ASUS ProArt PX13 Laptop Review: An Agile Content Creator’s Best Friend

PROS:

  • Handsome, minimalist, and lightweight design
  • Impressive performance packed in a compact size
  • Gorgeous 3K OLED screen for both viewing and color-accurate work
  • Incredible value for creative professionals on the go

CONS:

  • No full-sized SD card reader, only one USB-A port
  • Display refresh rate is only up to 60Hz

RATINGS:

AESTHETICS
ERGONOMICS
PERFORMANCE
SUSTAINABILITY / REPAIRABILITY
VALUE FOR MONEY

EDITOR’S QUOTE:

The ASUS ProArt PX13 makes the impossible possible, delivering unbeatable performance and uncompromising mobility in an elegant and accessible package.

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The nature and execution of work have changed significantly in the past years, especially for those who use computers all the time. Mobility and flexibility have become an important part of the business, sometimes requiring people to be able to take their work anywhere life leads them. At the same time, it also allows people to do their work in the best possible location for them, which isn’t always the office. To support these new work arrangements, computer vendors have been trying to shove more power into laptops without turning them into gargantuan machines that would force people to leave them in the office anyway. It’s a delicate balancing act, one that very few brands have successfully pulled off, but the ASUS ProArt PX13 makes that very promise to one of the more discerning and particular markets. Is the ProArt PX13 able to deliver that promise of unbounded creativity anywhere or does it make too many compromises along the way? We give it a flip and a spin to bring you that answer.

Designer: ASUS

Aesthetics

The first impression you’ll have when seeing the ASUS ProArt PX13 is how compact and thin it is, at least for a supposedly powerful laptop aimed at creative professionals. Your second impression will be how sleek and elegant it looks with its deep, all-black design. It’s an aesthetic that doesn’t scream at you but instead talks mellowly, fitting a professional product. There are barely any markings on the laptop’s cover; no fancy RGB lighting at its sides, protruding edges, or sharp angles. Just one truly black slab.

Unlike other laptops that advertise a black colorway, the ASUS ProArt PX13 really walks the walk thanks to the company’s Nano Black coating that almost poetically matches the deep blacks of the OLED screen on the opposite side. It’s admittedly a matter of taste, as some will prefer the luster of silver metal like those on MacBooks or Dell, but its more subdued aesthetic makes it less distracting as well. Thankfully, that same Nano Coating also prevents fingerprint smudges so there’s very little that will stain that darkness.

Minimalist doesn’t mean plain, however, and there are a few accents that bring out the ProArt PX13’s designer-centric character. The ProArt branding, for example, is smooth and a little bit reflective, tastefully set against the blackness of the cover. The vertical stripes on the hinge are supposed to be a nod to pro camera designs, but even if you don’t make that connection, they’re still an interesting touch. All in all, the ASUS ProArt PX13’s minimalism puts the focus not on the laptop but on the creator and the content, while also providing a dark, blank canvas for owners to use to let their own creativity shine through if needed.

Ergonomics

The ProArt PX13 is hardly the thinnest laptop, whether traditional or convertible, but it’s not terrible either for a 13-inch. When you consider that it packs enough hardware to cater to creative professionals and even some gamers, you’ll even be amazed at how ASUS managed to keep the numbers down to an accessible level. At 17.78mm (0.7 inches) thick and 1.38kg (3.04 lbs) heavy, this is something you can easily stow in your bag and be on the move in a flash.

This is very important when you consider that ProArt PX13 is more than just a laptop. It can also be a tablet you can draw on, whether on your table or on your lap, as well as a “tent mode” presentation and entertainment display. Changing forms is as easy as folding the screen back and forth, and the sturdy 360-degree hinge makes sure that it stays open at whatever angle you leave it. At the same time, however, the laptop’s weight is distributed properly so that you can open it up with just a single finger, lifting the lid while the body anchors it down.

The typing experience is pretty good as well, with well-spaced keys and a good 1.7mm travel. The cursor keys are squashed, of course, but that’s nothing new nor is it extremely uncomfortable. The touchpad is a decent size, but its mechanical design might disappoint fans of more haptic touchpads.

Performance

Right off the bat, the ASUS ProArt PX13 has some of the best hardware you’ll find in a 13-inch laptop. It’s one of the first to utilize AMD’s new AI-powered Ryzen AI 9 HX 370, giving it a wide lead in AI operations. This is paired with an NVIDIA GeForce RTX 4050, like in our review unit, or an RTX 4060. Either way, you’re getting a powerful graphics processor that, to no one’s surprise, handles AI skillfully as well. Benchmark numbers don’t always tell the whole story, but they’re impressive nonetheless. Whether the laptop is plugged in or running on battery, it will meet almost anything you can throw at it, whether it’s Photoshop, Da Vinci Resolve, or Blender.

Gaming is a bit of a different issue, though the ProArt PX13 is definitely capable. You will definitely feel the heat when pushing the system to its limits, but the cooling system does a stellar job of regulating its impact. The fans are definitely audible under heavy loads, but they quiet down just as quickly when no longer needed. And they’re barely noticeable at all if you’re just doing basic computing tasks like browsing the Web or typing up documents. The biggest setback when using this machine for gaming is actually one of its biggest strengths as well: its screen.

The 13.3-inch OLED touch screen is simply stunning, with rich colors, deep blacks, and a sufficient amount of brightness so that you can even work outdoors under overcast skies. The display is Pantone-validated and supports a wide gamut of colors, an important detail for graphics artists and content creators who need color accuracy more than anything else. The screen has a 3K resolution of 2880×1800 in a familiar 16:10 aspect ratio and a refresh rate of 60Hz. The latter is what makes the ProArt PX13 less suitable for gaming, at least for those who live and breathe 120Hz or higher. It’s not totally unusable for fast-paced games, and it completely marks the laptop as a machine primarily for work, with just a bit of gaming on the side.

Battery life for the ASUS ProArt PX13 is so-so. Given its size, the 75WHr battery it packs is actually generous, but it’s offset by the more powerful hardware. On Eco/Power Saving mode and average computing tasks, it can last an average of 8 hours, definitely shorter once you push the hardware to the limit. It ships with a 200W power brick that’s large but not gigantic. It can charge over USB-C using a 100W charger, but you’ll probably bring the official charger with you anyway unless you’re traveling extra light.

Port selection is on the light side as well. It has most of the important basics but is also oddly missing a few ones. There are two USB 4.0 Gen 3 Type-C ports and a single USB 3.2 Gen 2 Type-A port, one HDMI port, a 3.5mm headphone jack, and the proprietary DC-in charging port. There’s a microSD card reader but not a full-sized one, which is strange considering how digital cameras still mostly use SD cards, not their tiny cousins. We could always do with an extra USB-A port, especially if the only available one is already in use with an Ethernet adapter because the laptop doesn’t have its own RJ45 port.

The ASUS ProArt PX13 is overflowing with features designed for creative professionals, from hardware to software. There’s the somewhat odd DialPad in the order of the touchpad, giving quick access to actions like changing brush sizes in Photoshop, scrubbing through timelines in Premiere, and more. Not everyone will love this convenience, and it is fortunately easy to disable it completely. From the ProArt Creator Hub which has all the settings you can tweak for performance or monitor calibration, to the AI-powered software that takes advantage of the combined strength of AMD processors and NVIDIA graphics, the ProArt PX13 offers a multitude of tools to assist content creators in whatever kind of work or problem they’re facing.

Sustainability

ASUS has been making big waves when it comes to its commitment to helping protect the future of the planet, from the use of recycled materials in its products to the decrease of plastic in its packaging. It might not be visible or advertised for the ProArt PX13, but we’re banking on the company giving it the same treatment even in small amounts.

In terms of prolonging the life of the laptop, ASUS definitely took steps to make it a bit easier. The bottom plate can be removed easily using a screwdriver, except for the middle screw that’s also covered by a sticky rubber material. The NVMe SSD storage, battery, and Wi-Fi 7 module are easily replaceable, which are some of the most common components that need to be repaired or upgraded. Sadly, the LPDDR5X RAM is soldered to the motherboard, but having 32GB of memory isn’t that bad anyway.

Value

The ASUS ProArt PX13 is available in two configurations, with the RTX 4050 and 4060 being the only real difference between the two, as well as the Windows 11 Home and Pro licenses. Given the performance difference between these two very capable NVIDIA graphics processors, you couldn’t go wrong if you picked the base configuration that goes for only $1,699.99. At that price point, it already surpasses larger laptops and can hold its own against a MacBook that’s nearly double its price.

It’s pretty mind-blowing how much ASUS was able to cram inside the compact 13.3-inch body of the ProArt PX13 without hitting any significant compromises. It’s hardly the best gaming laptop or the most powerful movie maker, but what it offers is the flexibility to take your work or game anywhere without missing a bit. In that regard, it is pretty unrivaled, making it a truly tempting device for creative professionals, even those who mostly stay at their desks.

Verdict

The way we make content these days has changed greatly over the past years. Videos and graphic designs no longer have to be made on hulking towers tethered to desktops. Sometimes, the ability to quickly churn out content at a moment’s notice has become more important than production-level quality that will take hours on a regular laptop. Then again, why do you have to choose when the ASUS ProArt PX13 can give you the best of both worlds? Powerful, portable, and flexible, this convertible laptop delivers the tools that creative professionals need to bring their work to the next level, whenever inspiration strikes, wherever they are.

The post ASUS ProArt PX13 Laptop Review: An Agile Content Creator’s Best Friend first appeared on Yanko Design.

The Utilitarian Beauty in This Antique Custom Linesman's Tool Bag

It is fascinating to see what tradespeople fabricate for themselves to make their jobs easier. And for every Studley Tool Chest, there are probably thousands of unseen objects like in languishing in attics and basements.

Tested’s Adam Savage collects 19th- and 20th-century linesman’s tools. This month he acquired a rare find: A handmade custom tool bag used by a 20th-century linesman. Purpose-built, this humble-looking bag is utilitarian design at its finest.

The variety of materials used to make it suggests a careful attention to detail, function and manufacturability. The structure of the bag is leather, and the handle is attached by copper rivets, the insides of which have been well-flattened, even the ones near the bottom of the bag; its maker knew enough to take care of this before attaching the bag’s bottom, which is made out of wood, by the way. (I’m guessing because the racetrack shape of the bottom is easy to make out of wood, and easy to replace if worn out.)

The tool-organizing insert is made out of aluminum, presumably selected for its light weight; remember that a linesman would be scaling a pole with this slung over his shoulder. A second dogleg-shaped tool organizer, placed on the outside/non-body-interfacing edge of the bag, is made out of brass; this was obviously chosen for its easy workability. You can clearly see that the cutouts have been made by drilling holes, then using a file to connect them.

“Whoever had this spent a lot of time making it right,” Savage enthuses. “This was lovingly constructed by someone who was more than a passing enthusiast with leather, less than a master craftsman.” Savage points out that he’s not casting aspersions, but rather highlighting the dedication of the maker, who did his best to perfect something he would use every day.

Here’s the video of Savage going over every detail of the tool bag. If you want to skip the preamble and get straight to the bag, jump to 5:20 in the video.

If I was a billionaire, I’d open up a museum filled with objects like this. Admission for ID students would be free.

Top 21 Interior Design Patterns That Bring Life to Your Home Decor

Patterns used in the interior design of space play a crucial role in creating a cohesive and inviting atmosphere. Integrating various patterns and prints can add life and personality to your decor, creating a balanced and appealing look. Each pattern choice brings a different feel to your spaces. Explore the diverse types of patterns that can elevate the overall aesthetic of your surroundings.

Designer: Adam Hillman

1. Geometric

Geometric patterns include geometric shapes, including triangles, ovals, circles, or squares. The design may either be regular and symmetrical or entirely abstract. This pattern is highly versatile and is predominantly employed in contemporary spaces.

2. Chevron

Designer: Ethan Stoltz

Chevron stands out as a widely favored option in personalized design. Characterized by its zigzag stripe pattern, typically featuring two alternating colors, often with white as one of them, this design imparts a lively and modern touch. Incorporate it into accessories such as throw pillows or upholstery to infuse vibrancy into your living spaces. It can also be incorporated into the arrangement of floor and wall tiles.

3. Damask

Image courtesy of: DC_Studio

Damask fabric is intricately woven on a loom, featuring a raised floral pattern, commonly crafted from opulent silk, lending it a luxurious sheen. This design introduces an upscale aesthetic to any space. Typically, monochromatic or dual-toned, damask can also be discovered in more vibrant patterns. It is often employed in formal decor, particularly in settings like the living room or dining room, to enhance a formal or traditional ambiance.

4. Stripes

Designer: Lars Hofsjö

Stripes stand out as one of the most fundamental fabric patterns globally. Numerous variations exist, including awning stripes, characterized by broad stripes separated by thinner ones, and barcode stripes, featuring stripes of varying widths. The beauty of stripe patterns lies in their ability to seamlessly blend with virtually any other pattern without the fear of clashing.

5. Herringbone

Designer: Raphael

Herringbone bears a resemblance to a chevron but distinguishes itself by incorporating breaks between its zigzag elements. These breaks can manifest as thin gaps or actual lines within the pattern. Herringbone designs are typically slimmer than chevron, making them well-suited for contemporary room aesthetics.

6. Ikat

Image courtesy of: gargantiopa

This fabric is exceptionally fashionable and created through a process of dyeing and weaving. It presents itself as a geometric shape that appears stretched and blurred around the edges. Available in a diverse range of color combinations and shapes, this trendy style seamlessly complements contemporary room aesthetics.

7. Paisley

Designer: Spaces Architects@KA

Having its roots in Persian design, paisley gained immense popularity in 17th-century Europe, earning its name from a Scottish town. Defined by teardrop shapes and intricate designs, paisley exudes a retro vibe, particularly reminiscent of its heyday in the 1970s. Incorporating paisley patterns into contemporary-style rooms brings a vibrant touch of color and visual interest.

8. Polka Dot

Designer: ÉCAL

The well-known polka dot pattern exudes a cheerful vibe, featuring small dots arranged in evenly spaced rows of uniform size. Its versatility makes it suitable for both children’s rooms and master bedrooms, seamlessly complementing other patterns. Polka dot patterns are available in a wide range of color schemes, catering to virtually any imaginative palette you can envision.

9. Greek Key

Image courtesy of: salajean

This ancient pattern is gaining significant popularity in the realm of interior design. It involves an interlocking arrangement of squares or rectangles, all drawn from a single continuous line. This fabric is frequently employed as a border on items such as rugs, drapes, custom bedding, and pillows, contributing to a contemporary design aesthetic.

10. Chintz Pattern

Image courtesy of: BGStock72

Chintz is a longstanding fabric that undergoes glazing to achieve a glossy finish. While traditional chintz patterns often feature large floral designs, contemporary variations frequently showcase solid jewel-tone colors. This fabric is well-suited for traditional rooms or serves as a means to introduce a vintage touch to any decor.

11. Basketweave

Designer: Nika Zupanc for Moooi

As the name suggests, the basketweave pattern resembles a basket with a cross-woven appearance. It can either be a printed pattern on the fabric or involve actual ribbons that are cross-woven, creating a textured effect. Basketweave fabrics are available in a spectrum of color combinations, ranging from neutrals to bright hues. This pattern is classified under contemporary style, adding a modern touch to your decor.

12. Chinoiserie

Image courtesy of: wirestock

Chinoiserie fabric represents Western interpretations of historical Chinese designs. With a wide selection of colors and fabrics, it offers an extensive array of designs, including popular themes like florals, fishermen, birds, boats, and children. Chinoiserie proves to be an excellent option for traditional-style rooms or spaces inspired by Asian aesthetics.

13. Ogee Pattern

Image courtesy of: safakc1

Resembling a rounded onion or diamond shape, the ogee fabric pattern is a common feature in Middle Eastern decor and has been employed worldwide for centuries. Available in a diverse range of colors and fabrics, ogee patterns can be seamlessly integrated into your room’s theme and color palette. This versatile pattern serves as a complement to global, boho, contemporary, and eclectic styles.

14. Toile

The toile pattern is printed on a white background and gained immense popularity in 18th-century France. It often depicts scenes of country life, showcasing people engaged in everyday activities or rural landscapes. This pattern harmonizes effortlessly with other designs and serves as a hallmark of the French country style of decor.

15. Houndstooth

Image courtesy of: wirestock

This timeless pattern can bring an elegant touch to various interior designs. Featuring a checked pattern with abstract and irregular points at the corners of the squares, it somewhat resembles the teeth of a dog. Typically found in black and white or combinations of neutral colors, this fabric complements eclectic or contemporary room aesthetics.

16. Moroccan Lattice

Image courtesy of: BGStock72

A modern take on the traditional lattice pattern is the Moroccan lattice print. Resembling a trellis, it features a grid design created by intersecting lines. What sets it apart are its four sides, with two being rounded and the other two pointed. This distinctive pattern complements contemporary room decor within your home.

17. Flame Stitch

Image courtesy of: StiahailoAnastasiia

This pattern gained popularity in the 1970s, featuring a closely spaced arrangement of jagged lines resembling flames. Flame stitch zigzags are typically thin but can vary in height. This playful fabric pattern is a great choice for contemporary rooms or any space where a retro aesthetic is desired.

18. Checked

Image courtesy of: nuchylee

Checkered patterns closely resemble a checkerboard, featuring alternating squares of two different colors across the fabric. Frequently, one of the colors is white, though a diverse range of other color options is also available. Checked designs harmonize effectively with country-style decor, adding a touch of classic charm to the setting.

19. Floral

Designer: Zac Feltoon

Floral patterns come in a vast array, ranging from tiny to large flowers, casual to formal styles, realistic to abstract representations, and colorful to monochromatic hues. While floral designs are commonly associated with cottage décor, their versatility allows for mixing and matching with various other patterns depending on the style.

20. Zebra

Image courtesy of: Rawpixel

The top animal print choice is zebra, featuring a black and white color scheme that serves as a versatile neutral. The irregular stripes easily complement other patterns, injecting a touch of wild style for playful allure in any design. Zebra patterns are often used in children’s rooms to create a whimsical vibe.

21. Harlequin

Image courtesy of: Photology75

This fabric pattern resembles a checkered design but is characterized by diamonds instead of squares. Often, a tiny dot is present where the points of the diamonds meet. It can feature a multitude of colors or a straightforward two-color design. This fabric is well-suited for various styles, including glam, eclectic, Parisian, or contemporary rooms.

The post Top 21 Interior Design Patterns That Bring Life to Your Home Decor first appeared on Yanko Design.

Interview: Artist Peter Cusack

From musings to the canvas, Cusack uses oil painting to reflect on society and evoke powerful emotion

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Interview: Artist Peter Cusack

From musings to the canvas, Cusack uses oil painting to reflect on society and evoke powerful emotion

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by Theo Coulombe

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Art is often referred to as a medium with multiple purposes, from personal expression to societal commentary and beyond. Further, it can be argued that the significance of art lies in its capacity to reflect and shape the human experience—a vast undertaking that Torrington, Connecticut-based artist Peter Cusack addresses in his oil paintings. With a subdued palette, ethereal figurative exploration and an enveloping depth, Cusack’s paintings provoke emotion. To learn more about his career, practice and what he hopes will come next, we spoke with the artist.

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by Theo Coulombe

How did you first get involved in creating artwork, and what did that journey look like for you?

I was an English major, and I did a lot of writing. I went into publishing, but I was looking for something creative to do on the weekend. I would look at art magazines and I thought if I could just create a competent painting on the weekend, I would be thrilled to gain some confidence in the art world. Then I started taking classes on the side. I came across an artist in Brooklyn, who had a good sense of foundation work, and I started working with him. I got good enough to where he recommended that I go to specialized training in France. So, I quit my publishing job and moved out there for a year when I was 28 years old.

It was very intensive training. It was the first time I left the United States, the first time I left my identity of who I was, and stepped into this incredible landscape, history and philosophy. Once I got that initial training, I returned to America and tried to put it into practice, which was very difficult. I was in a very isolated experience in France and then back into the chaos of New York, having to make a living. I started at the bottom and had to find my way up this learning curve. I did lots of odd jobs from graphic design and serving to freelance illustration and teaching at various universities, which I still do. Eventually, I realized that it was time for me to take out the original artist, the original idea, and see what’s inside myself. That’s when I moved to Connecticut, got a studio, and started doing my own work and exhibitions.

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by Theo Coulombe

It’s been 25 years of really looking at everything and learning. I think there’s a nugget in all of us that is the model for what we’re going to become—we all have that representation of our future selves. There was a lot of time [spent] learning a language and becoming proficient. It was that connoisseurship and taking in all of what is in the art and cultural worlds, creating a new point of view. I was talking to the student about how you can do things wrong but make it elegant. It doesn’t have to be perfect, but still has a sense of elegance inside. I think that still carries through my work.

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by Theo Coulombe

What inspired you to start oil painting as your medium?

I think what drew me to oil on canvas was, as a connoisseur, I was looking at art history and learning. What moves me about oil painting—oil on canvas, or oil on board because that oil work is the emotionality of the old masters—was that I could feel in, a very palpable way, the emotional qualities. Painting is one of our first languages, and I’m aware of that. It’s persistent. Even though there are a lot of changes in the art world, painting continues to be, I think, the most engaging vehicle because it’s very dear to us—there’s a very relatable human mirror for us. I always talk about it being such a flawed space where there’s been lots of different cultural aspects that have been fought on the canvas, and it’s always been a very dramatic space. That’s the arena that I want to be in. That’s the arena that speaks to me, that high-wire drama of painting.

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by Theo Coulombe

How do your experiences and cultural observations of society influence your work?

I think what’s unique to our society is that we have a very concrete existence—we’re carrying a very concrete, existential concern for our planet. We’re at a point where we’re really seeing the effects of climate change, and even though it’s very scary to talk about, there is a lot of discussion out there about what might happen in five years. What is the turning point? What’s the point at which we don’t turn back? So, that sharpens up your emotional position when you’re an artist and you’re thinking in the wake of this great existential unknown, “What do I do?”

One of the first things that I got rid of was irony. I don’t think we have the privilege to be ironic anymore. And, I think sensitivity is a very important point of view for art because, in my work, I’m exploring that the human poetry and condition of facing an unknown in the natural world is in our very beloved earth. I think I’m addressing all of those societal concerns with sensitivity and porousness. I look to nature as a healer, and I look to nature as not being separate from us. Recently, there’s a motif that’s been coming up in my work, which is just a stone. I feel like the presence of that stone in my work represents wisdom, but it also represents a beckoning, like nature is calling for us to find balance with it.

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by Theo Coulombe

I use nature and it’s for serenity. In our commercial and digital world, I know that I retreat into nature and find myself there again. I know that my soul can rest in nature. I bring it in because I think it’s an important relationship that we should cultivate. 

I’m also very much curious about the individual—a lot of my paintings are about individuals’ experiences, and without an applied narrative, I really try to see the experience of being human in its most basic terms. That’s why I’m always drawing the body and its place in space. It’s definitely what I’m responding to—not politically, not with irony, but with truth and sensitivity.

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by Theo Coulombe

What motivates you to pick up a brush and create meaningful pieces?

Motivation can be difficult. Practice is very important—getting back to the chair and working is very important. But, for me, what motivates me finally is when I’m surrounded by paintings that are on my walls. All I have to do is remove those paintings, and then I’m compelled to put something back up and that’s a wonderful feeling. I think my curiosity, my love of contemplation, and my work, all end up keeping me company. So, if I don’t have anything on the walls, I’m going to paint something. That’s the bottom line motivator.

If I don’t have anything on the walls, I’m going to paint something. That’s the bottom line motivator.

What feelings come to mind when you pick up a paintbrush and start working?

That first feeling we’re kind of coming out of is fear—absolute fear. It lasts for a few seconds, but it will get me; it will push me. That fear will push me away from working. But, once I pick up the brush, I still feel fear but then what kicks in is my experience as an artist and my body’s knowledge of this practice. I’m getting better at trusting my body’s knowledge. Once I get involved, the experience will move me into the right place of creating. But, that first [feeling] of fear and despair is awful. The fear is our internal voice and it can be very disruptive. It takes time to learn how to combat it. The opposite of the fear is how essential it is for us to have these practices.

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by Theo Coulombe

What type of emotions are you trying to evoke with your pieces?

Spatially, I want there to be a union. I want the painting to bring the person into a grounding experience that they feel present and out of their world. When you watch two people tango beautifully, you’re mesmerized, and moved out of your worries into the rhythm. That’s really where I want my viewers to be. In that rhythm, there’s meditation and there’s room for contemplation and balance. When I teach drawing, I talk about how the process of drawing is coming out of your mind into your body. As you lose your mind, you leave room for whatever is in the universe that loves us to come into our bodies and embody us. We really move into a space where we have this feeling of being at one and at peace. I don’t want my viewers to feel tortured. I don’t want to illustrate a story about depression or even about joy. I think our lives are more complicated and richer than that. The richness of our complicated lives feels good when we touch ground into them. That’s mimicked in the color.

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by Theo Coulombe

What motivates you to pick specific colors over others? What meanings do you think each of them hold?

When I was an illustrator, I used color in almost a commercial advertising way, using bright colors, maybe even leaning toward garish colors to get attention. When the pandemic hit, we were all locked down and there was a sense that we were all in the same experience. During that time, there were a lot of political issues. During that whole period of unrest, all the color in my work drained, and I was left with the question of what color works. Why this color? The color drained out of my work, and then it began to reassemble itself. And, I think how it was assembled was based on unification rather than advertising. There are aspects of it, this idea of unification and ensuring the surface of the canvas is unified. There’s a term in abstract expressionism, all-over painting, where instead of there being one focal point, the focus moves out to the edges of the painting, and then beyond, forming this unified field. That sense of unity could be a reaction to the need for unity in our world and really getting on top of problems that we have together. Maybe it was manifested in the color where now I’m interested in, how the color sits on the canvas and creates a unified field. There’s one tone, one big vibration rather than jarring moments or separation.

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by Theo Coulombe

What do you have in store for the future?

Most recently, I’ve been seeking to connect with creative minds from other disciplines. The art world is sort of a rehash of every corner of the art world that you go to. So, I have a wider sense of things. Ever since I was a kid, it’s been a gift and a curse. I’ve been looking to connect with people who are thinking about design and how to create space—spaces for our sensitivities and our humanity. I love connecting with those people in architecture. I’m really interested in sacred spaces. These new concepts architects are developing for new ways of living have given me a lot of inspiration. So, the future is about connecting to other disciplines, from architecture to music. I think getting out into the world and collaborating and developing dialogues with other disciplines is very important going forward.

Incoming RIBA president defends work on Neom

Chris Williamson

Incoming RIBA president Chris Williamson has defended his studio’s work on the controversial Neom mega project in Saudi Arabia, saying “it is not a decision I take lightly”.

In a statement written for UK publication Architects’ Journal, Williamson outlined his views on the decision of British architecture studios to work in Saudi Arabia or on the controversial Neom scheme.

“We all form our own beliefs”

“We all form our own beliefs, our own version of truth and that should be respected,” he told the Architects’ Journal.

“I’ve read all The Guardian and other critical articles and I’ve also spoken to many people more directly involved and formed an opinion, which is always of course open to change if there is new information.”

Weston Williamson + Partners co-founder Williamson will officially become RIBA president-elect next month after winning an election in July. According to the Architects’ Journal, his studio is believed to have worked on the high-speed railway that will run under the 170-kilometre-long The Line mega city.

The Line is the centre piece of the controversial Neom project in northwestern Saudi Arabia, which has been criticised on environmental and human rights grounds, particularly following reports that three men among communities evicted from the site have been sentenced to death. Saudi Arabia’s government has claimed the men are convicted terrorists.

“Until 2021 I had not visited Saudi Arabia,” Williamson wrote in his statement.

“I have since been four times, working alongside a diverse and talented group of architects, engineers and project managers on an incredibly exciting project.”

Williamson not worked on Neom for “well over a year”

Williamson confirmed to the AJ that his studio had worked on Neom, although said he had not personally worked on the project for “well over a year”.

“Although I haven’t worked on the project for well over a year – my particular commission was completed – I would be pleased to partake in a discussion about the ethics, the pros and cons of working abroad,” he said in his statement.

“I feel I have pretty good awareness and understanding of ethics and social responsibility,” the statement added.

“There was a time when I was working in USA and felt uncomfortable with what was reported to be happening in Guantanamo Bay or the plight of many prisoners incarcerated elsewhere.”

“The UK in the 1960s was not a particularly tolerant place in many respects – it is important to look at the direction of travel of the country in question, not merely where they are now.”

Williamson’s statement marks one of the first times that an architect involved in Neom has publicly addressed the controversies surrounding the project, which has drawn criticism from the UN Human Rights Council and Amnesty International.

Neom photos of the Line foundations
Top: Chris Williamson. Above: The Line is under construction in Saudi Arabia

In July, Dezeen asked the 23 studios known at that time to be working on Neom about the alleged human rights abuses, but none issued a response.

Two days after his presidential election win was announced, Williamson told Dezeen that his studio was not working on Neom. “No we are not working on the project,” Williamson responded when emailed in July.

Williamson said that he believed architects “should be expected to have higher standards than other professions”, but should make up their own minds on where to work.

He indicated that to make his decision about working on Neom he consulted with others working in the region as well as the UK government.

“My personal choices about where to work are always made following enquiries to architects and engineers I trust and admire who also work abroad – and also those who choose not to,” said Williamson. “It is not a decision I take lightly.”

“Where there is doubt about particular clients or regions I have called on the Foreign Commonwealth and Development Office,” he continued.

“We follow the lead of the UK government” says RIBA

This position seems to align with that of RIBA. When earlier this year Dezeen asked the organisation about allegations of human rights abuses at Neom, RIBA indicated that it was looking to the UK government for guidance on working in Saudi Arabia (KSA), which it described as a “key UK Government trading partner”.

“We follow the lead of the UK government and will act on any government guidance following investigation of these serious, concerning allegations,” a RIBA spokesperson told Dezeen.

“As a signatory of the UN Global Compact, we ask all Chartered Practices to promote and uphold its universal principles on human rights, labour, environment and anti-corruption within their projects.”

Other UK-based studios believed to have carried out work on The Line include Zaha Hadid Architects, Cook Haffner Architecture Platform and Name Architecture. We recently rounded up all the studios believed to be working on Neom.

Neom is one of 14 giga projects being developed in Saudi Arabia as part of the Saudi Vision 2030 plan to shift the country’s economy from a reliance on oil.

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Spasm Design wraps 12-storey home in terracotta facade

Sarvasva by SPASM Design

A single family home is contained within the Sarvasva tower, which Indian studio Spasm Design created to stand out from the neighbouring grey buildings in Mumbai, India.

Named Sarvasva, the home is contained within a 12-storey tower that aims to make the most of its site within the dense urban setting.

Wrapped in a rainscreen of terracotta panels, the concrete-framed tower has a distinctively coloured facade designed to stand out from the grey buildings that surround the site.

Aerial view of Sarvasva tower in Mumbai
Spasm Design has added a tower to a compact site in Mumbai

“The entire build is skinned in a rainscreen facade of terracotta panels, which are highly sustainable,” studio co-founder Sangeeta Merchant told Dezeen.

“The colour works well with the green of the large acacia avenue the project stands on,” she continued.

“Dust wont read on this self cleansing facade, and the colour stands out in the otherwise grey and boring vertical neighbourhood.”

Front elevation of family home by SPASM Design
The exterior is wrapped in terracotta panels

In response to the density of the urban site, the family home is spread across twelve levels intended to accommodate vertical living, which Spasm Design hopes will encourage a shift away from the common ways of building in the Indian capital.

“A single family vertical home in a dense urban setting is a tough proposition, considering most developments in Bombay are developer driven, with greed of floor space at their core,” said studio co-founder Sanjeev Panjabi.

View of Sarvasva home on dense site in Mumbai
The home is spread across twelve levels

A geometric void made from intersecting rectangular cutouts stretches up one side of the tower, dotted with black spiral staircases and planting as well as outdoor spaces including balconies and terraces.

“We conceived a body that would propose a new way of living vertically, take in breezes, invite butterflies and birds and allow life to pour outdoors,” Panjabi continued. “The vertical void lights up to lend a sense of green and atmosphere of naturalness to the neighbourhood.”

“The outdoor spaces and little connections of black spiral stairs present a unique way of living the green void, which is an extension of the spaces within,” he explained.

Exterior view of terracotta tower by SPASM Design
Geometric cutouts feature on one side of the tower

Inside, each interior space of the home is set back into the tower, flanked by jagged terraces of different shapes that run along the edges of the void.

Each terrace is bordered by black railings and dotted with greenery, while some levels are connected by external spiral staircases that add an additional black accent to the exterior.

Behind the front void, the interior spaces on each level are connected to the terraces by sliding glass doors and floor-to-ceiling windows.

Towards the bottom of the tower are a basement level as well as two levels of parking and service floors. The first main floor of the house above the parking levels is designed as a guest suite, with a number of guest bedrooms and bathrooms.

White walls feature throughout the spaces, accompanied by black accents as well as dark wooden finishes.

View at night of Sarvasva tower in Mumbai
External terraces are provided at each level

Above the guest rooms, the next levels of the tower contain the kitchen and family living space, while the next three floors contain bedrooms, including two principal bedrooms that each occupy a full floor and a children’s room flanked by a playroom.

An extra floor filled with a double-height formal living space is located above the bedrooms, finished with wooden wall panels and modern furnishings. The living space is overlooked by a mezzanine-level dining room.

Near the top of the tower, one terrace holds a swimming pool lined with tiles of varying green tones. Lounge spaces sit behind the pool, which can be opened or closed to the space outside by white floor-length curtains and sliding glass doors.

View of upper floor terraces at family home by SPASM Design
A swimming pool is hosted on one of the terraces

Designed to act as a casual living space, the lounge area features a small kitchen with pale blue cupboards and polished black flooring, as well as a living area with orange armchairs that mimic the colour of the facade.

Above the swimming pool, an additional level containing a gym is set back within the tower, contained within a black volume with floor-to-ceiling windows.

A split-level roof terrace tops the tower, comprising three staggered levels connected by an additional black spiral staircase. Coated in dark grey floor tiles, the main terrace space features areas of planting and open space for relaxation.

Other Indian homes recently featured on Dezeen include a brick house designed to resemble a docked ship and a home dotted with multi-level courtyards intended to encourage communal living.

The photography is by Jacob Nedumchira / Photographix India.

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INSTAX WIDE 400 instant camera leaves more space for your friends

Even with the growing power of smartphone cameras, the discrete camera market hasn’t yet folded as many once prophesied. Professional cameras like DSLRs are still unmatched in power and flexibility, while the retro and nostalgia craze has actually carved a niche for Polaroid-style instant cameras. The most popular format for the latter is small vertical cards that fans love sharing or sticking on walls and fridge doors, but those square-shaped photos (not including the wide white borders) don’t exactly have enough room for everyone or everything you might want to capture. For that, you’ll need a wider picture format, almost like the stereotypical 4×6, which is something that Fujifilm’s latest INSTAX design is offering, allowing you to snap and share those once-in-a-lifetime moments with more friends.

Designer: Fujifilm

There’s just something about these instant cameras that tickle people’s fancies, regardless of whether they lived through the age of Polaroids or not. Rather than being seen as a weakness, the lack of digital features and the limits of printed photos actually add to the charm of the experience. It makes each moment even more ephemeral and precious, which is why you’d want to include as many people or as much of the scene as you can.

The INSTAX WIDE 400 provides that breathing room with its wide photo format, almost twice the size of regular INSTAX photos. That also makes the camera twice as large, as it needs to fit the cartridge holding the ink-free sheets of photo frames. That said, the camera is also designed for comfort despite its size and heft, and its traditional design makes it easy to grasp and hold even with a single hand.

One of the biggest strengths of the INSTAX cameras is their extreme ease of use. Simply turn them on, which involves turning the central dial to the left, and you’re good to go. But since it was specifically designed for group photos, the INSTAX WIDE 400 has a unique feature that lets you turn a lever to set a timer for up to 10 seconds, giving you enough time to position yourself or prepare wacky poses. It doesn’t get simpler than that.

Admittedly, the INSTAX WIDE 400 is aimed at a very niche audience, but one that really digs this kind of experience enough to fork out around $150 for just the camera alone. That said, Fujifilm also knows it’s not everyone’s cup of tea, which is why it has a wide range of INSTAX products ranging from smaller instant cameras to portable photo printers that try to offer the best of both analog and digital worlds.

The post INSTAX WIDE 400 instant camera leaves more space for your friends first appeared on Yanko Design.

HawkinsBrown converts former Vitra showroom into own street-front office

Hut, the Richard Woods cabin in HawkinsBrown office

Architecture studio HawkinsBrown has taken over a former furniture showroom, giving its staff a workspace with a shop window, a social kitchen and a Richard Woods-designed cabin.

The former Vitra showroom on Clerkenwell Road is now a three-level office for 250 of HawkinsBrown‘s 350 staff. The new street-front address was designed to give the architects a workspace that facilitates more diverse ways of working and offers greater opportunities for social activities and events.

HawkinsBrown office on Clerkenwell Road
The street-front office is located on Clerkenwell Road in London

“Our vast shopfront means we are on display, presenting us with a new and exciting opportunity to show the world who we are and what we do,” said HawkinsBrown managing partner Hazel York.

“It’s a place to connect with our clients, collaborators and the wider Clerkenwell community through a programme of talks and events, temporary exhibitions and art installations.”

Event in HawkinsBrown office
The ground floor can be used for different activities and events

Central to this approach was turning the ground-floor space into a flexible “canteen” featuring a stainless-steel counter where staff meet for coffee and cafe-style furniture that can be easily moved around.

“Our ground floor canteen is our working experiment, our laboratory,” said HawkinsBrown’s creative director David Bickle.

Stainless steel counter
A stainless-steel counter is the place where staff meet for coffee

“It’s a place where we can host talks and seminars, workshops, supper clubs and sunset yoga, and invite takeovers by like-minded organisations,” he told Dezeen.

“We’ve purposely kept it unprogrammed, loose fit and unfinished, preferring to ‘show not tell’ what we do to the world outside.”

A shed covered in the colourful cartoon-style prints of artist Richard Woods can be found on this floor, surrounded by plants.

Known as Hut, it offers staff a place to find isolation.

Hut, the Richard Woods cabin in HawkinsBrown office
The Richard Woods-designed Hut sits among plants

The idea was to create the feel of a building within a building, an approach that HawkinsBrown previously explored on projects including the Gantry at Here East and the Here + Now offices.

“We recognised that many of us worked from sheds, home offices, lofts and kitchen tables during the Covid lockdown and that this form of isolation was important for certain concentrated creative tasks,” stated Bickle.

Hut, the Richard Woods cabin in HawkinsBrown office
This colourful cabin offers staff a place to find isolation

“We talked through our ideas with Richard; he was immediately taken with our thinking and open to creating something new,” Bickle said.

“The closed form of Hut creates a talking point. Paradoxically we placed the most private space in the most public location but, through its design, we created a sanctuary from the rest of the studio and the world outside.”

Red staircase
The newly painted red staircase encourages staff to stop and chat

More art can be found on the glazed facade in the form of graphics designed by architect June Tong, the winning entry in an in-house competition.

Power-assisted acoustic curtains allow the space to be subdivided if necessary, while a newly painted red staircase encourages staff to stop and chat while moving between floors.

Meeting room in HawkinsBrown office
The design includes both formal meeting rooms and collaborative spaces

Meeting rooms can be found on all three levels. These include a pair of adjoining basement rooms affectionately known as Ray and Charles, which can be combined into one larger room called Eames.

These were named in tribute to former occupant Vitra, which produces furniture by the famed American architects.

HawkinsBrown office model shop with red staircase
A modelmaking workshop is located in the basement

A modelmaking workshop is located in the basement but visible from above, while pin-up boards were integrated into sliding doors as well as mobile partitions.

York said the new office has shaped a more collaborative culture among staff. Amid the wider shift to hybrid working, she believes it has strengthened the firm’s sense of community and collective identity.

“We knew having a shop window on a bustling street would be great but it has surpassed our expectations,” she said.

Basement in HawkinsBrown office
The windows feature graphics designed by in-house architect June Tong

“Watching the world go by is a constant reminder of how our work shapes and is shaped by the city and communities we serve.”

“Equally, we are very open about the work we do; everyone can see in. We draw on the windows, stick up work in progress and regularly wave at people at the bus stop!”

The photography is by Ruth Ward.

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Haller Gut Architekten adds "light and delicate" extension to Swiss school

Aeschi School in Switzerland by Haller Gut Architekten

Swiss studio Haller Gut Architekten has completed an extension to a school in Aeschi, providing classrooms with colourful accents and clad in thin planks of white wood.

Haller Gut Architekten added additional teaching and administrative spaces to the school, which was originally spread across four detached buildings from different decades.

Instead of creating a new, standalone structure, Bern-based Haller Gut Architekten chose to connect two of these existing buildings that sat at a right angle to one another, infilling the gap between them “as naturally as possible” to better enclose the school’s yard.

Exterior view of Aeschi School in Switzerland by Haller Gut Architekten
Haller Gut Architekten has added an extension to Aeschi School

“This approach connects the two existing buildings and creates a coherent school building on the inside,” Haller Gut Architekten co-founder Marc Haller told Dezeen.

“In addition, all three buildings could be connected with just one lift on all floors without thresholds,” he added.

As well as creating new circulation spaces for the existing school buildings, the extension houses administration spaces on the ground floor and classrooms and a cloakroom on the first floor.

Extension clad in white timber
It is clad in thin planks of white wood

On the inner edge, the extension curves to enclose the school’s yard.

This creates covered access across the site on the set-back ground floor and providing views to the classrooms above through large windows.

Interior of Aeschi School in Switzerland by Haller Gut Architekten
Pops of colour feature inside

“On the ground floor, individual very large windows with closed ventilation sashes were installed in the municipal administration, which frame the view and allow plenty of daylight into the workrooms,” explained Haller.

“The ribbon-like windows in the classrooms on the upper floor allow a view into the distance.”

School building in Switzerland
It connects two existing buildings on the site

The structure was created using a mix of concrete slabs, exposed brickwork and timber columns and beams.

In the classrooms, the brickwork has been painted white and the timber left exposed, creating a simple backdrop for moments of colour in the pale green window frames and bright yellow coat hooks.

“The wooden supporting structure of the roof creates a warm atmosphere in the classrooms and accommodates the lights in the spaces in between,” said Haller.

“Individual elements such as cupboards, coat hooks and the windows are treated with different colours, deliberately contrasting with the white walls and the wooden structure.”

Interior of Aeschi School in Switzerland by Haller Gut Architekten
Its wooden structure is left exposed inside

The exterior of the extension has been clad in vertical wooden planks, finished with curved ends that create a scalloped edge.

“The expression of the new building appears light and delicate like paper as a complement to the two mural buildings,” described Haller.

Other education projects recently featured on Dezeen include a concrete secondary school in Romanshorn shaded by pale pink window shutters and a school by AOR Architects that is built from timber logs.

The photography is by Karina Castro.

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"We don't want to develop like Europe" says Suriname's architect minister

Marciano Dasai speaking at an event

Suriname’s Marciano Dasai is possibly the only government minister in the world who’s also an architect. In this exclusive interview, he discusses the challenges facing the tiny rainforest nation.

Dasai has been Suriname’s minister of spatial planning and environment since last year, having previously spent 20 years practising and teaching architecture.

“I was never into politics,” he told Dezeen. “I never joined a political party.”

“We’re in the beginning stage of everything to do with buildings”

That changed in 2023, when the country’s coalition government invited Dasai to take on the brief following the previous incumbent’s resignation midway through the current parliamentary term.

“They were looking for a candidate, and I think they asked me because of my background,” said Dasai.

“One thing that attracted me to take this role is that Suriname is a developing country – we’re in the beginning stage of everything that has to do with buildings, with infrastructure.”

“So knowing what problems there are in my sector and getting this opportunity to work on these issues, I said, ‘okay let me take the challenge, even though it’s a political function’.”

The challenge he refers to is considerable. Suriname is South America’s smallest sovereign state, with a population of around 630,000.

A former Dutch colony, its development has been stunted by several bouts of political turmoil since it gained independence in 1975.

Fishermen in Suriname
Top: Marciano Dasai has been a minister since May 2023. Photo courtesy of the Ministry of Spatial Planning and Environment. Above: Suriname is the world’s most forested country. Photo by Shutterstock

Despite its modest population size, it is also at the epicentre of many climate-related issues.

The Amazon rainforest covers 93 per cent of its land, making it the world’s most forested country and one of only three carbon-negative nations, along with Bhutan and Panama.

But with the vast majority of its people living in low-lying coastal areas, Suriname is described by the United Nations Development Programme as “highly vulnerable to climate change”.

Meanwhile, following the recent discovery of an estimated 2.4 billion barrels of oil off its shores and another 350 billion cubic metres of gas, it has plans to start drilling in 2028.

“We don’t want to develop like Europe,” said Dasai. “Europe has destroyed everything and has become rich. We don’t want that scenario where you become rich but you have to destroy your environment.”

“But the big challenge now is that because we’re a young country and we still have to develop economically, we have to find a balance between conserving what we have and developing.”

“Our best resource is the forest – not the oil”

According to Dasai, Suriname intends to remain carbon-negative, despite its plans to exploit its oil and gas reserves.

“We are one of the three carbon-negative countries in the world and we’d like to keep it that way, because I think that our best resource is the forest – not the oil or gold that we have underneath it,” he said.

But to do that, it wants help from wealthier countries in the form of carbon credits.

Since governments finally agreed a set of rules for carbon-credit trading at COP26 in 2021, Suriname has moved quickly, hitting the carbon-credit trading market in July.

Essentially, it is looking for governments in other parts of the world to pay it to maintain its rainforest. Implicit within that is a challenge to wealthier nations.

“We – the Amazon countries – have been absorbing all the CO2 that the world emits, especially the rich countries, for many years,” said Dasai. “And we have been doing that for free.”

“And now we’re in a phase where we have to reduce emissions, but we are not developed yet, and we have these opportunities,” he added.

The more money Suriname can raise through carbon credits, Dasai argues, the less it will need to use its fossil-fuel resources to fund its infrastructure needs.

“We say: look, if you can help us in the way that we prefer – by paying for the carbon credits – then we won’t have the tendency to use our natural resources, which will give high emissions,” he said.

Carbon credits will also incentivise ordinary Surinamese to prioritise protecting the rainforest, he adds.

“We have people that don’t have any possibilities,” he said. “They want to develop, they want to eat, so what are they doing? They’re going underground looking for gold, or into the oil sector.”

“And if we say, ‘no, protect the forest’, they say, ‘okay, what are you giving me for that?’ So that is the context here in Suriname.”

“I have to have a whiteboard with me”

Making these kinds of arguments has been a new challenge for Dasai since he entered politics.

“The technical side is no problem,” he said. “You can have the biggest issues to solve, but it’s doable, I have the background.”

“The political side is new for me. It’s a bit difficult, but I’m learning.”

Despite meeting peers from many nations since becoming a minister, he says he has yet to meet another architect.

Dasai has brought his experience, which includes founding architecture firm Sadewa Design and Engineering in 2017 and spending more than a decade teaching architecture and building technology at the Anton de Kom University of Suriname, with him into his government role.

“I have to have a whiteboard with me,” he said. “If I look at my other colleagues, they always use words in their slides, but I use graphics, drawings, illustrations.”

Colonial buildings in the historic inner city of Paramaribo
The historic inner city of Paramaribo is a UNESCO World Heritage Site. Photo courtesy of UNESCO

“So my design background helps me to illustrate the problem to my people,” he added. “It’s a big help if you can look at it in a scientific way, and then try to solve it politically.”

The next major political hurdle for Dasai will be the introduction of his amended Spatial Planning Act to Suriname’s parliament.

It seeks to add structural plans and zoning plans to the current legislation, which dates back to 1970 and has never been updated.

This is “very basic stuff”, says Dasai, but crucial to Suriname’s future development.

“If you don’t have certain things in place you cannot go further, so my high priority is the updated Spatial Planning Act,” he said.

“If we have that we can make further steps. If you don’t have that in place, it makes it difficult for architects to develop new projects in the proper way.”

“The focus is building with nature”

“We have done all the work and now all these concept acts have to go to the parliament – and that’s a big challenge now, because we have to defend it, and we have to talk about it in a political way.”

Combined, the planning act and the carbon credits form major planks of Dasai’s Green Development Strategy for Suriname, targeting sustainable land use.

On top of the agenda is improving Suriname’s flood-prevention infrastructure.

“The focus is building with nature,” explained Dasai. “So all these concrete dams are not a priority at the moment, for instance.”

“We are looking at projects where we rehabilitate our mangrove sites, and we will try to have a mixture of green and grey.”

Suriname’s most notable existing architecture is the 17th- and 18th-century Dutch colonial buildings in its capital, Paramaribo, where the historic inner city is a UNESCO World Heritage Site.

Moving forward, Dasai is eager to encourage architecture that suits Suriname’s tropical climate while avoiding heavily CO2-emitting concrete.

“What we from the ministry are promoting is tropical architecture, where you make use of natural ventilation,” he said.

“For the construction, we prefer wood,” he added. “We have a lot of wood, and it’s being exported.”

“We want to try to change that. We don’t want to export the roundwood – we can use it for our own market, or export already-made wooden products to other countries.”

However, with a general election due in 2025, Dasai may not have long to deliver on his ambitions.

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