Conventional car company design rules say “All of a brand’s models must share styling cues. The brand DNA must not have any mutations.” As evidence of this approach, if you look at even tiny thumbnails of models on automakers’ websites, whether they offer a few models or many, the vehicles always read as a family.
Audi
BMW
Mercedes-Benz
Hyundai, however, is going in a different direction. The first clue–though no one realized it was a clue at the time–is when they debuted their 45 concept last year:
The 45 is based on the first concept car Hyundai ever commissioned, 45 years ago in 1974. (It was designed by no less that Giorgetto Giugiaro.)
This year Hyundai unveiled another concept, their all-electric Prophecy:
As you can see, there’s no visual consistency whatsoever between the models.
Any observer might guess that there’s no one at the helm of the design studio, or that the design team has split into factions, or that they’re throwing things at the wall to see what sticks. But SangYup Lee, Hyundai SVP and head of their Global Design Center, revealed to Auto Express that both concepts–which will both spawn production versions–are part of an unusual plan:
…The new models would be the start of a new design philosophy in Hyundai that would avoid the ‘Russian Doll’ strategy employed by many other car makers.
“Our cars will be more like a chess board where you have a King, Queen, Bishop, Knight,” Lee told us. “They all look different and function differently but when they’re together they come as one team. This is what the Hyundai look is all about – diversifying our design to fulfill our customer’s lifestyle.
“The 45 is more inspired by the 1970s…. The Prophecy is inspired by the 1930s streamlined era.
“These two cars show how much of the design spectrum we are capable of.”
Do you think the strategy will work? Will customers be confused, or have we as a society outgrown the “Russian doll” system?
A scoop-sized serving of 20x strength coffee yields endless options and far less waste
Unlike cold brew, which is generally made at double- or triple-strength from soaking coarse coffee grounds in cold water for upwards of 24 hours, Jot‘s newly launched concentrate—which they refer to as “Ultra Coffee”—is brewed quickly and bottled at 20 times the strength. It can be turned into a delectable iced drink or a fine cup of hot coffee simply by following the preparation instructions: the potent elixir is doled out in tablespoon-sized portions in order to avoid the jitters. But, it’s the brand’s overarching philosophy that could inspire change across the industry—all while still spotlighting and supporting smaller producers, and showcasing the flavors of their beans.
There’s no question that the pioneers of the coffee industry’s current wave have made significant strides in sustainability, transparency in sourcing, and presentation of layered flavors. But, to address systemic sustainability issues, coffee producers may need to consider alternative means of delivery—hence Jot’s inception. We discussed Jot’s launch, the brand’s processes and how they’ve approached sustainability as the bare minimum with co-founder Palo Hawken.
Can you explain the process of brewing coffee at 20x? How do the rich, precise flavors remain?
Brewing coffee at 20x is tricky. Even espresso, the closest analog to Ultra Coffee, is not quite 20x—it’s usually around 14-16x, and it requires quite a lot of precision equipment and technique. A well-made espresso also results in a significant amount of aeration of the liquid coffee (crema), and pressurized steam (hotter than boiler temperature), which adds to the experience when consumed on the spot, but will degrade and oxidize that espresso quickly if stored to consume later. By contrast, Jot achieves 20x by decreasing the speed of extraction while modulating and controlling temperature and dissolved oxygen. Heat and oxygen are the two biggest enemies of fresh coffee, and we have found a way to extract efficiently, while managing those “enemies” to the degree needed to maintain rich, nuanced clarity of flavor over many weeks of storage and use.
What does concentrating and appropriately dosing coffee do for its applications? Is this ultimately less wasteful?
We believe that distributing coffee in this form can significantly decrease the waste associated with other consumer and food service coffee-making systems. Some examples of coffee waste scenarios that Jot would help eliminate are:
Wasted grounds: the vast majority of spent coffee grounds from home coffee-making are simply sent to the landfill. By contrast, Jot composts 100% of its spent grounds to create soil amenders for improving local farming.
Wasted beans: roasted coffee and fresh ground coffee have very short shelf-lives. How many pounds of perfect coffee make the long journey to the pantry of a home or office, only to go stale or be tossed before brewing? What is the corresponding level of retail shrink (going out of code before it is sold and tossed)? Every bean we buy and roast is transformed into Ultra Coffee and put into bottles.
Wasted brewed coffee: how many pots of coffee are brewed in homes, in office buildings, restaurants and cafes (and airplanes!) that are only partially consumed, with the remainder thrown out at the end of a shift or the end of a day? Jot’s unique advantage is that you make only what you need and exactly when you need it. You can even scale back to half a cup any time, and nothing’s lost or wasted.
Pods and other single-serve packaging waste: for each recyclable glass bottle Jot sells, 14 cups of coffee are delivered to the consumer. When contrasted with the explosive growth of the single-serve coffee making craze, there is a huge potential benefit of both the quality of the coffee consumed, and the incredible reduction of packaging waste.
Can you elaborate on Jot’s inception? Was it created to solve these issues or with the experience front of mind?
Jot was conceived while looking to develop novel ways to brew coffee more efficiently for industry. This search led Andrew Gordon and me to make a few observations about current state-of-the-art industrial coffee brewing. When those observations were turned into hypotheses that could be tested, we were so happy with the results that we stopped making coffee at home in any other way in favor of using just a tablespoon of this magic liquid. When it became clear that our curious friends and family were doing the same, and abandoning their home coffee rituals in favor of Jot, we knew this had to be offered to the world, and Jot was born.
What are your favorite ways to use it? Is it also a useful ingredient in recipes where a coffee flavor comes through?
One of the beauties of this level of concentration is that it does not disrupt the delicate ratios of culinary recipes: mocha frosting, mocha-chip cookies (just add Jot to dough), coffee cake, coffee “blender ice-cream,” and many other kitchen uses. My brother is a chef and makes marinades for his steaks with Jot. Home-brewed coffee simply adds too much water and not enough intensity of flavor. Resorting to instant coffee sacrifices the goal of spectacular flavor and aroma.
I like putting one tablespoon of Jot into two ounces of half and half for an intense keto “Jot-shot.” But, if you like hot coffee, something similar with steamed milk or half and half would really showcase the favors.
Ron Arad speaks to Dezeen in this live discussion as part of Virtual Design Festival’s collaboration with the British-Israeli designer and architect. Watch the conversation live from 2pm UK time.
Today, Virtual Design Festival is teaming up with Arad to host a digital launch of his Don’t F**k With The Mouse collection of chairs, which were meant to be exhibited at the OTI gallery in Los Angeles. The show was cancelled due to the Coronavirus pandemic.
The collection features variations of the Big Easy chair he designed for Moroso, nicknamed Mickey Mouse for its resemblance to the iconic silhouette of the Disney character’s head and ears.
Arad attended the Jerusalem Academy of Art before moving to London to study at the Architectural Association. He co-founded design and production studio One Off with Caroline Thorman in 1981, and went on to establish Ron Arad Associates in 1989 and Ron Arad Architects in 2008.
Ron Arad speaks to Dezeen’s founder and editor-in-chief Marcus Fairs
Arad’s international architecture projects include the Design Museum Holon and the Watergate Hotel in Washington DC. He has designed products for brands including Samsung, Alessi, Swarovski, Fiat and Bombay Sapphire.
His designs have been featured in museums and galleries worldwide, including New York’s Metropolitan Museum of Art and the Powerhouse in Sydney. The 2010 exhibition Ron Arad: Restless at the Barbican in London explored three decades of his designs.
The Architects Climate Action Network’s Save Safe Structural Timber campaign urges the UK government not to ban the use of cross-laminated timber and glulam as it could have a serious environmental impacts.
“The campaign’s objective first and foremost is to save the safe use of structural timber from being unnecessarily banned in certain new buildings in the UK,” said Sebastian Lomas and Matt Rosier of ACAN.
ACAN has launched a campaign to save structural timber
The current consultation follows regulations introduced to limit the use of combustible materials in buildings following the Grenfell fire in 2017, in which 72 people died.
Following the release of the Hackitt Report, the UK government banned the use of combustible materials on buildings above 18 metres on the entire external wall.
This ban impacted building’s facades and the cross-laminated timber and glulam structures.
Structural timber could be banned on all buildings over three stories
The government’s latest consultation could result in an extension of this ban to more building types and shorter buildings – as the height could be reduced from 18 metres to 11 metres, which would impact all buildings over three stories.
“In response to recent tragedies involving fires, the government has rightly banned combustible materials on facades,” Lomas and Rosier told Dezeen.
“The current review of this ban extends this to include shorter buildings of 11 metres tall, including the entire external wall including the structure.”
The campaign urges the UK government not to extend a ban on structural timber
Lomas and Rosier, along with numerous architects from studios including Waugh Thistleton Architects, Architype, CF Møller Architects, Mole Architects, BDP, dRMM that have joined the campaign, believe it that a differentiation should be made between a building’s structure and its facade
“The ban means that structural timber is being increasingly seen as a risk by clients, insurers, home owners, and local governments despite completed and ongoing tests that prove otherwise,” the pair continued.
“It is important to distinguish between the facade, where fire has sadly proven to spread between rooms, and the structure, which makes up a large part of the building and should be able to be made from engineered timber; a low embodied carbon and carbon sequestering material.”
ACAN calls for structural timber to be exempt from ban
ACAN, and architects working at studios using CLT and glulam, are calling on the government to increase fire testing to further prove that timber does not pose more of a fire risk than other structural materials.
“The government should commit to further fire testing of existing and emerging structural timber systems for different buildings types and scales,” said Lomas and Rosier.
ACAN believe that structural timber is key to reducing CO2 emissions
“Along with instrumentally informing our robust building regulations it would help with the essential steps of reassuring building occupiers, building and PI insurers, and designers, that structural timber can be safe,” they continued.
“We believe that this research, in conjunction with the ban recognising the distinction between cladding and primary structure, should enable structural timber systems such as cross laminated timber and glue laminated timber, when designed and constructed with adequate fire protection, to be added to the list of exemptions from the ban.”
“There is too much at stake to allow such ill-informed legislation to pass”
ACAN believes that structural timber is the only alternative to using large amounts of concrete and steel in construction and therefore its use is key to reducing constructions CO2 emissions.
“Structural timber is the only viable sustainable alternative we have to steel and concrete,” said Lomas and Rosier.
“In this moment of ecological crisis, with construction accounting for 40 per cent of UK CO2 emissions, it is essential we do everything we can to make to increase the usability of this material.”
“To consider banning it here, as the rest of the world is waking up to the necessity of structural timber in decarbonising construction, feels draconian and backwards. There is too much at stake to allow such ill-informed legislation to pass.”
Only two architects responded to the previous review
ACAN created the campaign after learning that only two architects responded to the UK government’s initial consultation and aim to draw increased attention to the proposed regulations.
“We launched this campaign in order to empower designers across the industry in what is a complex and very contentious subject,” explained Lomas and Rosier.
“We were shocked to find that only two architects responded in the previous consultation on this ban last year and hope to significantly amplify the voice of designers this time as we believe we can meaningfully contribute to this review,” they said.
“These consultations are typically woefully under-representative of architects views, who as an industry have far fewer resources to throw at lobbying and legislative activity than others,” they continued.
“However as professionals, who have a legal duty to protect both the inhabitants of their buildings, and society at large, it is essential we are as vocal as we can be in such consultations. Especially in the midst of a climate emergency that is driven in no small part by construction.”
The consultation ends on 25 May
For those wanting to respond to the consultation, which closes on the 25 May, ACAN suggests visiting its website, contacting an MP and sharing the images in this article.
“We have already had over 60 professionals sign our website declaring their response and we would invite others to visit the ACAN website where we have set out steps and provided information for responding, writing to your MP, and help share the campaign with colleagues, managers, suppliers and clients about the campaign and their use of structural timber,” urged Lomas and Rosier.
Cross-laminated timber is widely seen as a viable alternative to using concrete and steel in architecture to reduce construction’e environmental impact. Last year architects speaking at the Architecture of Emergency summit in London last month called for timber to replace concrete.
Daily coronavirus briefing: today’s architecture and design coronavirus briefing includes a design for safe flying, an opinion piece from Reinier de Graaf and the Coughvid app.
“A non-healthcare building converted to a patient care space is not quite a hospital”
While converting existing buildings into fully functioning hospitals is unfeasible, high schools and large hotels can be used as care space for coronavirus patients, says Jason Schroer, who is director of health at HKS’s firm in Dallas. Here he explains how (via Dezeen).
Aviointeriors proposes plastic hood to allow safe flying
Italian design firm Aviointeriors has design a seating system called Glassafe (pictured above) that would separate airplane passengers with glass divides to allow for safe flying when airlines fully open up following the pandemic (via SimpleFlying).
“The current crisis has exposed the structural shortcomings of our healthcare systems”
The coronavirus has exposed fundamental problems with our healthcare systems that we should not forget once the pandemic passes, warns Reinier de Graaf in a letter to the present from the future (via Dezeen).
Imperial College London develop low-cost ventilator
A team of bioengineers and medics at Imperial College London have developed a low-cost ventilator called JamVen that doesn’t rely on specialist parts. The team have made the design available for free (via Imperial College London).
Coronavirus could reverse trend for open plan offices
The World Economic Forum has published an article highlighting 10 ways that office design could be impacted by coronavirus, and the rise of closed plan is one of them (via World Economic Forum).
Coughvid app could detect coronavirus by listening to coughs
Researchers at École Polytechnique Fédérale de Lausanne are developing an app called Coughvid that would use artificial intelligence to determine if someone has Covid-19 by listening to them cough (via Business Insider).
Ben Derbyshire share’s his lessons from lockdown
Former RIBA president Ben Derbyshire has highlighted lessons that should be learned from the current pandemic in a piece titled Learning from lockdown: Why placemaking should be at the centre of the recovery (via Building Design – paywall).
Major architecture firms furlough staff
The Architect’s Newspaper has rounded up news of major architecture practices, including Foster + Partners, Zaha Hadid Architects and SOM, based in the UK and the USA that have either furloughed staff or enacted pay cuts (via Architects’ Newspaper).
Raised mesh gables top Shaded Rooftop House in Seoul by BCHO Architects, so the occupants can enjoy a sheltered outdoor living space.
The three-storey house is topped with gables made of white perforated metal and topped by clear PVC panels. The transparent plastic lets in the sunlight, which is filtered through the mesh of metal.
This space gives the family who live there a place to relax outdoors and hold informal business meetings.
Shaded Rooftop House sits on a site overlooked on three sides, with a hillside at the back that makes the ground floor dark. To make the most of the available natural light, BCHO Architects made the focus the top floor.
Without a perimeter wall, this third storey benefits from natural ventilation and light.
The reinforced concrete structure of the house protrudes up to form a half wall that acts as a safety rail. Metal beams bolted to the side and through the floor support the roof.
A wide gap between the wall and the roof allows for unobstructed views of the city and the landscape beyond. Plants grow in beds around the edges.
Most of the top floor is a decked semi-outdoor space with a sunken area in the middle.
A single walled room on the rooftop has raised platforms with day beds and features floor-to-ceiling glass and a sliding door.
The ground floor contains a garage and a separate pedestrian entrance set in an angled concrete portal.
Up some stairs, the first floor has a large open plan living area that opens on to an outdoor deck. There’s a kitchen area with cupboards, a cooker and sink, and a second smaller kitchen tucked in a side room behind a bathroom.
On the second floor are three bedrooms, side by side and all facing south towards the mountain views.
The walls of the two bedrooms for the family’s children are non load-bearing, so when they grow up their parents have the option to remodel the space.
Reinforced concrete walls have been left bare on the interiors as an aesthetic choice that helped to keep the budget down. Pale wood has been used for some of the floors and built-in furniture.
The house is insulated externally via a metal screen facade that projects from the walls and matches the mesh gables.
Quarantine times has our imagination kicking into overdrive as we stay at our home or safe haven and by now, looking at the same 4 walls is making you see things (unless you’re lucky enough to live in a spacious place with a yard or a pool) When it comes to creative visualization, however, designer Jose Navarro takes the prize! Using a blend of Photoshop, Illustrator, and a high dose of imagination, Jose takes a twist on everyday objects to create thought-provoking visuals that take a hard look at life and are sure to give you some food for thought. And who knows, this may just inspire you to see beyond the obvious and let your creativity flow.
For instance, his piece titled CONVICT-19 is an apt description of the mood of the planet. While we all sit quarantined, we are just waiting for the moment COVID dies down, getting the virus in control or literally chained up to free the human race…
Pharmaceutical Vampires come out and play with the creatures of the night. Afterall an addiction is an addiction, be it for drugs or for blood.
When coffee and cigarettes is a way of life instead of a bad habit you can’t kick away.
Choose your partners wisely, what you choose will be what you will get more of and this is a life lesson.
Cut Life is a visual ode to the fact that life needs more green instead of the blades cutting down our forests.
I do imagine in prehistoric times, the genius caveman used Ladybugs to roll and count his moves while playing Dinosaurs and ladders (because if you have dinosaurs to worry about, no snake is going to scare you!)
Titled broken, this thought-provoking visual speaks of soul mates that come from the same shell, but differences break them apart.
Summertimes in quarantine be like this…
Time vs. Vaccine. Dedicated to all the healthcare professionals working tirelessly against the clock to save lives and find a cure for this pandemic.
Last but not the least, this one is dedicated to the 1 am ideas that pop into our head, ruin our sleep, and won’t get out of our mind only to find out in the morning the idea had a major loophole!
Dezeen Awards is the chance to have your work judged by the top people in your field. This year the panel is made up of 75 industry-leading professionals, including architects, designers, journalists and curators.
Experts in their field, they have been handpicked by Dezeen to judge the 42 categories spanning architecture, interiors, design and studio.
Dezeen is committed to being as transparent as possible about how we make sure our judging panel has an even gender split, with jury members that can represent a wide geographical spread.
Huang Wenjing, OPEN Architecture (China) Maria Warner Wong, WoW Architects (Singapore) Steve Trstenjak, Woods Bagot (Hong Kong) Sun Dayong, Penda China (China)
Europe
Alexandra Hagen, White Arkitekter (Sweden) Arthur Mamou-Mani, Mamou-Mani Architects (UK) Beatriz Colomina, architecture historian, theorist and curator (Spain) Beatrice Leanza, MAAT (Portugal) Ben van Berkel, UNStudio (Netherlands) Chris Wilkinson, WilkinsonEyre (UK) Eva Franch i Gilabert, The Architectural Association (UK) Farshid Moussavi, Farshid Moussavi (UK) Norman Foster, Foster + Partners (UK) Patrik Schumacher, Zaha Hadid Architects (UK) Rhael Cape (Lionheart), BBC Radio London (UK) Sally Mackereth, Mackereth Studio (UK)
North America
Annabelle Selldorf, Selldorf Architects (USA) Charles Renfro, Diller Scofidio + Renfro (USA) Daniel Libeskind, Studio Daniel Libeskind (USA) Fernanda Canales, Studio Fernanda Canales (Mexico) Martha Schwartz, Martha Schwartz Partners (USA)
Alex Mok, Linehouse (China) Ambrish Arora, Studio Lotus (India) Isabelle Sun and Tim Kwan, Office AIO (China) Joyce Wang, Joyce Wang Studio (Hong Kong) Lyla Wu, Neuni Group (China) Pallavi Dean Founder, Pallavi Dean Interiors (United Arab Emirates)
Europe
Adam Nathaniel Furman (UK) Clotilde Passalacqua, IKEA interior design (UK) Jaime Hayon, Hayon Studio (Spain) Maria Cheung, Squire and partners (UK) Michelle Ogundehin, Studio Michelle Ogundehin (UK) Paola Navone, Studio Otto-Paola Navone (Italy) Seyhan Özdemir and Sefer Çağlar, Autoban (Turkey) Valentina Ciuffi, Curator (Italy) Victoriya Yakusha, Yakuscha designs (Ukraine)
North America
George Yabu and Glenn Pushelberg, Yabu Pushelberg (USA) Ingrid Moye, Zeller & Moye (Mexico) Nicole Gibbons, Clare (USA) Pierre Yovanovitch (USA) Rafael de Cárdenas, Architecture at Large (USA) Vladimir Radutny, Vladimir Radutny Architects (USA)
Oceania
Brad Wray, Branch Studio Architects (Australia) Kelvin Ho, Akin Atelier (Australia) Matt Gibson, Matt Gibson Architecture + Design (Australia) Rob Mills, Rob Mills Studio (USA)
Design
Africa
Sindiso Khumalo (South Africa)
Asia
Talenia Phua Gajardo, The Artling (Singapore) Ruchika Sachdeva, Bodice (India) Rajshree Pathy, India Design Forum (India) Hilda Impey, Wilson Associates (United Arab Emirates)
Europe
Daan Roosegaarde, Studio Roosegaarde (Netherlands) Emma Olbers (Sweden) Kasia Ptak, Warsaw Home (Poland) Michael Anastassiades (UK) Clemens Weisshaar, Kram/Weisshaar (Germany) Joep van Lieshout, Atelier van Lieshout (Netherlands) Margriet Vollenberg, Organisation in Design (Netherlands) Natsai Audrey Chieza (UK) Konstantin Grcic (Germany) Nienke Hoogvliet (Netherlands) Sarah Izod (UK) Pieke Bergmans (Netherlands) Andreas Bozarth Fornell, Specific Generic (Sweden) Alexandra Daisy Ginsberg (UK) Ivy Ross (UK)
North America
Dror Benshetrit, Studio Dror (USA) Paola Antonelli, MoMA (USA) Rosanne Somerson, Rhode Island School of Design (USA) Eddie Opara, Pentagram (USA)
South America
Humberto Campana (Brazil)
What is the judging criteria?
The 75 judges will be judging projects and products based on Dezeen Awards’ three main criteria – beautiful, innovative and beneficial.
They will also be on the selecting architecture and design studios that show strong vision and achievement for the studio awards.
40 days left to enter!
You can enter Dezeen Awards 2020 until Tuesday 2 June, so you still have plenty of time to complete your entry! If you run into issues or have questions drop us a line at awards@dezeen.com or visit our how to enter page for more information.
Once a limited release from TASCHEN, Peter Beard’s “gesamtkunstwerk” (a German word that translates to art assembled from multiple mediums, much like collage) returns. Within the 770-page hardcover, the pioneering artist’s photography interacts with personal writing and doodle-like drawings. Edited by Nejma Beard and David Fahey, with additional text by Owen Edwards and Steven M.L. Aronson, the tome grants access to Beard’s impassioned, international perspective—one that made him a beloved collaborator to other pioneers, from Dalí and Warhol to Truman Capote, Isak Dinesen and the Rolling Stones.
Mycelium pendant lamps dangle above recycled-plastic dining tables inside Silo, a zero-waste restaurant in east London designed by studio Nina+Co.
Silo is set within The White Building, a creative hub in the Hackney Wick neighbourhood that contains studio space for artists and a craft brewery.
The restaurant, which is headed up by chef Douglas McMaster, sets out to create zero waste and close the loop on food production processes.
Staff try to make the most out of all cooking ingredients – for example, “wonky” fruit and vegetables are blended into smoothies.
Meat is also prepared with a nose-to-tail approach – where chefs utilise every part of the animal, including offal, instead of just popular cuts such as shank or breast.
Some of the produce, like butter and oat milk, is made in-house.
All produce delivered to the restaurant comes in reusable containers, crates or pails, and then served on plates made from recycled plastic bags.
Any food that isn’t eventually consumed is fed into an on-site composting machine.
Design studio Nina+Co was brought on board to develop interiors that reflected the restaurant’s sustainability-focused ethos.
“At the studio, we know that comfort, style and luxury are totally achievable within a sustainable framework,” said the studio’s founder, Nina Woodcroft.
“By applying circular thinking, utilising sustainable materials and considering how they will either biodegrade or be disassembled for repurposing in the future, we created a thoughtful interior that lives up to the elegance and integrity of the food.”
The white-painted dining room is anchored by a huge fluted bar counter crafted from recycled plastic packaging.
Directly in front is a row of cream stool seats where guests can sit and watch dishes being put together in the open kitchen, which is lined with blackened timber beams.
Recycled plastic has also been used to create the flecked tops of the dining tables. They’re supported by cylindrical legs made from sustainably-sourced ash wood and feature cork detailing.
Glass wine bottles drunk during previous dinner services have been crushed, moulded and kiln-fired by a local potter to create the restaurant’s wall lights – each one comprises a trio of circular dishes, at the centre of which is an exposed bulb.
Mycelium, which is the vegetative part of fungi, has been used to create the pendant lamps, tables and seating poufs in the casual lounge area, where guests can enjoy cocktails.
“The tables and stools are strong and lightweight, with a soft skin akin to nubuck leather and a resemblance to honed travertine stone,” explained Woodcroft. She told Dezeen she’d attempted to incorporate more unusual sustainable materials.
“Some of the innovative materials we hoped to incorporate, like potato waste bio-plastic, pine-needle fibreboard and seaweed fabrics are not yet ready for a commercial environment,” she continued.
“However, if a small pioneering restaurant like Silo can achieve what we achieved, I hope and expect the hospitality industry as a whole to step-up their game and apply their substantial collective spend to these areas.”
Zero-waste restaurants are gradually growing in popularity as the food industry becomes more environmentally conscious.
Two years ago, Overtreders W erected a temporary zero-waste restaurant at Lowlands Festival in the Netherlands. Recycled plastic was used to make the venue’s benches and trestle tables, while large sacks of grain were used as ballast.
Bread baked from potato peelings and pesto made out of kitchen leftovers was on the menu.
The 2018 edition of Manhattan-based fair WantedDesign also had a pop-up eatery called Zero Waste Bistro. Surfaces and fixtures were made from recycled Tetra Pak – a packaging material typically used for milk cartons.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
