A Tactile, Wooden Push-Pull Toy for Montessori Kids

In the Montessori system of education, it’s believed that children experience these three things below the age of four: An interest in small objects, sensory refinement, and order. Greek toy designer Matolaki thus designed this mechanical wooden toy to slot into the curriculum:

“This wooden pull push Montessori Toy is ideal sensory learning set for imagination expanding and will help gross and fine motor skills development. 100% Eco Friendly Toy, no plastic used; ; weights only 340g /0.75 lbs, a perfect travel set toy!”

In real life, they’re a lot bigger than they look in the product shots:

They’re selling for about $50 on Etsy.

Clever Pair of Antique Tools Used to Perfectly Transfer Head Measurements to Hats

Just learned about this: Traditional hatters used a pair of tools called a conformer and a formillion to ensure hats perfectly fit their clients.

The conformer captures the client’s head measurements in a math-free way, marking a paper template. That template is then used to position a series of dies in the formillion. The hat is then placed over the formillion and steamed into shape:

Here’s the longer version, with narration:

Incredibly clever!

Flotspotting: Paolo Stefano Gentile's Ecological French Fries Packaging, Made from Potato Peels

Milan-based product designer Paolo Stefano Gentile came up with a poetic way to package French fries: In the very waste they create.

Peel Saver – ecological fries packaging

“Fries companies produce a lot of potato peels waste. The idea of this project is to use this waste material in order to create street food packaging.

“The potato peel is made up of starches and fibers components, which after maceration and natural drying, acquire the ability to bond with each other and harden. The obtained material is completely made of production waste and is 100% biodegradable.

“After being used, the packaging can be usefully re-inserted in the biological cycle becoming animal food or fertilizer for plants.”

You can see more of Gentile’s work on Coroflot.

The Future Of Racing, the Formula E Championship for Electric Cars

Three-time Le Mans winner Andre Lotterer on racing and the automotive industry as a whole

At the TAG Heuer boutique on Fifth Ave, mere days before the Formula E Grand Prix is set to take the racing world’s main stage in Red Hook, Brooklyn, pedestrians would be forgiven any confusion over the race cars up and down the street. Normally only seen racing through Monaco for the Grand Prix or at Le Mans, these cars are in NYC gearing up for what is set to guide the future of the sport and the automotive industry as a whole: Formula E.

The E (of course, short for electric) represents the shift that the auto world has undertaken in recent years. While it has become almost commonplace to see Teslas and other major auto manufacturers promoting their electric, rechargeable vehicles, only recently have we begun to see where a lot of those innovations are derived from and how some of that technology is being used to revolutionize the racing industry and the world of consumer automotive.

With the inaugural season in 2014, Formula E might be in its infancy but its effects are being felt—leading many to wonder if these high-performance race cars can turn green, perhaps the same will be possible with every consumer car in the future.

Teams like Porsche and TAG Heuer’s have been at the forefront of the racing pack to create vehicles that are as precise as they are fast, pushing their technological limits further with every race. As Jamie Reigle (the CEO of the pioneering electric car race) tells us, “Porsche is a very premium brand with a track record in motorsport. The DNA of the company is all about racing and all about success and having really high standards, and that’s fantastic for us as a championship—it raises the bar and the standards for everyone. We believe in a continuation of a very long history in motorsport of innovation and progress. The beauty of motorsport is the pinnacle of human endeavor in a sense that these fantastic drivers, who are the best at what they do, and the engineering and science that goes into developing cars.”

Prior to the race in Red Hook, we spoke with race car driver and three-time Le Mans winner, German-Belgian Andre Lotterer (currently racing for TAG Heuer Porsche) about the future of the sport and the industry.

As we’re at the TAG Heuer boutique getting ready for Formula E, can you tell us where you see the future of the sport going?

Motorsport before was more about the racing, the sport, but now we’ve added the sustainability aspect and represent the race of the future with electro-mobility. As you know, we race electrically and it’s going very well. We have a lot of manufacturers that are in this series and use it as a platform. The technology that we are pushing through racing is passing some really tough tests, so it’s very relevant for the automobile industry to have better range and more efficient cars.And we’re introducing the Gen3, the next generation of Formula E car, and there will be new features—more of a smaller battery and fast charging, which I think is very important for everyone out there with their road cars.

We go to different cities, try to find new locations to inspire people to move to electric cars and to understand that we can race with electric cars, meaning that it’s a proven technology and therefore makes a better and cleaner world.

Can you tell us the difference between when you are racing on streets for Formula E and on tracks for the other races? Does the car have to be adapted to street versus to a track?

Formula E brings the race to the people, to the cities, and the chairmanship is trying to find new locations with governments and new cities. It’s a big difference because you have to imagine when you race in the city, wherever you can, the asphalt and the road conditions are not as good as a permanent racetrack where it’s a perfect track with runoffs. It’s a big difference and it’s more challenging for drivers to race in cities. But the cars are adapted for it. We have groove tires like normal race cars on permanent tracks have slicks. And we have these tires that allow us to race with all weather, if it rains or not. But they work very well for city tracks, and I think that the car has a bit more suspension travel so we can drive over bumpier tracks. It is adaptive.

Is there any technology from the electric cars that you think we might see migrating to commercial vehicles? 

I think we are the best example at Porsche because we are under the same roof as a factory team in the development center, and we have the Taycan as a high-performance electric sports car. We share a lot of information with the drivetrain, the way we calculate efficiencies. And us with the race car, we really go to the limit with the powertrain and the inverter and software and learn a lot of things that are put in our database and transferred to the Taycan or the future electric cars. It’s definitely a proving ground and especially at Porsche, because it’s a sports car brand. So every Porsche has performance in it and is built for the track as well.

What’s your favorite thing about driving electric race cars, and where in the world has it been the best to race them?

I think it’s Formula E in general; that we bring the races to the cities. We would never be able to race in New York or in the heart of Paris or in Rome or in Santiago. I think that it’s a privilege to be involved in, and link our sport with, sustainability and a cleaner world—which was very important for Motorsport to do. That is the aspect that I like most… but also racing. I really enjoy racing Formula E because the challenge is super-high, to race on city tracks between walls. Even though we might have less power than the cars in Formula 1, it’s still fun and exciting because we don’t need so much power on the city tracks. Everything is narrow. So we are at the end of a boulevard at 230-240 kilometers per hour, super-fast. I always say it’s like riding your bicycle inside your apartment—you don’t need to go very fast to get in trouble, and it’s very challenging.

Images courtesy of TAG Heuer/Porsche

This Styrofoam chair is designed to replace your trusty lounger by adapting to your body shape over time!

Like a good pair of jeans, the Tamable Chair only becomes more comfortable with wear-and-tear.

Styrofoam is like an improvised shapeshifter. It’s used for anything from packing material to insulation to play products. Composed of 98% air, styrofoam is well known for its shock-absorbent properties, making it the ideal choice for packing material. The rest of styrofoam is made up of closed-cell extruded polystyrene foam (XPS), a type of dense craft building material that gives styrofoam its rigid appearance and stiff impression. The buoyant nature of styrofoam and its dense, rigid makeup inspired Seoul-based Fountain Studio to design the Tamable Chair, an ergonomic, conceptual chair entirely made from styrofoam.

The Tamable Chair maintains the shape of a traditional lounge chair for optimal comfort. Over time, the Tamable Chair’s surface morphs to different seated positions and becomes more comfortable with continued use. Styrofoam is composed of 98% air, making it the ideal packing material. Styrofoam tends to contort and warp when pressure is applied to its surface.

Even as kids, poking at sheets of styrofoam taught us that the depressions our fingerprints make don’t rise. Fountain studio used that insight when developing the Tamable Chair to allow the styrofoam surface to adapt to different body shapes and seated positions.

Fountain Studio set out to create a lounge chair that naturally morphs its outermost surface to adapt to different seated positions. Finding the ideal building material, Fountain Studio’s Tamable Chair is made from styrofoam for its tendency to contort and bend when pressure is applied, giving the chair an adaptable and lightweight comfort that gets better with use.

Fountain Studio considered other buoyant building materials before settling on styrofoam. The Tamable Chair is entirely made from expandable polystyrene that was put through a CNC milling machine to give the block of styrofoam some stylistic ridges and a fully-formed chair shape. Like a good pair of jeans, the Tamable Chair only becomes more comfortable with wear-and-tear.

CNC milling techniques were used to give Tamable Chair stylistic ridges and a unique shape. The Tamable Chair morphs its surface and overall shape with each new seated position—the ridges level out to become a squeaky, flattened surface more similar to that of traditional chairs.

Designer: Fountain Studio

When sitting on Tamable Chair, the chair’s seat forms a depression that remains even after you leave the chair.

Over time, the ridges level out and form a squeaky flattened surface.

The more one sits in the Tamable Chair, the more familiar it becomes, passing from rigid indentations to a smooth surface.

Family Life Experience in Pictures by Thomas Duffield

Basé à Londres et dans le nord de l’Angleterre, Thomas Duffield est photographe et chercheur. Il termine actuellement un doctorat à l’université de Huddersfield. Ayant grandi dans une petite ferme à la périphérie de Leeds, la pratique de Thomas se penche sur sa propre expérience familiale. Abordant les aspects les moins discutés de la vie familiale, son travail photographique navigue sur un terrain de fragilité hthumaine partagée. Trouvant la force en réconciliant nos vulnérabilités, il célèbre à la fois la beauté et la tendresse de la vie de famille. Dans sa série « The whole house is shaking », il revisite sa propre expérience.

Les personnes photographiées dans cette série sont des membres de sa famille et les images ont été prises dans la petite ferme où il a grandi dans le nord de l’Angleterre. « Cachée à ma sœur et à moi en grandissant, la série aborde la lutte de mon père contre la dépendance à l’héroïne. Avec des portraits de ma mère, de ma sœur et de mon grand-père, la série se tourne vers les membres de ma famille proche comme moyen d’explorer les réverbérations émotionnelles qui découlent de ce chapitre difficile de notre histoire familiale« , explique-t-il. Pour ce faire, il s’est inspiré des travaux photographiques qui abordent le thème de la famille. Des œuvres telles que Pictures From Home de Larry Sultans ou Ray’s A Laugh de Richard Billingham. « L’expérience de ce travail m’a rassuré sur le fait que le sujet de la famille est non seulement un domaine légitime à explorer, mais aussi un domaine riche et stimulant. La nature performative des portraits d’Alessandra Sanguinetti m’a également marqué, car j’ai commencé à faire des allers-retours entre l’utilisation de photographies mises en scène et observées dans mon approche« , conclut-il.

Pour en savoir plus, rendez-vous sur son site internet  ou son  compte Instagram 






Learn tips for entering the Redesign the World competition in our Twinmotion workshop

Twinmotion visualisation by Albert Brown

Want to enter our Redesign the World competition but not familiar with using architectural visualisation tool Twinmotion? Register for our free online workshop on 5 August.

Belinda Ercan and Sam Anderson from Epic Games will provide an overview of Twinmotion in the workshop, as well as giving practical advice and sharing tips and tricks for using the visualisation software.

Workshop takes place at 2:00pm on 5 August

The workshop, which takes place at 2:00pm London time on 5 August, will be moderated by Dezeen’s chief content officer Benedict Hobson.

There will be a Q&A session for attendees to ask the speakers questions at the end of the webinar.

Click here to register to attend ›

Twinmotion visualisation by Pawel Rymsza
Twinmotion can be used to create architectural visualisations, such as above by Pawel Rymsza and top by Albert Brown

Twinmotion is an architectural visualisation tool powered by Unreal Engine, which is a game engine developed by Epic Games.

It enables architects and designers to quickly and easily create high-quality images, panoramas, fly-throughs and animations of products, buildings, cities and even entire landscapes. It can be used to produce standard or 360° VR videos from imported BIM or CAD models.

Entrants will need to use the tool to enter Dezeen’s Redesign the World competition, which Dezeen launched earlier this week in partnership with Epic Games. They can download a free trial of the software in order to do so.

Belinda Ercan, Epic Games, portrait
Belinda Ercan oversees Twinmotion product marketing and strategy at Epic Games

Ercan is a ​​product marketing manager for Twinmotion at Epic Games.

She has a master’s degree in architecture and digital design, with focus on 3D visualisation, and has previously worked as a visualiser for HLM Architects and visualisation product manager Graphisoft.

Ercan will also be on the judging panel for the Redesign the World competition.

Sam Anderson, Epic Games, portrait
Sam Anderson develops technical content in Twinmotion at Epic Games

Anderson is a technical marketing manager at Epic Games.

A designer and 3D artist based in New York City and Los Angeles, she has a focus in real-time rendering.

Anderson was previously a visualisation specialist at SHoP Architects, where she focused on research and development, promoting the use of real-time technology to improve design processes.

Redesign the World logo
Redesign the World calls for new ideas to redesign planet Earth

Redesign the World is the ultimate design competition, which calls for new ideas to rethink planet Earth to ensure it remains habitable long into the future.

It is free to enter and has a top prize of £5,000 and total prize money of £15,000. People over the age of 18 of any profession and from any country in the world can enter.

The 15 best proposals will be published on Dezeen in November during our Dezeen 15 online festival celebrating Dezeen’s 15th anniversary.

Find out more about the competition at dezeen.com/redesigntheworld.

The post Learn tips for entering the Redesign the World competition in our Twinmotion workshop appeared first on Dezeen.

Carbon neutrality "still allows for carbon emissions" says Google sustainability lead

Mountain View campus solar panels

Google continues to emit greenhouse gases despite claiming to be carbon neutral, Dezeen has learned.

The tech giant, which says it has been carbon neutral since 2007 and claims to have eliminated its entire carbon legacy, has emitted around 20 million tonnes of carbon in that period.

Yet it has adopted a definition of carbon neutrality that allows it to claim its carbon footprint is zero while remaining an ongoing contributor to atmospheric carbon.

“Carbon neutrality still allows you to emit”

“Our legacy on carbon dates back to 2007 when we were the first major company to achieve carbon neutrality, and that was just nine years after we were founded,” said Robin Bass, real estate and workplace services sustainability programs lead at Google.

“We are carbon neutral in terms of purchasing renewable energy to offset all of our consumption and eliminating our legacy carbon, which is also part of our strategy.”

Google headquarters photographed by The 111th
Top: “Dragonscale” solar panels on Google’s Mountain View building. Above: Photovoltaics and geothermal piles will provide some of the power for Google’s new HQ

However, Bass admitted that the approach meant that the company continues to emit CO2 and that its offsetting programme does not compensate for its emissions by removing carbon from the atmosphere.

“Carbon neutrality still allows for carbon emissions,” she told Dezeen. “People are using a lot of different terms and some of them mean different things.

“The way that I think about it is that carbon neutrality still allows you to emit,” she continued. “You can still be producing carbon, you can still be connected to a grid that is burning coal or some fossil fuel.”

“And as long as you offset that by purchasing renewable energy somewhere, you can still achieve carbon neutrality.”

Offsetting is a “fallacy”

Google’s stance aligns with the international PAS 2060 standard for carbon neutrality. This allows companies to claim they are carbon neutral if they use offsets or carbon credits.

However, offsets that prevent additional CO2 from reaching the atmosphere, for example by buying renewable power or capturing emissions from factories, do not negate the emissions that have already been made.

Robin Bass
Robin Bass, real estate and workplace services sustainability programs lead at Google

Unlike net-zero, which is a far more demanding standard that has become the global benchmark for decarbonisation, carbon neutrality allows companies to continue emitting more CO2 than they remove from the atmosphere.

Offsets are becoming increasingly controversial. “I call it the fallacy of the offset,” sustainable design guru William McDonough told Dezeen in an interview last month.

“If somebody says, oh, I’ve got this much renewable power and I’m gonna offset my carbon emissions, you have to be very careful,” McDonough said. “That would logically then say that if you doubled your renewables, you could double your carbon and still be net-zero.”

“That doesn’t make any sense at all, because the atmosphere absorbs twice as much carbon. Renewables don’t equal to [removing] carbon.”

True net-zero “requires carbon removal”

Speaking to Dezeen this week, Taylor Francis of decarbonisation platform Watershed said that net-zero emissions can only be achieved by removing carbon from the atmosphere.

“We strongly believe that true net-zero requires carbon removal, which is taking carbon out of the atmosphere, rather than traditional offsets, which involve paying someone else not to emit carbon into the atmosphere,” he said.

Google says it became carbon neutral in 2007. In September last year, CEO Sundar Pichai announced that the firm had eliminated its carbon legacy dating back to its foundation in 1998.

“As of today, we have eliminated Google’s entire carbon legacy (covering all our operational emissions before we became carbon neutral in 2007) through the purchase of high-quality carbon offsets,” he stated in a keynote address.

“This means that Google’s lifetime net carbon footprint is now zero.”

Offsets make emissions “lower than they would have been”

However, a white paper outlining Google’s carbon offsets explains that these merely make emissions “lower than they would have been” rather than bringing them to zero.

“At Google, we reduce our carbon footprint through efficiency improvements, generating on-site solar power and purchasing green power,” the white paper states.

“To bring our remaining footprint to zero, we buy carbon offsets. A carbon offset is an investment in an activity that reduces carbon emissions. The reduction in carbon emissions is represented by a carbon credit.”

“The credit, usually verified by a third party, signifies that greenhouse gas emissions are lower than they would have been had no one invested in the offset.”

Google invests in offsets that burn captured methane

Google uses offsets that include capturing methane from landfill sites and agricultural sites. The methane is “captured and used or burned”. It also works with forestry projects that “protect forests from destruction and degradation or […] enhance and develop new ones”.

The white paper states that since 2007, Google has “partnered with more than 40 carbon offset projects to offset more than 20 million tCO2e emissions”.

This means that it must have emitted an equivalent amount – 20 million tonnes of carbon dioxide equivalent – over the same period.

Bass works on the sustainability aspects of new Google buildings including the emerging campus at Mountain View in California, which has been designed by Bjarke Ingels Group and Thomas Heatherwick.

“We have a strategy to look for and innovate with manufacturers on lower-carbon options [for building materials],” she said, adding that in terms of lowering the embodied carbon of Google buildings, “we’re absolutely tracking all of that”.

“We’ve looked at the best-case scenario for mass timber. We will still use concrete and steel so we’re really driving innovation on both of those materials, which have a very big [carbon] footprint. There’s a lot of really exciting technology coming out for both of those products.”

Mountain View campus topped with “dragonscale” solar panels

The giant Mountain View building will generate some of its power from “dragonscale” solar panels on its roof while geothermal pilings will help heat and cool the building.

Pichai discussed the project in another keynote in May this year when he said the project was part of Google’s “moonshot” drive to achieve “24/7 carbon-free energy” by 2030.

“When completed, these buildings will feature a first-of-its-kind dragonscale solar skin, equipped with 90,000 silver solar panels and the capacity to generate nearly 7 megawatts,” he said.

“They will house the largest geothermal pile system in North America to help heat buildings in the winter and cool them in the summer. It’s been amazing to see it come to life.”

However, Bass was unable to say what percentage of the building’s power would be generated by the solar and geothermal systems.

In order to meet the objectives of the 2015 Paris Agreement and keep global warming within 1.5 degrees Celsius of pre-industrial levels, the global economy needs to halve emissions by 2030 and become net-zero by 2050.

Google aims to reduce Scope 3 emissions by 50 per cent this year

Last month, Google signed up to the United Nations’ Race to Zero campaign, which helps companies align their strategies with the Paris goals and achieve net-zero emissions.

Net-zero involves eliminating “Scope 3” emissions, which are emissions generated by a company’s supply chain, including embodied carbon emissions caused by the construction of new buildings as well as emissions caused by customers using a company’s products. These are the hardest emissions to eliminate.

“We will set a science-based target to reduce our Scope 3 emissions by at least 50 per cent later this year, in line with the guidance from UN’s Race to Zero campaign and Exponential Roadmap Initiative,” Google told Dezeen.

The United Nations’ Race to Zero campaign defines net-zero as meaning no carbon is added to the atmosphere either directly or indirectly over the entire lifecycle, which includes materials used in a project and emissions caused by customers using a product, service or building.

“There’s always more work to do”

Where emissions cannot be eliminated, they can be offset using carbon removal schemes that directly capture carbon from the atmosphere, for example via biomass or direct air capture technology. Offsetting schemes that reduce or defer emissions do not count, making Google’s offsets incompatible with the Race to Zero.

“There’s a ton of complexity in what makes something carbon-neutral or carbon-free,” Bass said. “As a company, we’re addressing it across all of our product areas, and certainly within the REWS [real estate and workplace services] portfolio as well.”

“We offset all of our electricity consumption every year and have achieved that since 2017,” she added. “Our really big goal is to work with local energy grids by doing things like the dragonscale solar and the geothermal and partnering with them on how we help them transition to cleaner energy supplies as well so that all of our buildings can plug into a clean grid.”

“There’s always more work to do,” she added. “If anyone out there is claiming that they’re 100 per cent carbon-free, red flags should be going up everywhere.”


Carbon revolution logo

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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The Cube will be "world's first building made of carbon concrete"

A visual of the Cube by Henn

Researchers at the Technical University of Dresden have been working with German architecture firm Henn to create the first concrete building to be reinforced with carbon fibres instead of steel.

Currently under construction at the TU Dresden university campus in Germany, The Cube is billed as the “world’s first building made of carbon concrete”.

Building reinforced with carbon fibre

This newly developed type of concrete offers the same structural strength as concrete reinforced with steel rebar but uses far less concrete, researchers claim.

The concrete is strengthened with carbon fibre yarn, which is made by binding together many carbon fibres – ultra-thin threads of almost pure carbon crystals – using a process of thermal decomposition called pyrolysis.

These yarns are used to create a mesh that the concrete is poured onto.

According to Henn, the resulting material is four times stronger than regular concrete, but also four times lighter, due to the reduced structural sections.

The carbon-fibre mesh is also rust-proof, unlike steel, meaning carbon concrete has a longer lifespan than typical reinforced concrete. This also means structures can be much thinner since much of the thickness of steel-reinforced concrete is due to the need to prevent water penetration leading to oxidization of the rebar.

Henn designed The Cube in collaboration with the Institute for Solid Construction at TU Dresden, led by professor Manfred Curbach.

The Cube’s shape informed by carbon fibre

With a wall that folds up to become a roof, the building’s form takes inspiration from the lightweight and flexible properties of carbon fibre.

“The design of The Cube reinterprets the fluid, textile nature of carbon fibres by seamlessly merging the ceiling and walls in a single form, suggesting a future architecture in which environmentally conscious design is paired with formal freedom and a radical rethinking of essential architectural elements,” said Henn.

“The wall and ceiling are no longer separate components but functionally merge into one another as an organic continuum.”

The building will be a showpiece for a major TU Dresden research project called C³ – Carbon Concrete Composite, which is backed by the German Federal Ministry of Education and Research. The aim of the project is to explore the potential uses of this new material in construction.

“Carbon concrete could contribute to more flexible and resource-saving construction processes, and switching to carbon concrete could reduce the CO2 emissions from construction by up to 50 per cent,” said Henn.

“The benefit is that you can make the concrete much thinner while being able to carry heavy loads,” said senior carbon scientist Dr Erik Frank in a recent interview with Dezeen.

“So you can design completely different shapes. There are some research examples of super-thin concrete building components or benches or reinforcements. The aim is to get away from the huge amounts of concrete that are being used today.”

Bio-based carbon fibres under development

However, the carbon footprint of carbon fibre is “is usually very bad,” according to Frank. The researcher is currently exploring ways of creating carbon fibres from lignin, a common plant-based substance, which is also a byproduct of the paper industry.

He predicts that bio-based carbon fibres won’t replace petroleum-based ones, as they don’t yet offer the same performance. However, he expects demand to continue to increase. “It will just be a second market running alongside,” he said.

The post The Cube will be “world’s first building made of carbon concrete” appeared first on Dezeen.

Wine Tote

Woven from the same premium full-grain leather used for their duffle bags and personal accessories, WP Standard’s new wine tote can accommodate two bottles—and comes complete with an affixed corkscrew pouch (which the brand can monogram). It’s a handsome, high-quality addition to any picnic ensemble.