Cross-laminated timber (CLT) has been dubbed the concrete of the future. As a highly resilient form of engineered wood made by gluing layers of solid-sawn lumber together, CLT is reshaping how we understand architecture and design today. As a material with a high degree of flexibility, CLT has to undergo great deformations to break and collapse, unlike concrete. In turn, it’s a material chosen for its warmth and natural properties.
Dennis Schnelting and Carsten Trill of product design label Lockengeloet, have created a collection of furniture pieces made from oil barrels. Their very first oil barrel cabinet was made from a neighbor’s oil drum about 15 years ago, and now they use metal oil barrels from the Port of Hamburg in Germany. Their collection ranges […]
Our next Business of Design lecture in the series is coming soon! This time, we are honoured to welcome Steve Edge, Creative Director and Founder of the London-based, global branding agency specialising in Brand identity, Brand strategy and digital design & build, Steve Edge Design.
The World Monuments Fund has released its 2022 World Monuments Watch list, a selection of 25 sites from across the globe that hold great cultural and heritage significance but are being faced with economic, political or natural threats. This year’s selection highlights themes of global issues such as climate change, imbalanced tourism, underrepresentation, and recovery from crisis, urging for prompt preservation plans.
Created for Desert X AlUla 2022 in Saudi Arabia, Under the Same Sun examines the tangled web between the sun, its material reality, and the energy, images, and forms that it produces. This multimedia installation developed by Canadian artist Stephanie Deumer features a greenhouse of native plants submerged in an underground cavernous space.
Construction technology company ICON unveiled its newest 3D-printed project, “House Zero”, designed by Texas-based firm Lake|Flato Architects. The project is the first in ICON’s “Exploration Series,” which seeks to highlight the architectural possibilities enabled by additive construction and develop new design languages with the purpose of “shifting the paradigm of homebuilding”. The material honesty of the house combines the expression of robotic construction processes with the natural wood textures creating a timeless design.
Machu Picchu, also known as “The Lost City of the Incas”, located high in the Peruvian Andes (2430 m.a.s.l.) in Cuzco, is one of the most famous archaeological complexes and one of the 7 wonders of the modern world. It is here, under the dense foliage of the surrounding jungle, that a network of hidden river channels has been discovered.
As is obvious to anyone with even a passing interest in demographics, cities are becoming denser—much denser. Rural life continues its steady emptying-out as urban life accelerates its explosive filling-in. The tilt has been apparent at least since the middle of the last century when the French geographer Jean Gottmann invented the word “megalopolis” to describe the continuous urbanization from Boston to Washington, D.C., then containing one-fifth of the United States’ population. But nowhere has the shift from countryside to city been more dramatic than in present-day Asia.
Forme Architecture + Urbanisme recently delivered an atypical project – the conversion of a horticultural greenhouse into a hospitality room – located in the private garden of the Clinique Saint Jean de Dieu, within the conservation area. Within the Paris 7th arrondissement conservation area, the project is the heritage rehabilitation of a listed former horticultural greenhouse and its conversion into a hospitality room.
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