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

First full-height timber wind turbine opens in Sweden

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

Henning Larsen mass-timber logistics centre
CategoriesArchitecture

Henning Larsen unveils design for world’s largest timber logistics centre

Danish architecture studio Henning Larsen has revealed plans for a mass-timber logistics hub on Flevopolder island, the Netherlands, that will be the largest of its kind in the world.

Designed by Henning Larsen, the 155,000-square-metre hub will contain offices, shuttle storage and pallet shuttle, as well as a restaurant and roof garden.

Henning Larsen mass-timber logistics centre
Trees will provide shaded seating on the roof

Expected to be completed by 2026, the Logistics Center West will be built largely from glued laminated timber (glulam) and cross-laminated timber (CLT) along with other biogenic materials.

Internally, the timber structure will have oversized columns and exposed beams complimented by light-coloured floors and furniture. Externally, the facade will be divided by rhythmic timber fins and regular openings.

Timber warehouse
Timber interiors flooded by natural daylight

The building will be surrounded by a wetland habitat and forest with a 30,000-square-metre  meadow placed on its roof to increase the site biodiversity.

Planting beds, fruit trees and bushes on the building’s rooftop will provide a green outdoor space for the employees, as well as attract local species.

Regular timber fins on facade
Regular timber fins decorate the facade

A boardwalk will serve as a scenic route across the wetland, while also providing educational tools for the employees, reinforcing the integration of nature into the workplace.

With just over 40 per cent of the site to be dedicated to greenery, access to certain areas of the site will be restricted to reduce human impact and promote wildlife growth.

According to the studio, the project’s biodiversity will work to absorb CO2, filter air pollutants and mitigate heat absorption to create “a more comfortable and sustainable environment”.

Rainwater from the rooftop will be collected and stored for sustainable reuse around the building.

Logistics centre in wetland
The mass-timber proposal will feature a constructed wetland

According to the studio the project will be the world’s largest timber logistics centre. The design will aim to create an atmosphere that prioritises employee well-being through the integration of nature into the workplace. Natural light, green spaces and clean air will work to “invigorate the space and enhance focus”.

Henning Larsen is an international studio for architecture, landscape, and urbanism. Other projects set to be completed by the studio include a ferry terminal in Faroe Islands that draws on traditional Viking boats and a wooden Ørestad church with trapezoidal roofs.

The renders are by Henning Larsen


Project Credits:

Client: Bestseller
Architect: Henning Larsen (services: architecture, interior design)
Landscape architect: Henning Larsen
Engineers: Ramboll, Denc and Pelecon

Reference

moreau kusunoki berlier paris
CategoriesArchitecture

moreau kusunoki completes ‘le berlier,’ a timber tower in paris

la berlier: A Timber Tower Redefines Architecture of paris

 

In the heart of Paris‘ thirteenth arrondissement, a new addition to the urban fabric has emerged with Le Berlier timber tower, designed by locally-based architecture studio Moreau Kusunoki. This forward-thinking tower rises fifty meters (165 feet) above the streets of the French capital city, and represents an harmonious blend of architectural innovation and a deep understanding of its site. Positioned at the intersection of various urban flows, networks, and scales, this residential project stands at the intersection between the monumental and the domestic.

moreau kusunoki berlier parisimages © Maris Mezulis | @mariocee

 

 

The ‘Inhabited Wall’ facade

 

The essence of Moreau Kusunoki’s design for the timber tower Le Berlier lies in its concept of the ‘inhabited wall.’ The building’s facade takes shape with a grid that introduces both a rhythmic texture and a functional filter. This grid, born from the design team‘s deep understanding of the site, plays a crucial role in preserving the tower’s sense of domestic tranquility amidst the densely-built urban environment. It’s a marriage of form and function, where the grid both complements the architectural aesthetics and shields the residents from the surrounding urban chaos.

 

The design of Le Berlier’s frame and its proportions exemplifies structural necessity and aesthetic intent. The tower’s verticality, an intentional choice made by the architects, results from the elongation of its proportions — the tower confidently stands its ground against the towering heights that encompass it, effectively becoming a part of the monumental Parisian landscape. This contrast between the tower’s massive, introverted inhabited wall and its transparent base is a feature that defines its architectural identity.

moreau kusunoki berlier paris
Le Berlier timber tower reaches new heights in Parisian architecture

 

 

moreau kusunoki emphasizes verticality

 

In contrast to the tower’s towering presence, the transparent base of Le Berlier opens itself up to the city. This public space serves as a welcoming gesture to the bustling urban environment that surrounds it. It aspires to seamlessly integrate with the cityscape, forging a strong connection between the tower and its vibrant surroundings. This dichotomy between introverted privacy and extroverted openness adds a layer of complexity to the narrative.

 

Moreau Kusunoki’s careful attention to detail extends to the choice of materials, with charred and pre-weathered wood being a prominent feature. This choice adds a layer of texture and depth to the tower’s aesthetic, evoking a sense of timelessness. This commitment to materiality is echoed in the thoughtful layout of the residential units. Each unit opens onto a private exterior space, effectively weaving a discreet and respectful connection between the interior and exterior. This decision fosters an harmonious relationship between nature and the city, private and public spaces, and ultimately, the growing neighborhood and its inhabitants.

moreau kusunoki berlier paris
a transparent base welcomes the city into the heart of the tower
moreau kusunoki completes 'le berlier,' a charred-timber tower in paris
the ‘inhabited wall’ is a grid facade that balances form and function



Reference

Sustainable Practice: When Will Recycled Timber Have Its Moment
CategoriesArchitecture

Sustainable Practice: When Will Recycled Timber Have Its Moment

Architizer is thrilled to announce the winners of the 11th Annual A+Awards! Interested in participating next season? Sign up for key information about the 12th Annual A+Awards, set to launch this fall.

The new EU Deforestation Regulation (EUDR) has now been enacted as part of the wider European Union Green Deal. This mandates heightened due diligence on the value chain for operators and traders in various commodities, including soy, palm oil, cattle, coffee and wood.

Between 1990 and 2008, the bloc’s imports in products now covered by the revised rules amounted to 36% of total associated deforestation worldwide. The changes won’t bring an end to this, but any firm that wants to do business in the economic union, no matter where their headquarters, now needs to prove sustainable sourcing of these materials and that products have not contributed to deforestation that occurred after 31st December 2020.

Last October, Construction Europe reported on a lack of EUDR preparedness across built environment sectors within the context of a rise in timber as a building material. The ‘plyscraper’ race is perhaps the most visible sign of this, with several World’s Tallest Timber Building hopefuls topping out in the past few years. Ascent by Korb + Associates currently holds the title in Milwaukee, US, at 284 feet (87 meters). This is followed by the 280-foot (85-meter)  Mjøstårnet by Voll Arkitekter, in Brumunddal, Norway, and HoHo Wien by RLP Rüdiger Lainer + Partner, a Vienna mid-rise boasting 18 floors at 275 feet (84 meters).

Shor House by Measured Architecture Inc., Mayne Island, Canada | Photo by Ema Peter Photography

A little shorter, Sara Kulturhaus by White arkitekter AB in Skellefteå, Sweden, is a strong example of the carbon savings good timber design can offer. Housing a library, gallery, museum and hotel, over 50 years this 239 foot (73 meter) cross-laminated timber (CLT) design will sequester more carbon than the total of its embodied footprint from materials, transportation, construction and operation. The carbon negative status is thanks in part to properties of the core structure, but this isn’t always the case.

Two of construction and architecture’s greatest environmental adversaries are steel and concrete. But the widely-trumpeted climate gains from switching to timber aren’t guaranteed. The real test is always in the quality of what is built. In the best case scenarios, impacts from physical construction, ongoing use and material sourcing will be outweighed by carbon sequestration and storage capacity. In the worst, building with wood can be worse for the planet than its alternatives, but recycled timber is often a safe bet in ecological terms.

Measured Architecture Inc’s Shor House, Popular Choice Winner in Sustainable Private House at this year’s Architizer A+ Awards, is a beautiful example of what can be done with reclaimed wood. Completed in 2022, the design focuses on one truth: “The most progressive edge of designing with wood is to recycle it.” Much of the lumber was sourced from the old home and barn that occupied the site at Mayne Island, Canada. The original structures were dismantled rather than demolished, so cladding, floors and frames could be de-nailed, stored and reused.

Shor House by Measured Architecture Inc., Mayne Island, Canada | Photo by Ema Peter Photography

Some timber also came from the remnants of the Englewood Railroad, Northern Vancouver Island, which was decommissioned in 2017. The outside is then clad in Corten raw plate steel, chosen for its low upkeep and long lifespan. Architect and the property owner Clinton Cuddington describes the material as “eminently recyclable”, and its use emphasizes the importance of product diversity in green construction. Without this rust-colored layer, timber would be far more exposed to the elements, increasing the speed of degradation and likelihood of repairs. The steel also has the potential for reuse at a later date.

Of course, however it features recycled timber presents some problems. These woods are often thought of for the rustic aesthetics of a “past life effect.” Surfaces may be marked, nailed or chiseled, giving them stacks of personality but — crucially — often a lack of uniformity.

There’s also a cost issue. Reclaimed wood is usually priced higher than virgin timber because additional resources are needed to bring it back to spec. Toxins, contaminants, natural pests and other risks must be eliminated before it re-enters the supply chain. Nevertheless, the benefits are significant, not least in emissions terms. Recycled timber extends wood lifecycle, and with it the time carbon is stored before decomposition releases it into the atmosphere. At Shor House, dating suggests some lumber can be traced to trees that stood for 1,000 years.

Shor House by Measured Architecture Inc., Mayne Island, Canada | Photo by Ema Peter Photography

The materials certainly pack the aged, historic look people love reclaimed wood for, but elsewhere developments are underway that could bridge a gap between this and the mass timber many new wooden structures rely on, which can be a major cause of deforestation. University College London researcher Dr. Colin Rose won Rambøll’s 2022 Flemming Bligaard Award for his work on CLST, or cross laminated secondary timber, which uses reclaimed rather than virgin wood as the feedstock for ‘new’ CLT stock.

In an interview published when the prize was announced, Rose explains his belief this material can be a viable alternative to steel and concrete in strength, production levels and affordability. He also says built environment professionals have not caught up with CLST yet, and most still see the material as “in lab phase”. He then predicts this will change as embodied carbon begins to define our approach to construction, which CLST performs well on, as do recycled woods generally.

According to his estimates, you could build around 1,000 new homes each year using the discarded wood from building sites in London alone. Widening the lens, every 12 months we create 16 million tonnes of waste wood globally, and currently recycle just 15% of that. These facts emphasize the idea that access and systems are major obstacles to wider use of reclaimed timber, and how urgently change is needed to maximize the way lumber is used to minimize waste and deforestation. Achieving that requires a number of things, including the scaling up of operations and infrastructure, not to mention fresh thinking on the part of architects and designers.

Shor House by Measured Architecture Inc., Mayne Island, Canada | Photo by Ema Peter Photography 

Architizer is thrilled to announce the winners of the 11th Annual A+Awards! Interested in participating next season? Sign up for key information about the 12th Annual A+Awards, set to launch this fall.

Reference

Front elevation of Hempcrete Mewshouse by Cathie Curran
CategoriesArchitecture

Timber and hempcrete form patchwork facade of London mews house

Hempcrete walls and a patchwork facade characterise Hempcrete Mewshouse, a three-storey home that local studio Cathie Curran has added to a derelict site in east London.

Located in Forest Gate, the home was built around a gridded structure made from steel and timber and features a variety of natural materials, including oak, accoya, hempcrete and terracotta. It replaces a derelict single-storey garage on a small mews site.

“The single storey lock-up had been unused for some time, the structure was unsound and there was a huge pit in the makeshift floor slab for working on car engines,” studio founder Cathie Curran told Dezeen.

Front elevation of Hempcrete Mewshouse by Cathie Curran
Hempcrete walls and a patchwork facade characterise Hempcrete Mewshouse

Expressing the home’s structural grid, the street-facing facade is clad in a patchwork-like pattern of materials, including panels of dark accoya wood planks, which can be opened in places for ventilation.

In other places, hempcrete blocks are waterproofed with a lime render and covered in terracotta tiles, which have been placed in alternating directions.

“The facade is an expression of the steel and timber tartan grid hybrid structure,” explained Curran. “The brief required maximum adaptability and an unobstructed plan at ground level, so a steel frame was employed to delineate circulation and service areas and define the main spaces.”

Kitchen with hempcrete walls
The home features a variety of natural materials

To enclose the home from the rest of the mews, the studio built a series of screens around the site, creating a semi-private front courtyard bordered by dark grey gates and fences.

Accessed through an accoya door built into the grid of the facade, the home’s entrance hall features a ceiling and walls clad entirely in oiled oak, while a textural concrete floor draws on the industrial past of the site.

Stairwell with wooden walls
A full-height stairwell sits on one side of the entrance hall

A full-height stairwell to one side of the entrance hall stretches between all three floors of the home and is lit by a skylight. While the staircase is mainly made from oak, the base and two lowest steps are made from concrete, softening the transition between the stairs and the light concrete floor below.

“The oak offers a soothing, organic contrast to the hard mineral atmosphere of the lane,” said Curran. “The top-lit entrance space is mysterious, a decompression chamber to emphasise the transition from chaos to calm.”

Stairwell of Hempcrete Mewshouse by Cathie Curran
The stairwell is lit by a skylight

Beyond the lobby, open living spaces featuring oak joinery and furnishings have been arranged across the ground floor, punctuated by oak-clad columns.

With a wall of glazing set in oak frames and doors that open onto the back garden, the double-height space at the end of the kitchen showcases the hempcrete panels that enclose the upper levels of the home.

The top floors of Hempcrete Mewshouse comprise bedrooms and bathrooms along with a first-floor study which overlooks the kitchen and can be separated from the space below by shutters.

Finished with warm-toned joinery, the bathrooms feature walls and floors covered in terracotta tiles, as well as openable oak wall panels and full-height windows.

“Ancient materials such as lime plaster, oak, terracotta, marble, and pale ground concrete contrast with the industrial tone of the street, evoking a gentler time and place,” said Curran.

Interior of London home with exposed wood ceiling
The top floors of Hempcrete Mewshouse comprise bedrooms and bathrooms

When designing the home, London-based studio Cathie Curran arranged the rooms to allow for future separation of the home into two apartments, each with separate access from the street.

“The timber beams and joists can be redeployed to subdivide the house into a pair of apartments, likewise non-load-bearing timber stud hempcrete partitions can be easily removed,” said the studio.

“The structure will permit easy conversion into two separate units, each with independent street access, if desired. Multigenerational occupancy, co-living or social care provision, even commercial activity, could all be accommodated.”

Terracotta-tiled bathroom of Hempcrete Mewshouse by Cathie Curran
The bathrooms feature walls and floors covered in terracotta tiles

Elsewhere in London, Office S&M transformed an Edwardian home with bright colours and graphic shapes while Unknown Works used pink concrete walls to add a terraced landscape to a Victorian townhouse.

The photography is by Chris Daly.

Reference

Exterior of the brick Casa de Musica school by Colectivo C733 with cantilevered timber roofs
CategoriesArchitecture

Colectivo C733 tops brick music school with soaring timber roof in Mexico

Mexican studio Colectivo C733 has created a brick music school in Nacajuca, Mexico that includes two structures and a lofty, cantilevered roof made of coconut wood.

The Mexico City-based collective completed the 1,325-square metre (120-square metre) Casa de Música in 2021.

Exterior of the brick Casa de Musica school by Colectivo C733 with cantilevered timber roofs
Colectivo C733 added a soaring coconut wood roof to the music school

The facility is part of the state’s urban development program and “provides a space for social gatherings with warm materials and natural ventilation, while musicians benefit from spacious, isolated classrooms with state-of-the-art equipment,” C733 told Dezeen.

Casa de Música is composed of two volumes connected by a public boulevard.

Exterior of the brick Casa de Musica school by Colectivo C733 with large windows and a cantilevered timber roof
The school is located in the Mexican city of Nacajuca

The larger volume – an open-plan community centre built on the foundations of a previous structure – boasts a large offset gable roof with one roof plane extending past the ridge line and cantilevering over a skylight and the opposite roof plane.

The north and south sides are supported by a series of double brick walls that hold the 24-metre trusses. The west end is transparent with rectangular glass panels shielded from the street by a porous brick screen, while the east end holds a service core.

Exterior of the Casa de Musica school with extended brick walls and cantilevered timber roofs
Double brick walls support the roof structure

The social space also holds a mezzanine stage for workshops and local musicians.

The smaller volume is the music school — consisting of eight classrooms, a cafeteria, restrooms and management offices — that reflects the rhythm of the community centre’s structure through compact spaces arranged in a line.

“The sloping roof of the building creates a double-height space in each of these areas, with an upper terrace offering views of the treetops,” the team said.

Both buildings feature local coconut wood, brick partitions, and clay tiles that provide warmth, natural freshness, and acoustic control. Wooden doors open between each structural bay, creating a loggia-like complex that opens the facility to the public.

An expansive interior space with a large pitched timber roof and glazed gable end
The larger of the two structures is a community centre

“The project draws inspiration from the traditional Mesoamerican pocho dance and contemporary expressions, incorporating warm materials, natural ventilation, and a focus on local resources to create a space that pays tribute to its location and enhances existing elements,” the team said.

The team looked beyond the site to prioritize the land on which the centre sits.

A covered exterior walkway with a brick floor and timber walls next to a glazed gable-ended building
Brick, wood and clay materials were chosen to add warmth

“It is essential that projects pay tribute to their location, particularly when they have the potential to highlight what already exists,” the team said.

The project faces a polluted creek; but the roof directs and collects rainwater, filtering it for use in restrooms, passing it through biodigesters and biofilters in a wetland-type treatment and discharging clean water into the local river as a water management alternative.

Two external brick walls topped with pitched timber roofs
A boulevard connects the school’s two structures

The locally sourced coconut wood captures carbon dioxide, generates a smaller carbon footprint than other materials and promotes both craftsmanship and employment for the local workforce.

C733 includes designers Gabriela Carrillo, Carlos Facio, Eric Valdez, Israel Espín and José Amozurrutia

In Matamoros just off the Texas-Mexico border, C733 created a brick shopping centre with inverted trapezoidal roof forms. Other projects with timber roofs in Mexico include a holiday home in Avándaro by Estudio MMX.

The photography is by Yoshihiro Koitani.


Project credits:
Colectivo C733: Gabriela Carrillo, Eric Valdez, Israel Espín, José Amozurrutia, Carlos Facio (TO)
Design team: Álvaro Martínez, Fernando Venado, Eduardo Palomino
Executive architect: Leticia Sánchez, Victor Arriata
Structures: LABG (Eric Valdez), GIEE, GECCO Ingeniería
Electrical and mechanical engineering: Enrique Zenón
Landscape architects: Taller de Paisaje Hugo Sánchez
Other consultants: Carlos Hano, Laurent Herbiet
Contractor: Francisco Tripp – Grupo Plarciac
Client: SEDATU, Municipio de Nacajuca



Reference

Skeleton of mass-timber building
CategoriesSustainable News

The hidden environmental impacts of getting mass timber wrong

Architects are increasingly using mass timber in the hopes of creating net-zero buildings but carbon assessments are missing key sources of potential emissions, researchers tell Dezeen in this Timber Revolution feature.

The standard method for determining a building’s overall carbon footprint is a whole-building life-cycle assessment (LCA) that breaks down emissions at every stage – from the sourcing of raw materials to their ultimate disposal.

These calculations tend to indicate significantly lower emissions for timber structures compared to those made entirely out of concrete and steel. But experts warned that LCAs only tell part of the story.

“LCAs do not typically consider anything that happens in the forest,” said forester and timberland manager Mark Wishnie.

“And the land management side is, from a climate perspective and a biodiversity perspective, enormously important,” added Steph Carlisle of the Carbon Leadership Forum research group. “That’s really where all the action is.”

End-of-life “very, very important”

Because so few mass-timber buildings have been constructed – let alone demolished – researchers are also unable to reliably forecast what will happen to engineered timbers at end of their life and what emissions this would entail.

“There’s not a lot of data available to predict end-of-life and that can be very, very important,” Wishnie said.

This leaves both researchers and architects with an incomplete picture of mass timber’s climate impacts, which urgently needs to be addressed if the industry is to scale up sustainably without adverse effects on the environment.

Skeleton of mass-timber building
Mass timber offers one potential route to achieve net-zero buildings. Photo by George Socka via Shutterstock

“We need better transparency and traceability,” Carlisle said. “When architects use tools and they don’t necessarily know what’s going on behind them, they can really mislead themselves about the real emissions.”

“If we get this right, it has such incredible potential,” added Robyn van den Heuvel of the Climate Smart Forest Economy Program. “Not just for the built environment but also to ensure forests are sustainably managed.”

“But there are incredible risks of getting this wrong. It could result in the exact opposite effects of what we’re trying to create.”

Badly harvested timber has higher embodied emissions

Timber’s climate potential lies in its ability to sequester large amounts of CO2 from the atmosphere during its growth – in contrast to common building materials like concrete and steel, which mostly just produce emissions.

As a result, mass timber has been widely hailed as a way to help architects make their buildings net zero and, by extension, help the built environment mitigate the 13 per cent of global emissions that stem from the construction of buildings and the materials used in the process.

Research indicates that substituting wood for steel and concrete in mid-rise buildings could reduce emissions from manufacturing, transport and construction by between 13 and 26.5 per cent, depending on the building’s design, the exact wood products used and where they are shipped from.

But due to a lack of data, the International Institute of Sustainable Development (IISD) has warned that LCAs can gloss over the huge impacts that forest management and end-of-life can have on the overall climate impact of a mass-timber product.

Forest management is an important part of the equation, not just because it can help to prevent deforestation and protect biodiversity but also because it has a huge impact on a forest’s ability to act as a carbon sink.

Felling all the trees in a forest at the same time, in a method known as clear-cutting, can generate significant emissions by disturbing the soil and releasing the carbon it stores, which accounts for almost 75 per cent of a forest’s total carbon stock.

When this is combined with other harmful practices such as converting old-growth forests into tree plantations, this could actually make a timber building more emissions-intensive than a concrete equivalent, the IISD suggests.

“It’s neither true that all wood is good, nor that all wood is bad,” said Carlisle. “Architects really need to understand that it matters where your wood comes from.”

Forest certifications falling short

However, none of these important land-management impacts – whether good or bad – are reflected in typical life-cycle assessments.

“They don’t account for an increase in forest carbon stock or a decrease in forest carbon stock, an increase in forest area or a decrease in the forest area,” said Wishnie.

“Often, if you’ve got that wrong, it doesn’t matter what else is happening in the value chain, you already have a bad carbon story,” agreed van den Heuvel, who leads the non-profit Climate Smart Forest Economy Program.

To some extent, these concerns are addressed by forest certification schemes – the most comprehensive being FSC, which covers crucial factors such as forest health, biodiversity, water quality, and Indigenous and workers’ rights.

But these certifications do not require forestry companies to track and quantify how different management practices impact the carbon stock of a forest, which makes them impossible to represent in the LCAs used by architects and building professionals.

6 Orsman Road by Waugh Thistleton Architects in London
6 Orsman Road is a demountable timber building by Waugh Thistleton. Photo by Ed Reeve

“Right now, I have no way of representing FSC-wood accurately in a life-cycle assessment model,” said Carlisle, who is a senior researcher at the Carbon Leadership Forum.

“There’s a lot of work happening on the certification side to do that research and publish it so it can come into our models. And we really need it because it’s not going to be sufficient in the long run for certification to be a stand-in.”

FSC certification is applied to 50,000 companies globally, making it harder for architects to discern which of these companies provides the best forest management and the most sustainable, lowest-carbon product so they can vote with their wallets.

“As the user, I can’t really make choices,” said Simone Farresin, one-half of design duo Formafantasma. “I can’t evaluate if one seller is better in community support or another in sustainable growing. It’s certified and that’s it. It’s not specific.”

“When you’re looking at materials, you have all these different grades of quality,” he continued. “And we need to reach the same in terms of sustainability – we need to be able to detect these different grades.”

“No consensus” over end-of-life emissions

Another area that is lacking in reliable information, and therefore hard to represent in LCAs, is what happens when a mass-timber building is demolished.

“There is a lot of debate about how to model end-of-life and it gets really contentious really quickly,” said Carlisle. “There is no consensus. The fight is very live.”

If a building was designed for deconstruction and its timber components are reused, this could offer substantial carbon and ecosystem benefits – providing continued long-term carbon storage while reducing the need for renewed logging as well as for emissions-intensive steel and concrete.

A small number of architects have begun to deliver demountable mass-timber buildings to facilitate material reuse, such as Waugh Thistleton’s 6 Orsman Road in London.

However, most timber demolition waste today ends up in either landfills or incinerators, with both scenarios resulting in some net emissions.

“Depending on what country you’re in, that waste looks very different,” said van den Heuvel. “But that also has a really massive impact on your total carbon story.”

In the case of incineration, all of the carbon stored in the wood would be released into the air, negating any storage benefits but potentially generating renewable electricity in the process if burned for biomass energy.

In a high-quality modern landfill, on the other hand, engineered wood products are estimated to lose only around 1.3 per cent of their carbon, although part of this carbon is released as methane – a powerful greenhouse gas that is 80 times more potent than carbon dioxide over a 20-year period.

“This is counterintuitive to people,” Carlisle said. “But you see very small emissions at end-of-life from landfills because that material is largely considered sequestered and stored permanently.”

“We can’t aim for perfection”

Crucially, estimates about end-of-life emissions are mostly based on products like medium-density fibreboard (MDF), which are less elaborately engineered than structural materials such as cross- and glue-laminated timber and so may respond differently.

“There is more uncertainty around what will actually happen at end-of-life because there are so few mass-timber buildings,” Carlisle said.

Researchers and institutions such as the Carbon Leadership Forum and the Climate Smart Forest Economy Program are working hard to fill in these gaps. And ultimately, they argue that governments must set national and international standards to ensure responsible sourcing and disposal if we hope to accurately assess and realise mass timber’s climate potential.

But in the meantime, all parts of the timber value chain – from forest managers to manufacturers and architects – should be more transparent about their carbon accounting.

“I would hate to see a world in which we stop everything to make sure all the certification is perfect,” said van den Heuvel. “Because buildings are still going to get built. And if we’re not using mass timber, we’re using a product that’s going to be even worse for the environment.”

“We’re running out of time, so we can’t aim for perfection. We should aim for good enough and transparency around it so that others can improve.”

The top photo is by Maksim Safaniuk via Shutterstock.


Timber Revolution logo
Illustration by Yo Hosoyamada

Timber Revolution
This article is part of Dezeen’s Timber Revolution series, which explores the potential of mass timber and asks whether going back to wood as our primary construction material can lead the world to a more sustainable future.

Reference

Wooden interior of John W Olver Design Building at the University of Massachusetts
CategoriesSustainable News

Mass timber buildings can have high carbon emissions says Amy Leedham

Mass timber’s reputation as the go-to low-carbon construction material is a problematic oversimplification that is leading to greenwashing, says carbon expert Amy Leedham in this Timber Revolution interview.

“We’re seeing a little bit of oversimplification and glorification of mass timber,” said Leedham, who is carbon lead at engineering consultancy Atelier Ten.

“The main thing that you see in the media, and one of the reasons it’s becoming such a popular building material, is that it can have a significantly lower embodied carbon than steel or concrete,” she told Dezeen. “I say ‘can’ because it’s not always the case.”

Wooden interior of John W Olver Design Building at the University of Massachusetts
Amy Leedham (top image) is carbon expert at Atelier Ten, an engineering firm behind buildings including the mass-timber John W Olver Design Building in Massachusetts (above). Photo by Albert Vecerka/Esto

Mass timber is a term for engineered-wood products – strong structural components that typically consist of layers of wood bonded together.

It is increasing in popularity in the construction industry due to wood’s ability to sequester carbon, which means timber generally has a lower embodied carbon when compared to materials such as concrete and steel.

However, according to Leedham, this has caused mass timber to become synonymous with carbon neutrality, leading to the fallacy that all “mass-timber buildings are carbon neutral” due to the stored carbon offsetting the emissions expended by them.

“Critical factors that need to be considered”

“Mass timber construction can definitely be an important pathway toward carbon neutrality, but there are other critical factors that need to be considered,” she told Dezeen.

“If it’s not done well, mass timber buildings can have very high carbon emissions, whereas concrete buildings can have quite low carbon emissions,” she said.

“We’ve worked on concrete projects with certain concrete suppliers where they’re really focusing on reducing emissions associated with the concrete mixes and those can have quite low carbon emissions. There’s no black and white, it’s all hues of grey.”

Render of the Portland Museum of Art extension
Atelier Ten has designed the mass-timber extension of the Portland Museum of Art with Lever Architecture. Image by Darcstudio 

Carbon neutrality is achieved when no additional carbon dioxide is added to the atmosphere in the creation and operation of an entity, such as a building. This can either involve eliminating emissions in the first place, negating emissions through offsetting, or a combination of both.

Assuming that using mass timber achieves this through its sequestered carbon alone can overlook several factors, such as the carbon footprint of other materials used to construct wooden buildings, including the interior finishes.

“Mass timber buildings have a lot of other material in them, especially in places where the code is challenging, especially for taller mass timber,” Leedham said.

Additionally, the carbon footprint of mass timber can also be impacted by how and from where the wood was sourced and transported, and what happens to it at the end of its useful life.

If the wood used in a building’s construction ends up in a landfill, it is likely to be incinerated or left to decompose, with its sequestered carbon released back into the atmosphere – cancelling out the carbon benefits.

“We can only control up to the point that the building is built”

“Forestry practices are super important to the overall carbon impact of mass timber, as well as end-of-life treatment,” explained Leedham.

“As designers and engineers, we can only control up to the point that the building is built. We can design in certain aspects so that it can be treated well at the end of its life in 100 years, but we don’t know what’s going to happen.”

The overlooking of these “critical factors” recently prompted Leedham to write a series of myth-busting essays on engineered wood, co-authored and published with US studio Lever Architecture.

The essays shine a light on the main misconceptions about mass timber that are circulating in the industry, in an effort to expose the truth behind them and promote the responsible use of the material in architecture.

“Mass timber is super important to the future of low-carbon construction,” she said.

“But it’s also really important that it’s done right. If it’s done incorrectly, then it’s just another form of greenwashing.”

Alongside the misunderstandings about mass timber and carbon neutrality, the essays also debunk beliefs that “all wood is good wood”, that it is always more sustainable than concrete, and that mass-timber buildings actually absorb carbon.

Co-author Jonathan Heppme, who is a principal at Lever Architecture, said the authors have heard these myths in discussions about their own projects, but also at industry events.

“These myths emerge very frequently”

“Variations on these myths emerge very frequently where architectural and engineering professionals meet to discuss construction and procurement with project owners, builders, manufacturers and trade representatives,” Heppme told Dezeen.

“These myths surface at symposiums, trade shows, conferences, lectures, or in conference rooms where decisions around the incorporation and advancement of mass-timber systems are being discussed,” he continued.

Both he and Leedham hope their publication will contribute to “more nuanced narratives from the mass timber industry” and advocate “healthy innovation” in this space.

In the essays, the authors outline how the industry can combat these myths – such as by encouraging architects to make conscientious sourcing decisions, which can, in turn, incentivise the timber industry to manage forests sustainably, and by improving understanding of carbon neutrality and how it can be achieved.

Timber-steel structure inside John W Olver Design Building in Massachusetts
Leedham believes timber, steel and concrete all have roles in the future of architecture. Photo is of John W Olver Design Building in Massachusetts by Albert Vecerka/Esto

Leedham told Dezeen that these solutions could also all be supported by the roll-out of worldwide carbon taxes for construction projects, which would require payments for the greenhouse gas emissions emitted by building components.

Not only would this lead to the more responsible use of mass timber, she said, but it would also encourage more sustainable practices when it comes to using materials such as concrete and steel.

“Carbon taxes would definitely speed up the adoption of any type of more sustainable construction practice,” said Leedham.

“If you had to pay for all the carbon emissions before you got your building permit, I think that would encourage the use of mass timber, it would encourage sustainable forestry practices, and it would actually encourage both the concrete and steel industry to reduce their emissions.”

Mass timber will not “dominate the industry”

This last point is particularly important as she believes that concrete and steel will remain vital materials in the future of architecture.

“The reality is that we need everything. Mass timber is one of a kit of parts,” said Leedham.

“I don’t think mass timber is going to ever dominate the industry, just because of the sheer volume of construction that’s happening, and I don’t think it wants to.”

“We absolutely need steel and concrete industries to also focus on reducing their emissions because we’re going to need all three primary structural materials,” she added.

This echoes the views of construction material expert Benjamin Kromoser, who told Dezeen in an interview that mass timber will not become a mainstream building material because it uses too much wood

“Wood is a limited resource,” he said. “It always has to be a balance between what we take from the forest to use for building construction and how much grows again.”


Timber Revolution logo
Illustration by Yo Hosoyamada

Timber Revolution
This article is part of Dezeen’s Timber Revolution series, which explores the potential of mass timber and asks whether going back to wood as our primary construction material can lead the world to a more sustainable future.

Reference

Interior of Ibstock Place School Refectory in Roehampton by Maccreanor Lavington
CategoriesSustainable News

Mass timber “definitely not the right way to go” says Benjamin Kromoser

Mass timber will not become a mainstream building product because it uses too much wood, construction material expert Benjamin Kromoser claims in this interview for the Timber Revolution.

“If we go more in the direction of mass-timber buildings we don’t have enough material, so the idea of scaling it up in the near future will fail,” he told Dezeen.

“I think there will be a possibility to scale it up a bit, so its use will go up in the next few years – especially in Sweden and Norway, where they have built quite a lot of cross-laminated timber production facilities.”

“But from my point of view, I think we will reach the maximum of mass timber in at least 10 years. I think, really, it will be before 2030.”

“Using wood doesn’t [automatically] make a building sustainable”

Kromoser leads the Institute of Green Civil Engineering at the University of Natural Resources and Life Sciences (BOKU) in Vienna, which receives funding from both industry and public sector organisations.

He believes that the main challenge for the building industry is using fewer raw materials overall, rather than simply switching from concrete and steel to biomaterials like wood.

“Our aim is to minimise the environmental impact of buildings over the whole lifecycle,” he said.

“Using wood doesn’t [automatically] make a building sustainable, because basically, what we have as a problem is that in total we need too much materials.”

Mass timber is the term given to engineered wood products like cross-laminated timber (CLT) and glued laminated timber (glulam), which typically constitute layers of wood bound together to form strong structural components.

“Wood is a limited resource”

Because trees sequester carbon from the atmosphere, replacing heavily polluting man-made materials like concrete and steel for timber can significantly reduce the embodied carbon footprint of buildings.

But while mass timber can be used for taller buildings than conventional timber-frame construction, it uses much more wood. That leads Kromoser to doubt its overall sustainability.

“Wood is a limited resource,” he said. “It always has to be a balance between what we take from the forest to use for building construction and how much grows again.”

“If we go in the direction of building everything with CLT, then maybe from the point of view of temporarily storing CO2 it would be great, but it’s definitely not really possible to scale that up.”

Catalyst building by Katerra
Mass timber usually consists of layers of wood bound together to form strong structural components. Photo courtesy of Katerra

Even in Austria, where around half the country is forested, he is doubtful it would be possible to translate that into half of new buildings in Vienna being made from mass timber.

Instead, he argues that to increase the proportion of construction that uses wood, more material-efficient methods like timber frame must take precedence.

“It would be great if we could build 50 per cent of the buildings in Vienna out of wood but we are far away from that regarding the availability of the materials, so going in the direction of mass-timber construction is wrong,” he said.

“We have to go in the direction of using timber in the most efficient way and that means structurally optimised buildings, so mass timber is definitely not the right way to go.”

“Timber framing is much more efficient, and you can quantify that with a life-cycle assessment.”

Need to “decouple” material use from economic growth

To produce one metre-cubed of CLT or glulam, around 2.5 metres cubed of wood is required, roughly 25 per cent more than for timber-frame construction.

Kromoser argued that mass timber’s main application should be for creating cantilevers or bearing heavy loads, or for living spaces in attic rooms thanks to its thermal massing properties.

“Timber is a great material, and mass timber where it has its justification is a good thing,” he said. “But thinking about how the building can be structurally optimised is a really important thing to keep in mind.”

“That’s my key message, because then we can reduce the amount of raw material required and then we can build more out of timber,” he continued.

He argues that depicting mass timber as a golden ticket to decarbonising the built environment could risk distracting from the main issue of material use.

“If you’re speaking about a big potential in mass timber construction, it could justify for our society, ‘if we use this material, it doesn’t matter anymore how much we use’. That’s absolutely not right.”

The major challenge, according to Kromoser, is to decrease the use of raw materials while still enabling the growth of economies around the world.

“Further development of society is always linked to an increase in materials, and that’s the wrong direction,” he said.

“So what we really have to think about is how we decouple the connection between material use and the further development of society. That’s the biggest issue and it’s not linked to construction material.”

The top photo is courtesy of Benjamin Kromoser.


Timber Revolution logo
Illustration by Yo Hosoyamada

Timber Revolution

This article is part of Dezeen’s Timber Revolution series, which explores the potential of mass timber and asks whether going back to wood as our primary construction material can lead the world to a more sustainable future.

Reference

The interior of a bedroom in Octothorpe House
CategoriesInterior Design

Fourteen homes where cross-laminated timber creates cosy interiors

Our latest lookbook features cross-laminated timber interiors, including a colourful German vacation home and a tenement-style housing development in Edinburgh, and is part of Dezeen’s Timber Revolution series.

Architects looking to offset the carbon emissions of a building often choose cross-laminated timber (CLT), a type of mass-timber made from laminated timber sections that can be used as structural building materials.

The material, which is normally made from larch, spruce or pine, absorbs atmospheric carbon as it grows and subsequently retains it during its life in a building.

In interiors, CLT can create a luxurious effect even for projects with a tight budget and gives rooms a light, modern feel.

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring interiors with split-level living areas, mix-and-match flooring and homes with cleverly hidden lifts.


The interior of a bedroom in Octothorpe House
Photo is by Jeremy Bitterman / JBSA

Octothorpe House, US, by Mork-Ulnes Architects

The natural forms, custom furniture and organic colours and textures that appear throughout Octothorpe House were selected by studio Mork-Ulnes Architects for their resemblance to the surrounding Oregon desert landscape.

The cabin-cum-house was built using American-made CLT for a client that wanted an “environmentally progressive” and flexible design.

Find out more about Octothorpe House ›


Interior of Bert treehouse by Precht
Photo is by Christian Flatscher

Bert, Austria, by Precht

Hidden in the woodland surrounding the Steirereck am Pogusch restaurant in the rural village of Pogusch, this playful tubular guest dwelling was informed by cartoon characters.

It was designed by Austrian architecture studio Precht to feel dark and cosy inside, with the structural CLT walls providing contrast against the black flooring and dark textiles.

Find out more about Bert ›


Kitchen and dining space in Haus am Hang by AMUNT
Photo is by Rasmus Norlander

Haus am Hang, Germany, by AMUNT

German architecture office AMUNT was drawn in particular to CLT’s sustainability credentials when creating this hillside vacation home in the Black Forest.

Designed for a client who wanted to promote sustainable travel, the home features surfaces and joinery finished in shades of green inspired by local tree species and its layout was organised to make the most of natural light.

Find out more about Haus am Hang ›


Kynttilä by Ortraum Architects
Photo is by Marc Goodwin

Kynttilä, Finland, by Ortraum Architects

Structural CLT was used to form the floor walls and angled roof of this 15-square-metre cabin on Lake Saimaa in Finland.

Its gabled form encloses a bedroom and a small kitchen, which feature natural CLT walls. A large bedroom window provides views of the forest outside the cabin.

Find out more about Kynttilä ›


Interior of CLT House in London by Unknown Works
Photo is courtesy of Unknown Works

CLT House, UK, by Unknown Works

Named after its spruce CLT structure, CLT House is a semi-detached house in east London that architecture studio Unknown Works remodelled and extended to open up and improve its connection to the back garden.

On the ground floor, the timber walls, storage and seating areas create a minimal backdrop for the family’s musical and creative pursuits, parties and family gatherings.

A combined kitchen and dining space are housed in a bright yellow rear extension that opens onto the garden’s brick-paved patio.

Find out more about CLT House ›


The Rye Apartments by Tikari Works
Photo is by Jack Hobhouse

Rye Apartments, UK, by Tikari Works

The four-storey Rye Apartments block in south London was designed by local studio Tikari Works, which used CLT for the structure and left it exposed across the majority of the apartments’ gabled walls and ceilings.

This was combined with spruce wood kitchen cabinetry, storage units and shelving. Terrazzo-style flooring with amber and cream-coloured flecks was added to compliment the timber finishes.

Find out more about Rye Appartments ›


R11 loft extension by Pool Leber Architekten
Photo is by Brigida González

R11 loft extension, Germany, by Pool Leber Architekten

The R11 loft extension is a two-storey CLT extension that Pool Leber Architekten added to a 1980s housing block in Munich, creating a series of loft spaces.

Inside the lofts, the structural timber was left visible on the walls, ceilings and floors. The material was also used to create sculptural storage cabinets that double as window seating.

Find out more about Pool Leber Architekten


Barretts Grove by Amin Taha Architects
Photo is by Tim Soar

Barretts Grove, UK, Amin Taha Architects

Amin Taha Architects created this six-storey CLT block, which contains six apartments, between a pair of detached brick buildings in Stoke Newington, London.

“The ability of the CLT to serve as structure and finish removed the need for plaster-boarded walls, suspended ceilings, cornices, skirtings, tiling and paint; reducing by 15 per cent the embodied carbon of the building, its construction cost and time on site,” the studio said.

Find out more about Barretts Grove ›


A CLT split level interior
Photo is by Markus Linderoth

Twelve Houses, Sweden, by Förstberg Ling

The CLT structure that forms the foundations of Twelve Houses by Förstberg Ling has been left exposed throughout the walls, floors and ceilings of the interior living areas, giving the space a warm and inviting feel.

A back bedroom on the first floor overlooks a double-height area of the living room, which has a concrete floor and reddish-brown wall panelling.

Find out more about Twelve Houses ›


Villa Korup kitchen interior
Photo is by Gabrielle Gualdi

Villa Korup, Denmark, by Jan Henrik Jansen Arkitekter

A CLT structure made from Baltic fir was used to construct this home on the Danish island of Fyn, which features exposed CLT panels throughout the interiors.

Designers Jan Henrik Jansen Arkitekter, Marshall Blecher and Einrum Arkitekter treated the material with soap and lye to lighten and protect the timber inside.

Find out more about Villa Korup ›


Interior of Simon Square apartments by Fraser/Livingstone
Photo is by Fredrik Frendin

Simon Square, UK, by Fraser/Livingstone

Comprised of six flats set within a mass-timber tenement-style housing development in Edinburgh, Simon Square has a structural timber frame that has been left exposed internally.

Architecture studio Fraser/Livingstone hoped that the presence of CLT indoors would improve the residents’ well-being. Potted plants and a neutral interior colour scheme provide an added sense of calm.

“When solid timber is exposed internally, the D-limonene the timber gives out has been shown to produce calm environments, with occupants’ hearts beating slower, and stress reduced,” project architect Ayla Riom told Dezeen.

Find out more about Simon Square ›


Interior of the Biv Punakaiki cabin by Fabric Architecture
Photo is by Nancy Zhou

Biv Punakaiki, New Zealand, by Fabric

In an attempt to balance the high carbon levels of the cabin’s concrete floor and aluminium cladding, architecture studio Fabric chose to use CLT for the cabin’s structure, which was left exposed inside.

From the double-height living room, the residents can look up through large skylights that punctuate the ceiling and gaze at the stars above.

Find out more about Biv Punakaiki ›


A cross laminated timber kitchen interior
Photo is by José Hevia

MAS JEC, Spain, by Aixopluc

Catalan architecture office Aixopluc used lightweight materials for this CLT extension, which it added to a traditional Catalan house in the city of Reus.

The building was prepared off-site and erected in just two weeks. Another advantage of using CLT is that the thermal mass of the exposed CLT interiors helps to ensure a comfortable internal temperature when the afternoon sun hits the building.

Find out more about MAS JEC ›


Houten Herenhuis by MAATworks

IJburg Townhouse the Netherlands, by MAATworks

This Amsterdam townhouse was designed to reference wooden Scandinavian homes.

Architecture studio MAATworks arranged it around an angular staircase made from cross-laminated pine wood, which was also used to create the wall and ceilings of the home.

Find out more about IJburg Townhouse ›

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring interiors with split-level living areas, mix-and-match flooring and homes with cleverly hidden lifts.

Timber Revolution logo
Illustration by Yo Hosoyamada

Timber Revolution

This article is part of Dezeen’s Timber Revolution series, which explores the potential of mass timber and asks whether going back to wood as our primary construction material can lead the world to a more sustainable future.

Reference