“Hold Her,” by London-based singer-songwriter and musician MADELEINE, is a luminous, synth-led track that blends nu-jazz, pop and soul. The track (produced, performed and arranged by MADELEINE, with drums by Jack Robson) is set to appear on the artist’s upcoming Sun Daughter EP. Part love song and part plea, it’s a lush, layered bop.
Sloppiness and misinformation are threatening to prevent large-scale wood construction from reaching its full potential, argues Hermann Kaufmann – the “grandfather of mass timber” – in this interview as part of our Timber Revolution series.
“Now is a really dangerous time for wood as a resource,” the Austrian architect told Dezeen. “You can say it’s the saviour of the construction industry. And I believe it has a part to play, where it makes sense to use it.”
“But it’s also a limited resource so you have to be careful not to overuse it, especially now that other industries are jumping on the bandwagon,” he continued. “Timber is being kind of abused.”
Mass timber could “shoot itself in the foot”
Since buildings offer long-term storage for the carbon locked away in wood, Kaufmann argues that the construction industry should have first dibs on the world’s limited timber supplies.
But currently, the industry is being held back by a lack of skilled craftsmen and technical knowledge, which he warns could have a detrimental effect on building quality.
“Building with wood requires diligence but diligence is disappearing,” Kaufmann said. “If you compare the building culture across Europe, there are huge differences in the execution quality when looking at a building in Switzerland or in, say, France or England.”
“If you do a sloppy job when you’re building with wood, and you get condensation or water ingress that you don’t notice right away, the material will rot quickly and you can get huge structural damages,” he added.
“So I’m a bit scared that there will be some cases of damage in the future, and mass timber could shoot itself in the foot.”
Building in mass timber for more than 30 years
Although perhaps less well-known outside of the German-speaking world, Kaufmann is considered a pioneer of modern timber construction, dubbed the “grandfather of mass timber” by Canadian architect Michael Green.
Born to a long line of carpenters, Kaufmann dedicated himself to the “forgotten topic” of wood construction as early as the 1970s, when he was studying architecture at the technical universities of Innsbruck and Vienna.
“At the time, there was beginning to be some modern timber construction in the Alpine region,” he said. “But internationally, there was almost nothing. Even in Japan, the good architects that are now working in wood didn’t do much back then.”
“I questioned whether I was on the right path when my fellow students were getting bigger and bigger projects and I was still working on relatively small things,” he added. “Back then, there were no really big projects in timber.”
“You had to go to a welder and get them to make you custom screws and steel parts so that you could build modern wood structures.”
Kaufmann started his own practice, Hermann Kaufmann + Partners, in 1983 and later founded one of Europe’s first dedicated institutes for timber construction at the Technical University of Munich, with the aim of reviving wood as a modern construction material.
Among his seminal projects is a Passivhaus apartment block that made use of prefabricated mass-timber modules back in 1997, a timber-skeleton secondary school that won the German Architecture Prize in 2017 and an office building perched over an artificial hydropower lake, which at one point was the largest building of its kind in Europe.
Kaufmann’s expertise in tall wood structures was also crucial in the construction of Brock Commons – a student residence at the University of British Columbia that was the tallest mass-timber building in the world upon its completion in 2016.
But even in places like Canada and Scandinavia, which currently have a number of other record-breaking mass-timber projects in the works, the architect says that there is still a considerable skills gap that needs to be addressed.
“Timber architects live off good craftsmen,” he said. “And in countries where you don’t have that, it’s difficult.”
“We advised on the construction of a high-rise in Canada with 18 storeys, which was the tallest at the time, and we were happy we found any craftsmen that knew what they were doing,” Kaufmann continued.
“And whenever I visit the nordic countries like Sweden and Finland, my colleagues complain that they don’t have any more craftsmen, just big manufacturers that end up screwing their buildings together.”
“It will be an evolution, not a revolution”
Kaufmann predicts that timber could only become the main building material in “very few countries” such as his native Austria, where timber is an abundant local resource and where manufacturers and craftsmen can build up the necessary skills to work with the material at scale.
“Many architects are changing course and discovering timber but the industry can’t keep up,” he said. “We need to have apprenticeships to train young people up and we need to build know-how amongst engineers.”
“This whole chain needs the right knowledge to get moving,” Kaufmann added. “This is happening at the moment and it could happen relatively quickly. But it won’t explode. It will be an evolution, not a revolution.”
At the same time, he warns that a growing number of architects are already “playing fast and loose” with the term mass-timber and using it to greenwash their buildings.
“People will screw a couple of square metres of wood onto their facade and say the building is sustainable,” Kaufmann explained, comparing the process to adding a decorative spoiler to a vehicle to make it look like a racing car.
“It’s become a bit of an epidemic,” he added. “I will only speak of a sustainable building if the majority of its mass is made up of wood. Everything else is greenwashing.”
Architects can find opportunity in challenge
While the increased complexity and precision required for timber construction poses a challenge for the industry, Kaufmann says it also presents an opportunity for architects to once again become more involved in the process of building their projects, rather than just designing them.
“When you’re building with wood, you have to bring construction know-how into the process way earlier if you want the project to be successful,” he said. “This change in the planning culture is extremely exciting for us because it’s asking way more of the architect.”
“It’s much more interesting, and the competencies of the architect will likely have to go much deeper into the building process again, rather than just acting as a surface or colour designer and making renderings for anyone to build.”
This interview was conducted in German and has been translated into English by the author.
The photography is by Lisa Dünser unless otherwise stated.
Timber Revolution
This article is part of Dezeen’s Timber Revolution series, which explores the potential of mass timber and asks whether going back to wood as our primary construction material can lead the world to a more sustainable future.
The post “Timber is being abused” says architect Hermann Kaufmann appeared first on Dezeen.
UK studio Charles Holland Architects has created an unconventional, colourful extension to a Victorian terraced house in east London.
Charles Holland Architects renovated the house in Bow and added an extension to create a home with numerous, interconnected spaces rather than a large open-plan layout.
“The familiar model for extending the typical Victorian terrace house is add a highly glazed, single-room space containing living/kitchen and dining,” said Charles Holland Architects founder Charles Holland. “This often results in a lack of variety of experience and no separation of uses.”
“Our clients were keen to avoid the often sterile spaces that result too,” he told Dezeen. “Added to that was a commitment to retain as much of the existing fabric as possible.”
At the rear of the home, within the footprint of the existing house, a kitchen with blue units and a white-tiled backsplash was placed along one wall.
Opposite this in the rebuilt side extension, the studio created a small dining space with an curved roof alongside an enclosed study and a small courtyard.
“We designed a varied series of spaces which shift in atmosphere, lighting and mood,” said Holland. “New and old elements merge into each other.”
“There are small spaces – the study, external spaces – the courtyard, vertical spaces – the lightwell and more expansive spaces such as the dining area.”
The new ground floor spaces are tied together, and to the living room at the front of the house, with a trio of aligned, circular windows.
“The internal windows also bring ‘borrowed light’ into the interior,” explained Holland.
“We wanted to avoid the customary roof lights and design something both more formal – an enfilade – and more enjoyable,” he continued.
“It’s not so obvious where daylight is coming from and they offer unexpected views between rooms.”
Throughout the renovation, the studio aimed to create useable but fun spaces through choices of vibrant paint and materials along with decorative moulding.
“Instead of avoiding junctions with minimal detailing and shadow gaps, we embraced the good old fashioned decorative moulding!” said Holland.
“Extra-large skirtings and dado rails form an important part of the decorative scheme. We also used them to draw attention to the fact that we lowered the floor level so that the skirting starts off at a regular height but becomes unexpectedly deep.”
Holland hopes that the renovation will demonstrate that enjoyable spaces can be created while limiting the amount of demolition that often occurs when renting terraced houses.
“We like architecture that’s playful and exuberant,” he said. “We are committed to avoiding demolition and to working with existing buildings to make them more energy efficient. But that doesn’t mean that the architecture can’t have a sense of delight and enjoyment.
Holland founded Charles Holland Architects in 2017. He was previously one of the three directors of FAT, an architecture studio that revived the postmodern style of architecture. Among his FAT projects was A House for Essex, on which he collaborated with artist Grayson Perry.
Recent projects by Charles Holland Architects include a parrot-like pavilion in National Trust garden and plans for a quirky country house in Kent
The photography is by Jim Stephenson.
Project credits:
Architect: Charles Holland Architects
Structural engineer: Morph Structures
Contractor: A Builder’s Team
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A spiralling facade of stainless steel panels wraps this cultural centre in Fukuoka, Japan, which has been designed by New York-based studio Clouds AO in collaboration with local practices NKS2 Architects and Takumi Nakahara Architects.
Overlooking the Naka River next to the nightlife district of Nakasu, the cultural centre, called 010 Building, houses a theatre, bar and restaurant and was completed for developer Zero-Ten.
The form of the 010 Building is comprised of two elements. At its centre, a stack of rectilinear, glass and metal volumes are rotated 45 degrees from one another, creating areas for terraces and balconies around their edges.
Wrapping this central form are external staircases and a metal “curtain”, which helps to either enclose or open the interior spaces up to the surrounding city.
“The whirling curtains open up in all directions, inviting people from multiple approaches,” explained Clouds AO. “The building does not have a traditional facade, there are no preferred sides, its sculpted form faces in all directions equally,”
“The satin metal curtains reflect the constantly changing liquid aura of the weather and open sky by day, and shimmering city lights and neon by night,” the practice continued.
To free up public space around the building, the large volume of the theatre space has been raised to the second floor, creating an overhang that shelters the circulation around the base of the centre.
Designed to be an “immersive theatre”, this double-height space features a stage that can be extended out into the audience on a special hoist system.
The restaurant, located on the ground floor, opens onto two terraces to the east of the building, providing seating and external kitchen spaces overlooking the nearby river.
At the top of the building, a VIP lounge and balconies enjoy further views of the city, sheltered by a parapet formed by the steel cladding.
Contrasting the silver exterior, the interior of the centre has been finished in a vibrant, slightly glossy red that gives the appearance of glowing when illuminated.
The main stair for visitors, tucked behind the steel curtain in the southwestern corner of the building, is finished in a gloss white, and visually tied together by a long lighting fixture that runs the full height of the centre.
“The inside face of the spiral curtains naturally supports stairs up through the atrium, [where] a unique triple height beaded light fixture connects each level and entices guests up the stairs to the theatre,” said the studio.
Other projects recently completed in Japan include a snaking glass pavilion for the Setonaikai National Park by architecture studio SUO, and a flood-resilient home near a lake by Ushijima Architects.
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Australian architect Emily Sandstrom has transformed a run-down 1930s bungalow in Sydney by adding an extension that was partly built from demolition materials.
Sandstrom aimed to restore the home, which had been left untouched for decades, and celebrate its original features including picture rails and ceiling mouldings.
The architect demolished a small rear kitchen, outhouse and sunroom and reused the bricks and materials from the demolition to construct a 45-square-metre U-shaped extension, which accommodates an open-plan kitchen and dining space.
Two large sliding glass doors open out to a courtyard and let natural light into the kitchen extension.
The U-shaped extension and courtyard were designed to provide a connection between indoor and outdoor entertainment areas.
According to Sandstrom, concrete flooring and overhanging eaves help to passively heat the home in winter and cool it in summer. Solar panels were also added to the home, meaning no additional heating or cooling systems were needed.
“The U shape in combination with the wide and curved eaves provides passive heating to the home during the winter months and shade during the summer,” Sandstrom told Dezeen.
“This in combination with a concrete floor for thermal mass, double glazing and high windows located for cross ventilation, means there is no need for additional heating and cooling systems.”
A large island with a countertop made from recycled Australian hardwood is the focal point of the kitchen, where a step down in floor level separates the “work zone” on one side of the island from the rest of the room.
“The kitchen was a particular focus in the design, and a strong central point of the home,” said Sandstrom.
Informed by Japanese design and bathing rituals, the bathroom features a sunken bathtub that sits below floor level.
Timber decking covers the floors and conceals the drainage points for an overhead shower. Glass sliding doors lead to a small garden with an additional outdoor shower.
“[The bathroom] was designed to achieve an atmosphere of calm and seclusion, and the design captures many different outlooks into the garden and directs the eye away from the less ideal views,” said Sandstrom.
Throughout the home, the architect removed carpets to uncover the original floorboards and restored original features, including stained glass windows, ornate ceiling mouldings, dark timber doors, trims and architraves.
Newly added joinery was designed to preserve the home’s skirting boards, picture rails and ceiling mouldings, as well as maintain the original scale and layout of the rooms.
Other homes recently completed in Australia that have been featured on Dezeen include an oceanside residence in Sydney that was transformed to suit a family of five and a home in Melbourne with interiors finished in timber, terracotta and rich jewel tones.
The photography is by Rohan Venn.
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Promotion: a device that collects fog and transforms it into drinking water and a puzzle created for visually impaired people are among the winners of this year’s Lexus Design Award.
Lexus Design Award is an international design competition that recognises up-and-coming designers. Under the theme Design for a Better Tomorrow it spotlights projects that aim to help resolve social issues and prepare for the future.
The four winning designs for 2023 include Fog-X by Swedish designer Pavels Hedström; Print Clay Humidifier by Chinese designer Jiaming Liu; Touch the Valley by US design studio Temporary Office; and Zero Bag by Korean designers Kyeongho Park and Yejin Heo.
This year’s judging panel was made up of MoMA curator Paola Antonelli, New York-based designer Karim Rashid and global head of design at Toyota and Lexus Simon Humphries.
The winners were selected via criteria based on Lexus’s principle: Anticipate, Innovate, Captivate and Enhance Happiness.
Fog-X by Pavels Hedström is an expandable mobile device designed to collect fog and transform it into drinking water. It was created for use in arid environments where water is scarce, and can produce up to ten litres per day.
The umbrella-like device uses a mesh to collect fog, before channelling it into a water container. It is made from lightweight aluminium, recycled steel and PET plastic.
Fog-X is informed by the Namib Desert beetle, which collects water from fog. The design responds to the fact that approximately two billion people in the world lack access to clean drinking water, according to the designer.
“The outcome of extreme water scarcity became the starting point of designing habitats that could be self-sufficient in collecting clean water during the field studies in the Atacama Desert in 2019,” said Hedström.
Print Clay Humidifier – a 3D-printed non-electric clay humidifier – was created by Jiaming Liu from recycled ceramic waste.
“In my childhood, I lived in a building made of concrete and hard clay. In summer it was very hot and dry, so you just put the water on the wall and then the wall absorbed the water so quickly. I think this simple experience is the starting point of the project,” said Jiaming Liu .
The project addresses the issue of ceramic waste being dumped in landfills. According to the Liu, the material is “a useful social resource but it can also negatively affect the environment”.
The humidifier is made from recycled ceramic powder. Its upper part absorbs water then evaporates it, while the lower part collects and stores up to 500 millilitres of water.
“The recycled ceramic powder improves the strength and water absorption of the structure,” said Liu. “The project aims to explore the use of sustainable materials and possible applications for 3D-printed clay.”
Touch the Valley by Temporary Office is a 3D topographic puzzle designed to be used by visually impaired people.
The process of piecing together the puzzle aims to “encourage experience of the physical world through touch”.
“My grandmother was losing her sight gradually as she was getting old and she found it difficult to do many things in her daily life, especially cooking,” said Lai. “It was quite hard for her to find a knife in a kitchen, cut vegetables properly and figure out where a stove is. And then I thought that it’s much easier for visually impaired people to recognise stuff by touching not watching.”
“That was the starting point of this project,” the Lai continued.
The puzzle pieces have a zigzag texture and contours that “flow” across them, allowing users to feel which segments connect to each other.
Its design was informed by the Yosemite Valley in Sierra Nevada, California, which is known for its natural features that have high elevation differences, according to Touch the Valley.
“Board games and jigsaw puzzles should always attempt to include players of all abilities or disabilities,” said the design studio.
“Through this practice of using touch in designing a topographic puzzle, we can slowly uncover the tactile opportunities in our physical world and share the experience between the sighted and visually impaired communities,” the studio continued.
The last winning design is Zero Bag by Kyeongho Park and Yejin Heo – clothing packaging that is made from algae and dissolvable in water.
“My girlfriend buys a lot of clothes that are wrapped in plastic bags which is a huge waste and bad for the environment. With more than 100 billion items of clothing being made worldwide each year, packaging waste is on the rise,” said Park.
“To solve this problem, we came up with the idea of creating packages that would dissolve in water with detergent because she would also wash the clothes that she bought.”
According to Park, the idea was born from observing consumer behaviour in Korea where newly purchased clothes are washed to remove chemicals before wearing.
The packaging also incorporates paper detergents that are attached to water-soluble plastic, which means that it can be used to wash clothes as it dissolves.
Detergent could also be replaced with baking soda for other cleaning purposes, or the bag could be used to store food, such as fruit.
The four winning designs were selected from over 2,000 entries from 63 countries and regions.
Once selected, the winners were invited to a three-month mentoring program, where they collaborated with Dutch solar designer Marjan van Aubel, New York designer Joe Doucet, Japanese sound designer Yuri Suzuki and South African architect Sumayya Vally to improve their products.
“It was a truly enjoyable session with designers, energetic, strong ambition for all projects,” said Yuri Suzuki. “I think this is the very beginning so there are still ambiguous concepts as well as ideas. There is a lot of space to work on.”
“Personally, I strongly recommend meeting people and sharing ideas and getting opinions which makes the project more meaningful and rich,” the designer continued.
“Design is truly a vocation – to be a designer means to intertwine and absorb everything we see and experience and read – during work time, rest time, reflective, meditative time or when searching for stimulus and a shift in atmosphere through the arts and cultural exchanges,” said Sumayya Vally.
“All these forces become part of our being and are in our eyes and hands when we work. This is why being aware and conscious of our environments and the people and energies we surround ourselves with is so important.”
Lexus will present the prototypes at Milan Design Week 2023 to showcase how the four winners’ ideas have developed through interaction with the mentors.
The public will also be invited to choose their favourite designs as part of People’s Choice Award, which will be announced at a later date.
To view more about the award, visit Lexus’ website.
Partnership content
This article was written by Dezeen for Lexus as part of a partnership. Find out more about Dezeen partnership content here.
The post Lexus Design Award 2023 announces winning entries appeared first on Dezeen.
We’ve selected seven landscape architecture and design vacancies in the UK available on Dezeen Jobs this week, including positions at Gensler, Gustafson Porter + Bowman and Studio Egret West.
BIM coordinator at Gustafson Porter + Bowman in London, UK
Gustafson Porter + Bowman has an opportunity for a full-time and permanent BIM coordinator to join its team in London. The practice is redesigning the Eiffel Tower surroundings for the Paris 2024 Olympic Games.
Browse all BIM specialist jobs ›
Landscape architect at Studio Egret West in London, UK
In 2012, Studio Egret West designed the Clapham One building, which consists of a library, and leisure and health centre. The studio is recruiting a talented landscape architect to join its practice in London.
View all opportunities in the UK ›
Design leader at ASPECT Studios in London, UK
ASPECT Studios is seeking a design leader to join its team in London. The firm collaborated with design studio LAVA to masterplan the Central Park in Ho Chi Minh City, Vietnam, which will consist of elevated walkways and gardens.
Browse all urban designer vacancies ›
Chartered/senior and associate landscape architects at BDP in Bristol, UK
BDP’s Canadian branch released in 2022 designs for the super-skinny skyscraper in the city’s financial city. The practice is seeking chartered, senior and associate landscape architects to join its team in Bristol, UK.
Chartered landscape architect at Gensler in London, UK
Gensler has an opportunity for a chartered landscape architect to join its team in London. The studio accomplished a sports arena in Austin, Texas, that includes technologically advanced features, such as a moveable roof.
Landscape architect/designer at Urquhart & Hunt in Somerset, UK
Urquhart & Hunt completed the landscape architecture of Cambridge Central Mosque, a mosque in Cambridge designed by Marks Barfield Architects. The firm is hiring a landscape architect or designer to join its team in Somerset, UK.
View all landscape designer jobs ›
Design review panel at Westminster City Council in London, UK
Westminster City Council has an opportunity for experts in sustainability and built environment to join its design review panel in London. The council commissioned the Marble Arch Mound and oversaw the red-brick Ebury estate redevelopment in 2022.
Browse all landscape architecture jobs ›
See all the latest architecture and design roles on Dezeen Jobs ›
The post Seven jobs for landscape architects and designers based in the UK appeared first on Dezeen.
Designed by the makers of the ‘I Am Not A Paper Cup’, a first-of-its-kind reusable porcelain travel tumbler, the BYO bottle has a simple mission – to reduce the need for single-use plastics, starting with the 480 billion plastic bottles used each year. The BYO bottle, however, isn’t your run-of-the-mill steel thermos. It also has a detachable steel spork and telescopic steel straw conveniently embedded into its side, letting you eat and drink anywhere without relying on disposable cups and cutlery. The best part? The BYO bottle has a hidden compartment built into the bottle’s base, letting you store things like cash, keys, medicines, or even your AirPods case!
Design & concept: Roni Kabessa
Industrial design & engineering: James Burgess
Graphics & interactive design: Kira Hallberg
Click Here to Buy Now: $29 $60 ($31 off). Hurry, only 8/35 left!
Described as the “Swiss Army knife of bottles”, the BYO bottle is small, handy, and conveniently versatile. With its patented worldwide design, the BYO has an internal capacity of 24 fl oz, or about as much as a Starbucks venti. The bottle’s insulated Grade A stainless steel design and leakproof lid keeps your hot drinks hot and your cold drinks cold and the wide mouth is perfect for adding ice cubes. The detachable spork is ready when you need it and the telescopic straw extends to 9.5 inches in length. So, no more juggling everything while you’re rushing out the door.
“We’ve been committed to creating cool products that reduce plastic use for over a decade. We’ve all heard the need to reduce the use of single-use plastic. There are some great bottles out there, but none like the BYO Bottle that helps you reduce the use of single-use straws, utensils, and bottles all-in-one,” said Roni Kabessa, from Small Impact.
Perfectly Sized – The 24 ounce size is big enough to last through the day but slim enough to fit in most cupholders.
Stainless Steel Spork – Works great for any type of food from soup to nuts as well as drink prep.
Telescopic Straw – Great for stirring and sipping.
Secret Storage Compartment – Perfect for stashing keys, snacks, teabags, earbuds, spare change, medications.
Carrying the bottle around is easy thanks to the wide handle and sleek design that easily fits into the bottle sleeve on your backpack or your car cup holder. Plus, the rubber-lined bottom helps prevent accidental spills. Whether you’re going on a long hike, to your weekly yoga class, or your lunch break, the BYO bottle has everything you need to conquer your day and ditch the single-use plastic.
The product is available to view in The Inspired Home Show (trade only) in McCormick Place Chicago, IL from March 4th to 7th at booth #N8116.
Each BYO bottle comes in four colors – Matte Coal, Metallic Steel, Tidal Wave blue, and Passion Flower fuchsia. The “Swiss Army knife of bottles” is durably designed to last for years and help drastically (if not completely) reduce your dependence on single-use plastics. The BYO bottle launched on Kickstarter on February 15th and reached its funding goal in the first 3 days. Join the movement and get your BYO bottle starting at $25 on Kickstarter, with shipping beginning in August 2023.
Click Here to Buy Now: $29 $60 ($31 off). Hurry, only 8/35 left!
The post The ‘Swiss Army Knife’ of bottles has its own straw, spork, and storage compartment for your EDC first appeared on Yanko Design.
Graz-based automotive design motorheads at Vagabund Moto like BMW bikes as their preferred choice as the starting point. The custom BMW R nineT and custom BMW R100R created by them gravitated enough attention from designers over at BMW Motorrad.
As a result, the custom shop’s efforts over these years finally culminated in a collaboration with the dedicated motorcycle brand of BMW, for a multifunctional two-wheeler based on the BMW CE 4 electric scooter.
Designer: Vagabund Moto and BMW Motorrad
What we see here is a multifunctional and stylish e-scooter for urban mobility keeping in mind the individual needs of users. Dubbed BMW CE 04 Vagabund Moto Concept, the fully electric scooter combines refreshing design, functional elements, and peppy color schemes to attract young riders who crave a sporty aesthetic in their electric scooters. There’s plenty of storage space to cater to every users needs, and for surfers, there’s a dedicated surfboard with an integrated transport system.
According to Paul Brauchart, founder and managing director Vagabund Moto, the vision behind the creation is to focus on the function while keeping overall looks in mind. As he very passionately puts it forward, the overall design draws synergy between “functionality and aesthetics” to suit a wide variety of uses in daily life. The color scheme highlighted by beige and dark green on the contrasting black and white colors has been spot on by the two camps.
There’s a smiley face emoji on the front wheel hub and the glass on the indicator lights. Interestingly, with the surfboard loaded on the scooter, it looks like a part of the two-wheeler when viewed from the side profile. According to BMW, the peculiar addition is a “metaphor for a sustainable urban lifestyle.”
Apart from these changes to the standard CE 04, the e-scooter has virtually the same technical specifications. The electric motor churns out 31 KW (42 hp) maximum output to hurl it to a respectable top speed of 50 mph in just 2.6 seconds. BMW CE 04 Vagabund Moto Concept should get around 130 km of range on a single full charge. The charging time of 65 minutes to juice up the electric battery from 0% to 80 percent, and the time can be brought down significantly with the optional fast charger.
The creation for now is a pure concept meant for design and aesthetic inspirations in BMW Motorrad’s future creations. Whether or not a production version of the BMW CE 04 Vagabund Moto Concept will make it through is unclear now.
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Atelier Data built the Praia Grande house in Portugal’s Sintra-Cascais Natural Park. The home is constructed using five volumes that have been clad in metal-sheet facades and provided with a finishing of projected cork. The house also features a swimming pool that has been made to resemble a pond. The five volumes have been placed to cover up the empty space between the protected trees in the national park. Some of the trees have been lifted to allow vegetation to grow underneath them.
Designer: Atelier Data
“There was a big effort to contain the built mass of the house between the existing trees”, said Atelier Data architect Rafael Gomes. “Naturally, this pushed us for an early forecast of the house because we needed to understand the full impact of shading areas, constraints in visual relations, and limitations of space that all this would generate. This involved understanding exactly which trees were healthy enough to be sustainable, and after that study, how should construction work to preserve them – from start to finish,” he continued. All the five volumes that make up the Praia Grande have been imparted with a particular use. One rectangular volume holds the entrance and the kitchen, while another volume next to it includes the home’s main living room.
A smaller volume near the entrance houses an office, while two other square volumes include ensuite bedrooms that are placed opposite one another. The volumes holding the bedroom have been amped with their own patios, which provide convenient access to the swimming pool. All five volumes have been placed in a semi-circle, with a space in the center that accommodates the swimming pool. The pool, as mentioned earlier, was designed to mimic a pond.
Natural raw materials were used to construct the home. The walls and floors were built using non-toxic materials, which is a boost to the environment. “As we say informally, we ‘could drink or eat every single part and component that the house has. The walls were painted with 100 percent natural paints; the floor was finished without using any chemical varnish, and the wooden elements are from sustainable harvest processes and have been protected with products totally free of formaldehyde,” concluded Gomes. The unique form and structure of the home were inspired by the interesting dialogue between the surroundings and the volumes of the house. The national park was a major source of inspiration and influenced a lot of the architecture of the home. Gomes said that it impacted the development of the home “physically and visually”.
The post This house in a Portuguese national park features five volumes and a swimming pool resembling a pond first appeared on Yanko Design.
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