existing hole in the site’s topography

“Driven by the City of Paris’ ambition for ecological transition, zero-carbon is a long-term objective for the life of the entire operation,” added Trévelo and Kohler.

Elsewhere in Paris, Christ & Gantenbein completed a 124-metre-long steel-clad housing block, and RSHP unveiled its design for a “post-carbon” neighbourhood that will be located in the La Défense business district.

The photography is by Julien Hourcade.


Project credits:

Architect: TVK
Client: Linkcity
Landscape design: OLM
Building and civil engineering: Berim
Engineering: Carbone 4 and Amoes

Reference

Sebastian Cox
CategoriesSustainable News

The UK’s new biodiversity net gain rules explained

Sebastian Cox

New planning legislation that aims to boost biodiversity in development projects will come into effect in England in January. Here, Dezeen explains what architects need to know.

What is biodiversity and why does it matter?

In this context, biodiversity usually refers to the variety of all species living within a certain area or ecosystem, including plants, animals, insects, bacteria and fungi.

Each species in an ecosystem has its own impact on the environment, affecting the availability of clean water and air, soil condition, pollination and other food sources and resources. Variety is necessary to keep all these elements in balance, maintaining a stable and resilient world for humans to survive in.

Many parts of the world are experiencing rapid biodiversity loss as a result of phenomena caused by human activities, such as pollution, climate change and habitat destruction. A Queen’s University Belfast study published earlier this year found that 48 per cent of the world’s animal species are experiencing population decline. The Worldwide Fund for Nature claims we are witnessing the sixth mass extinction event in the Earth’s history.

“We live in a time of mass extinction, where an alarming number of species are disappearing and where the impoverished ecology of the planet is having a detrimental effect, not only on our climate emergency, but also on pollination and in the production of food,” Adam Architecture director Hugh Petter told Dezeen. “It is a powder keg.”

Adam Architecture’s work includes Nansledan, an extension to the British city of Newquay that is being designed for the Duchy of Cornwall. The studio says it will surpass the new biodiversity net gain rules by adding “habitat ‘units’ of around 24 per cent and an increase in hedgerow ‘units’ of around 48 per cent”.

What are the new rules?

Construction can be a major cause of direct biodiversity loss, and the new planning rules for England aim to address that. They mandate that new developments deliver a “biodiversity net gain” – that is, a measurably positive impact on biodiversity compared to what existed before.

Specifically, the legislation requires developers to deliver a biodiversity net gain of 10 per cent. To calculate this, the UK government has produced a formula called the “statutory biodiversity metric” for counting what it terms “biodiversity units”, which are gained through work to create or improve natural habitats and lost through building.

As they strive to meet the 10 per cent requirement, developers must prioritise enhancing biodiversity on-site. If they cannot meet the threshold on the site being developed, they will be allowed also to make biodiversity gains on other plots of land, including by purchasing biodiversity units from other landowners.

As a last resort, they must buy “statutory biodiversity credits” from the government, which will use the money to invest in habitat creation. Biodiversity gains delivered must be maintained for a minimum of 30 years by whoever owns the land, bound by legal agreements.

Once planning permission is granted for a project, the developer must submit an evidenced biodiversity gain plan to the local planning authority (usually the council), which will approve it or refuse it. Development can only start once the biodiversity gain plan is approved. If the developer then fails to act in line with their biodiversity gain plan, the planning authority may take enforcement action.

Guidance on the new legislation, including a step-by-step guide to compliance, is available on the UK government’s website.

When do they come into effect?

The legislation was initially intended to come into effect for large developments of more than 10 dwellings in November, but that was pushed back to January 2024.

Smaller sites will also be subject to the new rules from April 2024, while major infrastructure projects will have to comply from late November 2025.

Some sites, such as small custom-built housing developments, will continue to be exempt.

What do architects and landscape architects need to know?

Architects and landscape architects will likely play a leadership role in ensuring that projects deliver on biodiversity requirements, working with ecologists and the authorities.

The most important thing, says Petter, is to understand the importance of biodiversity loss as an issue.

“The more architects can take a proper interest in the subject, the better placed they will be to work with the spirit of the new legislation and to think of imaginative ways that the minimum standards can be exceeded,” he said.

“It is crucial to engage with an ecologist as soon as possible,” added RSHP sustainability lead Michelle Sanchez. “It is also beneficial to evaluate the site as soon as you gain access.”

“This enables you to develop your designs based on the existing level of biodiversity, tailoring your strategy to local flora and fauna you particularly would like to support,” she said.

One thing to bear in mind is that the new rules aim to prioritise avoiding biodiversity loss in the first place.

“Avoiding biodiversity loss is the most effective way of reducing potential impacts, and it requires biodiversity to be considered at early design stages,” the guidance states.

To gain planning permission for a project that does cause biodiversity loss but proposes strategies to replace it, developers will need to explain, with evidence, why avoidance and minimisation is not possible.

Will this actually help to boost biodiversity?

The rules will mark the first time biodiversity enhancement has been a planning condition in England. According to University of Oxford researcher Sophus zu Ermgassen, it represents “one of the world’s most ambitious biodiversity policies”, but the exact impact is not yet certain.

But Sanchez is broadly optimistic. “Developers were not inclined to consider biodiversity enhancement in the past,” she told Dezeen.

“Only on projects attaining sustainability certificates such as BREEAM would biodiversity targets be discussed. Even then, it would sometimes more regarded as a tick-box exercise rather than an opportunity to make the building better and more appealing and to reduce the environmental impact that architectural projects have on the planet.”

However, she has warned in an opinion piece for Dezeen that a 10 per cent net gain on its own “is not enough to be able to reduce the negative impact that our way of life has had on biodiversity”.

The photo is by Free Steph via Unsplash.

Reference

Water House by Water-Filled Glass
CategoriesSustainable News

Dezeen’s top 10 most innovative materials of 2023

Water House by Water-Filled Glass

As part of our review of 2023, Dezeen’s design and environment editor Jennifer Hahn has rounded up 10 of this year’s most significant material innovations, including bricks made from toxic soil and a 3D printer for wool.

Over the last 12 months, designers found new uses for bacteria, using the microorganisms to colour textiles, grow a leather alternative and turn plastic waste into vanilla ice cream.

In architecture, researchers continued to reinvent concrete, with some using algae instead of cement as a binder while others rediscovered the secret to “self-healing” Roman concrete.

Energy efficiency was an ongoing concern in light of the recent energy crisis, with projects such as water-filled windows and colour-changing cladding aiming to passively heat and cool buildings without relying on fossil fuels.

Read on for Dezeen’s top 10 material innovations of 2023:


Water House by Water-Filled GlassWater House by Water-Filled Glass
Photo courtesy of Water-Filled Glass

Water-Filled Glass by Matyas Gutai, Daniel Schinagl and Abolfazl Ganji Kheybari

One of Dezeen’s best-read stories of the year looked at how researchers from Loughborough University combined two ubiquitous materials – water and glass – in a new and innovative way.

As the name suggests, their Water-Filled Glass windows consist of a thin layer of water wedged between two panes of glass, which can reduce a building’s energy bills by around 25 per cent compared with standard glazing.

That’s because the water absorbs warmth from sunlight and heat loss from the interior that can then be diverted to help heat the building, while also limiting solar heat gain in the warmer months.

Find out more about Water-Filled Glass ›


DNA T-shirt by Vollebak coloured using Colorifix bacterial dyeDNA T-shirt by Vollebak coloured using Colorifix bacterial dye
Photo by Sun Lee

Colorifix by Orr Yarkoni and Jim Ajioka

Synthetic biologists Orr Yarkoni and Jim Ajioka have developed a way of colouring textiles using bacteria in place of toxic chemical dyes which is already being used by mega-retailer H&M and experimental clothing brand Vollebak (pictured above).

Their Colorifix technology uses bacteria that is genetically engineered to produce different colour-making enzymes, creating a dyestuff that is compatible with the textile industry’s standard dye machines.

Crowned material innovation of the year at the 2023 Dezeen Awards, the technology offers a scalable alternative to chemical dyes while using 77 per cent less water and producing 31 per cent fewer carbon dioxide emissions, the company claims.

Find out more about Colorifix ›


Packing Up PFAS by Emy BensdorpPacking Up PFAS by Emy Bensdorp
Photo by Sem Langendijk

Claybens by Emy Bensdorp

At Dutch Design Week, designer Emy Bensdorp presented a series of bricks made using clay contaminated with PFAS – toxic “forever chemicals” used for water- and fire-proofing, that can leak into our soils and waterways.

In the Netherlands, where PFAS can be traced in up to 90 per cent of soils, developers and landowners must now legally take responsibility for this contaminated soil, which ends up being hidden away and left to gather dust in depots with little prospect for the chemicals’ removal.

Bensdorp discovered that firing the clay into bricks at high temperatures can eliminate these highly durable chemicals while turning the soil from a burden into a useful building material via an existing industrial process.

Find out more about Claybens ›


Guilty Flavours ice-cream by Eleonora OrtolaniGuilty Flavours ice-cream by Eleonora Ortolani
Photo by Mael Henaff

Guilty Flavours by Eleonora Ortolani and Joanna Sadler

Central Saint Martins graduate Eleonora Ortolani created a bowl of vanilla ice cream that she believes might the world’s first food made from plastic waste.

The ice cream was made by taking a small amount of PET plastic waste and breaking it down using genetically engineered bacteria to create synthetic vanillin – the flavour molecule in vanilla.

Originally developed by researchers from the University of Edinburgh, the process produces a flavouring that is chemically identical to vanillin derived from crude oil, which is commonly sold in stores. The only difference is that it uses a recycled instead of a virgin fossil feedstock.

Find out more about Guilty Flavours ›


Electrochromic cladding by the University of ChicagoElectrochromic cladding by the University of Chicago
Images courtesy of Hsu Group

Electrochromic cladding by the Hsu Group

Researchers from the University of Chicago have developed a “chameleon-like” facade material that can change its infrared colour – the colour it appears under thermal imaging – based on the outside temperature to keep buildings cool in summer and warm in winter.

The composite material appears yellow under thermal imaging on a hot day because it emits heat and purple on cold days when it retains heat. This colour change is triggered by a small electrical impulse, which either deposits copper onto a thin film or strips it away.

“We’ve essentially figured out a low-energy way to treat a building like a person,” said materials engineer Po-Chun Hsu. “You add a layer when you’re cold and take off a layer when you’re hot.”

Find out more about this electrochromic cladding ›


Model of 3D printed wool chair by Christien MeindertsmaModel of 3D printed wool chair by Christien Meindertsma
Photo courtesy of TFT

Flocks Wobot by Christien Meindertsma

Dutch designer Christien Meindertsma has opened up new uses for the wool of European sheep, which is too coarse to form textiles and thus often discarded, by developing a custom robot arm that acts much like a 3D printer.

The Flocks Wobot connects layers of the material through felting to create three-dimensional shapes without the need for any kind of additional binder.

So far, Meindertsma has used the robot to produce a sofa – currently on display at the V&A – but in the future, she claims it could equally be used to create everything from insulation to acoustic products.

Find out more about Flocks Wobot ›


Local Colours by Loop LoopLocal Colours by Loop Loop
Photo courtesy of Loop Loop

Local Colours by Loop Loop

Dutch design studio Loop Loop has developed the “world’s first plant-based aluminium dying process”, using bio-based pigments instead of ones derived from petroleum.

The Local Colours project adapts the traditional process of anodising, which involves using an electric current to oxidise the metal, creating a porous surface that is able to absorb colour before being dipped into a water-based pigment solution.

So far, the studio has created four different solutions – a deep pink made using madder root, a bright gold produced with red onion and a warm purple and mustard yellow derived from different flowers.

Find out more about Local Colours ›


SOM installation for the 2023 Chicago BiennialSOM installation for the 2023 Chicago Biennial
Photo by Dave Burk

Bio-Blocks by Prometheus Materials and SOM

Colorado start-up Prometheus Materials has developed a “zero-carbon alternative” to concrete masonry blocks that is bound together using micro-algae instead of polluting Portland cement, which accounts for around eight per cent of global emissions.

The company is working with architecture studio SOM to explore applications for the material, with a dedicated installation at this year’s Chicago Architecture Biennial taking the form of a giant spiral.

“This project demonstrates how product development, design, and construction can come together to address the climate crisis in a meaningful way,” said Prometheus Materials president Loren Burnett.

Find out more about Bio-Blocks ›


Bou Bag made from bacterial nanocellulose by Ganni and Modern Synthesis from LDFBou Bag made from bacterial nanocellulose by Ganni and Modern Synthesis from LDF
Photo courtesy of Modern Synthesis

Modern Synthesis by Jen Keane and Ben Reeve

Modern Synthesis has developed a plastic-free leather alternative that drapes much like cowhide but could generate up to 65 times less greenhouse-gas emissions than real leather, the British start-up estimates.

The material is made by bacteria that is grown on a framework of threads and fed with waste sugar from other industries, which is converted into a strong, lightweight material called nanocellulose.

Danish fashion brand Ganni has already used the material to create a version of its Bou Bag (pictured above) that was revealed at the London Design Festival and could be commercially available as soon as 2025.

Find out more about Modern Synthesis ›


MIT Harvard study finds secret to durability of ancient Roman concreteMIT Harvard study finds secret to durability of ancient Roman concrete
Image via Pexels

Roman concrete by MIT and Harvard 

This year, researchers from MIT and Harvard made headlines when they discovered the secret ingredient found in “self-healing” Roman concrete, which they are now aiming to bring to market.

The ancient recipe that has allowed structures such as the Pantheon (pictured above) to remain standing for millennia integrates quicklime instead of the slacked lime found in modern concrete, the scientists have posited.

As rainwater runs through the cracks that form in concrete over time and touches the quicklime clasts in the concrete, this creates a calcium-saturated solution that recrystallises to “heal” the fissures.

Find out more about Roman concrete ›


Dezeen review of 2023Dezeen review of 2023

2023 review

This article is part of Dezeen’s roundup of the biggest and best news and projects in architecture, design, interior design and technology from 2023.

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