Respoke makes footwear (and other products) from upcycled designer silk scarves (mostly Hermès, Gucci, Pucci, McQueen and Louis Vuitton). What started with espadrilles has expanded to include sneakers, wedges and mules. Because the source material is a scarf each shoe is unique, with some pairs offering nearly symmetrical designs and others a complimentary pairing of the source material’s pattern. The shoes are sustainably handmade in family-owned workshops in Spain using natural materials including jute and rubber; the silk is adhered with heat and stitching—no glue is needed. Left over material (along with recovered material from worn shoes) is then used by company co-founder Chris Bartick in his artworks ensuring that waste is kept to a minimum. Pricing starts at $295 and goes up to $745 based on shoe style and source material.
Creative studio Tableau has opened a permanent gallery for its roster of designers in Copenhagen, Denmark, which launched during 3 Days of Design.
Located in a 300-square-metre space close to Copenhagen’s main shopping street Strøget, Tableau Gallery will showcase collectible design as well as “functional art”, the studio said.
Above: designer Laurids Gallée’s colourful shelf was decorated with flowers. Top image: Maria Koshenkova’s glass installation filled one corner
Tableau showed works by 13 artists in the space, including pieces by designer Laurids Gallée, during annual festival 3 Days of Design.
“With our new creative direction we wish to create a community with the artists and designers we work with,” founder Julius Væernes Iversen told Dezeen.
Designer Rebecca Lajboschitz showed a textile sculpture
“It’s essential that we maintain diversity, both in terms of practice, materiality, methods and style, and we also strive to have a mix of very established artists, like Laurids Gallee, alongside young, upcoming talents,” he added.
The new space, which replaces a smaller gallery that Tableau had previously been located in, lets the studio show larger furniture pieces and functions as a more neutral background to the art.
Forever Studio’s flower console stood under designs by Alyssa Megan Lewis
“The new gallery space offers different opportunities for the way we show functional art, and obviously it allows us to show very large pieces,” Iversen said.
“We love how the space offers a more home-like feeling, being an old apartment building, which enables us to show how functional art and collectible design can be used in a private home,” he continued.
“At the same time, it feels more like a blank canvas compared to our previous spaces, as the space is more neutral in its expression.”
At the launch event in June, the works on show at Tableau Gallery included a marquetry shelf by Gallée, mirrors by Dutch-based Forever Studio and designer Alyssa Megan Lewis, a glassware installation by designer Maria Koshenkova and chunky furniture by designer Jacob Egeberg.
Tableau hopes that the new space will help to advance the collectible design movement.
A chunky seat by designer Jacob Egeberg was shown at Tableau Gallery
“Most of the designers we work with have been part of Tableau for many years and it’s a priority to consistently nurture this community,” Iversen said.
“Bespoke production of interior and scenography is at the core of the new functional art and collectible design movement and something we work hard to foster and advance.”
Gallée also designed a turquoise shelf on show at the gallery
3 Days of Design took place in Copenhagen from 12 to 14 June. For more events, exhibitions and talks in architecture and design visit Dezeen Events Guide.
The exhibition highlights established and upcoming artists, designers and architects, and was curated by sculptor Ann Christopher.
The institution launched its summer showcase in 1796, with this year’s event spotlighting designer Yinka Ilori, artist Michael Craig-Martin, architect Ibiye Camp and engineering firm Webb Yates Engineers.
Carwan Gallery is taking part in the 2024 edition of Nomad. Photo courtesy of Nomad Gallery
2024 marks the third edition of the fair to take place in Capri, with other events having been located in St Moritz in Switzerland, Palais Bulles in France, Venice in Italy and Monaco.
Design and architecture research centre Domaine de Boisbuchet hosts a series of workshops each summer, this year following the theme Imago: The World We See.
The theme addresses the concept of a common reality and how it can be influenced by technology and media, and how design can inform individual perspectives.
This year, 28 workshops are taking place at the centre, exploring food, fashion, uses of colour, the life and death of natural matter and office design.
MO-OF Architects are taking part in CreativeDays Stuttgart 2024. Photo courtesy of MO-OF Architects
Founded by Poonamdesigners Studio in 2016, CreativeDays Stuttgart is a festival focusing on promoting the arts, creativity and urbanism in the city.
The festival’s programme includes open showrooms, talks and a showroom with keynote speakers including Fredrik C. Larsson of White Arkitekter, Shantanu Poredi of MO-OF Architects and Poonam Choudhry of Poonamdesigners.
The Echigo-Tsumari Art Triennale is a large-scale outdoor art exhibition, presenting installations and performances.
Launched in 2000, the event celebrates its ninth edition in 2024, when it’s showcasing pieces by architecture practices MAD, Dot Architects and Drawing Architecture Studio.
Alongside the exhibition, the the Museum on Echigo-Tsumari hosts Ukraine Week from 12 to 21 July, spotlighting films curated by Ukranian artist Nikita Kadan, who is also displaying an installation at the triennale.
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Also featured is a home in a forest screened by concrete panels, the renovation of a post-war home in east London and a house clad in corrugated metal in Taiwan.
Read on to find out more about Dezeen readers’ favourite houses this month:
Japanese design studio Nendo surrounded a triangular home within a forest in Nagano Prefecture with screens of concrete panels.
Named Block Wall House, the home extends 110 metres along the side of a road running through the forested landscape, with the concrete panels screening the house from passing cars.
In Big Sur, California, the co-founder of Electric Bowery renovated a redwood-clad house that was originally designed by well-known local architect Mickey Muennig.
Throughout the design, she aimed to preserve the home’s iconic features, while adding custom furniture.
In east London, architecture studio Nikjoo opened up the interiors and added rear and attic extensions to expand and modernise a post-war home.
“The brief was to maximise space and light to create a calm, serene environment that would not only support flexible, modern living but also form a backdrop to playful design interventions,” Nikjoo told Dezeen.
Local practice Studio Tngtetshiu was informed by the shape and materials of “anonymous” metal buildings found in rural Taiwan for the design of Double Roof House in Tainan.
The home, which includes a warehouse and playground, was designed to contrast with the red-brick church it stands alongside.
Stockholm-based studio Goldin+Senneby has created the Spruce Time installation in Sweden, a climate-controlled chamber that houses a clone of one of the world’s oldest trees.
Situated on the grounds of a new hospital campus in Malmö, the installation by Goldin+Senneby was designed as a “living artwork” where visitors can observe and engage with the tree as it grows.
The installation sits on a new hospital campus in Malmö
The sapling inside it was cloned from a 9,550-year-old spruce tree named Old Tjikko, located on the Fulufjäll mountain in Sweden, before being planted within the chamber.
To obtain the clone, small twigs cut from the tree’s top branches were grafted onto stems of other spruce trees – creating saplings of identical DNA to Old Tjikko, with a survival rate just above 50 per cent.
The sapling was cloned from a 9,550-year-old spruce tree
“Old Tjikko on Fulufjäll mountain has already cloned itself over the course of millennia,” studio co-founder Simon Goldin told Dezeen.
“It is the genetic individual – not the tree on the mountain – that is nearly 10,000-years-old, and the small clone now planted at the hospital in Malmö is the same genetic individual,” Goldin explained.
“In that sense, it is the oldest spruce in the world at the very beginning of its life.”
The clone is held within a cylindrical glass chamber that is five metres wide and 28.9 metres tall.
Conceptualised by the studio as a “customized miniature hospital”, the chamber was designed to regulate light, temperature, water, humidity and gas exchange for the tree, and is operated through the hospital’s infrastructure.
The clone is held within a climate-controlled chamber
A wooden bench sits within the chamber to provide a space for “meditation and reflection” for visitors, which can be accessed by appointment.
According to the studio, the artwork will permanently reside on the hospital premises – requiring consistent and long-term maintenance for as long as the tree survives.
“We hope visitors to the hospital will have a chance to follow the tree’s development over the course of their lifetimes,” Goldin said.
“And from one generation to the next,” studio co-founder Jakob Senneby added.
It was designed as a “customized miniature hospital”
While the tree has already been planted on site, the artwork is set to officially open in autumn 2025, alongside the inauguration of the new hospital.
Goldin+Senneby is an artist studio based in Stockholm established in 2004 by co-founders Simon Goldin and Jakob Senneby.
Australian interior designer Greg Natale worked with tile manufacturer Kaolin on a range of tiles comprised of two patterns that each reference a different Italian city.
The Casa tile collection includes Milano and Venice – the former is defined by its interconnecting T-shaped motifs and the latter has a step-like design rendered in shades of grey.
Casa was recently featured on Dezeen Showroom as well as multiple modular shelving systems and a range of colourful tables that take cues from traditional Qatari design.
British company Karndean Designflooring has added 39 new finishes to its Art Select range of vinyl flooring, including patterns that mimic wood and stone.
The tiles have bevelled edges, embossed detailing and precise colourations and can be laid in various configurations to create bespoke flooring solutions.
French furniture brand Tiptoe has created a modular storage system that can be adapted to cater to various functions, including acting as a chest of drawers, a desk and a sideboard.
The Unit storage system has a metal frame that comes in either black or white, which supports doors, drawers and shelves made from oak.
Metal construction characterises Italian brand Mara‘s recently released Elle bookcase, which is made up of slender metal poles and metal sheets installed both vertically and horizontally.
Pivoting elements can be rotated to create open and closed shelving, and the system comes in a range of powder-coated colourways.
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Design brand Vitra has worked with Swiss studio Panter & Tourron on its latest sofa, Anagram, which is intended to “act like a bridge between today and tomorrow”.
The Anagram sofa can be disassembled into its constituent materials for recycling and is light on foam as a filler material, in order to improve its environmental impact.
It also has a modular structure that was intended to be easy to change, whether for a short-lived activity such as a movie or game night or for a more long-lasting reconfiguration when moving homes.
The Anagram sofa is designed to be able to evolve over time
The Anagram sofa was designed in response to social and cultural changes, Vitra said.
Whereas once living room furnishings were centred on the TV, that is changing as individuals use their own devices for entertainment, or use the home for multiple functions like working.
To accommodate shifting lifestyles, the company asked Panter & Tourron to create a sofa that would feel like “an assortment of possibilities” rather than something bought to fit a particular living room.
“Anagram acts like a bridge between today and tomorrow,” said Stefano Panterotto, who founded Panter & Tourron together with Alexis Tourron.
The sofa can be configured in different ways with click-on modules and elements
The sofa can be adapted from a traditional seating configuration to something more “contemporary and unconventional” such as “face-to-face, back-to-back or non-directional,” Panterotto said.
It can also be separated into a reading nook or be used for a guest bed.
“The idea was to have something truly innovative and technical, without making a product that is unapproachable, and keeping it a transversal product that could fit a house today as well as in 20 years from now,” Panterotto continued.
Key to this design is the click mechanism that Panter & Tourron developed with Vitra to make Anagram’s modules and elements not just easy but “almost fun” to change around, said Tourron.
The system allows elements to be moved along the frame, rather than fixed to a set spot.
Elements such as backrests and armrests are meant to be “fun” to click on
“The development was tricky since we had to take into consideration international regulations about weight and forces applied, different countries’ safety rules and so on, but the result works perfectly,” said Tourron.
Anagram was also designed to address two of the main issues that make sofas difficult or impossible to recycle – the use of polyurethane foam and the glueing together of different materials.
The ability for total disassembly is achieved through a structure that Panterotto says “looks simple but is not”.
It is based on a lightweight aluminium frame that has a suspension layer of webbing stretched across it which all of the side panels, backrests and accessories attach to.
However, there is room for improvement in the future as materials technologies progress. Anagram still uses a “minimum” amount of foam “only in the core section, in order to guarantee the right level of absorption to the seating”, according to Panterotto.
The rest of the filling is replaced with 100 per cent recycled PET fibres – a material that the designers intend to exchange or renew with a better alternative if one becomes available.
Removable fabric covers and the use of 80 per cent recycled aluminium in the frame adds to the product’s circularity.
Cushion covers are removable and washable
According to Panter & Tourron, the reason that most sofas are unrecyclable is because of cost savings.
“Sofa are the pinnacle of structure complexity, where an array of materials are coupled and bonded together for the sake of the ultimate ‘comfort’,” said Tourron.
“The reasons for these choices from producers are mainly economical, choosing composite materials over monomaterial and preferring faster glue assembly over designed-for-disassembly furniture.”
A minimum amount of foam is used in the sofa
The designers said that they hoped more sustainable sofa designs would eventually make it to mainstream retailers as well as high-end brands.
Reel lawn mowers are categorically known to be better than rotary lawn mowers. They do a better job of trimming grass to a low height, are much more energy efficient, and can be found at every single golf course for their ability to leave a turf looking flawless. The problem, however, is that reel lawnmowers are still fairly manual. Sure, they run on motors, but you still need a human to push the mower around – something that seems odd given that robotic lawnmowers have existed for a good 5 years at this point. Nobody ever tried building a robot version of the reel mower (don’t ask me why) until now. The Oasa R1 is bringing the advancements of autonomous mowers to the perfection of reel blade cutting. The world’s first lawn mowing robot to employ a blade reel, the Oasa R1 turns your backyard into a perfectly manicured turf, with precisely cut grass in every corner. The R1 maps your lawn out, trims the grass to its very edge, avoids humans/pets/obstacles, and takes care of your entire lawn just with the push of a button. It’ll stay away from your prized flower bed, will cross over pathways to get to different zones of your lawn, and will automatically retreat to its shelter once the job is done.
Most companies building lawn mowing bots prefer rotary mowers given how compact the entire mechanism is. Reel mowers, although much more superior in performance, use a much larger drum and blade that results in a bigger overall product. That didn’t stop Oasa from building the R1, albeit with a surprisingly small product footprint. The R1 bridges both worlds wonderfully, offering all the cutting-edge features of a self-driving mower, with the perfection that the spinning reel blade can offer. The blade’s cutting height can be adjusted down to as low as 0.8 inches, or as high as 4 inches (depending on how you want to trim your yard), and the R1 has a cutting path that’s an impressive 13 inches wide, covering more ground in lesser time. A LiDAR sensor hub and multiple cameras allow the R1 to map out your lawn as well as sense obstacles. The mower gets to work, choosing the most efficient path to get the job done, while avoiding obstacles and no-go zones perfectly.
An automatic blade resharpening system reduces the need for manual replacement or realignment, distinguishing it from other robotic and traditional reel mowers.
The reel blade is perhaps the R1’s crown jewel, setting it apart from other robot mowers. While rotary mowers tend to tear the blades of grass, the R1’s reel blade gives them a clean, scissor-like cut that leaves your lawn looking lush and perfect, and allows the grass to grow back in a healthy, non-patchy way too. Spiral blades on the reel help it shear the grass instead of ripping it apart, and here’s the kicker, the R1 has its own blade sharpening feature that automatically works in between mowing sessions to ensure that the blades are as razor-sharp as possible. Moreover, it’s also incredibly silent, with a working decibel level of under 60db, which is about as loud as a normal conversation.
Using the Oasa R1 is about as simple as using any automated lawn mower. The R1 performs a precursory 3D scan of your lawn for you, allowing you to determine different zones, pathways, fences, and even no-go areas. Once you’re done, all it takes is to press a button to get the R1 started. It automatically maps out its path, cutting precisely near fences and along edges, leaving just a 2-inch gap as it moves along fences, skirting, and walls. It relies entirely on LiDAR to navigate your lawn, eschewing GPS which can sometimes have signal issues. The advanced LiDAR tech allows the R1 to conveniently sidestep and avoid obstacles like humans, pets, parcels, or anything that may be blocking its path. Meanwhile, large treaded wheels allow the R1 to easily climb up 45% inclines, letting it cover every single inch of your lawn regardless of the terrain. The entire process can be tracked on Oasa’s smartphone app, which gives you insights on the mowing progress, as well as allows you to set up mowing routines/schedules on-demand. The app also lets you choose mowing height and pattern, as well as activate the R1’s blade-sharpening cycle, which takes mere minutes.
The R1 comes with its own charging shelter where it retreats to when it’s low on battery, when it detects rain, or when it’s done mowing your lawn. Although it doesn’t use GPS during mowing, it does have its own geofence that you set up when you first get the R1 – the minute the R1 leaves the geofence, you get an anti-theft alert along with your lawn-mower’s live location. Maintenance in between mowing routines is a breeze too, thanks to an IPX6 waterproof design that lets you hose down your R1 from either side to wash off any grass stubble that may be stuck to it.
The Oasa R1 ships globally, with a discounted starting price of $1199 – this includes the mower itself, along with the charging shelter, a 2-year warranty, and even the customs fee.
Since introducing the concept for an energy-generating wall in 2021, designer Joe Doucet has been tirelessly working to turn this innovative idea into reality. Now, with the launch of Airiva, a modular rotary wind turbine wall designed for urban installations, this vision is closer than ever to being realized. Airiva promises to revolutionize how cities and infrastructures harness wind energy, bringing sustainable power generation directly to the places where people live and work.
Wind energy has been instrumental in reducing global dependence on fossil fuels. However, the adoption of wind turbines for residential and commercial use has been slow, largely due to their intrusive designs. Airiva addresses this challenge by combining functionality with aesthetic appeal.
The wind turbine wall is composed of multiple rotary blades that spin independently, driving a generator to produce clean, renewable electricity. This modular and scalable solution is tailored for urban and suburban environments, allowing it to augment or coexist with other power generation methods. The electricity generated can be used on-site, stored, or fed back into the grid. The system is not only efficient but also quiet and safe, making it suitable for a wide range of environments. Potential installation sites include municipal and public facilities, commercial buildings, transportation networks, and coastal areas, among others.
Airiva places a strong emphasis on sustainability. The manufacturing process aims to use at least 80% post-consumer and recycled materials, aligning with circular economy principles and minimizing environmental impact. This commitment to sustainability is a fundamental aspect of Airiva’s design and manufacturing strategy.
One of Airiva’s key strengths is its flexibility. The system’s modular design allows it to be easily transported and scaled to meet specific site requirements. Multiple units can be networked together, creating a flexible, clean energy system that can adapt to various use cases. Additionally, Airiva is designed to complement other distributed energy technologies, providing a versatile alternative that can enhance existing installations.
Airiva’s smart technology enables remote monitoring of system and site information, offering visibility and control over geographically dispersed installations. Each unit consists of two segments, each measuring 2100mm in length and height and 1050mm in depth, along with an end hub unit for controls, communications, and power management. This design facilitates global transport and distribution, ensuring that the system can be deployed wherever it is needed.
The initial idea in 2021 envisioned a wall of 25 vertical-axis turbines with a total peak power output of 10 kilowatts. While the intermittent nature of wind means that actual energy production can vary, the refined Airiva system is expected to produce approximately 2,200 kWh annually per unit. While this may not cover the entire energy needs of an average home, it can significantly reduce energy bills. Larger installations, such as those on commercial campuses or transportation hubs, can harness more power, demonstrating the system’s scalability.
Currently in the prototyping stage, Airiva plans to begin customer pilots in the latter half of this year, with orders expected to open in 2025. Although specific figures have yet to be disclosed, Airiva’s targeted Levelized Cost of Energy (LCOE) aims to be competitive both domestically and internationally against other small-scale distributed energy resources. Upcoming pilots will be crucial in validating these claims and demonstrating the system’s effectiveness in real-world conditions.
Named the Kōtuku, this quaint tiny home is designed by Build Tiny. It is substantially larger than of Build Tiny’s other models, measuring 10 m in length. Usually, the tiny home makers’ houses measure around 7 m. However, this extra space has been utilized very well, resulting in a spacious and storage-packed interior – all cleverly placed on one level. The name of the home is quite unique and is a subtle reference to New Zealand’s Kōtuku bird. The home is towable and based on a triple-axle trailer. It features a subtle finishing of vinyl, paired with wooden accenting and a steel structural frame.
The home has a width of 2.4 m, which is typical for a tiny home. It has a height of 3.2 m and is powered by a standard RV-style hookup. Double glass doors offer access into the home, where you are welcomed by a well-designed interior with balanced proportions. The interiors are finished in light hues, highlighted by poplar plywood and vinyl flooring. The result is a space that feels minimal, and soft, instantly helping you feel at ease. As you enter the living room, you come across some seating, as well as some storage space.
Located close is the kitchen, and it is quite spacious for a New Zealand tiny house. It features a fridge/freezer, microwave, sink, as well as an oven with a four-burner propane-powered stove. The kitchen also includes standard cabinetry, overhead cabinets, a pull-out pantry drawer, as well as a breakfast bar that can accommodate two people. The kitchen and bathroom are connected, and the bathroom is equipped with a composting toilet, vanity sink, shower, and washing machine.
However, the Kōtuku tiny home is only equipped with one bedroom. All the rooms have been placed on the ground floor, so it isn’t the typical loft-style bedroom you see in tiny homes. It has a proper double bed and plenty of space to stand upright. Although subtle factors, these do make quite a difference while living full-time in a tiny home. The bedroom is also blessed with loads of storage space. There is storage above, below, and on both sides of the bed. You can access the outdoors from the bedroom through glass doors. This lovely little home is delivered as a turnkey build, amped with all the furniture.
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