Perriand originally conceived Paravent Ambassade for the residence of the Japanese ambassador to France in Faubourg Saint-Honoré, designed by architect Junzo Sakakura.
Each screen contains 313 wooden blocks connected by metal rods
The screen contains 313 wooden blocks connected by metal rods, allowing it to be easily adjusted to suit different spaces.
"The furniture was partly integrated into the architecture and partly intended to be mobile," Cassina explained.
The original Paravent Ambassade was made from discarded rosewood pieces from the production of Perriand's Tabouret stools.
The screen is available in natural oak or Canaletto walnut
But now, the screen has been reimagined in collaboration with Perriand's daughter Pernette Perriand-Barsac and made available in natural oak or Canaletto walnut.
"These wooden elements are offset to create a visual interplay of volume and voids," Cassina said. "An elaborate weave of wood, the screen becomes a work of art that reveals transparencies and at the same time creates privacy."
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Swiss architecture studio Herzog & de Meuron has created an extension to the dockside MKM Museum Küppersmühle in Duisburg, Germany.
The brick extension adds an additional 2,500 square metres of exhibition space to the MKM Museum Küppersmühle, which is located in a historic grain mill that was originally converted into a museum by Herzog & de Meuron in 1999.
Herzog & de Meuron has added an extension to MKM Museum Küppersmühle
Set on the dockside, the four-storey extension was informed by the museum's existing 19th-century buildings that line the waterfront.
"The extension accords with the sequence of impressive historical brick structures lining the dockside," said Herzog & de Meuron.
"Consequently, the new structure completes the existing museum and harbour basin in a visually appropriate way, and forms a suitable conclusion to the row of buildings along the harbour basin. The new project constitutes an integrating and complementary architecture."
Two bridges connect the extension with the original museum
The extension contains additional gallery space for the museum, which displays an extensive collection of German and European post-war art.
In total, 35 brightly lit gallery spaces have been created over the four stories.
"Bricks on the outside, white cube on the inside," said the studio.
"The MKM extension combines industrial culture with contemporary museum architecture."
The silos are visible in some of the gallery spaces
The extension stands alongside a silo tower and its upper floors are connected to the museum's original building by a series of bridges that pass through the silos.
According to the studio, the silos have been restored as "industrial monuments". They are topped with a viewing gallery, which will be open to the public when the weather allows.
The extension contains multiple white box galleries
Swiss studio Herzog de Meuron was established in 1978 by Jacques Herzog and Pierre de Meuron.
It has created numerous cultural buildings around the world including the Tate Modern in London, which occupies a converted power station. The firm added a brick extension to the building in 2016.
A stair connects the museum extension's four floors
A labyrinth of brick walls and angular mirrors define the Dutch Holocaust Memorial of Names, which Polish-American architect Daniel Libeskind's studio has completed in Amsterdam, the Netherlands.
Located on Weesperstraat street close to the Jewish Cultural Quarter, the memorial was realised by Studio Libeskind with local studio Rijnboutt to commemorate 102,000 Dutch victims of the Holocaust.
Studio Libeskind has completed the Dutch Holocaust Memorial of Names
The victims, who were largely Jews, Sinti and Roma people, were killed by the Nazis during the second world war and have no known graves.
To honour each of these victims individually, the walls of the memorial are constructed from 102,000 bricks that are inscribed with the names of the victims – giving the project its title.
Alongside these bricks, 1,000 extra bricks were left blank to memorialise those who remain unknown.
The bricks are inscribed with the names of Dutch Holocaust victims
The bricks are arranged in a series of two-metre-high walls across the site, which are crowned by four mirrored stainless steel volumes.
Studio Libeskind's arrangement of the brick walls gives rise to a dynamic labyrinth of passages across the site for visitors to explore.
A labyrinth of brick walls make up the memorial
The mirrored volumes were designed by Studio Libeskind to emulate four Hebrew letters, which form a word that translates as "in memory of" when viewed together from above.
They are also designed to appear as though they are floating above the walls, which the studio said represents "an interruption in the history and culture of the Dutch people".
The combination of brick and stainless steel at the memorial is also symbolic.
"Brick, a ubiquitous building material in the Netherlands and cities of Western Europe, paired with the highly reflective and geometric forms of the steel letters reference the connection between Amsterdam's past and present," Studio Libeskind said.
The walls are crowned by mirrored volumes
Woven around the brick walls are crushed stones, trees and monolithic seating that complement the geometric angles of the memorial, while the border of the site is lined with hedges and bronze-coloured panels.
The Dutch Holocaust Memorial of Names was commissioned by the Nederlands Auschwitz Comité and officially inaugurated on 19 September 2021.
The mirrors appear to hover above the walls
Studio Libeskind was founded by Libeskind with his partner Nina Libeskind in Berlin in 1989. Elsewhere, the studio has designed Holocaust memorials in the United States and Canada.
Architect: Studio Libeskind Team: Daniel Libeskind, Stefan Blach, Johan van Lierop and Alex Tahinos Architect of record: Rijnboutt General contractor: Koninklijke Woudenberg Project management: Paul Rohlfs Construction management: Aumento bv Construction: IMd Raadgevend Ingenieurs Brick manufacturer: Rodruza Masonry: Metselwerk Adviesbureau Vekemans Stainless steel: AIP partners BV, ABT Engravings: Reijnders Engraving and Laser Engineering B.V. Installations: Swart installatietechniek
Two hundred potted trees that adorned the Supersalone fair in Milan earlier this month will be planted as part of an initiative to grow three million new trees in the city by 2030.
Launched last year, the ten-year Forestami project will see 300,000 trees planted each year, with over a quarter of million planted already.
"To this day we’ve planted 281,160 trees," said a spokesperson for Forestami. "The 200 trees at the Supersalone are waiting to be planted in the next few weeks in some specific areas of Milan."
Top and above: trees that were on display at Supersalone will be planted as part of the Forestami project
The trees will be planted around the greater metropolitan area of Milan. This includes the city and surrounding towns and villages and has a population of 3.2 million people in an area of 1,575 square kilometres.
The project is thought to be the most ambitious urban greening project in the world.
"One of the most democratic" ways to tackle global warming
"It's basically one tree for every inhabitant," said Milanese architect Stefano Boeri, who proposed the project in 2005.
"It's one of the most democratic, inclusive and less expensive ways to tackle global warming and it also cleans up the air," Boeri said. "Because Milano has this problem. It's pretty bad."
The "forest" of potted trees aimed to draw attention to the project
The project is being managed by the Politecnico di Milano, which is identifying locations, choosing species of trees and organising planting and maintenance.
"The goal is not only about planting, but also it's about creating social environments," Boeri said. "We have invested a lot in the edge of the city. We are working with schools to create public spaces and playgrounds."
Tree are being planted across Milan's metropolitan area including in the Parco dei Fontanili
As part of his design for the Supersalone fair earlier this month, Boeri installed a "forest" of potted trees at the entrance to the Fiera Milano fairground.
Other trees were dotted around the exhibition halls.
Temporary forests being installed in cities across the world
Other recent examples include Es Devlin's Forest for Change, which saw 400 trees temporarily installed at Somerset House in London, and Klaus Littmann's For Forest, which featured 400 trees placed in an Austrian football stadium.
Boeri has pioneered the use of trees on buildings with his bosco verticale (vertical forest) concept.
Architecture schools must prioritise teaching students net-zero design skills to effectively prepare them for future work, says Anthropocene Architecture School founder Scott McAulay.
Speaking to Dezeen, McAulay said that if the industry is to help alleviate climate change, emerging architects must be taught how to eliminate carbon emissions from the built environment, which is responsible for around 40 per cent of all greenhouse gas emissions.
A failure to do this so far has left a "massive knowledge gap in the industry" in which many architects practice sustainability as a method of damage control, he explained.
Scott McAulay (above) believes architecture students must learn net-zero design skills. He is founder of Anthropocene Architecture School (top) where he teaches climate literacy to architects
"We need to have a really frank conversation about the way we've been practising sustainability as a whole, it has become a buzzword and it is effectively just damage control," McAulay told Dezeen.
"At this point, it needs to be entirely normal to start an architecture degree and to be taught in a context of a climate emergency where we have been told that we should be net-zero and curbing carbon emissions as fast as possible," he continued.
"If [the design of a building] is not basically near net-zero, it's already outdated, it's already archaic," he explained. "It's not performing as we know it needs to, so that has to be the established standard."
"Everything has to change"
Net-zero carbon buildings are designed to eliminate all possible emissions in both embodied carbon, which are emissions caused by the construction supply chain, and operational carbon, which are emissions caused by the building's use. Any remaining emissions must be offset using schemes that remove carbon from the atmosphere.
According to UN champion Nigel Topping, architects are also "one of the least well-represented businesses" in the UN initiative to get companies to commit to net-zero emissions by 2050.
However, the latest IPCC report said that "immediate, rapid and large-scale" cuts to greenhouse gas emissions such as carbon dioxide are what is required to tackle human-induced climate change and help to stabilise global temperatures.
"If you understand the gravity of that report, and you understand what it says about buildings, then you know everything has to change," McAulay reflected.
Climate literacy "has to be rooted"
In addition to teaching zero-carbon design skills, McAulay explained that a wider overhaul of architectural curricula is required to make emerging architects "climate literate".
"Climate literacy means understanding that buildings have a significant impact upon climate change," he explained. "That has to be rooted."
This should start with teaching architecture students that "when you work with any building, or you design any building, it goes into an existing ecosystem".
But skills such as landscaping and retrofitting must also be learned, he said, alongside gaining hands-on building experience with sustainable materials such as hempcrete.
He said an example of this is at the Weitzman School of Design's McHarg Centre, where courses are built on the guidelines of the Green New Deal – a proposal for a government-led remodel of the US economy to address climate change by Alexandria Ocasio-Cortez and Edward Markey.
Anthropocene Architecture School provides support
While individual institutions beginning to teach climate literacy is a positive step, McAulay said that legislation and collaboration between different schools are needed for it to be truly effective.
"To not educate students about climate change and sustainability is negligent and verges on denialism," he explained.
"We definitely need [the teaching of climate literacy] to be in legislation, it can't just be left to each individual institution that feels like it," McAulay continued.
"We are yet to see a united collaborative effort, freely sharing learnings and resources, between as many institutions as we need to build the critical mass to catalyse the necessary, transformative change."
However, recognising that changes in legislation may not happen at the required speed, McAulay is now taking educating emerging architects into his own hands as part of the Anthropocene Architecture School (AAS) – a decentralised architecture organisation that he founded in 2019.
The AAS offers a mix of online resources and workshops that shed light on the changes needed in the industry and the existing resources available to do so. They are available to schools of architecture and their students, as well as tutors, practitioners and the public.
So far this has seen him conduct lectures for staff and students at 15 universities in the UK, the Netherlands and Canada. More recently, he collaborated with students from Manchester School of Architecture as part of its annual programme of student-led live projects, during which they developed replicable Climate Literacy toolkits.
Architecture students feel let down by education
McAulay is far from alone in his concerns about the lack of climate literacy in education. A recent survey conducted by the Architects Climate Action Network (ACAN) revealed that 76.9 per cent of students do not feel their course is properly preparing them for future work.
It also found that 88.5 per cent of students wanted to be tested on their ability to design net-zero buildings, but that "aesthetics are valued more than sustainable design" at their institution.
Achieving net-zero carbon architecture and is one of the topics that Dezeen has explored in its recent editorial series called Carbon revolution. The series also explored ways of removing carbon from the atmosphere through direct air capture and natural processes such as mineral carbonation.
