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Food made from captured atmospheric carbon could feed the world while helping to combat climate change, according to Solar Foods CEO Pasi Vainikka.

“We can capture CO2 anywhere,” said Vainikka, whose company has developed a protein powder made using carbon dioxide.

“That is a strategic shift where you don’t really need arable land and your raw materials are in the air.”

The vegan protein powder, called Solein, is created by microbes that metabolise carbon dioxide, absorbing the carbon so they can grow while releasing the oxygen.

The powder can be turned into meat and dairy substitutes or added to foods and shakes as a nutritional supplement.

Solar Foods claims that Solein eliminates most of the emissions associated with modern agriculture, which is responsible for almost one-third of all greenhouse gas emissions.

One kilogram of Solein emits 0.2 kilograms of carbon dioxide equivalent (CO2e) in its production, Solar Food claims. In comparison, beef herds produce around 100 kilograms and chicken 10 kilograms of CO2e.

Solein could “remove the climate impact of food systems”

“[We can] remove the climate impact of food systems on the planet, which today account for about 30 per cent of global greenhouse gas emissions,” Vainikka said. “That can happen if we replace meat and dairy at a large scale.”

The company’s factories also require a fraction of the land used for industrial farming, potentially freeing the land up for reforestation. This means Solar Foods could indirectly help tackle climate change, it claims.

“We could free up agricultural land to grow back forests,” Vainikka said. “Those remove carbon permanently from the atmosphere.”

On its own, turning atmospheric carbon into food does not tackle climate change since once consumed, the carbon soon enters the atmosphere again via the natural carbon cycle.

“Solein does not reduce the concentration of carbon dioxide in the atmosphere directly, but the indirect effect is that we need about one-tenth of the land compared to photosynthesis,” Vainikka said.

“It’s not really carbon storage because 95 per cent of the carbon we eat comes out as breath and the remaining 5 per cent from the other end.”

Founded in 2017, the Finnish company has so far created 20 different products from Solein at its pilot plant near Helsinki, which can generate a kilogram of food a day.

Thirty per cent of CO2 will come from the air

Later this year, Solar Food is set to start construction on its first commercial-scale plant, with the aim of producing five million meals a year and bringing the first products to market by 2030.

The brand claims the plant will be the “world’s first commercial factory producing food out of air-captured CO2”.

On-site direct air capture (DAC) units will suck CO2 from the atmosphere for use in the plant. “We will scale in steps, the first phase target is to have some 30 per cent of the CO2 come from the air,” Vainikka said.

The remainder of the carbon dioxide will come from emissions captured from factories.

Scrubbing CO2 from factory chimneys does not remove carbon from the atmosphere but merely reduces the amount of new carbon being emitted.

But captured emissions are increasingly being used to produce products including the ethanol used in Air Co vodka and the CO2 bubbles in Valser’s sparkling water.

To turn CO2 into edible protein, Solar Foods uses microbes that feed on it to grow and reproduce.

The microbes are similar to those that have played a longstanding role in the production of wine, bread and yoghurt but take hours rather than months to produce a result.

“It’s similar to winemaking in the sense that we have a fermenter, a bioreactor, where we have our microbes, billions of them,” said Vainikka.

Solar Foods’ air-capture plans are based on technology developed by NASA in the 1960s to feed astronauts on lengthy space missions.

An air capture device sucks in carbon dioxide while water is split into hydrogen and oxygen via electrolysis. The three gases are funnelled into the bioreactor, along with a growth medium containing necessary minerals such as ammonia to feed the microbes.

Harvested and dried, that microbial slush becomes Solein – a yellow powder made up of single-cell protein, with a nutrient composition similar to dried soy or algae, and a flavour and texture similar to wheat flour.

Canadian company Kiverdi uses a similar process to make its Air Protein, as well as an ethical substitute for palm oil, an environmentally damaging ingredient that features in about half of packaged supermarket products.

“The key question Solar Foods is dealing with is, how do you enable a carbon-dependent society to shift to a circular carbon system?” Vainikka said.

“That’s our perspective. It’s about enabling the end of the concept of mining [fossil fuels]. It is practising an atmospheric circular economy.”

Carbon revolution

This article is part of Dezeen’s carbon revolution series, which explores how this miracle material could be removed from the atmosphere and put to use on earth. Read all the content at: www.dezeen.com/carbon.

The sky photograph used in the carbon revolution graphic is by Taylor van Riper via Unsplash.

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In the first of a series of exclusive video interviews with Sumayya Vally, the Serpentine Pavillion 2021 architect says her studio Counterspace was founded out of a desire to create the kind of architecture she felt was missing from her formal education.

Vally, who at 30 was the youngest architect to receive the annual Serpentine Pavilion commission, also spoke about the influence of her hometown of Johannesburg on her work and her plans for the future.

“When I was in my final year of architecture school, myself and my friends spent lots of time in the city, being in Johannesburg, working to read, translate and explore it,” Vally said in the video, which Dezeen filmed in London.

“Counterspace was born out of this, I think, out of our own desire to create a different canon and to be able to find what we were missing in our architectural education.”

Vally is strongly influenced by her native South Africa and Johannesburg in particular.

Born and raised in apartheid-era Pretoria, Vally later went on to study architecture in Johannesburg and in 2015 founded her own interdisciplinary architectural studio Counterspace in the city.

Her work draws from multiple disciplines, often exploring notions of archive and pedagogy, as well as the importance of community gathering spaces.

“My studio and my practice in general is really working to find design language and design expression for hybrid identity and contested territory,” Vally said.

“If I think about these projects in my practice, I can see that many of them are seeds for thinking about the future of architecture differently. And I’m interested in how these experiments can push the discipline of architecture forward both in how we practice architecture, but also in the forms that we have for architecture.”

Sumayya Vally’s Serpentine Pavilion is open to the public in London until 17 October 2021.

A number of other recent Counterspace projects are featured in the video, including an installation called Children’s Courtroom, which aimed to teach kids about the justice system, and the studio’s 2019 installation Folded Skies, a series of large mirrors tinted to match the light created by the air pollution in Johannesburg caused by the surrounding mines.

Dezeen will be publishing videos in which Vally discusses those projects in more detail over the coming days.

Below is a transcript of the interview:

“I don’t quite know when I decided to become an architect. I think I wanted to be many different things. I remember wanting to be a journalist as well. I wanted to be an archaeologist. I was also really interested in history and in writing. And sometimes when I think about the way that I practice architecture, I think that many of these different interests have found their way into the way that I practice.

“When I was in my final year of architecture school, myself and my friends spent lots of time in the city, being in Johannesburg, working to read and translate and explore it. And Counterspace was born out of this, I think, out of our own desire to create a different canon and to be able to find what we were missing in our architectural education. But also really, I think, to be able to hold the energy that we had, and our interest in the city. I certainly was worried that I’d go into practice and become jaded. And so Counterspace was almost born as a resistance to that.

“My studio and my practice in general is really working to find design language and design expression for hybrid identity and contested territory, and I’m really interested in working to find form for the phenomena that I find and see in Johannesburg.

“If I think about these projects in my practice, I can see that many of them are seeds for thinking about the future of architecture differently. And I’m interested in how these experiments can push the discipline of architecture forward both in how we practice architecture but also in the forms that we have for architecture.”

“So my hope is that I get to work on many more cultural projects, on projects that are concerned with our narratives and with manifesting our identities and who we are. So I’m really interested in working on museum projects and working on schools and libraries, and cultural institutions.

“But I’m interested really in understanding how we can reconfigure these so that we bring about difference. But I also hope that I’m still able to practice in the small ways that I presently do and that my firm is always involved in research practice. And really in working on small, quick experimental projects that test out big ideas.”

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Classic furniture designs are called classic for a reason – the first thing you buy/gather as an adult is a table, chair, and a bed. Such is the need for these designs, they are available in a range from the cheapest to the exclusively designed pieces that go into thousands of dollars. We may start our furniture collection with IKEA, however, the designs we have showcased today are collectibles – exquisitely designed pieces of furniture that are yours to own, showcase, and hand over as they are to last across generations. Have a look and let us know your favorites!

Wood is a solid material. Such is the construction that we have used to build products, small to big, even our homes across the ages. Casey Johnson Studio has elevated the humble wood to an artistic expression that is almost fluid in shape. Meet the Billow Desk – a classic desk setup with a floating cabinet that curves in gracefully, like a billowing curtain. The hand-shaped walnut desk is one of the last commissioned pieces made by Casey, and it remains a piece to remember.

Geometry in furniture design has a very modern effect, almost timeless in its aesthetics. This TV cabinet by Loft Kolasiński has the same mesmerizing effect. A gently shaped oak veneer covers the front of this cabinet completely, taking your attention to the center of the cabinet through which your consoles will peak out. Once you have this piece, your attention will be commanded by this piece such that you may revise the interior of your home to match this piece.

The NomNom Coffee Table by Dezin Design is as cute as its name goes. The design uses contrasting wooden colors to showcase the softness of its form. The legs of the coffee table curve gently over the top of the table, almost like it is trying to eat the table! Clean, finished, minimal lines, these all components make this table a worthy addition to your living space.

Wood Effect’s tagline is ‘from project to product,’ and you can see it in the designs they create. Their latest project literally goes as a dressing table or desk – with the dimensions boasting of a desk where the spacious drawers and tabletop ensure you can utilize it with comfort for wither of the endeavors. The oak wood design showcases 4 drawers to store stationery and your dress-up requirements while stylishly sitting in your space.

Nick James identifies himself as a designer and a maker, as is showcased in this solid oak contemporary Side Cabinet! To hear the designer explain, “Add texture and character to your home with these fluted lines, creating artistic flare for everyone to see. A contemporary yet timeless piece of furniture designed for both style and function. Part of an exquisite range of fluted cabinets, all hand-made in the north of England.” Use it as a pair or alone, this cabinet is sure to be a show stealer!

Aero bar cart by Plataform4 for Lider Interiors shows us a more elegant version of the classic straw woven ventilated cabinet door contrasted by a simple leather pull. This merging of two extremely traditional materials in a modern avatar is guaranteed to be a show-stealer, letting you store your bar essentials while bringing a light airy feel to any room.

Lozi Design used a supersized wave joint made from light solid ash and a variety of surface finishes to create the Wave Table. This perfect centerpiece is a part of their ‘wave series’ that highlights and adds a new dimension to any contemporary home. Lozi has also developed a new surface material for this table – by re-purposing their waste sawdust they have created a red sheeting material by mixing it with Bio Resin. Eco-friendly with a side of furniture details!

The 2 basic building materials – steel and wood come together in this table designed by Slick+DesignUSA. You know you can expect great things from the team that has been providing award-winning architecture designs for over 25 years! For this design, the team collaborated with their friends at Demeter Millwork for a classic design with sturdy construction that is sure to stand the test of time!

We have seen a lot of designs that incorporate resin – it’s a trending art that is here to stay. While most designers use resin to rework their design, designer Meubles Thouret decided to take an innovative approach that helps you appreciate the wood in its natural form even better – using resin to mold or join different pieces of wood. Each individual wooden piece retains that cut pattern, which is now encased in resin, and the added use of resin means the tricky joinery is now in the hands of this flexible material. Smart and aesthetic, isn’t it?!

Culturally, the Japanese have been known for their attention to detail while maintaining a minimal aesthetic and this same technique can be seen in Hamanshi Design’s Paraboloid Chair. Composed of a bentwood frame and a characteristic rope back, the hyperbolic form tightens up the diagonal rope back and can be optimized as per the user’s back to disperse pressure.

Akatre est un studio de création fondé en 2007, à Paris. Julien Dhivert et Sébastien Riveron travaillent et s’expriment dans le design graphique, la typographie, l’image de synthèse, la photographie, la vidéo, l’installation artistique et la création musicale pour des institutions dans le domaine de l’art, de la culture, de la mode, des médias et du luxe.

Dans le projet photo avec Eugénie Drion que nous vous présentons ici, la danseuse au Ballet de l’Opéra virevolte autour des lettres d’un alphabet ultra-graphique, conçu dans le style iconoclaste du studio, en sublimant ce travail de design. Cette série sera également publiée dans la toute nouvelle revue Ertaka, qui sera lancée par Akatre en fin d’année.

Au sujet de la collaboration avec Akatre, Eugénie Drion raconte : « J’avais déjà vu le travail d’Akatre, notamment avec les masques, qui me plaisait beaucoup. Je trouve qu’en photo la dynamique des vêtements dans le mouvement est toujours très intéressante. J’aime beaucoup le fait de collaborer dans les projets et mélanger le travail de
différents artistes pour s’inspirer les uns des autres. »

Modèle : Eugénie Drion, Quadrille, Ballet de l’Opéra
Photo et design : Akatre
Stylisme : Louise Marcaud
Styliste des masques : Muriel Nisse

Wildfires are becoming a common occurrence, some places like California and Australia even have wildfire seasons which are now becoming longer and more aggressive. According to this official research paper, data shows that since 2000, an annual average of 70,600 wildfires burned an annual average of 7 million acres in the USA alone in 2020 while Australia has seen 46 million acres destroyed since September 2019. The need for sustainable design has never been more urgent and in all verticals of the industry, not just packaging or product. Keeping this in mind, architect Alberto Roncelli created Regenera – a skyscraper that aims to heal ecosystems that have been burned down by wildfires.

The skyscraper will be located in the center of a burnt ecosystem and as it degenerates it will spread nutrients and seeds through winds while also becoming a temporary shelter for birds and small-sized animals. Think of Regenera as a supporting pillar to the recovering ecosystem. Through the erosion of its own structure, Regenera will transform and spread itself into the ecosystem in a purposeful manner. During the initials phases, a laboratory on the lower level is dedicated to experimenting, monitoring, and researching the process and the progress of the ecosystem. In the following phases, scientists will abandon the skyscraper and make more space for the undisturbed re-population of small to medium-sized animals and plants.

Regenera proposes a new paradigm that creates the possibility to carefully program and diversify each part of the structure, defining a life cycle determined by erosion and constant transformation…which is exactly what the cycle of life is all about. Materials chosen to build the structure include mixing substances needed by the forest with the architectural capability to be a temporary shelter while slowly dissolving. This design can be a success with a team of chemists, phyrogeographers, meteorologists, engineers, and biologists, all working together to understand the necessities and needs of a dead ecosystem. Regenera wants to be a manifesto for a new way of relating architecture and nature, structure and ecosystem, time and erosion, skyscrapers and forests.

Desinger: Alberto Roncelli