Skyscrapers such as Porsche Design Tower, Faena Hotel and Trump Tower III are among 35 buildings in the barrier islands of Miami that have sunk as much as eight centimetres since 2016.
Conducted by researchers at the University of Miami, the study looked at skyscrapers in the strip of coastal islands off mainland Florida in population centres including Miami Beach, Surfside, Bal Harbor and Sunny Isles Beach.
It examined many large buildings built on the strip, half of which were built in 2014 and after, and found that 35 had been affected by sinking or “subsidence” of between two to eight-centimetres.
Sinking related to construction activities
“We document vertical displacements ranging from two to eight centimetres, affecting a total of 35 coastal buildings and their vicinity,” said the study.
“About half of the subsiding structures are younger than 2014 and at the majority of them subsidence decays with time. This correlation suggests that the subsidence is related to construction activities.”
The Porsche Design Tower is one affected by the sinking. Image courtesy of Porsche Lifestyle Group
The heights of buildings varied, but the study did find a correlation between height and sinking.
The research was conducted over a period of seven years using a monitoring device called Interferometric Synthetic Aperture Radar (InSAR) – a sensitive device that can measure changes in geology as little as a millimetre that is often used for structural engineering.
Geological deformation
The reasons given for the sinking were the inconsistent layers of limestone and natural groundwater movements, with the study suggesting that construction activity may be “instigating” the “deformation” of the geological layers that provide support for the buildings.
“We attribute the observed subsidence to load-induced, prolonged creep deformation of the sandy layers within the limestone, which is accelerated, if not instigated, by construction activities,” it said.
In terms of long-term structural damage, the main problem for buildings on the barrier islands is when parts of the ground underneath and around buildings sink at uneven rates.
“While South Florida high-rises are designed to undergo several tens of centimetres of settlement of the entire structure, differential settlement induces internal stresses that can lead to structural damage,” said the study.
Surfside collapse highlights the need for monitoring
It also noted that construction could trigger the sinking of a nearby structure, such as the documented sinking of the site of an in-progress Bentley skyscraper due to the construction of the nearby Turnberry Ocean Club skyscraper.
Though it states that deterioration of the tower’s concrete structure was a primary cause, it warned that the collapse made clear the need for further monitoring of buildings in the area.
“[It] has highlighted the need for monitoring of building stability, especially in coastal areas with corrosive environmental conditions,” said the study.
The study did not give insights into whether or not the sinking effect was a cause at the Champlain Tower, because of lack of radar data for that area.
Last year, Zaha Hadid Architects released designs for a 12-storey luxury condominium on the Champlain Tower site.
Architecture studio Kengo Kuma and Associates are among the firms currently working on projects in the area
Some of the structures recorded in the research where sinking was observed were only 18 meters tall.
Rates of sinking were different across the different towers, from “slow exponential” to “fast exponential”, and many experienced a “sudden onset” of sinking around 2018, even for some structures completed more than 30 years ago.
“There are no indications that subsidence will come to a stop,” concluded the study.
Despite the uncertainty in stability laid out in the study and concerns over rising sea levels due to climate change in the city, construction continues in the area on massive structures.
Promotion: brands and studios must be willing to embrace difference and tension while creating space for dialogues, said panelists at a talk about collaboration hosted by Dezeen in New York.
The talk took place at the offices of The New Standard in SoHo, a design collective founded in London, UK that includes Universal Design Studio, Made Thought and Map Project Office.
They were joined by sports brand New Balance‘s global marketing director Chuck Mauro and Brooklyn Museum contemporary art curator Kimberli Gant to discuss the need for a new era of collaboration in the design and art worlds.
Universal Design Studio, Map Project Office and New Balance are currently working together to create a series of flagship stores around the world for the athletic brand where each New Balance store “will draw on authentic storytelling, offering an elevated and meaningful retail experience”, according to the designers.
Dezeen hosted a panel discussion with The New Standard at its offices in New York
The speakers at the talk reflected on the creativity generated in their work together, arising from spirited conversations. They voiced their concerns around the risks of designers talking in echo chambers and avoiding conversations with disagreements.
Moderated by Dezeen’s US editor Ben Dreith, the panel included Universal Design Studio principal Jason Holley and Made Thought strategy director Michaela Crompton.
It was moderated by Dezeen US Editor Ben Dreith
According to the panellists, creating space for an honest exchange of ideas and expression is essential to the success of companies in an era of complex problem-solving and the proliferation of brand partnerships.
“I don’t think creativity can happen in a vacuum,” said Crompton.
“I think I have good ideas, but great ideas come from conversation and dialogue and interconnectivity between different disciplines and different teams, and I think being together under one group is a really important component there.”
Crompton added that creating spaces for vulnerability and honest exchange within and between companies is essential to fostering these dialogues.
The panel covered the necessity for collaboration in the new era of design and art
Holley agreed, adding that a certain degree of tension and friction underlying different viewpoints and approaches should be prized in order to create good work.
“Engaging with others who have different perspectives, different opinions can be uncomfortable,” he said. “That friction, for me, is at the heart of creativity.”
He went on to say that finding common ground and languages should always be the first step when embarking on any collaborative venture. He cited an example where his studio worked on a project with tech firm IBM, where the parties had to use visual metaphors to understand each other’s disciplines.
Mauro, who has partnered New Balance with a number of distinct brands for collaborative ventures, also said that making space for different perspectives is important, but emphasised the need to “let go” of control and take risks.
The panelists discussed the need for vulnerability and friction in collaboration
“There are some brands that don’t take any risks at all, and then they either fail or become part of a meme,” said Mauro.
“Risk is really everything,” he continued, adding that brands should make sure at least some values align. “Letting go is a necessary part of collaboration.”
Crompton added to Mauro’s point, reiterating the need for vulnerability. “True collaboration is a vulnerable act,” she said “It requires you to throw down your ego, throw down any sort of posturing.”
It was attended by New York creatives
Gant stressed that company culture is important and that certain parameters need to be set in order to create space for dialogue between staff and collaborators.
“When you’re going working with a lot of people, you don’t always get the time to actually listen to them and take the feedback and make things better,” she said. “Unless you’re in a culture, in a situation, that allows for that.”
Gant spoke about her work on an exhibition showcasing the archive of film director Spike Lee, saying that “listening” to the needs of all actors involved in a large project was an essential aspect.
Universal Design Studio principal Jason Holley and Made Thought strategy director Michaela Crompton were joined by New Balance global marketing director Chuck Mauro and Brooklyn Museum contemporary art curator Kimberli Gant
She also cautioned against top-down collaboration, emphasising the need for dialogue amongst people at all levels of a project.
Latching onto the point about complex systems, Holley noted that the architectural fields tended away from embracing the “messiness” that is inherent to multi-party projects.
“Architecture as a discipline has, unfortunately, retreated from an engagement with the messiness of the world, the messiness of people.”
The panelists discussed informality and embracing messiness
Crompton reiterated a need for messiness and informality in open collaborations.
“There’s something to be said embracing the messiness,” she said.
“Embracing informality doesn’t always have to be a creative review, which sounds intimidating. It can be a kick around for a chat, a conversation, sharing ideas and listening to each other.”
“Increased the messiness a little, throw stuff at the wall and see what you get.”
The New Standard is a creative collective comprising renowned design studios Universal Design Studio, Map Project Office and Made Thought.
Each year, over 100 million bicycles are produced worldwide, versus 94 million automobiles. The modern buyer includes urban residents seeking environmentally-friendly transport and exercise, as well as those in developing nations seeking a reliable and affordable means of transport. Bike ownership surged during the pandemic—some estimates have it at 25% growth in 2020 alone—and sales will only grow. So it’s not surprising that we saw a ton of bike-related designs this year.
E-bikes need to be charged, of course. Industrial Design student Matthew Quejada designed this Ultium Lift, an e-bike charging station for garages.
Another type of bike Drais probably couldn’t have foreseen is the cargo bike. German company Dynamic Drives has completely re-thought the cargo bike form factor with their Intelectra pedelec.
Meanwhile in London, manufacturer Cityshuttle has mashed up the electric cargo bike with a tractor-trailer to create their ePack.
For those who don’t need a full cargo bike, from Germany comes this Allpacka One, a collapsible cargo box for bikes.
Engineer Robert G. Ozarski invented the Kradl, an electricity-free, spring-loaded bike hoist that makes it easier to store.
Industrial designer Adrien Rovero designed this cheeky bike rack as a clear statement.
In an era where sustainability is more than just a trend, 2024 has seen a remarkable surge in eco-friendly designs that blend innovation with responsibility. From everyday essentials to luxurious indulgences, these products are setting new standards in sustainable living. We have curated the top 10 sustainable designs of the year – they showcase how creativity and conscience can coexist beautifully.
These innovative products prove that sustainability and style can go hand in hand, offering consumers responsible choices that enhance their lives and the world around them, without adversely impacting the environment and Mother Earth. Dive in!
1. Kreis Cup
Dubbed the Kreis Cup, this coffee cup is designed to be sustainable and durable. It will enhance and elevate your coffee-drinking experience, and is available in different styles – a cup and a travel-mug. This cup is reusable and made from used coffee grounds and other plant-based materials. The cup is free from petroleum-based plastics.
The Kreis Cup is heat-resistant, and it will keep your coffee hot for longer. It is an exceptional design since it is biodegradable, unlike the plastic-based to-go mugs you see at your local cafe. Once the cup reaches the end of its lifespan, it will disintegrate into the soil, leaving nothing behind.
Why is it noteworthy?
Crafted to promote a circular economy, the Kreis Cup is made from used coffee grounds that are dried, treated, and embedded in a natural, plant-based polymer. This process not only gives the cup a rich appearance reminiscent of coffee grounds but also imparts a subtle, distinct coffee aroma. The polymer binding the grounds is food-safe, heat-resistant, and highly durable, offering a significant advantage over ceramic cups and mugs, which can easily break when dropped.
What we like
Crafted from spent coffee grounds that have been dried, treated, and then suspended in a natural, plant-based polymer.
Blessed with the faint, unmistakable scent of coffee.
What we dislike
Has a limited lifespan, since it is biodegradable. Will need replacement.
2. Sustainable Cutlery Set
The Sustainable Cutlery Set revolutionizes the way we think about dining utensils. Crafted from a special plastic polymer reinforced with glass fiber threads, this minimalistic set is both durable and environmentally friendly. Its portable design allows for easy assembly and disassembly, making it perfect for on-the-go lifestyles.
The cutlery set is resistant to stains and odors, ensuring a fresh dining experience every time. Available in a range of elegant colors, including black, white, blue, and pink, it offers a stylish and sustainable solution for conscious consumers who want to reduce their environmental footprint without compromising on design.
This cutlery set showcases an innovative use of materials that are not only durable but also recyclable, addressing the growing concern over single-use plastics. The incorporation of 316 stainless steel provides a stable connection between parts, enhancing its longevity and performance. Its lightweight and dishwasher-safe features make it convenient for everyday use.
What we like
Made from recyclable polymer and glass fiber, reducing plastic waste.
Easy to assemble and disassemble, suitable for various dining settings.
What we dislike
While stylish, the color range may not suit all personal tastes.
3. AromaCraft Clothes Brush
The AromaCraft Clothes Brush transforms garment care into a luxurious ritual. Crafted by the Miyakawa Hake Brush Workshop, a family-owned business with over a century of expertise, this brush removes dust and pollen while refreshing clothes with a gentle fragrance.
The innovative aromatic paper insert allows users to customize scents with essential oils, adding a personal touch to their wardrobe care routine. Made with the finest white boar hair and a walnut wood handle, this brush combines traditional craftsmanship with modern functionality.
The reusable washi paper insert is made from eco-friendly Japanese paper, aligning with sustainable practices while offering a customizable fragrance experience. This product not only elevates garment care but also promotes mindfulness, turning a routine task into a meditative ritual. Its elegant design and unmatched functionality make it a valuable addition to any wardrobe.
What we like
Allows personalization with essential oils.
Made from biodegradable washi paper and sustainable wood.
What we dislike
Regular cleaning is needed to maintain bristle quality.
The investment reflects craftsmanship and materials used.
4. Limbo Chair
Called the Limbo Chair, this seating design features a “swooping, sculptural form” that merges art and functionality. It is designed for both indoor and outdoor use and perfectly balances flexibility and support. It is the perfect chair for relaxing, reading, and unwinding.
The striking design makes it a museum-worthy art piece, and it is comfortable and durable for daily use as well. It invites users to experience and unravel a whole new level of comfort while adding some elegance and sophistication to your living space.
Why is it noteworthy?
Crafted from sustainable materials, this chair reflects a commitment to eco-friendly design without compromising on style or comfort. By offering a versatile seating solution that complements various environments, the Limbo Chair exemplifies the potential of sustainable design to transform everyday living spaces.
What we like
Suitable for both indoor and outdoor use.
Unique form adds elegance to any setting.
What we dislike
May require ample space due to its size and shape.
5. Earth-Friendly Stacking Cup
The Earth-Friendly Stacking Cup is a testament to sustainable design, combining minimalist aesthetics with eco-conscious materials. Crafted from plant-derived biodegradable resin, this cup offers a unique texture reminiscent of ceramic or wood, providing a tactile and enriching drinking experience.
The design not only complements modern living spaces but also serves as a daily reminder of our environmental responsibilities. The cup is coated with a harmless urethane finish, adding a matte black texture and water resistance, making it both stylish and practical for everyday use.
This stacking cup is made using biodegradable resin, which breaks down into water and CO2 through natural microbial action. This feature significantly reduces its environmental impact, making it an excellent choice for eco-conscious consumers. Safe for use with warm drinks, it combines functionality with sustainability, offering a guilt-free beverage experience.
What we like
Breaks down naturally, reducing landfill waste.
A matte black finish complements modern aesthetics.
What we dislike
Not suitable for extremely hot beverages.
May not withstand rough handling compared to traditional materials.
6. Harmony Flame Fireplace
The Harmony Flame Fireplace offers a safe and sustainable way to enjoy the ambiance of a real fire indoors. Handcrafted by artisans who specialize in brass musical instruments, this lamp uses eco-friendly bioethanol fuel to create enchanting flames. Its brass construction reflects light and shadows, enhancing the mood of any space.
It is perfect for patios or dining tables, this lamp combines the warmth of a traditional fireplace with the convenience and safety of modern design, offering an elegant alternative to artificial lighting.
This lamp uses bioethanol fuel, which is odorless and smokeless, providing a clean and eco-friendly source of light and warmth. Its handcrafted brass construction showcases the skill and care of its makers, ensuring a unique and durable piece. The Harmony Flame Lamp requires no installation, making it easy to integrate into any setting.
What we like
Uses bioethanol, reducing environmental impact.
Made by skilled artisans, ensuring durability and uniqueness.
What we dislike
Requires access to bioethanol, which may not be widely available.
Suitable for well-ventilated areas only.
7. Earth-Friendly Tumbler
The Earth-Friendly Tumbler redefines daily hydration with its commitment to sustainability and style. Made from biodegradable resin sourced from paper and corn, this tumbler marries form and function seamlessly. Its tactile appeal mimics the comfort of ceramic and wood, yet it pushes the boundaries with advanced eco-friendly synthetics.
Designed to withstand temperatures up to 248°F, this tumbler is perfect for both hot and cold beverages, making it a versatile addition to any eco-conscious household. It is a sustainable kitchenware that maintains a sleek and seamless aesthetic, making it an excellent addition to your kitchen.
What sets this tumbler apart is its unique material composition that biodegrades into water and CO2, minimizing its ecological footprint. Each piece features subtle variations due to the natural materials used, ensuring that no two tumblers are alike. The harmless urethane coating provides a matte black texture and water resistance, enhancing its durability and aesthetic appeal.
What we like
Made from biodegradable resin, promoting sustainability.
Each tumbler has distinct variations, adding a personalized touch.
What we dislike
May not be suitable for boiling liquids.
Requires careful handling to avoid damage.
8. Evolution Hoodie
The Evolution Hoodie by Coalatree is a versatile and sustainable garment made from a blend of spent coffee grounds and recycled plastic bottles. This innovative fabric offers a soft and supple feel while incorporating over 20 features designed for travel and adventure, such as secure zippered pockets and key loops.
The use of recycled coffee grounds and plastic bottles demonstrates a creative approach to sustainable fashion. It showcases that modern fashion can be sustainable and eco-friendly as well, we don’t need to cause destruction to the environment to look good and feel great about ourselves.
Why is it noteworthy?
By transforming waste materials into functional fibers, Coalatree reduces environmental impact while providing consumers with a high-performance garment. The Evolution Hoodie’s thoughtful design caters to travelers and outdoor enthusiasts, offering practicality without compromising on style or comfort.
What we like
Combines recycled coffee grounds and plastic bottles.
Includes secure pockets and travel-friendly features.
What we dislike
Primarily targets travelers and adventure seekers.
This may not suit all body types or style preferences.
9. Saye Shoes
Saye’s sneakers are designed with sustainability, style, and affordability in mind. These sneakers feature chromium-free leather, addressing the harmful effects of traditional leather tanning processes on both workers and the environment. Available in five colors, they cater to both men and women, offering a fashionable yet eco-conscious footwear option.
They showcase a sustainable approach to fashion, with a focus on health and environmental impact. Chromium has been eliminated from the leather tanning process, which makes it a conscious footwear that will not harm the environment very much.
Why is it noteworthy?
As mentioned, the elimination of Chromium significantly reduces the risk of health issues for tannery workers and minimizes environmental harm. The sneakers’ design reflects current fashion trends, proving that sustainability does not have to come at the expense of style or affordability.
What we like
Safer for workers and the environment.
Aligns with current trends without a premium price tag.
What we dislike
Currently available in only five colors.
Faces competition from other sustainable footwear brands.
10. Nike Grind Dumbbells
Nike has taken a significant step towards sustainability with the introduction of their Nike Grind Dumbbells. These dumbbells are crafted using Nike Grind Rubber, a material derived from the waste generated during the footwear manufacturing process.
Each dumbbell contains at least 20% recycled rubber by volume, making it a sustainable choice for fitness enthusiasts who are conscious of their environmental impact. So, if you’re someone whose into fitness and being green, then the Nike Grind Dumbbells are an excellent option for you.
Why is it noteworthy?
The Nike Grind Dumbbells are a testament to Nike’s commitment to reducing waste and promoting sustainability. By repurposing footwear manufacturing waste, Nike not only minimizes landfill contributions but also creates a durable and functional product. The unique texture of the dumbbells provides excellent grip and comfort, making them ideal for rigorous workouts.
What we like
Utilizes recycled rubber from footwear waste.
Designed to withstand intense workouts with enhanced grip.
What we dislike
May not be widely available in all regions.
The use of recycled materials might impact the price point.
Although it was not exactly the first of its kind, the Apple AirTag made item trackers more popular and more usable. Pair that with the company’s expansive Find My network, and you’re almost guaranteed to never permanently lose a precious device, bag, or umbrella. Of course, it’s not completely foolproof, especially if a thief recognizes the object for what it is. It’s biggest flaw, however, is in its battery life.
Like any other electronic device, the AirTag runs on batteries, and batteries die over a period of time. While the AirTag’s one-year uptime sounds long enough, the human mind’s propensity to forget even important things is almost a guarantee you will forget to replace it before it runs out of juice. This nondescript enclosure doesn’t completely remove the need for battery replacements, but it promises you won’t have to remember doing that for another decade at most.
Truth be told, the AirTag has other design flaws, like the need for separate accessories just to hook it to keys, umbrellas, cameras, and other items. That said, its small body was designed to slip into bag pockets or even wallets, so that’s not exactly a big deal. Remembering to replace the coin battery regularly, however, is a bigger issue. Given the length of time, you’re unlikely to actually check the AirTag’s status until the item it’s attached to actually gets lost, and by then it might already be too late.
TimeCapsule, not to be confused with a discontinued Apple product of the same name, tries to mitigate that problem by extending the time you need to replace the batteries from one year to ten. The secret is to actually ditch the AirTag’s CR2032 coin cell battery, along with its back plate, and install the tracker on the plain black rectangular box that can hold two AA batteries that are advertised to have 14 times more power capacity. Of course, not all AA batteries are created equal, and those figures were tested using Energizer Ultimate Lithium batteries.
The bulky and boxy enclosure is admittedly not much to look at, especially compared to the tiny white body of the AirTag. That, however, works in its favor, because thieves are less likely to associate it with the tracker hidden inside. They’ll simply presume it’s part of the bundle and take it with them, increasing the chances that the owner will be able to locate the stolen goods.
That’s not to say that the TimeCapsule is a cheap coffin for the AirTag. Made from a premium fiber-reinforced composite material and boasting an IP69 dust and water resistance rating, the enclosure is a perfect addition to kits and bags that tend to go with you everywhere. Of course, it doesn’t remove the need for changing batteries, but at least you’ll have up to 10 years to remember.
Herausforderungen: Warum Marketing und Marke (Brand) scheitern können
Traditionelle Denkmuster: Unternehmen aus klassischen Branchen wie Handwerk oder Produktion betrachten Marketing und Marke (Brand) oft als überflüssig, da der Fokus allein auf dem Produkt liegt.
Unterschätzte strategische Bedeutung: Marketing wird häufig auf Werbung reduziert. Die langfristige Arbeit an einer Marke (Brand), Kundenbindung und Marktforschung bleiben oft unberücksichtigt.
Ressourcenmangel: Fehlendes Budget und Personal führen dazu, dass Marketing als „Luxus“ angesehen wird, anstatt als Wachstumsfaktor.
Interne Widerstände: Unternehmen, die stark abteilungsorientiert arbeiten, blockieren Marketing und Marke (Brand) durch isoliertes Denken und Angst vor Veränderung.
Gefahren für Unternehmen, wenn Marketing und Marke (Brand) vernachlässigt werden
Sichtbarkeit sinkt: Ohne strategisches Marketing und eine starke Marke (Brand) gehen Marktanteile an Wettbewerber verloren.
Kundenbindung leidet: Fehlende Kommunikation führt dazu, dass Kunden abwandern und die Loyalität zur Marke (Brand) schwindet.
Wachstum wird gebremst: Unternehmen ohne klare Marketing- und Markenstrategie (Brand) bleiben hinter ihrem Potenzial zurück.
Imageverlust: Eine schwache Marke (Brand) wird als veraltet, irrelevant oder austauschbar wahrgenommen.
So enablet und integriert man Marketing und Marke (Brand) erfolgreich
Bewusstsein schaffen:
Führungskräfte und Teams für die strategische Bedeutung von Marketing und Marke (Brand) sensibilisieren.
Best-Practice-Beispiele zeigen, wie Marketing und Branding Wettbewerbsvorteile schaffen.
Schrittweiser Aufbau:
Mit kleinen, sichtbaren Projekten wie Social Media oder Content-Marketing starten, um Akzeptanz und erste Erfolge zu schaffen.
Pilotprojekte dienen als Testlauf, um Ressourcenbedarf und Wirkung zu evaluieren.
Externe Expertise einholen:
Agenturen oder Berater unterstützen bei der Entwicklung einer professionellen Marketing- und Markenstrategie (Brand).
Kollaboration fördern:
Marketing und Marke (Brand) als zentrale Funktion im Unternehmen positionieren.
Starke Zusammenarbeit zwischen Marketing, Vertrieb und Produktentwicklung sicherstellen.
KPIs und Technologie nutzen:
Erfolg durch klare Kennzahlen wie Reichweite, Conversion und Kundenbindung messbar machen.
Tools wie CRM-Systeme und Marketing-Automatisierung sorgen für Effizienz und Transparenz.
Fazit: Marketing und Marke (Brand) als Unternehmensstrategie
Marketing und Marke (Brand) sind keine Zusatzfunktionen, sondern essenzielle Säulen für nachhaltigen Unternehmenserfolg. Ohne eine starke Markenarbeit und strategisches Marketing riskieren Unternehmen den Verlust von Marktanteilen, sinkende Kundenbindung und ein schwaches Wachstum. Mit klaren Zielen, messbaren KPIs und einer starken Integration im gesamten Unternehmen wird Marketing und Marke (Brand) zum Treiber von Innovation und langfristigem Erfolg.
👉 Eure Erfahrung: Wird Marketing in eurem Unternehmen als strategische Priorität wahrgenommen?
Dezeen Awards China has announced the Designers of the Year winners, which include Line+ Studio, Yatofu and Min Chen, at a ceremony in Shanghai.
The Designers of the Year awards recognise emerging and established talent whose innovative work has had a notable impact on the industry across architecture, interiors and design.
Line+ Studio and Min Chen among winners
Line+ Studio took home the architect of the year award with HCCH Studio named emerging architect of the year.
Interior designer of the year was awarded to W Design run by Bin Wu, and international studio Yatofu was crowned emerging interior designer of the year.
Min Chen won designer of the year with Shanghai-based studio MMR Studio named emerging designer of the year.
Line+ studio was founded by Fanhao Meng and Peidong Zhu in 2017. From the construction of urban space to the revitalization of rural China, Line+ responds to and interprets diverse connotations of contemporary culture, while consciously balance the economic efficiency of each project.
“This prolific studio has consistently demonstrated a great balance of design creativity and quality control,” said the architecture judges. “The sensitivity towards local culture is evident through the materiality in each project.”
Renovation of Shanghai Relay Factory by HCCH Studio. Photo by Qingyan Zhu
Emerging interior designer of the year:HCCH Studio
HCCH was founded by Hao Chen and Chenchen Hu in 2018. The multi-disciplinary practice is active across architecture, interiors, and public art. HCCH engages projects that serve public functions, and aims to increase social value and environmental benefits in each project through innovative and experimental approaches.
One of their most recent projects is a shell-like brick pavilion in Longyou County and the Twisting Tower and Spiral Station, part of the Shanghai Lingang Ecological Restoration Project.
“This young and small studio approaches each project with a unique care for the cultural and environmental context of the site, the subtle architectural intervention always puts the community it serves at heart,” said the judges.
W Design was founded by Wu Bin. Known for its modern orientalism aesthetics and design language, W Design’s work explores the relationship between man and nature, using art to enhance the interior experience as one of its key signatures.
Recent projects designed by W Design include CR Sanya Haitang Bay in Sanya and Deqin Meri Poodom Hotel in Meili, China.
“W Design uses well considered material to create cohesive design that respects the architecture. Simple and effective details support the overall concept,” interior judge Yabu Pushelberg commented.
Yatofu was founded by Angela Lindahl and Yihan Xiang in 2017 in Helsinki. Their innate sensitivity to cultural nuances allows them to bravely challenge boundaries while celebrating diversity, with a focus on evoking emotional responses.
“The multi-cultural background of the studio infuses a unique character into their work – natural materials and playful use of colour create tactile and comforting interiors, from home to retail, ” said the judges.
Min Chen’s production ranges from object design to creative direction. He has dedicated his work to promoting Chinese design by identifying the best bonding point of tradition and modernization, east and west, without simplifying it as an aesthetic style.
“A prominent advocate of Chinese design on the global stage, Chen not only continuously produces work that challenges the traditional definition of Chinese design, but also actively supports young Chinese design talents with innovative ideas through his curation of Neooold exhibition,” said the judges.
MMR Studio was founded by Zhongyu Zhang in 2021 in Shanghai. Its work incorporates cultural traces from urban transformation into the materials and the textures it uses to evoke emotional response, while respecting craftsmanship.
Recent projects include the Hulu Series joined by a bamboo weaving process and Hana Wine Cabinet which explore the material possibilities of North American maple.
“Zhongyu Zhang from MMR studio keenly captures the details of her life and her hometown of Inner Mongolia, where she grew up, and translates them into creative works with a systematic approach,” said judge Mario Tsai.
Dezeen Awards China 2024 in partnership with Bentley
Dezeen Awards China is the ultimate accolade for architects and designers across China. The second edition of the annual awards programme is in partnership with Bentley as part of a wider collaboration to inspire, support and champion design excellence and showcase innovation that creates a better and more sustainable world. This ambition complements Bentley’s architecture and design business initiatives, including the Bentley Home range of furnishings and real estate projects around the world.
Amid a fragile ceasefire, architects and designers in Lebanon are torn between hope and fear as they take stock of how Israel’s military campaign has impacted their country’s creative community.
“So many designers have moved abroad,” interior designer Nour Saccal, of Saccal Design House, told Dezeen. “And I am not sure if they will indeed return.”
“Many have started looking into opening offices outside Lebanon in order to ensure a continuous workflow and protect themselves from any future instability.”
“Culture is the first thing that gets affected”
As designers and craftspeople fled the violence, many Lebanese studios were forced to pause or delay projects.
“Culture is the first thing that gets affected when events like this happen,” said architect Lina Ghotmeh. “Who’s going to build a museum when everybody’s bombarding everywhere?”
“But culture is very important because culture is what brings people together,” she added. “Cultural places are ones where people can be confronted with different points of view. So it’s essential, it’s not a luxury.”
PSLab stockpiled materials to keep manufacturing in its northern Lebanon factory
In fact, Lebanon’s celebrated creative industries are needed now more than ever, argues We Design Beirut founder Mariana Wehbe, as the nation looks to rise from the ashes of the war and elect a new president after two years without a head of state and a parliament in deadlock.
“While we’ve rebuilt physically many times, rebuilding fundamentally as one united people is a challenge we have yet to fully undertake,” Wehbe explained. “For the first time in our history, we have an opportunity to turn the page, to forgive and to come together to build a unified nation.”
“What I believe has always bonded us together as a country is the creative community – it’s an integral part of our moving forward,” she added. “It is the only community far from politics, polarisation and finger-pointing, breaking all barriers of religion and political stands.”
“Lebanon has never been without its conflicts”
Lebanon and Israel have been embroiled in an on-and-off conflict since the latter was founded in 1948. But the most recent clash erupted when Hezbollah fired on Israel after the country was attacked by Palestinian group Hamas on October 7, 2023, triggering a year of tit-for-tat airstrikes.
Israel escalated the conflict into an all-out war and ground invasion in September, which it claims to be targeted at Hezbollah militants but has resulted in many civilian deaths, leading human rights organisations to call for Israel to be investigated for potential war crimes.
The conflict – which saw Beirut heavily bombed until seconds before the ceasefire came into effect – has also caused an estimated £6.7 billion worth of damage, with more than 100,000 homes either hit or entirely levelled.
This destruction could not have come at a worse time for Lebanon, already battered by economic collapse, severe food shortages, the Covid-19 pandemic and a disastrous explosion in the capital’s port in a span of only five years.
“Lebanon has never been without its conflicts: the 15-year civil war, the Israeli invasion of 1982, the Israeli aggression of 2006, the Beirut Port explosion of 2020, and now this invasion that is above and beyond anything we have ever seen” Wehbe said.
“How many times can we be asked to rebuild our human selves? How many wars can we endure in a single lifetime?” she added. “The word ‘trauma’ feels like a euphemism.”
“This is not the first round of war that we’ve gone through,” agreed architect Bernard Khoury. “We do hope that it will be the last one, as we did so many times.”
Studios forced to pause local projects
Designer Paola Sakr is among those who have chosen to leave the country. She moved to Dubai in November “with a heavy heart”, after many of the local artisans who make her products were forced to flee.
“Although this decision wasn’t easy, it will allow me to work with more stability and plan for future growth,” she explained. “That said, I am dedicated to maintaining a presence in Lebanon and will do everything possible to keep a foot in my production there.”
Similarly, Paris-based Lebanese architect Ghotmeh has seen three different projects put on hold due to Lebanon’s ongoing political and economic crisis, among them a hotel set to be built among the vineyards of Bekaa Valley, which was hit by several deadly strikes.
“They’re on hold and it will be at least a few years before anything big happens,” she said. “It’s a question of finance, a question of stability.”
Lina Ghotmeh’s Lining Kefraya Hotel in Bekaa Valley was put on hold
“It’s affected my desire to set up a satellite office in Lebanon,” Ghotmeh admitted. “But still, we’re always trying to work on revival projects and trying to see how we can help and push in the best way possible, despite the situation.”
Meanwhile, the Saccal Design House office in Beirut’s Verdun neighbourhood finally reopened its doors at the start of December after employees worked remotely for two months, with many moving abroad or into the countryside to escape the heavily bombed capital.
“We are trying our best to navigate this time while still staying resilient and keeping the work ongoing,” said Saccal, who paused all local projects but continued to spearhead overseas endeavours from her satellite office in Kuwait.
“Part of the resilience is our feeling of responsibility to persevere harder by getting more work and projects from abroad in order to keep the Beirut office and its employees afloat.”
“When our atelier was struck we didn’t stop”
Studios without overseas outposts were forced to find circuitous ways to maintain their normal operations amid the frightening unpredictability of the fighting.
Design duo Bokja had to abandon their studio in Beirut’s central Basta neighbourhood after it was damaged by an Israeli air strike, moving their team of artisans to a temporary space in nearby Saifi.
“When our atelier was struck we didn’t stop, we adapted,” said co-founders Huda Baroudi and Mara Hibri. “Our artisans relocated, taking their craft with them, and continued creating.”
Lighting design studio PSLab continued production in its factory in northern Lebanon, where the team stockpiled extra raw materials and fuel for generators, with alternative sea freight on standby in case the local airport was shut down.
Bokja moved to a temporary space in Saifi after its atelier was damaged
“If you talked to any of our 150-plus team members you would think they have not been affected and it’s business as usual,” said PSLab communications director Rania Abboud.
“But in reality, Lebanese-based design studios, and especially manufacturers, work extra hard to achieve this ‘business as usual’.”
Khoury also said he managed to stay on time with projects thanks to certain “defence mechanisms” he put in place, requiring tasks and responsibilities to be divvied up interchangeably between all team members rather than falling to certain individuals.
“This, alongside unconventional schedules that allow for a level of flexibility and adaptability, permits us to operate in what has become a highly unstable environment both politically and economically,” he explained.
“The setup we have here remains, as far as I’m concerned, more effective than anywhere else,” Khoury added. “Lebanon still has impressive human resources. This applies to design practices as much as it applies to most creative fields.”
Lebanese expertise “still not replicable” elsewhere
Even studios that already have a foot in other markets – across the Middle East and beyond – say the war has given them a renewed appreciation for Lebanon’s creative output that dissuades them from leaving for good.
“This experience has deepened my appreciation for the resilience, skill and cultural richness of Lebanese artisans,” said Tara Sakhi of Europe-based design studio T Sakhi, which saw several client commissions paused or delayed.
“These projects often rely on techniques and craftsmanship specific to Lebanon, which are difficult to replicate elsewhere.”
“What we have in Lebanon in terms of quality of work and sophistication is still not replicable,” agreed designer Nada Debs, who is continuing the production of her furniture and homeware in Beirut while expanding in Dubai.
“We will be opening a space by early next year in order to create demand and to keep the livelihood of the craftsmen going.”
For Wehbe, the dogged perseverance shown by Lebanon’s design community remains a beacon of hope.
“Designers have found creative ways to work, manufacture, and adapt, even in the face of immense adversity,” she said.
“In many ways, they’ve been putting the pieces back together all along, and I believe the coming year will showcase the remarkable strength and resilience of this community.”
The main photo is by Matej Sulc via Shutterstock.
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From skyscrapers to remote houses, we’ve compiled 10 of the most popular architecture projects completed in the United States in 2024 and covered on Dezeen.
Projects included in this list stretch from the Northeast to the West Coast, with buildings that reach towards the sky or burrow below ground.
Of note is the absence of any large-scale projects in the New York City area, which have featured heavily on these lists in the past. Instead, two skyscrapers from Chicago are featured below.
Read on for Dezeen’s top 10 USA architecture projects of 2024:
One of the last projects by Jahn founder Helmut Jahn, 1000M is among the tallest structures in the southern end of Downtown Chicago.
It rises to 788 feet (223 metres) and has a sleek, curved form clad mostly in glass.
Because the structure sits next to historical buildings on Michigan Avenue, the base was given a slightly different treatment with more angular definitions at the edges and aluminium panels.
Located near the Foster + Partners-designed main building at Apple Park in Cupertino, the Observatory was meticulously planned by an in-house Apple team to complement the other structures in the area and provide a space for “contemplation” for workers and visitors.
Like other aspects of the campus, the Observatory was designed to integrate with the landscape and is mostly subterranean, with large windows looking out at the nature walks and other structures.
Nearly 100 trees were removed during the project and replanted after construction.
This apartment building in Denver was designed by MAD to simulate the geography of the nearby Rocky Mountains, which can be seen from One River North’s location in the north of the city.
A “crack” in the facade features a textural plaster treatment meant to reference the materiality of a mountain canyon and demarcates the public zones of the building and a few private balconies.
These areas were designed to function like a hiking trail, with staircases weaving up among foliage and water features.
Donaldson + Partners studio founder Robin Donaldson set out to build a “house for the 21st century” when beginning work on Hill House in Montecito. The result is a sprawling residence with a central courtyard and massive concrete parabolic houses.
Embedded into the landscape, the house features a suspended walkway entrance, rooms that face both the courtyard and the exterior as well as a rock garden and solar panel array on top.
The sprawling residence also features a submerged amphitheatre and a pool deck.
This 11-storey apartment block wraps around a central atrium and is located in Brooklyn. It was created in collaboration with a local housing authority and provides affordable homes for senior citizens.
Studio Libeskind founder Daniel Libeskind used his distinctive style of angular cladding to set the building apart but also focused on the communitarian aspects of the building.
Libeskind said his own upbringing in a social housing project in the Bronx gave him a “unique” perspective when designing The Atrium.
This project peeled back of years of additions to a Sears Modern kit house in the beach community of Fire Island Pines on Long Island.
One of the oldest houses in the area, it had undergone a series of renovations that took away from the original design, so the studio embarked on a process of “de-complication”.
It stripped away walls and replaced them with natural materials like cedar, took out cabinetry to open up the interior spaces and added in plentiful glass fronting the pool deck.
Located on a prominent site where converging branches of the Chicago River meet in the city’s downtown, this 57-storey office building has a height of 852 feet (259 metres). It is part of the the Wolf Point development, which has been 14 years in the making.
The glass-clad skyscraper joins several iconic tall buildings that line this portion of the river. It has a wide face and more slender side made up of thin volumes that ascend in height towards the middle of the tower.
Architecture studio Pelli Clarke & Partners said its intention was for the skyscraper to be “imbued with lightness”.
This 4,000-square-foot (372-square metre) house in the mountains was designed to merge with the landscape of the site as it slopes upward among groves of evergreen trees. Its roofline slopes up with the landscape, elevating different parts of the two-level program, which includes a sleeping loft and a small guest bedroom perched above the main structure.
It has a copper facade, which CCY Architects claimed uses up to 30 per cent recycled copper. Over time, the panels will patina in a way that will echo the colours of the surrounding mountain peaks.
An extension to the main campus of CCA in San Francisco, this building features a massive concrete deck structure organised around three pavilions with exposed mass-timber structural systems.
The mass-timber elements are set on the perimeter of the large concrete deck that functions as a sort of second ground level, with educational facilities tucked underneath and public spaces below and above.
Studio Gang founder Jeanne Gang said she sought to create a “dynamic environment” for students at the campus by placing many disciplines alongside one another.
Lake Flato Architects, whose founders won the 2023 AIA Gold Medal, designed this house in the Upstate New York town of Peconic to fit in with the local vernacular barn architecture while utilising contemporary materials and sensibilities.
It has three long structures all with steeply gabled metal roofs and siding made of blackened cedar. Many of the structural elements were completed using prefabricated elements.
“This arrival by barge of the bulk of the house seemed especially fitting for a place that is so intimately tied to the water,” said the studio.
Making a film is like designing a building, The Brutalist director Brady Corbet tells Dezeen in this exclusive interview.
Corbet, who co-wrote The Brutalist, chose to make brutalism the central subject of the film, which follows fictional Hungarian architect and Holocaust survivor László Tóth as he starts a new life in America, as it worked both visually and thematically.
“It reared its head in the 1950s, and so it was the correct style of architecture in terms of the film’s visual allegory and what it is exploring thematically,” Corbet said.
“[Tóth] is also a character that you know has studied at the Bauhaus in Dessau before it was shut down by the Nazis.”
The film depicts László Tóth as a Bauhaus-trained architect. Photo is courtesy of A24
Corbet argues that in some ways brutalist architecture mirrors the immigrant experience.
“It just so happens that it is a style of architecture that was predominantly being practised by immigrant architects,” Corbet said.
“I felt that the community tends to have the same response to a style of architecture that is unfamiliar to them; it provokes the same feelings in them as it does about their new neighbour coming from a different background.”
A library with moving shelves plays an important part in the film
While The Brutalist is set in the post-war years, Corbet believes brutalism is still very relevant today as antagonism towards immigrants continues in the US.
“The instinct is generally to have those buildings torn down and have those people thrown out, especially in this country,” he added.
“And it’s never been more relevant, considering that we had a brief intermezzo before entering into Trump’s second term, which is likely going to be somewhat more effective, unfortunately.”
The lead character is played by Adrien Brody
Corbet and co-writer Mona Fastvold wanted to tell the story of an architect partly due to the fact they both had architects in their families.
“I grew up with an architect in my family – John Pfeiffer,” Corbet told Dezeen. “He’s my mother’s brother and lived with us when I was a child in Arizona, while he was attending Taliesyn West.”
“My wife and co-writer’s grandfather was a mid-century designer who did mostly residences in Norway. So we both had architects in the family and had spoken for some time about doing a project on architecture.”
Corbet also feels a kinship with architects, whose work he says is “remarkably similar” to that of a filmmaker.
“You rely on roughly the same amount of personnel to make things come to life – it’s not an option to do it solo,” Corbet said.
Its brutalist structure houses a church and community centre
At the centre of The Brutalist is the Institute, a monumental building designed by Tóth, who is played by actor Adrien Brody, for businessman Harrison van Buren, who is played by actor Guy Pearce.
Production designer Judy Becker drew on her own knowledge of brutalism to create the structure, as it wasn’t described in detail in the script.
“There were very specific things in the script, but they weren’t about the exterior design of the building, as much about the things that were incorporated in the building,” she told Dezeen.
Production designer Judy Becker designed the building from scratch
The independent film was shot on a budget of less than $10 million, making it imperative that no money was wasted and that the sets would be functional from the start.
“We were trying to figure out what we were going to do about the Institute, how we were going to shoot parts of it, what we were going to create,” Becker explained.
“To do that, we needed to design the building,” she added. “That was my first assignment, and it was going to be something to show the producers how we could do it and make the movie for this amount of money.”
She deliberately didn’t reference existing brutalist buildings, instead focusing on creating a brand-new design.
“I looked at contemporary buildings that play with light and sky, and underground designs, even [designs by] James Turrell,” she said.
“I didn’t look at period architecture as much; partly because I have a lot of that already in my head, and partly because I didn’t want to copy it.”
She referenced buildings that play with light and sky
The script made it clear that the Institute would comprise a community centre as well as a Protestant chapel, but that its design would also incorporate Tóth and his wife Erzsébet’s (played by Felicity Jones) experience of being incarcerated in the Nazi concentration camps.
While Becker described this as a “big challenge”, it was also what led to a breakthrough in her design of the building.
“The big eureka moment came from trying to incorporate the concentration camps,” Becker said.
“I started looking at images of them, mostly bird’s-eye images of their plans but also interiors, and noticed that they were mostly – as is common in military bases and those kinds of very structured environments – kind of a T shape,” she continued.
“You would add the barracks on either side of the main road, then there’d be an intersection, and then it would continue. It was a T – but it was also a cross, and I really started thinking about the symbolism.”
Becker looked to crematoriums and factory designs
The resulting building is a monumental, towering structure that Becker says also drew on factory and crematorium design, another reference to the architecture of the concentration camps.
The Institute’s chapel, with a cross-design that is integral to the story, was shot on location in Hungary and some of the building was built as a model, using concrete to get the right materiality for the shots.
Some of the building’s support columns were built
But the crew also erected sets for parts of the design.
“We built part of the staircase that descended into the ground, and part of the entrance,” Becker said. “We also built some of the support columns, things that would indicate the scale and aspects of the important parts of the building.”
Though the Institute is the central building in the film, it wasn’t the only striking set that Becker was tasked with designing.
To create the project with which Tóth first makes his mark in America – a library, also designed for benefactor Van Buren – Becker had to transform a glass conservatory into a library covered in shelves.
Specially designed furniture and shelves were made for the library
She came up with the solution of creating foldable, moveable shelves that actually moved.
“I had this inspiration that it was going to be cabinets that were going to be designed to create this forced perspective in the room, and then they were going to open up,” Becker said.
“The execution was hard – it had to look so beautiful, because it’s the moment when you realize László is an artist, and that’s such an important story point,” she added.
Corbet agreed that the library was one of the most important sets.
“It was very important that it had a real impact,” he said. “It’s like making a film about a fictional painter – if the paintings aren’t good, the whole thing falls apart.”
To design Tóth’s furniture for Van Buren’s library, notably a sleek reading chair, Becker drew on his background as a Bauhaus-trained architect.
“I used tubular steel because that was a material that was very much used by people that studied at the Bauhaus and those shapes were common,” she explained.
“A lot of people designed with them, and I looked at a lot of furniture just to make sure I wasn’t copying anybody.”
While The Brutalist focuses on a very specific time and place, Corbet believes the style is still relevant, and provocative, today.
“It seems that to this day, there is no more controversial style of architecture,” he said. “If you’re on Twitter or Reddit, it’s fascinating how so many folks are still so provoked by it.”
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