September Scotch: Aston Martin + Bowmore ARC-52

A rare 52-year-old single malt scotch whisky in an eye-catching vessel designed by the luxury automaker

Anchored in heritage but defined by a quest for innovation, the ongoing collaboration between historic Islay single malt scotch brand Bowmore and English luxury sports car manufacturer Aston Martin now culminates with Bowmore’s Aston ARC-52. Bowmore’s master blender, Ron Welsh, developed the ultra-rare 52-year-old single malt scotch whisky, and Aston Martin’s team designed the futuristic, sculptural vessel that houses it. As the name implies, the bottle is arc-shaped, with two points of contact to the surface beneath—a form that allows it to appear to float. To chronicle this limited edition release for our September Scotch series, we eased into an Aston Martin DBX, made our way to New Canaan’s architectural marvel The Glass House and sampled the refined liquid ourselves.

By looking at the atypical bottle in person, the scope of expectation for the sipping experience immediately changes: a vessel so spectacular must hold a liquid of the same caliber. James Neil, an international ambassador for Bowmore’s parent company, Beam Suntory, tells us, “The mission [of the partnership] was to have these two iconic companies work together to share their distinct visions. They’ve perfected the art of beauty using the golden ratio in the design and production of their cars—and they were able to execute that in the design of this bottle.”

100 bottles will be available globally, separated into two annual releases of 50 bottles each—to make sure that quality and craftsmanship do not diminish. Cathal Loughnane, Head of Aston Martin Partnerships, says, “This is the culmination of the past three years. It started with our DB5 bottle and then the Masters’ Selection, which is a whisky that we co-blended with Ron Welsh, but this is very much the zenith of our partnership. This 52-year-old whisky is exceptional. It was our challenge to create a vessel as exceptional.” Their design team spent years on the glass form and on the locking mechanism within the metal lid, which is released by a magnetic key—because the Aston Martin team did not want any buttons or handles to disturb the purity of the form.

Though the bottle is extraordinary, the price tag—$75,000—is due not only to its design or the scarcity of the global release, but because of the liquid itself. “It is a perfect balance,” Neil says. “It’s equal parts ex-bourbon American oak and European oak sherry. It is 52 years old, making it one of the oldest liquids that Bowmore has produced and these barrels were sitting in the oldest whisky maturation warehouse in all of Scotland.”

Its age statement may be a point of attraction but the flavor profile resulting from such a lengthy maturation is unexpected and enjoyable. Herbal notes waft toward the nose with the scent of apples and pears and a bit of vanilla. On the palate, the 42.3% single malt tastes lightly of peat smoke, with more pronounced creamy, nutty and even citric notes. Its finish returns to the herbal characteristics found on the nose. Altogether, it’s luscious and lengthy and quite aligned with the liquid’s deep golden color.

Neil concludes with an observation that the two luxury heritage brands have had parallel success. Four years before the ARC-52 was put into casks, both Bowmore and Aston Martin had milestone ’60s moments. “That was 1964,” he says, “an iconic year for the Bowmore brand. We had a new boiler brought into the distillery. We produced some of our best liquid ever, which became known as Bowmore Black, one of the most collected single malt scotch whiskies on Islay. In 1964, Aston Martin introduced the DB5 to the world through James Bond’s Goldfinger.” Now, through such an alluring, exclusive collaboration, their shared values and vision have woven their timelessness together.

Images by David Graver

Drizzle & Sizzle Extra Virgin Olive Oil Combo Pack

Extra virgin olive oils for finishing and cooking, Graza’s Drizzle and Sizzle are both made from native Picual olives (grown in Jaén, Spain) but yield very different results. Drizzle—intended for enjoying with bread, incorporating into salad dressings or adding flavor to a dish—is crafted from young, green olives that are packed with peppery flavor. Sizzle, on the other hand, is for cooking and is made from more mature olives that provide a milder taste. The charming design of the squeeze bottle for each olive oil is not only practical but makes home cooks feel like professional chefs.

Norman Foster to launch UN sustainability declaration for architects

Norman Foster during a talk at COP26, used to illustrate news about launch of UN sustainability declaration

The United Nations has written a set of “principles for sustainable and inclusive urban design and architecture” for architects to sign up to called the San Marino Declaration, which architect Norman Foster is set to launch.

Set to be ratified in the republic of San Marino next month, the declaration outlines a set of standards that architects and other built environment professionals should adhere to.

Declaration is Hippocratic oath for architects

“Next month I’m going going to be launching a United Nations declaration, which is the equivalent of the oath that physicians in ancient Greece undertook to uphold ethical standards,” Foster + Partners founder Foster told Dezeen, referencing the Hippocratic oath.

“In a way, it’s a condensation of the Sustainable Development Goals, which were also developed by the United Nations.”

Written by the Bureau of the Committee on Urban Development, Housing and Land Management, the San Marino Declaration will ask architects and other built environment professionals to agree to uphold a series of “principles for sustainable and inclusive urban design and architecture in support of sustainable, safe, healthy, socially inclusive, climate-neutral and circular homes, urban infrastructure and cities”.

Architects hold “key to a more sustainable future”

Signatories to the declaration would agree to design buildings and cities “in a way that limits the use of energy, uses only sustainable energy sources, reuses rainwater and limits the use of other natural resources”, as well as using recycled materials where possible.

The principles would also require architects to “respect the identity and cultural heritage of places and buildings”.

Originally focused on architects, Foster encouraged the writers to expand the reach to include all those involved in the built environment, who are described in the draft declaration as holding “the key to a more sustainable and inclusive urban future”.

“I’ve consciously encouraged the United Nations, who’ve grasped the idea that we should not just be inviting architects and engineers to sign up to this declaration,” said Foster.

“It should extend to city managers, politicians, developers, builders, everyone, everybody who’s involved, who is empowered to sign up to this declaration.”

Bloomberg European Headquarters to be shown as example for launch of UN sustainability declaration
Norman Foster (top) will present the Bloomberg HQ (above) at the launch of the declaration

At the launch, Foster will present several of his studio’s projects to demonstrate the ideals of the declaration. On an urban scale, these include its materplan for the city of Duisburg in Germany and Trafalgar Square in London.

He will also be showcasing the renovation of the Reichstag in Berlin “as a recycled building” and his firm’s Stirling Prize-winning Bloomberg HQ “as a new building”.

The United Nations is increasingly focusing on the built environment as a key sector that is causing climate change, alongside more well-known culprits like transport and energy.

The UN’s 26th annual climate conference COP26 addressed carbon emissions from buildings for the first time last November during a dedicated half-day, while the Intergovernmental Panel on Climate Change (IPCC) dedicated two entire chapters to buildings and cities in its most recent report.

While this makes architects and other built environment professionals crucial actors in the fight against climate change, the UK’s champion for COP26 told Dezeen last year that they are “one of the least well-represented businesses” in the UN’s net-zero push so far.

Below are the UN’s principles for sustainable and inclusive urban design and architecture:

People-centrality, social responsibility and inclusivity: urban planning, design and architecture need to foster and support social responsibility and integrate diversity and equality through due consideration of the needs of individuals and households across all races, age groups, gender, cultures, abilities and income levels, including intergenerational planning.

Cultural identity, values and heritage: urban planning, design and architecture should respect the identity and cultural heritage of places and buildings as well as the cultural values and traditions of communities.

Resource efficiency and circularity: every city, urban infrastructure and building should be designed in a way that limits the use of energy, uses only sustainable energy sources, reuses rainwater and limits the use of other natural resources and reduces resource losses.

In addition, every city, urban infrastructure and building should, to the extent possible, by design: use recycled materials; reuse and requalify spaces; reduce the production of waste reuse water; and encourage food production through urban agriculture, orchards and food forests.

Safety and health: every city, urban infrastructure and building should be based on internationally recognised quality standards as well as safety standards for workers and citizens, including fire safety.

Homes should provide a comfortable, safe and healthy living space, while cities and urban spaces should be designed with the imperatives of ensuring the safety and health of citizens; providing safe and sustainable mobility systems, including rail, road, inland waterways as well as walking and meeting spaces, green areas and urban forests that are accessible to all. Port cities need to ensure that port facilities are up to international transport and safety standards.

Respect for nature and natural systems and processes: every city, urban infrastructure and building should be designed in a way that limits its impact on the ecosystem of surrounding spaces, including by respecting plants, animals, and other organisms, as well as weather and natural habitats.

This implies conducting ex-ante environmental impact assessments, allowing spaces for biodiversity and using natural materials as well as low impact production assembling and dismantling processes.

Climate neutrality: cities, urban infrastructure and buildings should be designed and requalified to minimize the associated climate footprint, by adopting creative solutions that reduce pollution and energy use; phase out unsustainable mobility systems; use modern, energy-efficient, climate-neutral systems; and integrate green energy generation systems in city designs and buildings.

People-smartness: technology and smart information and communications technology solutions should be used to improve liveability, including the most socially disadvantaged, bolster transparency and curb corruption.

Resilience, durability, functionality and foresight: city and architectural design should support solutions that make homes, buildings and urban spaces resilient to natural disasters, especially those caused by climate change, including hurricanes, droughts and wildfires, flooding and high winds; and making buildings and infrastructures durable and flexible, incorporating spatial adaptability to accommodate new conditions and usages over time.

Affordability and accessibility: cities and homes need to be affordable and accessible to all citizens. Designers need to keep this factor in mind and design high-quality environments for meeting the needs of all citizens.

Inter-disciplinary cooperation and networking: cities and urban spaces should be designed to foster cohabitation, community engagement, solidarity and social cohesion taking into account the needs of citizens across all races, age groups, gender, cultures, abilities and income levels;

Engagement: consultation with and participation of the local communities is essential for any urban project, including small, medium and large-scale projects. Continuous engagement with various stakeholders, including longitudinal research, will foster trust, ensure responsiveness to the needs of all citizens, and consolidate shared ownership of the city’s future.

The photography is by Nigel Young.

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Es Devlin unveils cathedral-like sculpture to highlight London's endangered species

An illuminated dome with paper decorations

British designer Es Devlin has created Come Home Again, an illuminated dome illustrated with her own pencil drawings of the 243 flora and fauna species on London‘s priority conservation list.

Located outside of the Tate Modern gallery in London, the large-scale public installation is a cutout scale model of the domed St Paul’s Cathedral on the other side of the Thames river.

Es Devlin Come Home Again
Come Home Again features pencil drawings of endangered species

Devlin created the Come Home Again installation out of recycled steel and her own pencil drawings of London’s endangered species, which have been arranged in illuminated decorative clusters.

These include birds, beetles and moths as well as fungi, fish and wildflowers – all of which feature on London’s priority conservation list identified by the City of London Biodiversity Action Plan.

Illuminated sculpture
The sculpture is illuminated at night

Come Home Again aims to highlight the importance of protecting these endangered species by drawing public attention to them, according to Devlin.

“A dome originally meant a home,” said the designer.

“The work invites us to see, hear and feel our home, our city, as an interconnected web of species and cultures, to learn and remember the names and sing those under threat into continued existence.”

Similarly to a cathedral, the sculpture has tiered steps on its lower portion. In place of the hymn books traditionally found in a cathedral, these feature QR codes that visitors are invited to scan to learn more about the species.

Various London-based choirs will perform an interpretation of choral evensong – a traditional church music service – within the sculpture at sunset each evening until 1 October, when the work will be dismantled.

Tate Modern sculpture
It is located outside London’s Tate Modern

The choirs will also sing the names of the many endangered species that the project references. During the daytime, a soundscape of the noises made by the species will play for audiences to sit and listen to.

After the sculpture is dismantled, its steel structure will be melted into steel ingots that will be reused, and all of the installation is entirely recyclable, according to the designer.

Devlin has created a number of other projects that aim to draw attention to climate change, including a temporary installation called Conference of the Trees that she unveiled during last year’s COP26 climate conference.

The photography is by Max Alexander

Comissioned by jewellery brand Cartier, Come Home Again is on display at the Tate Modern from 22 September to 1 October 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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RAW Architecture celebrates bamboo's versatility at home and community centre in Indonesia

Image of the waved roof line at Piyandeling Artisan House

Indonesian studio RAW Architecture used bamboo for the structure, interior walls, decorative carvings and door handles, at this home and community space in West Java.

Located in the village of Mekarwangi, Piyandeling Artisan House, which has been shortlisted in the rural house category of Dezeen Awards 2022, combines a three-bedroom home with an open-air meeting hall and facilities for the local community.

Aerial image of Piyandeling Artisan House
Piyandeling Artisan House was created by RAW Architecture

On foundations of stone sourced from a nearby river, a structure of bunched bamboo columns and bamboo grid floors was used to build the cluster of structures, which are topped with roofs covered in thatched nipa palm leaves.

Throughout, various types of bamboo have been integrated into the structures, from the frame itself through to the floor and ceiling finishes, balustrades, window frames, decorative carvings and even door handles.

Image of the waved roofline at Piyandeling Artisan House
The building comprises a home and a community space

RAW Architecture worked directly with local craftspeople to construct the building, using bamboo sourced from local villages, which was then engineered on-site.

“[The project] aims to deconstruct the public perception of bamboo’s craftsmanship as ‘poor man’s timber’,” said the practice.

Exterior image of a tubular corner
It used bamboo as a primary material

“This creativity brings an approach that focuses on solutions that are easy to maintain, easy to construct and efficient in terms of building budgets,” it continued.

“The idea is creating finishes that are raw, basic, humble and honest in the expression and forming of such economic sensitivity.”

A three-storey cylindrical form called Sumarah contains the home, while a large L-shaped pavilion-like structure called Kujang provides an open-air space for meetings and gatherings.

The lower level of the meeting pavilion has been left completely open to the surrounding landscape, while above walls covered with an open bamboo grid shelter the interior and an undulating bamboo balustrade articulate its edges.

Interior image of the bamboo-lined lower level
The lower level of the building opens out to its surroundings

Inside the dwelling structure, the bamboo structure is surrounded by an outer skin of plastic panels – recycled from a previous pavilion project by the practice – to provide this taller volume with greater protection against the rain and wind.

“The cylindrical shape was chosen as a protection strategy against strong winds coming from the north, so that the building functions to transfer and slow down the wind speed,” said the studio.

“The playful balustrade of bent bamboo is a more elaborated hyperboloid form; stronger, more flexible, and creating a silhouette of the natural movement of birds of the movement of kujang, a traditional weapon in the Sunda tradition,” it continued.

Walls, floors and ceilings were covered in bamboo throughout the structure
Bamboo lines the interior spaces

Smaller spaces containing studios, a bookshop and a dentist space sit alongside these volumes, and underground a skylit, concrete prayer room has been cast from bamboo formwork to create textured, fluted walls.

Many of the bamboo techniques used for Puyandeling Artisan House have been developed through RAW Architecture’s previous projects, including a studio for the practice itself in Jakarta and a school building on stilts in Tangerang city.

The photography is by Eric Dinardi.

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Logitech G Cloud handheld device puts a different spin on mobile gaming

For gamers, being able to play anywhere at any time is a bit of a dream come true. Of course, that has always been possible with certain game systems, like the Nintendo Game Boy, the Sony PlayStation Portable, or even smartphones, but a single device that is able to do all of these is still an unreachable goal. Thanks to advancements in technology, particularly in cloud computing, that dream is slowly becoming a reality. And it’s that kind of reality that Logitech’s latest device is trying to achieve with a gaming handheld that lets you play almost any game available, at least any game that’s available on smartphones or through the cloud.

Designer: Logitech

Logitech is best known for its line of computer accessories ranging from keyboards and mice to webcams. It doesn’t make nor sell computers, and this Logitech G Cloud handheld would be one of, if not its first, computing device. It’s a device aimed at a rather niche market that straddles the line between smartphone and gaming console, and it’s a market that it might have difficulty winning unless it plays its cards right.

This isn’t the first handheld gaming device to come in this form, after all, with the Nintendo Switch and Valve’s Steam Deck leading the market in terms of popularity. It isn’t even the first dedicated Android-powered gaming handheld to make its way to the market. And as those other attempts might have proven, it’s not an easy market to conquer. Then again, they might have just been ahead of their time.

In terms of design, the Logitech G Cloud aims for comfort and convenience to set it apart from both smartphones as well as other gaming handhelds. It’s relatively light, thanks to having nearly the same specs as a 7-inch mid-range Android tablet. Compared to a smartphone or tablet, however, it has dedicated physical controls that make playing many games easier. Logitech has even set its sights beyond just technical performance, boasting of the device’s carbon neutrality and sustainable packaging.

In terms of user experience, the gaming handheld is pretty much an Android tablet with a few built-in features related to gaming. In addition to a game launcher that takes a page out of the Nintendo Switch, it also has built-in support for cloud gaming services like Xbox Cloud Game Pass and NVIDIA GeForce Now. Additionally, it can also stream games running on an Xbox console or Steam PC at home, thanks to remote play functionality available on these platforms. In other words, the device can practically run any game from any platform except the PlayStation, presuming those services and features are available in the owner’s region, of course.

While it sounds like heaven for gamers, it’s still uncertain whether it will be a commercial success for Logitech. Many of these features can also be enjoyed on a large smartphone these days, so the Logitech G Cloud doesn’t really sound too unique. It does have the convenience of having a single device for gaming with built-in controls, but almost everyone has that kind of device in their pockets these days; they just need a good controller to go along with it.

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Watch a talk with Giulio Cappellini on sustainability in design education

Giulio Cappellini

As part of London Design Festival, Dezeen is teaming up with Istituto Marangoni to host a talk with the school’s art director Giulio Cappellini on sustainability and its place in design education. Watch live from 6:30pm UK time.

Chaired by Dezeen’s assistant editor for design and environment Jennifer Hahn, the talk will explore the importance of teaching sustainability on design courses and how it can be taught effectively.

The talk coincides with the inaugural Design Graduates Show at fashion and design school Istituto Marangoni London, which will exhibit work by the first graduates from the school’s new design programmes.

Istituto Marangoni
Dezeen is hosting a talk at design school Istituto Marangoni

Giulio Cappellini is the creative director of iconic Italian furniture brand Cappellini, which was founded by his father in 1946.

He is known for looking beyond Italy for emerging talent to design for the brand, and in doing so leading a wave of modernisation in the once-insular Italian design industry.

Giulio Cappellini
Giulio Cappellini is the art director of Istituto Marangoni

Cappellini helped to launch the careers of designers like Tom DixonJasper MorrisonMarcel Wanders, the Bouroullec brothers and Barber & Osgerby, among others.

He acts as art director for a number of brands and institutions including Istituto Marangoni, as well as Italian bathrooms brand Ceramica Flaminia, lift manufacturer IGV Lift, and lamp specialist Icone Luce.

Cappellini teaches as a visiting professor in several design and architecture schools around the world and has organised exhibitions and events globally.

The event is the first in a series of talks held at Istituto Marangoni during London Design Festival.

Istituto Marangoni
The talk coincides with the inaugural Design Graduates Show at Istituto Marangoni London

Over the course of the weekend, the school will host conversations with jewellery designer Lara Bohinc on the theme of emotional design, architect Michael Pawlyn on biomimicry and regenerative design, designer Sarah Angold on meaningful design, and furniture procurement and manufacturing consultancy Matter of Stuff on materiality.

While the talk with Cappellini is an invite-only event, the weekend talks are free and open for anyone to attend. Click here to RSVP.

Partnership content

This talk was produced by Dezeen for Istituto Marangoni as part of a partnership. Find out more about Dezeen partnership content here.

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Float sofa by Sarah Ellison

Float sofa by Sarah Ellison in a concrete interior

Dezeen Showroom: Float is a 1970s-inspired sofa designed by Australian design brand Sarah Ellison in collaboration with Pantone, which boasts a warm shade of brown.

The signature colour, named Piccolo, was designed by the two brands to create a sense of comfort and inspire a connection between people.

“The dialogue with Pantone began from my desire to create an organic colour that would represent the theme of connection and complement my Float sofa design,” said Sarah Ellison, founder of the namesake brand.

Float sofa by Sarah Ellison in a concrete interior
The sofa is upholstered in a luxe velvet fabric

Informed by conversation pits, Ellison designed the sofa as a contemporary take on 1970s design.

The Float sofa has an enveloping seat with slanted armrests and is upholstered in a luxe velvet fabric.

Float sofa by Sarah Ellison in a concrete interior
Pantone’s Piccolo colour was designed specifically for the sofa

“The embrace of a bulbous, low-slung, textural centrepiece such as the Float sofa offers a level of comfort and simplifies the human connection that has been lacking in recent years,” said Sarah Ellison.

“Piccolo immediately amplifies the design, creating a sensorial richness that would be hard to achieve without this colour play,” Ellison continued.

Product: Float
Designer: Sarah Ellison
Brand: Sarah Ellison

Dezeen Showroom

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JW Anderson fashion show in video-game arcade features clothing made from computer keys

British fashion brand JW Anderson channelled a “parallel world of people trapped in their computers” for its Spring Summer 2023 collection at London Fashion Week.

JW Anderson, the eponymous fashion house led by designer Jonathan Anderson, presented its Spring Summer 2023 collection on Saturday 17 September at the Las Vegas Arcade in London’s Soho.

A model wears a dress decorated in computer keys at JW Anderson Spring Summer 2023
The collection was presented in an arcade in Soho

The collection was a comment on the human relationship with technology and consumerism and comprised a number of pieces that used material and silhouettes in a surrealist way.

The brand’s show notes described the concept as: “A parallel world of people trapped in their computers, blending with keyboards and screensavers, exploring other dimensions. Nature filtered by the digital ego, becoming a personal collateral. The arcade, after all, is not just for gamers.”

A top made from computer keys walks between arcade machines at JW Anderson Spring Summer 2023
It was a comment on a world trapped in technology

Giant computer keys adorned and interrupted block-coloured and purposely-wrinkled dresses, which were paraded between arcade machines.

One piece featured hundreds of computer keys from the now obsolete off-white desktop computers of the early noughties, which were lined in horizontal rows to form a halterneck top.

Image of a dress shaped like a bag at JW Anderson Spring Summer 2023
Sillhouettes, prints, materials and shapes had a surrealist look

Throughout the show proportions were oversized. A dress shaped like a plastic bag was tied at the shoulder and printed with an image of a child peering through a water-filled bag holding a goldfish.

“Proportions that go mega, technology that becomes degraded shimmers and shines,” JW Anderson said of the pieces.

“Objects trapped within items of clothing and those screensavers that land over the body, on bags and accessories: that’s what happens in the gaming arcade,” the brand continued.

“The message is one of realism – for whatever real can mean today – delivered with a reductionist language that charges each piece with the status of a blunt statement.”

An orange jumper was worn upside down at JW Anderson Spring Summer 2023
It took place during London Fashion Week

While some pieces symbolised people absorbed by technology, others referenced real-life leisure activities.

A string hammock was worn as a dress, while stock images of palm tree-lined beaches – similar to those often used for screensavers – decorated body suits and accessories.

“Leisure is important, so a hammock becomes a dress while jumpers and tees hang from laundry hangers,” said the fashion brand.

A hammock was reinterpreted as a dress
The show incorporated everyday objects as clothes

Much like JW Anderson’s Spring Summer 2023 menswear collection where the designer suspended bicycle handles from bodies, clothes hangers were reinterpreted as necklines for sweaters that were hung upside down.

At Loewe’s Spring Summer 2023 menswear show, which is also headed by Jonathan Anderson, the Spanish fashion house sprouted plants from sodden clothing.

Photography is courtesy of JW Anderson.

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Solar Energy Kiosk by Cream on Chrome serves orange juice made using solar power

Dutch design studio Cream on Chrome has created the Solar Energy Kiosk, which uses sun rays to make orange juice as a way of demonstrating how much solar power is needed to complete simple tasks like squeezing fruit.

The installation was commissioned for The Energy Show in Rotterdam, part of The Solar Biennale festival. It was first previewed at Milan’s Salone del Mobile design fair in June.

Solar Energy Kiosk
The installation is designed to start a conversation about the limits and possibilities of solar power

Intended to explore what the world would look like if it ran purely on solar energy, Cream on Chrome‘s kiosk resembles a conventional drinks van with two large, curved solar panels attached to its roof.

By showing the size of the modules needed to produce a single glass of orange juice, it was designed to provoke a discussion about the possibilities and limitations of solar power.

Rear view of Solar Energy Kiosk by Cream on Chrome
Two large curving solar panels top the kiosk

A display indicates how many minutes of sunlight are needed to produce each cup of juice, varying from less than two minutes in the middle of the day to nearly an hour at dusk.

“The biggest challenge of the energy crisis, and of energy management, is that we still don’t know how much energy we really need,” said The Energy Show curator Matylda Krzykowski. “How much do we actually use on a daily basis?”

“That’s why my first commission for the exhibition was the Solar Energy Kiosk,” she told Dezeen. “I thought it would be nice to implement something that visualises how much energy the sun produces.”

Installation for The Energy Show
Cream on Chrome chose a juice van to stick with the theme of transferring energy

The studio, led by self-described social designers Jonas Althaus and Martina Huynh, decided on a juice stand to play into the idea of energy passing along a sequence.

“Cream on Chrome came up with orange juice, because the calories in an orange actually power you back,” said Krzykowski. “It’s a bit of a circle to visualise and start this conversation.”

As well as starting a conversation, the Solar Energy Kiosk serves as a drop-off point for solar energy ideas in the form of objects, drawings and photographs being collected by The Energy Show exhibition through an open call. Visitors are being invited to share their own initiatives on solar energy, with a selection to become part of the wider exhibition.

The Energy Show – Sun, Solar and Human Power, examines the role of the sun and solar power across history and explores how solar technology could enable a post-fossil-fuel future.

Solar Energy Kiosk by Cream on Chrome
The kiosk stands at the entrance to The Energy Show in Rotterdam

It is running at the Het Nieuwe Instituut, the Dutch national museum for architecture, design and digital culture. The Solar Energy Kiosk stands at the entrance to the institute.

The Solar Biennale, of which The Energy Show is the central exhibition, is an initiative from solar designers Marjan van Aubel and Pauline van Dongen taking place from 9 September to 30 October in venues across Rotterdam.

The Energy Show is being exhibited at Het Nieuwe Instituut from 3 September 2022 to 5 March 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

The top photo is by Aad Hoogendoorn. The other photography is by Isa de Jong.

Solar Revolution logo
Illustration is by Berke Yazicioglu

Solar Revolution

This article is part of Dezeen’s Solar Revolution series, which explores the varied and exciting possible uses of solar energy and how humans can fully harness the incredible power of the sun.

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