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Featured Projects
Designing for the Circular City: Baoshan Waste-to-Energy Centre as Civic Infrastructure 22 - 23, 24
Illuminating Il Gattopardo: A Masterpiece of Italian Elegance in Dubai 34
Lighting Wilde: A Layered Narrative of Atmosphere and Detail in Staycity’s Spitalfields Apart-Hotel 36 - 37
National Athletics Centre, Budapest: A Landmark in Sustainable Stadium Design and Urban Integration 40 - 41, 42
Featured Events & Awards News 04 - 05
Project News 06
People on the Move 10
Design Shoreditch London Show Preview 18 - 19
Company News 26
Rediscovering Legacy: An Interview with Trevor Morris of SPPARC Architecture 28 - 29, 30 - 31
Training & Education News 38
Rethinking Comfort in an Age of Climate Extremes: A Conversation with Dr. Kody Kato 46 - 47, 48 - 49
CANNERO WALKING TALES: A TECH-POETIC REVIVAL OF LAKE MAGGIORE’S RUINS
Now open to the public, Cannero Walking Tales transforms the centuries-abandoned Castelli di Cannero into a site of immersive storytelling and quiet technological magic. Nestled in the waters of Lake Maggiore, the fortified ruins—long closed off—have reopened following a major restoration commissioned by the Borromeo family and overseen by architect Salvatore Simonetti. The new visitor experience was conceived and designed by Milan-based studio Dotdotdot.
Blending heritage conservation with digital innovation, Cannero Walking Tales leads visitors through the site via a smartphone-based audio guide. Narrated in the voice of the fortress itself, the experience unfolds automatically as guests move through the ruins—no screens, no clicks—just an evocative, audiobook-style walk. The poetic narrative, inspired by an inscription on Torre Vitaliana, is layered with anecdotes, battles, and human histories imagined through sound.
With this project, the Castelli di Cannero become not only accessible, but newly legible— bridging centuries of layered history with an experience that is at once sensorial, narrative, and quietly radical.
More at terreborromeo.com.
AD GEFRIN CLINCHES FIVE RIBA NORTH EAST AWARDS
Ad Gefrin Anglo-Saxon Museum and Whisky Distillery in Wooler, Northumberland, has won an impressive five RIBA North East Awards: Building of the Year, Client of the Year, Project Architect of the Year, Regional Award, and Sustainability Award.
Designed by Richard Elphick—his final project before retirement—the building reflects years of experience in heritage design. From the sweeping timber atrium to fine internal detailing, the distillery and museum merge Anglo-Saxon inspiration with 21st-century craftsmanship.
Praised by the RIBA jury as “a labour of love”, the building uses repurposed materials and sets a new benchmark for sustainability.
DESIGN MUSEUM’S ARTIFICIAL DISPLAY EXPLORES THE BLURRED LINES BETWEEN NATURE AND DESIGN
The Design Museum’s new free display, Artificial, spotlights how design can challenge assumptions about what is ‘natural’ in the context of the climate crisis.
Running from 17 June to 21 September 2025, Artificial showcases the work of the museum’s 2024/25 Design Researchers in Residence— Christie Swallow, Hani Salih, Laura Lebeau and Neba Sere—developed through the Future
Observatory programme in partnership with the UKRI Arts and Humanities Research Council (AHRC).
From London’s parakeets and British bureaucracy to the unseen systems behind domestic appliances and plant histories, the residents expose the complex entanglement between human design and ecological systems.
ESTONIAN PAVILION AT VENICE BIENNALE QUESTIONS ROLE OF RENOVATION IN CLIMATE GOALS
OPPENHEIM ARCHITECTURE PARTICIPATES IN INAUGURAL BREAD & HEART FESTIVAL CONVENED BY ALBANIA’S PRIME MINISTER
Oppenheim Architecture is among the featured participants at Bread & Heart: Bring Some Salt, Please!, a new international festival on architecture, hospitality, and cultural exchange, convened by Albanian Prime Minister Edi Rama in Tirana. The event gathers global design leaders to explore how architecture can shape more inclusive and resilient built environments.
With a long-term presence in Albania, Oppenheim Architecture has played a key role in the country’s design evolution. Its Tirana-based team is behind major projects including the College of Europe campus and hospitality developments like Hotel Jali and Panorama Hilltop Retreat.
Justin McGuirk, Director of Future Observatory, says: “This year they reveal the complexity behind such everyday things as hoovers, heat pumps, parakeets and the food we eat.”
Designed by Kaye Song using sustainable materials, the display is accompanied by a limitededition publication, available both in print and online.
More at designmuseum.org.
Beat Huesler, Director of Oppenheim Architecture Europe, will speak at the festival’s “First Impressions” session, alongside Johan Anrys, Christian Kerez, and Elora Hardy. Huesler emphasizes a philosophy of “building with the land and its context.”
The firm is also featured in Building Architecture Culture, the Albanian Pavilion at the 2025 Venice Architecture Biennale, on view until November 23.
Other Bread & Heart participants include Jeanne Gang, Kengo Kuma, Bjarke Ingels, and Winy Maas.
Tirana Tower by Oppenheim Architecture
Estonia’s contribution to the 19th International Architecture Exhibition of La Biennale di Venezia confronts a critical question: can insulation-led renovations do more than meet energy targets?
Titled Let me warm you, the pavilion— curated by architects Keiti Lige, Elina Liiva, and Helena Männa—tackles the social and spatial consequences of Estonia’s sweeping housing upgrades. The country aims to bring all pre-2000 apartment buildings to energy efficiency class C by 2050, in line with EU climate goals.
Installed on the façade of a Venetian palazzetto, the striking intervention mirrors Estonia’s common mass housing insulation practices. Inside, a plasticwrapped apartment space hosts an exhibition exploring the complex dynamics behind renovation decisions— particularly in Estonia’s privately owned housing sector, where cost often trumps design.
The pavilion critiques the technocratic lens through which renovation is often viewed, proposing instead that architectural quality and community needs must remain central.
The pavilion responds directly to Biennale curator Carlo Ratti’s 2025 theme Intelligens. Naturale. Artificiale. Collettiva., spotlighting the architect’s role—or absence—in shaping sustainable urban futures.
On view until 23 November 2025. More at www.letmewarmyou.com.
SELLDORF ARCHITECTS TO LEAD TRANSFORMATIONAL MASTERPLAN FOR THE WALLACE COLLECTION
The Wallace Collection has appointed Selldorf Architects, in collaboration with Purcell and Lawson Ward Studio, to lead a transformative masterplan for Hertford House, the museum’s historic London home.
This ambitious project aims to modernise the museum for the 21st century, enhancing visitor experience, accessibility, and sustainability while preserving the building’s unique character. It represents a significant longterm investment, ensuring the Wallace Collection continues to engage diverse audiences with its world-class art.
Selldorf Architects, known for cultural landmarks like The National Gallery and the Frick Collection, will serve as Lead Design Architect. Purcell, the UK’s largest heritage architecture team and long-term consultants to the Wallace Collection, and Lawson Ward Studio, specialists in cultural learning environments, complete the expert team.
THE QUIET ELEGANCE OF CASA VIALE DELLA TECNICA IN ROME, REDEFINED
BY MARIA ADELE SAVIOLI
In the heart of the E.U.R. districtRome’s historic rationalist quarter in the city’s south-west - Maria Adele Savioli redefines a 160-squaremetre flat, transforming it into a narrative of material and light.
With exposed concrete walls, visible ceiling beams, and bespoke furnishings, Casa Viale della Tecnica explores a design language that blends contemporary detailing with artisanal sensitivity.
An essential yet layered interior, where architecture and design are interwoven in a balance of functional volumes, quiet geometries, and tactile surfaces. A striking example is the Salto basso table by MAS Design, placed in the living area as a sculptural piece in dialogue with the character of the home.
The project evokes a sense of intimacy without compromising the expressive power of material.
DAFZA RECEPTION REDESIGNED BY BROADWAY INTERIORS
Broadway Interiors has reimagined the reception area of Dubai Airport Free Zone (DAFZA), transforming it into a sophisticated business hub that blends smart technology with fivestar hospitality design.
The concept enhances existing architecture with luxurious finishes and contemporary furnishings. Highlights include curated pieces from laCividina, such as Peter Harvey’s iconic Mon Coeur armchairs and sofas in velvet sand and midnight blue, and Sebastian Herkner’s modular Soave collection, complemented by Mil coffee tables. High-backed Pinch sofas by Skrivo Design form private lounges near the windows, offering a sense of intimacy within a bustling environment.
The design palette mixes ochres, taupes, and blues to complement brass accents, leather-clad columns, and decorative screens. A custom partition conceals the café while doubling as a trophy display. The layout integrates self-service zones, VIP areas, and flexible spaces for events. Smart technologies, 360° screens, and a fiber-optic chandelier add innovation and elegance, reinforcing DAFZA’s status as a forward-thinking destination for global business.
PATENT APPROVED FOR KARTA’S HYPER-REALISTIC FLOORING TECHNOLOGY
Karta Floors, a pioneer in innovative flooring solutions, has announced the official approval of its patent for a revolutionary ‘method of creating virtual texture’ by the Intellectual Property Office.
This significant milestone underscores Karta’s commitment to pushing the boundaries of design and material possibilities.
The announcement coincided with Karta’s highly successful display of its Recycled Leather Series at Clerkenwell Green. The collection garnered widespread acclaim, with visitors commending Karta’s exceptional sustainability credentials, remarkable durability, and effortless installation.
Overwhelmingly, designers and architects highlighted how authentically the floors “look like real wood” – a naturalistic quality that is a direct result of Karta’s newly patented process.
This proprietary method allows Karta to create an unparalleled illusion of depth and realism on two-dimensional substrates. By meticulously manipulating light and shadow captured from precisely crafted master surfaces, where natural timber characteristics are carefully augmented to enhance their visual impact, Karta replicates the nuanced characteristics of natural timber, including subtle grain variations and ‘perfect imperfections’, ensuring a level of authenticity previously unattainable in engineered surfaces.
Overwhelmingly, designers and architects highlighted how authentically the floors “look like real wood” – a naturalistic quality that is a direct result of Karta’s newly patented process.
Unlike conventional LVT products often marred by discernible repeating patterns and textures – a common giveaway –Karta’s method delivers an unparalleled naturalistic variation.
Robert Walsh, founder of Karta, commented, “The new patent is a shining example of our commitment to Research and Development, and to generating a creative space where technological innovation, a deep understanding of woodworking traditions and a profound appreciation of nature can combine.”
Karta Floors continues to redefine the possibilities for sustainable, highperformance flooring that meets the aesthetic demands of contemporary interior design and architecture.
EVOLVING A CLASSIC IN SUSTAINABLE FLOORING
For more than three decades, Gerflor’s Taralay Premium collection has been a familiar name in contract flooring. Known for its resilience and aesthetic adaptability, it has long served the demands of high-traffic environments. With its latest update, Taralay Premium takes a significant step forward— combining tried-and-tested performance with a renewed focus on environmental responsibility.
Designed for Demanding Spaces
The core structure of Taralay Premium remains centred on an inlaid design that delivers strong wear resistance, ideal for sectors such as healthcare, education, retail, and commercial interiors. These are environments where durability, ease of cleaning, and long-term reliability are essential. The flooring offers practical performance without sacrificing visual appeal, making it a flexible option for designers and facilities managers alike.
Reengineered with Sustainability in Mind
The latest version of Taralay Premium reflects a commitment to lowering the environmental impact of its materials. The updated composition achieves a 29% reduction in carbon emissions compared to the average heterogeneous floorcovering. Key to this is the use of 80% bio-based, mineral, and recycled content.
Manufactured in Europe, the range also supports local production and reduced transportation emissions. At end-of-life, the product is fully recyclable through a dedicated second life programme.
Performance Backed by Practice
In healthcare environments—where Taralay Premium has long found a foothold—performance is not optional. The flooring incorporates a surface treatment designed to resist stains and chemicals, supporting hygiene protocols and cleaning efficiency. It also offers excellent ease of rolling, with load resistance up to 250 kg, making it suitable for heavy equipment such as beds, trolleys, and carts in hospital and care settings.
A Broader Palette for Creative Specification
With the redesign, the range has been expanded to include 81 visual references across eight distinct design families. The surface finishes use particles in varying shapes, sizes, and colours to create both matte and pearly effects.
Among the new designs are Cocoon, which highlights natural, calming tones and visible recycled fibres, and Neoterra, a modern take on terrazzo with a refined, light-filled aesthetic. These additions complement existing favourites— Osmoz, Poesy, Neopolis, Metallica, Brazilia, and Indiana—each offered in updated colourways.
Evolving with Purpose
Taralay Premium continues to evolve in line with today’s project needs— delivering performance, sustainability, and a flexible design offer. For specifiers seeking a responsible flooring solution with proven reliability, it remains a collection worth revisiting.
CERTIFICATE 22/6185
TURLEY ANNOUNCES SENIOR PROMOTIONS ACROSS KEY SERVICE AREAS
Turley, one of the UK’s leading independent planning and development consultancies, has announced senior promotions across its core service areas— strengthening leadership in economics, design, sustainability & ESG, strategic communications, and planning.
Antony Pollard has been promoted to Senior Director while continuing as Head of Economics.
His role has been instrumental in making the economic case for housing, including new settlements and urban extensions nationwide.
Fiona Lomas-Holt becomes Director, Head of Sustainability & ESG, reflecting Turley’s ambition for climate-conscious development across sectors.
Jeff Nottage steps up as Director, Head of Design, bringing over 25 years’ experience in urban design
and strategic masterplanning, taking over from Stephen Taylor.
Emily Bell is now Director of Strategic Communications, leading the firm’s net zero infrastructure agenda.
Nia Russell, based in Cardiff, becomes Director in the South West & Wales, with expertise in complex planning for commercial and renewable energy projects.
Further promotions include a new cohort of emerging talent across consultancy, planning, EIA, and central services.
Chief Executive Stephen Bell said: “These promotions reflect individual excellence and reinforce our strategic focus on net zero, ESG, placemaking and economic resilience.”
Turley remains proudly employeeowned, with 15 offices across the UK and Ireland.
SHANNON DOWLING NAMED 2025 ICON IN EDUCATION DESIGN
Architect, educator, and researcher Shannon Dowling has been named a 2025 recipient of the ICON in Education Design Award by Learning By Design magazine. The annual award celebrates visionary leaders redefining how learning environments are designed, with a focus on equity, innovation, and student success.
A Principal at interdisciplinary design firm Ayers Saint Gross, Dowling is widely recognized for her research-driven, inclusive approach to campus planning and educational architecture. Over a career spanning more than 20 years, she has helped shape environments that foster belonging and academic achievement at institutions including the University of Washington, Purdue University, Ohio University, and Johns Hopkins University.
Among her recent standout projects is the transformation of a former office building into the Business Entrepreneurship Leadership Center (BELC) at Bryant University. The adaptive reuse project embodies Dowling’s commitment to creating dynamic, student-centered spaces— combining active learning classrooms, labs, maker spaces, and sustainable strategies that significantly reduce embodied carbon.
Beyond practice, Dowling remains deeply engaged in academia and thought leadership. A former adjunct professor at VCU’s School of the Arts and a SCUP Fellow, she contributes to national dialogues on inclusive design through roles with the Learning Spaces Collaboratory and Elon University’s Center for Engaged Learning.
Dowling’s recognition as a 2025 ICON in Education Design affirms her role as a leading voice in reimagining the future of higher education through spaces that are inclusive, adaptable, and purposefully designed to support learning in all its forms.
Antony Pollard
Fiona Lomas-Holt
Emily Bell
Nia Russell
HAVWOODS INTRODUCES FOUR NEW COLOURWAYS TO ITS ITALIAN COLLECTION
Havwoods is delighted to introduce four striking new colourways to its bestselling Italian Collection - Brezza, Frappato, Nebbiolo and Sagrati - each designed to inject character, depth and texture into contemporary interiors. Expertly engineered and beautifully crafted, these new shades expand the collection’s versatility while staying true to its signature sophistication.
Brezza and Frappato, which sit within the Smoky Grey colour group, feature soft, light hues with a contemporary elegance that suits minimalist, coastal and Scandinavian-inspired interiors. Nebbiolo brings warmth and richness with its earthy brown tone -
CITY COUNCIL SPECIFIES ISO CHEMIE FOR ENERGY IMPROVEMENT PILOT PROJECT
ISO Chemie’s thermal insulating and load bearing bracket support system has been specified for a new energy saving pilot project being carried out by Cambridge City Council.
The move sees WINFRAMER units retrofitted around new windows currently being installed at council owned properties in the Ross Street and Coldham’s Grove area to bring them up to a net zero carbon standard. An insulation layer is also being installed in front of each unit and clad over to significantly reduce heat loss and improve energy efficiency.
The improvement works are part of a wider initiative by the council to reduce a third of residential-based carbon dioxide emissions in the city, providing improved housing and wellbeing for homeowners along with long-term cost savings.
As well as reduced energy consumption and emissions, the project aims to deliver a consistent and comfortable
indoor temperature throughout the year for tenants, better ventilation and indoor air quality with no damp or draughts, together with attractive homes in a state of good repair.
Passivhaus certified and fire rated to up to 30 minutes, WINFRAMER is a prefabricated installation frame, manufactured to accommodate cavities up to 250mm that allows windows to be supported independently from the face of the wall regardless of any external cladding being in place.
ideal for adding a grounded, natural feel to any space. Sagrati, a deep, almostblack finish delivers bold contrast and modern drama, perfect for high-impact interiors that make a statement.
All four colours are available across a wide range of formats to suit different design schemes and installation preferences. Choose from classic plank, herringbone block or chevron pattern, with the added option of a brushed plank for enhanced texture and tonal depth. Whether creating a clean-lined modern space or a more traditional layout with pattern and movement, the new colours offer unmatched flexibility.
With these additions, Havwoods continues to combine timeless Italian aesthetics with the performance and precision that today’s designers and homeowners demand.
Website: www.havwoods.com/uk
Quick and easy to install, the product can be integrated alongside other systems to achieve Passivhaus certified window perimeter sealing performance.
The Cambridge project comes as the Government’s strategy continues to push to reduce carbon levels in housing that has single skin, cavity or noncavity walls - these properties have a reputation for losing considerable amounts of energy, heat and sound.
The ISO Chemie products are expected to deliver improved levels of air tightness and thermal performance across the properties when the work is completed in July 2025.
“SLOW
LIVING”
ACCORDING TO
PANARIA CERAMICA: SURFACES THAT SUPPORT A HARMONIOUS AND BALANCED EXPERIENCE OF SPACE AND TIME
With the Workshop, Kairos, and Surround collections, Panaria Ceramica explores the principles of slow living through residential surfaces that aim to foster creative, balanced, and nature-inspired interior environments.
A home is more than a physical structure—it can serve as a place for restoring peace of mind and engaging with daily life in a more grounded, intentional way. In an increasingly fast-paced society, the desire to slow down has become more pronounced. This cultural shift—often referred to as “slow living”—has gained traction both online and offline, with a growing number of people sharing imagery and narratives that reflect a gentler rhythm of life, closely attuned to nature and personal well-being.
With a history spanning more than fifty years, Panaria Ceramica has
focused on combining material quality with evolving residential needs. Its latest collections engage with the slow living ethos, contributing to the broader conversation about how design can help create spaces that are restorative and thoughtful in their function.
Slow Living: More Than a Trend – Slowing Down as a Practice of Well-Being
Although the idea of slow living may seem contemporary, it has philosophical roots that date back centuries. Thinkers such as Seneca emphasised the importance of reflective time, a theme echoed in today’s renewed focus on inner balance and restorative living. In many ways, slow living can be seen as a response to the speed and pressure of industrial and
digital modernity. It also finds expression in cultural practices such as WabiSabi in Japan, which values simplicity, imperfection, and an appreciation for the everyday.
Seen through this lens, slowing down becomes a deliberate act—one that creates space for well-being, quietude, and connection. Increasingly, these values are being incorporated into the design of living spaces, with the home positioned as a retreat from overstimulation and constant motion.
Workshop, Kairos, and Surround: Surfaces That Echo Natural Rhythms
The Workshop, Kairos, and Surround collections from Panaria Ceramica reflect this approach through surfaces that bring organic textures, colours, and sensations into the domestic environment.
Workshop is a small-format ceramic tile with a glossy finish, available in nine colours drawn from natural elements such as earth, sea, and sunlight. Its varied surfaces—featuring highlights and textural irregularities—recall the artisanal qualities of traditional majolica, offering flexibility for different compositions and interior styles.
Kairos takes its cues from the warm tones and intricate textures of oak wood. Its porcelain stoneware surfaces aim to replicate the visual complexity of real wood, with details such as knots, carvings, and hairline cracks that invite a slower, more observant experience of space. The collection also includes the company’s Protect® antibacterial technology, which incorporates silver ions to help reduce bacterial presence on surfaces—an increasingly relevant feature in today’s health-conscious environments.
Surround explores the tactile qualities of stone, referencing both jura and classic limestone. The collection’s five shades range from warm to cool tones and are designed to suit both urban settings and homes situated in natural surroundings. Its rich textures and fossil-inspired visuals create a grounded aesthetic that aligns with the principles of slow, mindful design.
By bringing natural inspiration and a sense of quiet intentionality into the built environment, these collections reflect a broader shift towards slower, more considered ways of living. While not a solution in themselves, materials such as those found in the Workshop, Kairos, and Surround ranges offer tools for shaping spaces that align with values of calm, care, and continuity.
CELLECTA IS URGING ARCHITECTS, DEVELOPERS, AND CONTRACTORS TO REMAIN VIGILANT WHEN ASSESSING PRODUCTS THAT RESEMBLE SCREEDBOARD ®
IN NAME OR DESCRIPTION
Cellecta Ltd, the UK manufacturer of the trademark-registered ScreedBoard®, is urging construction professionals to exercise caution as imitation products and misleading terminology continue to appear across the market.
ScreedBoard® 28 is one of the UK industry’s leading high-density dry gypsum acoustic floor panel. Renowned for its outstanding performance, unique interlocking edge design, and third-party certifications, the panel helps a separating floor exceed Part E Building Regulations for acoustic performance typically by over 5dB. For over 18 years, it has been widely specified across residential and commercial developments for its proven compliance and consistent results.
“We are increasingly seeing companies use similar names, such as ‘screed board’ or ‘screed boarding’, in ways that can mislead specifiers and compromise the integrity of compliant builds,” said Ben Banks, Technical Director at Cellecta.
He added: “We are committed to protecting our brand and supporting
specifiers in making informed, confident decisions that are backed by independent and comprehensive levels of testing. Where necessary, we will pursue legal remedies to address any misuse of our trademarks. We've seen developers forced to rip up and replace floors after postcompletion testing exposed substandard acoustic performance from inferior alternatives. Any initial cost savings
are quickly erased when remediation is required.”
Cellecta is also warning that some competitors are misrepresenting their products as Robust Detail (RD) compliant, despite lacking proper certification. Whilst these companies reference general floor types such as E-FC-1, E-FC-2, or E-FS-1. All of which require a 17dB impact improvement from an acoustic treatment, to show compliance with RD. It is important that this can be backed up by independent test data. It should also be made clear that these references do not equate to system-level approval, especially when proprietary components such as underfloor heating layers are introduced or the acoustic board is used in applications such as timber frame or steel joisted floors. Proprietary Robust Details must utilise the components shown in the RD, and these must not be substituted.
Literature should be clear on what application and exactly which Robust Detail their products are suitable for, remember unless the entire system is tested in accordance with the handbook, it is not suitable.
As part of its ongoing commitment to brand integrity, Cellecta enforces a strict policy of monitoring and defending its intellectual property. Legal action will be taken against any organisation using misleading or derivative variations of its trademarks that risk causing confusion or diluting the ScreedBoard® brand’s reputation.
More than just a product, ScreedBoard® is a legally protected brand and a proprietary Robust Detail solution. Backed by UKAS-accredited test data and supported with a minimum 10-year warranty, it delivers certified acoustic performance with complete peace of mind both with and without underfloor heating.
Cellecta encourages all specifiers to seek clarification where any doubt exists regarding a product’s authenticity, certification, or compliance. Asking the right questions up front can prevent costly issues later.
“We stand behind our product, our trademark, and our customers,” added Stephen Cain, Communications Manager at Cellecta. “We’ll continue working to ensure the industry has access to clearly certified, high-performance acoustic flooring solutions—without compromise.”
ScreedBoard® is a registered trademark of Cellecta Ltd (UK Trademark No. UK00002454165).
SUMMER HEATS UP ENERGY EFFICIENCY NEEDS: EXPERTS REVEAL HOW (AND WHY) TO OPTIMISE AC UNITS
Air conditioning already consumes 7% of global electricity, and demand could triple by 2050, experts warn. With over 2 billion AC units in use today—and projections of 5.5 billion by 2050—the surge is driven by hotter summers, urban growth, and rising incomes, especially in Asia, the Middle East, and Southern Europe.
Cooling accounts for 20% of electricity use in buildings, a figure rising rapidly. But limiting access isn’t the answer, say experts at Exergio, an AI-driven energy optimisation firm. Smarter, more efficient systems are key.
In Germany, household AC use rose from 13% in 2023 to 19% in 2024, with another 19% planning to buy one— citing climate change as a top motivator. Across India, Indonesia, and MENA regions, inefficient cooling is already straining power grids and driving emissions. In India alone, cooling is expected to make up 45% of peak electricity demand by 2050.
“The core problem is the same almost everywhere,” says Donatas Karčiauskas, CEO of Exergio.
“ACs
often run full blast, cooling empty rooms, ignoring outside conditions, and wasting energy.”
Residential cooling alone may need 700 TWh more electricity by 2035—triple the expected rise from global data centers. Karčiauskas warns: “If we keep installing ACs without smart controls, we’re locking in decades of inefficiency.”
Solutions exist. Smart energy systems now use AI to monitor buildings in real time, predict cooling needs, and adjust airflow and energy loads dynamically—cutting waste and improving comfort.
Exergio’s system, tested at the Ozas shopping center in Lithuania, shows the impact: 29% less electricity and 36% less heating used, saving nearly €1 million. While the test site is in a cooler climate, the same principles apply to hotter regions: cool smart, not more.
“Cooling is now a year-round energy issue,” Karčiauskas concludes. “Buildings that adapt intelligently won’t just save money—they’ll drive the shift to climate-resilient cities.”
NUAIRE VENTILATION SYSTEMS NOW WITH PASSIVHAUS CERTIFICATION
Indoor air quality and ventilation manufacturing specialist Nuaire is pleased to announce Passivhaus certification has been achieved on BPS Passivhaus air handling units (AHU) in sizes 12,17, 22, 32 and 42 and XBC Passivhaus packaged heat recovery units in sizes 55 and 65. The systems have been rigorously independently tested under realistic conditions to ensure they meet the strict Passivhaus efficiency, thermal comfort, and indoor air quality criteria.
BPS Passivhaus is a range of high specification packaged AHUs designed and engineered to provide an efficient, high performing, compact solution for a multitude of applications.
With a plate heat exchanger with efficiencies of up to 95%, XBC Passivhaus are high performance packaged heat recovery units designed to improve indoor air quality whilst saving energy.
Both systems are fitted with high classification class 3 dampers to ensure the units remain airtight, mitigating weak points in a Passivhaus build.
www.nuaire.co.uk/commercial/passivhaus
CONTARDI UNVEILS NEW OUTDOOR LIGHTING COLLECTIONS
Contardi has introduced three additions to its outdoor lighting range, blending design with durability for gardens, terraces, and hospitality spaces.
The Kiki collection now includes a wallmounted version of the Kiki Outdoor light, featuring IP65 protection for weather resistance. The modular design maintains its sleek aesthetic while meeting technical demands for outdoor use.
The Claretta table lamp, designed by Chiara Caberlon, arrives in three new finishes—terracotta, sage green, and
turquoise. Lightweight and portable, Claretta adds elegance to al fresco settings, combining function with a decorative touch.
Also expanding is the Clara series, created by Caberlon in collaboration with Marco Forbicioni. A new wired model introduces a fixed handle and repositioned light source for improved diffusion. It retains the line’s signature Vienna straw-effect texture in UVtreated, waterproof resin. Outfitted with an LED bulb, IP65 protection, and an IP68 connector, the updated Clara is built to withstand outdoor conditions while delivering high visual appeal.
With these updates, Contardi reinforces its focus on stylish, high-performance lighting for outdoor environments.
INNESTI BY ETHIMO AND STUDIOPEPE
After Bulbi, the collection of concrete vases inspired by archetype container shapes, Ethimo and Studiopepe have created the ‘Innesti’. In delicate colours with elegant welcoming forms, the new line reveals a fascinating encounter between matter and nature.
In lightweight concrete, the Innesti line of vases comprises three models with ‘soft’ contours, used singly or in groups with different configurations to hold a wide variety of plant and flower compositions.
One of the two cylindrical vases has a concave profile while the other is convex, so that they can be harmoniously fitted together to create a single element. The oval vase with its convex profile is refines decorative ‘links’.
OUTDOOR ACCESSORIES BY UNOPIÙ
Unopiù expands its outdoor collection with a curated selection of stylish and practical accessories designed to elevate any open-air setting.
Highlights include two weatherresistant rugs: one in an ecru and terracotta stripe, and another woven in graphite and ecru tones. Both combine durability with visual appeal, making them ideal for outdoor use.
Also new to the collection are planters in timeless colours and streamlined silhouettes. Defined by clean lines and understated elegance, they integrate seamlessly into a variety of outdoor spaces.
A versatile addition is the new rope pouf, measuring 50 cm in diameter and available in anthracite grey or light grey. Its multi-functional design makes it suitable as a casual seat, side table, or decorative accent.
Another standout is the special edition Portofino table lamp, designed by Valerio Sommella for Nemo and offered exclusively by Unopiù in a vibrant terracotta hue. Compact, lightweight, and rechargeable, the lamp provides a soft glow—perfect for al fresco dining or relaxed outdoor evenings.
With these refined accessories, Unopiù brings a perfect blend of function and design to outdoor living this summer.
RESITRIX ® DELIVERS DURABLE ROOFING AT ST ANDREWS DEVELOPMENT
Aiming to set a benchmark for the future of sustainable living in Scotland, the St Andrews West development combines contemporary styling and high-quality specification.
The phase 2 project, comprising 16 houses, 8 ‘Fisher Flats’ and 38 apartments, required a waterproofing system for the flat roof areas that aligns with the sustainability goals and aesthetics of the project, while delivering robust protection against the challenging east coast weather. Roofing contractor, Site Roofing, proposed the RESITRIX® bitumen backed EPDM system from CARLISLE® .
A seamless solution
Site Roofing are very experienced in installing RESITRIX® for prestigious projects in exposed climate conditions, and were confident in recommending the unique hybrid single ply system for the project.
RESITRIX® is the only waterproofing membrane that combines the advantages of EPDM’s permanent elasticity with the durability of high-quality polymermodified bitumen in a single membrane. The self-adhesive membrane can be laid onto almost any substrate, offering flame-free installation. The laps are sealed using hot air welding, reducing risk during the build phase, while providing a low maintenance service life of 50+ years.
Working collaboratively with CARLISLE® , Site Roofing developed the wind loading calculations for the project aligned to the high windspeeds and gusts typical of the location. The company also designed the complex detailing required for the interfaces between the flat roof areas and the pitched roof sections, working flexibly alongside the pitched roofing contractor to enable the project to progress.
Confidence in the long-term durability of the roofing system was also essential. RESITRIX® has excellent resistance to U/V, is not compromised by fluctuations in temperature, and is suitable for installation in the saline atmosphere of a coastal location like St Andrews.
Complex details
The flat areas at St Andrews West form link roofs between pitched roof structures, and several dormers within the pitched roofs also needed to be waterproofed using RESITRIX®. The integrity of the interfaces between the flat and pitched roof sections was critical, and the combination of Site Roofing’s experience and the versatility of the RESITRIX® system meant that these complex details could be completed neatly and with reliable performance.
Site Roofing coordinated works with the pitched roofing contractor to ensure a smooth programme and seamless finish, which was particularly crucial as the flat roof areas are visible from ground level, so any imperfection would be noticed easily.
Supporting progress
With multiple trades working on the project at any one time, continued access to the flat roofs was non-negotiable. RESITRIX®’s unique EPDM and bituminous composition delivered a robust yet flexible roof covering, providing a durable and puncture-resistant, walkable surface throughout the construction phase, allowing the continued progress of a complex programme involving both flat and pitched roof areas, along with other trades.
The RESITRIX® membrane required a high level of workmanship, as any imperfection would be immediately obvious from ground level. Having all been trained at the CARLISLE® Academy, the Site Roofing team rose to the challenge, bringing a wealth of specific skills, in-depth knowledge, and experience to the project, from design development to completion, including a comprehensive understanding of the specific requirements for RESITRIX® installation in this setting.
CARLISLE® provided consistent and proactive on-site support to ensure the RESITRIX® system was optimally tailored to the project’s unique design challenges, delivering real-time problem-solving, clarification of technical queries and best practice quality assurance.
Quality assured
With a collaborative and meticulous approach, Site Roofing and CARLISLE® were able to achieve the highest standards of precision and quality, resulting in watertight roof installations that adhere to best practice guidelines and meet the prestigious aesthetic requirements of the project.
www.ccm-europe.com/gb 01623 627 285
info.uk@ccm-europe.com
MULTIPLE CURATED EXHIBITIONS COVERING ARCHITECTURE, DESIGN AND CULTURE ANNOUNCED
TO TAKE PLACE IN SHOREDITCH, 16-18 SEPTEMBER, DURING LONDON DESIGN
FESTIVAL 2025
Media 10, the organisers of Clerkenwell Design Week and publishers of ICON and OnOffice magazines announce the launch of Design London Shoreditch – a new multi-venue design event taking place during London Design Festival.
Popping up in East London’s thriving district, each exhibition will focus on a different overarching theme attached to design, culture and cuttingedge interiors covering commercial, hospitality and residential projects. This exciting new exhibition will attract an international audience of architects, designers and enthusiasts to the popular neighbourhood. Featuring topical talks covering the industry’s most pressing topics, immersive installations, brand activations, pop-up shops, established and emerging design brands, Design London Shoreditch is set to be an exciting and much welcomed addition to London’s annual design festival.
EXHIBITIONS:
Design at Work by OnOffice
Protein Studios Shoreditch, 31 New Inn Yard, EC2A 3EY
Design at Work by OnOffice will dive deep into workplace design. Exploring the impact of design on wellbeing, efficiency and comfort at work, the popup event will present a selection of global brands alongside emerging talent, each showcasing cutting-edge products and solutions to deliver a better and more design-led working environment.
From task-based furniture to breakout, storage solutions to acoustic materials and everything in between, Design at Work by OnOffice will attract A&D professionals looking to transform workplace interiors.
The venue features an industrial-chic aesthetic, high ceilings, polished concrete floors, and natural light, providing the perfect backdrop and blank canvas for cutting-edge products.
Design Culture
Kachette, 347 Old St, EC1V 9LP
Design Culture celebrates the intersection of design and cultural consciousness. Exploring the impact of culture through design, Design Culture will present the art of creativity, innovation and craftmanship by showcasing object pieces, art and product design from around the world.
House of ICON
Shoreditch Town Hall, 380 Old St, EC1V 9LT
House of ICON explores the beauty of interior design in all its forms. From the clean lines and practicality of Scandinavian design to the bold colours of maximalism, and everything in between, House of ICON showcases products for residential and hospitality projects.
Taking over the Grade II listed Shoreditch Town Hall, design and lifestyle brands will have the opportunity to occupy
expansive chambers, atmospheric basement areas, rooms with original features, and even a grand Victorian auditorium to showcase innovative products covering furniture, lighting, rugs, textiles, accessories and more.
“Shoreditch is one of London’s trendiest neighbourhoods, it’s a thriving creative community that has welcomed more and more design-led companies to the area in recent years – which is why we’re thrilled to be launching brand-new curated exhibitions there in September. With expertise in organising and launching successful b2b design events as well as publishing industry leading titles covering architecture, design and culture, we’re looking forward to contributing to the area’s offering for architects, designers and enthusiasts alike during London Design Festival. I’m excited for us to announce more information about the exhibitions in the coming weeks and with early support from some of the industry’s most renowned brands it has given us the confidence to be able to realise our vision.” Marlon Cera-Marle, Director, Media 10
Shanghai has taken a giant stride towards sustainable waste infrastructure with the newly unveiled Baoshan Waste-to-Energy Centre, the city’s latest power plant fuelled by household waste.
With its permeable façade, from within the architecture appears more as a geological shell than a traditional building.
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Formerly the site of a blast furnace, the Centre now plays a critical role in Shanghai’s carbon reduction strategy. By transitioning industries and diverting waste from landfills, the facility saves an estimated 3 million tonnes of carbon emissions annually. Designed by Ballistic Architecture Machine (BAM), the new Centre attempts a significant step towards a circular economy, demonstrating how waste infrastructure might evolve into sustainable urban landmarks.
This 128,000 sqm complex contains two advanced waste-processing technologies: an incineration unit generating electricity, and an anaerobic
The
educational formats, visitors travel through eras—encountering dinosaurs, exploring the birth of fossil fuels, the Industrial Revolution, and the inventions of plastics and semiconductors. As visitors progress through the exhibition, they gradually come face-to-face with the overwhelming scope of the waste problem, but also are inspired to contemplate their own role in addressing the waste challenge.
design rejects the conventions of the industrial typology by blurring the boundaries between architecture and landscape.
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digestion system harvesting biogas. The capacity is staggering at 3,000 and 8,000 tonnes of dry and organic waste, respectively. Yet, in designing the colossal facility, BAM avoids the "decorated shed" paradigm common in modern industrial architecture. Instead, the design employs a camouflaging approach, combining architectural, landscape design, and public amenities including a Museum of Waste and an array of recreational facilities. What might have been a monolithic industrial site is instead a dynamic educational destination and a new type of urban landmark at the intersection of landscape and architecture.
To begin, BAM envisions the larger industrial site as urban parkland, which is 'lifted' to integrate a set of buildings. BAM then develops the architectural envelope as a porous geological form. The roof includes large openings to satisfy fire safety requirements, resulting in a design that is not fully enclosed. With its permeable façade, from within the architecture appears more as a geological shell than a traditional building. This stands in stark contrast to the massive mountain-like presence the building presents from afar. A 4-hectare roof park further reinforces this integration, offering green space for recreation, education, and public interaction, while concealing the industrial functions
beneath. Overall, the design rejects the conventions of the industrial typology by blurring the boundaries between architecture and landscape.
At the visitor’s entrance plaza, patterned structures playfully emerge from the veil of the industrial façade, forming the ‘mini-city’—a vibrant complex of exhibition and leisure spaces. Here, visitors' journey to the Museum of Waste begins, an immersive experience that takes guests on a journey through natural history and the waste-to-energy (WTE) process.
Sustainability through public education
The Museum of Waste educates school groups and the general public through the ‘Story of Rubbish', unfolding across a series of thematic, immersive environments. Moving beyond traditional
Continuing the journey, the WTE Experience Hall offers an up-close look at key stages of waste processing, including crane operations, control room functions, incineration, baghouse filtration, and turbine room operations. In the turbine room, a cinematic experience animates the ‘Story of Rubbish’ narrative, bringing the inner workings of the facility to life. The factory tour culminates with the 4-hectare green roof park, offering a final peek into the waste-processing machine through the canyon-like openings in the roof. Continued >>>
The Baoshan Waste-to-Energy Centre presents an innovative leap in waste management by integrating both wasteto-energy incineration and anaerobic digestion facilities. This combination allows for efficient processing of waste, where organic materials are converted into biogas for diverse applications, while non-organic waste is incinerated to generate electricity. This dual approach not only enhances energy recovery, but also supports the principles of a circular economy by maximising resource utilisation and minimising
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Moving safe and clean waste infrastructure into the city core is key to furthering the paradigm shift in waste management.
waste. While the integration of additional materials and resources (such as sustaining a park on the roof) may be challenging when evaluated solely against current sustainability standards, BAM’s vision is to establish this project as a transitional prototype. It is an experimental step toward integrating industrial facilities within urban cores, laying the groundwork for future green technologies and contributing to Shanghai’s long-term goal of carbon neutrality by 2060.
Moving safe and clean waste infrastructure into the city core is key to furthering the paradigm shift in waste management. This requires reshaping public perceptions to overcome "Not-InMy-Backyard" (NIMBY) social resistance. The ultimate goal is the transition to a circular economy, where waste-to-energy technology itself eventually becomes obsolete and the building becomes a civic space. In this light, the Baoshan project is not just a building but an urban landmark transforming waste into energy and reshaping social perceptions of waste.
POWDERTECH WITH SURFACE ENERGY & CLEANLINESS TESTING
Powdertech Surface Science has enhanced its quality control processes using Dyne Testing products from Intertronics. With surface preparation critical to coating performance, the team uses Dyne inks to quickly assess surface energy—ensuring good wetting and adhesion before processing aluminium parts.
If Dyne ink wets the surface evenly, high surface energy is confirmed. If it beads, it signals poor adhesion potential. Powdertech also uses the CleanoSpector to detect organic contamination from casting or machining, helping to determine if additional cleaning steps are needed.
The CleanoSpector’s Relative Fluorescence Unit (RFU) measurement has even been adopted by a major OEM, appearing on technical drawings as a cleanliness benchmark. These tools now form an essential part of Powdertech’s QC process.
More at intertronics.co.uk.
BEHIND THE QUALICOAT SPECIFICATION: ENSURING LONGEVITY IN ARCHITECTURAL POWDER COATING
While powder coating may seem straightforward—clean, spray, cure— the process behind high-performance architectural finishes is anything but simple. That’s where QUALICOAT comes in.
Founded to uphold consistent quality across the global architectural powder coating supply chain, QUALICOAT sets a detailed specification for pre-treatment, application, curing, and testing. Licensed members, including applicators, powder manufacturers and chemical suppliers, must adhere to strict, regularly updated protocols and submit to independent third-party audits and laboratory testing.
Regular in-house testing, including adhesion, impact and bend tests, is required for every production batch. Panels are also subjected to accelerated weathering tests—designed to simulate long-term exposure—to ensure coatings retain colour and gloss while resisting corrosion.
Curing is also critical. QUALICOAT’s system monitors the ‘curing index’—a
measure of time and temperature performance—to guarantee full polymerisation of the coating. Applicators must track and log stoving curves and oven conditions, ensuring coatings achieve optimal durability.
All powder formulations and pretreatment systems are formally tested and revalidated to retain approval. Pretreatments undergo intensive corrosion and mechanical tests in accredited labs, with approvals valid for five years.
The QUALICOAT label ensures longterm performance and peace of mind,
particularly important in demanding environments. The association recommends architects and specifiers include QUALICOAT certification when selecting powder-coated aluminium to guarantee compliance.
For more information or to find licensed members in the UK & Ireland, visit qualicoatuki.org.
ZUMTOBEL GROUP POWERS ENERGY-EFFICIENT LIGHTING AT MEMS POWER GENERATION HQ
Zumtobel and Thorn, brands of the Zumtobel Group, have delivered an advanced energy-efficient lighting system for MEMS Power Generation’s new £6 million headquarters in Kent. The design supports MEMS’ operational needs, employee wellbeing, and sustainability goals.
Working alongside electrical contractor Gilbert and Stamper and main contractor WW Martin, Zumtobel Group implemented a comprehensive lighting scheme across offices, plant rooms, circulation areas, and external spaces. Key to the project was Zumtobel’s LITECOM control system, which optimises energy use by automatically switching off lights during non-working hours and providing safe, well-lit pathways after hours.
The office areas feature Zumtobel’s AMBITUS suspended luminaires, mimicking natural sunlight, alongside
PANOS Infinity pendants in reception and LANOS lights in stairwells.
Thorn’s IQ Beam, Cetus, Omega C, and Aquaforce Pro luminaires provide efficient illumination throughout the building. Exterior floodlighting and emergency signage ensure security and safety.
GHIDINI 1961 SHINES AT MILAN DESIGN WEEK 2025 WITH THREE IMMERSIVE INSTALLATIONS
At Milan Design Week 2025, Ghidini1961 captivated audiences through three distinct yet connected showcases, each highlighting the brand’s mastery of design as a poetic and emotional experience.
The journey began at Villa Héritage, where under Pierre-Yves Rochon’s artistic direction, installations like Dusk Dawn and Ottanta blended glass, brass, marble, and aluminum into harmonious elegance. Next, Archiproducts Milano’s Aria project, curated by Studiopepe, featured the Tria table by Lorenza Bozzoli, crafted from Portuguese pink marble—an emblem of serene natural beauty.
The finale unfolded in the historic Palazzo Donizetti, with L’Appartamento by Artemest celebrating a decade of craftsmanship and contemporary design. Key pieces included Bozzoli’s modular sofas Leisure and Mambo, Branch Creative’s Dusk Dawn lamp, and Andrea Branzi’s Giotto artwork,
complemented by Richard Hutten’s Hillary stools and the Tarantino bar cabinet.
Ghidini1961’s narrative blends timeless craftsmanship with bold design, creating installations that speak, move, and endure—turning furniture into living art.
GROHE SPA EXPANDS COLOUR PALETTE WITH NEW SATIN FINISH
Transforming the bathroom into a serene home spa is about creating a highly unique and holistic experience. Today’s homeowners strive for individual spaces that express their personal taste through a tailor-made look and feel. With Satin Steel and Satin Graphite, GROHE SPA brings a new luxurious finish to the bathroom and allows even greater freedom of choice.
As part of the GROHE Colours Collection, a curated palette of timeless colours and finishes, Satin Steel and Satin Graphite are true to their name, as the lustrous, soft surface ensures a delightful tactile sensation every time the products are used. Despite their smooth feel, Satin Steel and Satin Graphite are highly resistant to corrosion, guaranteeing long-lasting durability.
Always consistent with the “Perfect Match” principle, the GROHE Colours Collection facilitates the design of coherent spaces – and Satin Steel and Satin Graphite are no exception. Consumers, designers and specifiers can choose from two lines, GROHE Atrio and GROHE Allure, which can be matched to customisable shower solutions such as the GROHE Rainshower Aqua Ceiling Shower modules, hand and head showers, along with thermostats and Rainshower Aqua Body sprays – all in the same finish.
EGGER’s extensive PerfectSense product portfolio offers you more design possibilities than ever before. Suitable for high-end furniture and interior design, our versatile and coordinated PerfectSense range is available in MDF, Lacquered Chipboard, Laminate and Edging, providing solutions for all design needs.
TREVOR MORRIS, PRINCIPAL AT SPPARC ARCHITECTURE
REDISCOVERING
Trevor Morris, Principal at SPPARC Architecture, is leading some of the UK’s most ambitious transformations of Art Deco and early 20th-century buildings—from the revival of London’s Saville Theatre to the reinvention of Emberton House and Ravenscourt Park Hospital.
In this conversation, Morris shares how his team navigates the delicate balance between preservation and innovation, crafting contemporary interventions that respect the past while anticipating future needs. We discuss SPPARC’s approach to adaptive reuse, the challenges of translating historic typologies for modern life, and how thoughtful design can breathe new cultural and civic relevance into forgotten landmarks.
The Art Deco period was known for its glamour and optimism. How do you go about rediscovering or amplifying that spirit in buildings like the Saville Theatre or Ravenscourt Park Hospital?
The key to understanding that period is its craftsmanship and the optimism of the modern era. The quality of the design, detailing and materials are often celebratory and daring. Instead of pastiche, we embrace that original spirit in our design response.
Given their original uses, many surviving Art Deco buildings have a civic quality to them, which often means a great deal of generosity in terms of both space and natural lighting. We look to tap into those qualities when we’re repositioning them for alternative uses or introducing bold additions to them.
Many Art Deco buildings were designed for very specific uses—how do you approach translating those forms into something that functions for 21stcentury life, like schools, care homes, or hotels?
Of course, it does depend on the individual building and the specificness of that original use. But working with rather than against that original design ingenuity, including what is nearly always a great use of structure at the time, tends to make repositioning possible. With Ravenscourt Park Hospital in particular, the meticulous thinking that went into the original plan layout and its wall-towindow ratios, as well as the opportunity for open space, meant it is translating very well into residential use.
Even Emberton House, which required comparatively more intervention because of its very particular former use as a multi-storey car park, continues to benefit from its original ribbon glazing
format that wraps around the exterior, allowing in plentiful natural light in its repurposing into a luxury hotel and secondary school complete with a community theatre.
When repositioning these buildings, we don’t just look to the past, but also to the future. Fifty years from now, if someone wanted to remodel one of our re-use projects for another purpose, we have considered potential options, including the creation of soft spots constructed into the building’s structure that will allow them to do so without the need for major demolition or intervention.
With the restoration of the Saville Theatre, you’re not only reactivating a building, but also a cultural legacy. How do you approach that dual responsibility?
First and foremost, with pride. But we also understood from the beginning that honouring the Saville Theatre’s legacy by restoring its original use meant recognising that the requirements of a modern theatre have changed significantly in terms of audience and production expectation since 1931.
The theatre’s entire interior was sadly lost in 1970. We therefore sought to
create the best modern theatre for the future in a way that respects and celebrates its heritage, rather than creating a shrine to its history.
We also wanted to make sure that we reinstated the same prominence at street level as the Saville Theatre did on its original opening. The urban grain that surrounds it has grown so much in the decades since, not just in terms of scale, but also the way in which the surrounding buildings are used at street level. The Saville simply could not match up to that in its time as a cinema and had effectively got left behind in the streetscape, despite its rich past. We are seeking to reintroduce its prominence on how it exerts itself on the street, including enlarging the original entrance volume onto Shaftesbury Avenue whilst ensuring the wonderful Gilbert Bayes frieze is restored, to once again become the most prominent feature of the principal façade.
Emberton House started as a car park — a utilitarian space — but had a major impact on design at the time. What opportunities did its reinvention into a hotel and school present, architecturally speaking?
The depth of the plan form worked well when repositioning the building. We created two new independent cores to serve each of the different uses as a school and a hotel.
We introduced an atrium through the middle of the school that follows the location of the former ramps, allowing natural light to penetrate all the way from the top to the bottom of the building. With the hotel, we have created a core in the middle of the floorplate, and effectively a donut of hotel rooms around the perimeter, optimising the format of the 1930s ribbon glazing.
How do you approach the design of new elements or extensions on historic sites to avoid mimicry, but still feel connected to the original building?
The 1930s buildings that we are working with have such depth of interest and design rigor to them. It’s not about mimicking these through newer additions but instead embedding the same philosophies behind the original buildings to inform the modern interventions. For example, this could mean taking one striking form from the building’s shape or a key detail from a parapet of the subject building and seeking to explore its geometry or materiality to inform a contemporary take that is clearly modern but respectfully belongs.
For the Saville Theatre’s hotel addition, we took inspiration from the building’s original theatre use, designing a
perforated woven brick exterior that wraps around the buildings upper-level hotel addition in a way that resembles a stage curtain. The result is something that feels much more like a singular theatre language in the street, rather
At the beginning of any project, we are like detectives looking for clues. For us, it’s about legacy, learning from that era when craftsmanship was such an important part of the design process and how we express that through materiality.
than a building with two very distinct uses.
It’s about having a connection to the original building rather than copying it, understanding what its contribution was and taking it from there. We always listen to what the echoes of a building’s past tell us to inform its future.
When working on these 1930s projects, how do you research and honour the original architects' intent without getting stuck in nostalgia?
At the beginning of any project, we are like detectives looking for clues. For us, it’s about legacy, learning from that era when craftsmanship was such an important part of the design process and how we express that through materiality.
We don’t get stuck in nostalgia, but we do enjoy history and research. Researching the history of a building is vital for understanding what its future should be. With Ravenscourt Park Hospital, for example, we studied the original 1930s masterplan, which was actually never completely realised, and looked at how we could finish what was started within the constraints of the heritage buildings and available land. So, our work was informed by looking back at the history there, particularly in terms of the plan form and plan set out. But it also looks forward to what the future of those buildings should be and how they should evolve for the next 100 years.
Your projects often sit at the crossroads of regeneration and conservation. What early questions do you ask when deciding whether a historic structure can be adapted versus replaced?
Regeneration, conservation, and preservation are very different things. You always have to go through the analysis of what’s there, its significance, how you can rework it, and what the impact of that reworking will be.
Heritage considerations remain the priority; however, the question we often ask outside of heritage assets is, are you changing the building so much that you end up with compromise? Most of the time, re-use is absolutely the right answer. But there are occasions where the amount of structural change or fabric replacement to give a building a meaningful new life cycle ends up not being the most sustainable outcome, compared to if you were to replace the building.
It’s never a decision you can make without a detailed evidence-based assessment.
Borough Yards sits beside the historic Borough Market but feels contemporary. How did you use materials and form to stitch the new into such a well-worn urban fabric?
As with all of our projects, it was analysis and a thorough understanding of the context that involved immersing ourselves in the area. This meant both understanding the market and the area’s history before the market or railway was even there.
We looked at the routes and connections and what these were like before the arrival of the Victorian viaducts, which at least partly disrupted the legibility of the medieval street pattern. We sought to bring back in some of the intimacy of these lost medieval streets, with their tight, narrow lanes that open up into wider, formal spaces.
We also took a magnifying glass to the area’s existing urban grain. There's a lot of brick that weaves everything together, from the industrial warehouses to Southwark Cathedral, and we sought to reference this through the materiality and detailing of the newer additions.
You've worked on everything from performance venues to hospitals to workspaces. Is there a common thread in how SPPARC approaches different building typologies?
In one word, meticulousness. It’s all about treating every project with the same level of inquisitiveness, curiosity and enthusiasm.
It’s also about challenging what’s been done before. We’re currently working on several theatres, but that doesn’t mean that the first theatre we ever did will provide us with all the answers for the next one. It just means we know the right questions to ask and where not to look for the answers.
With Olympia’s reinvention, including Emberton House, how do you design within a masterplan while still giving each building a distinct architectural identity?
At Olympia, there’s a lot of different buildings that all tell the story of Olympia and the eras that created them. We decided early in the process that the building that needed to inform the future was the original Victorian Grade II* listed Grand Hall, where the evolution of Olympia started in the 1880s.
While the masterplan itself does stitch the district together like never before, there’s also the thread of common detailing that allows the distinctive
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At Olympia, there’s a lot of different buildings that all tell the story of Olympia and the eras that created them. We decided early in the process that the building that needed to inform the future was the original Victorian Grade II* listed Grand Hall, where the evolution of Olympia started in the 1880s.
architectural identity of the Grand Hall to come through in the newer additions, such as referencing its use of pleated glass, crafted bronze and curved metal. This allows you to read the masterplan with one identity, but an identity that is reinvented through each of the buildings,
informed entirely by the heritage that already exists on site.
How do you manage the tension between the high-tech sustainability standards clients expect today and the often-low-tech nature of older buildings?
It’s impossible to separate them out. The legacy of a building’s reuse cannot be one that doesn’t meet modern regulations, or one that isn't fit for use. You have to look at how you can work sympathetically with the heritage assets. That could be about intervention, or it could be about bringing in technology. Regardless, it’s much more than just giving them a lick of white paint. It must be a thorough process. Instead of updating these buildings for today, you're predicting the challenges they will face in the next 50 and even 100 years.
If you had to choose one project that best represents SPPARC’s attitude towards heritage and modernity, which would it be and why?
I think every one of our projects does. To pick one would suggest that the others don’t, which isn’t the case. At SPPARC, we pride ourselves not on having a house style but instead being informed by every site or single existing building that we work with, which means letting that building tell us what it wants or needs.
With Ravenscourt Park Hospital, for example, we are grounded by the legacy of this Grade II* listed building, which was groundbreaking on its completion in 1933. We want to make sure our additions don’t feel submissive to that, but worthy of successfully and respectfully cohabiting with the quality of our heritage. I would like to think it is evident that all our work with heritage buildings has that approach.
DETECTION REFINED
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ILLUMINATING IL GATTOPARDO: A MASTERPIECE OF ITALIAN ELEGANCE IN DUBAI
Lucent Lighting, a leader in architectural lighting solutions, has utilised their lighting expertise to transform the newly opened Il Gattopardo, a sophisticated new restaurant located on Level 51 at ICD Brookfield in Dubai.
Il Gattopardo blends Italian heritage with a modern way of life. The lighting, crafted with precision and expertise, plays a pivotal role in shaping the luxurious yet inviting ambience of this extraordinary dining destination.
The lighting design by Isometrix Lighting Design at Il Gattopardo is a celebration of refined sophistication. Soft, ambient lighting casts a warm, golden glow throughout the restaurant, accentuating the mid-century Italian-inspired interiors. Intricate details such as opulent fabrics and sleek finishes are gently highlighted, creating a harmonious balance of intimacy and grandeur. The carefully curated lighting ensures that every corner of the space radiates comfort and elegance, enhancing the dining experience for guests.
To achieve the desired effect, Lucent Lighting provided a range of advanced luminaires. The Edge90 Trimless Downlights deliver seamless, glare-free illumination, adding to the understated elegance of the restaurant, which benefits from sweeping views across the city. TubeLED MINI & MICRO Track Spotlights were utilised to accentuate specific features, highlighting the intricate details of the interiors and the vibrant elements in the lounge and bar area.
In these areas, the lighting takes on a more dynamic and theatrical tone - track-mounted 3CT Mains Voltage Surface spotlights and subtle accent lighting work in tandem to illuminate key features, including the striking tapestry curtain and the sculptural DJ booth. This thoughtful design injects energy and vibrancy into the space, perfectly complementing the lively vibe of the bar and lounge.
The projects innovative solutions not only enhance the visual appeal of Il Gattopardo but also contribute to its unique atmosphere. The seamless integration of lighting into the restaurant’s design showcases the power of light to transform a space, elevating it into a realm of glamour and sophistication.
Il Gattopardo, inspired by the iconic Dolce Vita era, is the creation by the renowned designer Lázaro Rosa Violán. With a masterful fusion of Italian mid-century elegance and contemporary flair, the space offers a refined dining experience alongside a vibrant lounge atmosphere.
Set to become one of Dubai’s most coveted destinations, Il Gattopardo embodies luxury and timeless design. The project can be celebrated for its commitment to innovation, design excellence and sustainability.
Project Credits:
(Isometrix’s) Client: D.ream International
Designer: Lázaro Rosa Violán
Lighting Designer: Isometrix Lighting Design
Photography: Courtesy of Il Gattopardo
Lighting Wilde: A LAYERED NARRATIVE OF ATMOSPHERE AND DETAIL IN STAYCITY’S SPITALFIELDS APART-HOTEL
Dublin based apart-hotel operator Staycity Group recently unveiled their latest Wilde property in London. Inspired by the Irish playwright Oscar Wilde, the brand redefines the apart-hotel experience across Europe, giving guests a mixture of locally inspired décor with all the modern comforts of home.
This London site, located in the historic Spitalfields & Petticoat Lane market district, is the first to showcase the redesigned
brand offering. DesignPlusLight were commissioned to design the lighting to the front of house and amenity space. Conceived by interior designers O’Donnell O’Neill, it showcases a rich and warm palate of burgundy, tan and terracotta, expressed in wood, felt and sumptuous handmade tiles set amongst luscious planting.
The ground floor is zoned into three areas to maximise the use of space: lobby, cafe seating and bar, with a self-service deli behind.
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Upon entry the guest has an almost panoramic view of the ceiling through Crittall style glazing, as the ground floor is raised by a few steps.
Interior designers O’Donnell O’Neill created a retro-inspired painted patterned ceiling. This softened the rectilinear dimensions as well as cleverly disguising the ceiling services. DesignPlusLight took inspiration from this unique feature and suspended tracklighting, with the addition of a linear uplight to further enhance the ceiling artwork.
“The painted ceiling is such a unique and striking design. Using track lights help to demarcate each zone whilst keeping the impression of the ceiling clean and clear of downlights. It also allows for flexibility in where one positions and focuses the light from above.” explains Sanjit Bahra (Principal). “We elected to use the latest in warm-dim lighting technology to emulate the feel of tungsten light, to make for a more relaxed and cozy atmosphere at night”.
Upon entry the guest has an almost panoramic view of the ceiling through Crittall style glazing, as the ground floor is raised by a few steps. The first impression is of the uplit-ceiling and then the eye is drawn down the dramatically lit textured tiles on the partition columns. Glimpses of illuminated fig trees, chevroned timber and leather provide a visual connection into each zone.
A sense of intimacy is created at the cafe banquette seating area by soft uplighting to the chevron timber panelling. The warmth and texture of the panelling provides a reflected soft glow into the space which balances the uplighting effect on the ceiling. The track spots pinpoint photography by local artists. Curved display shelving sits squarely at the end of the seating to frame the window and visually tie in the finishes.
The bar canopy appears to float effortlessly above the counter.
Linear uplighting enhances the canopy’s curvature, echoing the lighting effect to the bar front, and provides a contrasting green colour from the illuminated planting. Concealed lighting within the back bar shelving enhances the ribbed glass window to the deli behind, whilst discrete mini downlights in the canopy provide a sparkle to the hanging glassware.
The challenges of an ‘all-day-dining’ space, especially one that is flooded with so much natural light, is how to create a varying ambience to ensure the space feels welcoming and visually different throughout the day and into the evening. Lighting is the only design element that can instantly change the perception of space at the mere touch of a button.
During the day, natural daylight floods into the room. The lighting is set to balance the contrast that is often created by daylight as one moves further into the space, away from the windows. As darkness falls the lighting scene automatically changes to reveal soft halos of light to illuminate the window treatments. With warm-dim LEDs the colour temperature changes from a crisper hue during the day to a warm tungsten-like glow at night. The lighting scenes respond to the time of day and further soften towards the evening, producing a soft and intimate tone to the seating areas. Successful lighting design and control brings seamless changes in mood which adapt to the functional requirements of the space.
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A sense of intimacy is created at the cafe banquette seating area by soft uplighting to the chevron timber panelling.
ARCHITECTURE STUDENTS LAUNCH THEMSELVES ONTO A GLOBAL STAGE
This summer, a team of architecture students from the University of Westminster will bring their project Staircase to Exordium to Burning Man 2025 (24 August – 1 September) in Nevada—a renowned week-long event celebrating community, art, and self-expression.
RIBA ANNOUNCES £1 MILLION DONATION FROM THE SANDYS TRUST TO SUPPORT ARCHITECTURE STUDENTS
The Royal Institute of British Architects (RIBA) has announced a remarkable donation of £1 million from the Sandys Trust to establish an endowment to support architectural education. The endowment will provide Sandys Bursaries to students in financial need who are undertaking postgraduate study.
The Sandys Trust shares RIBA’s vision of making architecture inclusive and accessible to all, and this donation will aim to ensure students from low income and disadvantaged backgrounds can pursue their studies.
The new Sandys Bursaries will be awarded through the RIBA Part 2 Bursaries scheme which provides longterm financial support to architecture students who demonstrate talent, commitment to their studies and financial need. These bursaries have an incredibly positive impact on students’ lives.
Supporting education is a key objective of The Sandys Trust which was established with funds from the estate of the late Lord and Lady Sandys.
Designed and led entirely by students, the installation has received one of the prestigious Honoraria Grants, the only UK-based team awarded this year.
Mentored by Arthur Mamou-Mani and Toby Burgess, they are transforming their academic explorations of space and sustainability into a real, participatory, community-focused build.
Attending Burning Man as artists, especially novices, means embracing full creative and logistical responsibility.
The students act as architects, fundraisers, fabricators, and builders— without institutional backing. They are realising their own vision and carving a place on the global creative stage through teamwork, passion, and belief in their extraordinary project.
The 6-metre-tall spiral installation symbolises new beginnings, reflection, and pause amid change, inviting participants to embrace the unknown.
“Prefabrication is underway at their London workshop before shipping to San Francisco and transport to Black Rock City.”
While the grant covers part of the costs, the team is crowdfunding an additional £15,000 to cover materials, shipping, and equipment.
Support the project at: www.kickstarter.com/projects/joelilley/ staircase-to-exordium-burning-manproject-2025
ARB ADVANCES
EDUCATION REFORMS WITH PLANS TO TRANSFORM PROFESSIONAL PRACTICAL EXPERIENCE
The Architects Registration Board (ARB) has published a plan to improve access to high-quality professional practical experience for future architects, following recommendations from the independent Professional Practical Experience Commission.
Key actions include creating a coordinating role for learning providers, defined through focus groups and detailed in ARB’s Standards for Learning Providers and Accreditation Handbook, pending public consultation.
ARB will also introduce a standardised Record of Competency (ROC) with minimum requirements
for recording practical experience, developed alongside a reference group of learning providers.
Acknowledging concerns that trainees currently bear too much responsibility and risk, ARB aims to enhance transparency, prioritise outcomes, and improve the trainee experience. While ARB will not mandate Continuing Professional Development (CPD) for mentoring, it recognizes mentoring’s importance and is exploring ways to support architects in developing mentoring skills.
Further details and engagement opportunities are available on ARB’s website here.
National Athletics Centre, Budapest: A LANDMARK IN SUSTAINABLE STADIUM DESIGN AND URBAN INTEGRATION
The Hungarian State commissioned the National Athletics Centre as the flagship project for the long-term urban development of the Budapest Southern City Gate area. The stadium was designed by architectural firm NAPUR Architect Kft., which won the design competition. Construction was undertaken by the ZÁÉV Zrt. – Magyar Építő Zrt. contractor consortium.
The stadium was designed by architectural firm NAPUR Architect Kft., which won the design competition.
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The key components of the design include the new Athletics Stadium and Park located on the site of the former Vituki industrial estate in Ferencváros, a proposed pedestrian and cycle cable bridge connecting to the northern tip of Csepel Island, and a new Athletics Training Centre accessible via the bridge. These three project elements aim to support regional development through a unified urban and architectural vision. The design and appearance of the building were created in honour of athletics, the “queen of sports”, with the stadium envisioned as a timeless classical white crown.
In line with sustainability objectives, the project repurposed former brownfield industrial land along the southern banks
of the Danube in Budapest, rehabilitating a 20-hectare site. The goal was to create an open, multi-purpose sports and recreational park and athletics stadium for the capital—welcoming both sports enthusiasts and city residents seeking leisure. The stadium was constructed at the heart of the park in a competition-ready mode to host the 2023 World Athletics Championships, accommodating 35,000 spectators. Following the Championships, the stadium transitioned into its basic mode in 2024: the temporary upper stands were removed and replaced with a 15,000-square-metre covered, open-air leisure park called the “Open City Ring”, featuring a running track, family jogging path, outdoor gym, training areas, and street food options.
The objective was to build a stadium with large capacity during global events, but which could later serve the broader public as an open, accessible venue supporting youth and amateur athletics yearround.
World’s First “Open Arena”
In September 2024, the first public programme was hosted at the site, introducing the “Open City Ring” as a vibrant new recreational destination in Budapest.
Across the wider development area—from the Rákóczi Bridge to the Kvassay Lock, and over the new cable bridge to North Csepel—new flood defences, riverside pedestrian promenades, cycle paths, and boat stations were constructed.
This development improved pedestrian, cycling, and waterway links between the northern and southern stretches of the Pest embankment, establishing a highly attractive recreational district integrated into the EU’s and Hungary’s ecological network.
The sustainability of this green investment is rooted in its long-term, multi-purpose use and a renewable geothermal energy system. To minimise environmental impact, the project prioritises public transport and encourages pedestrian and cycle access.
Architectural and Structural Innovation
The stadium features a unique tensile roof structure, optimised for steel usage. Only around 10% of the total internal floor area is heated, limited to the most functionally essential spaces. Designed by NAPUR Architect Kft., the world’s first “Open Arena” was completed in 2024.
Architecturally, the stadium symbolises the “Queen of Sports’ Crown”. Its steel-framed spatial ring, openwork crystalline geometry, and floating, tensioned roof structure are unprecedented in Hungary—representing a significant feat of both architecture and structural engineering on an international scale.
Sustainable Operations and Legacy Use
Only 5% of the facility’s total floor area is heated, powered entirely by renewable geothermal energy.
Continued >>>
The stadium and park together form a dynamic sports and cultural gateway for the capital—enhancing quality of life for local residents and fostering a new model for sustainable, inclusive urban sport infrastructure.
With a peak capacity of 40,000 spectators during the 2023 World Athletics Championships, the stadium underwent a dramatic transformation afterward: the temporary upper grandstands, seating 25,000, were dismantled and repurposed for the 2024 Paris Olympics. By 2024, the stadium entered its long-term configuration, operating at a sustainable capacity of 15,000.
What had been grandstand seating has been replaced by an indooroutdoor community space, creating a fully open, accessible arena environment.
Urban Integration and Community Impact
Positioned on the banks of the Danube, the National Athletics Centre is the first indoor-outdoor arena to implement an “Urban Community Ring”. The two-hectare space that replaced the upper stands has since been embraced by Budapest’s sportloving residents. This new landmark in southern Budapest has become a beloved destination for recreation and leisure, transforming the everyday urban experience.
The stadium and park together form a dynamic sports and cultural gateway for the capital—enhancing quality
of life for local residents and fostering a new model for sustainable, inclusive urban sport infrastructure.
Double Victory at Architizer A+ Awards
The National Athletics Centre won international acclaim at the 13th Architizer A+ Awards, one of the world’s most prestigious architectural competitions.
Selected by a professional jury as one of the top five entries from over 80 countries, the Hungarian stadium went on to win the Public Choice Award in both its nominated categories: Stadium and Arena, and Sustainable Sports and Recreation Building.
This unprecedented dual victory not only confirms the facility’s architectural excellence but also its broad appeal to the public—cementing its status as one of the world’s elite sports venues and a symbol of sustainable urban renewal.
For more information, visit: Napur Architect
OPEN ARENA | National Athletics Center, Budapest by NAPUR Architect Ltd. - Architizer
TURNING IT INTO A COMPETITIVE EDGE
By Greg Bishop, Director of Digital Transformation at Creative ITC
Embracing new technologies in architecture is becoming increasingly critical to gaining a competitive edge. From virtual walkthroughs to AI-assisted design tools, today’s architecture firms are expected to deliver not only new levels of creativity, but also to demonstrate digital capabilities to boost productivity during bids.
Early adopters are gaining traction using digital twinning and generative design to visualise projects and optimise performance pre-build - factors which are increasingly valued in procurement processes. While only 2% architects always incorporate AI into bid creation, this is set to expand to 41% firms in the next two years.
Although clients are beginning to expect increased digital fluency, most architecture firms still operate with an outdated IT foundation formed by a patchwork of on-premise servers, legacy systems and cloud services that have evolved over decades. While this fragmented infrastructure has worked in the past, it has now become a barrier to keeping pace with today’s architecture landscape. The complexity of these IT
environments is draining IT resources, limiting agility and hindering firms from quickly adopting new tools that could deliver value to clients and set them apart from competitors.
It’s time to shift the common perception of IT as a support function towards recognising it as a core enabler of business growth and competitive differentiation.
Building a strong IT foundation
At the heart of this digital transformation is simplifying IT management. Business and IT leaders must take a proactive role in streamlining their estate by identifying legacy systems that can be retired, consolidating systems, managing cloud sprawl and reducing the number of tools and vendors currently being used. This will make the IT environment easier to manage, freeing up teams to focus on leveraging new technologies to win projects and deliver improved outcomes for clients.
For architecture practices to confidently demonstrate their capabilities in emerging technologies requires more
than just access to new tools. It requires a well-orchestrated IT environment that supports the scale and speed of these processes. For example, huge AI processing requirements can easily overload data centre and network capacity, causing latency issues or outages. Attempts to share actionable insights with stakeholders can further expose weak points in legacy infrastructures, which haven’t been designed to share such valuable assets and huge datasets securely at speed and scale.
Unfortunately, many architecture firms struggle to meet this challenge. Many don’t have the luxury of extensive multi-skilled IT teams with the specialist skillsets needed to optimise new technologies and enable their company to realise the full business benefits. Without a strong IT backbone, creating a VR walkthrough, for example, becomes a time-consuming and challenging task. It requires specialised software integration and data coordination between both design tools and VR platforms - something that is not easily achieved without dedicated technical infrastructure and support.
Leadership at architecture firms must recognise that the friction caused by an outdated and complicated IT infrastructure affects their entire business. Reducing this complexity doesn’t just improve technical capabilities, but is also a strategic move to improve innovation, client engagement and satisfaction.
Modernise IT to stay ahead
As the architecture sector drives ahead with digital transformation, firms can no longer treat IT as an afterthought. The ability to respond to growing client demands and demonstrate innovation in competitive bids rests on a firm’s digital foundations. By simplifying IT estate management and shifting the perception of IT from a support function to a strategic enabler, architecture firms can create new opportunities for business growth.
Written by Greg Bishop, Director of Digital Transformation at Creative ITC
DR. KODY KATO
IN THIS THOUGHT-PROVOKING CONVERSATION, DR. KODY KATO CHALLENGES CONVENTIONAL IDEAS OF COMFORT, TECHNOLOGY, AND SUSTAINABILITY IN ARCHITECTURE. FROM DESIGNING BUILDINGS THAT "BREATHE" TO INTEGRATING EVOLUTIONARY BIOLOGY AND MATERIAL INTELLIGENCE, KATO OFFERS A RADICALLY DIFFERENT VISION FOR HOW WE BUILD — ONE THAT EMBRACES CLIMATE, CULTURE, AND CONSTRAINT AS CREATIVE FORCES.
The phrase “the smartest building is one that knows how to remain quiet” really resonated. Can you unpack what this means in the context of today’s architecture landscape?
In a climate-critical era, where material and energy choices carry ethical weight, quiet buildings reflect a subtler form of intelligence — one grounded in restraint, responsiveness, and deep material awareness. A quiet building does not compete with nature or overwhelm the senses — it refers to designs that refrain from dominating their environment, instead achieving elegance through biological sensitivity, material intelligence, and climatic response. Quietness, in this sense, is not just about passive design. It’s intensely active. These structures perform by design. They breathe with their surroundings, regulate energy through material behaviour, and leave no carbon trace. Their intelligence is embedded — not added on — emerging from the evolutionary logic of materials, spatial clarity, and environmental synthesis.
You describe current ‘smart’ homes as increasingly disconnected from realworld challenges. What do you see as the most significant limitations of techcentric design in climate adaptation?
Tech-centric design often treats climate as a problem to be solved after the fact. You build the structure, and then you apply tech to compensate for its shortcomings — cooling systems, air filtration, and reactive control systems.
Creative Engineering is our methodology for integrating material science, evolutionary biology, culture, and climate data into a single system.
But climate adaptation should begin before we start designing. Relying too heavily on tech distracts us from the intelligence already embedded in the climate, geology, and material behavior.
The Hygroscopic House is fascinating in its use of passive, natural systems. Can you walk us through the most significant challenges you faced designing a home that works with humidity rather than against it?
The biggest challenge was reprogramming expectations. We’re trained to see humidity as a problem, something to block or extract. However, in tropical climates, it’s constant, and resisting it is fighting against nature. Therefore, the design had to incorporate porosity and encourage buoyancy — even the materials were selected based on their ability to absorb, retain, and release moisture. Humidity wasn’t the
enemy; it was a part of nature that we worked with rather than against.
You often reference “Creative Engineering” as your studio’s approach. What does this mean in practice, and how does it differ from more traditional sustainability frameworks?
Creative Engineering is our methodology for integrating material science, evolutionary biology, culture, and climate data into a single system. It’s not about making something “green” or “efficient” after it’s designed — it’s about coding those principles into the design logic itself. We combine different information about light, wind, the chemical makeup of materials, and even their behaviour over time. It’s sustainability not as compliance, but as a creative driver.
From Malaysia to Mexico, your projects seem to draw deeply from local materials and cultural logic. How important is regional wisdom in futureproofing architecture?
It’s essential. Regional knowledge carries centuries of trial and error — what works with wind, heat, rain, with the rituals of daily life.
You can’t design a future-proof building without understanding the logic of place. We don’t treat these elements as nostalgic, but as part of an evolving system. You can pair stone with code, vernacular forms with performance modeling. It’s not past vs. future — it’s convergence.
You mention buildings that ’breathe, shift, and return to the earth without leaving a scar.’ What are some materials or construction methods that best embody this philosophy today?
We like working with materials that hold memory — earth, engineered bamboo, composites, and proprietary low-carbon blends — each capable of evolving over time with their surroundings.
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The ambition is not only carbon intelligence, but an architecture that is self-aware and attuned to the rhythms of its climate and culture.
Hygroscopic House
Beyond individual components, it’s the material-systems themselves that matter: designed to sense, respond, and adapt to environmental forces like humidity, temperature, and light. These aren’t static envelopes, but living interfaces — capable of expanding, contracting, or insulating as needed. The ambition is not only carbon intelligence, but an architecture that is self-aware and attuned to the rhythms of its climate and culture.
Your work integrates environmental data and evolutionary biology — a rare pairing in architecture. How do you practically bring biology into the design studio?
We study natural systems that adapt over time—evolving in response to shifting environmental forces. These aren’t metaphors; they’re performance-
driven systems that we translate into code. Our models don’t begin with fixed forms—they evolve through simulation, driving material from context. Nature, for us, isn’t just an aesthetic reference. It’s a teacher of resilience, of selforganizing intelligence, and of growth that’s iterative, non-linear, and inherently responsive.
The Cocoa Craftsman Factory demonstrates how commercial spaces can also be climate-responsive. What do you think is the next frontier for climate adaptation in industrial or public architecture?
The next step is adaptive zoning — cities that respond based on the environment. In commercial spaces, this means fluid thresholds between indoor and outdoor areas, material surfaces that respond to humidity or light, and energy systems that adapt to usage patterns. Climate adaptation in public architecture isn’t just about performance; it’s about generosity — creating spaces that cool, shade, and serve communities in unpredictable conditions.
Cocoa Craftsman Factory
Much of your work is rooted in the Global South, where adaptation is a necessity, not a luxury. What lessons should the Global North be learning right now?
Urgency breeds innovation. In the areas where most of our projects are currently located, you learn to do more with less — fewer resources, especially in remote areas, which means having to understand the land, nature and the environment better. The most effective solutions often appear the simplest. What’s needed now is unlearning excess and investing in intelligence.
We’re in an age of extremes — heat, flood, drought, seismic activity. How do you design for multiple overlapping risks at once, especially when working with lower-carbon or traditional materials?
Multi-objective design helps us simulate scenarios concurrently, not in isolation. Our systems model heat, humidity, wind, and structure, and then iterate to form responses. Traditional materials can potentially perform extraordinarily well when understood from this perspective, especially if it has a lower embodied carbon. It’s not about a single solution, but a responsive strategy — one that accepts change as part of the design, rather than against it.
Do you see any key design ideas or technologies on the horizon that could radically reshape how we think about comfort and housing?
According to an article released by the World Green Building Council, around
50% of a buildings total Carbon output is being emitted from construction materials embodied carbon. It is exciting to see what new materials arise out of this necessity and how it improves comfort.
Lastly, what’s next for you and the Office for Design Evolution? Are there any upcoming projects or experimental materials you’re particularly excited about?
We’re in the process of constructing the Plane House, a zero-carbon residence that follows a sacred mountain axis — which expresses our Creative Engineering approach and hybrid materials. Beyond that, we’re working on a retreat, as well as other zero-carbon projects. The lab and the land are finally converging — and that’s where our energy is now.
“The most effective solutions often appear the simplest. What’s needed now is unlearning excess and investing in intelligence.
Plane House
Go Beyond Colour™
with our ecological paint
LOCAL COMMUNITIES CAN MISTRUST CGIS IF THEY APPEAR UNREALISTIC
WHAT NEEDS TO BE DONE TO ADDRESS MISAPPREHENSIONS?
By Vasilena Bocheva, 3D Architectural Visualiser, Lanpro
In a piece for The Times Literary Supplement, Professor Mary Beard asked, “Do architectural models lie?” Her concern stemmed from the visualisation of Cambridge’s Station Square and how the completed project—with its prominent taxi rank—did not match expectations.
For planning consultants, however, CGIs are a vital communication tool. Many people struggle with technical plans, but visuals are universally accessible. When CGIs are overly idealised, they risk eroding trust with local communities and stakeholders, leading to delays, costs, and reputational harm.
This mistrust may partly stem from how rapidly CGI technology has evolved. A decade ago, visualisations were crude. Today, photorealistic images created through advanced software and artistic skill can be almost indistinguishable from real photographs. Yet this leap in realism can blur the line between presentation and persuasion.
Unlike advertising, where perfection sells, planning CGIs must be rooted in reality. Overly glossy depictions— perfect lighting, vibrant landscaping, and photogenic people—can raise suspicions. It’s crucial that CGIs for public
consultations show realistic conditions, such as the actual shadowing at a given time of day or views of less celebrated areas of a site.
In planning, CGIs serve three main purposes:
1. Masterplans – usually in 3D, to convey layout and flow.
2. Internal and external views – to show completed buildings.
3. Animated walkthroughs – to simulate experiencing the scheme before it’s built.
Their greatest value lies in enabling dialogue. Rather than showcasing a finished vision, effective CGIs illustrate
scenarios, trade-offs, and long-term impacts. For example, showing how varying building heights affect shadowing or how reduced private gardens might allow more shared green space. Used this way, CGIs support transparent and collaborative planning.
Public understanding would benefit if more people appreciated the depth of data behind these images. CGIs are typically based on architectural models, topographical surveys, daylight analysis, and contextual photography. When this information is shared—on consultation websites or in digital data rooms—it builds trust in the accuracy of the imagery.
Some criticisms, like the inclusion of mature trees in early planting visuals, are valid. It’s preferable to show growth over time—years one, five and fifteen— so that consultees can see not just the aspiration, but the likely evolution. This reflects a developer’s long-term commitment to landscaping and biodiversity.
Context is key. Photomontages that embed CGIs into real photographs of existing surroundings help viewers understand how a proposal fits—or contrasts—with the local environment. And including everyday elements such as infrastructure (like Beard’s taxi rank) is essential. What may seem like clutter to one person could be a vital amenity to another.
Realism also extends to practical details: a scooter on asphalt is appropriate, but unrealistic if shown gliding across grass. People in CGIs serve more than decorative purposes—they communicate scale, activity and atmosphere.
In consultation, sketch-style CGIs are often more effective than fully rendered images. They signal that the design is still evolving and open to feedback. Moreover, modern tools allow for rapid iterations based on community input, helping to shape the scheme collaboratively and cost-effectively.
Ultimately, CGIs should not aim to “sell” a development. They should foster understanding, explore alternatives, and support honest communication. A wellmade visualisation doesn’t just depict a beautiful scheme—it helps create a workable, responsive one. Design is, after all, about more than just aesthetics.
