Montpelier Community Nursery by AY Architects

London studio AY Architects has constructed a small wooden nursery in a public garden in Camden. Scroll down to see a pair of cute axonometric drawings (+ slideshow).

Montpelier Community Nursery by AY Architects

The Montpelier Community Nursery provides affordable day care for children between the ages of two and five, so AY Architects had to design a building that would be inexpensive to both build and run.

Montpelier Community Nursery by AY Architects

The architects designed three large skylights to maximise natural lighting, then angled them across the roof to a north and south orientation.

Montpelier Community Nursery by AY Architects

“The building is more or less located on the footprint of the previous nursery building in order to not disturb the existing beautiful garden,” architect Yeoryia Manolopoulou told Dezeen. “We then decided to sculpt the roof diagonally so that we could get better daylight.”

Montpelier Community Nursery by AY Architects

The building has an all-timber construction, with slender columns both inside and outside. White-washed timber panels were used to build the walls and roof, while the exterior is clad with black-stained larch decking.

Montpelier Community Nursery by AY Architects

Floor-to ceiling windows stretch along the north-west elevation to allow the playroom to open out to an enclosed garden playground. There’s also a projecting canopy to permit sheltered outdoor activities.

Montpelier Community Nursery by AY Architects

“The design of the new building takes its inspiration from the unique setting within the public gardens,” say the architects. “Indoor-outdoor play is central to the design concept and the garden environment is considered central to the children’s learning experience.”

Montpelier Community Nursery by AY Architects

A layer of sedum gives the building a green roof.

Montpelier Community Nursery by AY Architects

The nursery was one of 52 winners of this year’s RIBA Awards, alongside a faceted auditorium and a shimmering seaside gallery.

Montpelier Community Nursery by AY Architects

Other kindergartens featured on Dezeen include one under construction in Vietnam that will have a vegetable garden on its roof. See more kindergartens on Dezeen.

Montpelier Community Nursery by AY Architects

Photography is by Nick Kane.

Here’s a project description from AY Architects:


Montpelier Community Nursery by AY Architects

Tucked away within Montpelier Gardens in Kentish Town London and surrounded by the rear of terrace houses, the new building is planned around a central flexible playspace that generously opens out to a garden of mature trees. Indoor-outdoor play, children’s learning through nature, the experience of a wonderful bright and airy space, and the architects’ continual engagement with parents, staff, children and the local community are central to the success of this project.

Montpelier Community Nursery by AY Architects
MCN site in spring by Michiko Sumi – click for larger image

The nursery is a registered charity and voluntary organisation, providing the most affordable childcare for 2-5 yrs old available in Camden. Its size and low-budget limits did not prevent the architects from creating an imaginative and highly poetic space.

The nursery had been operating from a dilapidated and unsafe portakabin with a lifespan of only 15 years, originally built in 1983. AY Architects initiated a proposal for its demolition and replacement with a new building in an effort to secure affordable childcare and a sustainable building for the community for the long term. They worked closely with the neighborhood in their mutiple roles as local architects, former parents, trustees and voluntary members of the nursery’s management team. In January 2009 they coordinated a successful application for a Capital Grant which would cover the project’s costs and pursuaded London Borough Camden to give full support to their initiative.

Montpelier Community Nursery by AY Architects
MCN site in Autumn by Michiko Sumi – click for larger image

The brief was for a larger and environmental friendly facility that could provide an increase from 18 to 24 nursery places. The footprint increased from 90 to 130m2.

The design of the new building takes its inspiration from the unique setting within the public gardens. It is planned around a large flexible playspace that generously opens out to the external green space distinguished by a concentration of mature trees. Indoor-outdoor play is central to the design concept and the garden environment is considered central to the children’s learning experience.

The superstructure is made up of cross-laminated timber panels with an exposed internal white wash finish. The exterior of the building is clad with ebony-stained fsc siberian larch decking to give the building a robust skin. The dark exterior allows the building to sit contently within the park and amongst the trees trunks.

Montpelier Community Nursery by AY Architects
Ground floor and roof plans – click for larger image

A series of glue-laminated timber columns echoes the verticallity of the surrounding trees while the roof is designed to maximise daylight and allow natural ventilation. Three strip windows with north-south orientation span the plan diagonally. The orientation of the openings welcomes the sun to enter the building when it is low to take advantage of solar gain in colder months, while large overhangs block out the sun when it is hot to prevent overheating. The larger north-facing roof window brings in an abundance of daylight and facilitates cross ventilation.

The south wall of the main playspace includes a large window and shutter looking directly onto the public gardens, and also offers a slender low bench to be used by the neighbours. In this way the nursery gains a greater level of interaction with the community, contributing to a safer and more enjoyable green space.

The nursery is designed as an energy efficient building in operation and low carbon in construction. A mixed sedum blanket forms the roof finish, contributing to local biodiversity and water retention.

The building recently won an RIBA London Regional Award 2013 and an RIBA National Award 2013. It is listed among 52 buildings across the UK and Europe, competing for further special RIBA awards, including the Stephen Lawrence Prize and the Stirling Prize. It is one of 13 buildings in London competing for these awards.

Montpelier Community Nursery by AY Architects
Cross section – click for larger image

Funding award: Early Years Capital Grant £476,000
Project Budget: £476,000
Area: 136m2 internal gross
Architects: AY Architects
Structural engineer: Price & Myers
Low carbon consulting engineers: King Shaw Associates
Main contractor: Forest Gate Construction Ltd
Timber subcontractor: KLH UK

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BioElectric by Jeongwon Ji

Royal College of Art graduate Jeongwon Ji has made her own bioplastic from crab shells.

BioElectric plastic made of chitin from crab shells by Jeongwon Ji
Material samples and crab shell pieces

Aiming to make a more tactile casing for electronic products, Jeongwon Ji extracted a derivatine of glucose called chitin from crustaceans and developed her own plastic from it by trial and error in the workshop.

BioElectric plastic made of chitin from crab shells by Jeongwon Ji
Chinese mitten crab shells, from which the chitin polymer can be extracted

The resulting material, which she calls Crustic, combines the chitin with water and small amount of glycerin.

BioElectric plastic made of chitin from crab shells by Jeongwon Ji
Experiment samples

“The Chinese mitten crab from Asia is one of the most invasive species and they are taking over the rivers in the UK,” Jeongwon Ji told Dezeen. “The crabs are unwanted here so I wanted to work out what we can do with them as a resource instead.”

BioElectric plastic made of chitin from crab shells by Jeongwon Ji
Experiment samples

The water-based mixture takes much longer to cure than conventional plastics but the ingredients are completely non-toxic, she explained. “Although production time is longer, this nontoxic process can improve the work life of those who manufacture our electronics.”

BioElectric plastic made of chitin from crab shells by Jeongwon Ji
Alarm clock with Crustic casing

In the Design Products department of the Royal College of Art graduate show last week, the designer presented her material samples and experiments alongside conceptual electronic projects with casings made of Crustic, including an alarm clock, humidifier, computer trackpad, torch and WiFi router.

BioElectric plastic made of chitin from crab shells by Jeongwon Ji
WiFi router with Crustic casing

Although they were all made in accurate geometric wooden moulds, the material becomes rough and distorts as it cures, resulting in tactile and organic forms.

BioElectric plastic made of chitin from crab shells by Jeongwon Ji
Torch with Crustic casing

“I wanted to challenge the archetypes of electronic products by using tactile surfaces and making forms that look like they are made of something different, something natural,” she said.

BioElectric plastic made of chitin from crab shells by Jeongwon Ji
Trackpad with Crustic casing

A couple of months ago we featured a pavilion based on the structure of chitin in a lobster’s shell and in 2011 Italian designers Formafantasma presented a range of vessels made from natural polymers they’d cooked up themselves.

BioElectric plastic made of chitin from crab shells by Jeongwon Ji
Humidifier with Crustic casing

Other projects presented at Show RCA included paper-pulp helmets for cycle-hire schemes and living food that wriggles around on the plate.

See more stories about plastics »
See more projects at Show RCA 2013 »

Here’s some more information from Jeongwon Ji:


BioElectric

BioElectric challenges the archetypes of electronics through material exploration. Industrial processes have streamlined manufactured products, but what if we allow new materials to be expressive and tactile? Like many of today’s electronic components, the Chinese Mitten Crab comes from Asia. This species invades our rivers, and is an unwanted, local resource.

BioElectric plastic made of chitin from crab shells by Jeongwon Ji
Moulds used to make casings for the electronic products

I extracted Chitin polymers from crushed crab shells, and perfecting chemical-free “slow production” methods to make bio-plastics for the casings of electronic products. Although production time is longer, this nontoxic process can improve the work life of those who manufacture our electronics.

BioElectric plastic made of chitin from crab shells by Jeongwon Ji
The bioplastic distorts into organic tactile shapes despite the geometric moulds

Crustic

Crustic is a crustacean-based biocompatible plastic that Jeongwon Ji developed for her BioElectric project to enhance tactile pleasure.

The production time of Crustic is longer because the use of water instead of artificial chemicals. Crustic is made out of chitin derived from crab shells and water, combining with a small amount of red agile and glycerin.

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AHMM submits plans for Google’s new London headquarters

News: London firm Allford Hall Monaghan Morris has applied for planning permission to construct a 27-hectare headquarters for Google in London’s King’s Cross.

The new UK headquarters will consolidate Google‘s London operations into a single building, replacing existing offices in Covent Garden and Victoria with an 11-storey structure that stretches 330 metres from Regent’s Canal towards King’s Cross Station.

AHMM‘s designs feature a steel-framed structure with cross-laminated timber panels. Bold primary colours will be picked out on the exposed steel members, intended to reference the painted metalwork of the neighbouring railway stations.

Google Headquarters by AHMM

AHMM director Simon Allford commented: “This building is underpinned by cutting edge design intelligence and technologies to provide a sophisticated twenty-first century working environment for Google’s staff.”

“The architectural approach, which has taken inspiration from King’s Cross and St Pancras International railway stations, complements the local area’s strong industrial heritage and will be a building London can be proud of.”

Construction will start early next year and the building is set to complete in 2017. Shops, cafes and restaurants will occupy the ground floor and the rooftop is set to be a garden.

Google Headquarters by AHMM

Google’s current office in Covent Garden was designed by PENSON and features Union Jack flags and vegetables allotments, while the Victoria headquarters by Scott Brownrigg contains dodgem cars, red telephone boxes and beach huts.

Other Google offices we’ve featured include Google Tokyo, with references to traditional Japanese culture, and Google Tel Aviv, with a make-believe beach and slides. The company is also working on a 100,000-square-metre campus for California. See more stories about Google.

London firm AHMM is led by Simon Allford, Jonathan Hall, Paul Monaghan and Peter Morris. Recent projects include a hospice designed to look like an oversized house.

Here’s some extra information from the design team:


Designs for Google’s King’s Cross UK HQ Revealed

Google has today confirmed submission of a Reserved Matters application to Camden Council, with designs for its new £650m UK headquarters. The one million square foot building will make up part of the 67-acre King’s Cross development scheme.

As part of one of the largest urban regeneration schemes in Europe, Google’s building is expected to generate 1,500 construction jobs. Overall, it is estimated by King’s Cross Central Limited Partnership (KCCLP) that the development will have 35,000 people working there once the whole development is complete.

Subject to approval, work will start on the new UK headquarters early in 2014, with completion scheduled for late 2016, through to 2017. The new building will house all London-based Google staff, who will relocate from current premises in Victoria and Holborn.

Google has long-held aspirations to house all London-based staff under one roof. King’s Cross, a rapidly-transforming area of London with incredible potential for growth and employment, was identified as an ideal place to locate the office, the first purpose-built headquarters built by Google anywhere in the world.

The exceptional transport connections, allowing easy access within London and the UK, as well as areas of Europe, were another attraction, and it is hoped that these will help establish the area as a new hub for technology, media and telecoms companies.

Google acquired the long lease of the 2.4 acre site from KCCLP, who are making the Reserved Matters application on Google’s behalf.

Commenting on Google’s decision to build their UK headquarters at King’s Cross, Dan Cobley, Google UK’s Managing Director said: “Building our new headquarters in King’s Cross is good for Google and good for London. We’re committed to the UK and to playing a role in the regeneration of this historic area.”

The architects, AHMM, has been working on the plans for nearly two years, taking inspiration from the area’s unique industrial heritage.

Commenting on the design, Simon Allford, Director of Allford Hall Monaghan Morris, said: “This building is underpinned by cutting edge design intelligence and technologies to provide a sophisticated twenty first century working environment for Google’s staff. The architectural approach, which has taken inspiration from King’s Cross and St Pancras International railway stations, complements the local area’s strong industrial heritage and will be a building London can be proud of.”

The 1,000,000 (gross) sq ft new UK headquarters features 725,000 sq ft of office space and around 50,000 sq ft of retail space at ground level. The building ranges in height from seven storeys at the south end closest to King’s Cross Station to 11 storeys at the northern end overlooking Regent’s Canal.

The building has been designed to meet the highest standards of environmental sustainability, ensuring low energy usage and incorporating state-of-the-art materials. Much of the internal structure will be constructed using steel framing with cross laminated timber panels – a first for a contemporary building of this scale. The aspiration is to achieve BREEAM Outstanding and LEED Platinum ratings and deliver an overall carbon saving of 40%.

The external design of the building pays homage to the broad industrial history of the local area, including steel columns, pre-cast concrete panels and low-iron glass. Bolder colours will be introduced through painted steelwork, taking inspiration from architectural elements nearby, including the metalwork at St Pancras International.

Speaking about the significance of the project, David Partridge, director of Argent (King’s Cross) Ltd. said: “This project is hugely important for King’s Cross and underlines our commitment to support world class design. It will attract further investment into the wider area and act as a catalyst for the local economy and the community which we are building.”

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Carafe and glass by Mathieu Lehanneur for Ricard

Carafe and glass by Mathieu Lehanneur for Ricard

Product news: French designer Mathieu Lehanneur has created a glass with a stem that holds exactly one measure of alcohol for liqueur brand Ricard.

Lehanneur designed the glassware primarily for bars and restaurants to enable the precise amount of Ricard‘s anise-flavoured spirits to be poured.

The flared stem prevents ice cubes from distorting the measurement and forming crystals that detract from the taste while permanently sitting in the liqueur.

Carafe and glass by Mathieu Lehanneur for Ricard

A carafe for mixers has a similar spout to the glass stem and a larger base with the same conical shape.

Mathieu Lehanneur has completed a few projects recently, such as the interior of a cafe in Paris that serves food in edible packaging and a chandelier that looks like illuminated lengths of rope.

One of our most popular stories ever features a range of glasses each designed with one of the seven deadly sins in mind.

See more glass design »
See more design by Mathieu Lehanneur »

Photos are by Véronique Huyghe.

More information from the designer follows:


Mathieu Lehanneur designs the new Ricard carafe and glass

Ricard entrusted Mathieu Lehanneur with the role of redesigning its carafe and glass set to equip bars, restaurants and clubs. The tasting ritual, a real institution, has been perfected by a complete revision of the codes and features by the French designer. The stem of the glass contains the correct measure of Ricard, an end therefore to incorrect measures. Then, the flared shape of the stem does not allow ice cubes from entering, a small detail that prevents direct contact between the ice and the Ricard and therefore the formation of solidified anise essential oil flakes, that spoil the taste buds of purists!

Carafe and glass by Mathieu Lehanneur for Ricard

A design feature that satisfies lovers and also guides enthusiasts who have the tendency to put the ice-cubes in the glass first of all, making a precise measure impossible. “With the Ricard teams we looked at reintroducing the preparation ritual to the very core of the tasting. I wanted to use the alchemy of the perfect measure but make it intuitive, obvious. The glass is primarily responsible for all that. As a result, whatever the order between ice-cubes and Ricard, you can be sure of having the right balance.

A new set that perfectly illustrates the modernist axiom “form follows function” with an innovative design, generous as well as fresh and functional. A big challenge to put into practice for this subject that Mathieu Lehanneur accepts with his usual talent for surprises and surpassing constraints in terms of style.

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Venturini House by Adamo-Faiden

Argentinean studio Adamo-Faiden has overhauled an ageing townhouse in Buenos Aires with the addition of a rooftop courtyard and an underground yoga room.

Venturini House by Adamo-Faiden

The house had been used in various guises throughout its history, most recently as an apartment block, and Marcelo Faiden and Sebastian Adamo were asked to restore the building as a home for the Venturini family.

Venturini House by Adamo-Faiden

The architects began by removing superfluous partitions and stripping the structure back to its basic form. They then re-planned the layout and worked out where they could add extra rooms.

Venturini House by Adamo-Faiden

“Our intervention can be summarised in three actions: extraction, redescription and addition,” they explain.

Venturini House by Adamo-Faiden

An extra roof inserted over the house’s old courtyard encloses the new basement-level yoga room, which is lit from above by a strip of skylights.

Venturini House by Adamo-Faiden

The surface of this roof also provides a new ground-floor patio, allowing the family to open out their living room to a secluded outdoor space.

Venturini House by Adamo-Faiden

Another storey added over the roof of the building provides a room that can be used for guests. This leads out to the new rooftop courtyard.

Venturini House by Adamo-Faiden

The roof of this extension has a V-shaped profile, making it the most noticeable addition to the traditional facade.

Venturini House by Adamo-Faiden

Adamo-Faiden has worked on a number of residential projects in Buenos Aires. Others include a fabric tensile structure at a renovated apartment and social housing installed on top of existing homes. See more architecture by Adamo-Faiden.

Venturini House by Adamo-Faiden

Other houses we’ve featured from Argentina include a residence comprising two brick boxes and a brick house wrapped in a band of white concrete. See more architecture in Argentina.

Venturini House by Adamo-Faiden

Photography is by Cristobal Palma.

Venturini House by Adamo-Faiden

Read on for more text from Adamo-Faiden:


Venturini House

The house is located close to the Abasto Market, transformed into a commercial centre. Like the market, the house where the Venturini family presently lives has homed a variety of different uses. At the time of the construction the house functioned as a house for rent. Its organisation responded to a very common typology in the city of Buenos Aires. Small houses were located towards the interior of the block, whereas the one belonging to the owner was the facade to the street. The devaluation of this area of the city towards the middle of last century brought about the occupation of the main house, being transformed into a tenement house.

Venturini House by Adamo-Faiden

Our intervention can be summarised in three actions: extraction, redescription and addition. The first of them meant the recovery of the original spatial structure. The second phase of the project was simply based on labelling again each of the spaces in order to adapt the existing structure to contemporary way of life. Finally, the last action was based in two precise additions. The first of them was the materialisation of a mezzanine floor which allowed us to simultaneously cover a yoga room in the basement and to give support to an exterior expansion for the living room area. At last, the construction of a light structure on the roof, for multiple uses, made visible the optimism that follows the revaluation of the city as a way of new crowning for the property.

Venturini House by Adamo-Faiden
Site plan – click for larger image
Venturini House by Adamo-Faiden
Floor plans – click for larger image
Venturini House by Adamo-Faiden
Long section – click for larger image
Venturini House by Adamo-Faiden
Cross section and front elevation – click for larger image

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Porcelain Shoes by Laura Papp

The platform heels of these shoes by graduate fashion designer Laura Papp are moulded from porcelain (+ slideshow).

“Textiles and laces were dipped into porcelain and then burnt, so the shape remains but the materials are destroyed,” Papp told Dezeen.

Porcelain Shoes by Laura Papp

Three different gauzes were used to create patterns influenced by stalactites and the stonework of the Sagrada Familia by Gaudí, whose birthday was celebrated with a Google doodle not long ago.

The Porcelain Shoes are each as light as one kilogram due to the half-centimetre-thick heel walls and a pair can withstand weights over 160 kilograms.

Porcelain Shoes by Laura Papp

Contrasting with the rough heels, smooth white leather is used for the vamps. Each has a different style of opening and slashes up the ankle at various offsets.

The platforms are angled inward from the heel and toe to create smaller soles, which are formed from rubber.

Porcelain Shoes by Laura Papp

Papp recently graduated from Budapest’s Moholy–Nagy University of Art and Design with a bachelor degree from the Faculty of Accessory Design.

We’ve previously published shoes based on furniture and engineering, and filmed a movie with the designer of a pair of high heels you wear back to frontSee more shoe design »

Porcelain Shoes by Laura Papp

The text below was sent to us by the designer:


This experimental project was for my bachelor degree. My inspirations were the stone surfaces of dripstones and Antoni Gaudí’s Sagrada Familia. My goal was that the rustic features would show up in the heels. I imagined it in white, because it shows the plastics best. The right material was porcelain as it is able to imitate any fine surface, and one of the strongest materials.

Porcelain Shoes by Laura Papp

The shoes could hold more than 160 kilograms but the platform is not heavy, only one kilogram, because the heel wall is only half a centimetre thick. Finally, three pairs of shoes are made from different gauzes. The vamp is made of leather, which contrasts with the platform. The homogeny and the rustic reinforce each other. The sole of the shoes are made of rubber.

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Dezeen archive: micro homes

Dezeen archive: micro homes

As we’ve published a couple of tiny architecture and interior projects this week, here are all our stories about micro homes. See more micro homes »

See all our archive stories »

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Aim lamps by Ronan and Erwan Bouroullec for Flos

Product news: Ronan and Erwan Bouroullec’s minimal suspension lamps that create a tangle of wires to produce a climbing plant effect have gone into production.

Aim lamp by Ronan and Erwan Bouroullec for Flos

The lamps have been stripped back to their fundamental elements – a wire and a light source. Based on the Bouroullec‘s original Liane model light, which was covered in leather and featured in an exhibition of their work in 2010, the Aim lamp for Italian lighting brand Flos is an industrial version that has been designed with tougher materials such as polycarbonate and die-cast aluminium.

Aim lamp by Ronan and Erwan Bouroullec for Flos

The fixation points can be attached to any number of surfaces and long cables flow to create a natural effect of branches or climbing plants. “We have developed a new type of lamp that is naturally positioned in space – like a plant,” say the designers.

Aim lamp by Ronan and Erwan Bouroullec for Flos

The tying points and diffuser set on the suspension wire make it easy for the user to orientate the lamp to the required height and position, allowing for greater adaptability in different settings.

Aim lamp by Ronan and Erwan Bouroullec for Flos

“The general idea underpinning this project is to offer a lamp which can be infinitely adjusted to satisfy all lighting needs,” continue the designers.

Aim lamp by Ronan and Erwan Bouroullec for Flos

We’ve recently featured an exhibition showcasing 15 years of design by Ronan and Erwan Bouroullec which opened at Les Arts Décoratifs museum in Paris.

Aim lamp by Ronan and Erwan Bouroullec for Flos

We also spoke to Erwan Bouroullec at Clerkenwell Design Week in September 2012 about his favourite project they’ve designed.

Aim lamp by Ronan and Erwan Bouroullec for Flos

See more lamp design »
See more design by Ronan and Erwan Bouroullec »
See more products designed for Flos »

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“We designed a sofa that we would want in our own home”

In this movie filmed at Clerkenwell Design Week last month, BarberOsgerby’s Jay Osgerby tells Dezeen that he wanted to design comfortable, understated sofas rather than statement pieces for their new collection for American furniture brand Knoll.

"We designed a sofa that we would want in our own home"

“The way that we started the project was to think about what we would really, really want in our home,” says Osgerby, one half of London studio BarberOsgerby, who was recently awarded an OBE (Order of the British Empire) for the design of the London 2012 Olympic Torch.

"We designed a sofa that we would want in our own home"

“You don’t want to live with something that is a huge statement. So we decided that we should try to make something that was super comfortable, something that sat back,” he continues.

"We designed a sofa that we would want in our own home"

The furniture collection includes a range of different sizes, from an armchair to a three-seater sofa, which feature prominent cast aluminium legs that can be finished in red, white or black paint.

"We designed a sofa that we would want in our own home"

“We looked at developing a series of cushions as individual objects that seem to be held together by a detail,” says Osgerby. “The foot detail is like a clip holding the pieces together. Because the sofa is really understated – it’s quite quiet – we felt [the foot detail] should be something recognisably BarberOsgerby.”

"We designed a sofa that we would want in our own home"

See all our stories from Clerkenwell Design Week 2013 »
Watch our interview with BarberOsgerby about the Olympic Torch »

The music featured in this movie is a track called Octave by Junior Size, released by French record label Atelier du Sample . You can listen to more Junior Size tracks on Dezeen Music Project.

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Bamboo tricycle by a21studio

This tricycle designed for children by Vietnamese firm a21studio has been crafted from bamboo and finished with ropes. 

Bamboo tricycle by A21 studio

a21studio used bamboo to form the frame because it is a versatile, solid, and sustainable material abundantly available in Vietnam.

Bamboo tricycle by A21 studio

The tricycle has been locked together with bolts that are also fashioned from bamboo, which have then been covered by rope. It has not been exposed to chemical treatments so will weather and decay over time.

Bamboo tricycle by a21 studio

The rope securing the bamboo bolts can be loosened, encouraging children to modify or re-design the tricycle.

Bamboo tricycle by a21 studio

“By designing this bike with materials, which can be easily found everywhere, we hope not only to bring true happiness to children but also remind us about our childhood,” say the designers.

Bamboo tricycle by a21 studio

We’ve featured a number of projects that utilise bamboo in a variety of ways, including a riverside cafe supported by fifteen conical bamboo columns, a pop-up bamboo theatre, and hand-made bamboo lamps.

Bamboo tricycle by a21 studio

See more bamboo architecture and design »
See more tricycle design »

Here’s some more information from the designers:


The tricycle is a long story attached to each child’s memories. It is interesting to see village children playing with bamboo bikes. The simplicity of the vehicles and happiness of children are the inspirations of this design.

Made by bamboo with wooden wheels, which are popular materials in Vietnam, the tricycle is threated with care in every detail without any chemical treatments. The bike may be decayed with time but the kids will learn showing consideration for its nature. Moreover, all the parts are linked by bamboo bolts and then covered by ropes so that kids would be excited to assemble and repair the bikes themselves or modify the design to their needs.

By designing this bike with materials, which can be easily found everywhere, we hope to not only bring true happiness to children but also remind us about our childhood.

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