Rendering of a toothbrush on a white backdrop from Seymour Powell's Un-Made concept
CategoriesSustainable News

Toothbrush pops open for recycling in Seymourpowell’s Un-Made concept

British design studio Seymourpowell has put cheap electronic goods under the spotlight with Un-Made, a project imagining four possible ways to design for quick disassembly and recycling.

As part of the project, Seymourpowell devised four automated disassembly mechanism concepts using an electric toothbrush as an example for their animated graphics.

Each of the mechanisms could be built into a product during manufacturing and then activated in a factory at the end of the item’s life.

Rendering of a toothbrush on a white backdrop from Seymour Powell's Un-Made conceptRendering of a toothbrush on a white backdrop from Seymour Powell's Un-Made concept
Un-Made suggests automated disassembly mechanisms for an electric toothbrush

The first Un-Made concept is a pin mechanism. Similar to the action of opening a SIM card slot on a smartphone, it involves poking a pin into a small, sealed pinhole on the rear of the product to release the internal components.

The second concept is a vacuum mechanism. It involves placing the product into a vacuum, causing closed cell foams and air-sealed features within it to expand and bust the external housing open.

Third, there is a piston mechanism that works by pushing a piston through a cap on the bottom of a device and forcing all of the internal components upwards until they emerge through the top.

3D graphic showing a conveyer belt of electric toothbrushes being disassembled in Seymour Powell's Un-Made concept3D graphic showing a conveyer belt of electric toothbrushes being disassembled in Seymour Powell's Un-Made concept
The first concept includes a pin-triggered release mechanism

The final concept involves using UV glue – a type of adhesive that deactivates under ultraviolet light. In this concept, the product is placed into a specially lit chamber to release the clamshell construction.

The Un-Made project was led by Eddie Hamilton, a senior industrial designer at Seymourpowell, who was driven to make the work after researching what electric toothbrush to buy for himself.

“Inevitably I went for the cheap one, at which point Amazon smugly pointed out they’d sold 10k+ of that model last month alone,” said Hamilton.

3D graphic of a series of electric toothbrushes on a conveyer belt. The one on the left is whole, the one in the middle is having its casing stripped from it under a clear dome, and the one on the right has its interior components exposed3D graphic of a series of electric toothbrushes on a conveyer belt. The one on the left is whole, the one in the middle is having its casing stripped from it under a clear dome, and the one on the right has its interior components exposed
Another mechanism uses a vacuum to burst open the product’s external housing

“As an industrial designer, I spend time obsessing over the product I’m working on, typically thinking of it in isolation,” he added.

“But one thing I occasionally fail to remember or adequately picture is the true scale of that product once manufactured. 10,000 units sold per month seems vast.”

Using Amazon’s bestsellers list, Hamilton ascertained that fabric shavers, steam irons, wireless doorbells, wireless computer mice, digital tyre inflators and USB-C adaptors were all items selling in their thousands each month, at a price of less than £20.

While designing products so they can be repaired is important, the associated expense may not be something that customers can justify for small items sold at this price point, Hamilton said.

“Even if we change societal attitudes, the bottom line is whether you should open that cheap toothbrush to replace a failing battery when you only paid £24.99 for it two years ago,” he said.

“I’m optimistic for some product categories to get the ball rolling, namely expensive and bulky items. But I’m also a realist that we need alternative strategies adjacent to repair. This is where we must design for disassembly.”

In Hamilton’s view, disassembly and recycling is a worthy “next best option” to repair for cheaper objects, as it keeps the materials in a circular material flow.

3D graphic showing a conveyer belt of electric toothbrushes being disassembled by a piston mechanism pushing their internal components out from the bottom to the top of the casing from Seymour Powell's Un-Made concept3D graphic showing a conveyer belt of electric toothbrushes being disassembled by a piston mechanism pushing their internal components out from the bottom to the top of the casing from Seymour Powell's Un-Made concept
The piston mechanism disassembles a product by pushing its components up and out

The Un-Made design team took inspiration from Agency of Design’s Design Out Waste project, which looked at three strategies for keeping a toaster out of landfill. But they particularly wanted to explore just how efficient the disassembly process could be made through automation.

The cheaper and easier the process, they say, the more motivation there is for companies to pursue this approach and recover the components and materials inside their devices.

“A huge part of the reason e-waste ends up in landfill is because of product complexity and the inherent challenges involved in their disassembly,” Seymourpowell lead designer Alex Pearce told Dezeen.

“To date, because e-waste has been considered too time-consuming and costly to disassemble – there has been no (commercial) incentive strong enough to make it a viable option.”

3D graphic showing a conveyer belt of electric toothbrushes going into a purple-lit tunnel and emerging on the other side in pieces3D graphic showing a conveyer belt of electric toothbrushes going into a purple-lit tunnel and emerging on the other side in pieces
The fourth Un-Made concept uses UV light to dissolve the glue holding the device together

The materials inside even cheap devices are valuable, Pearce points out, particularly when there are supply shortages or when it comes to rare-earth minerals.

“When you consider that more gold exists within a ton of e-waste than within a ton of gold ore dug from the ground, a straightforward economic imperative becomes clear for companies who are able to recover and reuse these materials,” said Pearce.

Seymourpowell imagines disassembly taking place either at the manufacturer’s facilities following a take-back procedure, or potentially at a public recycling centre if disassembly processes have been sufficiently standardised.

The London-based studio is known for its innovative product and transport designs, as well as concepts that challenge current norms. Recent projects from the studio have included the two-in-one reusable Bottlecup and a spaceship cabin for Virgin Galactic.

Reference

Alárò City_Skidmore, Owings & Merrill (SOM)
CategoriesArchitecture

The Future of Urban Planning: How AI Technology is Impacting Smart Cities

Architizer’s Tech Directory is a database of tech tools for architects — from the latest generative design and AI to rendering and visualization, 3D modeling, project management and many more. Explore the complete library of categories here.

Urban planning has always been a complex, large-scale “brain teaser” for architects. It requires the collaboration of several disciplines: architects, urban planners, sociologists, anthropologists, environmentalists and transportation planners, and the coordination of many bureaucratic governing bodies. Throughout time, there have been many urban planning theories, such as Garden City by Ebenezer Howard or Le Corbusier’s modernist Radiant City concept, which explored new modes of city organization and ways of living by suggesting speculative social structures, resource management and nature integration practices.

Following the rapid technological advancements in the early 2000s, the concept of “smart cities” gradually emerged, eventually gaining significant traction during the AI boom. Today, AI technology has opened up new realms of possibility, where algorithms and data are added to the architect’s tool belt, aiming to create sustainable, efficient and livable environments for burgeoning populations. However, first, it is imperative to define what exactly constitutes a “smart city” as well as how architects can employ AI in today’s urban planning practices.

Delving into city design requires two distinctive modes of thinking: ways of designing urban networks and ways of maintaining them. AI-powered design tools can analyze vast amounts of data, such as environmental conditions, demographic trends and urban infrastructure, to propose optimized design solutions that meet specific criteria, such as energy efficiency, pedestrian flow or complex cultural norms.

Alárò City_Skidmore, Owings & Merrill (SOM)

Alárò City by Skidmore, Owings & Merrill (SOM), Lagos, Nigeria

At the same time, architects can leverage AI planning tools to explore a broader range of design possibilities and quickly iterate through multiple schemes, as well as create responsive architecture proposals, which can adapt to changing environmental conditions and user preferences in real time. Responsive architecture designs also foster dynamic interactions between buildings and their surroundings, blurring the boundaries between the built environment and nature and promoting sustainable urban ecosystems.

On the other hand, AI technology can be incorporated in the actual design of buildings, where for instance, sensors and actuators can adjust lighting, temperature and ventilation based on occupancy levels, weather patterns and energy demand. It can also serve as the backbone of interconnected infrastructure systems throughout a city. AI algorithms can analyze traffic patterns to optimize road networks, predict maintenance needs for public utilities, and even detect and respond to emergencies, enhancing the overall resilience and reliability of urban infrastructure. In other words, AI becomes an integral part of a city’s operation and maintenance.

Architizer’s new Tech Directory aggregates tech tools for architects, allowing you to search, compare and review AI softwares before selecting which to you in your next project:

Explore Architizer’s Tech Directory

These AI applications are essentially two sides of the same coin. They expose both implicit and explicit ways of using AI for urban planning and thus broadening the definition of “smart” cities. For instance, projects such as Liam Young’s Planet City, present a new mode of urban design which could potentially be characterized as an archetypal “smart city”. While the use of AI technology is not explicitly stated, Planet City introduces concepts of interactive solar panels for powering the ten billion population imaginary city. It also presents a rather eccentric idea of having a non-stop planetary festival, where different cultural celebrations are revisited throughout the year to preserve the cultural diversity of human civilization.

These two examples of AI-driven practices push the boundaries of traditional urban planning. More specifically, the first is an obvious case of responsive AI technology that leads to a more sustainable living, whereas the second one suggests employing AI algorithms to collect sufficient data and propose optimal cultural and social structures within the new city.

SmartCity Springpark Valley

SmartCity Springpark Valley  by planquadrat Elfers Geskes Krämer GmbH, Bad Vilbel, Germany

Another world-famous project, well-known for its AI integration, is The Line: a futuristic city currently being built in Saudi Arabia. NEOM, the company behind The Line, stated its ambition to create a digital twin backbone through the use of AI tools that will aid the city’s construction and minimize carbon emissions and material waste. Still, a “smart city” does not necessarily have to be a tabula rasa project. Using AI tools to improve existing cities that carry hundreds of years’ worth of human history might arguably be the most important endeavor in urban planning.

One example is the Barcelona Smart City Project, which revitalizes public squares and parks and integrates AI technology such as smart lighting and noise sensors, thus enhancing the city’s livability. Furthermore, Barcelona embraced open data initiatives, thus encouraging the development of numerous urban planning tools and real-time information hubs that continuously improve the city’s operation and maintenance.

Admittedly, designing as well as managing a city is no simple task. Still, whether acting as a medium through which provocative thought-experiments are designed (speculating about future urban design practices) or offering ways of utilizing data to physically realize innovative building environments, AI offers tremendous potential for reimagining urban spaces. By tackling the challenges of the world’s largest urban metropolises and striving for pioneering urban regeneration practices, AI becomes a catalyst for creating more equitable, inclusive, and resilient cities for generations to come.

Architizer’s Tech Directory is a database of tech tools for architects — from the latest generative design and AI to rendering and visualization, 3D modeling, project management and many more. Explore the complete library of categories here.

Reference

Photo of a bowl of pink-coloured rice viewed from above
CategoriesSustainable News

Scientists develop hybrid “beef rice” as future meat alternative

Scientists from South Korea’s Yonsei University have invented what they believe to be a sustainable, high-protein food in the form of “beef rice”, made by growing cow cells in grains of rice.

Tinged a pale pink from the cell culturing process, the hybrid food contains more protein and fat than standard rice while having a low carbon footprint, leading its creators to see it as a potential future meat alternative.

The beef rice was made by inserting muscle and fat stem cells from cows into grains of rice and leaving them to grow in a Petri dish.

Photo of a bowl of pink-coloured rice viewed from abovePhoto of a bowl of pink-coloured rice viewed from above
The hybrid “beef rice” is made by growing cow muscle and fat cells within rice grains

Because the rice grains are porous and have a rich internal structure, the cells can grow there in a similar way to how they would within an animal. A coating of gelatine – in this case, fish-derived – further helps the cells to attach to the rice.

Although beef rice might sound like a form of genetically modified food, there is no altering of DNA in the plants or animals. Instead, this process constitutes a type of cell-cultured or lab-grown meat but with the beef grown inside rice.

In a paper published in the journal Matter, the Yonsei University researchers explain that their process is similar to that used to make a product already sold in Singapore – a cultured meat grown in soy-based textured vegetable protein (TVP).

Soy and nuts are the first foods that have been used for animal cell culturing, they say, but their usefulness is limited because they are common allergens and do not have as much cell-holding potential as rice.

Complex graphic depicting bovine and fat cells inserted into rice grains and the nutritional content table for 100 grams of cultured meat riceComplex graphic depicting bovine and fat cells inserted into rice grains and the nutritional content table for 100 grams of cultured meat rice
It contains more fat and protein than standard rice

The nutritional gains for their beef rice are also currently small, but the researchers from Yonsei University’s Department of Chemical and Biomolecular Engineering say that with further optimisation, more cells and therefore more protein could be packed in.

The hybrid rice contains 3890 milligrams of protein and 150 milligrams of fat per 100 grams – just 310 milligrams more protein and 10 milligrams more fat than standard rice.

“Although hybrid rice grains still have a lower protein content than beef, advances in technology that can improve the cell capacity of rice grains will undoubtedly improve the nutritional content of hybrid rice,” the researchers said in their paper.

The scientists also believe the product could be inexpensively commercialised and tout the short time frame required to boost nutrition through culturing.

Whereas beef production usually takes one to three years and rice 95 to 250 days, they say their cell culturing process took less than 10 days.

“Imagine obtaining all the nutrients we need from cell-cultured protein rice,” said researcher Sohyeon Park. “I see a world of possibilities for this grain-based hybrid food. It could one day serve as food relief for famine, military ration or even space food.”

If commercialised, the hybrid grain is expected to have a low carbon footprint, similar to growing standard rice, because there would be no need to farm lots of animals. While the stem cells used for the process are extracted from live animals, they can proliferate indefinitely and don’t require animal slaughter.

An obstacle for some may be the taste; the cell culturing process slightly changes the texture and smell of the rice, making it more firm and brittle and introducing odour compounds related to beef, almonds, cream, butter and coconut oil.

Image of hybrid "beef rice" being grown in a petri dishImage of hybrid
The meat alternative was grown in a Petri dish

However, lead researcher Jinkee Hong told the Guardian that the foodstuff tastes “pleasant and novel”.

The team is now planning to continue their research and work to boost the nutritional value of the hybrid rice by stimulating more cell growth.

Lab-grown and cultivated meats have been a subject of great interest and investment since 2013 when the world’s first lab-grown burger was eaten live at a press conference.

However, scaling up production, clearing regulatory hurdles and creating an appealing taste and texture have proven a challenge, and there are few examples on sale anywhere in the world.

In the meantime, speculative designers have explored the issue. Leyu Li recently created three conceptual products that, similar to beef rice, combine lab-grown meat with vegetables, calling them Broccopork, Mushchicken and Peaf.

All images courtesy of Yonsei University.

Reference

Elevating wind power with spiral welding technology
CategoriesSustainable News

Elevating wind power with spiral welding technology

Spotted: To reach net zero by 2050, we need to drastically reduce our reliance on fossil fuels, and that means ramping up green energy generation. According to the International Energy Agency (IEA), that involves adding 390 gigawatts of wind power generation capacity every year by 2030. But, rising upfront construction costs, particularly for offshore farms, could compromise that goal, with several offshore projects in the US needing to be cancelled or renegotiated due to issues around financing. Hoping to make wind farm construction more affordable is Colorado-based Keystone Tower Systems. 

The company has devised a revolutionary manufacturing process that streamlines and cuts the cost of making turbine columns. In the company’s spiral welding process, which is a well-established technique used to create pipelines, large pieces of steel are fed into a machine, so they curve around into a spiral shape to form a turbine base. The process can be done quickly and continuously by one machine that completes the joining, rolling, fit-up, welding, and severing of a tower section. 

With this method, it’s easy to vary the diameters and wall thicknesses, which means that wind towers can be built twice as tall as existing structures, enabling turbines with bigger blades that can also reach greater wind speeds further up in the sky. This means greater wind energy generation.  

Keystone’s manufacturing facilities have a relatively small footprint, meaning they can be placed near proposed wind farms for on-site production. Developers therefore don’t need to worry about making long, expensive, and energy-intensive journeys to transport the massive pre-manufactured components required for larger-scale turbines. Instead, steel can be shipped flat, making for much easier transportation. This is particularly helpful for offshore farms, as a temporary manufacturing facility can be easily deployed on the coast, for the creation of tall, structurally optimised towers. 

Wind is playing a key role in the green transition, and innovators are working to make it more efficient than ever. Springwise has also spotted small turbines for wind microgrids as well as this novel design that cuts the cost of wind power.

Written By: Archie Cox and Matilda Cox

Reference

A small square piece of leather-like material, in a mottled hue of caramel brown
CategoriesSustainable News

Food-waste dyes bring colour to mycelium leather by Sages and Osmose

Two British materials companies, Sages and Osmose, have collaborated to dye sheets of mycelium with natural food waste, mimicking the appearance of tanned leather and suggesting a colourful future for the biomaterial.

Osmose is a company making a leather alternative from mycelium – the fibrous underground root network of mushrooms – while Sages makes natural dyes from food waste such as avocado pits, blueberries, red cabbages and onion skins, which are normally applied to textiles.

The two believe they’ve achieved a world first with their collaboration, combining two emerging areas of sustainable material development to colour mycelium without resorting to petroleum-based synthetic dyes, thereby keeping the product non-toxic and able to biodegrade safely in soil.

A small square piece of leather-like material, in a mottled hue of caramel brown A small square piece of leather-like material, in a mottled hue of caramel brown
Sages and Osmose have developed a natural dying process for mycelium leather

“There are lots of different types of vegan leather alternatives to traditional leather but the majority of them use either synthetic colourations or they use plasticisers, so they’re non-biodegradable,” said Sages CEO Emily Taylor.

“We wanted to explore an option where we could have a fully biodegradable leather that has also been coloured in a biodegradable and sustainable manner,” she continued.

Companies that prioritise biodegradability have offered mycelium in its natural shades of white and brown or black, which Osmose CEO Aurelie Fontan says is much easier to achieve naturally.

“I think the challenge for mycelium leather was that the offering just wasn’t there in terms of aesthetic,” she said. “When you’re presenting for brands and you’re like ‘we can only do brown’, it’s a little bit boring for them.”

Photo of swatches of mycelium dyed in different shades of tan, pale violet and mulberryPhoto of swatches of mycelium dyed in different shades of tan, pale violet and mulberry
The companies experimented with different food wastes in the dyeing process

“The colour sector is somewhere where you can develop your USP, essentially, which is why working with Sages is so interesting,” Fontan added.

Osmose and Sages have created tan-coloured mycelium sheets using avocado waste, which Sages sources from an importer and guacamole factory in Milton Keynes, where tens of tonnes of leftover pits and skins are produced each week.

It was a new area for both companies, as the food waste dye takes differently to mycelium leather than it does to the usually cellulose-based textiles that Sages has worked with.

The duo collaborated with materials science researchers at the UK’s Cranfield University on the project, for which the researchers focused on how to transfer and fix the dye to the material using “green chemistry” – an area of chemistry that aims to cut out hazardous substances.

In this case, the researchers sought to replace the formic acid and fluorinated acids that are often used in tanning to dissolve the polymers of the leather so it can be infused with dye. Instead, the team developed a method, which they say is significantly less toxic.

After working with Cranfield University, Sages and Osmose expanded the experiment and trialled other waste streams such as blueberries and onion skins to see what colours they could get, producing mycelium swatches in shades of violet and bordeaux.

Taylor and Fontan say they are trying to develop a process for mycelium that is akin to leather tanning, where both colour and durability properties are added in one or two steps. Their equivalent, they say, would be to dye and waterproof the material at the same time.

Close-up of vegan mycelium sheet showing its similarity to the texture of tanned leatherClose-up of vegan mycelium sheet showing its similarity to the texture of tanned leather
The tan colour was created by using waste avocado pits and skins

Osmose’s focus now is on developing a waterproof coating for their mycelium that, like the dye, is bio-based, non-toxic and able to biodegrade safely in soil. This is notoriously a challenge for plant-based leather alternatives, which almost always rely on a protective synthetic coating.

“It’s really hard to design a solution that fits all materials, which is basically what everyone is struggling with,” said Fontan. “Someone might have pineapple leather and they have their own coating but it doesn’t mean it’s going to work on mushroom and so on.”

Unlike some companies, however, Osmose says it does not want to bring a product with a non-biodegradable coating to market.

“If you’re doing a composite, it will not biodegrade at the end of life, which is compromising all the good work that you’ve been doing before that step,” Fontan said.

Mycelium is one of the most popular emerging leather alternatives. It has already appeared in luxury goods such as a bag by Hermes, clothing by Stella McCartney and trainers by Adidas.

Reference

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

Renco lego building
CategoriesArchitecture

Dezeen Agenda features apartment building made from Lego-like blocks

Renco lego building

The latest edition of our weekly Dezeen Agenda newsletter features an apartment block in California constructed like a “real-life Lego-kit”. Subscribe to Dezeen Agenda now.

Florida-based manufacturer Renco has completed a Palm Springs apartment complex that was made using Lego-like blocks made of repurposed materials and designed by architecture studio Arquitectonica.

Constructed from a composite blend of glass fibres, resin, and stone, the blocks were designed to be stronger, less energy-intensive and more affordable than conventional materials.

Portrait of Lesley LokkoPortrait of Lesley Lokko
“Revolutionary force” Lesley Lokko wins 2024 RIBA Royal Gold Medal

This week’s newsletter also featured Ghanaian-Scottish architect Lesley Lokko being named the recipient of this year’s RIBA Royal Gold Medal, the reveal of plans and the architect for this year’s Serpentine Pavilion and a “first aid kit” for furniture designed by Yalan Dan.

Dezeen Agenda

Dezeen Agenda is a curated newsletter sent every Tuesday containing the most important news highlights from Dezeen. Read the latest edition of Dezeen Agenda or subscribe here.

You can also subscribe to our other newsletters; Dezeen Debate is sent every Thursday and features the hottest reader comments and most-debated stories, Dezeen Daily is our daily bulletin that contains every story published in the preceding 24 hours and Dezeen In Depth is sent on the last Friday of every month and delves deeper into the major stories shaping architecture and design. 

Reference

A green clean: bio-based technology for oil spills
CategoriesSustainable News

A green clean: bio-based technology for oil spills

Spotted: While large oil spills like the Exxon Valdez disaster make the news, smaller spills occur more frequently than the media headlines would suggest. According to the non-profit International Tanker Owners Pollution Federation Limited (ITOPF), 2023 saw one large spill (greater than 700 tonnes) and nine medium spills (7-700 tonnes). On top of this, there are thousands of much smaller spills each year that still have a big impact on marine ecosystems.

To make this clean-up greener, Green Boom has developed a line of biodegradable oil absorbents, which can rapidly soak up four times their weight in oil without producing additional waste. This is important because, according to the company, oil spill clean-up creates around 9,000 tonnes of oil-absorbent waste each year, and most solutions involve single-use plastics that end up in landfills.

Green Boom’s products, including booms and mats, feature cotton-based, tear-resistant fabrics filled with natural fibre biomass that repels water and rapidly absorbs oil from spills. All the products are made from 100 per cent sustainably sourced, renewable raw materials.

Video source Green Boom

The company was launched in 2019 and has earned the USDA Certified Biobased Product Certification for its absorbents. Last year, Green Boom partnered up with Netherlands-based Greaner BV to help accelerate the adoption of its more eco-friendly clean-up solutions.

Springwise has spotted several innovations aimed at oil and pollution clean-up. These include the use of oil-eating microbes and hair from salons stuffed into recycled hosiery.

Written By: Lisa Magloff

Reference

From Float Glass to OLEDs: How Recent Advancements in Glass Technology Are Reshaping 21st Century Design
CategoriesArchitecture

From Float Glass to OLEDs: How Recent Advancements in Glass Technology Are Reshaping 21st Century Design

Architizer’s A+Product Awards celebrate the manufacturers at the forefront of material innovation. If your brand is innovating in product design for architects, consider entering today:

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It might be hard to believe in today’s see-through society, but glass was once a scarce resource used sparingly in architecture. In the early years, glass was a medium for divine storytelling. The Sainte-Chapelle in Paris, a stunning structure completed in 1248, illustrates 1,113 scenes from the Old and New Testaments across a massive surface area of 6,888 square feet (640 square meters) of stained glass windows. Although beautiful, the windows were not decorative. They were an educational tool to teach religion to an illiterate population — 13th-century marketing at its very best.

By 1851, Joseph Paxton had designed and built The Crystal Palace for The Great Exhibition in London. With its vast expanse of plate glass panels and cast iron framework, the structure redefined the possibilities of architecture and design. As time and technology progressed, the float glass process (pouring the molten glass from a furnace into a chamber that contains a bed of molten tin), conceived by Sir Alastair Pilkington in 1959, was groundbreaking. It enabled the creation of large, uniform glass sheets that were less time-consuming to manufacture and more stable. The new process allowed glass to be seen as a structural element rather than a decorative addition.

Double-Curved Channel Glass Walls by Bendheim. Finalist, 2022 A+Product Awards, Best of the Year, Architectural Design 

By the time Modernism came into its own, a new vision of glazing was well underway — influenced mainly by the ever-experimental Ludwig Mies van der Rohe. Mies’s philosophy of “less is more” led to a minimalist aesthetic where glazing allowed architects to move away from the solid, enclosed walls of traditional design to a language of openness and fluidity. This work laid the foundation for the modern skyscraper and encouraged a shift towards integrating buildings with their environment, emphasizing nature and light. It was a pinnacle time for glazing advancement, and now, 100 years on, we are entering a new phase of glazing innovation.

The market for advanced glazing technologies is robust and expanding. Industry analyses, such as those conducted by Grand View Research, indicate that the global smart glass market, valued at USD 4.22 billion in 2020, is anticipated to grow at a compound annual growth rate (CAGR) of 6.8% from 2021 to 2028. This growth trajectory is propelled by the escalating demand for energy-efficient and technologically sophisticated building solutions. The market expansion reflects a broader architectural trend toward buildings that are not just structures but adaptive, energy-efficient systems.

eyrise i350 Invisible Privacy Glazing by Merck KGaA. Jury Winner, 2022 A+Product Awards, Best of the Year, Health & Wellness 

Smart glass technologies, like electrochromic glass, are at the forefront of such innovation. Using a minimal electrical charge, electrochromic glass can transition between transparent and opaque states, offering dynamic control over both natural lighting and privacy while significantly impacting energy efficiency. For instance, in its opaque state, electrochromic glass can block solar radiation, substantially reducing the need for air conditioning in buildings. According to a U.S. Department of Energy report, smart windows have the potential to save up to 20% in annual energy costs, marking a substantial stride in building energy efficiency through one of the most used materials in construction.

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Sustainability is one of the key drivers in the evolution of glazing technologies, with an emphasis on integrating recycled materials into the production process being a priority. The use of cullet, or recycled glass, in glass manufacturing has been bolstered by new sorting and cleaning technologies that efficiently prepare the recycled glass for melting, causing less waste and using less energy.

SunGuard SNR 50 coated glass by Guardian Glass. Popular Choice Winner, 2022 A+Product Awards, Façades & Openings, Glass & Glazing

Thanks to these new recycling techniques, coatings derived from recycled glass are being used more frequently. Low-emissivity (Low-E) coatings featuring microscopic layers of metallic oxides are becoming ever more popular. These glasses effectively minimize thermal transmittance while maintaining high levels of light transmittance. As do solar control coatings that selectively reflect infrared solar radiation, reducing heat gain and glare. In the context of urban design, these technologies lower heat absorption, thereby lowering ambient temperatures throughout our warming cities and reducing the urban heat island effect, a growing concern in densely populated cities.

Yet it’s not all about sustainability and climate. Multifunctional glazing solutions are reshaping the role of glass in architecture. These advanced solutions, integrating features like LED displays and touch-screen capabilities, are transforming windows from passive elements into interactive, multifaceted platforms. This transformation is underpinned by advances in optoelectronic engineering, enabling the integration of Organic Light Emitting Diodes (OLEDs) directly onto glass surfaces. These OLEDs provide energy-efficient, high-quality displays. Touch-screen functionality is achieved through the application of transparent conductive oxides (TCOs), which offer capacitive touch recognition without compromising the transparency of the glass.

Experts in the industry are highly optimistic about the potential of such technologies. With a simple touch, users can control lighting and privacy and have immediate access to information, making buildings more functional and adaptable.

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Digital display glass provides a platform for real-time information dissemination; things like weather updates, service information, local points of interest, or even emergency alerts can be shown on the building itself. From a commercial perspective, digital display glass holds great potential, with it being used for advertising or showcasing products, offering business opportunities, and reaching broader audiences. Although advertising is a popular function, architects and designers have an opportunity to utilize this technology as a space for artistic expression, integrating digital art, animations, or dynamic visuals that can contribute to the aesthetic language of buildings.

Similarly, the integration of augmented reality (AR) and interactive features in smart glass technologies are pushing digital imaging and sensor technology. AR functionalities can be embedded in glass through the use of micro-projectors and transparent photovoltaic cells, allowing buildings to communicate and engage with occupants in unprecedented. This integration signifies a leap in the application of photonics and digital interactivity in architectural design, pointing towards a future where buildings offer not just shelter but dynamic, responsive environments.

In educational or public spaces, digital display glass and AR features can be used as a dynamic learning tool, displaying educational content, interactive exhibits, or historical information, enriching the learning experience and promoting knowledge while providing opportunities to increase accessibility in buildings, ensuring that everyone can benefit from the technology in a surreal revisiting of glazing’s original purpose from the 13th Century.

In essence, like much of our industry, glazing is witnessing a revolution marked by innovation, a commitment to sustainability, and a focus on enhancing human experiences. The enthusiastic embrace of these technologies by industry experts and leading architects underscores a shared commitment to innovating for a better, more sustainable, and aesthetically enriching future.

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Architizer’s A+Product Awards celebrate the manufacturers at the forefront of material innovation. If your brand is innovating in product design for architects, consider entering today.

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Photo of seven colours of CornWall tile in flatlay, ranging from a warm beige to a a muted reddish brown and a dark greenish grey. The tiles are arranged beside a bare corn cob, a full corn cob and a small bowl of shredded biomass
CategoriesSustainable News

CornWall gives discarded corn cobs new life as interior tiles

Materials companies Circular Matters and StoneCycling have used corn cobs – one of the world’s most plentiful agricultural waste materials – to make interior cladding that is biodegradable and almost entirely bio-based.

Available in the form of tiles and sheets, CornWall is intended as a more sustainable alternative to ceramic interior wall tiles or plastic laminate.

The material is derived from more than 99 per cent renewable, biological sources, is created at low temperatures using mainly solar power and emits less carbon dioxide in its production than was captured by the corn as it grew, the manufacturers claim.

Photo of seven colours of CornWall tile in flatlay, ranging from a warm beige to a a muted reddish brown and a dark greenish grey. The tiles are arranged beside a bare corn cob, a full corn cob and a small bowl of shredded biomassPhoto of seven colours of CornWall tile in flatlay, ranging from a warm beige to a a muted reddish brown and a dark greenish grey. The tiles are arranged beside a bare corn cob, a full corn cob and a small bowl of shredded biomass
CornWall is an interior cladding material that is 99 per cent bio-based

To give the products a long lifespan, Circular Matters and StoneCycling have produced the tiles with a mechanical fixing system, so they can be demounted and reused or given back to the company for cleaning and recycling.

The technology behind CornWall was invented by Circular Matters – a start-up spun out of a lab at Belgium’s KU Leuven University, where founder Pieter Dondeyne and his team found a way to process plants to enhance their natural biopolymers and create durable materials.

The team then partnered with Dutch company StoneCycling to channel their technology into a product.

Photo of a person, close-up on their hands, holding a small pile of bare corn cobs, their kernels removedPhoto of a person, close-up on their hands, holding a small pile of bare corn cobs, their kernels removed
Corn cobs make up most of the composition of the tiles

StoneCycling co-founder Ward Massa told Dezeen that the focus on corn came because it is one of the most grown crops on the planet and its waste is abundant.

“What happens when you grow corn for human consumption is when it’s ready to harvest, you take off the corn and the corn cob is a leftover material because it doesn’t hold any nutritious value,” he said.

“Usually, that means that these corn cobs remain on the field and rot away, or they are burned as biomass to generate energy,” he continued. “In both cases, you release the carbon that was stored in those fibres – it rots away and it gets released, or you burn it and it gets released.”

With CornWall, the carbon is locked away until the tiles reach the end of their life and are left to decompose.

The production process begins with the discarded cobs being collected, dried and shredded into biomass.

This material is then mixed with other agricultural waste, binders and pigments and pressed into a plate material at a relatively low heat of 120 to 150 degrees. As a final step, the tiles are given a thin coating for water resistance.

All of the ingredients are derived from biomass apart from the pigment, which accounts for the 0.5 per cent of the product that is not bio-based – a very low percentage in a field where even products containing small amounts of materials of organic origin are sometimes labelled as bio-based.

Photo of a person at a distance standing in a huge warehouse of bare corn cobs piled high into hillsPhoto of a person at a distance standing in a huge warehouse of bare corn cobs piled high into hills
The agricultural waste material was chosen because of its abundance

According to Massa, the companies were able to keep the product pure by focusing on interior wall applications only.

“If you want to create a product that can also be used on the exterior or as a flooring or in the shower, then you have to start adding chemicals to bind it, to make it more water resistant and stuff like that,” he said.

“We chose to start with this application because it’s relatively easy and the binder and the product is nothing else than the natural polymers that are already part of this biomass. Because of adding heat and pressure, these polymers are activated and bind together.”

Photo of four objects in flatlay — a full corn cob on the left, followed by a bare corn cob, then a small tray of shredded biomass, then a CornWall tilePhoto of four objects in flatlay — a full corn cob on the left, followed by a bare corn cob, then a small tray of shredded biomass, then a CornWall tile
The corn cobs are dried and shredded before being pressed into tiles

CornWall is also biodegradable according to official standards, with Massa saying it could be buried in a field and disintegrate in a couple of months.

The only thing that would remain is the water-resistant coating, which is not biodegradable but makes up less than 0,001 per cent of the total product meaning it does not affect its biodegradability overall, according to Massa.

“Unfortunately there are no 100 per cent biodegradable coatings on the market yet,” he said. “We’re working with our suppliers on this but it’ll take more time.”

Instead, the intent is to keep the product in use for as long as possible.

The companies wants to target retail and hospitality chains that frequently open and close locations – Starbucks is an example Massa gives – and work with them to make sure the tiles stay in a closed loop of material reuse.

He also believes CornWall offers good options for these kinds of businesses in the design stage, as it can be ordered in custom colours and embossed patterns to complement their branding.

Photo of seven colours of CornWall tile in flatlay, ranging from a warm beige to a a muted reddish brown and a dark greenish grey. The tiles are arranged beside a bare corn cob, a full corn cob and a small bowl of shredded biomassPhoto of seven colours of CornWall tile in flatlay, ranging from a warm beige to a a muted reddish brown and a dark greenish grey. The tiles are arranged beside a bare corn cob, a full corn cob and a small bowl of shredded biomass
The tiles are available in a base range of six colours

“As far as we are concerned, this will become the new retail material,” said Massa. “Especially in those places in retail where they now use materials that are either glued or take a lot more energy to make or create a lot of waste when the shops are being renovated or demolished.”

“Production can also be done regionally because you don’t need a very complicated factory for it.”

CornWall is currently available in a base range of six colours and two sizes, developed in collaboration with Dutch design practice Studio Nina van Bart. Massa says additional textures will soon be added to the line.

CornWall is the fourth product from StoneCycling. The first was the WasteBasedBrick, which is made from 60 per cent waste and was used by Dutch architects Nina Aalbers and Ferry in ‘t Veld of Architectuur Maken to build their own house in Rotterdam.

Reference