Tuesday, 6 July 2021

Claims that planting trees won't slow climate change are "absolute garbage" says commenter

Aerial view of forest

In this week's comments update, our story quoting experts who say planting trees "doesn't make any sense" in the fight against climate change has triggered a furious reaction from readers.

"Absolute garbage," said Rory in the story's comments section. "Trees have a massive potential for capturing carbon."

"What claptrap," added David Graybeal. "Someone with a financial interest in an alternative disparages one perfectly good approach."

"Let's plant them anyway" 

Many of the specialists quoted in our story claim afforestation is not a reliable enough method of long-term carbon sequestration since the trees need to be left growing for decades.

Several readers said that shouldn't stop tree-planting schemes. "Let's plant them anyway," said Kevin McGrath. "There are a million other benefits, not least being that they look fantastic!"

Line agreed: "Reforestation creates ecosystems that are cooling down big areas, allowing water to be better absorbed by the soil, helping biodiversity and habitat for endangered species. As valid as the concern of speed of carbon-capturing is, nature will benefit from reforestation if done in a considered and sustainable way."

Michael Wigle sympathised with claims in the article that carbon offsetting schemes can be dubious. "Saying you are offsetting carbon by planting a tree is nonsense," he said, but added: "That doesn't mean we shouldn't invest more time and effort into re-establishing true old-growth forests and greater biodiversity."

Does planting trees make sense in the fight against climate change? Join the discussion ›

Frank Gehry
"I respond to every f*cking detail of the time we're in" says Frank Gehry

Commenter says Frank Gehry should "focus on the details that keep water out of the f*cking building"

Readers are reacting to Frank Gehry's claims that he "responds to every f*cking detail of the time we're in". The architect made the comment during an interview about his new tower in Arles, which he claims fits with both the ancient Roman city and today's environmental agenda.

"I f*cking love Frank Gehry," said Anthony Provenzano Architects.

"Frank, you've earned every right to do whatever the f*ck you and your clients want," added Gregory Walker. "It's been a hell of a career. Thank you for being an inspiration on how to be an architect."

Heywood Floyd disagreed: "When I went to the Guggenheim in Bilbao there was a 55-gallon plastic garbage bin at the top of the stairs to catch the rainwater pouring in through the sculptural glazed roof. Instead of focusing on the 'f*cking details of the time we're in' he should try focusing more on the f*cking details that keep the water out of the f*cking building."

Does Gehry respond to every detail? Join the discussion ›

Manchester Jewish Museum by Citizens Design Bureau
Citizens Design Bureau adds "delicately perforated" Corten extension to Manchester Jewish Museum

Corten steel is "both innovative and gorgeous," says reader

UK studio Citizens Design Bureau has renovated and extended a heritage-listed synagogue to create a museum that "tells the stories of Jewish Mancunians". Commenters are amazed.

"Not a big fan of Corten," said Marc Sicard, "but this way of using it is both innovative and gorgeous."

Orlando1a1 agreed: "This is a fantastic way to use a material that can look so oppressively industrial. When used in such a sensitive way, it transforms into something really rather beautiful and intricate. I never thought that Corten steel could be made to look almost as delicate as lace."

"Every design element compliments the existing structure instead of detracting from it or taunting it," concluded The Pixinator. "It's so harmonious and appropriate. I really love it."

Are you impressed by the renovation? Join the discussion ›

Kengo Kuma reveals cedar-clad public toilet in Tokyo

Public toilet "is the kind of thing cities need," says commenter

Readers are having mixed reactions to a toilet in Tokyo, which Japanese architect Kengo Kuma designed "to dispel the conventional image of public toilets".

"This is the kind of thing more cities need," said Charles Kelso. "Free public facilities that aren't little steel or concrete coffins."

Marc Sicard was less keen: "This is very underwhelming. Wood use seems gratuitous, the rails don't fit the overall aesthetics... not bad but very eh."

"Looks like a health and safety nightmare!" concluded Alfred Hitchcock. "I can imagine the drunk salarymen trying to negotiate this late at night."

What do you think of A Walk in the Woods? Join the discussion ›

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Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page.

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Paul Cocksedge's new chandelier for Moooi is "shaped by gravity"

British designer Paul Cocksedge explains how customers can configure his new Gravity Chandelier for Moooi in this video Dezeen produced for the Dutch design brand.

Cocksedge's Gravity Chandelier for Moooi comprises a series of LED lights enclosed in crystal shades, which are attached to thin, flexible cables.

Gravity Chandelier by Paul Cocksedge
British designer Paul Cocksedge has recently designed a new flexible chandelier for Moooi called the Gravity Chandelier

Each light is suspended from the ceiling independently so that the chandelier's form is shaped by the gravitational pull on the cables.

"You have these really thin delicate lines that are flexible, that curve upwards to crystal components that enclose an LED light and then a really thin wire that goes up to the ceiling, enabling gravity to shape the black lines of the chandelier," Cocksedge explained in the video.

Attached to a central ceiling rose, the flexible arms of the chandelier are embedded with electrical wiring and weighted to give the light a shape that references a traditional chandelier.

The lights can be suspended at different heights, allowing the user to configure the precise form of the chandelier according to their personal preference.

Gravity Chandelier by Paul Cocksedge
The chandelier is made up of thin flexible wires and crystal-enclosed LED lights

"I think the Gravity Chandelier is about allowing the customer to be involved in the creative process of the form of the lamp," the designer said.

Designed to be lightweight and easily packed and shipped, the ceiling light is a departure from traditional chandeliers that are typically large and difficult to handle.

"I wanted to re-engineer the traditional chandelier," Cocksedge said. "It's usually made out of rigid solid pieces of metal and so the Gravity Chandelier is a contrast to that."

Gravity Chandelier by Paul Cocksedge
When installed, the thin and flexible arms of the chandelier fall down and allow gravity to shape them

The project was nearly a decade in the making, with Cocksedge experimenting with a host of different materials to find a combination that would create the smoothest curves.

"I sort of became quite addicted to trying to create this simplicity and that led to years of experimentation," Cocksedge said.

"I'm talking, getting wires and threading on beads and taking things I find in markets and just trying to hold these lines up until they had the flow and the grace that gravity was placing on them."

Gravity Chandelier by Paul Cocksedge
The flexibility of the light makes it suitable for different spaces and allows the user to configure it in different ways

Cocksedge is known for his experimental and sculptural work that often attempts to test the limits of materials and technology.

He previously collaborated with Moooi on the 2016 Compression Sofa, a sculptural foam sofa that gives the impression of being pressed and shaped by a heavy marble slab acting as the seat.

Moooi often collaborates with independent designers on its products, such as a recent project with Andrés Reisinger, where they together produced a real-life version of the 3D artist's virtual chair.

In the past, the brand has collaborated with designers such as Edward Van Vliet, Simone Bonanni, Bernhard Dessecker and Joep van Lieshout, among others.

"I think that's what's really beautiful about working with Moooi, there's a respect for an idea and bringing it to life in the best way possible," the designer said.

Partnership content

This video was produced by Dezeen for Moooi as part of a partnership. Find out more about Dezeen's partnership content here.

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Falmouth University presents eight student product design projects

Falmouth University

A lamp that can be flat packed and a bathroom that adapts to different age groups are included in Dezeen's latest school show by product design students at Falmouth University.

Also included are 3D printed shoes that aim to restore the user's foot health and a 3D printed solution to hand-crafted thumb splints.


Falmouth University

School: Falmouth University, the School of Architecture, Design and Interiors
Course:  BA(Hons) Sustainable Product Design
Tutors: Drummond Masterton, Evy Dutheil, Simon Andrews, Gary Allson, Clive Goodwin and Robert Dooley

School statement:

"The Sustainable Product Design course is a three-year undergraduate programme driven by the major challenges facing humankind today. Our students explore the social, environmental, economic and ethical aspects of product design to create meaningful and responsible products. They consider how these can initiate positive changes in human behaviour to improve sustainability.

"As part of this future-focused product design course, students learn how to become independent practitioners with a strong understanding of design and sustainability. They develop a broad range of creative and prototyping skills and critical thinking to bring ideas to life through the design process. Their work engages with human-centred design practices to inspire products that address user needs and circular systems to reduce environmental impacts.

"Our students nurture strong networks within the course and the wider design industry, which supports their ongoing development as designers."


Falmouth University

Flatlamp by Nicholas Read-Morgan

"This project aimed to create a desk lamp with the benefits of flat packing. Flat packing allows product packaging to be reduced in size, decreasing packaging waste and carbon emissions through transportation.

"Scandinavian design aesthetics inspired Flatlamp – it is a simple, minimalistic product that is easy to use. Softwood was chosen over plastic for its aesthetics as well as being more sustainable. The lamp is assembled using hidden slot joints, allowing for seamless assembly without the need for specialist tools."

Student: Nicholas Read-Morgan
Email: n.readmorgan@hotmail.co.uk


Falmouth University

Familia by Nick James

"The bathroom is used by all – from toddlers through to elders. However, they are typically designed to work for the average adult, with everyone else expected to adapt. Existing 'hack' products often come with an unconsidered aesthetic and stigma attached.

"How can a bathroom adapt to meet users evolving needs? Familia allows household users to have their profile for height settings by utilising technology that can be changed as they age. Sleek, discreet handrails and shower seats are built into the module unit. There is a device that tracks personal water usage, including micro-interactions. This aims to encourage sustainable behaviour."

Student: Nick James
Email:
nj214504@falmouth.ac.uk


Falmouth University

Rent Decks by Herbie Hodson

"Each summer, 14,000 bodyboards are thrown away in the UK. To reduce the amount of plastic waste on the beach, Rent Decks provides an alternative for tourists who want to go bodyboarding while on holiday, who would typically buy a cheap bodyboard made from polystyrene.

"Durable bodyboards made from cork and plywood can be rented for use at the beach, or booked with the visitors' accommodation, removing the need for polystyrene bodyboards and the plastic pollution they cause."

Student: Herbie Hodson
Email:
herbie.hodson@gmail.com


Falmouth University

'Q' by Lydia Folkes-Skinner

"'Q' is a kettle concept designed to break convention. Inspired by 'emotional design' and sculpture, the kettle aims to provoke conflicting emotions with its changeable texture. Acting as a visual indication of the temperature of the water, the surface becomes fully pronounced when the water has reached boiling point.

"Spikes often indicate danger, yet the user is encouraged to pick up the kettle with their hands. The kettle consists of three layers: stainless steel, natural fibre insulation and copper. The insulation layer helps to reduce heat loss and keep the water hotter for longer."

Student: Lydia Folkes-Skinner
Email:
liddy.fs@gmail.com


Falmouth University

E-Ink Smart Card by Jack Coker

"In the UK, unplanned overconsumption is promoted by rising contactless payment limits and the loss of tactility and presence held by physical cash. The E-Ink Smart Card utilizes E-Ink technology to generate better user relationships with digital currencies.

"Solely powered by the tap of contactless payment, the paper-like display allows users to better interact with their funds after each transaction. Security was one of the examples of the creative explorations of the card's form. The addition of a fingerprint reader provides a step of authentication, displaying card details and activating contactless once scanned."

Student: Jack Coker
Email:
jcoker2.jc@gmail.com


Falmouth University

Revolutionise by Razvan-Cristian Brandiburg

"Revolutionise is an alternative solution to hand-crafted thumb splints made for people suffering from joint hypermobility caused by Ehlers-Danlos syndrome. 3D scanning and 3D printing technologies are used to produce mass customisable splints for patients, reducing waiting times and providing a broader choice in terms of support and aesthetics.

"The use of a BOA system allows control of the tension as well as a repairable and easily replaceable alternative to Velcro. The splint consists of a complex lattice structure, developed using topology CAD software, that can be adapted to fit any hand shape."

Student: Razvan-Cristian Brandiburg
Email:
brandiburg-razvan@mail.com


Falmouth University

Stak Pak by Jasmine Arthur

"Stak Pak is a conceptual project exploring sustainability and modular design within fashion. Each Stak Pak diverts 5.6 kilogrammes of plastic waste by reusing PVC from lorries and cord made from plastic bottles. In addition, bluesign-approved aluminium hardware has been specified to extend the life of the product.

"Built to be the only bag you will ever need, its modular design enables you to swap units depending on what the day holds for you. Whether you need storage, reinforcement, or individual units for specific activities, Stak Pak gives you the freedom to do what you need to do."

Student: Jasmine Arthur
Email:
ja201262@falmouth.ac.uk


Falmouth University

Scan - Print - Run by Farren Simpson

"According to the World Footwear Yearbook, 24 billion pairs of shoes were produced in 2020, but less than five per cent were recycled. In addition, 70 per cent of the most common foot ailments are caused by ill-fitting shoes. Both these issues are addressed in this project. Users visit a store where their feet are scanned and their movements analysed.

"An algorithm is used to design the shoe around their measurements and adjusts the cushioning to their needs. The shoes are then 3D printed locally. The custom shoes restore the user's foot health over time and provide better performance for the individual.

"When the shoes reach the end of their life, they are returned to the manufacturer where they're disassembled and turned into a new pair, creating a circular lifecycle."

Student: Farren Simpson
Email:
farrensimpson@gmail.com


Partnership content

This school show is a partnership between Dezeen and Falmouth University. Find out more about Dezeen partnership content here.

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"The Race to Zero is neither highly ambitious nor providing the leadership needed at this critical time"

Architect Edward Mazria

Last week, UN climate champion Nigel Topping claimed that architects have been slow to sign up to its net-zero carbon emissions programme. This "unfairly presented architects and top firms in a negative light," writes 2021 AIA Gold Medal winner Edward Mazria.


Why haven’t architects joined the Race to Zero? The answer will surprise you.

The Dezeen article "Architecture 'one of the least well-represented businesses' in UN's net-zero push" unfairly presented architects and top firms in a negative light – as "dragging their heels" and lacking real ambition in addressing climate change.

According to Nigel Topping, the UN's climate champion, architects are failing to engage with the UN's drive to reduce carbon emissions as none of the 50 largest firms have signed up to its Race to Zero campaign, the United Nations initiative to get companies to commit to achieving net-zero emissions by 2050.

Nigel is disingenuous for the following reasons.

First, the Race to Zero – achieving net-zero emissions by or before 2050 – is neither highly ambitious nor providing the leadership needed at this critical time.

A good probability of limiting warming to 1.5 degrees Celsius equates to CO2 emissions reductions of 65 per cent by 2030, and zero by 2040, not by 2050 as stated in the Race to Zero and illustrated in the following graphic:

Global carbon budget graph
Graphic showing reduction in emissions needed to meet 1.5 degrees Celsius target

Net-zero emissions by 2050 means giving up on limiting planetary warming to 1.5 degrees Celsius as set out in the 2105 Paris Agreement on the climate.

Second, over 900 architecture, engineering, and planning (AEP) firms, and all top 50 US firms, have been participating in the American Institute of Architects' 2030 Commitment, working toward carbon-neutral new buildings and major renovations by 2030, with annual reporting to the AIA on firm progress.

The AIA will soon add the targets, metrics, and reporting for whole building embodied carbon as well. And just this past week, with time running short, Architecture 2030 called on architects worldwide to move up the date for the 2030 Challenge carbon-neutral target from 2030 to 2021.

Our industry is actively working to meet the Paris Agreement's 1.5 degrees Celsius

And finally, at the COP26 climate conference in November, we will deliver a 1.5 degrees Celsius Communiqué to all country delegations from the AEP firms and organizations responsible for designing and developing a major portion of the built environment worldwide. The Communiqué will show that our industry is actively working to meet the Paris Agreement's 1.5 degrees Celsius carbon budget and will ask the countries to do the same.

To date and growing, the 1.5 degrees Celsius Communiqué signatories (by invitation) include the 96,000-member AIA; the AIA Large Firms Roundtable consisting of the top 60 AEP firms; many of the top 250 AEP firms worldwide; large professional industry organizations representing China’s key Local Design Institutes, the International Union of Architects, the International Federation of Landscape Architects and Green Building Councils among many others.

US building sector has not increased its energy consumption since 2005

At COP26 we will also demonstrate industry-wide climate change success stories. For example, the US building sector has not increased its energy consumption since 2005 even though we have added over 50 billion square feet (4.7 billion square metres) to our building stock and today CO2 emissions in the entire sector continue to decline and are down 30 per cent from 2005 levels.

US building sector emissions
Graphic showing the decline in US building sector CO2 emissions

With the Biden administration's goal of carbon-free electricity by 2035, the building sector's C02 emissions will be over 70 per cent below 2005 levels by 2030.

Contrary to the Dezeen article’s assertions, the AEP community is committed to acting decisively to meet the 1.5 degrees Celsius carbon budget and at COP26 we will illustrate that it is feasible and environmentally and economically advantageous to do so.

The portrait photo is by Jamey Stillings.


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Hansgrohe reflects on 120 years of kitchen and bathroom innovation

Hansgrohe bathroom taps

Dezeen promotion: as German company Hansgrohe turns 120 years old this year, Dezeen looks back at some of its most important product innovations and how they have helped to shape the bathroom of today.

Today, Hansgrohe is a company with 33 subsidiaries, 22 sales offices and roughly 4,700 employees all over the world.

However, when it was founded on 15 June 1901 by entrepreneur Hans Grohe, it was a three-man operation that pressed metal products in the small Black Forest town of Schiltach in southwestern Germany – the same town that the company's headquarters is based today.

It was at this time, at the turn of the 20th century, that the private household bathroom came into fashion. Recognising that the shower was an affordable alternative to the more expensive process of taking baths, Hans Grohe began specialising entirely in metal goods for the sanitation section.

Hansgrohe
Hansgrohe's tin hand shower with porcelain handle was made in 1928

The following decades were dedicated to the further development of his showers which would go on to have a significant influence on future showering culture.

Hansgrohe's first breakthrough shower product – a hand tin shower with a porcelain handle – was born in 1928. At the time, it provided a convenient alternative to the then-customary overhead shower and made showering affordable for many households for the first time.

Hansgrohe
The Excentra waste and overflow set was designed in 1934

Excentra, a chrome-plated, automatic waste and overflow set for the bathtub – the first of its kind – followed in 1934.

In 1953, at age 82, Hans Grohe made another pioneering invention: the Unica wall bar.

The simple wall bar, which is now a standard feature in bathrooms across the world, enabled customers to adjust the height of their showers for the first time.

In the following decade, as well as becoming the first bathroom manufacturer to develop a product in cooperation with professional industrial designers, the company launched Selecta, the first-ever adjustable hand shower that allowed users to choose from different spray types.

Selecta shower head
The Selecta shower head is still in production

Still in production today, the company has recorded more than 30 million sales of Selecta hand showers worldwide. By the 1960s, Hans Grohe's youngest son Klaus Grohe had become more involved in the company and was introducing new, modern ideas.

He put environmental protection and sustainability at the top of the company's agenda and promoted the development of energy- and water-saving products.

One of his patents – the Allegra Prime debuted in 1979 – was the first kitchen tap with an extractable shower head, and another was the Mistral Eco hand shower. Introduced in 1987, it reduced water consumption by 50 per cent and transformed Hansgrohe into a green industry pioneer.

The company introduced its designer brand Axor in 1992 and in 1994 worked with renowned French designer Philippe Starck to create the brand's first bathroom concept named the Axor Starck collection.

The collection's distinctive joystick mixer tap handle was regarded as groundbreaking at the time but has since become a design classic.

The year 2000 saw the introduction of the iBox universal – a plumbing control unit that can be hidden in the wall. This was one of the industry's first basic sets for any standard or thermostat solution.

Hansgrohe bathroom taps
The raindance overhead shower has a gold finish

The brand's much-lauded rain shower Raindance came two years later. Using the brand's patented AirPower technology, the shower creates a spray that is a mix of water and air.

It reduces water consumption by ten per cent and was "the first spay pattern to emulate 'rain drops' which is now ubiquitous in the bathroom industry today," according to the company.

By 2010 touchscreen technology had entered the bathroom and Hansgrohe developed RainBrain – a digital screen that gives customers the power to select different spray modes, water volume, temperature, lighting and sound at the touch of a button. Although discontinued the device could be pre-programmed for up to five users.

Hansgrohe bathroom taps
One the latest ranges from Hansgrohe – the Rainfinity baton handshower

The brand's latest technological development is RainTunes – a programme that offers seven pre-configured shower scenarios that combine water, video, light, sound and fragrance to suit different types of mood.

Hansgrohe's other forward-thinking technologies include Select, an integrated push-button that started life in the brand's hand showers but is now included in a variety of Axor and Hansgrohe products such as basin taps, kitchen mixers, valves and shower pipes.

It can, for instance, turn on a shower, change a spray-type or even turn a kitchen tap on and off. To make cleaning easy, the brand developed Quickclean showers and taps which have flexible silicone nozzles on the aerator.

Made from high-quality, tear-resistant silicone, the nozzles can be rubbed clean using just fingers or a cloth, easily removing limescale and dirt.

In addition to Airpower, the brand also offers EcoSmart – an aerator that is built into the spout of basin taps to enrich the water with air. The result is that water consumption on all the Hansgrohe EcoSmart basin taps is reduced to around five litres per minute.


Partnership content

This article was written by Dezeen for Hansgrohe as part of a partnership. Find out more about Dezeen partnership content here.

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