Dezeen and LG Display launch second edition of the OLEDs Go! competition with €88,000 of prize money

Dezeen has teamed up with LG Display for the second year running to launch a new edition of the OLEDs Go! design competition, which seeks creative OLED designs to enrich people's changing lifestyles.

The competition is free to enter for anyone over the age of 18 in any country around the world, with a top prize of €35,000 and total prize money of €88,000.

It is open for entries until 20 December 2021.

Contest seeks designs to enhance people's changing lifestyles

Advances in technology and shifting cultural values are altering the way people of all ages across the world live their lives, while the coronavirus pandemic has made many people reevaluate the way they live and work.

The second edition of the OLEDs Go! competition is seeking designs that incorporate small to medium OLED displays (between 27 and 55 inches diagonally) that provide new experiences and enhance people's changing lives.

Entrants are free to design any product for any user or demographic around the world and can aim to improve a lifestyle that is emerging or changing for any reason.

OLED technology enables extremely light and thin digital displays

Designs should also utilise the key benefits of OLED technology.

OLED, which stands for organic light-emitting diode, is a technology used for digital displays on products such as televisions and smartphones.

It is different from other technologies, such as LED, because it creates illumination across a surface rather than from single points. This results in a glare-free, diffused light source that does not require the addition of a diffuser or reflector.

Read:

Doyeon Shin designs OLED television that unfurls like a flag

In displays, OLED pixels are self-illuminating, which means the technology can be used without a backlight. This results in deeper blacks, more accurate colour reproduction and wider viewing angles.

One of the main benefits of OLED technology is that the panels are extremely light and thin.

OLED panels can also be flexible or transparent when they are not illuminated (although they cannot currently be both transparent and flexible).

Competition seeks designs that can be produced using current technology

Designs must be feasible to manufacture using current OLED technology.

Rather than radical, futuristic concepts, the contest seeks practical designs that could be developed and produced over the next few years.

Full details of how to enter the competition are included in the competition brief and rules.

Read:

Yunchik Lee and Bomi Kim design trolley with reconfigurable OLED display

Competition entries will be judged by a jury comprising Dezeen editors and LG Display executives and designers, who will select the finalists and determine the overall winner.

Contest closes for entries on 20 December 2021

A shortlist will be published on Dezeen in February 2022, with the finalists revealed in March 2022 and the winner announced in May 2022.

The winner will receive a top prize of €35,000, the runner up will receive €20,000, third place will win €15,000, fourth place will win €10,000 and fifth place will win €8,000.

The competition closes for entries on 20 December 2021.

For more information about how to enter, including the full brief and rules, visit www.dezeen.com/oledsgo.

Contest builds on success of last year's OLEDs Go! competition

This is the second time that Dezeen has teamed up with LG Display to run the OLEDs Go! competition.

The inaugural contest was a huge success, receiving over 200 entries from 50 different countries around the world.

It was won by Richard Bone and Jisu Yun, who designed a transparent OLED television called Scroll that doubles as a shelf.

Read:

Richard Bone and Jisu Yun design transparent OLED television that can be used as a shelf

Entrants to last year's competition are free to enter this year's contest as well, including winners, finalists and those that made the shortlist.

However, any design that was shortlisted last year cannot be resubmitted or adapted for this year's edition of the competition. Designs that are too similar to any of the shortlisted entries from last year will also be discounted.

The top illustration is by Andrew Joyce.

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Partnership content

OLEDs Go! is a partnership between Dezeen and LG Display. Find out more about Dezeen partnership content here.

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Design Museum conducts "first-ever" environmental audit of exhibition for Waste Age

The Design Museum's latest exhibition Waste Age has a carbon footprint of 10 tonnes, equal to what the average UK person emits in a year, according to a sustainability assessment by environmental collective URGE.

The audit was commissioned by the museum for its latest show, which opened on Saturday ahead of the COP26 climate conference and posits that eliminating waste is the single biggest thing the design industry can do to protect the environment.

Applying the same philosophy to the exhibition itself, the assessment aims to reveal the environmental footprint of a temporary event like this and how it can be reduced.

"We know that while exhibitions have tremendous cultural value, they can be very wasteful," the Design Museum's chief curator Justin McGuirk told Dezeen. "Especially if you're building walls out of plasterboard and plinths out of MDF, which just get chucked in a skip afterwards."

Waste Age incorporated low-impact construction materials including adobe (top image) and timber (above)

Environmental audits chronicling these impacts are unprecedented in the museum sector, according to the report's co-author Sophie Thomas, who previously conducted a similar sustainability assessment for the Dezeen Day conference.

"It may not seem like a big step for a museum to crunch the carbon data like this but as a designer who has worked both in exhibition design and in sustainability for decades, I can say this amount of scrutiny on the detail really is," she argued.

"This was a first, in the same way the figure we did for Dezeen Day was."

Switch to renewables has largest impact

The initial phase of the audit involved predicting the footprint of the entire exhibition, which amounted to 190 tonnes of carbon dioxide equivalent (CO2e) emissions, before working to reduce this as much as possible.

This involved tracking the volume of email communications by the organisers, working with contributing designers to gather data from their complex supply chains as well as looking for scarce historical figures on similar exhibitions.

"This is the first-ever footprint done for the Design Museum," Thomas explained. "We went back into historical data sets where we could, mainly in electricity and waste tonnage."

"But nothing had been done before for an exhibition, neither at the Design Museum nor could we find anything to really compare it with from other museums."

The exhibition is on show at the Design Museum until February 2022

URGE's audit estimates that the museum was able to reduce the show's carbon footprint to 10 tonnes of CO2e, which is around as much as the average person in the UK emits per year, although emissions from deconstruction will only be calculated once the show closes in February 2022.

According to Thomas, this "massive reduction" can mostly be attributed to the Design Museum's decision to switch to renewable energy in 2017 after moving into its new Kensington site, which brought the footprint down by 95 per cent.

These savings are only theoretical, as all of the museum's exhibitions for the last four years were also powered by renewable energy. But the audit marks the first time that the associated carbon savings have actually been calculated.

Due to the external servers required to exchange 11,000 emails and 11 gigabytes of data in the process of organising the Waste Age, digital communications still generated one tonne of CO2e, accounting for 10 per cent of the entire footprint so far.

Exhibition constructed using natural and reusable materials

The largest waste and emissions savings were made in the design and build of the exhibition, courtesy of London studio Material Cultures.

The practice worked with URGE to reuse as much material as possible from previous Design Museum exhibitions, before supplementing them with low-impact construction materials that could be reused or left to biodegrade without causing harm to the environment.

Modular display plinths, designed by Assemble for the recent Charlotte Perriand retrospective, were reincorporated into Waste Age, and paired with recycled plastic signage and a wall made of unfired adobe bricks.

Read:

Waste crisis a "design-made mess" says Design Museum show curator

Stacked on top of each other without fixings, these bricks can easily be disassembled and returned to the brickmaker for use in other constructions, while leaving them unfired saves six tonnes of CO2e.

"The fact that they're raw means that there's no energy expended on firing them," McGuirk explained.

However, since some of these bricks might go on to be fired for future projects, part of these emissions are merely delayed rather than completely avoided.

Timber construction brings extra emissions through fixings

Using cross-laminated timber frames for the remaining partitions instead of a traditional aluminium system saved 1.9 tonnes of CO2e, equivalent to roughly 20 per cent of the total footprint.

But this was negated by the need for 4,800 stainless steel decking screws to hold the construction together.

"The stainless steel screws actually added in another 1.2 tonnes, so it's all about the balance," said Thomas, who conducted the audit alongside fellow URGE member Alexie Sommer and data analyst Ralf Waterfield.

The exhibition tackles waste and emissions through its design

According to the audit, the build accounts for 80 per cent of the footprint to date. But the aim is to improve these numbers for future exhibitions.

"It really forced us to rethink the way we do things," said McGuirk.

"From now on, they have a benchmark to compare to," Thomas added. "And it is an ambitious one, too.

"We want to see the same processes done for all shows from now on, and not just here but in all museums around the UK and the globe."

As awareness about the environmental impact of our internet infrastructure grows, a number of other businesses including Dezeen and design studio Formafantasma have overhauled their websites, making code improvements, changing fonts and switching to dark mode to reduce the associated emissions.

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OMA adds wood-clad escalators to KaDeWe department store in Berlin

Architecture studio OMA has revealed images of the first completed part of its renovation of Berlin department store KaDeWe, a retail and event space connected by wood-clad escalators.

OMA designed the spaces as part of its renovation of the Kaufhaus des Westens (KaDeWe), the second-largest department store in Europe after London's Harrods.

Wood-clad escalators sit in the centre of the space

As part of the renovation, the studio divided the nine-storey building into four quadrants, which are each arranged around a central atrium.

"Four quadrants fragment the building into smaller sectors, easy to access and navigate," OMA partner Ellen van Loon, who led the project, told Dezeen.

"Each one is organised around a core void, which acts as main vertical circulation and orientation point."

A shop window will be used for analogue and digital display

The now completed first quadrant contains retail and event spaces as well as the beauty department on KaDeWe's ground floor.

It is arranged around a circular central void that is crisscrossed with wood-clad escalators.

The quadrant encompasses the beauty department

As part of OMA's KaDeWe renovation, it has also designed a glass extension for its roof, which the studio says will "extend organically" from the existing building.

The department store's food laboratories will also be unveiled as a part of the new outdoor space.

The department store is located in Berlin

Each of the four quadrants designed by OMA for the store will have a different street entrance and a different architectural theme, targeting four audiences – classic, experimental, young and generic.

The finished space has a two-storey-high shop window, which sits on the corner of Tauentzienstraße and Passauer Straße and will be used to display both analogue and digital showcases.

OMA aimed to reinterpret classic retail design

OMA designed KaDeWe's renovation to be an alternative to the store's former set-up, which the studio says had been rendered obsolete by "late 20th century modifications".

Instead, OMA aims to reinterpret the traditional department store model.

Read:

OMA wraps glass public walkway around Galleria department store in Gwanggyo

"The renovation of the KaDeWe aims to redefine the dynamic between retail space, its patrons, and the urban environment, in a time when e-commerce is reshaping our relation with in-person shopping," Van Loon explained.

"The project reinterprets the fundamental elements of a typology that has remained virtually unchanged for more than 100 years."

The department store is spread over nine storeys

OMA's masterplan and renovation of KaDeWe was first announced in 2016.

Since then, the studio has also completed an entirely new department store, the Galleria in Gwanggyo, South Korea, which features a multi-faceted glass passage that has been cut into it.

This project is the studio's first for the KaDeWe Group and is led by van Loon and Rem Koolhas. Van Loon is also designing the KaDeWe Group's new store in Vienna.

Photography is by Marco Cappelletti courtesy of OMA.

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Project credits:

OMA Team
Partner: Ellen van Loon, Rem Koolhaas
Team: Ippolito Pestellini Laparelli, Alex de Jong, Natalie Konopelski. Giacomo Ardesio, Sandra
Bsat, Laurence Bolhaar, Janna Bystrykh, Paul Cournet, Alessandro De Santis, Alice Gregoire,
Luis Guzman Grossberger, Sacha Hickinbotham, Piotr Janus, Aleksandar Joksimovic,
Francesca Lantieri, Barbara Materia, Romea Muryn, Miguel Taborda, Salome Nikuradze, Rita
L. Álvarez-Tabío Togores, Felix Perasso, Mariano Sagasta, Iason Stathatos, Tom Xia,
Weronika Zaborek

Collaborators
Management: SMV Bauprojektsteuerung Ingenieursgesellschaft mbH
Structural engineer: IBK Ing.-Büro für Tragwerksplanung
Mechanical, electrical and plumbing engineers: IBT Ingenieurbüro Trache
Local architects: Architekturbüro Udo Landgraf, Heine Architekten Partnerschaft mbB, AUKETT+HEESE GmbH
Lighting: Sekles Planungsbuero
Escalators: HUNDT CONSULT GmbH, Geyssel Fahrtreppen GmbH
Resin panels: Sabine Marcelis Studio

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Notpla is a biodegradable material designed "to make packaging disappear"

Sustainable startup Notpla has created an edible, biodegradable packaging made from seaweed and plants that was designed to replace plastic.

Notpla's eponymous packaging has been shortlisted for this year's Dezeen Awards in the sustainable design category.

Notpla has been designed as an alternative to plastic

Its name is a shortening of "not plastic," referring to the fact that while it looks plastic, the product is actually made from seaweed and plants.

Branding agency Superunion coined Notpla's name as well as a visual identity for the startup. This includes an animated logo that resembles a vessel filling up with water that is only visible when "filled" – as is the case with clear packaging.

Superunion created a visual identity for the startup

"Notpla is a seaweed-based, sustainable packaging startup on a mission to make packaging as we know it disappear naturally," Superunion senior creative director Mark Wood told Dezeen.

"Every year, 8 million tonnes of plastic are dumped in the oceans. The world’s behaviours need to change when it comes to single-use plastic," he explained.

The material can be used to hold condiments

According to Notpla's designers, the material is entirely biodegradable and edible and can be composted at home in four to six weeks.

So far, the packaging has been used to create thin films and coating for cardboard takeaway boxes, as well sachets for condiments.

Read:

Holly Grounds develops dissolvable ramen packaging that turns into sauce

Notpla says seaweed is a sustainable material from which to create packaging because the underwater plant does not need to compete with food crops for land, and also sequesters carbon dioxide – the process of removing it from the atmosphere.

The startup is also behind Ooho, which are sachets made from Notpla designed to be consumed by runners during sporting events.

In 2019, Ooho was trialled at the London Marathon where runners were offered the sachets, which were filled with Lucozade sports drink, while they ran.

Ooho, which is made from Notpla, has been trialled at sporting events

The Notpla designers have also created smaller-scale versions of Ohoo that are intended to hold liquids such as toothpaste, coffee and suncream.

"The ultimate aim is to stop billions of single-use plastic packaging from ever being made by providing a positive alternative," Wood said. "We believe Notpla has the potential to turn the tide on plastic waste."

The packaging is clear in colour

Formerly known as Skipping Rock Lab before Superunion rebranded it, Notpla was founded by Rodrigo Garcia Gonzalez and Pierre Paslier in 2014 while the pair were studying Innovation Design Engineering.

Other projects nominated in the Dezeen Awards sustainable category include Honext panels, which are made from recycled cardboard and paper sludge, and Alive, an organic prototype for architecture that promotes human health.

The images are courtesy of Notpla and Superunion.

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Project credits:

Senior creative director: Mark Wood
Designer: Ilaria Celata
Senior account manager: Nicola Bennett-Cook
Co-founder: Pierre Paslier
Co-founder: Rodrigo Gonzales
Co-founder: Lise Honsinger

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