Friday, 29 October 2021

Steven Holl completes "energetic and open" Cofco Cultural and Health Center in Shanghai

Cofco Cultural and Health Center exterior view

Steven Holl Architects has completed a cultural and health centre in Shanghai, comprising a pair of concrete buildings punctured by irregular openings that are set within a landscaped park.

The firm headed by architect Steven Holl designed the Cofco Cultural and Health Center in 2016 for a site next to the Punan Canal in Shanghai's Fengxian District.

A grey concrete centre by Steven Holl
The Cofco Cultural and Health Center buildings are set within a landscaped park in Shanghai

The area is dominated by rows of uniform apartments blocks, so Holl designed the project as a "social condenser" that helps to bring the community together by providing a new public space.

"While the housing blocks are repetitive and extensive, here the architecture is of spatial energy and openness," the studio said, "inviting the whole community in for recreational and cultural programmes while health needs are provided by the integral health building."

Curved openings in a concrete building
Steven Holl intended for the centres to bring the local community together

Holl explained that the project's use of green space and its attempts at maximising fresh air and natural light embody how his firm has adapted its approach in response to health concerns raised during the Covid-19 pandemic.

"To work on architecture for culture and health is a social commitment, much needed in our current moment, as we continue to feel the global impacts of the pandemic," the architect pointed out.

A grey building with irregular windows
Irregular openings puncture the Health and Culture Centers

The design of the landscape and the two new public buildings reference philosopher Karl Popper's 1965 lecture Of Clouds and Clocks, which explores the evolutionary model of free will.

The landscaping at the Cofco Cultural and Health Center is organised as a series of clock-like circles, including a central courtyard and a wildflower garden that are both separated into quadrants by pathways.

An opening in the concrete building
A ramp leads out onto the central courtyard

The buildings are described as being "cloud-like in their porosity and openness" with their light-grey concrete volumes punctured by irregular openings that expose the interiors.

The cultural centre features a transparent base lined with glazed walls that allow views into the cafe, games area and communal activity space on the ground floor.

A wooden floored room inside the Health Center
Windows are designed to let in the maximum amount of natural light

Visitors can also enter the building using a gently curving ramp that leads from the central courtyard to an entrance set into a three-storey glazed opening.

The entrance provides access to a library, internet service area and a large auditorium on the first floor. The two upper floors accommodate sports and game facilities including badminton courts, a pingpong room and a gymnasium.

A circular void punched into the centre of the building is lined with translucent glass panels that allow daylight to filter into the internal circulation areas. An external stair weaves its way through the void, providing access to each level.

Similarly to the Cultural Center, the Health Center located on the opposite side of the courtyard also features a concave facade that follows the outline of the circular central space.

The exterior of a concrete building by Steven Holl
The landscaping for both buildings is organised as a series of clock-like circles

The Health Center contains a curving central atrium that extends the full height of the building and is topped with a translucent roof light.

A lobby arranged around the atrium on the ground floor is connected to the upper levels by a curving staircase.

Translucent walls in the centre of the Cultural Center
A round void in the centre of the Cultural Center is lined with translucent glass

The ground floor also accommodates a waiting area, pharmacy and consultation rooms, with the treatment areas, administrative facilities and breakout areas located on the upper floors.

Both of the buildings have green sedum roofs that help them merge with the landscape when seen from above and from the surrounding apartment buildings.

Holl's architectural philosophy focuses on responding to the unique characteristics of a building's site and programmatic requirements. Space, light and materials are manipulated to create places that are strongly connected to their context.

The geometric volumes and organically shaped cutouts are hallmarks of Holl's designs

The Cofco project's combination of geometric volumes and organically shaped cutouts is reminiscent of some of the architect's earlier work, including the Hunters Point Library in New York City.

The firm's design for the Museum of Fine Arts Houston features a roof formed of multiple concave curved sections which it claimed was "imagined from cloud circles".

The photography is courtesy of Aogvision.

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Eight multicoloured paint installations that brighten up London

Feet walking over Yinka Ilori crossings for Bring London Together

London's latest urban design trend involves commissioning a designer to paint a colourful pattern on a wall, road or bridge. Here are eight examples of polychromatic paint jobs from designers including Yinka Ilori and Camille Walala.

The trend offers an easy, low-cost way to brighten up a neighbourhood. Other London designers who are getting out their paintbrushes are Adam Nathaniel Furman and Morag Myerscough.

In an interview with Dezeen last year, Furman identified this group of designers as part of a new movement that he christened New London Fabulous.

Since then, further projects have followed including Ilori's rainbow road crossings for this year's London Design Festival and Furman's vibrant stripes on a Kings Cross bridge.

Here are eight examples of riotous 2D transformations:


Lakwena Maciver's colourful rooftop painting

Back in the Air: A Meditation on Higher Ground, London, by Lakwena Maciver

London-based artist Lakwena Maciver was commissioned by Westminster Council to turn a rarely-used rooftop above Temple Underground station in central London into a "paradise".

Called Back in the Air: A Meditation on Higher Ground, the tiled artwork stretches over the 1,400-square-metre roof terrace, providing Londoners with a secret place to observe the river Thames from up high.

Find out more about Back in the Air: A Meditation on Higher Ground ›


Walala Parade by Camille Walala

The residents of Leyton in northeast London crowdfunded the redevelopment of eight shops in their neighbourhood, calling on designer Walala to inject a pop of colour into an otherwise ordinary high street.

Walala used her signature vibrant, graphic style in an effort to capture the soul of the "exciting and creative area". The designer sourced paint from the surrounding area in a bid to support local businesses.

Find out more about Walala Parade ›


Feet walking over Yinka Ilori crossings for Bring London Together

Bring London Together by Yinka Ilori

London-based designer Ilori transformed 18 pedestrian crossings on Tottenham Court Road in central London at this year's London Design Festival, using his signature colourful stripes and circles.

The joyful designs, which contrast starkly with the traditional London black and white zebra crossings, were intended to bring a moment of enjoyment to the thousands of people walking through London's streets every day.

Find out more about Bring London Together ›


A colourful pavilion in London

The Sun Pavilion by Morag Myerscough

British artist Myerscough built an eye-catching pavilion in Canary Wharf, London's financial district, with the intention of creating a space for adults and children to enjoy in a post-lockdown world.

The pavilion stands out as a playful, brightly coloured addition to an area that is mostly known for its many steel and glass high-rise buildings.

Find out more about The Sun Pavilion ›


Colourful stripes across the Esperance Bridge
Photo is by John Sturrock

Adam Nathaniel Furman Esperance Bridge

Designer and artist Adam Nathaniel Furman embellished what was already a bright red bridge over Regent's Canal with stripes of paint in bright hues.

The pedestrian-only crossing, which was installed by Moxon Architects and Arup, provides commuters with easy access from King's Cross station to the shopping district Coal Drops Yard.

Find out more about Esperance Bridge ›


Rosebank Arcade by Edward Crooks

The borough of Waltham Forest commissioned designer and artist Edward Crooks to create an artwork that covers the Rosebank arcade, one of the busiest thoroughfares in Waltham Forest.

The piece acts as a large-scale welcome mat and wall installation for shopping tourists as well as regular locals, echoing the energetic and vibrant spirit of the borough.

The piece was selected by Furman as an example of the New London Fabulous, a "highly aesthetic" design movement by a group of creatives working in the capital.

Find out more about Rosebank Arcade ›


Camille Walala artwork pays homage to West London architecture

Les Jumeaux by Camille Walala

A second creation by Walala, called Les Jumeaux, consists of two pedestrian crossings and seven murals on a building facade in the creative business area of White City.

The installation is the French designer's first major outdoor artwork in west London and saw her reinterpret the area's rich architectural details through a more colourful lense.

Find out more about Les Jumeaux›


London Festival of Architecture: Happy Street by Yinka Ilori

Happy Street by Yinka Ilori

An array of 56 patterned enamel panels coated in 16 different colours were used to revive a bustling hotspot on Thessaly Road, southwest London.

In doing so, Ilori covered a railway bridge and underpass to transform what was once a "forbidding environment" into a site of joy.

Happy Street, which was the designer's first public installation, was developed in collaboration with the local council, the residents of Wandsworth borough and a primary school.

Find out more about Happy Street›

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Nathan Eddy documents under-threat brutalist Mäusebunker building in Battleship Berlin film

Exterior of Maüsebunker in Brrlin

American filmmaker Nathan Eddy has documented the efforts to preserve a brutalist laboratory in Berlin that is threatened with demolition in a short movie. 

Named Battleship Berlin, the 40-minute film is currently available to watch on König Galerie's website. It documents both the efforts to save the concrete  Mäusebunker building and the opposition to conserving the structure.

The concrete Mäusebunker in Berlin
The brutalist Mäusebunker laboratory in Berlin is the subject of Nathan Eddy's latest film

Mäusebunker, which translates as Mouse Bunker, was designed by German architects Gerd and Magdalena Hänska for the purpose of animal research. It was built between 1971 and 1981.

After becoming vacant in 2010, the building is now threatened with demolition. However, campaigns to save the building have put plans to demolish the building on hold.

Mäusebunker building covered by snow
Mäusebunker was completed in Berlin in 1981

The Institute for Hygiene and Environmental Medicine, a building adjacent to Mäusebunker that features in the film, was listed for protection in January after also being under threat.

Berlin-based Eddy said that the conflicting opinions over the future of Mäusebunker became an "inevitable" subject for a film.

A still from Battleship Berlin by Nathan Eddy
The building is threatened by demolition

These contrasting opinions are aired throughout the Battleship Berlin film, as it jumps between various interviewees who are either for or against preserving the building.

"In the case of the Mäusebunker and Battleship Berlin, it was inevitable that I was going to make a film about it as soon as it exploded into view in front of me," he told Dezeen.

"The conflict between the two opposing mindsets – preservation or demolition – is always the key storytelling element."

The concrete exterior of Mäusebunker
It is best known for its pyramidal concrete form

Among those keen for demolition is Axel Radlack Pries, the dean of the Charité hospital that owns the building.

Pries, who described the laboratory as "a huge concrete monster – a nightmare transformed into matter", believes that the site is an opportunity for a new building that will help Berlin "regain its competitive edge".

However, the founder of König Galerie, Johann König, disagreed. He said it is possible to both "make use of what's there and also create something new".

As one of the people fighting to save the structure, König offered the example of the König Galerie – a gallery and cultural hub that he created within an old brutalist church in Berlin.

The tiled interiors of the Mäusebunker laboratory in Berlin
The film also reveals the laboratory's tiled interiors

Throughout Battleship Berlin, Eddy captures the building from all angles, spotlighting its distinctive pyramidal form, projecting blue pipework and large triangular windows.

However, the lesser-known details of the building, such as its heavily tiled interiors and the proximity to the Institute for Hygiene and Environmental Medicine, are also shown.

While shedding light on history and threats that face the building, he hopes the film can help "spotlight the cultural value of brutalist architecture" around the world.

A similar ambition led him to direct The Absent Column, a film about the Prentice Women's Hospital by Betrand Goldberg in Chicago.

"My goal in making these films is to help people see the buildings in a new light, to help people develop an aesthetic and historic appreciation for this style of architecture, to explain the why and the how, to place brutalism in the proper context," he explained.

"These are not easy buildings to love, they are downright loathed by many, but they are important and they are unique. But they are, admittedly, difficult to repurpose," he continued.

A still from the Battleship Berlin movie
The film also captures the distinctive building's pipework and windows

Brutalist architecture is typically characterised by bold monolithic forms cast from exposed concrete. It is considered one of the 20th century's most controversial architectural styles.

The style soared in popularity in the 1950s during the post-war rebuilding of the UK, reaching its peak internationally in the mid-1970s.

"Even for those who consider themselves fans of architecture, brutalism is still a tough sell," Eddy said.

"Therein lies the challenge, but I like an uphill battle, and a chance to change minds."

Portrait of Axel Radlack Pries
Axel Radlack Pries is among the people supporting the building's demolition

He added that while preserving architectural heritage, protecting brutalist buildings from demolition also needs to stop for environmental reasons.

"This relentless cycle of demolition and new construction, which extremely resource-intensive, needs to stop," he explained.

"Preservation can be pitched as contributing to sustainability and helping reduce resource and material consumption," he added. "I don't think that's emphasised enough."

His thoughts are echoed in the film by Christoph Rauhut, head of conservation at the Berlin Heritage Protection Authority.

Preserving the Mäusebunker is "also about protecting the environment", he said, as it prevents "additional energy being used to construct new buildings".

Portrait of Johann König
Johann König (above) said the building should be preserved

Battleship Berlin is available to stream on König Galerie until 31 October. Throughout November and December, it will be made available to watch as part of the Architecture & Design Film Festival.

In 2017, Eddy also directed a film called Starship Chicago that protests the demolition of Helmut Jahn's Thompson Center in Chicago, which is considered one of the city's best examples of the postmodern architecture style.

Tim Verlaan, an assistant professor at the Amsterdam Centre for Urban History, recently told Dezeen that brutalist buildings are currently threatened by right-wing politicians as part of an "attack on the welfare state".

"Today, criticism on brutalism and modernism is mostly voiced by those on the far-right side of the political spectrum, precisely because of the association between modernism and the post-war welfare state," he explained.

However, Catherine Croft, director of the Twentieth Century Society, believes that brutalist buildings are typically demolished "because developers think they can put something bigger and more lucrative on the site".

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"COP26 marks a critical juncture for humanity" say architects and designers attending the climate conference

Earth from space

This weekend the world's governments come together to move forward plans to tackle climate change at the COP26 summit. Ten architects and designers who are heading to Glasgow told Dezeen about their hopes and fears for the conference.

The hugely anticipated 26th Conference of the Parties (COP26), also known as the UN Climate Change Conference, kicks off in Glasgow on Sunday and the stakes could scarcely be higher.

The two-week event "marks a critical juncture for humanity", said Royal Institute of British Architects (RIBA) president Simon Allford.

Leading architecture and design figures attending the summit expressed concerns that the built environment is not being talked about enough, as well as calling for clear, achievable targets to bring down greenhouse gas emissions.

They agreed that greater action is needed to tackle issues like embodied carbon while urging architects to think more about circularity through their work.

Read on for their pre-conference thoughts.


Becca Thomas New Practice

"I hope for bold and achievable targets" says Glasgow architect Becca Thomas

Why are you attending COP26? As a resident and someone who runs an architecture practice in the city, it very much feels that COP26 has come to us. It really feels like this is a great moment to amplify the sorts of great content and conversation that have been happening locally as Glasgow becomes a global stage for vital discussions about the future of the planet.

What do you hope the conference will achieve? I hope for bold and achievable targets with clear routes to delivery, anything else is more talk when we need action.

In particular, I would like for there to be a significant change in the approach to active travel and a solution to the ongoing reliance on and celebration of the private motor vehicle.

Is there an issue you're concerned could be overlooked? The impact of private residences on emissions. This is a huge sector that feels quite challenging to address especially where large material and financial outlays might be required to insulate and re-engineer our homes to be fit for the future.

What more could governments be doing to help architects and designers reduce emissions? For our practice, the single biggest political issue is VAT on renovations. When we build as a practice, we predominantly work with communities to bring their spaces back into active use from dereliction or decay. Whilst new builds benefit from a 0 per cent rate, our projects take a 20 per cent hit on doing the 'right' thing which can have a knock on effect on the quality and scope of the finished projects.

What more could architects and designers be doing to reduce emissions? We need to be extremely considerate of how and why we build. Always new and always more can never be sustainable, but that is the very premise of what the majority of our industry do. We need to slow down and think carefully and consciously about what we build, why we build and if a building is always the right solution.

Becca Thomas is creative director of New Practice.


Andrew Waugh

"This should be time for architects to shine" says London-based architect Andrew Waugh

Why are you attending COP26? I'm presenting at a couple of events around COP, I think it's really important to be involved – to fight to be involved. There isn't nearly enough focus on the built environment at COP – so we need to make sure our voice is heard. I'm also really intrigued to actually experience a global event like this!

What do you hope the conference will achieve? Consensus – an understanding and an agreement about the desperate state we're in – and perhaps even an optimism of what a greener future could bring.

Is there an issue you're concerned could be overlooked? The built environment. The industry has been relegated to an afternoon on the last working day of the conference and the fault for that lies with our industry – we're just not putting the effort into the transformation necessary, still fiddling around the edges and celebrating the same old shiny boxes.

What more could governments be doing to help architects and designers reduce emissions? Legislation, funding and support. Proper reporting of our greenhouse gas emissions based on what we consume – not what we produce.
There should be confident embodied carbon regulations, carbon taxes, no more peddling of fatuous net-zero targets. How about published carbon emissions on the front of every project? Planetary health warnings like on a cigarette packet?

What more could architects and designers be doing to reduce emissions? Say no to new buildings when possible, don't build basements, be resource efficient in design decisions, collaborate, share ideas, use bio-based and re-used materials, re-frame notions of success in design! Be passionate and enthusiastic about regenerative design – and design with real purpose. Take a deep breath and be different. This should be the time for architects to shine.

Andrew Waugh is director at Waugh Thistleton Architects.


Simon Allford elected next president of the RIBA

"COP26 marks a critical juncture for humanity" says RIBA president Simon Allford

Why are you attending COP26? COP26 marks a critical juncture for humanity. With the built environment responsible for 38 per cent of global energy-related carbon emissions, we must massively reduce our carbon output. Now.

We're attending COP to demonstrate that the built environment is ready and willing to make the changes needed to remain within planetary limits – but we need the government's help. We can't do it alone.

What do you hope the conference will achieve? COP should raise global interest and concern about the impact of the built environment on the planet – and push for government support. The Cities, Regions and Built Environment Day [on 11 November] is a nod to this, but current government policies, such as [last] week's Heat and Buildings Strategy continue to fall short of what's required to reach net-zero.

Is there an issue you're concerned could be overlooked? Embodied carbon. As the electricity and gas grid continue to decarbonise, the embodied carbon emissions of most new buildings created between now and 2050 will be greater than those emissions released through energy use during the building's lifetime. But in the Heat and Buildings Strategy, it wasn't even mentioned.

What more could governments be doing to help architects and designers reduce emissions? Current building codes and regulations focus almost exclusively on the energy use of new buildings but do not regulate actual energy use. We know that buildings sometimes do not perform as predicted during the design process, so we must regulate their in-use operational energy performance.

Embodied carbon also remains almost entirely unregulated and there's currently too little government encouragement to reuse and retrofit our existing building stock.

What more could architects and designers be doing to reduce emissions? We cannot tackle global climate and biodiversity emergencies without changing the way we design and construct buildings. We've also got to prioritise reuse and retrofit where possible and – as an entire sector – we must commit to breaking down silos and sharing knowledge to scale-up capabilities. We need government support, but we can also do a lot on our own.

Simon Allford is president of the RIBA and executive director at London, Bristol and Oklahoma City-based studio Allford Hall Monaghan Morris (AHMM). He will be sharing recommendations from the RIBA and Architects Declare's recent report, Built for the Environment.


Christina Gaiger RIAS

"We need to build once for the future" says RIAS president Christina Gaiger

Why are you attending COP26? I am attending COP26 on behalf of, and as president of the RIAS. All building has a substantial carbon footprint and our members across Scotland are committed to supporting the government and communities to change this.

What do you hope the conference will achieve? I hope that COP26 will acknowledge and place due importance on the role of the built environment in the challenges that lie ahead. The climate emergency alongside the global pandemic has highlighted how important design is for people, homes, buildings and places.

Is there an issue you're concerned could be overlooked? Circularity. The construction industry currently consumes half of all our raw materials and produces half of our waste.

What more could governments be doing to help architects and designers reduce emissions? Policies need to match our priorities and be supported by a procurement system that delivers a high-quality built environment. We need to build once for the future.

What more could architects and designers be doing to reduce emissions? Architects have the knowledge and tools to make informed decisions and design with a carbon-conscious approach. For example, we can prioritise re-use, consider circularity and select materials that have a light touch on the environment. However, we cannot do this alone. There needs to be a supportive procurement system and a market-driven or regulatory stimulus in order for this approach and critical skill set not to be value engineered!

Christina Grainger is president of the Royal Incorporation of Architects in Scotland (RIAS). The portrait is by Angus Bremner.


Dezeen Awards 2021 judge Anab Jain

"We need action and we need it now" says Anab Jain of London design studio Superflux

Why are you attending COP26? I am attending just a couple of days at COP26, specifically at the New York Times Climate Hub. We at Superflux helped IKEA to translate their climate solutions and net-zero commitments into an action-based exhibition being presented at the New York Times Climate Hub.

What do you hope the conference will achieve? Actionable commitments that leaders can deliver in their time at the office. Long term pledges are important, but we need action and we need it now. I hope the conference can create the roadmap for action for this decade.

Is there an issue you're concerned could be overlooked? According to experts, the summit will fail to result in pledges that could limit global heating to 1.5 degrees Celsius. It's very worrying.

What more could governments be doing to help architects and designers reduce emissions? Incentivise net-zero schemes, ensure a good supply of sustainable materials, commend best practices – there is so much the government can do!

What more could architects and designers be doing to reduce emissions? Reduce carbon emissions. Stop using unsustainable materials, design for circularity, design within planetary boundaries, embrace a more-than-human perspective. The list is endless.

Anab Jain is co-founder and director at Superflux.


Julie Hirigoyen UKGBC

"I fear that some of the more challenging priorities will fall by the wayside" says UK Green Building Council boss Julie Hirigoyen

Why are you attending COP26? I will take every opportunity to put the built environment front and first as a critical solution to be embraced by state and non-state actors alike and I'm delighted that the important work of Green Building Councils globally has been recognised as critical and is featured in the COP26 conference programming.

What do you hope the conference will achieve? I hope COP26 is recognised as a critical tipping point in the fight against climate change – one that sees finance, business, cities, and civil society all accelerating their leadership and action towards net zero carbon. We need to see more granular plans for the complete decarbonisation of buildings and infrastructure emerging soon after COP26.

Is there an issue you're concerned could be overlooked? I fear that some of the more challenging yet crucial priorities such as improving energy efficiency of existing assets and tackling the embodied carbon within construction processes will fall by the wayside. Tackling issues as huge as how we're going to retrofit close to two homes per minute over the coming 30 years will not disappear because they're difficult or complex.

What more could governments be doing to help architects and designers reduce emissions? Governments must update policy frameworks to embed a culture of design for performance, rather than design for compliance. This would create an outcomes-based approach that drives architects and designers to innovate and develop the best solutions for their specific projects.

Additionally, governments must regulate for the whole life carbon of buildings, starting with mandatory measurement on larger projects and quickly move to set embodied carbon limits for different building types.

What more could architects and designers be doing to reduce emissions? They must champion ambitious energy use and embodied carbon targets in project briefs, as well as promoting a design-for-performance approach. They should also help shift demand away from high embodied carbon, new construction to one that prioritises circularity, design for deconstruction and reuse with emphasis on low carbon design.

Finally, they should prioritise the gathering of post-occupancy data to evaluate building performance and generate the feedback loop that is needed to rapidly share net-zero carbon knowledge across projects and the wider industry.

Julie Hirigoyen is chief executive of the UK Green Building Council (UKGBC). UKGBC has put together a virtual pavilion for COP26 with more than 100 partners called Build Better Now.


Helene Chartier portrait

"The 2020s will be a make-or-break decade" says Hélène Chartier of international network C40 Cities

Why are you attending COP26? C40 is one of the leading organisations on climate change – over the years it has become the voice of mayors on the international stage and a key support for cities to act on the ground. It is therefore important for us to be there. COP26 will be key not only to engage the national governments but also for the mobilisation of society as a whole.

What do you hope the conference will achieve? I hope this COP will move climate action from a peripheral issue to the central organising principle of society. It is also essential that COP26 better prescribes the tools and financial resources for implementation.

Lastly, a focus on adaptation is necessary. Even if the temperature rise is kept below 2 degrees celsius, which is unlikely, the consequences will be extreme. We have to get prepared.

Is there an issue you're concerned could be overlooked? It is important to consider all greenhouse-gas emissions, including the Scope 3 emissions which are the indirect emissions generated in the value chain from the goods and services, including those from raw materials, manufacturing, distribution, retail and disposal. For decades, we have been neglecting the impact of Scope 3 emissions on the main targets and strategies set by national and local governments.

It is now key to address these emissions and to allocate them to the final consumers of those goods and services, rather than to the original producers, especially for the built environment sector which must better tackle embodied emissions from construction.

What could governments be doing to help architects and designers reduce emissions? The first thing would be to require lifecycle emissions assessments (LCA) from all constructions. Then, they must set the right reduction targets and give visibility for the future so the industry can be prepared.

To align with the objectives of the Paris agreement, ambitious targets would be to ensure new buildings operate at net-zero carbon by 2030 and have all buildings do so by 2050, and reduce embodied emissions by 50 per cent for all new buildings and major retrofits by 2030, and aim at a 30 per cent reduction by 2025.

What more could architects and designers be doing to reduce emissions? First, all architects should educate themselves on LCA. Good digital tools are now available to run carbon assessments within a design model. With these tools, it is now possible to put emission reduction goals at the heart of design practice.

Hélène Chartier is head of zero-carbon development at C40 Cities.


Mark Dytham, co-founder of Tokyo-based Klein Dytham Architecture and Dezeen Awards 2019 judge

"You have to think about it at your next design meeting" says Tokyo-based architect Mark Dytham

Why are you attending COP26? I'm attending COP26 with PechaKucha, our global show and tell format, as a part of 'After the Pandemic', a creative and cultural fringe event at Strath Union in the heart of Glasgow.

What do you hope the conference will achieve? We hope it will continue to raise awareness in young people, the next generation who just want us to get on with it and make clear, tangible steps to stop climate change.

Is there an issue you're concerned could be overlooked? Time. We have to do this now, you have to think about it at your next design meeting. What can we do today that will have an impact, however small?

What more could governments be doing to help architects and designers reduce emissions? They need to support core ideas to help us rethink, reimagine and redesign our community and environments to be greener, more resilient and more vibrant – the key goals of the After the Pandemic event at COP26.

What more could architects and designers be doing to reduce emissions? Less is more. Use less to build more. We have to redefine architecture and interiors by using less – we live on a finite planet.

Mark Dytham is co-founder of Klein Dytham Architecture.


Dominique Jakob and Brendan MacFarlane

"As architects it's important to make our voice heard" say Paris-based architects Dominique Jakob and Brendan MacFarlane

Why are you attending COP26? As architects, it's important to make our voice heard at this forum so that it's not just governments and institutions making crucial decisions for this planet on our behalf.

What do you hope the conference will achieve? The objective of COP would be to achieve international agreement of how we will be collectively meeting the key target – to limit global warming to the lowest possible level. Having the second biggest carbon emitter, the US, on board of COP26, is a huge step forward.

At the same time, China and India, respectively the first and the third largest greenhouse gas emitters, haven't confirmed their commitment yet, which weakens the potential of a truly global climate deal.

Is there an issue you're concerned could be overlooked? The big message we are getting from a lot of people around the world is that we are still talking while we need to be acting. Action has started, but that's not enough, and we believe that solutions should be found – probably including some economic and political measures – so that non-committing would no longer be an option.

What more could governments be doing to help architects and designers reduce emissions? What we need is a coordinated policy, legislation that provides strict regulations about the use of non-polluting, non-petrochemical-based materials with a gradual ban on environmentally harmful products – and, on the other hand, incentivises the use of environmentally friendly materials. Unless this happens, we're never going to get out of a vicious cycle, because people will always opt for what they already know.

What more could architects and designers be doing to reduce emissions? Polluting materials have been named, and architects have a role of refusing to use these products and opting for cleaner alternatives instead. Currently, many of the alternatives are more expensive, but as soon as the demand for such products goes up, the costs should come down. We do have a choice. Of course, in some cases, the transition will be gradual, but that's the general direction in which our profession should be pushing more actively.

Dominique Jakob and Brendan MacFarlane are founders of Jakob+MacFarlane. At COP26, the studio is presenting a project called TongAbove created with Tongan artist and activist Uili Lousi. The portrait is by Alexandre Tabaste.


COP26 will take place at SEC Centre in Glasgow from 1 to 12 November 2021. See Dezeen Events Guide for all the latest information you need to know to attend the event, as well as a list of other architecture and design events taking place around the world.

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