Watch the video below:

The post Building Spaces That Endure appeared first on identity.

Watch the full video below:

The post Design Dialogues with KOHLER appeared first on identity.

In collaboration with three world-renowned design firms, Hirsch Bedner Associates (HBA), LW Design Group, and IDA Global, Kohler unveiled a one-of-a-kind booth that blends Saudi Arabia’s rich cultural heritage through a fusion of art, design, and cutting-edge innovation for hotels, residential, and commercial spaces. Here’s the quick look:

The Desert Jewel ​by Hirsch Bedner Associates (HBA)

​Reminiscent of the desert’s mineral tones and sculptural stillness, KALLISTA® collections unfolded like rare treasures—quietly revealed within a serene, immersive landscape. Visitors immersed in a space where quiet beauty and stillness converged, and the extraordinary emerged in the most unexpected moments—a place that invited reflection, presence, and the quiet luxury of discovery.

The suite highlighted Bezel, a coveted new KALLISTA collection, featuring a soft square profile with the precise faceting of a gemstone, beckoning to be the jewelry of a bathroom space.

A Sanctuary of Sensory Wellness ​by LW Design Group

​

Inspired by the desert’s quiet resilience and the grounding rituals of resort living, this space became a sensory sanctuary, where design transcended aesthetics to evoke emotion and align with intention. Visitors stepped into a retreat shaped by Kohler’s soulful innovations, where every element was thoughtfully crafted to transform the environment into a place of restoration and reconnection—a space that truly invited visitors to explore a deeper sense of self.

This suite featured the pairing of the Anthem smart showering system with the Statement showering collection, delivering an immersive ritual where every drop inspired renewal.​

The Golden Nights ​by IDA Global ​

Immersed in quiet opulence, the lush drama of Italian maximalism met the soulful calm of Arabian nights. The air was rich with oud, golden threads shimmering across flowing fabrics, and music lingering like a memory in the courtyards. Visitors experienced a space where every detail was designed to ground and transport—an invitation to dwell in beauty, stillness, and story.

In this suite, the sleek, minimalist Components collection echoed the mood with bold, confident lines balanced by smooth, curvaceous forms.

Featuring collections from Kohler, KALLISTA, and Kohler x Studio McGee, the showcase reimagined immersive experiences in bathroom spaces elevating everyday rituals, enhancing wellness, and promoting a more sustainable future.

Kohler x Studio McGee

Kohler x Studio McGee is a collection rooted in time-honored craftsmanship, designed exclusively by Shea McGee to pay homage to the legacy of quality fixtures and the luxury of an aesthetic that endures. Throughout the Castia bathroom collection, the products featured a sense of antiquity but are transitional enough to pair with a wide range of styles.

Visionary Design Talks

On the first day of the exhibition, Kohler’s Chief Sustainable Living Officer Laura Kohler also participated in the Visionary Design Talks titled “Saudi Made – Why Culturally Rooted Design Drives Investment Value.” The talk explored how honoring local culture and identity brings authenticity, trust, and lasting value to design. Joining the panellists included Ahmed Zaidan, Founder and CEO, edgearch; Amani Al Ibrahim, Partner – Executive Director, Kristina Zanic Consultants; Tony Archibald, KSA Country Director, X-Architects; and Omar Al Sabbagh, Design Advisor – Director and Strategist, Dar Al Omran.

KOHLER® Signature Store by Bayt Al Ebaa Activations

Kohler also held event activations at the KOHLER Signature Store by Bayt Al Ebaa.

The first event was an accredited master class by the Council for International Accreditation of Architecture (CIAAD) held for aspiring architect students. The session allowed the students to explore how sustainability and innovation converge to shape design education with leading designers.

The master class was followed by an exclusive panel discussion moderated by Laura Kohler, Chief Sustainable Living Officer at Kohler Co., under the topic “Designing for Collective Well-Being.” The talk brought together leaders from the design industry, academia, and government authorities in an important dialogue to explore the shared responsibility of creating wellness spaces that heal both people and the planet.

Explore more at Studio Kohler.

The post Kohler Celebrated Transformative Designs at INDEX Saudi Arabia 2025 appeared first on identity.

We spoke with architects and designers across the region, and they voiced that designing to last is less about chasing what is new and more about embedding resilience, honesty and adaptability into the very bones of a project.

Breakout area of an office designed by SAY Studio

When asked how they balance timelessness with evolving trends, the designers all pointed to the same starting point: fundamentals. “We don’t treat trends as design inputs. We design from programme, climate, site and culture,” explains Mohammed Adib, Chief Design Officer at Dewan Architects + Engineers. For him, technology can evolve around strong foundations, but “it never replaces sound proportion, clarity of plan, and material honesty.” Bani Singh, Founder at Grounded Design, takes a similar stance: “Timelessness starts with first principles: proportion, light, flow and an authentic response to context. Trends are useful as accents, not anchors.” For Nemanja Ribic, Senior Interior Designer at SAY Studio, it’s people who ground design: “We therefore anchor spaces in human centric principles: circulation, light and ergonomics. These things are timeless because they will always matter.”

Maysa Saccal, Co-founder

But timeless doesn’t necessarily mean static. Khaled AlShamaa, Co-founder and Director, XYZ Designers, calls it a foundation on which innovation can be layered. “We don’t follow trends; instead, we distil ideas into design elements that can endure and remain relevant well beyond the moment.” For Maysa Saccal, Co-founder, Saccal Design House, timelessness is a balance between adaptation and identity: “As trends evolve, we are always looking for new ideas and opportunities to evolve our designs as well. However, as designers we do have our own aesthetic in design, and honour it through the years to stay true to ourselves and our brand.”

Material Language

If design is to endure, materials must speak of permanence, grace and honesty. “The most sustainable move is an efficient building – orientation, shading, massing and services that work hard,” says Adib. Materials, then, are the inner layer of this efficiency. Adib cites dense stone where appropriate, fired clay products, responsibly sourced timber, lime-based plasters and well-finished metals. “Longevity is the brief,” he declares. Singh favours materials that wear in, not out. She names natural stone, porcelain/sintered slabs, terrazzo with recycled aggregates, responsibly sourced timber, lime-based plasters, and powder-coated metals as some of the materials being used. “In our climate, stability matters – engineered substrates and high-quality composites often outperform softer stones and keep maintenance low. I also look for low-VOC finishes, formaldehyde-free resins, verified EPDs and parts that can be repaired or refinished. Longevity is both physical and emotional: the material should still be wanted in 20 years,” she shares. 

In commercial, residential and hospitality design, Ribic sees different material priorities but insists that durability and responsibility go hand in hand: “We’re seeing a lot of really exciting new materials such as terrazzos incorporating more recycled content, textiles derived from recycled PET or natural wool blends, and bio-based leathers.” For AlShamaa, materiality is as much about experience as endurance: “I don’t shy away from using glass when it allows us to capture natural light and frame views – because creating healthier, more connected environments is also part of building sustainably.” Saccal takes a pragmatic approach: “Reclaimed wood and recycled steel are the most used materials in our projects/designs.”

La Mer by Elie Saab and Dewan Architects + Engineers

Designing for Change

If permanence is one pillar of longevity, adaptability is the other. The designers all affirm the need for flexibility. “We plan for ‘loose fit, long life’,” notes Adib. Ribic stresses the role of adaptability in the workplace: “Easily adaptable environments, multipurpose zones and plug-and-play infrastructure are just some of the non-negotiables for us.” Saccal cautions, however, that adaptability doesn’t erase the challenge: “It definitely helps to be able to come up with a flexible design, yet with the rate that design is evolving, I believe trying to achieve timelessness is getting harder,” she says.

The Case for Building Well

Every ideal collides with reality – tight schedules, budget constraints and shifting priorities. The designers interviewed share that the best way is to weave sustainability and durability into the process from the very beginning. “We make sustainability part of the baseline brief, not an add-on,” shares Adib. “Pre-vetted specifications, early contractor input, clear performance criteria in tender documents, and parallel procurement for long-lead items keep programmes intact.” 

“Decision ‘gates’ stop last-minute swaps that undermine performance,” states Singh. “We keep a pre-vetted library of durable, available materials, bring contractors in early, and run design and procurement in parallel where possible.” For Saccal, coordination is key. “Clear documentation and coordination between architects, engineers, sustainability consultants and contractors avoids rework and often speed up the process,” she says.

Khaled AlShamaa, Co-founder and Director, XYZ Designers

The conversation with clients, too, is shifting. Adib shares, “We frame it as total cost of ownership: fewer replacements, lower energy and maintenance, and higher residual value. We also show how good planning reduces non-lettable/wasted area and optimises structure – savings that fund better envelopes and systems. Most clients accept the logic when the numbers and the comfort outcomes are clear.” Singh connects it to wellbeing and cost of ownership: “We show simple payback models, warranty lengths and maintenance intervals, then highlight the human returns – healthier air, better light, thermal comfort and a calmer, more grounded home. Most clients connect with the idea of building once, building well and leaving something of value to the next generation.” AlShamaa expands the value proposition. “Beyond economics, we emphasise brand value – tenants and buyers increasingly choose projects aligned with sustainability and long-term thinking.”

In an age of speed and disposability, the act of building well and building once, with care and foresight, is perhaps the most radical gesture of all.

The post On Building to Last appeared first on identity.

Today, the Dubai studio hosts over 80 professionals providing architecture, interiors, master planning, landscape architecture and technical design. DLR Group’s integrated approach means that multidisciplinary teams collaborate from the earliest project stages, ensuring seamless service delivery. 

“This growth has been both strategic and organic,” shares Henrique Dias, Principal and Middle East Hospitality Design Director for DLR Group. “In 2020, we introduced dedicated interior design leadership and added landscape architecture and urban design services to support fully integrated delivery. We’ve also invested in local talent, strengthened ties with public and private sector clients, and built long-term partnerships that allow us to engage in projects from concept through execution.” 

“We’ve also invested in local talent, strengthened ties with public and private sector clients, and built long-term partnerships that allow us to engage in projects from concept through execution.”

Notable Projects 

What started with retail and hospitality ventures has expanded to encompass complex mixed-use developments, cultural destinations, education facilities, data centres and master plans across the UAE, Saudi Arabia, Iraq and Egypt. Landmark projects include Madinah Gate, Future City in Baghdad, and numerous NEOM developments. Madinah Gate is one of the most ambitious urban developments currently underway in Saudi Arabia, and a key component of the broader Knowledge Economic City (KEC) master plan in Madinah. Strategically located between the Prophet’s Mosque, the Haramain High-Speed Rail Station and the international airport, the project is designed as the first true transit-oriented development (TOD) in the city. Madinah Gate is being developed to support the movement of millions of pilgrims annually while providing a contemporary urban experience that reflects the sacred context of the city. The master plan includes a mix of retail, hospitality, public plazas and cultural amenities, all seamlessly connected through shaded pedestrian networks and multimodal access points. At the heart of the development is a new DoubleTree by Hilton, set to be the tallest habitable building in Madinah and a new landmark for the city. The architecture draws inspiration from local vernacular traditions, reinterpreting the spirit of Madinah’s historic neighbourhoods through clustered massing, natural stone finishes and triangular motifs derived from traditional crafts. 

Ogami

The design emphasises human-scale connections, with intimate village-like clusters arranged along dynamic, walkable pathways. These clusters reflect the journey of the pilgrim, offering moments of pause, reflection and arrival. The integration of spiritual, cultural and practical elements into the urban fabric ensures the project serves not only as a gateway to the holy city but also as a vibrant hub for the local community. This project is a benchmark in how faith-based tourism, urban development and contextual architecture can coexist meaningfully. 

Another project, Ogami, is a coastal destination under development in Ras El Hikma, Egypt. Spanning 1.8 square kilometres (440 acres) along the Mediterranean shoreline, the project is led by master developer SODIC, with DLR Group responsible for master planning and architectural design. 

“Ogami is guided by a design philosophy we call the state of optimal flow – a spatial, sensory and emotional rhythm that connects people, place and purpose,” shares Dias. 

The concept is realised through a highly choreographed layout of cascading terraces, interlinked lagoons, pedestrian promenades and quiet green corridors that follow the natural slope of the site. Nearly 2,000 units, including villas, twin houses, townhouses and chalets, are positioned to maximise views of the sea or water features. The architecture is intentionally understated, blending Mediterranean openness with Japanese minimalism to create a sense of refined calm. North-facing façades allow for optimal daylight and sunset views, while the building palette emphasises natural textures, warm tones and soft transitions between indoor and outdoor environments. 

DLR Group’s diverse portfolio also spans luxury resorts, data centres, cultural districts and residential communities – all united by a belief that design should elevate the human experience. When asked what remains constant, Dias says, “Our belief that design should elevate the human experience. That ethos is embedded in everything we do, from early strategy to final handover, and continues to define our role in shaping the built environment across the Middle East.”  What is common to all these projects is a pervasive ‘sense of place’. Dias emphasises that a genuine sense of place stems from a deep understanding of context, culture, environment and social rhythms. 

“It’s not just about what a place looks like, but how it functions, how people move through it, and what it means to those who use it,” shares Dias. “That means spending time understanding the rhythms of daily life, the climate, the history and how the community interacts with its surroundings. Authentic, intuitive places arise from designs that ask what a place should become, carefully considering layout, orientation and flow.” 

Members of DLR Group’s leadership team (from left) Vaida Buchrotaite, Interior Design Director; Jamal Salem, Middle East Regional Director; Henrique Dias, Hospitality Director and Essam Nabih, Business Development Director

Gearing for Expansion 

DLR Group’s Dubai studio continues to serve as a regional hub, extending design-led expertise across the GCC, North Africa and beyond. Hosting a connected studio model allows the firm to collaborate across time zones and disciplines, setting it apart by deploying tailor-made teams for each client’s unique ambitions. As a global, 100% employee-owned firm with 33 offices worldwide, the draw for clients is a fully integrated, multidisciplinary design service. This includes architecture, interiors, planning, landscape architecture and engineering expertise, delivered seamlessly across geographies. 

Pushing Boundaries in Innovation and Sustainability 

Innovation, as Dias puts it, begins with challenging the conventional. “Not just in how we build, but in how we think,” he shares. “It’s about reimagining the design process from the ground up: questioning assumptions, re-evaluating priorities, and being unafraid to ask why; why are we building this, who is it truly for, and what value will it bring long-term?” 

“Success is not just about what a project looks like, but how it performs, how it ages and how it serves people and place over time”

Sustainability at DLR Group is viewed as regeneration, as opposed to efficiency, achieved by working with the climate, selecting low-impact and local materials, and designing spaces adaptable to changing needs. “It also means knowing when not to build and having the discipline to pursue solutions that add real, lasting value socially, environmentally and culturally – not just to meet a checklist,” shares Dias. He states that close collaboration with engineers, consultants, artisans and local experts is essential for embedding innovation in each project, using digital tools, parametric modelling, circular economy principles and low-carbon systems. “Success is not just about what a project looks like, but how it performs, how it ages and how it serves people and place over time,” shares Dias. “When innovation and sustainability are truly integrated – woven into the narrative rather than layered on top – the result is a project that not only responds to the present but anticipates the future.” 

DLR Group’s evolution in the Middle East is a story of strategic growth, multidisciplinary excellence and a passionate commitment to designing spaces that enrich the human experience, now and into the future.

 

View this post on Instagram

 

A post shared by Identity (@identityae)

Photography: Mark Mathew

The post Global Outlook, Local Presence appeared first on identity.

The bathroom as a living space

Our daily routines now call for an environment that fosters calm and introspection. “The bathroom is the last truly private room in the home, which makes its design especially significant,” explains Designer Gesa Hansen. More than just a retreat, a thoughtfully designed bathroom enhances well-being and supports the daily ritual of relaxation. Flowing transitions, organic forms and natural materials come together to create a space filled with calm and comfort.

This idea is also the inspiration behind Villeroy & Boch’s new bathroom collection Skyla. Blending round, organic shapes with clean, structured lines, Skyla encourages personal expression and playful creativity. Minimalist, organic forms meet subtle asymmetry, clever storage solutions and furniture in a curated palette of contemporary colours.

Different shapes converge in the washbasin to a create a perfectly balanced and visually striking effect: the clearly defined external lines are broken up by the soft curves of the basin. In addition to its aesthetic appeal, the asymmetric design also provides a practical storage surface. The inset fronts and discreetly recessed handles of the bathroom furniture create a clean, uncluttered look, while the flowing transition from the washbasin to the vanity unit further emphasises Skyla’s fluid, cohesive design.

The result is a harmonious aesthetic that integrates effortlessly in a wide range of interior styles, while adding its own special touch. Skyla’s versatility is demonstrated through an extensive selection of colours and sizes. With eight modern shades – from the classic Brilliant White to the mellow Soft Green and the warm Nordic Oak – there are countless options to suit any personal style or space.

Colour and material trends: warm minimalism

In an era increasingly dominated by digital interactions, the appeal of tactile, sensory-rich environments is more potent than ever. Our homes now serve as sanctuaries that stimulate the senses and evoke tangible experiences. This shift is particularly evident in modern bathroom design, where the focus is on rich textures and the inherent beauty of natural materials. Fine solid wood furniture, satiny polished 3D tiles, and high-quality ceramic washbasins in natural hues are featured prominently.

Rather than relying on stark black-and-white contrasts, today’s designs embrace soft colours – ranging from warm anthracite to light sand – to create a soothing ambiance. The interplay of shadows and subtle tonal nuances infuses the room with character and elegance, creating flowing transitions and a comforting feeling that embodies the essence of “warm minimalism”.

Earthy, dark shades have emerged as a key interior trend for 2025. “They create a sense of security”, explains the designer Gesa Hansen, who has developed the new Artis colour concept for Villeroy & Boch. With four new full-surface matt shades – Pure Black, Almond, Nightfall and Teal – Artis not only embraces the trend towards powerful mid-tones but also adds its own unique, individualistic touch.

Similarly, Villeroy & Boch’s Antao collection showcases soft, nature-inspired finishes like Matt Black, Almond, and Morning Green, complemented by natural furniture hues such as Stone Grey, Leaf Green, and Midnight Blue, to evoke a harmonious atmosphere. 

Lasting luxury

The concept of luxury is being redefined as the focus shifts from fleeting fads, to enduring aesthetics characterised by durability, quality and sustainability. “The most important trend is the shift away from trends – towards things that last”, asserts Christian Haas. In this new paradigm, exceptional materials and craftsmanship are essential; products must not only captivate with their refined aesthetics but also deliver everyday durability and performance.

This ethos of Quiet Luxury – a vision shared by Haas, Hansen, and Palomba – prioritises timeless elegance, functional design, and a steadfast commitment to sustainability. “More than ever, today’s designers need to follow an ethical and responsible approach and make sustainability the centre of their vision. Respect for the environment is not an option, it is essential for a more mindful, harmonious and respectful future for our planet”, emphasises Roberto Palomba.

A stellar example of this commitment is Ideal Standard’s Alu⁺ range. Merging modern design with eco-conscious engineering, Alu⁺ features products crafted from high-recycled-content aluminium, free from chrome and nickel, and designed to reduce water and energy consumption. This year, Ideal Standard expands the Alu⁺ collection with its first aluminium taps, a striking new brushed bronze finish, and a sleek square design variation for shower systems – further reinforcing its pledge to sustainability while broadening the scope for contemporary bathroom design.

The post What are the bathroom trends in 2025? appeared first on identity.

As the epicentre of ZEGNA’s values, Oasi Zegna transcends its physical boundaries. Its influence is expanding globally, starting with the donation of new flowerbeds in Milan’s Piazza Duomo on 19 April. This initiative marks the inception of a worldwide endeavour to recreate the essence of Oasi Zegna, emphasising the importance of urban green spaces in nurturing biodiversity and fostering social responsibility. During Milan Design Week, ‘Born in Oasi Zegna’ transformed the ZEGNA headquarters into a living gallery, inviting visitors to explore its lush pages first-hand. The immersive exhibition merged the beauty of Oasi Zegna with ZEGNA’s ethos, creating an experience that was both enlightening and enchanting. Available at zegna.com.

Browse our latest articles here.

The post id library: Born in Oasi Zegna appeared first on identity.

The project features 240 existing antique woven baskets from all over the world – each with its own distinct form and level of distress – that have been mended and repaired with leather in an approach inspired by kintsugi, the Japanese art of repairing cracked ceramics with lacquer, often mixed with powdered gold, amplifying the beauty of the objects. The art form revolves around the idea of giving new life to objects that may be forgotten or discarded.

“Acts of manual labour give new meaning to each object, honouring the object’s history and value and preserving it for the future. Such a way of approaching the artisanal process sits right at the crossroad of respect for the environment and respect for the product,” Anderson says. “It is the opposite of senseless consumption, and an acknowledgement that things done with love and attention retain a human quality that lasts over time.” 

Exploring traditional crafts from Spain and abroad, one of the main sections of the exhibition is ‘Repaired in Spain’ which sees these straw, raffia or wicker baskets repaired, woven and embellished with leather by Galician artisans Idoia Cuesta, Belén Martínez, Santiago Besteiro and Juan Manuel Marcilla, using an ancient Galician technique called coroza which uses straw, reeds, briar and other natural fibres to weave objects. 

“The striking fringed capes were used in the region up until a few years ago and the coroza tradition dates back thousands of years. For [this] section we created a series of bags and basket bags that retain the distinctive tiers of fringes of the corozo, which look both practical and visually surprising, almost like sculptures,” Anderson explains. 

Another part of the exhibition features the traditional Korean jiseung technique that finely weaves strings of paper to create household objects, as employed by Young Soon Lee, who is a finalist from the Loewe Foundation Craft Prize. Using this technique with recycled newspaper, a series of tote bags was created.

“Authentic craft, for me, is sustainable; [therefore] the concept of repair is fundamental in this sense,” Anderson concludes.

The post Loewe delivers an important message with its commitment to contemporary crafts appeared first on identity.

Rothko’s work has moved between dark and light and connects deeply with our observations and understanding of spirituality and the journeys that we experience. Or perhaps his art of seeing is so profound that to thoroughly understand his vision, we require a sensory form of intelligence. Human-centric lighting and environmental lighting are two of today’s most significant movements. Lighting designers are embracing environmental change and listening to the needs of nature – and the nurture – needed to move into a brighter future.

Evolved resolve

Rothko Chapel interior and new skylight. Photography by Paul Hester.

The lighting at the Rothko Chapel was never quite right; Rothko felt that it was poles apart from the light coming through the dirty windowpanes of his beloved New York studio. The Houston light was much stronger and brighter. Architecture Research Office (ARO)’s restoration changed the entire lighting experience, beginning outside with darkened pave stones at the entrance of the plaza, which reduced any glare and prepared the eye for the innermost sanctum of the space. The chapel’s lighting design by George Sexton Associates includes the installation of a new skylight that bathes 14 of the painter’s black but slightly colour-hued canvases in an ephemeral glow, using special glass and clever louvres that soften the intensity of the Texan sunlight. George Sexton Associates set digital lighting projectors into a nook around the skylight that bounce-focuses light onto the paintings with the use of intelligently placed mirrors. The placement alteration of the triptych avoids unnecessary shadows across the paintings, mimicking the lighting in Rothko’s studio.

Carefully considered human-centric lighting (HCL) affords beneficial physiological and psychological effects. HCL possesses biological and dynamic properties that can support human health, performance and overall wellbeing through intelligent, holistic planning and implementation.

According to Global Market Insights, the Human Centric Lighting Market size surpassed USD 1.25 billion in 2018 and is poised to grow at a CAGR of over 25% until 2025. The increasing popularity of new lighting technologies and activities related to the replacement of harmful conventional lights is supporting market growth. Research has also shown that controllable lighting further creates growth opportunities in the human-centric lighting market.

Designers today are producing new ideas, from industrial and sculptural movements to the most delicate ethereal and celestial designs, that also call for a sensory form of intelligence, quality of perception and an alternative way of thinking. They are paving the way and are positively glowing with new developments including combinations of resin and neon, the reinvention of heavy concrete, shellfish waste, laser-cut plastic and leather.

Family affair

Photography by Alan Tansey

Jes Paone, renowned New York designer and architect, has joined forces with his ceramicist aunt, Anne Paone. Together, they have created the fragile Desert lighting collection that resembles the destruction of nature through its many cracks and crevices and is evocative of fissured river beds or the fine ashes of burnt trees. The collection is the first under the designer’s new eponymous architecture studio. When lit, the shades have an otherworldly glow and reveal the perfect imperfections of nature. The collection of pendant, table and sconce lighting features contrasting brass fittings.

For the Desert series, Jes and Anne experimented with the slip-casting process. Experimenting with different forms and challenging traditional processes, the duo hoped to achieve transparency and texture with their designs. Through a process of trial and error, Jes and Anne continued to hone their technique over a matter of years. Anne admittedly had no skills on the wheel and threw organic shapes by hand under the close direction of her nephew.

The result is therefore imperfect, unforced and unique. Whether it be cocoon-shaped sconces or spherical pendants, the lighting pieces are distinctive in their design –  no two pieces will ever be the same. As a result of consistent technical failures, Anne has developed an expert wheel technique with a feather-like touch which is essential for the creation of the delicate, one-off lamps. Jes happily admits that he pushed Anne’s boundaries endlessly. He wanted more transparency, more glow and more wobbles. She continued to experiment and eventually found the perfect technique for the collection.

“The aspects of the object that emerge during the process of making something are really interesting to me,” Jes explains. “I would direct Anne to build shapes and I would focus on the aesthetics; but the end results, the wobbles, the cracks, the fails, they take on a life of their own. Gravity, centripetal forces and fire yield a finish that looks as though it was made by Mother Nature herself.

“The romance of clay being extracted from the ground, caressed and manipulated by hands of the maker, coupled with the inter-generational sharing of craft and aesthetics with my aunt, who comes from a different era of design, has made this project really rich and personal.”

Bubble wrap obsession

The London Design Festival this year saw the introduction of an obsession with bubble wrap, which inspired the design of the Bolla lights by London-based studio Hagen Hinderdael. The discarded bubble wrap forms the bumpy textured surface of the lamps. Studio founders Sofia Hagen and Lisa Hinderdael seamlessly pair product design and art, exploring the relationships between lighting and global issues. Each product tells of a journey and is sourced sustainably and manufactured locally.

Both designers have a background in architecture and interiors. Hagen and Hinderdael work closely with local artisans to combine skilled methodologies with sustainable materials and cutting-edge technology; producing elements and experiences that bear the incentive of a continuous afterlife.

The Bolla lamp highlights the need for a more circular economy and replaces the traditional ‘take-make-waste’ cycle of creation and consumption, tackling the need to cut the use of plastic packaging, most of which is poisonous and non-degradable. Bolla exemplifies the essence of the ‘waste not, want not’ philosophy. Cast from bubble wrap-imprinted formwork, the light concrete aggregate features the imprints of salvaged bubble wrap, with tiny holes punctuating the exterior of the light. These holes are cut using CNC technology routers.

Hagen Hinderdael joined forces with Cemento material scientists and custom-made the aggregate – an innovative mixture of concrete and recycled plastic. Various coloured pigments are incorporated into the mixture to ensure that the lamp complements a number of different interior settings.

The Bolla lamps are organic in shape and softly spiral upwards to a height of 70 cm. The lamps are designed as floor lights but can be adapted into a pendant light or wall sconce. The perforations that dot the lamp allow the internal light to shine through, creating an effervescent and eye-catching glow. Hagen Hinderdael studio developed a unique script to work out the exact placement for the holes.

In the event of any breakage,  the lamps can be returned to the lighting suppliers, who will then reuse the materials to make another light. This service allows Bolla to avoid valuable materials ending up in a landfill and furthers the narrative of a continuous afterlife and full circle design.

Bacterial projections

Lionne van Deursen focuses on material research and product design. Her studio conducts experiential research and offers an understanding of the possibilities of new materials. She is currently studying a material made of bacterial cellulose.

All of her products are handmade, and the materials are organically grown in her studio. Her designs not only consider the material but also the sustainability of the production process. She uses each material as efficiently as possible, creating little waste while using organic and natural pigments to dye the leather-like sheets of bacterial cellulose.

Bacterial cellulose is a biodegradable material made using yeast and bacteria, and each sheet holds a different colour and translucency, due to the unpredictability of the manufacturing and design processes.

The studio’s first application of the material is a range of lamps called Imperfect Perfection. Each lamp diffuses the light source, and the variations of each sheet are enhanced using natural pigments and varying textures from the handmade process.

Well established

Photo: PimTop Studio

British brand Established & Sons has commissioned Rotterdam-based designer Sabine Marcelis to create two lights formed using pastel-hued resin cylindrical bars. The bio-epoxy resin is made using by-products from the agricultural industry. Each light is a cylindrical tube over a metre in length. The translucent yellow and coral Aura lights take their name from the warm glow they emit when illuminated.

Sabine Marcelis is forever in search of magical moments within materiality and manufacturing processes, resulting in the creation of unexpected experiences. The designer has a specific studio for materials, installations and objects. Her mission is to consciously make lighting available to a broader audience in a sustainable manner.

Established & Sons, which recently launched a new online store that is home to various designer collaborations, has been studying the increasingly blurred lines between living and working environments. The Aura lights are part of a new collection developed as a reaction to new ways of living.

Lines are becoming blurred as lighting design transitions effortlessly between living and working ideals. The lights are suspended from the ceiling and can be clustered in a group composition or positioned alone. The light emitted is ambient and comfortable on the eyes, making it suitable both for home-working and peaceful living spaces.

The post Lighting Design: A shift towards the human-centric and the environmental appeared first on identity.

Here are some of the latest sustainable projects from around the world: 

Transformation plan

Architectural company Henning Larsen has revealed plans to transform a former junkyard into Copenhagen’s first all-timber neighbourhood.

Fælledby is a sustainable housing scheme just beyond the centre of the Danish capital that will accommodate 7000 residents in timber homes.

Small nests for songbirds and bats will be built into the walls of houses, new ponds in the centre of each of Fælledby’s three communities will offer a habitat for frogs and salamanders, and community gardens will create new flowers to attract butterflies.

Narrow roads and underground parking within the plan aim to reduce vehicle traffic and visibility, ensuring nature remains the focal point of the project, which has been developed in collaboration with biologists and environmental engineers from MOE and preserves 40 per cent of the 18.1-hectare project site as undeveloped habitat for local flora and fauna.

Signe Kongebro, Partner at Henning Larsen, said: “We’re creating a city where biodiversity and active recreation define a sustainable pact between people and nature.”

The neighbourhood merges traditional Danish urban and rural typologies to create a hybrid that balances the city and its natural surroundings.

Fælledby will be developed in phases, growing outward from three distinct ‘cores’ that provide residents with increased and direct access to nature and allow animal species to move freely through and within the area.

Kongebro added: “We see potential to build a new city that speaks to the sensibilities of younger generations; to create a home for people seeking a solution on how to live in better harmony with nature. For us, Fælledby is proof of a concept that this can indeed be done.”

Solar star

A solar-powered unmanned aircraft designed to stay in the skies for a year has made a successful maiden flight.

Built by BAE Systems subsidiary Prismatic, the Persistent High Altitude Solar Aircraft (PHASA-35) has come through its first trial in South Australia.

The plane, which has a 35-metre wingspan, is designed to operate in the stratosphere, above the weather and conventional air traffic.

It is viewed as an alternative to satellites; other potential applications include forest fire detection and maritime surveillance.

PHASA-35 is powered by the sun during the day and by batteries overnight. The long-life battery and highly efficient solar technology could allow the aircraft to maintain flight for up to a year, operating in the upper regions of Earth’s atmosphere.

Ian Muldowney, Engineering Director at BAE Systems, said: “This is an outstanding early result that demonstrates the pace that can be achieved when we bring the best of British capability together.”

Transparent solar window

Ubiquitous Energy has installed what it claims to be the world’s first transparent solar window façade at its company headquarters in California.

Each double-pane window in the 10-square metre project has been glazed into a fibreglass frame, matching the existing aesthetic of the building’s windows.

The windows produce electricity that powers the LED lighting in an adjacent room while simultaneously maintaining the performance of standard commercial window glass.

The façade is also connected to an energy management system that monitors and logs its power generation.

Coffee to go

Ford is recycling coffee waste from McDonald’s into car parts thanks to an innovative partnership between the two companies.

They discovered that chaff – the dried skin of the coffee bean – can be converted into a durable material that reinforces certain vehicle parts.

By heating the chaff to high temperatures under low oxygen, mixing it with plastic and other additives and turning it into pellets, the material can be formed into various shapes.

The chaff composite meets the quality specifications for parts such as headlamp housings and other interior and under-bonnet components. The resulting components are about 20% lighter and require up to 25% less energy during the moulding process.

Heat properties of the chaff component are also significantly better than the currently used material, according to Ford. This is the first time the company has used coffee bean skins in the manufacture of vehicle parts.

Debbie Mielewski, Ford Senior Technical Leader of Materials Sustainability, said: “This is an example of jump-starting the closed-loop economy, where different industries work together and exchange materials that otherwise would be side or waste products.”

Green move

IKEA is constructing its greenest ever store in the Austrian capital of Vienna.

Some 160 trees are to be planted on its façade, lowering the temperature by “at least two degrees”, according to the company.

But the most radical aspect of the design, by local studio Querkraft Architekten, is that the store will not feature any car parking facilities at all.

The company stated: “Around two-thirds of people living in the inner city districts of Vienna do not even have a car any more.

“They come by public transport, walk, ride bicycles or take a scooter. IKEA Vienna Westbahnhof serves all these changed behaviours.”

Customers will be able to take home products by foot or on public transport, while items can also be delivered home on the same day as purchase.

The building, meanwhile, will also accommodate a two-storey hostel on its upper levels, along with a roof garden and restaurants, as it aims to become an iconic meeting place.

Vision of the future

Jaguar Land Rover (JLR) has taken the wraps off Project Vector, a concept vehicle representing a “vision of an autonomous, electric, connected future for urban mobility.”

It’s a flexible vehicle that is four metres long and designed for the city, packaging all its battery and drivetrain components into a flat floor to enable a variety of uses.

The interior cabin space allows seating configurations for private or shared use and even the opportunity for commercial applications, such as last mile deliveries.

The concept has been developed at the National Automotive Innovation Centre, with an on-road pilot programme in the central city of Coventry scheduled from 2021.

Jaguar Land Rover Chief Executive Officer, Prof. Sir Ralf Speth said: “Project Vector shows JLR as a leader in innovation to make our societies safer and healthier, and the environment cleaner. Through this project, we are collaborating with the brightest minds in academia, supply chain and digital services to create connected, integrated mobility systems.”

The post identity rounds up six recently announced sustainability projects appeared first on identity.