Dezeen promotion: Danish design brand Vola has stepped outside the bathroom with its latest product, a minimalist hand sanitiser.
The RS11 is a hands-free gel, foam and soap dispenser designed to sit at the entrance to reception areas, shops and hospitality venues for guests to sanitise their hands.
The RS11 dispenser is designed to make the hand sanitiser station into an elegant object
With increased hygiene awareness here to stay, the RS11 is designed to cater to venues that want a sanitisation device with a discreet, sophisticated aesthetic.
"The question we asked ourselves was how do you make a hand sanitiser as inviting as a bunch of fragrant roses?" said architect and product designer Torben Madsen, who is design manager at LINK Arkitecktur.
The cylinder is available in black or white, while the accompanying hardware comes in 27 colour and finish options
The RS11 comes in three configurations: freestanding, wall-mounted or table-mounted, and can also dispense soap or foam in the bathroom.
All the configurations are based around the same sized one-litre capacity aluminium cylinder, which is combined with a disc-like reservoir below to catch any drips.
The reservoir references the design of Vola's signature round shower head
In keeping with Vola's design philosophy of how technology should be subtly incorporated into the bathroom, the device's hands-free mechanism is hidden away within the cylinder. On the wall-mounted model, the fixtures are similarly concealed.
"We compressed Vola's classic, cylindrical shape into as slim and light a design as possible," said Madsen. "That allows the cylinder to contain the mechanism that dispenses the contents in atomised form."
"It also means that it can contain at least one litre, so it doesn't have to be refilled as often."
The RS11 is available in wall-mounted as well as freestanding and tabletop versions
Vola estimates that there are around 1,000 applications from a single refill.
The RS11 is available in 27 colours and finishes, which include distinctive shades such as orange and light green as well as metal finishes like natural brass and brushed black.
The extruded aluminium cylinder comes in either black or white and is resistant to finger marks.
The dispenser can dispense soap or foam
Powered by four rechargeable AAA batteries, the dispenser is designed to be easy to clean and refill, with a durable design that helps to prevent accidental damage.
At the same time, spare parts will be held in stock by Vola so they are easy to replace if necessary. This is in line with the brand's commitment to creating products with built-in longevity that last for generations.
The technology for the hands-free device is concealed within the cylinder
"It has been a very positive challenge to develop a Vola product that moves completely out of the world of the bathroom that has to stand on its own two feet," said Madsen.
"Our intention has been to create a recognisable Vola design that adds a stamp of quality to any environment."
To view more of Vola's products, visit its website.
Partnership content
This article was written by Dezeen for Vola as part of a partnership. Find out more about Dezeen partnership content here.
Dezeen Showroom: American designers Bill Stumpf and Don Chadwick have updated the classic Herman Miller Aeron office chair using material made from ocean-bound plastic for its frame and tilt covers.
Aeron Onyx Ultra Matte is an updated version of the Aeron office chair by Bill Stumpf and Don Chadwick, who wanted to create a more sustainable option of the 1994 chair model.
The Aeron Onyx Ultra Matte by Herman Miller is made with ocean plastic
The designers used over 1.13 kilograms of plastic that was destined to end up in oceans to create the frame and tilt covers of the chair.
The Onyx Ultra Matte contains the highest amount of ocean-bound plastic, which amounts to between 23 and 114 plastic water bottles.
It is a more sustainable version of the original Aeron Chair
According to the brand, Onyx Ultra Matte is the darkest shade of the Aeron Chair.
"Onyx is a dramatic, ultra-black matte shade intended to modernize the chair and signifies the future of Herman Miller as they continue to prioritize the use of sustainable materials in their products," said the brand.
The chair comes in three sizes
Similar to the original, Onyx Ultra Matte Aeron is fully adjustable: its arms, seat height, depth and recline can all be modified to suit the user.
It is available in three sizes, offering the most comfort to a diverse range of users.
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Architecture studio White Arkitekter has completed Sara Kulturhus Centre, a timber development featuring the world's second-tallest wooden tower, which it claims will be carbon negative over its lifetime.
Built from a combination of cross-laminated timber (CLT) and glued laminated timber (glulam), the project in Skellefteå includes a theatre, gallery, library, museum and a hotel.
The Sara Kulturhus Centre is in Skellefteå, located just outside the Arctic Circle in northern Sweden
The project follows a 2020 pledge by the Swedish architecture studio that by 2030, every building it designs will be carbon neutral.
Sara Kulturhus Centre was designed to be a landmark destination in the city, which is just south of the Arctic circle in northern Sweden.
The hotel tower stands above the cultural centre. Photo by Åke Eson Lindman
"We designed Sara to become a landmark in Skellefteå, marking the most central location of the city," said White Arkitekter partner Robert Schmitz.
"The building is planned to add life to the city centre, opening on all sides to show both public spaces but also the work behind the scenes," he told Dezeen.
It is the second tallest mass-timber building in the world. Photo by Åke Eson Lindman
The mass-timber building contains the Skellefteå Art Gallery, Museum Anna Nordlander, Västerbotten Regional Theatre and the city library on its lower levels and is topped with a 20-storey hotel.
At 75 metres tall, it is the world's second-tallest mass-timber building, just 10 metres shorter than the 85-metre high Mjøstårnet building by Voll Arkitekter in Brumunddal, Norway.
Timber is visible on the exteriors. Photo by Åke Eson Lindman
"Sara is an open and accessible culture centre that brings four cultural institutions together with a hotel under one roof where they can function together," said Schmitz.
"The building is composed of a series of volumes of varying transparency, that mitigate the scale from the existing buildings up to the tall building facing the main square."
The structure is made from CLT and glulam. Photo by Åke Eson Lindman
The timber used within the building sequesters twice as much carbon as the embodied carbon emitted during the building's construction, the architect claims.
The studio carried out a 50-year lifecycle analysis that took into account the embodied carbon emitted during the building's construction and operation, the carbon sequestered in the timber and the emissions over the building's lifetime.
They also took into account the amount of new timber that will be grown over this period to conclude that overall, the building sequesters more carbon than it emits.
"Embodied carbon emissions from materials, transport and construction as well as carbon emissions from operational energy during 50 years are less than the carbon sequestration in wood within the building," explained Schmitz.
"This is why we claim that the building is carbon negative."
Glulam was combined with steel for the long spans. Photo by Åke Eson Lindman
White Arkitekter carried out a 50-year lifecycle analysis that claims that Sara Kulturhus Centre will have a lifespan of at least 100 years.
"In terms of lifecycle assessments, new trees have to be planted to replace the ones harvested for the cultural centre in order to be able to count as carbon sequestration," he continued.
"New trees will grow during the building's lifespan. That is why we refer to the 50-year lifespan in our calculations."
Timber is exposed throughout the interiors
White Arkitekter chose to design the building's structure from engineered timber to take advantage of locally grown wood, which was processed at a sawmill around 30 miles from the site.
"We chose to work with a timber structure to make the building as sustainable as possible, the forest being an abundant local resource, and to build on the local timber knowledge and tradition from century-old houses to modern-day engineered timber," explained White Arkitekter partner Oskar Norelius.
"The structure is exposed to show the construction and shape the interiors," he told Dezeen.
Columns were built from glulam while floors and walls were made from CLT. Photo by Åke Eson Lindman
While the tower's structure was entirely made from CLT, the studio combined CLT with glulam columns and beams to create the large open spaces needed for the cultural buildings on the lower floors. Steel structural elements were also used to create the spans required for the theatres and large, open foyer space.
"The building is designed with material optimisation at its core, using the right material at the right place," said Norelius.
"For the large spans of the foyers, we designed bespoke trusses where timber is combined with steel. Considering various hybrid systems for slabs, the final construction is almost entirely made from timber."
Sara Kulturhus contains the Västerbotten Regional Theatre. Photo by Åke Eson Lindman
A geothermal heat pump and 1,200 square metres of solar panels on the building's roofs will provide the majority of the power to the building, while the remainder will be supplied from renewable sources.
White Arkitekter hopes that the building showcases how the carbon impact of buildings can be reduced or negated.
"Our goal has been to create a building that serves its purpose to the fullest as a living culture centre with a minimal impact on climate," said Norelius.
"Reaching carbon negativity means this is a great step towards a more sustainable construction industry, while building a greater city and exciting spaces for people," he added.
"The building, being a landmark in the city, it was important to create a showcase for sustainable construction."
The centre was designed as a landmark for the town. Photo by Åke Eson Lindman
Design studio Space Copenhagen has combined a classic brasserie with a courtyard feel in its design for a restaurant in the heart of Copenhagen.
Esmée is located on Kongens Nytorv in the space previously occupied by Geist, a restaurant designed by Space Copenhagen back in 2011 but which closed down earlier this year.
Esmée is designed to feel bright and open
Designers Signe Bindslev Henriksen and Peter Bundgaard Rützou decided to this time adopt a lighter aesthetic for the space, with pale tones, natural materials and lots of plants.
Their aim was to offer a sense of optimism as Denmark's hospitality industry recovers from the closures brought on by the Covid-19 pandemic.
"Returning to a place we have designed before is both humbling and challenging," said Bundgaard Rützou.
Tree and plants are dotted through the interior
"We wanted to respect the beautiful Kongens Nytorv space but completely reinterpret it and see it through new eyes," he continued.
"We feel that the design of Esmée has a real sense of joy and celebration about it, which really feels right for these times."
The designers also added green and leaf-patterned textiles
Greenery is the central focus of the design for Esmée. Plants and trees feature through all the spaces and are arranged at different heights, which brings additional emphasis.
The designers also chose green and leaf-patterned textiles for some of the furniture pieces, while some of the wall panels are picked out in a deep fern-green shade.
The bar features a stone counter and panelled frontage
"For Esmée we wanted to create the feeling of a fun, lively, urban orangery by bringing the verdant courtyards into the space and by using a lot of plants and trees throughout," said Bindslev Henriksen.
"In addition, the use of the colour green in a multitude of shades, both on the walls and on the upholstery has created a light and naturalistic tapestry."
Seating in the bar is upholstered in plum leather
Different areas have their own character, thanks to focal furniture pieces and colours.
The bar area has a slightly darker palette. The bar itself features a stone countertop and a wood-panelled frontage with a high-gloss, plum finish.
Its curving form is mirrored by a ceiling-mounted storage unit, which is filled with both glasses and plants.
Nearby seating is upholstered in matching plum leather, while the walls behind feature the Fly Wall Lamp, a 1920s design by French architect Pierre Chareau that has been reissued.
A vintage Italian cabinet features in one dining area
Oversized wicker lights set the tone for the dining areas. Furniture here is provided by Space Copenhagen's Loafer Chairs, which are produced by &Tradition, and the Vienna 144 chairs by Gebrüder Thonet.
One of the main highlights is a vintage Italian cabinet, sourced with help from Studio Oliver Gustav, which features in a room that can be used as a private dining space.
Stone tiles create monochrome stripes on the floor
Subtle patterns add depth to the scheme throughout, for instance, stone floor tiles are arranged in monochrome stripes and marble-effect paint has been applied to a selection of wall panels.
The restaurant also features a large courtyard for outdoor dining, organised around a U-shaped layout of hardwood benches.
Large wicker lights hang from the ceilings
Space Copenhagen is best known for its work in the hospitality industry, having worked on a number of high-end restaurants and hotels.
Dezeen Showroom:Fisher & Paykel has expanded its line of luxury wine storage units with the Integrated Column Wine Cabinet, designed to fit seamlessly into any kitchen.
Tall and slender with capacity for 91 bottles, the Integrated Column Wine Cabinet provides optimal light, temperature, humidity and agitation conditions to ensure that every bottle tastes as its winemaker intended.
The Integrated Column Wine Cabinet stores wine in optimal conditions while also allowing it to be displayed
The cabinet has two independently controlled compartments with four variable temperature settings – sparkling, white, red and cellar.
All are adjustable in 0.5-degree increments, creating the perfect temperatures for both ageing and serving.
There are two compartments, with four variable temperature settings
Other features include activated carbon filters to clear the air of pollutants, a double-glazed tinted door to shield from light, and anti-vibration technology to preserve the wines' esthers, and therefore their aroma and taste.
Soft-start LED lighting illuminates the inside of the cabinet, with modes including a spotlight that highlights only the picks of the owner's collection.
The Integrated Column Wine Cabinet is available with either a stainless steel finish or custom panel-ready to blend with the kitchen decor.
About Dezeen Showroom:Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen's huge global audience. For more details email showroom@dezeen.com.
Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.
