Alongside Cambridge Central Mosque (above) on the six-strong shortlist was 15 Clerkenwell Close, designed by Groupwork.
The building was a surprise addition to the shortlist as, unbeknown to its architect, it was withdrawn from consideration for the prize in 2018 due to a planning dispute between the studio and the council.
The brand picked an "airy, light blue" colour called Bright Skies as it "perfectly captures the optimism and desire for a fresh start that is the mood of the moment".
"It's completely different to the other editions," designer Luca Nichetto told Dezeen. "It's totally another rhythm. I prefer it this way because you can actually speak more deeply."
Dezeen has been named Best Small Digital Publisher of the Year and scooped three other prizes at the Association of Online Publishers' annual awards ceremony.
Dezeen also claimed the Best Digital Publishing Innovation award for Virtual Design Festival (VDF) and the Best Content Marketing Campaign award for our Out of the Box collaboration with Samsung, while our sales team was named Sales Team of the Year.
The wins mean Dezeen walked away from the ceremony with more awards than any other company.
Dezeen praised for "turning disaster into innovation"
Judges for the AOP Digital Publishing Awards praised Dezeen for "turning disaster into innovation" in the wake of the coronavirus pandemic. "Dezeen created new products and brands that attracted big audiences and strong reviews," they said.
One such innovation was VDF, the world's first online design festival, which was conceived and delivered in the first few months of lockdown.
"This company was honest about the challenges it faced, pivoted at speed, created a property that will have real value, and executed its strategy really well," the judges said.
Dezeen's chief revenue officer Wai Shin Li, director Rupinder Bhogal and chief content officer Benedict Hobson collected the awards
The judges also praised Dezeen's sales team for its role in making VDF a commercial success "when faced with significant adversity" and commended the Out of the Box competition for being "impressively creative and innovative".
Latest awards for Dezeen
Dezeen director Rupinder Bhogal, chief revenue officer Wai Shin Li and chief content officer Benedict Hobson collected the awards on behalf of the Dezeen team at a ceremony in London hosted by comedian Maisie Adam.
The four accolades follow Dezeen's success earlier this year at a pair of awards programmes organised by the British Society of Magazine Editors (BSME).
Earlier this year, Dezeen also won a People's Voice Webby Award for the Out of the Box competition with Samsung, which challenged contestants to create objects for the home by repurposing television packaging.
It means Dezeen has now matched the six awards that it won in 2020, which along with record traffic contributed to our best ever year.
Alaskan cedar and handmade Danish bricks are among the materials used by Californian firm HA+MA to create a golf performance centre set within an undulating, grassy landscape.
Nestled within a gently sloping site, the CS2 facility sits on a golf course in an undisclosed neighbourhood in central Los Angeles.
Alaskan cedar clads portions of the CS2 golf centre
The project was designed by HA+MA, a local studio led by Eric Hawkins and Scrap Marshall.
The overall design intent was "to craft a structure that utilises and exploits its surrounding and immediate environment" while also offering a flexible interior space, the architects said.
One of the project's two volume is used for teaching and relaxation
The 2,000-square-foot (186-square-metre) building is composed of two rectangular volumes. One serves as the main structure for teaching and relaxation, while the other holds restrooms. The volumes are situated around a garden with a lone pine tree.
"The building is composed around a courtyard garden, creating quiet, naturally ventilated spaces," the studio said.
The structures are positioned around a garden featuring lone pine tree
The exterior consists of concrete and Alaskan cedar, along with Petersen bricks that were handmade in Denmark. The structural system comprises four steel posts and glue-laminated beams.
"All the hidden joints and connections were custom designed and fabricated by us in LA," the architects noted.
Interior finishes include limestone flooring and white oak cabinetry.
Large stretches of glass usher in daylight and provide a strong connection to the outdoor environment.
Shadows are formed across the exterior by a slatted roof
A large pivot door marks the formal entrance, while another side of the building has sliding doors that enable the interior to merge with a patio.
"A series of glass planes open up and slide away, blurring the boundaries between the sheltered interior and the surrounding landscape," the team said.
The centre is nestled into a gentle slope
Other projects on golf courses include a clubhouse in Australia by Wood Marsh that features blade-like concrete walls, and a Montreal clubhouse by Architecture49 that is covered with a massive wooden roof.
Hundreds of migrating birds have died this week in New York City after crashing into glass skyscrapers, according to local organisation NYC Audubon.
On Tuesday morning, 14 September, a volunteer at the NYC Audubon found over 200 dead birds dotted on pavements around the 3 World Trade Center and 4 World Trade Center skyscrapers alone.
By the end of her shift at the World Trade Center site, volunteer Melissa Breyer said she found 226 carcasses, though many more were "inaccessible, or too mangled to collect".
"When you have 226 dead window-struck migratory birds from one morning, it's hard to get them all in one photo," she wrote on Twitter.
Some of the 226 dead birds I picked up this morning while window collision monitoring for @NYCAudubon. 205 from @3NYWTC and @4WTC alone. Many others swept up, inaccessible, or too mangled to collect. 30 injured to @wildbirdfund. If you’re in NYC today, be careful where you step. pic.twitter.com/RTjm82NIpy
A combination of stormy weather and artificial night-time lighting in cities are to blame for Tuesday's mass bird death, reported the Audubon network.
This is because both city lights and storms can confuse birds in nocturnal flight, leading to exhaustion from disorientation and in turn, building collisions.
However, Breyer added that some of the migrating birds that died had collided with the towers in the daytime, after confusing reflections in the glass facades for open sky.
Of the 74 window-strike patients we received during Tuesday's mass bird collision event, 27 were black-&-white warblers, including this beauty. They are migrating through the city in huge numbers, and if you're in a park right now, you're likely looking at one.
"Lights can be turned off, windows can be treated. Please do something," she pleaded.
Silverstein Properties, the developer of 3 and 4 World Trade Center, provided a statement to NYC Audubon that said it is now "actively encouraging our office tenants to turn off their lights at night and lower their blinds wherever possible".
New York considered among most dangerous cities for birds
While this week's death toll was particularly high, glass towers in New York long been considered dangerous to birds.
"Building collisions, and particularly collisions with windows, are a major anthropogenic threat to birds, with rough estimates of between 100 million and one billion birds killed annually in the United States," the report said.
For this reason, New York passed a bill in December 2019 to ensure all new glass buildings are safer for migratory birds. This requires structures over 23 metres (75 feet) to be patterned to make them more visible to birds.
Nebbia Works has created a self-supporting pavilion from simple aluminium sheets at the V&A museum as part of the London Design Festival to highlight the material's sustainable potential.
Set within the museum's John Madejski Garden, the installation consists of 27 metal sheets of identical dimensions, each propped up by a single leg carved and bent from its surface.
Nebbia Works' pavilion is installed in the V&A's John Madejski Garden
The structure is fused together to create the impression of being one continuous piece and made entirely from one batch of the metal, which manufacturer En+ claims is the "lowest carbon aluminium the world has ever produced".
Only 0.01 tonnes of carbon dioxide equivalent (CO2e) was emitted for each tonne of material created, the company says, falling far below the four-tonne threshold that is generally applied to low-carbon aluminium.
"We're going right down so there are virtually no emissions," En+ communications director Dawn James told Dezeen.
The installation is made entirely of aluminium
Once the festival has come to a close, the pavilion will be melted down into ingot and turned into products, showcasing aluminium's ability to be infinitely recycled.
To enable this, the structure does not rely on the addition of any other materials to hold itself aloft.
27 aluminium sheets are jointed to create the impression of one continuous structure
Instead, its algorithmically designed legs combined with the innate strength and lightness of aluminium make the pavilion entirely self-supporting and thus easy to dismantle and repurpose.
"We were trying to use a minimal amount of material and a minimal amount of fabrication to achieve the final piece, which basically turns 2D sheets into a 3D articulated space," said Nebbia Works co-founder Brando Posocco.
"What you see is exactly what you get," added V&A curator Meneesha Kellay. "There are no layers of material or a facade with lots of things hidden behind it."
The pavilion's legs are cut from its aluminium roof panels
The pavilion's legs were cut from its aluminium roof panels using a water jet cutter. They were then folded out by attaching them to a gantry crane and rolling them around a huge tube.
No lacquer or finish was applied to the material in order to maintain its recyclability. Rather, the surface was hand-buffed and its edges manually polished, helping to give the aluminium an organic quality.
"Most of the time you associate aluminium with being cold and mechanical, so one of the tasks we set ourselves was trying to make this material a bit more approachable," Posocco explained.
"The overall finish is not perfect or pristine, there is a kind of human touch to it."
The entire structure is made from aluminium down to its fixings
The aluminium used to create the pavilion is the first batch En+ has ever made using its revised production process.
So far, efforts to create low-carbon aluminium have largely focused on the huge amount of energy that is needed to run the industrial smelters, where aluminium oxide is separated into aluminium and oxygen through a process called electrolysis.
This accounts for around 65 per cent of emissions from aluminium production and can easily be circumvented by running the smelters using hydro or geopower.
But this still leaves so-called process emissions from smelting, which are generated as the carbon anodes used to induce this chemical reaction erode over time, releasing CO2.
A walkway allows visitors to enter the installation and walk on the pond
En+ has eliminated these emissions by swapping out the carbon anodes for inert anodes made from a ceramic alloy.
"These inert anodes do not erode during the process, so you get pure oxygen out of the top and pure aluminium out of the bottom of the smelter," James explained.
"For us, the smelting process accounts for 25 per cent of emissions, which we will be saving with inert anodes. So there are virtually no emissions."
The pavilion is reflected in the water of the pond
From here, the aim is to create a completely zero-carbon aluminium by 2050, in time for the company to become net-zero as a whole.
To achieve this, En+ is looking at rolling out the inert anode technology across all of its smelters in Siberia, as well as looking at its entire value chain, from the way that its refineries are powered to the mining of bauxite, which accounts for another two per cent of the company's production emissions.
No lacquers or coatings are applied to the aluminium
According to a report by the World Economic Forum, the use of inert anodes combined with hydropower could help to significantly reduce the carbon footprint of the aluminium industry, which currently accounts for two per cent of all global emissions.
"Advances in anode technology could be quickly commercialized and offer wide-scale decarbonization for the industry," the report concluded.
Its surfaces are hand-buffed and polished to create an organic texture
Another company making use of inert anodes is Elysis, a joint venture between major aluminium producers Rio Tinto and Alcoa, which has already supplied its first batch to Apple and hopes to commercialise its technology in 2024.
"Making industry-wide changes is really fundamental in terms of carbon reduction," said Madhav Kidao, the other half of Nebbia Works. "And it's really important as designers that we challenge how we specify things and where they come from."
The installation is on show as part of the London Design Festival
: Phyllis Tseng 
