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CitizenM
CitizenM is due to break ground this week on its Miami Worldcenter hotel designed by Gensler and its long-term collaborator Concrete, which will mix feature-rich rooms with a varied amenities offering for guests.

The 128,000sq ft (11,900sq m), 12-storey hotel will accommodate 351 guestrooms, all with rain showers, motorised blinds and adaptable lighting colours.

Rooms will also feature king-size wall-to-wall beds, widescreen TVs and super-fast Wi-Fi.

Guests will be able to relax at a 10th-floor sundeck and rooftop bar, which will offer views of Biscayne Bay and the downtown Miami skyline.

The hotel will also feature a public art programme and interiors displaying contemporary works, photography and objects by local artists.

As at other CitizenM properties, there will be living room-like common areas, as well as a 1,850sq ft (172sq m) work facility with creative spaces and meeting rooms and a fitness centre with a gym.

Diana Farmer-Gonzalez, principal and co-managing director of Gensler’s Miami office, said: "As a Miamian living and working in the city, I am excited to be working with a brand like citizenM that is redefining the guest experience through smart, efficient rooms and dynamic public spaces that will provide unique environments for travellers, for co-working, business meetings or communal gatherings with colleagues and friends."

A groundbreaking ceremony will take place on 21 November.
Lillie Thompson
Australia’s most exceptionally designed hospitality venues were celebrated at the 2019 Eat Drink Design Awards, which were announced at a ceremony in Melbourne on Tuesday 12 November.

The jury said, “There was one word that arose over and over during our deliberations: restraint.”

“The principle of restraint marked every single winner, as well as many commendations, though it was expressed in myriad ways.”

In 2019, there was a marked increase in entries from regional locations, which was also reflected in the winners of the awards.

“From a pink-hued bar in a country town with barely over 2,000 people, to a future-focused CBD restaurant, this year’s winners are very geographically diverse, indicating that in Australia, good design transcends location. It’s something that has permeated out to our suburbs and our regional areas, which should be applauded,” said Cassie Hansen, jury chair and editor of Artichoke magazine.

The jury also selected one iconic hospitality venue to enter the Eat Drink Design Awards Hall of Fame. Venues considered for this accolade have achieved a level of cultural significance as well as demonstrating longevity in an industry often categorized as transient.

The 2019 jury comprised Besha Rodell (restaurant critic for the New York Times’ Australia bureau), Nathan Toleman (restauranteur, CEO and founder of the Mulberry Group), Graham Charbonneau (co-founder of Studio Gram), Phillip Schemnitz (architect of Cookie, the 2018 Hall of Fame inductee) and Cassie Hansen (editor of Artichoke magazine).

Find more information on these projects in the full list of winners below.

2019 Eat Drink Design Awards

Best Bar Design

Blacksmith Lake Mulwala – The Stella Collective

Best Restaurant Design
Di Stasio Citta – Hassell

Best Cafe Design
Via Porta – Studio Esteta

Best Installation Design
The Magic Box – Liminal Objects with Van Tuil

Best Retail Design
Piccolina Collingwood – Hecker Guthrie

Best Hotel Design – joint winners
Drifthouse – Multiplicity
The Calile Hotel – Richards and Spence

Best Identity Design
Lagotto – Studio Hi Ho

Hall of Fame
Cumulus Inc – Pascale Gomes-McNabb

Commendations
See the 14 commended projects across seven categories.

Winners, commended projects and the shortlist are all featured in Artichoke 69, along with a full jury overview. View all the entries and more images at the Eat Drink Design Awards gallery.

The 2019 Eat Drink Design Awards are organized by Architecture Media and supported by major partner Chandon Australia; supporting partners Harbour, Latitude, Ownworld, Roca and Tasmanian Timber and event partners Four Pillars Gin, Jetty Road Brewery and S.Pellegrino.

The Eat Drink Design Awards are endorsed by the Australian Institute of Architects and the Design Institute of Australia.
USGBC
The U.S. Green Building Council (USGBC) and Informa Connect announced that Former President Barack Obama will speak at the Wednesday keynote of the 2019 Greenbuild International Conference and Expo. This year’s conference will take place Nov. 19-22 in Atlanta, Ga. at the LEED Gold Georgia World Congress Center. Registration is now open.

“USGBC is deeply honored that President Obama has accepted our invitation to speak at Greenbuild 2019,” said Mahesh Ramanujam, President and CEO, USGBC. “President Obama is a global leader and a longtime friend of the green building community. While in office, his administration negotiated the landmark Paris Climate Accords, expanded the impact of our field and helped open the door for energy efficiency investments in both the public and private sectors. I know that when he joins us on the keynote stage in November, he will impart his ideas, passion and vision to our growing global green building family.”

Barack H. Obama is the 44th President of the United States. He took office at a moment of crisis unlike any America had seen in decades – a nation at war, a planet in peril, the American Dream itself threatened by the worst economic calamity since the Great Depression. And yet, despite all manner of political obstruction, Obama’s leadership helped rescue the economy, revitalize the American auto industry, reform the health care system to cover another 20 million Americans, and put the country on a firm course to a clean energy future – all while overseeing the longest stretch of job creation in American history.

“As the green building movement evolves and continues to permeate our everyday lives, President Obama is a valuable leader to bring that vision to life,” said Andrew Mullins, CEO, Informa Connect. “His commitment to unite humanity in combating a changing climate is a great example to follow. At the 2019 event, our attendees, exhibitors, and all participants of Greenbuild will be celebrating the notion that every human, regardless of circumstances, deserves to live a long and healthy life. There is no better voice or embodiment of that than President Obama.”

Previous Greenbuild keynote speakers have included Ret. Gen. Colin Powell, Archbishop Desmond Tutu, former President Bill Clinton, former Secretary of State Hillary Clinton, famed architect Bjarke Ingles, astrophysicist Neil deGrasse Tyson, human rights activist Amal Clooney, former Vice President and climate activist Al Gore, and many others.

Greenbuild, the largest green building conference and expo in the world, is produced by Informa Connect and presented by USGBC. Greenbuild 2019 features four days of networking, educational sessions, green building tours, keynote events, and a robust expo floor.

For more information and to register for Greenbuild, visit greenbuildexpo.org, follow @Greenbuild on Twitter, and use hashtag #Greenbuild19 to join the conversation.
Laurian Ghinitoiu
The Opus in Dubai by Zaha Hadid Architects, a mixed-use building formed of conjoined towers with a irregular void in the middle, is almost ready to open.

Set in the Burj Khalifa district, the Opus will be Dubai's only building which has both the interior and exterior designed by the late Zaha Hadid, who founded Zaha Hadid Architects (ZHA).

Hotel interiors for the ME Dubai hotel are currently being fitted out, for the scheduled opening in 2020. The 20-storey development from Omniyat will also house 12 restaurants and a rooftop bar, as well as office spaces.

Two glazed adjacent 100-metre-high towers form a cube shape, with a curving eight-storey void that appears as if it has been carved from its centre.

These towers are connected by a four-storey atrium ground level and an asymmetric sky-bridge that is 38-metres wide and three storeys tall, suspended 71 metres from the ground.

"The design conveys the remarkably inventive quality of ZHA's work," said Mahdi Amjad, CEO of Omniyat.

"[It] expresses a sculptural sensibility that reinvents the balance between solid and void, opaque and transparent, interior and exterior."

The designs were first unveiled in 2007 by Hadid, who died in 2016. It was originally due to complete in 2018, but was pushed back due to construction delays.

Designs for the Opus' interiors, which were unveiled at the 2014 London Design Festival, include sculptural balconies, angular beds, and a sculpture of dangling glass balls in the lobby.

The Opus will be located near the Burj Khalifa, the 828-metre-high supertall skyscraper designed by Skidmore, Owings and Merrill that remains unchallenged for the title of the world's tallest building.

ZHA recently completed another hotel with a curving void, the Morpheus in Macau. Three holes punctuate the middle of the Morpheus, which uses an innovative exoskeleton construction so that the hotel interiors remain uncluttered by supporting walls or columns.
Saladino Design Studios
The sizzle of mid-summer isn’t slowing down the design community. Here is a look at the latest batch of art installations and venue openings, plus the glassmaking technique behind the 2019 Tour de France trophy.

New Exhibitors Join 1stdibs, Expanding Design Hub’s Offerings

Design mainstay 1stdibs, which opened its Manhattan gallery near Hudson Yards in February, announced several new exhibitors joining the marketplace this month. Vitra, Wyeth, and FK Gallery now each have booths, in addition to new gallery installations by Equinocial, Opiary, R & Company, and Artek (distributed by Vitra).

Miami’s CityPlace Doral Gets First Pisco Bar, with Swinging Chairs and Rope Mural

Whimsical is the word that comes to mind when describing the newest SuViche restaurant in Miami’s CityPlace Doral. The 3,800-square-foot restaurant, designed by Saladino Design Studios, features the area’s first Pisco Bar, swinging chairs, a handwoven macramé rope mural, and a custom floral and moss graffiti wall that reads, “Let’s Get Saucy.”

Here’s What Biophilic Design Looks Like in Paint

Brooklyn-based artist Matthew Tucker reimagines mid-century furniture in lush, vibrant interiors on canvas—driven by his desire to establish a sense of place within surreal settings. Tappan launched a collection of Tucker’s works July 18, marking the start of their relationship, with prices ranging from $500 to $7,500.

Master Glassmaker Recruited to Create 2019 Tour de France Trophy

Czech glassmaking company Lasvit once again collaborated with ŠKODA AUTO, Tour de France's longstanding partner, to create a distinct crystal trophy for this year’s winners. Designed by Peter Olah, the 2019 trophy reflects the “spitzstein” glass-cutting method—a traditional Czech technique, which led the team to seek out a 75-year-old master glassmaker to craft each trophy.
Casey Dunn
Texas architecture studio Clayton & Little has built a barn from reclaimed oil field pipes and weathering steel panels, topped with solar panels to provide power to a vineyard in California.

The Saxum Vineyard Equipment Barn is on the James Berry Vineyard – part of the Saxum Vineyard group – in Paso Robles, a town in central California known for its olive groves, hillsides and wineries. It has been longlisted in the business building category of this year's Dezeen Awards.

Clayton & Little created the simple barn to provide covered storage for farming vehicles, implements and livestock supplies, while also being a structure to hold solar panels to power the nearby Saxum Winery.

The studio describes the structure, which is made reclaimed oil field pipes, as a modern version of a pole barn – a type of agricultural building that began being built in the USA in the 1930s.

The structure is mostly symmetrical with an open central storage area and enclosed rooms for storage on either side. The building is clad with perforated Corten panels that protect the machinery from the sunlight, while allowing the wind to pass through.

On top of the barn's long roof, which is supported by the reclaimed pipes, are a series of photovoltaic panels. These laminated glass solar modules act as the barn's roof, reducing cost as there was no need for a separate structure.

The solar panels offset the electrical demand of the winery, freeing it from the dependence of grid-tied power. Energy from the panels also supports irrigation well pumps at the vineyard.

"Designed to harnesses the local climate to maximise cross ventilation, daylight and solar energy, the recycled oilfield pipe structure holds a laminated glass photovoltaic roof system that produces a third more power than needed [at the winery]," Clayton & Little said.

The roof is also designed to collect rainfall for irrigating trees and adjacent grazing meadow, which is stored in cylinders nearby.

This is intended to dramatically reduce the vineyards dependence on mains water, and combined with the solar panels, effectively take it off the grid.

Saxum Vineyard Equipment Barn was awarded as one of this year's AIA Small Projects and joins BIG'S Klein A45 cabin in the Catskill Mountains and South 5th Residence in Austin by Alterstudio Architecture.

Founded in 2005, Clayton & Little is led by partners Paul Clayton, Brian Korte, Sam Manning and Nathan Quiring. The studio has two offices in Austin and San Antonio, Texas.

Other barns include an oak-clad structure in the Netherlands, Swallowfield Barn in British Columbia and a blackened wood structure by Worrell Yeung in Upstate New York.
Bret Hartman/TED
The University of California, Berkeley, has named Vishaan Chakrabarti dean of its College of Environmental Design (CED). The founder of New York–based Practice for Architecture and Urbanism (PAU) will continue to lead the firm during his deanship.

Chakrabarti is a 1996 graduate of CED’s architecture program and member of the college’s Dean’s Advisory Council. He holds a Masters of Architecture from UC Berkeley and a Masters of City Planning from the Massachusetts Institute of Technology, as well as dual bachelor’s degrees in art history and engineering from Cornell University. An AIA Fellow and Honorary Fellow of the Royal Architectural Institute of Canada, Chakrabarti has also been a professor at Columbia University’s Graduate School of Architecture, Planning, and Preservation (GSAPP) since 2009, where he is currently an associate professor of professional practice. There, he has directed projects including a public-private partnership to redevelop Penn Station, and the adaptive reuse of Domino Sugar Refinery and Park, both in New York City. He also served as director of the Manhattan office of New York City’s Department of City Planning from 2002–2005 during the rebuilding that followed 9/11.

In this new role, Chakrabarti will succeed Jennifer Wolch, who stepped down at the end of the spring 2019 term after 10 years at the helm of the CED. Professor Renee Chow, chair of Berkeley’s architecture department, will serve as acting dean beginning July 1, 2019, until Chakrabarti begins on July 1, 2020.
Sheila Man
The airy new Full Circle Café in upland Bali blends the Indonesian island’s laid-back lushness with Australia’s passion for flat whites and smashed avocado. The 120-seat café-restaurant in Ubud represents the shared vision of client Expat Roasters, a specialty coffee producer, and Sydney’s X+O design firm, led by principal Rebecca Vulic.

“The brief,” explains Expat’s Aussie founder Shae Macnamara, “was to create multiple experiences within the one venue.” That played to Vulic’s strengths: As the former senior director of global store design at Kate Spade & Company, she is adept at crafting outposts that channel brand and setting. “We always start by asking who the customer is,” she explains. “Then it’s about how to facilitate the experience they’re hoping for through a bit of storytelling, with elements of surprise and delight.”

As its name suggests, the Full Circle Café caters to everyone from casual backpackers to more demanding diners from the adjoining boutique hotel, for which it is the de facto house restaurant; and when it comes to coffee, customers range from day-trippers needing a jolt of caffeine to serious connoisseurs looking for the perfect cup.

The café occupies a double-height concrete-and-glass building with a barrel-vaulted ceiling. The designer, working with A+A Architecture Interior, carved the light-filled volume into different zones and levels. Naturally, pride of place goes to the large brew bar—an interactive communal hub where customers can simply enjoy the results of, or actively learn about, different brewing processes—its fluted sides formed by pressing bamboo into concrete. A white powder-coated steel frame overhead contains plants that evoke island greenery. Adjacent cast-concrete railway-style booths, lined with teak veneer, provide a sense of enclosure, while bleacher seating of the same material echoes Bali’s rice terraces. The neutral palette gives added punch to an end-wall mural, which depicts the nearby monkey forest preserve and vivid red coffee beans; the other end wall is lined with semicircular banquettes. An outdoor courtyard and upstairs whiskey bar offer other options.

“One of many things we had in mind is Instagram culture, which, in this location, with so many travelers, is very active,” Vulic says. Full Circle Café’s design is earning a lot of likes.







fernando guerra – últimas reportagens
situated in the center of lisbon, portugal, JCFS architects transports locals to the streets of tokyo with their design of ‘ajitama’ ramen bistro. created for two friends with a passion for the traditional japanese dish, the key concept behind the project focuses on one of the main ingredients of ramen – the ‘ajitama’, which is the name for the soft-boiled eggs that have been marinated for several hours in a homemade broth.

the restaurant occupies a space within a newly refurbished building dating back to the 20th century. benefiting from a prominent corner site, a neon façade has been introduced on the curved block to entice people in and evoke the notion of the brightly-lit streets of tokyo. once inside, the bistro features a large, rounded bar counter, where patrons can enjoy the traditional ramen on high stools. the rest of the interior is filled with dining tables and chairs in light and dark wood respectively, resulting in a very japanese aesthetic.

with the concept in mind, the architects have strived to incorporate the core idea of the ‘ajitama’ throughout the interior, while also bringing a japanese atmosphere to the place. to achieve this goal, the design uses wooden trellises in the rounded shape of an egg, suspended from the ceiling, to represent the determination, precision, and organization of japanese culture.

the large installations are also illuminated and help to define the entire interior space, framed by the dark colored planes of the floor, ceiling and walls. overall, by combining eastern tradition with western representation, JCFS forms a restaurant that is intended to be both fast, efficient and practical, yet upscale, comfortable and memorable.

Trevor Mein
Landini Associates’ design of McDonald’s In The Sky at Sydney International Airport combines familiarity with inventiveness to deliver a memorable customer experience.

When the McDonald brothers opened their new drive-in in San Bernardino in 1948, it was a revolution in food service that ushered in a new era of fast- food automation. The McDonalds rationalized the commercial kitchen, streamlined processes and invented implements and equipment, replacing traditional food preparation techniques with assembly line procedures. And all of it was visible through the counter-to-ceiling glass window that wrapped the octagonal building. Dubbed the “fishbowl,” the kitchen captivated customers and the food preparation system became an attraction in itself.

The kitchen is also the star attraction at the new McDonald’s in Terminal 1 of Sydney International Airport. It is a spectacle of colour and movement elevated above the kitchen and enclosed in yellow glass. “Airports are places where you can and should do unusual and cutting-edge things,” says Mark Landini, creative director of Landini Associates. “We exposed the machinations of making the product and expressed what McDonald’s is: innovative leaders in the industry.” Add to that the electronic ordering system and conveyer belt for food delivery, which have automated McDonald’s fast-food service even further.

The concept emerged from Landini Associates’ design for a flagship McDonald’s in Hong Kong, and is also a practical and creative response to the space. In Hong Kong, Landini Associates exposed the kitchen and introduced kiosk ordering technology. In Terminal 1, Landini Associates used the volume of the building due to restricted floor space.

McDonald’s In The Sky is located through security, amidst other food and beverage outlets. It is next to a large panoramic window offering views of aeroplanes taking off and landing, with chairs and tables for customers and departing passengers in between. The kitchen floats above the service counter in a yellow glass box, whose panels, with the brand’s golden arches, also serve as signage. Like a glowing beacon, it resolves visibility issues in a space that is busy, loud and visually noisy.

On the ground, the service counter wraps around two sides of the internal volume clad in a charcoal terrazzo-look tile and has simple, intuitive signage: Order and Collect. Customers place their order at the front counter or via kiosks with easy-to-use screen interfaces. McDonald’s products are ordered from one counter, McCafé items from another, and food and drinks are collected at the rounded corner in between.

The commercial kitchen is visible through the glass walls of the kitchen, allowing customers to see the food production and delivery. Employees become part of the spectacle of the kitchen, and a conveyer belt looping around and down transports the bagged food to the collection counter. “The experience we all seek these days is being served quickly. We have delivered ease of purchase and added some theatre,” says Landini. Indeed, these moving parts provide an element of entertainment that enhances the customer experience in an environment where people are typically watching and waiting.

The design is not only intended to enhance the customer experience, but also the staff experience. “We’re really proud of our restaurants and are always looking to give our customers the best possible dining experience. We also want our crew to have a great working experience and the design is definitely one contributing factor to this,” says Josh Bannister, McDonald’s senior development director. And as McDonald’s states on its job advertisements, “The kitchen is where all the action happens.”

The yellow-coloured film on the glass serves as a beacon from across the terminal. The floor has terrazzo textured square tiles with black grout – a familiar sight in McDonald’s kitchens across the world.
Nicolas Koenig
Design firm Yabu Pushelberg has completed a decadent hotel in New York's Times Square featuring lush green walls and a moody dining room with electric blue banquettes.

The Times Square Edition in New York is billed as Times Square's first design hotel and an "elevated" entertainment destination for locals, including multiple restaurants, bars, and a nightclub.

Yabu Pushelberg founders George Yabu and Glenn Pushelberg designed the project for legendary hotelier Ian Schrager. The trio first became friends in the heydey of Schrager's infamous Studio 54 nightclub, which was located several blocks away from The Times Square Edition.

The new boutique hotel marks their fifth collaboration and presented an opportunity to evolve the district New Yorkers love to hate. The team describe it as the "ultimate counterpoint to its surroundings".

"We thought, 'Let's go back to where it started. Let's make it a bit European, chic, with simple materials – something unexpected that adds value to Times Square'," Pushelberg told Dezeen.

The 452-room hotel rises 42 storeys from behind a 17,000-square-metre LED billboard that wraps around its bottom half.

Unlike other hotels nearby, the Edition's ground floor entrance is relatively nondescript with a glass curtain and cream limestone doorway. Inside, a long cream bench guides guests to the lobby elevators, with a metallic custom art installation hanging like a bullseye at end of the hall.

"We didn't want it to feel like a big hotel," said Yabu. "Our idea was to break it down into a series of spaces that are intimate and more residential."

Throughout the Edition, Yabu Pushelberg emphasise botanicals and a neutral colour palette. It's a combination that, according to Pushelberg, can appeal to both the uptown and downtown crowds, leveraging influences from Central Park's iconic Tavern on the Green and hip supper clubs below 14th street.

Public spaces also celebrate "the glory days of the 60s and 70s" with black-and-white photographs of "Old New York" by Elliott Erwitt, Helen Levitt and Cornell Capa.

Sitting on the eighth floor, the lobby features lush green walls, cream curtains and wood paneling, and black herringbone floors. The team designed the adjacent Lobby Bar with contrasting ivory tones and a custom onyx bar, with natural light coming in from floor-to-ceiling windows and the Blade Runner Terrace.

"Terraces were unheard of in Times Square," said Pushelberg. "We made them like outdoor rooms with botanical boundaries that hide the cacophony beyond."

The hotel's restaurants have outdoor spaces as well, including 701West, the signature fine dining option. Helmed by Michelin-star chef Jason Atherton, the moody dining room boasts electric blue and chartreuse-coloured velvet banquettes, antique silk rugs and amber mahogany wood panels with white marble mosaic floors.

On the seventh floor is the Paradise Club, the nightclub and performance venue inspired by Studio 54.
John Sutton
California firm CAW Architects used prefabricated elements and economical materials to create a series of light-filled buildings on an agricultural campus operated by Stanford University.

The structures are situated on the O'Donohue Family Stanford Educational Farm, located on the edge of the university's campus in Silicon Valley.

The Farm not only provides food for the university community, but also serves as an outdoor classroom where students can learn about farming practises. Over 200 varieties of vegetables, fruit, herbs, field crops and flowers are grown on the six-acre (2.4-hectare) site.

"The Farm serves as a working agricultural complex that provides over 15,000 pounds of produce each year to the campus – and a living laboratory where students, faculty and the community test ideas about social and environmental aspects of farming and urban agriculture," said CAW Architects, a firm based in the nearby town of Palo Alto.

CAW Architects was tasked with creating a cluster of buildings to serve different purposes. The structures were designed to minimise their impact on the site.

"The design tightly clusters farm structures to preserve the majority of the site for field crops and orchards," the team said in a project description.

The siting of the buildings was also driven by a desire to provide views and outdoor gathering areas, while also ensuring that daily work could be efficiently performed.

Wooden slats, corrugated metal and polycarbonate panels were among the materials used to create the structures, which were built on "a very modest budget". Prefabricated elements helped keep costs down.

The centrepiece of the complex is the Barn, a single-storey, 5,300-square-foot (492-square-metre) building with wooden walls and a gabled, metal roof. Clerestories rise up from the roof, ushering in daylight and facilitating natural ventilation.

The Barn houses a workshop, a seminar room, offices, storage space and restrooms. On the east side, a sheltered pavilion overlooking the fields serves as an area for demonstrations and gatherings.

Just south of the Barn is a trio of smaller, basic buildings – a greenhouse, a lath house and a wash-and-pack facility. The Farm also offers a barbecue area, where fresh meals can be cooked up and enjoyed during events.
orn van Eck via Overtreders W
As the push toward sustainable lifestyles continues to spread from individual purchasing decisions to the overarching responsibility of big business, one restaurant is making a big statement by providing meals from a circular environment of zero food and material waste.

The Brasserie 2050 restaurant in the Netherlands temporarily opened its doors last fall as a restaurant and food storage pavilion designed by temporary-structure specialists Overtreders W for an event called the Lowlands Festival. The goal was to highlight the need for sustainable food production, and they achieved this goal by setting up a food barn made from recycled and borrowed materials that could be disassembled and moved at the end of the festival with no damage to the materials and no waste.

With forecasts estimating the world will have 10 billion people to feed by 2050, Brasserie 2050 is a testament to how we can achieve that goal. Not only is the design of the structure a sustainable model, but the catering company The Food Line Up created a zero-waste menu to feed the masses in attendance of the festival. Creative use of kitchen scraps culminated into baked bread from potato peelings, steak tartare with half the meat and pesto sourced from kitchen leftovers.

The food pavilion made use of the entire barn-shaped space by using standard pallet racks as the primary structural component. A corrugated plastic roof completed the gabled look. Even the tables were constructed from recycled plastic with the reuse and zero-waste cycle in mind.

The space was efficiently filled from top to bottom, with suspended herb boxes and wheat, corn, garlic and onions dangling from the ceiling above diner’s heads. Of course, this also provided natural decor for the restaurant. To keep the structure from blowing away, bags of grain weighed down the sides.

The structure and the menu served as a model of efficient and sustainable practices designed to lead us toward more eco-friendly food services for the future.

Bruce Damonte
The small town of Healdsburg, named after its founder Harmon Heald, might have established itself in California’s verdant Sonoma County nearly 250 years ago, but it feels perfectly in tune with the times. Surrounded by vintners such as VML Winery and Jordan Winery, the town boasts an attractive central square bordered by three-Michelin-star restaurant Single Thread, gourmet bakeries and ice cream shops, and a pair of Piazza Hospitality hotels—Hotel Healdsburg and H2Hotel—designed by David Baker Architects.

Now comes a third: the Harmon Guest House, whose 39 rooms form pods around a glassed-in central courtyard and have patios or balconies facing the town or trees. “The site is narrow,” says DBA associate Brett Randall Jones, “so we made a unique room type, with an open bathroom that guests walk through to enter the main space of the room. The ceiling height, floor-to-ceiling windows, and generous depth make the rooms feel expansive.”

Harmon Guest House’s rooms are furnished with custom pieces and mid-century classics in palettes drawn from the landscape. “The window seats in each room turned out to be the perfect cozy spot for lounging,” says associate/interiors lead Julie de Jesus. “The custom daybed and pillows, the pendant, the windows with slats, and the table and chairs work to create this perfect space within the room.”

And just in case visitors desire more perfect spaces, the town’s only public rooftop bar can be found upstairs, with intoxicating views of nearby Fitch Mountain.
BKSK
With NYCxDESIGN and Brooklyn Designs at the Brooklyn Navy Yards about to get underway, we've rounded up the most recent projects in New York City's buzziest borough, including warm cafés and reading rooms, fresh offices, and light-filled apartments.

1. The Center for Fiction by BKSK Architects Brings Books and Sustainability to Brooklyn

The Center for Fiction started out as the Mercantile Library in 1821 and moved locations throughout Manhattan over the years. In 2008, it was rebranded, and more than 10 years later, the Center has a permanent home in a new downtown Brooklyn building by BKSK Architects with sustainability in mind.

2. StudiosC Creates Positive/Negative Volumes for L&R Distributors in Brooklyn

L&R distributes more cosmetics than any other American company—25 brands and 8,000 SKUs in all. Its new corporate headquarters in Brooklyn’s Industry City circulates something else: a wide variety of staff, each with their own spatial needs, within what StudiosC principal Stephen Conte calls “an industrial blank canvas.”

3. Gensler Fashions a New Brooklyn Showroom for Lafayette 148

Brooklyn’s Navy Yard is among the most fashionable new areas in the borough, but until Lafayette 148 decided to leave its seven-floor SoHo digs and venture across the water, there wasn’t a fashion brand that called the historic concrete warehouse home. Gensler made sure the 68,000-square-foot headquarters, comprised of 15 different departments and large community work cafes, was as rousing as the exterior landscapes.

4. Idan Naor Thinks Horizontally for a Brooklyn Brownstone

The archetypical Brooklyn brownstone is a study in verticality, with a few stories of narrow corridors and dark rooms piled atop each other. However, when the local Idan Naor Workshop got the chance to reprogram a gem from the 1920s into a 5-unit apartment building, they decided on a different direction: horizontal. This 2,350-square-foot apartment jettisons the piles of hallways and instead utilizes a gallery to connect public areas to the three bedrooms, while ample natural light floods the expansive open plan.

5. Five Retail Wonderlands Subvert Reality

This retail environment at Gray Matters brings customers into a product-inspired wonderland. Riffing on the brand's Mildred Egg mule, Bower Studios chose table bases that are ovoids of painted resin composite.
Peer Lindgreen
Rather than just another five-day exhibition at Salone de Mobile, this year designer Tom Dixon decided to make his mark on Milan a little more permanent. His Design Research Studio created The Manzoni, a restaurant that doubles as a showroom. Incorporating Dixon’s three new collections, The Manzoni—named for its location at 5 Via Manzoni—elevates the products from simply being on display to functioning in an active environment. The 100-cover, 5,000-square-foot restaurant will officially debut after Salone wraps up next week and be open to the public in May.

Dixon noted that after putting so much energy into creating pop-up exhibitions, his company sought to be a fixture in Milan. “With the city being so active and engaging right now, it is the right time to forget being temporary and build something permanent,” the designer said. “Just like in London, we don’t think it’s enough to just have a showroom. We need a place where people slow down and experience our products in a live setting.”

Showcased at The Manzoni, Dixon’s new collections include Fat, an upholstered seating line; Spring, a trio of pendant lamps; and Opal, a spherical lighting collection. In the restaurant, these elements work to soften the space and balance the bass notes of concrete and marble.
The Manzoni’s main space, called The Dining Hall, features a vast “monastic Italian” dining table lit by a string of Opal globes, accompanied by Fat dining chairs. Guests will be able to enjoy dinner entrees such as Sicilian-style ring-shape pasta with roasted eggplant, tomato and ricotta and boneless duck leg cooked in Lambrusco wine.

Beyond the Dining Hall, another room called The Jungle brings guests into a space filled with ferns, Spanish moss, orchids, and all manner of greenery. This is where Dixon’s Spring brass pendants really shine (pun intended).

The Bar & Lounge features a graphic wall of stone tile in deep gray and pale green along with Dixon’s Fat lounge chairs and bar stools and Opal and Melt lights.
Oliver Wainwright.
Oliver Wainwright is arguably one of the world's most influential architecture and design critics. He writes chiefly for The Guardian and has also written for a range of publications including Building Design, Architects’ Journal, Icon, Domus and Frieze. He has also won a number of awards for his extensive reporting on the housing crisis and the planning system. Ahead of his sell-out Robin Boyd Centenary Address during the 2019 Melbourne Design Week, he talks to ArchitectureAU editor Linda Cheng about the link between financial markets and the shape of our cities.

Linda Cheng: Your talk is titled “Form Follows Finance.” Where does this phrase come from and why is it relevant to architectural practice today?

Oliver Wainwright: It’s a play on the modernist rallying cry, “form follows function.” Increasingly architecture is not the product of functional needs, but the financial forces that are driving development. Form Follows Finance was the title of a great (1995) book by American historian Carol Willis, charting the birth of the skyscraper in Chicago and New York at the turn of the last century, and it has since become quite a well used phrase to describe how money shapes our cities.

LC: How did homes become financial assets?

OW: Homes began to be conceived as financial assets a very long time ago – since the enclosures of the 18th century, when common land was privatized – but the rapid “financialization” of housing is a phenomenon of the late-20th century. An important United Nations Human Rights Council report in 2017 defined financialization as: “structural changes in housing and financial markets and global investment whereby housing is treated as a commodity, a means of accumulating wealth and often as security for financial instruments that are traded and sold on global markets.”

It goes on to say the financialization “disconnects housing from its social function of providing a place to live in security and dignity and hence undermines the realization of housing as a human right. It refers to the way housing and financial markets are oblivious to people and communities, and the role housing plays in their well-being.”

Essentially it is about the fundamental shift of housing from being primarily a means of shelter, to an instrument for accumulating wealth.

Several major factors came together in the 1990s: a sudden surge in global population growth; the explosion in buy-to-let lending; rise of mortgage-backed securities; “golden visa rules” which allowed foreign investors to receive citizenship in exchange for investment in property; and the entry of China and Russia into the global economy, producing a global elite seeking a safe home for their cash.

As the banks stopped lending after the 2008 financial crisis, developers and local authorities have been forced to look elsewhere for funding. They turned to sovereign wealth funds, pension funds, and Chinese-owned construction companies etc. All of these global institutional investors are looking for a safe return on investment: their concern is with profit maximization rather than the wellbeing of local communities.
Ivar Kvaal
Snøhetta has completed Under, the "world's largest underwater restaurant", which plunges from a craggy shoreline in the remote village of Båly, Norway.

Designed by Snøhetta to resemble a sunken periscope, the 495-square-metre restaurant is fronted by a huge panoramic window that gives visitors a "unique view" of marine life.

The building on Norway's southern coast, which can seat up to 40 people and will also be used as a marine research centre, is Europe's first underwater restaurant.

"For most of us, this is a totally new world experience. It's not an aquarium, it's the wildlife of the North Sea. That makes it much more interesting. It takes you directly into the wildness," Rune Grasdal, lead architect of Under, told Dezeen.

"If the weather is bad, it's very rough. It's a great experience, and to sit here and be safe, allowing the nature so close into you. It's a very romantic and nice experience."

Under was designed to be as simple as possible. It takes the form of a monolithic "concrete tube" that is 34 metres in length.

The walls are slightly curved and half-a-metre thick, providing optimal resistance against the forces of waves and water pressure.

"The idea was to make a tube that would bring people from above sea level down under the sea," Grasdal added.

"That transition is easy to understand, but it's also the most effective way to do it. It also feels secure, but you don't feel trapped."

The concrete has been left with an exposed, rugged texture to encourage algae and molluscs to cling on. Over time this will create an artificial mussel reef that helps purify the water, and in turn naturally attract more marine life.

Interior Design Media
It's the first day of spring—and time to start thinking about spending time outdoors! That's why we've gathered 15 spaces that are perfect for celebrating sunny days.

1. The Department Store by Squire and Partners

At night, the penthouse of Squire's office in London is Upstairs, a members-only bar and restaurant. By day, it’s the staff canteen, the myriad glass doors opening to a landscaped terrace—outfitted with a very modern-day ping-pong table.

2. Rosewood Luang Prabang by Bensley

This glamping hotspot in Laos is the place to unwind while on vacation. Bill Bensley looked to the area’s famed French-Lao architecture for this paradise on a UNESCO World Heritage Site, featuring six hilltop tents with private dining areas and vast balconies within the rainforest.

3. Boulder-Strewn California Home by Sant Architects

The architect’s most significant move was building 14 poured-in-place board-formed concrete walls, their color meshing pleasingly with the surrounding terrain. Both the courtyard and living area survey the Topanga Canyon and the Pacific Ocean.

4. Tied House by Gensler

Inspired in part by Chicago’s motto, Urbs en Horto, meaning city in a garden, Heiser and Gannon left space for an intimate courtyard between the street-front sections of the two buildings. Inviting people to gather, a massive copper outdoor fireplace is already starting to patina. When the weather allows, Tied House’s sliding glass doors stack away, opening the bar area completely to the courtyard.

5. Mar Adentro Hotel and Residences by Taller Aragonés

At this cutting-edge hotel in San Jose del Cabo, Mexico, water encircles and unifies contrasting elements: minimal buildings, custom-furnished by Poliform, and a nestlike restaurant pavilion woven from tree branches.
dezeen
Pastel tones and plenty of curves are found within this restaurant, located inside The Spheres at Amazon's headquarters in Seattle.

Willmott's Ghost is one of three spaces open to the public inside The Spheres – a trio of plant-filled glass orbs completed at retail giant Amazon's Downtown campus last year.

The restaurant on the ground floor of the building was designed by Heliotrope Architects, with interiors by Price Erickson and construction by Dovetail.

"With a three-storey jungle above, the restaurant takes its namesake from a thistle-like flower christened in honour of Victorian horticulturist Ellen Ann Willmott," said Heliotrope in a project description.

Serving Roman-style pizza and Italian cocktails, the eatery measures 1,900 square feet (177 square metres) and seats around 50 diners, and can be accessed independently from the street.

Both the setting within The Spheres and the cuisine influenced the design of the restaurant. The white-painted steel and glass structure curves around the space, restricting the layout of all the furnishings and fixtures.

"Enclosed within the spherical envelope, the area housing the restaurant proved an incredible – and inspiring – challenge, are much of the architecture is dictated by curves," said Heliotrope.

Along the outer edge, arc-shaped booths upholstered in dark green leather are positioned one side of the entrance, while a continuous bank of seating gently bends around the other.
Houser & Wirth
Art galleries, luxury hotels, and exotic restaurants are breathing new life into these former industrial spaces

From the Industrial Age to the 21st century, factories have remained integral to American life. Today, a growing number of architects and developers are reinventing abandoned factories into world-class hotels, art galleries, and retail spaces, giving authentic sites a new history. As many factories were designed to be civically minded, the spaces possess a level of scale, detail, and grandeur that suits modern architectural needs while providing a strong foundation. “Innovation often results from challenging sites or contexts, and few are more challenging than the remains of our early 20th-century urban industrial landscape,” says Anthony Cissell, architect and urban designer at Sottile & Sottile, the design architects behind a Georgia power plant transformation. “The impulse of many redevelopment efforts is often to start with a ‘clean slate,’ resulting in lost opportunities to develop a genuine dialogue with our history and create evolving places with layered authenticity.” Ranging from old meat-processing plants to flour mills to dairy depots, AD highlights the country's most brilliant factory revivifications.

Brooklyn Cider House, New York City

A 1960s furniture factory turned meat processing plant houses the brainchild of brother-sister duo Peter and Susan Yi, who spotted this Bushwick space in 2015. After dedicating two years to renovation, the Yis opened the Brooklyn Cider House, a 12,000-square-foot restaurant and area reminiscent of a Basque cider house in Spain. The owners used repurposed barn wood from upstate New York to create the ceiling beams, imported chestnut cider barrels from Spain, sourced Israeli and Italian artists to paint murals, and built communal tables made from the floors of the Yis’ Manhattan property—a former piano factory now reincarnated as a retail outlet. The Brooklyn Cider House offers a prix fixe family-style dinner with cider tasting, as well as a multicultural weekend brunch influenced by Korean, new American, and Basque cuisines.

Plant Riverside District, Savannah, Georgia

Resting on the Savannah River, one of America’s first power plants, built in 1912, will be transformed into the Kessler Collection’s Plant Riverside District, slated to open in October 2019. The 225,000-square-foot masonry brick building will house a JW Marriott hotel as well as high-end retail spaces, 13 food and beverage operations, including three rooftop bars, an art gallery, and a live-music venue with outdoor seating for 700 guests. “As there were few power plants in America when this one was designed, the original architects took the approach of creating a classical building with deep brick arches and oversize windows to mimic other major municipal buildings of the era,” says Richard Kessler, chairman and CEO of the Kessler Collection, which owns and operates the property. “If a power plant were designed today, it would be unusual to find it so carefully articulated and expensively built as we see here with the former Georgia Power Plant. The fact that the historic building does have a stately architectural facade now lends itself useful and desirable for a luxury hotel."

Marcela Grassi
BCQ arquitectura barcelona has designed and constructed a prototype module for environmental education classrooms that doubles as a habitat for species of animals, insects, invertebrates, and birds. titled AULA K, the learning and discovery facility is developed to be installed in different locations of the metropolitan area of barcelona park’s network.

built as an open space that provides direct contact with the outside, the trees, natural light, and climate, BCQ‘s design takes its cues from the idea of the tree as the original classroom, and the first talks of teachers to their disciples that were made under its shelter. the project consists of a prefabricated module, flexible and as economical as possible, capable of responding to the different requirements of each municipality for environmental education. a total of three modules has been proposed – containing the services, classroom, and pergola – which can be combined in different configurations to respond to the requests of each site or the programming of activities.

the prototype building utilizes the classroom and service modules, while it can be adapted to any location and orientation and has been built with industrialized systems to optimize time and cost. its construction, with prefabricated wooden modules, is largely carried out in the workshop, and the assembly of the module on the site can be done in a few weeks. the inverted slopes of the construction allow the installation of flat plate solar collectors and also allow the use of rainwater, which is returned to the ground to provide irrigation for the vegetation planted just next to it.



Erin Feinblatt
Santa Barbara, California

When the owner of an unremarkable 1,100-square-foot 1950s ranch house commissioned Anacapa Architecture to replace it with a new 2,450-square-foot dwelling with an open plan, she described the kinds of materials and finishes she wanted indoors. Principal Dan Weber used these strong palette choices as a jumping-off point for his architecture and interiors. This is especially evident in the kitchen and bathrooms, which are key to his design.

Besides doubling the house’s footprint, Weber and his team balanced the slatted ipé panels and white stucco of the exterior by using the same wood in the kitchen’s clean, white environment. From the street, the combined living/dining/kitchen area is visible through a large window, neatly framed by the house’s cladding. Used for its durability as well as its visual appeal, the street-facing ipé wall turns a corner inside the entry vestibule and reappears as striking millwork to conceal the bottom-mount, built-in refrigerator-freezer in the kitchen. The white custom cabinetry in the rest of the space offers plenty of storage to keep it clutter-free. The pristine palette underscores the link between the stucco and the white-painted millwork, the bianco bello marble-top island and white-tile backsplash.

In the evening, one can switch on a series of downlights and a dramatic brass chandelier that hovers above the island. “The owner had a very clear vision for the design: she wanted a bright, minimalist space,” says Weber. “The island is the central gathering place for rich social interaction that revolves around meal preparation.” It holds the sink, dishwasher, storage, and concealed trash bins. The client selected the marble for the countertop.

Weber carried the elegant palette into a nearby guest bath, suspending pendant versions of the kitchen chandelier above a walnut vanity complemented by brass faucets, hardware, and a mirror edged in the same metallic finish.

The open plan of the kitchen-living wing extends to the master suite. Here, a full-height wall forms the bed’s headboard, but the room is devoid of doors at either side. These two thresholds lead into the master bath, which features polished-concrete floors with radiant heating and large-format gray tiles. The fixtures in this room include a tub; an open shower shielded by a single glass panel on one side; an enclosed toilet; and a custom double vanity fabricated by the same cabinet- maker who worked on the kitchen. While the vanity was constructed with walnut, the same brass fittings and luminaires punctuate the calm gray space. Timber slats lining the shower floor and a custom bench are composed of the recurring ipé that ties the indoor and outdoor spaces of the house together in many details.

The minimalist design and carefully curated palette work in concert to present a visually serene and uncluttered home, from every nook to the main attraction that is the kitchen.
Vero Visuals
The 1,000-unit Mark, in the Dutch city of Utrecht, will be complete by 2023. The majority of its units will be low- and medium-income housing, or “care homes” for the elderly.

In a new apartment complex that will soon rise in the Dutch city of Utrecht, instead of deliveries from an online grocer, you can get boxes of vegetables grown in an intensive greenhouse on the roof or from a smaller unit built into the facade on your own floor. In a courtyard downstairs, you can forage for raspberries in an urban forest. In the parking garage–which is designed to house many more bikes than cars–there’s space for aquaculture.

The new development, called the Mark, with more than 1,000 units in three towers, rethinks the sustainability of typical high-rise buildings. One part of that is the food that residents eat. “We put a lot of energy into diminishing the carbon footprint due to food production for the inhabitants there,” says Darius Reznek, a partner at the design firm Karres Brands, which worked on the project along with the firms Architekten Cie, Geurst & Schulze, and a group of developers. A team of urban farmers will manage the on-site greenhouses, which will also supply produce to a rooftop restaurant.

At the ground level, by rethinking mobility options, the designers had more space for plants. “A lot of times, when you develop high-rises, you’re stuck with a lot of parking,” says Reznek. The new apartments are next to a train station, and the city is one of the best places to bike in the world, so residents don’t really need cars most of the time, but the developer will offer an electric car-sharing service to make it even less likely to that someone feels the need to own a car. “Instead of everyone having their own car, we will have 200 car-sharing vehicles, and we provide a lot of bikes, electric bikes, and space for things like that to kind of stimulate a different kind of mobility so that not everybody is stuck to their car,” he says. The garage can fit 3,500 bicycles; the extra space will become an edible forest.

Food is also a way to bring residents together–the apartments have their own balconies, but it’s possible to visit the greenhouses or manage a plot of your own in a community garden. The buildings also nudge people to interact in other ways. “The high-rises are separated in sort of smaller neighborhoods that revolve around collective floors,” says Reznek. Along with green spaces, the buildings have shared spaces with larger kitchens, collective “living rooms” if someone needs more space for a party, shared workspaces, and other community gathering places.
Three centuries ago, humans were intensely using just around 5 percent of the Earth’s land. Now, it’s almost half.

Humans are transforming the Earth through our carbon emissions. Arctic sea ice is shrinking, seas are rising, and the past four years have been the hottest since record-keeping began. But long before the first cars or coal plants, we were reshaping the planet’s ecosystems through humbler but no less dramatic means: pastures and plows.

Environmental scientist Erle Ellis has studied the impact of humanity on the Earth for decades, with a recent focus on categorizing and mapping how humans use the land—not just now, but in the past. And his team’s results show some startling changes. Three centuries ago, humans were intensely using just around 5 percent of the planet, with nearly half the world’s land effectively wild. Today, more than half of Earth’s land is occupied by agriculture or human settlements.

“Climate change is only recently becoming relevant,” said Ellis, a professor at the University of Maryland, Baltimore County. “If it keeps going how it is, it will become the dominant shaper of ecology in the terrestrial realm, but right now the dominant shaper of ecology is land use.”

In contrast to the typical division of the world into ecological “biomes,” Ellis and his team at the Laboratory for Anthropogenic Landscape Ecology map what they call “anthromes,” or “anthropogenic biomes.” These show the intersection of ecology and human land use.

Using a range of sources, Ellis’s team mapped out that land use, dividing the planet into grids and categorizing each cell based on how many people lived there and how they impacted the land. The densest areas were cities and towns, followed by close-packed farming villages. Less populated areas were categorized by their dominant land use—crops, livestock pasture, or inhabited woodlands—while other areas were marked as largely uninhabited.
Trent Bell via Caleb Johnson Studio
Salvaged materials from a century-old farmhouse and barn have been given new life as Ben’s Barn, a spacious family home in Kennebunk, Maine that takes inspiration from New England’s rural architecture. Designed by Portland, Maine-based architecture practice Caleb Johnson Studio for a young family, Ben’s Barn was constructed with a mix of reclaimed materials sourced not only from the former farmhouse and barn that had stood on another portion of the site, but also from a midcentury modern teardown in Weston, Massachusetts. The well-worn and midcentury fixtures have been combined with new, sustainable materials to create a contemporary and light-filled environment.

Created as a “lifetime family home,” Ben’s Barn covers an area of 4,425 square feet — including a loft — with four bedrooms and four baths. Because the clients are a family with young children, the home is designed with ample space for indoor play, yet it also provides an accessible first floor bedroom suite for visiting relatives or for the homeowners who intend to age in place.

Ben’s Barn comprises two large gabled structures — a bedroom wing and a kitchen/master wing — connected with a double-story glazed link. The timber roof structure was salvaged from the former farmhouse on site, as were the interior wood cladding and interior doors. Granite blocks reclaimed from the farmhouse foundation were reused as steps and seating in the landscape. The cabinetry and fixtures were also taken from a midcentury modern teardown.

“The structural system is a hybrid of a stick-framed shell over an amalgam of new and antique timbers, fortified with structural steel, all used without obscuring their identity or function,” the architects said. Consequently, all the exposed interior structural elements were left deliberately unfinished, as was the exterior weathering steel facade that will develop a rusty patina over time.



PBS/Nova
s the year’s final days are approaching, many of us may be thinking about our resolutions for the year ahead. In the face of the many warnings and long-range consequences of climate change, this might also be a good time to think about the roles that each of us can play in helping to mitigate these impacts going forward. One grim consolation is that most of us—the people who are in power today—will not be seriously impacted by the rising sea levels, inland flooding, drought and pestilence that lie ahead. Instead, the most severe consequences will be born by future generations. As one public official put it recently, “We are watching our house burn down with the children and grandchildren in the attic.” Our choice, and our moral imperative, is to act now for the benefit of these future generations.

A report issued in November by the Intergovernmental Panel on Climate Change (IPCC) made it clear that decisions made within the next ten years will have far reaching implications for centuries to come. In an essay “Losing Earth; The Decade We Almost Stopped Climate Change,” that essentially comprised the entire August 1, 2018 New York Times Magazine issue, author Nathaniel Rich reported on what these implications might look like:

“The world has warmed more than one degree Celsius since the Industrial Revolution. The Paris Climate agreement, the non-binding, unenforceable and already unheeded treaty signed on Earth Day in 2016, hoped to restrict warming to two degrees. The odds of succeeding, according to a recent study based on current emissions trends, are one in 20. If by some miracle we are able to limit warming to two degrees, we will only have to negotiate the extinction of the world’s tropical reefs, sea-level rise of several meters and the abandonment of the Persian Gulf. The climate scientist James Hansen has called the two-degree warming ‘a prescription for long-term disaster.’. Long-term disaster is now the best-case scenario.”

The Nature Conservancy predicts that global temperatures are projected to rise by 3.2°C, increased air pollution will affect 4.9 billion more people, and 2.75 billion people will be subjected to water scarcity. Even our own Federal government seems ready to throw in the towel, as a 2018 draft Environmental Impact Statement issued by the National Highway Traffic Safety Administration outlines why freezing fuel efficiency rules for cars and light trucks for six years w
Adobe Stock
Blaine Brownell explores examples of forward-thinking products that upcycle food waste.

ulinary indulgences are a traditional part of holiday celebrations for many, yet they also highlight our inefficient practices when it comes to food waste. According to the United Nations Environment Program, one-third of the world’s food is wasted or lost annually. In the U.S. alone, food waste comprises more than one-fifth of the waste stream and occupies the highest volume in landfills, at 133 billion pounds of edible material. In a recent recent City A.M. article, Elsa Bernadotte, chief operating officer of the food-saving app Karma, claims, “Food waste will be next year's moral crisis, just as single-use plastic was this year.”

Fortunately, several pioneering designers and manufacturers have developed a variety of alternative building materials made from discarded food.

Cereals
According to the Food Wastage Footprint report by the Food and Agriculture Organization (FAO) of the United Nations, “Wastage of cereals in Asia emerges as a significant problem for the environment, with major impacts on carbon, blue water, and arable land.” Rice is of particular concern, given the volume of waste as well as the significant quantities of methane released by rice paddies.

However, once about 80 percent of rice and bran are harvested, the remaining portion of rice husk can be used as fuel as the byproduct rice husk ash (RHA). This material has reactive pozzolanic properties, making it an excellent supplemental cementitious material. Watershed Materials, a manufacturer based in Napa, Calif. (the second highest rice-producing state in the U.S.), has developed a concrete masonry unit that incorporates rice husk ash in place of 30 percent of Portland cement. The company blends local, dark basaltic aggregate with the similarly colored ingredient to make its graphite-hued, smooth-finish block. Although Watershed Materials’ recipe is tailored to its particular context, RHA-based cement can be readily manufactured throughout Asia where the quantity of rice waste is most significant.

Meat
Discarded animal protein is the most concerning kind of food waste, given the massive ecological footprint of livestock farming. One-third of the world’s crops and a quarter of its freshwater go to livestock production, which in turn contributes about 15 percent of all greenhouse gases. According to a 2014 Guardian article, “When you consider the real costs, it becomes startlingly clear that some of the worst thing