Both of Vestre‘s designs are modular, with the cuboid steel planter forming part of the wider Code system, which includes two different angular, wood-topped bench units.
These can be stacked together vertically and horizontally like building blocks to create different furniture configurations and can be connected by a single sheet of bent steel to form a picnic table.
Above: The Code planter is part of a modular bench system. Top image: The Stones bench system has a steel base and wooden seat
The simple geometry of the matching planter is designed to fill the empty spaces in between while integrating more greenery into urban spaces.
It is available in two different sizes – a shorter version that has space for smaller plants and 250 litres of soil and a larger, 500-litre version that can accommodate small trees.
The Stones system offers a softer, more rotund look, with three bench modules of different sizes perched on stubby, cylindrical feet.
Each features gently rounded corners and comes in two different heights so they can be combined to form an undulating seating landscape, reminiscent of a Japanese stone garden.
The Stones system can also be used indoors
Perched on top of the steel body, the seat is made from Nordic pine wood that has either been proofed with linseed oil or Kebonised, which involves treating it with furfuryl alcohol to enhance its strength and durability.
For indoor use, there is also an option to go for lighter woods such as oiled ash or oak.
It sits perched on short, cylindrical legs
As with all Vestre products, both the Code planter and the steel base of the Stones system can be powder coated in 200 different colours, so that they can be easily matched or contrasted with surrounding modules.
With the goal of creating longlasting products, the company also offers a lifetime guarantee against rust and a 15-year anti-rot warranty on wood.
The Code system features angular bench modules
Vestre describes itself as the first company to manufacture climate-neutral outdoor furniture, with the aim of creating “sustainable, democratic and inclusive meeting places that bridge social and cultural divides.”
They can be stacked vertically or horizontally to create different configurations
The Stones system was originally unveiled at the Stockholm Furniture & Light Fair earlier this year as part of Vestre’s award-winning stand, which was made from re-usable materials and detailed the carbon expenditure involved in each product.
Planted is a contemporary design event, which aims to reconnect cities with nature will make its physical debut as part of London Design Festival alongside an online trailer for next year’s main event.
The Planted x Dezeen collaboration presents a series of projects by international designs that align with the ideals of the Planted design event.
Yesterday Apple held a virtual press event announcing new iPads and Apple Watches, ho hum. Of far greater interest to us was a new object they designed that did not make the announcement: The Apple Face Mask.
As Bloomberg reports, the mask was designed in-house (in case the packaging wasn’t a dead giveaway) and is not for sale to the public. Instead it’s being distributed to employees, both corporate and retail, only.
The mask reportedly contains three layers of filtration and can be washed/reused up to five times. The shape is designed to more closely follow the human face (though presumably one-size-fits-all) and according to MacRumors, “The mask has a design with a triangle shape to accommodate the nose without fogging glasses.”
I know non-tech items aren’t really Apple’s bag, but I think if they designed a permanent-use face mask with replaceable filters, even at their premium prices I’m guessing they’d find a ready market.
Yesterday LEGO announced they’re investing up to $400 million over the next three years on sustainability initiatives, including material changes and the pursuit of carbon-neutral operations. In this day and age that’s not surprising–what is surprising is the inspiration source for one of the changes: Letters received from children.
“As a company who looks to children as our role models, we are inspired by the millions of kids who have called for more urgent action on climate change,” LEGO Group CEO Niels B. Christiansen said. “”We have received many letters from children about the environment asking us to remove single-use plastic packaging. We have been exploring alternatives for some time and the passion and ideas from children inspired us to begin to make the change.”
If you’ve purchased a LEGO set any time in the past few decades, you know that the pieces come wrapped in single-use plastic bags. That wasn’t lost on the well-informed children who wrote in requesting the change. These children understood the importance of the change, if not the difficulty.
“Moving away from the existing packaging is not a simple task and will take time as new material must be durable, lightweight and enhance the building experience.”
Thus far the frontrunner looks to be paper bags. LEGO has been developing and testing out 15 different paper prototypes with hundreds of children and parents for the past two years.
“Children liked the paper bags…as they were environmentally friendly and easy to open,” the company says. Commercial trials of the paper bags are set to begin next year.
Versatile, stylish yet sleek, scooters are often hailed as the solution to current traffic woes! Add to this the updated electric scooters and we have, literally, a solution to our energy problems. For scooters to be taken seriously as an alternative and planet-friendly mode of transport, they need to shine above their current status of high-tech toys and be seen as actual problem solvers. We bring you our curated collection of scooter designs that showcase powerful designs packaged as this humble two-wheeler that are sure to convert you to the two-wheeler sides!
Designed to look almost like the successor to BMW’s Concept Link from 2017, the e-scooter by Carota Design uses a similar CMF, but with leaner, lighter, and narrower forms. The matte-finish metal panels look distinctly like something from BMW’s playbook, while those orange accents around the windscreen give the e-scooter the pop of color it needs. The E-scooter’s front comes with paneling that conceals the rider’s legs, pretty emblematic of scooter designs, while the motor and battery seem to reside in the space in front of the rear wheel. Carota’s design features a cantilever seat that cuts down on the boot-storage but provides a loop on the left to secure your helmet in place. The seat naturally transforms into the E-scooters taillight, which forms a razor-thin arc that’s visible from the back as well as the sides. The headlights, on the other hand, are present in the form of edge-lit details on the front.
Mightyseed has created Vespa 98 – a conceptual electric scooter that fits with the needs of today’s world. Vespa is known to have kept it’s retro aesthetic while still being modern. “We believe looking back to history will give more insight into the future. The Vespa 98 electric concept version is a reincarnation of the original design. The concept is much more like a modern incarnation with sleek styling cues with streamlining features,” says the design team. This electric scooter showcases a bolder look compared to the original one with modern design details like the handles. The mudguard is still placed like it was in the original scooter but now it holds the LED headlight instead. One major difference is this single-seat scooter uses lidar sensors placed at the rear end to notify the rider instead of having rearview mirrors.
This is Stator, the self-balancing, fully electric, an absolute monster of a machine that you never knew you wanted, until now! Housed within Stator’s rear wheel is a Direct Drive 3 Phase Brush DC, which provides a max power of 1000W and is capable of propelling it down the road at speeds of up to 25mph! Stator’s bare-bone aesthetic expresses its designer’s, Nathan Allen’s, passion for both simple design and engineering; the motor, batteries, and inner-workings are hidden away out of sight, a single piece of tubing forms the handlebars where the inconspicuous control module is located and there is an absence of flashy, futuristic styling features.
Housing every bit of electronics and machinery into its innovative inverted triangle shape, the Pocket Rocket doesn’t have the serious demeanor of a sports bike, but why should it, right? Designed by Manuel Messmer and engineered by SOL Motors, the Pocket Rocket is clean, compact, and well thought through. It hits that sweet spot between bicycles and motorbikes known as the e-bike aesthetic, and the minimal frame could just be iconic (I’m only a slight bit concerned about the base of the V being a little low, but on city roads, the Pocket Rocket should do fine). I’ve also grown to love the name Pocket Rocket, although it obviously has some suggestive connotations.
Artem Smirnov’s idea of the next-gen Vespa surely raises some eyebrows. It looks nothing like the Vespa we see on the road today, but in all fairness, cars today look nothing like they did in the 1920s, so it seems futile to really argue that the next-gen Vespa looks radically different. It, however, does capture a few elements that answer the questions I raised in my previous paragraph. The next-gen Vespa by Artem is clearly an e-scooter. Interestingly enough though, it comes in the format of an e-bike, but still retains that hollow leg-space that scooter designs are famous for – with a rear suspension capping it off. The seat, for the most part, is cantilever, resting directly on the suspension at the back, while the Vespa logo on the front plays a double role of branding as well as being the vehicle’s headlight.
Carota’s Classic E-bike is an experiment in form, bringing a lean design to a series of bikes that are not known for their leanness. Look at the e-bike in its side view and you notice its similarities to a low-riding cruiser. The curved fuel-tank, the seat’s proximity to the rear-wheel, and an elongated silhouette, all take on a Harley Davidson-esque appearance that’s often synonymous with a loud engine that makes its presence felt… but that’s where the Classic E-bike chooses to be different. It opts for a more silent electric drivetrain, a V-twin that sits right below the seat, powered by a battery that resides within the fuel-tank form factor.
There could be a world where everyone will be zipping by on their little electric vehicles. Upholding such a vision in mind, and to meet the needs of such a world, Ekaterina Tiholova designed her version of an electric scooter, and to be honest…it looks like a flat-packed one! Tiholova’s scooter features a plain black base supported by two bulbous wheels. Its metallic grey and matte black looks are eye-catching, with a flash of lime yellow where you hold onto the handle, sealing the deal. The intricately treaded front wheel leads up to a quadrilateral-shaped handle, the scooter’s most unique feature!
Dyson has inspired many designers to adapt their style and create some amazing concepts, our recent favorite is the Dyson Moovo – an electric scooter modeled after their signature product designs featuring clean lines. Electric scooters are soon going to become a preferred mode of transport for city commuters as they are environmentally friendly and easier on the pocket than a Tesla. Moovo’s design incorporates Dyson’s sleek and simplified aesthetics with their powerful engineering into an efficient electric scooter that you would be proud to own. The handlebar integrates the workings of a CPU that lets you control certain features of the scooter through its display like folding the handlebar or visualizing your trip’s data. The screen is anti-reflective so that you can look at the data under any light condition when outside.
Starting with the launch of the AtherGrid a series of 30 charging points strategically placed across Bengaluru, India, Ather aims at getting its system ready before its product… the Ather 450 electric scooter. With a top speed of 80km/h, an acceleration of 0-40 in 3.9 seconds, and a range of 75kms, the Ather 450 is India’s first smart electric scooter. With an edgy visual characteristic, a storm-trooper color combination (plus some delightful green accents), the Ather 450 definitely looks the part of an intelligent electric two-wheeler. It sports a 7″ touchscreen dashboard that allows onboard navigation with options of alternative routes and saved locations. It also comes with the Ather app that enables push navigation from one’s phone to the vehicle dashboard, remote monitoring of vehicle health, and charge monitoring. Furthermore, with the over-the-air (OTA) updates, the Ather 450 is capable of improving over time with continuous updates and the addition of new features and functionalities.
Made for recreational riding, the scooter/segway hybrid named Z-Scooter is fun looking vehicle that can run at recommended speeds of 20km/h for as long as 35km on a single charge. Inspired by the works of Corradino D’Ascanio, the pioneer of scooters (and the man who helped Piaggio build the iconic Vespa), the Z-Scooter is a hat-tip to the evergreen scooter aesthetic. It comes with an auto-balance feature like most segways, and even sports a quirky stand on the front for resting the vehicle. Lean forward and backward to accelerate and decelerate, and turn the handles sideways to maneuver the Z-Scooter left and right, and that’s pretty much all the controls you’ll need to operate the EV.
Discover more eco-friendly alternatives for sustainable traveling with these scooter designs!
Fringed furnishings and velvet walls feature inside the west London headquarters that design studio Sella Concept has created for fashion brand Sister Jane, which includes a showroom, restaurant and roof terrace.
Sella Concept said it drew upon “untapped maximalist style” to design Sister Jane Townhouse, which takes over a prominent corner property on Golborne Road in the affluent neighbourhood of Notting Hill.
Having outgrown their old studio on the nearby Portobello Road, the fashion brand had been keen to move into a larger space that could offer a more immersive retail experience.
The ground floor of Sister Jane Townhouse has a restaurant called Cha Cha’s
The three-storey townhouse incorporates a restaurant, a showroom and an office where employees can plan and design future clothing collections. On the roof there is also an outdoor terrace where visitors can gather for drinks.
When it came to developing the interiors, Sella Concept sought to reflect the retro style of Sister Jane’s billowy blouses and dresses. The studio’s co-founder, Tatjana Von Stein, particularly found herself referencing the aesthetics of the 1970s.
Furnishings in the restaurant feature fringed detailing
“I must admit that I am always inspired by the ’70s forms, shapes and use of space,” Von Stein told Dezeen.
“There is a movement and warmth in its design history that I love to employ with a contemporary twist.”
A collage wall in the restaurant displays campaign photos by Sister Jane
On the ground floor of Sister Jane Townhouse is the restaurant, called Cha Cha’s, which serves up a roster of Latin-fusion brunch dishes.
The space has peach-coloured walls and is dominated by a huge hexagonal, brass-edged bar counter. It’s surrounded by a series of Deja Vu stools by Masquespacio that boast tiers of mauve, cream and beige fringing.
Sister Jane’s clothing showroom is on the townhouse’s first floor
Fringing also skirts the burnt-orange seating banquette that winds around a corner of the room, and runs along the edge of the six-sided dining tables. Mustard-yellow lamps with fringed shades have additionally been dotted throughout as decor.
Cha Cha’s includes a collage wall which will be plastered with different striking images from Sister Jane’s fashion campaigns.
The wall runs directly beside a brass-tread staircase – the steps had previously been closed in by a partition wall, but Von Stein knocked this down to encourage diners to explore the showroom on the first floor.
Garments hang from bespoke walnut rails in the showroom
Upstairs in the showroom, surfaces take on a pinkish hue.
Some clothes are displayed within a veiled pod that sits at the centre of the room, enclosed by sheer white curtains. Other garments hang from custom-made walnut rails or are presented on mannequins which perch on a curvaceous platform covered in teal-blue carpet.
An adjacent showroom will display Sister Jane’s Ghospell clothing line
A short walkway leads through to a room that showcases Sister Jane’s Ghospell line, which offers pared-back clothes with sculptural silhouettes.
This space has aptly been given a slightly more minimal finish – walls here are either clad in steel or upholstered with buttery yellow velvet, while the changing room is entirely lined with mirrored panels.
Wooden flooring that runs throughout the rest of the townhouse has also been replaced here by micro cement.
Walls in this showroom are clad in steel and yellow velvet
Above the showrooms are the offices for Sister Jane staff, followed by the roof terrace dressed with comfy cushioned benches and green wire-frame chairs.
Guests can alternatively relax in the secret ground-floor garden room, which is accessed via a door disguised as an antique armoire.
The customer changing room is entirely lined with mirrored panels
“We have a true inclination for concept spaces which indulge in all the senses and offer the design challenge to seam together a variety of experiences and brands,” explained Von Stein.
“But it was tricky – in essence, we had 2-3 clients on one building.”
An antique armoire hides a door leading to Sister Jane Townhouse’s secret garden room
Sella Concept was established by Tatjana Von Stein and Gayle Noonan. Previous projects by the studio include Public Hall, a plush co-working space that occupies the former office of the UK secret intelligence service, and Night Tales, a pink-tinged cocktail bar.
Il n’est pas toujours évident de voir, au premier regard, que les réalisations de Julie Simon sont en fait des gâteaux. Certains ont l’air presque trop réels pour être mangés. Entre des reproductions de tableaux célèbres comme le « Portrait d’Adèle Bloch-Bauer », de Gustave Klimt et de délicates fleurs, la chef ne manque ni d’inspiration ni de talent. Dans leur entreprise « JSC » (Julie Simon Cakes), Julie Simon et Gillian Wynn, directrice générale, ont réuni leur amour mutuel pour l’art, la nourriture, les divertissements et tout ce qui est beau. Elles y partagent la passion d’apporter du plaisir et de la magie dans la vie des gens.
A remote, windswept island of utter majesty and shifting weather
The name of the westernmost part of France, Finistère translates to the “end of the earth;” so does the region’s Breton name, Penn ar Bed. To set foot in Finistère—the department that includes the port city of Brest, dozens of small villages dotting the rugged coastline and a series of islands in the Celtic Sea—is to understand the gravity of these translations. No place in the region conveys “end of the earth” quite like the furthest of those islands, Ouessant (Ushant in Breton), which embodies the windswept spirit of Brittany. It’s remote and charming and its defining attraction—several stunning lighthouses, of which one is a museum—alludes to the magic one finds there.
This isn’t like Belle-Île-en-Mer, a Breton island of splendor some 200 kilometers southeast. Ouessant is tinier (no car needed, rent a bicycle or hike instead) and even more wild, with few trees and a blanket of fragrant, low-lying vegetation. Serenity sails in on the breeze. In fact, one must pay attention to weather patterns before planning a trip (our experience saw sunlight in the morning with midday rain and some clarity toward the late afternoon). For the adventurous, Ouessant is accessible by ferry from the historic mainland town of Le Conquet (a worthy stop itself, with a crêperie—Louise de Bretagne—among the best in France) that’s six hours by car from Paris. The island also maintains a small airport for those looking for easier entry. Regardless of how you get there, our suggestions below tap into the island’s entrancing energy.
Courtesy of Le Roc’h Ar Mor
Le Roc’h Ar Mor Hotel
There are only a few hotels on Ouessant and the cliffside Le Roc’h Ar Mor is arguably the finest. Some of the 15 minimal rooms look out onto the island’s natural beauty, and others onto the garden. The venue also has a bar and restaurant. Altogether, the reserved element aligns with the island’s ethos. Regardless of whether you stay at this hotel or any of the others, book well in advance to stay on the island itself, especially during peak season.
by David Graver
Museum of Lighthouses and Beacons
The Musée des Phares et Balises (otherwise known as the Museum of Lighthouses and Beacons) occupies several floors beside the island’s mightiest of towers, the Créac’h lighthouse. Within, guests learn the global history of lighthouses and acquaint themselves with stunning technological inventions throughout the ages. While on the grounds, stop by Finis Terræ, the exterior cafe and shop. It’s an ideal segue into the surrounding lands which offer vantage points of several stunning lighthouses, rising from the sea, as well as ruins and the occasional goat.
by Annie Langard
Plage de Corz
Most of Ouessant’s coast carves inward like steep, rocky fjords. Plage de Corz, not far from the central town of Lampaul, makes for the best beach to visit, whether one hopes to walk, swim (be prepared for cold water) or to observe the passing boats.
by David Graver
Ty Korn Pub + Restaurant
From its curved exterior to the charming nautical flourishes within, Ty Korn isn’t an average pub or restaurant. As expected, seafood is the star of the menu, with mussels being a local specialty. Pair them with a cider from Brittany for the full experience.
Courtesy of La Voilerie
La Voilerie
A shopping hub for items proudly made in Ouessant, La Voilerie sells more than just souvenirs, as it focuses on local crafts, clothing and design items to cherish. A new destination on the island, it’s a quaint stop in the heart of Lampaul.
Courtesy of Le Fromveur
Le Fromveur
Another option for both dining and accommodation, Le Fromveur rises up in the center of Lampaul, right near La Voilerie. It’s a brasserie first and foremost, finding an ideal balance between the cuisine of Brittany and broader French cooking.
by Xavier Dubois
Île Molène
Yes, Île Molène is another island but its proximity to Ouessant, accessibility via ferry and the fact that it’s comprised of one, small picturesque town make it a must-see destination. While there, seek out a local sausage, which has likely been smoked with seaweed.
The 2028 Summer Olympics slated to be held in Los Angles will bring the city into the limelight, bringing every minute detail under the scanner. To help revamp the city’s public realm to host the mega sporting event, the LA Lights the Way streetlight design competition was undertaken.
The brainchild of the Mayor’s Office with the Bureau of Street Lighting, the competition wanted a standard lighting system that keeps every aspect of the city in mind. From amongst the 110 team entries, the winner has managed to impress the judging panel, standing out with its future-forward design that’ll touch virtually every corner of the neighborhoods. Project Room came up with its iteration dubbed Superbloom, and it fits perfectly with the design competition requirements. The simplistic yet modular design of the streetlight is crafted keeping in mind the flexibility to include things like benches, EV charging stations, traffic monitors, solar panels, and of course of LED lights on top. Depending on the location where the streetlight will be erected, it can reach any desired height or configuration. The practical aspect of the streetlight is highly aesthetic and feasible since it is designed in consultation with structural experts. It is more like a blooming flower bouquet with elements propping-up along its length, depending on the specific needs of the location. As Mayor Eric Michael Garcetti rightly expressed, “Project Room’s design illuminates a future that does more than brighten public spaces — it brings smarter design to our neighborhoods, helps us combat climate change, and promotes equity across our city.” “Contemporary streetlights are very sculptural but also very monolithic, and I think this design is much more of a kit of parts, using very standardized components,” says the lead designer Joakim Dahlqvist. “It’s just pipes and the collar that holds them together.”
Now that Superbloom has won the competition along with a winning amount of $70,000, soon the prototype will be created and tested for its structural as well as functional integrity. The jury for the competetion included Christopher Hawthorne (L.A.’s chief design officer and former Los Angeles Times architecture critic) who stated that the jury voted on the design blindly but he was enthused to learn that the winners were a local team as the design shares a distinct understanding of the metropolitan culture that is L.A., “It really reflects a city that doesn’t have a single identity and is able to recast itself in certain ways,” The funds for the development will come from L.A.’s city budget and you could very well see thousands of these streetlights in the coming years.
Last week, under the cover of darkness, a construction team, dressed all in black, set to work in Hertfordshire near London. Within minutes they had erected two bamboo and steel cable towers, each three storeys high, blockading the road to the Broxbourne printworks of media baron Rupert Murdoch.
Locked onto each tower were Extinction Rebellion protesters accusing the Murdoch press empire of failing to report the most burning issue of our time; global heating. Thirteen hours later, despite extensive efforts, the British police had failed to remove the protestors from their perches. Murdoch’s Saturday papers had to be pulped. Extinction Rebellion, and their two towers, had won.
Architecture rarely makes the headlines, yet all of a sudden these two structures were at the centre of a national debate
Eighty per cent of the UK’s print media is owned by just five billionaires, many of whom are major donors to the ruling Conservative Party, so it was no surprise that the protest sent broadsheet columnists and ministers into frothing hysterics. Home Secretary Priti Patel labeled the peaceful demonstration an attack “on society and democracy”, while moving to designate the climate change activists as an organised crime group – the towers had touched a nerve.
Architecture rarely makes the headlines, yet all of a sudden these two structures were splashed across frontpages at the centre of a national debate – put there not by starchitects but by environmentalists. The towers were innovative, eye-catching, ecologically sound and socially-purposeful – a combination contemporary practice rarely achieves. They are the most gutsy architecture of the year and, I’d argue, worthy contenders for the Stirling Prize.
Furthermore, the tensegrity structures, their three modules seeming to hang effortlessly in the air, have rekindled the spirit of early high-tech, a style which once had much to teach us about sustainable design. High-tech emerged from the ecological techno-optimism of post-war experimentation. German architect Frei Otto‘s Institute of Lightweight Structures and Buckminster Fuller‘s challenge for designers to “do more with less” had laid the groundwork for a nimble and environmentally-conscientious form of Modernism.
Early high-tech projects were both structurally exuberant and sustainably efficient
Others, like artist Kenneth Snelson, and provocateur Cedric Price were exploring tensegrity (a portmanteau of tension and integrity) to make structures that seemed to hover. Price’s 1961 Aviary at London Zoo and Otto’s sweeping canopies for the 1967 Montreal World Expo spoke of an architecture that, though hugely charismatic, was frugal in its use of materials – chiming with Bucky’s environmentalist Operating Manual for Spaceship Earth, published in 1969.
It was into this heady eco-techno milieu that young Norman Foster, Renzo Piano, Richard Rogers and many other key pioneers of high-tech graduated. At first, their drawing boards burst with vivacious depictions of human, machine and nature thriving in symbiosis. Early high-tech projects like the 1977 Pompidou Centre by Rogers and Piano, or Foster’s 1982 Renault Centre were both structurally exuberant and sustainably efficient.
Then something changed. High-tech beefed up, now producing massive buildings for global financial corporations like HSBC and Lloyds of London. Today high-tech has morphed far from its roots into the default style of global corporatism.
Towering superstructures and international airports, many produced by exactly the same offices whose work once brimmed with counter-cultural idealism, have replaced the delicate “more with less” experiments of previous decades. Have XR picked up a torch, long dropped by high-tech’s founding fathers?
“I was at the Bartlett when I was young,” said Julian Maynard Smith, founder of performance art group Station House Opera and designer of the XR towers with engineer Morgan Trowland. “I never finished the course but I knew about Price, Fuller, Otto and all that. I’ve always been fascinated by three dimensional space.”
“We started using Bamboo tripods at XR about a year ago. We put a structure up in Oxford Circus – three tripods with a tripod on top. But I never found the tripod a very elegant structure and the police can just drive a forklift up to it and arrest the activists. With the tensegrity towers, you can be right in the middle of them and the police can’t get to you. In the frame of XR you want to take over a space as long as possible — make it difficult for the police to take you away.”
XR’s Towers have revitalised a vital dimension of high-tech’s heyday many thought had died with Frei Otto
This is the core design problem of most protest architecture: how to make a structure that is easily built but, with an activist’s body attached, impossible to move. It is a conundrum which has generated a huge variety of structures over the years.
In 1994, protesters strung an elaborate web of netting between houses, trees and improvised towers along Claremont Road in Hackney to block the construction of a new motorway link road. The activists could move freely across the web, encumbering the progress of construction vehicles while remaining out of reach of the police.
In Notre-Dame-des-Landes, hundreds of squatters built a settlement of structures (including a makeshift bakery, brewery and pirate radio station) scattered across 1,650 hectares of French agricultural land to derail a proposed airport.
Maynard Smith and Trowland’s XR towers are the latest chapter in this ecowarrior architectural history and seem something of a game-changer.
“The police don’t know what to do with them,” said Maynard Smith. “They look very flimsy. If you cut a cable, the whole thing falls apart but they are strong enough to climb. That was the idea – we could construct them off-site, run with them, and plonk them up in a minute. The police are now quick to stop protest structures going up so it’s a question of surprise!”
XR’s Towers have revitalised a vital dimension of high-tech’s heyday many thought had died with Frei Otto. They are an ingenious and exuberant splinter in the arse of the establishment and a refreshing reminder of design’s social potential. They deserve, though won’t get, the 2020 Stirling Prize.
And according to Maynard Smith there are more towers being fabricated as you read this. “Where will they go?” I can sense his wry smile down the phone. “We’ll have to wait and see. But if there’s a group of people who want it to happen – it will happen.”
Named Bowater, the studio’s first complete range has nine pieces, including a desk, chest of drawers, sideboard, stool, side table, shelving and a number of smaller catchalls and decorative objects.
The Bowater collection includes a desk, stool, side table and shelf all made from British hardwoods
The furniture is all made from wood that is treated using a process called Thermo modification, which is usually reserved for outdoor uses such as cladding and exposes the timber to intense, controlled heat in order to strengthen and stabilise it.
“A by-product of this process is the resulting colouration of the wood,” said Jan Hendzel Studio founder Jan Hendzel.
“Baking caramelises the natural sugars in the timber, which creates this beautiful rich umber that, when oiled, is eye-catchingly beautiful,” he told Dezeen.
The Bowater chest of drawers has three compartments
The result is a spectrum of deeper shades that are usually only associated with exotic species such as teak or mahogany. These are used across the Bowater collection alongside the wood in its traditional, light finish.
“As a business that is rooted in sustainability, we’re really excited to be able to experiment with the materials on our doorstep,” said Hendzel.
“We’re proud to be producing furniture that shows support for lesser-used British woods and we hope to create a growing demand for what’s available here in the UK.”
It features a CNC machined front and hand-turned handles
A distinctive ripple detail features across the collection and can be found in the desk’s drawer and the lower shelf of the side table as well as the doors of the sideboard and chest of drawers.
“The texture has a brilliant way of showing the depth of colour in the baked timbers and helps to reveal the timber’s grain in a playful way,” said Hendzel.
“But we also realised the texture could transform from a decorative facade to something functional. The ripple can be used as a drawer pull or an interlocking device between items.”
For example, the wooden dishes and trays, as well as the interior of the desk drawer all, feature this undulating profile, meaning one can slot neatly into the other to secure the catchalls in place.
Catchalls fit snugly within the undulating interior of the desk drawer
The collection combines modern and traditional carpentry methods, with the ripple detail milled by programmed CNC machines while the round handles that feature in the chest of drawers and the console table are hand-turned.
“By combining this digitally-led design approach with our intimate understanding of traditional joinery and hand tooling, we were able to add textural complexities to the range without losing the hallmarks of handmade furniture,” said Hendzel.
Sliding doors decorate the front of the wooden console table
In order to minimise waste, Bowater was designed as a cohesive whole, with offcuts from the furniture pieces used to create the smaller accessories such as a pair of wooden sculptural arches.
Any other unusable pieces were donated to Men in Sheds, a local charity that engages older men in collective activities that benefit the community.
The wooden trays and dishes are also compatible with the lower shelf of the side table
The collection is currently on show as part of the Peckham Design Trail at LDF, which marks the first time the south London district is officially part of the festival.
“I’ve been a resident in Peckham for 14 years and what’s been lovely about organising the trail is getting to know the community better,” said Hendzel.
“Next year we’d like to be able to build on some of the relationships we’ve made and create a design district for a diverse SE15 community that helps showcase the wealth of unsung artists and designers that live locally.”
The Cable shop stool comes in two sizes
Hendzel, who studied product design at Central Saint Martins, set up his studio in 2015 with a focus on championing the UK’s homegrown material palette.
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.
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