MIT study finds huge carbon cost to self-driving cars

MIT study links self-driving cars with increased carbon emissions

The widespread adoption of self-driving cars will create a major bump in carbon emissions without changes to their design, a study from the Massachusetts Institute of Technology has found.

The study found that with a mass global takeup of autonomous vehicles, the powerful onboard computers needed to run them could generate as many greenhouse gas emissions as all the data centres in operation today.

These data centres currently produce around 0.14 gigatonnes of greenhouse gas emissions per year, equivalent to the entire output of Argentina or around 0.3 per cent of global emissions, according to the researchers.

A similar amount would be generated by one billion autonomous vehicles – fewer than the number of cars in the world today – each driving one hour per day with a computer consuming 840 watts of power.

To avoid such an outcome, computing power must be made more efficient at a significantly faster pace, determined the study, which used statistical modelling to test several possible future scenarios and found this to be true in over 90 per cent of cases.

Emissions from self-driving cars could become “enormous problem”

“If we just keep the business-as-usual trends in decarbonisation and the current rate of hardware efficiency improvements, it doesn’t seem like it is going to be enough to constrain the emissions from computing onboard autonomous vehicles,” said Massachusetts Institute of Technology (MIT) graduate student Soumya Sudhakar, who co-authored the study.

“This has the potential to become an enormous problem. But if we get ahead of it, we could design more efficient autonomous vehicles that have a smaller carbon footprint from the start.”

The researchers built their model around four variables: the number of vehicles in the global fleet, the power of each computer on each vehicle, the hours driven by each vehicle and the amount of greenhouse gases emitted per unit of electricity produced.

Sudhakar conducted the study with her co-advisors, associate professors Vivienne Sze and Sertac Karaman, with their findings published in the peer-reviewed journal IEEE Micro.

Emissions come from cars using “20 eyes at the same time”

The high emissions are the result of the huge computing workload placed on each self-driving vehicle. The researchers’ modelling assumes that the vehicles use a similar algorithm to what is popular today – a multi-task learning deep neural network, so called because it can perform many tasks at once.

These neural networks have to process an onslaught of data, simultaneously analysing the inputs provided by several onboard cameras with high frame rates.

The study gives the example of an autonomous vehicle with 10 deep neural networks processing images from 10 cameras. If it drove for one hour a day, that vehicle would make 21.6 million daily inferences, in which the algorithm applies logical rules to analyse new information.

One billion vehicles would make 21,600 trillion inferences. To put that into perspective, the researchers say all of Facebook’s data centres worldwide currently make a few trillion inferences each day.

“These vehicles could actually be using a ton of computer power,” said Karaman. “They have a 360-degree view of the world, so while we have two eyes they may have 20 eyes, looking all over the place and trying to understand all the things that are happening at the same time.”

More specialised hardware could be route forward

To avoid carbon emissions spiralling if self-driving vehicles become common, the researchers argue that we will need to improve the efficiency of computer processors more quickly than we currently are so that they consume less energy for the same tasks.

If 95 per cent of global vehicles are autonomous in 2050, they suggest the technology’s efficiency must double about every 1.1 years, such that each autonomous vehicle is consuming less than 1.2 kilowatts of energy for computing.

This could be done by creating more specialised hardware for driving-related tasks and algorithms. Alternatively, the algorithms themselves could be made more efficient so they use less computing power, although this might mean they are less accurate.

Autonomous vehicles have been touted as the future for moving both people and goods, although their rollout has not come as quickly as some have predicted and several carmakers have recently scaled back their plans for the technology.

Architecture studio BIG is still working with the technology, developing a hyperloop-capable autonomous vehicle as part of its masterplan for the US city of Telosa.

The image is courtesy of Christine Daniloff, MIT.

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NeueHouse opens third members' club in Los Angeles

Workspace brand NeueHouse has opened a work and social space in Venice Beach, Los Angeles, which is revealed in this video created for the brand by Dezeen.

The club is the third community and co-working space that the brand has opened in Los Angeles, California, with other locations in Hollywood and in Downtown’s historic Bradbury Building.

NeueHouse Venice Beach is located at 73 Market Street, in an area of Los Angeles known for its arts scene in the 70s and 80s.

The interiors of the club were designed by Canadian studio DesignAgency, who were strongly informed by southern California’s history as a centre of modernism.

The agency chose to use light, organic materials to reflect the Californian climate. Spaces are designed to be open-plan, in order to foster a feeling of informality and comfort.

Spaces were designed to reflect the oceanfront location

The building includes private and public workspaces, as well as a podcast recording studio, wellness room and social spaces.

As with Neuehouse’s other venues, the club will host a regular cultural programme including exhibitions, screenings and events.

The clubhouse is home to a collection of artwork curated by Caroline Brennan of design studio Silent Volume and Pamela Auchincloss of curatorial agency Eleven+. The collection combines the work of established artists with emerging talent from southern California.

The clubhouse contains co-working spaces and creative production facilities

The Venice Beach club also houses Reunion, the first in-house restaurant and bar in a Neuehouse location. The restaurant is situated on a private rooftop space with indoor and outdoor seating.

“Our latest House is a response to a historic demand from the local Venice creative community,” said chief marketing officer Jon Goss.

“We want to reimagine and pay homage to the block’s historic past, while offering a warm, design-first experience”.

You can apply for membership at NeueHouse Venice Beach at its website.

Last year, Dezeen and NeueHouse teamed up to host a series of events, including a panel discussion on Afrofuturism in art and design and a live talk on the metaverse featuring Liam Young, Refik Anadol and Space Popular.

Partnership content

This article was written as part of a partnership with NeueHouse. Find out more about our partnership content here.

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Dezeen's top five houses of January 2023

Aerial view of A Japanese Manga Artist's House by Tan Yamanouchi & AWGL

From a Japanese residence with a cartoonish facade to a pared-back villa in coastal Italy, here are Dezeen’s top five houses of the month for January.

A tiled home by Mecanoo, a minimalist forest retreat and an inconspicuous concrete dwelling also feature on the list, which compiles Dezeen readers’ favourite houses published this month.

This is the latest roundup in our Houses of the month series, which collects five of the most popular residences featured on Dezeen every month from all around the world.

Read on for Dezeen’s top five homes of January 2023:


Aerial view of A Japanese Manga Artist's House by Tan Yamanouchi & AWGL
Photo by Katsumasa Tanaka

A Japanese Manga Artist’s House, Japan, by Tan Yamanouchi & AWGL

This cartoonish house in Tokyo was designed for an up-and-coming artist who specialises in manga – a type of Japanese comic book.

It is animated by its bold front elevation, which curves dramatically up from the ground, punctured only by a deep archway that leads into its narrow interior.

Find out more about A Japanese Manga Artist’s House ›


Exterior of Apple Tree House by ACDF Architecture
Photo by Adrien Williams

The Apple Tree House, Canada, by ACDF Architecture

Low-slung volumes, minimalist living spaces and an abundance of floor-to-ceiling glazing give this forest house in Quebec a modernist feel.

It is named after an apple tree hidden in a courtyard at its heart, which aims to bring back the client’s “memories of growing up in an orchard environment”.

Find out more about The Apple Tree House ›


Exterior of Casa Maiora in Puglia by Studio Andrew Trotter
Photo by Salva López

Casa Maiora, Italy, by Studio Andrew Trotter

Studio Andrew Trotter referenced the forms and colours of homes along the coast of Puglia when designing Casa Maiora, a spacious yet rustic Italian villa in Carovigno.

Organised around a series of outdoor spaces and filled with locally sourced antiques, the earthy-toned dwelling is built predominantly from Tufo sandstone coated with a pink lime wash.

Find out more about Casa Maiora ›


Tiled exterior of Villa BW by Mecanoo
Photo by Ossip Architectuurfotografie

Villa BW, Netherlands, by Mecanoo

Shimmering tiles in shades of grey, green and blue cloak this house in the Netherlands, which Mecanoo designed to echo the surrounding “dune and polder landscape in various seasons”.

The nearby rolling dunes also informed its sculptural massing, which incorporates a distinctive double-curved roof and sets it apart from the more traditional neighbouring houses.

Find out more about Villa BW ›


Front elevation of The Courtyard Residence in Melbourne
Photo courtesy of FGR Architects

The Courtyard Residence, Australia, by FGR Architects

A labyrinth of stark concrete walls conceals this five-bedroom home in Melbourne while forming a buffer between its calming, pared-back living areas and the adjacent road.

“The project’s ambition is a design of calm expression, heightened experience and seamless function,” explained designer FGR Architects.

Find out more about The Courtyard Residence ›

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CTA uses screens and skylights to draw light into narrow Vietnamese home

Interior image of J House

Folding glass doors and perforated metal screens allow for the mediation of light, ventilation, and noise at the J House in Bien Hoa, Vietnam, designed by local studio CTA.

CTA, short for Creative Architects, was approached by a teacher who had purchased a narrow plot measuring four by 24 metres and wanted to create a bright, airy home to accommodate spaces for her gardening hobby.

Front elevation of J House in Vietnam
J House was designed by CTA

Set back from the street behind a perforated metal gate, the J House is organised as a layering of spaces, beginning with a living room and classroom that is accessed through full-height, folding glass doors.

Beyond this room is a kitchen and dining space at the centre of the home, which leads to a bedroom and a small private garden at its southern end.

View to private courtyard of J House
The home is located in Bien Hoa, Vietnam

Each of these spaces is separated by large, wood-framed screens, infilled with panels of translucent, transparent and textured glass that creates a variety of light qualities and sight lines through the interior.

Due to the narrowness of the site, skylights are used to pull light and air into the centre and rear of the home. They are topped with a thin layer of stones to reduce glare and create dappled shadows inside.

“After analysing the typical defects of townhouses, the team put the criteria of green space, natural light, natural ventilation and noise prevention into the top priority list in the design process,” explained CTA.

“The indoor space is always filled with natural light but not hot, moreover, the shade from the stone layers creates an effect similar to the sun through the leaves, helping to increase the feeling of nature.”

Interior of Vietnamese home by CTA
CTA wrapped the home in perforated metal screens

A skylit staircase leads to J House’s smaller first floor, which contains an additional bedroom, bathroom and terrace space at the front, and a rooftop garden sheltered by a metal-framed pergola at the rear.

Externally, the home’s upper storey is clad with a gridded pattern of finely perforated metal panels, with a gap to allow for unobstructed views from the bedroom window and terrace.

White stairwell lit by skylight
Skylights draw light to the interior

Inside, a palette of dark wood, concrete and stone panels complements the dappled shadows, lending the dwelling a feeling of warmth and intimacy, while the hollow-frame ceiling system is helps to absorb noise from the street.

Founded in 2014, CTA is a Vietnamese architecture studio led by Bui The Long, Vo The Duy and Nguyen Thi Xuan Thanh in Ho Chi Minh City.

Other projects recently completed by the studio include a narrow home in Tay Ninh clad in brown scalloped tiles and another residence in Bien Hoa that is wrapped in perforated bricks.

The photography is by Hiroyuki Oki.

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Tonic Generative Art Platform’s First Release, Chromesthesia: Ascend

Abstract generative art with colors informed by sound

Founded by Susannah Maybank (former head of digital at Gagosian) and Mariam Naficy (founder of design marketplace Minted), Tonic aims to make collecting digital art—and the entire world of blockchain art—more appealing, accessible and approachable. Rather than focus on collectible profile pictures, their platform features carefully curated fine art that will hopefully entice new audiences—even those more accustomed to real-life galleries. Today, Tonic drops its inaugural collection, artist Jaime Derringer‘s Chromesthesia: Ascend series and although they are currently centering on generative art, the company (which has 10 founding partners including Yves Behar, Brit Morin, India Mahdavi, Sarah Sherman Samuel, Christiane Lemieux and others) is open to other mediums in the future.

To make collecting digital art NFTs more accessible Tonic has prepared thoughtful onboarding materials for newcomers and, most interestingly, a concierge service. Working with a Tonic concierge, collectors can participate in auctions with direct support—whether that’s creating a digital wallet or bidding on auctions.

Derringer (founder of Design Milk and head of community at Tonic) has made analog art for most of her life and delved into generative art, at first, as an experiment. “I have been interested in algorithms and systems in art for a few years now, experimenting with my own system for paintings and drawings,” she tells us. “As an artist, I’m always looking to push my art further, but I work best with a starting point and constraints.”

Her experiments have gone further than basic use of autonomous software. For her ongoing Chromesthesia project, Derringer applies a complex algorithm to her works and uses a MIDI controller to explore the ways color responds to sound. “My body of work called Chromesthesia examines the relationship between color, sound and movement. I use software and hardware used for making electronic music, such as a MIDI controller,” she explains. “In Chromesthesia: Ascend, this ‘knob-turning’ process has been automated within parameters that I have chosen. Basically, the algorithm mirrors the rhythm of my hands controlling these parameters.” When the collector mints a piece that automated knob-turning process will be randomized to render the final work.

The colorful, abstract works in Chromesthesia: Ascend are available today at 1PM EST. The price will start at 0.5 ETH and slowly reduce in Dutch auction-style to a resting price of 0.05 ETH if all 200 pieces haven’t been collected. Tonic will be showcasing work by Stefano Contiero in February and William Mapan in March.

Images courtesy of Jaime Derringer and Tonic

A8000 wraps stepped Czech pavilion in translucent skin

Photograph of low-slung white building with glazing with tree in foreground

Czech architecture studio A8000 has renovated a stepped pavilion in the Czech Republic adding a partially glazed facade and a versatile black-and-white interior.

A8000 restored the original proportions of Pavilion Z, which is located in the city of České Budějovice, to create a versatile space suitable for a wide range of events, from farming rallies to orchestral performances.

Photograph of low-slung white building with glazing with tree in foreground
Pavilion Z has a three-tier design

“The original pavilion has been stripped to the bone,” said A8000.

“The basic idea and the investor’s brief was to create a multifunctional and maximally variable space, not a single-purpose hall.”

Photograph of detail of building corner, with lights shining through translucent walls
Parts of the facade are translucent to allow natural light in

Pavilion Z is one in a series of alphabetically labelled function spaces in the České Budějovice exhibition area.

It was constructed in the 1970s with the same stepped profile but prior to the restoration was covered in orange, purple and grey cladding that was punctuated by small plastic windows.

Photograph of low-slung white building with glazing with canopy-like entrance walkway
There is a canopy at the entrance

The architects stripped back the facade to highlight its unusual composition – three volumes stacked one on top of the other, which increase in size to project over the edges of the level beneath.

Areas of the building’s now bright white facade – constructed from metal cassettes and white roofing foil – were punched out and replaced by large windows and planes of translucent glazing.

“The atmosphere of the interior is softened by the soft light permeating through the walls, which also show the outlines of the events on the exterior,” said the studio.

Photograph of interior showing vast function hall with curtains open
The interior is designed to have a multitude of functions and uses

There is a covered walkway leading up to a revolving door at the entrance, which opens into a wide hallway arranged around the side and back of the central hall.

The function space has a capacity of 850 seated and 1500 standing users and features a polished concrete floor, offsetting the rest of the monochromatic interior.

A wide staircase leads up to the mezzanine floor, which looks down into the function space and has access to the pavilion’s storage, technical and dressing rooms.

Detail of gallery area
Corridors and mezzanine walkways surround the hall

A8000 left the building’s functions and services – including HVAC ducts and red fire system piping – exposed. These add visual interest to the otherwise plain interior.

Black curtains separate the hall from the walkways on the ground and mezzanine floor, isolating the function area when in use and preventing natural light from entering.

Detail of gallery area
The interior is monochromatic

“The pavilion can be modified by a system of draperies – curtains from the exhibition or gallery space to the closed concert hall,” said A8000.

“When the curtains are opened, the surrounding greenery flows directly into the interior of the hall, while when they are closed, a perfect blackbox is created.”

The free plan was facilitated by a stepped box attached to the side of the pavilion, which neatly contains the ancillary services away from the main function areas.

“The pavilion should be used for various events such as trade fairs, exhibitions, congresses, but also balls and concerts,” said the studio.

“It can adapt to the various challenges and technical requirements of the organisers.”

Photograph of staircase showing services on ceiling
Pipes on the ceiling have been left uncovered

A8000 was founded in 1990 by architects Martin Krupauer and Jiří Střítecký and has offices in České Budějovice and Prague.

Other pavilions on Dezeen include a pavilion made of stone and decorated with Islamic motifs by AXIA Design Associates and Arriz + Co and a structure featuring pink hempcrete by Overtreders W.

The photography is by Ondřej Bouška.

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"Despite the media buzz, 'Femtech' is still struggling to find equality"

Evie Smart Ring by Movano Health

This year’s CES demonstrated why so-called “Femtech” still has a long way to go to get the recognition it deserves, writes Seymourpowell‘s Mariel Brown.


My first trip to the Consumer Electronics Show (CES) in 2013 felt like I had gate-crashed the boys’ club. I was one of the only women at the fair who was not a “booth babe”. The speaker line-up was almost entirely male and the one place where women had considerable presence was in the marketing imagery for hoovers, washing machines and dishwashers.

So, at CES 2023 this month I couldn’t help but reflect on the changes over the course of the past 10 years. What difference had a decade made? Had the notorious #CESGenderBias moment of 2019 been a catalyst for reflection and change? Sadly, not as much as it should have been.

She didn’t finish her sentence; the silence said it all

CES feels a bit like prospecting: sift through enough terabytes of the banal and you’ll likely hit gold. Gold, in this instance, is a tech innovation that offers a strong value proposition and shines a light on the future of technology and, by mutuality, society itself. The women’s health section at Eureka Park is a reliable place to hit “pay dirt”, so it was here I headed first.

When I spoke to one exhibitor about the response to her product, she said: “To be honest, it’s really tough to get male show-goers to see the value in it and I’m a woman of colour so…” She didn’t finish her sentence; the silence said it all.

Despite the buzz in the media, when it comes to investment, “Femtech” is still a sector struggling to find equality. A study by Pitchbook noted that women’s health only receives 4 per cent of healthcare research and development funding worldwide.

In 2021, CES owner the Consumer Technology Association (CTA) and the World Bank launched the Global Woman’s Health Tech Awards to recognise innovative start-ups that leverage tech to improve women’s health and safety in emerging markets. The winners showed a sophisticated understanding of the users’ emotional needs, alongside life-changing functionality.

Take, for example, iBreastExam. The non-invasive, ultra-portable wireless device enables early detection and easy diagnosis of breast cancer in regions where access to medical support is limited. The results are shared instantly, avoiding torturous wait times, and the process is pain-free, unlike more traditional screening techniques such as mammograms, which are painful. With breast cancer the world’s most prevalent cancer affecting one in eight women during their lifetimes, iBreastExam is a powerful example of tech innovation at its best.

I was sad to see no sign of the Global Woman’s Health Tech Awards continuing this year, especially as the CES theme of 2023 was “Human Security for All”.

A quick count of the CES Innovation Award judging panel showed 12 women to 75 men

How can we improve the status quo for 50 per cent of the world’s population? One answer may lie in better representation. A quick count of the CES Innovation Award judging panel showed 12 women to 75 men. This shortfall is important, as the innovation awards draw the attention of journalists and investors.

If male attendees can’t see the value in Femtech, then representation on judging panels matters. As the writer Anais Nin shrewdly reflected, “we see things as we are, not as they are”. If lived experience is critical to perceiving value, then it follows that the more diverse a judging panel is, the better it will be at forming an opinion on what is award-worthy.

One female-health-friendly product awarded at this year’s show – but still splitting public opinion somewhat – was Withings U-Scan. The small, pebble-shaped, hands-free urine lab sits under the toilet rim and can track 100 biomarkers, allowing users to easily monitor hydration, nutrition, and menstrual cycles.

“They are literally taking the piss,” quipped a male show attendee as we waited in line to view the new device. Yet, for the millions of women worldwide who must wake up to the hopes, fears and stresses of ovulation stick tests, the U-Scan is no joke.

Another launch aiming to make health monitoring seamless was the Evie Smart Ring (pictured), which gathers insights such as resting heart rate, heart rate variability, oxygen saturation, respiration rate and skin temperature variability. The ring has been given Food and Drug Administration clearance, making it the world’s first medical-grade wearable to empower healthy lifestyles through personalised insights, delivered via an app.

While the sleek design offers a nice lifestyle fit, what really excited me was where the new data gathered by this device could lead. After all, women have only been included in clinical trials since the mid-1990s, partly because of the mis-held belief that fluctuating hormones would make women difficult to study.

There is no such thing as “Mentech”

The fact the ring was designed to support women throughout their life stages, including those who are peri-menopausal, menopausal and post-menopausal, generated a surprising number of headlines during the show, underlining the fact that Femtech solutions have a long way to go when it comes to normalising female health issues.

Conversely, it also emphasised the fact that Femtech can advance technology and culture for men and women alike, as it is mainstreaming topics that have been taboo for centuries. The growing conversation around menopause in women has stimulated discussion about the male menopause: men can develop depression, loss of sex drive, erectile dysfunction, and other physical and emotional symptoms when they reach their late 40s to early 50s.

“Femtech”, as a term, is currently sparking important debate. People are questioning whether the phrase, coined by author Ida Tin in 2016 to promote female health and wellness, is in fact doing the opposite, by causing an “othering” effect where Femtech is unduly separated from broader health and wellness tech and positioned as “niche”. There is no such thing as “Mentech”, after all.

Furthermore, does the gender-binary term “Femtech” alienate people who may identify as intersex, trans or non-conforming? Many people who might benefit from Femtech functions (such as menstruation apps) do not identify as female. If the future of tech is a space where we escape the constructs of our bodies, then surely the associated vocabulary needs to match this ambition.

While the lack of diversity on judging panels felt tone-deaf, on a more positive note, there was an increase in female voices on stage. A standout was Alice Xiang, head of Sony Group’s AI ethics office and senior AI research scientist, who spoke about the importance of diversity when designing future products like AI.

“First, I would say please enter this field,” she said. “It’s extremely low-diversity and that’s a big problem when we think about tackling problems like systemic biases in AI. When you’re talking about developing an AI product, it starts with who’s in the room and that group of people needs to be diverse. We need diverse perspectives.”

Let’s hope the CTA were listening, and that the most influential tech showcase in the world makes leaps and bounds in 2024, bringing more diverse perspectives to the fore, paving a way for a more inclusive future.

Mariel Brown is director of foresight at Seymourpowell.

The image, showing the Evie Smart Ring, is by Movano Health.

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Zero Lighting and Note Design Studio add three lamp designs to Sprinkle collection

Black bollard on grey backdrop with slatted shade

Dezeen Showroom: Lighting brand Zero Lighting and Swedish design firm Note Design Studio have expanded the Sprinkle lighting collection, adding three new formats based on the original lamp.

The newly added Sprinkle floor lamp, outdoor bollard and linear pendant light all share the original pendant lamp‘s recognisable design, which is characterised by a slatted shade made up of concentric metal rings.

Multi-coloured floor lamps on grey backdrop
Sprinkle now comes in multiple variations to cater to a range of lighting needs

Gaps between the discs were designed to allow light to radiate evenly and to create a visual geometric statement.

Designed to be used outside, the Sprinkle bollard has a shade mounted on a short sturdy base. The floor lamp has a similar shape with a taller and slimmer stem.

Black bollard on grey backdrop with slatted shade
Its simple geometric silhouette allows Sprinkle to integrate into a variety of interiors

Sprinkle’s linear pendant has a long horizontal bulb fixed inside an elongated version of the shade, which is suspended from the ceiling at both ends by thin wires.

The lamps are made from aluminium and steel and come in oyster white, black, blue, red, ochre yellow and brown colourways with textiles cords in matching colours.

Product: Sprinkle
Designer: Note Design Studio
Brand: Zero Lighting
Contact: info@zero.se

Dezeen Showroom

Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.

Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.

The post Zero Lighting and Note Design Studio add three lamp designs to Sprinkle collection appeared first on Dezeen.

Ten fabrics and soft furnishings with textural interest on Dezeen Showroom

Two dual-colour tapestries on a wall

Dezeen Showroom: from upholstery material and wall hangings to rugs and bedding, we’ve rounded up 10 textile products on Dezeen Showroom that add texture to interiors and outdoor spaces.

The selection includes handmade fabrics created by crocheting, knitting and weaving, and textiles made from recycled or reclaimed materials.

Soft furnishings featured in the roundup include a range of rugs and room dividers, which add a decorative finishing touch to interiors while also providing added insulation or acoustic improvements.

Read on to see the latest textiles and soft furnishings featured on Dezeen Showroom:


Two dual-colour tapestries on a wall

Versus tapestries by Margrethe Odgaard for Ca’lyah

Designer Margrethe Odgaard and Danish brand Ca’lyah created Versus wall tapestries in collaboration with Himalayan artisans.

Referencing the colours of Kathmandu, Nepal, the tapestries are made from wool and silk and come in four dual-colour styles.

Find out more about Versus ›


Detail showing blue green upholstered pillows and bench

Outdoor Biobased Xorel fabric collection by Carnegie Fabrics

Material manufacturer Carnegie Fabrics has released a durable textile designed for outdoor environments, which is made from sugar cane.

Outdoor Biobased Xorel comes in a range of geometric patterns and colour combinations and features organic properties that make it weather-, fade- and stain-resistant.

Find out more about Outdoor Biobased Xorel ›


White Textures fabric used as upholstery on a low chair by Dedar

Textures fabric collection by Dedar

Textures in a collection of upholstery fabric that celebrates the imperfections and irregularities of natural fibres, created by Italian textile specialist Dedar.

The Textures collection includes a woollen fabric called A Perfect Flower that has a balanced warp and weft pattern and a Jacquard chenille textile named Per Inciso, which features contrasting white and coloured threads.

Find out more about Textures ›


Three crochet rugs by Gan in a dining room under a wooden table and chairs

Crochet rug collection by Clara von Zweigbergk for Gan

Spanish furniture brand Gan collaborated with graphic designer and illustrator Clara von Zweigbergk to create Crochet rugs.

The rugs come in two sizes – Crotchet Mono and Crotchet Trio – that are both reminiscent of traditional crotchet items.

Find out more about Crochet ›


Photograph showing bed in concrete-walled bedroom with beige-coloured bedding

009 Heritage Sheets by Ria Dunn for Totum Project

Homeware brand Totum Project and designer Ria Dunn released a range of bedding that takes cues from antique Italian linens.

009 Heritage Sheets are designed to be versatile, long-lasting and reversible, with one side made from linen and the opposite made from cotton satin.

Find out more about 009 Heritage Sheets ›


Different coloured Billow fabric hanging in a showroom space

Billow hanging textile by Almedahls

Billow is a double-sided fabric designed by Swedish textile brand Almedahls, which comes in both neutral and bright colourways.

The fabric has sound-absorbing acoustic properties, making it suitable to be used for zoning open-plan office spaces into divided spaces.

Find out more about Billow ›


Photograph showing warm neutral rug and orange leather seat

Sistine rug collection by Armadillo

Australian rug design company Armadillo has released a collection of three rugs named Sistine, which are hand-made from a mixed blend of virgin wool and silk.

The three neutral colourways – named Manuka, Peregrine and Semolina – share a dense pile and mottled surface owing to their hand-knotted production.

Find out more about Sistine ›


Person laying tablecloth on table

Eterble fabric tablecloths by Eterble

Recycled fabric and sustainable cotton make up Japanese tableware brand Eterble‘s eponymous tablecloths, which are made in part from discarded tablecloths.

The brand unravels previously used tablecloths that cannot be laundered and reworks the fibres into its signature original textile, which is used to make the Eterble tablecloths.

Find out more about Eterble ›


Main Line Twist textile by Camira

Upholstery fabric Main Line Twist was designed by British textile brand Camira to represent “a new take on tweed”.

The fabric is made using a pioneering twisted yarn made from flax and wool and is intended to have a home-spun quality to it.

Find out more about Main Line Twist ›


Cloe rug collection by Sit-in

Cloe rug collection by Sit-in

Italian brand Sit-in has created a range of thick-pile rugs that are suitable for use throughout living spaces.

Available in rectangle and circular formats, the Cloe rugs come in a range of colours, including peach, rope, stone, teal, terracotta and vandyke.

Find out more about Cloe ›

Dezeen Showroom

Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.

Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.

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National Portrait Gallery unveils logo based on 19th-century sketch

National Portrait Gallery NPG logo

Illustrator Peter Horridge has created a logo for The National Portrait Gallery in London based on a sketch by the gallery’s first director.

Created ahead of The National Portrait Gallery‘s planned reopening later this year, following refurbishment, the logo was informed by Sir George Scharf’s sketch from 1893, which was discovered in the archive.

National Portrait gallery new logo
The logo (right) is based on an 1893 sketch by the gallery’s first director (left)

The bespoke logotype, which was hand-drawn by Horridge, features the entwined NPG initials of the gallery.

These initials can also be seen around the gallery in the metalwork of railings, carved in furniture and embedded in mosaics from the time the gallery first opened.

Historic versions of the NPG initials can be seen around the gallery in railings and mosaics

Alongside the logo, a contemporary typeface named NPG Serif was created by type foundry Monotype.

Working with designers Edit Brand Studio and brand strategists Boardroom Consulting, the National Portrait Gallery developed the brand strategy and visual identity to create “a new face” for the institution, ahead of the Jamie Fobert Architects-designed reopening in June 2023.

The new brand treatment features a fresh and bright colour palette, inspired by paint and materials in the building and archive.

National Portrait gallery new typeface NPG Serif
A font was created for the gallery by Monotype

Karen Hughes, Edit Brand Studio creative director, explained the requirement to “create a brand for so much more than a gallery”.

“We were creating a brand for a shop, a new cafe, a fine dining restaurant, a learning centre, family activities and even a night out,” she added.

London underground tube posters for National Portrait gallery new brand identity
The logo used across the rebrand features the NPG initials

The gallery has been closed since 2020 for the biggest redevelopment of the site since the building opened in 1896.

Alongside historic specialists Purcell, Jamie Fobert Architect is overseeing a significant refurbishment aimed to enhance the visibility and accessibility of the gallery.

National Portrait Gallery merch umbrella and tags with new logo
National Portrait Gallery merchandise featuring the new logo design

The branding went live across the gallery’s website and digital channels on Wednesday 25 Jan when they also announced the exhibitions programme for later in the year, including new work by David Hockney, painting by lead Black artists and never-before-seen portraits of The Beatles taken by Paul McCartney.

Illustrator Horridge is best known for his logos and crests designs, including the iconic three lions shield for the England football team, an update to the royal crest of King Charles III, as well as logos for London hotel Claridge’s and champagne brand Krug.

Other recent brand redesigns include Audi’s flat logo, King Charles III’s royal monogram and Peter Saville’s update to fashion brand Ferragamo’s identity.

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