Büro Ole Scheeren‘s residential Fifteen Fifteen skyscraper in Vancouver, which will have a distinctive form with numerous stacked boxy volumes, has taken a step closer to reality as apartment pre-sales begin.

Sales will open in November 2021 for apartments in the proposed 42-storey Fifteen Fifteen residential tower at 1515 Alberni Street in the Coal Harbour neighbourhood.

Developers Bosa Properties and Kingswood Properties first unveiled the design in 2015, planned for the same site but with the address 1500 West Georgia Street.

It was approved by the city council in 2018 and is set to start construction in 2022.

The project is not to be confused with a pair of similar towers designed by Büro Ole Scheeren for the city’s West End, revealed in 2018 by the same developer but still in application review stage.

Fifteen Fifteen will include 202 condominiums, ranging from studios to three-bedroom homes. Among these are 18 Observatory Residences located in the horizontally protruding portions of the building and four penthouse apartments.

The cantilevered sections of the Observatory Residences will be wrapped in floor-to-ceiling glass, intended to offer residents the sensation of floating above the city and landscape.

“My vision for Fifteen Fifteen was to forge an immersive three-dimensional connection between nature, urban living and personal space,” said studio founder Ole Scheeren.

“The building actively positions the individual within its distinct community and embraces Vancouver’s breathtaking landscape.”

The architect and his team will also design the interiors for the condos, complementing the architecture and engineering.

Among the selection of amenities will be a lounge spanning the 29th and 30th floors, with 270-degree views over Vancouver.

Several buildings with stacked box-like elements have been proposed or completed over the past few years.

Perhaps the best known is Herzog & de Meuron’s 56 Leonard skyscraper in Manhattan, with others including The Interlace housing development in Singapore and the proposed overhaul of a Frankfurt office tower, both also by Büro Ole Scheeren.

The international firm’s similarly playful skyscraper designs include the pixelated MahaNakhon tower in Bangkok and a pair of honeycomb-patterned buildings in Singapore – both of which completed in 2018.

The post Ole Scheeren’s Fifteen Fifteen skyscraper in Vancouver moves forward appeared first on Dezeen.

The London Energy Transformation Initiative has published a report that sets out a blueprint for retrofitting UK homes in order to meet national climate change targets.

Launched by the London Energy Transformation Initiative (LETI) with the help of more than 100 leading architects, engineers and building experts, the Climate Emergency Retrofit Guide is intended to set out practical advice on getting existing domestic buildings to hit net-zero emission targets.

It identifies specific energy use targets for four types of existing homes – mid-terrace, semi-detached, detached and apartments – alongside steps on how to achieve them, such as through the installation of insulation and heat pumps.

Retrofitting houses is “critical” if the UK is going to hit its net-zero carbon target by 2050, LETI said.

Around 18 per cent of the UK’s carbon dioxide emissions come from existing homes, according to the Climate Change Committee.

“Architects need to get a handle on this”

The Climate Emergency Retrofit Guide, launched a week before the COP26 climate conference in Glasgow, looks at practical ways in which architects can successfully retrofit buildings.

“Getting to grips with building physics is key to a successful retrofit,” Antonia Khayatt, a consultant at the UK Green Building Council (UKGBC) who worked on the Climate Emergency Retrofit Guide, told Dezeen.

“We point out the connections between insulation, moisture and ventilation and provide further detail in the appendices.  Architects need to get a handle on this, which shouldn’t be difficult, because they are inherently good at holistic thinking.”

The world of architecture has long glamourized new build over retrofit, Khayatt said, but added this is now “certainly changing”.

Most architects work in small practices improving people’s homes, putting them in a strong position to help with retrofit, she added.

The LETI report estimates that four in five of the homes that will make up the UK’s housing stock by 2050 are already built, meaning more than a million will need to be retrofitted every year over the next three decades.

The free-to-access Climate Emergency Retrofit Guide targets a 60 to 70 per cent reduction in total energy consumption for the average UK home, which LETI said has been identified in light of what measures experts believe are realistically achievable considering the country’s current housing stock, renewable energy production and grid capacity.

It also lays out the potential risks associated with poor retrofit, such as damage to building fabric potentially leading to problems like damp and mould.

Plugging the retrofit skills gap

“Retrofitting buildings to be more energy efficient doesn’t just reduce carbon emissions and energy bills, it can improve comfort and health, create jobs and reduce fuel poverty,” added Khayatt.

“It can also reduce the demand on and costs to the UK’s energy infrastructure.  This guide explains these issues and shows how taking the LETI approach to retrofit will help us enjoy these broader benefits.”

LETI advocates a “whole-house” approach to retrofit – where a comprehensive plan for decarbonising a dwelling is developed starting with the building fabric – and “a shift from fossil fuels to electricity for heating and hot water.”

Part of the guide’s purpose is to address what LETI called the “retrofit skills gap” in the UK construction industry, which the group warned could cause the UK to miss its climate targets if left unchecked.

Among the organisations to have endorsed the retrofit guide are the Royal Institute of British Architects (RIBA), Architects Declare, the Architects Climate Action Network, the UKGBC and the Chartered Institution of Building Service Engineers.

“We need to improve the UK’s homes fast and LETI’s excellent guide shows us how we can do that,” said Alex Tait, head of technical practice at the RIBA.

“Their clear targets and straightforward guidance shine a light on how we must retrofit our homes.”

The guide, which had been downloaded more than 1,500 times a day after it was published, took input from several leading architect studios and engineering practices including Levitt Bernstein, Haworth Tompkins, Woods Bagot, BDP, Arup and Max Fordham.

Separate guide for non-domestic buildings

LETI, a network of more than 1,000 professionals in the built environment working together to help the UK reach net-zero, has announced it will also publish a separate retrofit guide for non-domestic buildings.

In January 2020, it published the Climate Emergency Design Guide, which set out requirements for new buildings to ensure climate targets are achieved and has been downloaded more than 60,000 times across over 100 different countries.

The COP26 climate conference takes place in Glasgow in November and will feature an official day dedicated to the built environment.

The UK government released its strategy for the country to hit net-zero carbon by 2050 earlier this week.

The post LETI publishes Climate Emergency Retrofit Guide to support net-zero target appeared first on Dezeen.

An animation where magical characters travel through valleys collecting treasure and a naturally-dyed kimono project are included in Dezeen’s latest school show by students at Bath Spa University.

Also included is a textile project based on the colours of India and a range of 100 per cent traceable knitwear accessories and garments.

Bath Spa University

School: Bath Spa University
Courses: BA (Hons) Amination, BA (Hons) Fashion Design, BA (Hons) Communication, BA (Hons) Interior Design, BA Hons Textile Design for Fashion and Interiors, MA (Design) Textiles and MA Design (Visual Communication)
Tutors: Andrew Southall, Tim Webb, Louise Pickles, Stuart Henley, Kirsty Parsons,  Sophie Delaney, Amanda Goode and Anna Gravelle

School statement: 

“Bath School of Design is based in the award-winning Locksbrook building of Bath Spa University. Our creative community shares a fantastic range of beautifully appointed workshops and studios.

“Technical demonstrators run workshops in woodwork, metalwork, sculpture, digital and conventional print, photographic darkrooms and studios, silkscreen, etching and litho, paint preparation, 3D construction and specialist fashion and textiles.

“Our studios are open access and open plan, allowing students from across disciplines to see work as it develops and to share ideas across specialisms.

“We believe in the process of thinking through making, connecting engagement with materials to critical and conceptual thinking, research and professional practice.

“We encourage our students to share ideas, learn from mistakes and support each other as they persevere, adapt to circumstances and generate successful outcomes.

Nicholas Grimshaw dubbed Locksbrook ‘The Action Factory’ when his architectural practice designed the building for furniture manufacturer Herman Miller in the mid-1970s.

“In 2019, Grimshaw architects completed its transformation into a university campus – it has now become a site of contemporary ideas and energetic, creative activity.

“The Locksbrook campus also won the RIBA South West award in 2021.”



Digital Animation 2021 Graduation Film by Alexandra Lappa

“Juno and Harlem set off on a long adventure to collect the first item for the scavenger hunt they are taking part in. The two friends travel far and wide through deep valleys and vast forests, encountering magnificent places they have never visited before.

“Upon arrival at their first destination, they are greeted by an unexpected individual followed by an even more confusing addition to their party.”

Student: Alexandra Lappa
Course: BA (Hons) Amination
Course Leader: Tim Webb
Email: alexandra.lappa18[at]bathspa.ac.uk

Fashion Design by Jamie Kneen

“The initial inspiration for this project came from the 1980s Harlem Ball drag scene. Having always been fascinated by the subversion and bending of gender stereotypes and the power that this holds, especially in modern society, Kneen wanted to interpret these references through the use of traditional techniques, including tailoring and corsetry.

“Here, Kneen reinterprets classic men’s garments with unconventional processes, using leather and silk to create a dynamic conflict between masculine and feminine.

“The hand and its movement became crucial to Kneen’s work, the placement just as important on a Greek statue as it was for Willy Ninja during the voguing category.

“Perhaps the most memorable hand placement with social implications was that of Princess Diana during the aids crisis, especially relevant now with the lack of physical contact and by extension the glove motif.

“The hyper-masculine classical Greek statues sit as a prophecy to the 1980’s clone look. Kneen investigated silhouettes and proportion with skin-tight silk jersey shirts, abstract patterned jersey ‘bodies’, heavily boned crinoline shapes, and laced-up pinstripe wool suits.

“Kneen approached this collection with the same playful wit and intelligent referencing that the Ball goers of the 1980’s scene did, pulling on a wide range of research to create a collection which culminates queer identity past and future.”

Student: Jamie Kneen
Course: BA (Hons) Fashion Design
Course Leader: Louise Pickles
Email: james.kneen17[at]bathspa.ac.uk

Refreshing Grey Poupon by Ali Al Amine 

“The brief asked us to refresh Grey Poupon’s identity to make affluent millennials crave its classic French expertise and quality. What I wanted to achieve was to explore the intersection between the cultural heritage of a place and the narrative of a brand’s history within that place without creating an alienating ‘luxury’ brand.

“My approach was to bring together playful wit with French craft, poking fun at the brand’s stuffy ‘pardon me’ days. Touching on Grey Poupon’s relationship to France’s culinary history and its cultural heritage within the city of Dijon, this refresh communicates Grey Poupon’s staying power as a purveyor of excellence-crafted Dijon mustard aimed at a contemporary audience.

“I intend to engage the audience with a limited edition Box of Delights. Consumers can connect to the brand and engage with France’s culinary traditions. All of which would be facilitated by Grey Poupon’s classic Dijon mustard.”

Student: Ali Al Amine
Course: BA (Hons) Communication
Course Leader: Stuart Henley
Email: inquiries[at]alialamine.com

Generation Creative by Emily Brookes

“Generation Creative is a book dedicated to upcoming designers. Whilst exploring the challenges and ambitions of young creatives, it features a collection of interviews, artworks and photography from all aspects of the industry, including words from professional designers.

“Motivated by recent debates surrounding the worth of creatives, this project began as an idea to positively share experiences and advice between designers.

“Over time it gradually evolved into a guide to the industry, written from a young creative facing uncertainty first-hand.

“By talking to creatives, I was able to produce a publication that focuses on the value of the artistic profession, not only in a graphic design context but across all areas of the industry.

“Fundamentally, Generation Creative is an optimistic display of individual’s work and strengths, encompassing what the creative community can be capable of.”

Student: Emily Brookes
Course: BA (Hons) Communication
Course Leader: Stuart Henley

Interior Design Project by Abigail Newton

“Interior Design is a new course at Bath Spa University. This project looks at a traditional terraced house and the typical confinements and restraints to work within.

“Looking to adapt the space to suit contemporary living, students investigate and explore form and function through physical making and drawing, using iterative design practice.

“Configured for family use, the space has been carved to create levels and overhangs providing varying degrees of visibility and privacy through the space.

“Formed of modular and adaptable storage, the transitions between levels create a landscape for living. Fully enclosed interventions are shunted to the rear for maximum seclusion with views articulated between spaces.

“Verticality is emphasized through the centrally located skylight pouring light into the centre of the floor plate and slats drawing up through space.”

Student: Abigail Newton
Course: BA (Hons) Interior Design
Course Leaders: Kirsty Parsons and Sophie Delaney
Email: abigail.newton20[at]bathspa.ac.uk

Fashion and Interior Design Project by Millie Sandy

“Despite several owners, house moves and clearouts, ‘What Colour is Love’, written and illustrated by Joan Walsh Anglund in 1966, has remained on our family bookshelf with no known reason or explanation as to how it ended up there.

“The simple, but relevant message about the inclusivity of love and its ability to connect with all walks of life has created inspiration at many stages of my life so far.

“It is because of this connection, I have created a narrative, regarding love and my direction on it, in the form of a character named Putto.

“Taking influence from the renaissance period, juxtaposing classical imagery with a more contemporary outlook on love, and its broader meaning in society today (alongside charms and tokens of love from different cultures around the world) a narrative is built up through illustration and colour, in the form of textile design.

“Existing Love’ is a term I have taken from the phrase ‘pre-loved which is often associated with the used or worn, yet taught through innocence. This is redefined as cherished and transferable – poising a wider and deeper meaning between the love for people and for the planet.”

Student: Millie Sandy
Course: BA (Hons) Textile Design for Fashion and Interiors
Course Leader: Amanda Goode
Email: millie.sandy17[at]bathspa.ac.uk

Indian nights, a faraway land by Nadiyaa Jaffer

“India has always been an exotic, faraway place described colourfully and emotionally in stories told by my father and his family. I dream of visiting one day to discover a land of colour, culture, amazing food and ornate dresses.

“My Indian heritage has always been celebrated within my family on British soil and, although my father’s village, Daman, is distant, it still feels like home.

“I created my final project based on an exotic world and how in my mind, this land looks and feels. An India based on the narrative of my own story and of how I imagine that world to be.”

Student: Nadiyaa Jaffer
Course: BA (Hons) Textile Design for Fashion and Interiors
Course Leader: Amanda Goode
Email: nadiyaa.jaffer18[at]bathspa.ac.uk

Loopy Ewes by Katie Allen

“Katie Allen is a shepherd and designer-maker based in the Cotswolds. Her Masters project focused on creating a range of 100 per cent traceable knitwear accessories and garments using the wool from her flock of native breed sheep.

“Her hand-crafted knitwear demonstrates how British wool can be grown regeneratively, simply and locally processed, resulting in clothing that is beautiful, honest, and good for the earth.

She uses shepherding processes that honour soil and biodiversity to encourage a wholesome farmed environment, alongside careful attention to slow, hand-crafted production.

“Her compassion for her sheep and the land they graze, combined with an innovative commitment to regional, low-carbon processing enables her to work sustainability all along the supply chain, creating an important connection between people, place and product.

“Katie was the recipient of an RSA Student Design Award in 2021 and also received Commendation for Responsible Design from the Bradford Textiles Society Design Awards 2021.”

Student: Katie Allen
Course: MA (Design) Textiles
Course leader: Anna Gravelle
Email: katie[at]loopyewes.co.uk
Instagram: @loopyewes

Kimono design by Sophie Bowen

“Sophie Bowen is a Textile artist based in the South West. She uses natural dyeing, print, and hand embroidery techniques to connect to nature and mindfulness whilst maintaining a conscience for sustainability.

“Drawing is at the heart of her practice which she uses as an intuitive and contemplative tool to create a sense of movement and flow. Marks made initially with brush and ink are translated through a variety of textile processes.

The exploration throughout Sophie’s MA journey has led to the outcome of two luxury crafted kimonos. These ‘heirloom’ pieces are regarded as journeys intended for embodying the process of being with a sense of acceptance and gratitude towards change and growth.

“Japanese Zen tradition and Wabi-Sabi influence the philosophy of this project reflecting on the idea that truth comes from observation in nature.”

Student: Sophie Bowen
Course: MA (Design) Textiles
Course leader: Anna Gravelle
Email: sophiebowencreative[at]gmail.com
Instagram: @artistsophiebowen

Elizabeth Levitt by The Kanso Project

“Elizabeth Levett used her Masters project to explore making and drawing through the construction of a wooden chair, to her own design and built with the help of her father. Along the way, she made observational drawings, representing the work process through illustration.

“Elizabeth’s The Kanso Project presents a question in the form of a chair and answers through illustration, graphic layout, and written text.

“The chair is not the outcome of the project, but it is a necessary component of it. All the material aspects of the design – the craftsmanship, aesthetic choices, book layout, text, selection of print mediums, paper, drafting tools, and brushes – are carefully connected to the question and quietly allowed to produce the answer.

“The chair becomes a metaphor, which narrates the Japanese word Yugen transforming a ‘bright darkness’ into something calm peaceful.”

Student: Elizabeth Levitt
Course: MA Design (Visual Communication)
Course Leader: Andrew Southall
Email: elizabeth.levett11[at]bathspa.ac.uk

The Maverick at No. 4 by Rosie Yates

“The strange goings-on of the Maverick at No.4 is a series of illustrations inspired by the intrigue of never really knowing what your neighbours are up to.

“Yates used illustration in her Masters project to explore curiosity, mystery, and intrigue in the strange new world of lockdown during the Covid pandemic.

“The series uncovers hidden elements within basic scenes, observations from day-t0-day life. Yates unlocks secret narratives within her illustrations, and aims to challenge the viewer to look for details that might go unseen at first glance.”

Student: Rosie Yates.
Course: MA Design (Visual Communication)
Course Leader: Andrew Southall
Email: rosie.yates19[at]bathspa.ac.u

Partnership content

This school show is a partnership between Dezeen and Bath Spa University. Find out more about Dezeen partnership content here.

The post Bath Spa University spotlights 11 student design projects appeared first on Dezeen.

As someone who hates most bedside lamp designs, I’d love to have reading lights like this in the bedroom:

That’s the Ledtube Mini, designed by Daniel Lopez for Marset.

It’s got a larger sibling, the original Ledtube:

And a larger, more wired sibling in the Ledtube USB:

If it weren’t for the sheetrock I’d have to tear up and patch to wire these things, I’d give ’em a hard look.

Italian architect Benedetto Camerana and landscape designer Torino Stratosferica have created a rooftop garden called La Pista 500 with over 40,000 plants around an electric vehicle test track on the roof of the Fiat’s iconic former car factory.

The public garden is located on top of the Lingotto building in Turin, a former Fiat manufacturing plant that was converted into a multi-use space by Italian architect Renzo Piano in 1994.

The building, which functioned as Fiat’s headquarters from 1923 and to the early 1980s, is topped with a test track and was featured in the 1969 film The Italian Job.

Camerana and Stratosferica’s garden is located on the rooftop test track, which was previously used to assess all Fiat vehicles and is now being used to test Fiat’s 500 Electric vehicle range.

“Because of its memory, the idea of a test track has been preserved and transformed into a contemporary one, open only to electrical vehicles,” Camerana told Dezeen.

“So the silent clean cars can drive gently in between the green islands, looking for a new harmony between mobility and nature. The E-track blends in the garden.”

The garden was informed by Manhattan’s High Line by James Corner Field Operations and Diller Scofidio + Renfro, as well as the Environment Park in Turin by Camerana, Emilio Ambas, Giovanni Durbiano and Luca Reinerio.

“The space is designed from the start to be public,” Camerana told Dezeen.

“It’s not just a contemplative garden, we designed it with public functions in the sport and relax areas with learning activities related to edible and colour-dyeing plants areas, to be organized with Pinacoteca Agnelli.”

Arranged on the 27,000-square-metre rooftop, the garden was formed through a collection of 28 green “islands” that are dispersed around the test track.

The green islands cover 6,000 square metres and are host to over 300 indigenous species of plants totalling almost 40,000 shrubs, trees and herbaceous plants.

“The 300 species and varieties are chosen with Il Giardino Segreto under my guideline of being truly indigenous species, rooted in Piemonte and northern Med areas, with no space for exotic plants at all,” said Camerana.

“Just local biodiversity in a full-colour all-seasons palette. As an example, in front of Pinacoteca, we have two islands dedicated to a ‘noccioleto’, a hazelnuts field as you can easily find in the Langhe area,” he continued.

“Some other peculiar plants are the Cotinus aka ‘smoke-tree’ which has a strong CO2 absorbing power or the large family of Graminacee species, long perennial and ornamental herbs. But the list can go on all day.”

Around the green islands, the building’s industrial features – including large blue-painted pipes – extend above the perennials and indigenous shrubbery.

Blue strips, to zone different paths, were painted across the test track, tying the paths to the pipes and the large blue-hued dome that Piano added to the roofscape.

The building also houses an exhibition space that can be accessed from the rooftop garden.

Earlier in 2021, Twelve Architects unveiled plans for an elevated park in Manchester that will occupy a disused viaduct.

A high line-style structure in Camden is also planned by New York High Line designer, James Corner Field Operations and will stretch across a disused railway.

The post Garden added to Fiat’s Lingotto building rooftop test track appeared first on Dezeen.