The government has axed a scheme for upgrading energy efficiency in public sector buildings. The Public Sector Decarbonisation Scheme (PSDS) delivered more than £2.5bn in its first three phases for measures such as heat pumps, solar panels, insulation and double glazing, with further funding of nearly £1bn recently announced. But the Department for Energy Security and Net Zero (DESNZ) has told Building Design that the scheme has been dropped after the spending review, leaving uncertainty about how upgrades will be funded when the current phase expires in 2028. Source: UK Government/FlickrEd Miliband’s Department for Energy Security and Net Zero is responsible for the scheme The department said it would set out plans for the period after 2028 in due course. In a post on LinkedIn, Dave Welkin, director of sustainability at Gleeds, said he had waited for the release of the spending review with a “sense of trepidation” and was unable to find mention of public sector decarbonisation when Treasury documents were released. “I hoped because it was already committed in the Budget that its omission wasn’t ominous,” he wrote. Yesterday, he was told by Salix Finance, the non-departmental public body that delivers funding for the scheme, that it was no longer being funded. It comes after the withdrawal of funding for the Low Carbon Skills Fund (LCSF) in May. According to the government’s website, PSDS and LCSF were intended to support the reduction of emissions from public sector buildings by 75% by 2037, compared to a 2017 baseline. “Neither LCSF or PSDS were perfect by any means, but they did provide a vital source of funding for local authorities, hospitals, schools and many other public sector organisations to save energy, carbon and money,” Welkin said. “PSDS has helped replace failed heating systems in schools, keeping students warm. It’s replaced roofs on hospitals, helping patients recover from illness. It’s replaced windows in our prisons, improving security and stopping drugs getting behind bars.” However, responding to Welkin’s post, Steve Connolly, chief executive at Arriba Technologies, a low carbon heating and cooling firm, said that the scheme was being “mismanaged” with a small number of professional services firms “scooping up disproportionately large grants for their clients”. The fourth phase of the scheme was confirmed last September, with allocations confirmed only last month. This latest phase, which covers the financial years between 2025/26 and 2027/28, saw the distribution of £940m across the country. A DESNZ spokesperson said: “Our settlement is about investing in Britain’s renewal to create energy security, sprint to clean power by 2030, encourage investment, create jobs and bring down bills for good. “We will deliver £1bn in current allocations of the Public Sector Decarbonisation Scheme until 2028 and, through Great British Energy, have invested in new rooftop solar power and renewable schemes to lower energy bills for schools and hospitals across the UK. “We want to build on this progress by incentivising the public sector to decarbonise, so they can reap the benefits in lower bills and emissions, sharing best practice across government and exploring the use of repayable finance, where appropriate.” A government assessment of phase 3a and 3b projects identified a number of issues with the scheme, including delays and cost inflation, with more than a tenth being abandoned subsequent to grants being offered. Stakeholders interviewed for the report also identified “difficulties in obtaining skilled contractors and equipment”, especially air source heat pumps. The first come first served approach to awarding funding was also said to be “encouraging applicants to opt for more straightforward projects” and “potentially undermining the achievement of PSDS objective by restricting the opportunity for larger [and] more complex measures which may have delivered greater carbon reduction benefits”. But the consensus among stakeholders and industry representatives interviewed for the report was that the scheme was “currently key to sustaining the existing UK heat pump market” and that it was “seen as vital in enabling many public sector organisations to invest in heat decarbonisation”.

In a nutshell: As nations set ever more ambitious targets for renewable energy and electrification, the humble high-voltage cable has emerged as a linchpin – and a potential chokepoint – in the race to decarbonize the global economy. A Bloomberg interview with Claes Westerlind, CEO of NKT, a leading cable manufacturer based in Denmark, explains why. A global surge in demand for high-voltage electricity cables is threatening to stall the clean energy revolution, as the world's ability to build new wind farms, solar plants, and cross-border power links increasingly hinges on a supply chain bottleneck few outside the industry have considered. At the center of this challenge is the complex, capital-intensive process of manufacturing the giant cables that transport electricity across hundreds of miles, both over land and under the sea. Despite soaring demand, cable manufacturers remain cautious about expanding capacity, raising questions about whether the pace of electrification can keep up with climate ambitions, geopolitical tensions, and the practical realities of industrial investment. High-voltage cables are the arteries of modern power grids, carrying electrons from remote wind farms or hydroelectric dams to the cities and industries that need them. Unlike the thin wires that run through a home's walls, these cables are engineering marvels – sometimes as thick as a person's torso, armored to withstand the crushing pressure of the ocean floor, and designed to last for decades under extreme electrical and environmental stress. "If you look at the very high voltage direct current cable, able to carry roughly two gigawatts through two pairs of cables – that means that the equivalent of one nuclear power reactor is flowing through one cable," Westerlind told Bloomberg. The process of making these cables is as specialized as it is demanding. At the core is a conductor, typically made of copper or aluminum, twisted together like a rope for flexibility and strength. Around this, manufacturers apply multiple layers of insulation in towering vertical factories to ensure the cable remains perfectly round and can safely contain the immense voltages involved. Any impurity in the insulation, even something as small as an eyelash, can cause catastrophic failure, potentially knocking out power to entire cities. // Related Stories As the world rushes to harness new sources of renewable energy, the demand for high-voltage direct current (HVDC) cables has skyrocketed. HVDC technology, initially pioneered by NKT in the 1950s, has become the backbone of long-distance power transmission, particularly for offshore wind farms and intercontinental links. In recent years, approximately 80 to 90 percent of new large-scale cable projects have utilized HVDC, reflecting its efficiency in transmitting electricity over vast distances with minimal losses. But this surge in demand has led to a critical bottleneck. Factories that produce these cables are booked out for years, Westerlind reports, and every project requires custom engineering to match the power needs, geography, and environmental conditions of its route. According to the International Energy Agency, meeting global clean energy goals will require building the equivalent of 80 million kilometers (around 49.7 million miles) of new grid infrastructure by 2040 – essentially doubling what has been constructed over the past century, but in just 15 years. Despite the clear need, cable makers have been slow to add capacity due to reasons that are as much economic and political as technical. Building a new cable factory can cost upwards of a billion euros, and manufacturers are wary of making such investments without long-term commitments from utilities or governments. "For a company like us to do investments in the realm of €1 or 2 billion, it's a massive commitment... but it's also a massive amount of demand that is needed for this investment to actually make financial sense over the next not five years, not 10 years, but over the next 20 to 30 years," Westerlind said. The industry still bears scars from a decade ago, when anticipated demand failed to materialize and expensive new facilities sat underused. Some governments and transmission system operators are trying to break the logjam by making "anticipatory investments" – committing to buy cable capacity even before specific projects are finalized. This approach, backed by regulators, gives manufacturers the confidence to expand, but it remains the exception rather than the rule. Meanwhile, the industry's structure itself creates barriers to rapid expansion, according to Westerlind. The expertise, technology, and infrastructure required to make high-voltage cables are concentrated in a handful of companies, creating what analysts describe as a "deep moat" that is difficult for new entrants to cross. Geopolitical tensions add another layer of complexity. China has built more HVDC lines than any other country, although Western manufacturers, such as NKT, maintain a technical edge in the most advanced cable systems. Still, there is growing concern in Europe and the US about becoming dependent on foreign suppliers for such critical infrastructure, especially in light of recent global conflicts and trade disputes. "Strategic autonomy is very important when it comes to the core parts and the fundamental parts of your society, where the grid backbone is one," Westerlind noted. The stakes are high. Without a rapid and coordinated push to expand cable manufacturing, the world's clean energy transition could be slowed not by a lack of wind or sun but by a shortage of the cables needed to connect them to the grid. As Westerlind put it, "We all know it has to be done... These are large investments. They are very expensive investments. So also the governments have to have a part in enabling these anticipatory investments, and making it possible for the TSOs to actually carry forward with them."

This edition of the Venice Biennale includes 65 national pavilions, 11 collateral events, and over 750 participants in the international exhibition curated by Italian architect and engineer Carlo Ratti. Entitled Intelligens: Natural Artificial Collective, its stated aim is to make Venice a ‘living laboratory’. But Ratti’s exhibition in the Arsenale has been hit by mixed reviews. The AJ’s Rob Wilson described it as ‘a bit of a confusing mess’, while other media outlets have called the robot-heavy exhibit of future-facing building-focused solutions to the climate crisis a ‘tech-bro fever dream’ and a ‘mind-boggling rollercoaster’ to mention a few. It is a distinct shift away from the biennale of two years ago twhen Ghanaian-Scottish architect Lesley Lokko curated the main exhibitions, including 89 participants – of which more than half were from Africa or the African diaspora – in a convincing reset of the architectural conversation.Advertisement This year’s National Pavilions and collateral exhibits, by contrast, have tackled the largest themes in architecture and the world right now in a less constrained way than the main exhibitions. The exhibits are radical and work as a useful gauge for understanding what’s important in each country: decarbonisation, climate resilience, the reconstruction of Gaza, and an issue more prevalent in politics closer to home: gender wars. What's not to miss in the Giardini? British Pavilion (photography: Chris Lane) UK Pavilion The British Pavilion this year, which won a special mention from the Venetian jury, is housing a show by a British-Kenyan collab titled GBR – Geology of Britannic Repair. In it, the curators explore the links between colonialism, the built environment and geological extraction. Focusing on the Rift Valley, which runs from east Africa to the Middle East, including Palestine, the exhibition was curated by the Nairobi-based studio cave_bureau, UK-based curator, writer and Farrell Centre director Owen Hopkins and Queen Mary University professor Kathryn Yusoff. The pavilion’s façade is cloaked by a beaded veil of agricultural waste briquettes and clay and glass beads, produced in Kenya and India, echoing both Maasai practices and beads once made on Venice’s Murano, as currency for the exchange of metals, minerals and slaves. The pavilion’s six gallery spaces include multisensory installations such as the Earth Compass, a series of celestial maps connecting London and Nairobi; the Rift Room, tracing one of humans’ earliest migration routes; and the Shimoni Slave Cave, featuring a large-scale bronze cast of a valley cave historically used as a holding pen for enslaved people.Advertisement The show also includes Objects of Repair, a project by design-led research group Palestine Regeneration Team (PART), looking at how salvaged materials could help rebuild war-torn Gaza, the only exhibit anywhere in the Biennale that tackled the reconstruction of Gaza face-on – doing so impressively, both politically and sensitively. Read more here. Danish Pavilion (photography: Hampus Berndtson) Demark Pavilion A firm favourite by most this year, the Danish exhibition Build of Site, curated by Søren Pihlmann of Pihlmann Architects, transforms the pavilion, which requires renovation anyway, into both a renovation site and archive of materials. Clever, simple and very methodical, the building is being both renewed while at the same time showcasing innovative methods to reuse surplus materials uncovered during the construction process – as an alternative to using new resources to build a temporary exhibition. The renovation of the 1950s Peter Koch-designed section of the pavilion began in December 2024 and will be completed following the biennale, having been suspended for its duration. On display are archetypal elements including podiums, ramps, benches and tables – all constructed from the surplus materials unearthed during the renovation, such as wood, limestone, concrete, stone, sand, silt and clay. Belgian Pavilion (photography: Michiel De Cleene) Belgium Pavilion If you need a relaxing break from the intensity of the biennale, then the oldest national pavilion in the Giardini is the one for you. Belgium’s Building Biospheres: A New Alliance between Nature and Architecture brings ‘plant intelligence’ to the fore. Commissioned by the Flanders Architecture Institute and curated by landscape architect Bas Smets and neurobiologist Stefano Mancuso, the exhibit investigates how the natural ‘intelligence’ of plants can be used to produce an indoor climate – elevating the role of landscape design and calling for it to no longer serve as a backdrop for architecture. Inside, more than 200 plants occupy the central area beneath the skylight, becoming the pavilion’s centrepiece, with the rear space visualising ‘real-time’ data on the prototype’s climate control performance. Spanish Pavilion (photography: Luca Capuano) Spain Pavilion One for the pure architecture lovers out there, models (32!), installations, photographs and timber structures fill the Spanish Pavilion in abundance. Neatly curated by architects Roi Salgueiro Barrio and Manuel Bouzas Barcala, Internalities shows a series of existing and research projects that have contributed to decarbonising construction in Spain. The outcome? An extensive collection of work exploring the use of very local and very specific regenerative and low-carbon construction and materials – including stone, wood and soil. The joy of this pavilion comes from the 16 beautiful timber frames constructed from wood from communal forests in Galicia. Polish Pavilion (photography: Luca Capuano) Poland Pavilion Poland’s pavilion was like Marmite this year. Some loved its playful approach while others found it silly. Lares and Penates, taking its name from ancient Roman deities of protection, has been curated by Aleksandra Kędziorek and looks at what it means and takes to have a sense of security in architecture. Speaking to many different anxieties, it refers to the unspoken assumption of treating architecture as a safe haven against the elements, catastrophes and wars – showcasing and elevating the mundane solutions and signage derived from building, fire and health regulations. The highlight? An ornate niche decorated with tiles and stones just for … a fire extinguisher. Dutch Pavilion (photography: Cristiano Corte) Netherlands Pavilion Punchy and straight to the point, SIDELINED: A Space to Rethink Togetherness takes sports as a lens for looking at how spatial design can both reveal and disrupt the often-exclusionary dynamics of everyday environments. Within the pavilion, the exhibit looks beyond the large-scale arena of the stadium and gymnasium to investigate the more localised and intimate context of the sports bar, as well as three alternative sports – a site of both social production and identity formation – as a metaphor for uniting diverse communities. The pavilion-turned-sports bar, designed by Koos Breen and Jeannette Slütter and inspired by Asger Jorn’s three-sided sports field, is a space for fluidity and experimentation where binary oppositions, social hierarchies and cultural values are contested and reshaped – complete with jerseys and football scarfs (currently a must-have fashion item) worn by players in the alternative Anonymous Allyship aligning the walls. Read Derin Fadina’s review for the AJ here. Performance inside the Nordic Countries Pavilion (photography: Venla Helenius) Nordic Countries Pavilion Probably the most impactful national pavilion this year (and with the best tote bag by far), the Nordic Countries have presented an installation with performance work. Curated by Kaisa Karvinen, Industry Muscle: Five Scores for Architecture continues Finnish artist Teo Ala-Ruona’s work on trans embodiment and ecology by considering the trans body as a lens through which to examine modern architecture and the built environment. The three-day exhibition opening featured a two-hour performance each day with Ala-Ruona and his troupe crawling, climbing and writhing around the space, creating a bodily dialogue with the installations and pavilion building itself, which was designed by celebrated Modernist architect Sverre Fehn. The American pavilion next door, loudly (country music!) turns its back on what’s going on in its own country by just celebrating the apathetical porch, making the Nordic Countries seem even more relevant in this crucial time. Read Derin Fadina’s review for the AJ here. German Pavilion (photography: Luca Capuano) Germany Pavilion An exhibit certainly grabbing the issue of climate change by its neck is the German contribution, Stresstest. Curated by Nicola Borgmann, Elisabeth Endres, Gabriele G Kiefer and Daniele Santucci, the pavilion has turned climate change into a literal physical and psychological experience for visitors by creating contrasting ‘stress’ and ‘de-stress’ rooms. In the dark stress room, a large metal sculpture creates a cramped and hot space using heating mats hung from the ceiling and powered by PVs. Opposite is a calmer space demonstrating strategies that could be used to reduce the heat of cities, and between the two spaces is a film focusing on the impacts of cities becoming hotter. If this doesn’t highlight the urgency of the situation, I’m not sure what will. Best bits of the Arsenale outside the main exhibitions Bahrain Pavilion (photography: Andrea Avezzù) Bahrain Pavilion Overall winner of this year’s Golden Lion for best national participation, Bahrain’s pavilion in the historic Artiglierie of the Arsenale is a proposal for living and working through heat conditions. Heatwave, curated by architect Andrea Faraguna, reimagines public space design by exploring passive cooling strategies rooted in the Arab country’s climate, as well as cultural context. A geothermal well and solar chimney are connected through a thermo-hygrometric axis that links underground conditions with the air outside. The inhabitable space that hosts visitors is thus compressed and defined by its earth-covered floor and suspended ceiling, and is surrounded by memorable sandbags, highlighting its scalability for particularly hot construction sites in the Gulf where a huge amount of construction is taking place. In the Arsenale’s exhibition space, where excavation wasn’t feasible, this system has been adapted into mechanical ventilation, bringing in air from the canal side and channelling it through ductwork to create a microclimate. Slovenian Pavilion (photography: Andrea Avezzù) Slovenia Pavilion The AJ’s Rob Wilson’s top pavilion tip this year provides an enjoyable take on the theme of the main exhibition, highlighting how the tacit knowledge and on-site techniques and skills of construction workers and craftspeople are still the key constituent in architectural production despite all the heat and light about robotics, prefabrication, artificial intelligence and 3D printing. Master Builders, curated by Ana Kosi and Ognen Arsov and organised by the Museum of Architecture and Design (MAO) in Ljubljana, presents a series of ‘totems’ –accumulative sculpture-like structures that are formed of conglomerations of differently worked materials, finishes and building elements. These are stacked up into crazy tower forms, which showcase various on-site construction skills and techniques, their construction documented in accompanying films. Uzbekistan Pavilion (photography: Luca Capuano) Uzbekistan Pavilion Uzbekistan’s contribution explores the Soviet era solar furnace and Modernist legacy. Architecture studio GRACE, led by curators Ekaterina Golovatyuk and Giacomo Cantoni have curated A Matter of Radiance. The focus is the Sun Institute of Material Science – originally known as the Sun Heliocomplex – an incredible large-scale scientific structure built in 1987 on a natural, seismic-free foundation near Tashkent and one of only two that study material behaviour under extreme temperatures. The exhibition examines the solar oven’s site’s historical and contemporary significance while reflecting on its scientific legacy and influence moving beyond just national borders. Applied Arts Pavilion (photography: Andrea Avezzù) V&A Applied Arts Pavilion Diller Scofidio + Renfro (DS+R) is having a moment. The US-based practice, in collaboration with V&A chief curator Brendan Cormier, has curated On Storage, which aptly explores global storage architectures in a pavilion that strongly links to the V&A’s recent opening of Storehouse, its new (and free) collections archive in east London. Featured is a six-channel (and screen) film entitled Boxed: The Mild Boredom of Order, directed by the practice itself and following a toothbrush, as a metaphor for an everyday consumer product, on its journey through different forms of storage across the globe – from warehouse to distribution centre to baggage handlers down to the compact space of a suitcase. Also on display are large-format photographs of V&A East Storehouse, DS+R’s original architectural model and sketchbook and behind-the-scenes photography of Storehouse at work, taken by emerging east London-based photographers. Canal Café (photography: Marco Zorzanello) Canal café Golden Lion for the best participation in the actual exhibition went to Canal Café, an intervention designed by V&A East Storehouse’s architect DS+R with Natural Systems Utilities, SODAI, Aaron Betsky and Davide Oldani. Serving up canal-water espresso, the installation is a demonstration of how Venice itself can be a laboratory to understand how to live on the water in a time of water scarcity. The structure, located on the edge of the Arsenale’s building complex, draws water from its lagoon before filtering it onsite via a hybrid of natural and artificial methods, including a mini wetland with grasses. The project was recognised for its persistence, having started almost 20 years ago, just showing how water scarcity, contamination and flooding are still major concerns both globally and, more locally, in the tourist-heavy city of Venice. And what else? Holy See Pavilion (photography: Andrea Avezzù) The Holy See Much like the Danish Pavilion, the Pavilion of the Holy See is also taking on an approach of renewal this year. Over the next six months, Opera Aperta will breathe new life into the Santa Maria Ausiliatrice Complex in the Castello district of Venice. Founded as a hospice for pilgrims in 1171, the building later became the oldest hospital and was converted into school in the 18th century. In 2001, the City of Venice allocated it for cultural use and for the next four years it will be managed by the Dicastery for Culture and Education of the Holy See to oversee its restoration. Curated by architect, curator and researcher Marina Otero Verzier and artistic director of Fondaco Italia, Giovanna Zabotti, the complex has been turned into a constant ‘living laboratory’ of collective repair – and received a special mention in the biennale awards. The restoration works, open from Tuesday to Friday, are being carried out by local artisans and specialised restorers with expertise in recovering stone, marble, terracotta, mural and canvas painting, stucco, wood and metal artworks. The beauty, however, lies in the photogenic fabrics, lit by a warm yellow glow, hanging from the walls within, gently wrapping the building’s surfaces, leaving openings that allow movement and offer glimpses of the ongoing restoration. Mobile scaffolding, used to support the works, also doubles up as furniture, providing space for equipment and subdividing the interior. Togo Pavilion (photography: Andrea Avezzù) Togo Pavilion The Republic of Togo has presented its first pavilion ever at the biennale this year with the project Considering Togo’s Architectural Heritage, which sits intriguingly at the back of a second-hand furniture shop. The inaugural pavilion is curated by Lomé and Berlin-based Studio NEiDA and is in Venice’s Squero Castello. Exploring Togo’s architectural narratives from the early 20th century, and key ongoing restoration efforts, it documents key examples of the west African country’s heritage, highlighting both traditional and more modern building techniques – from Nôk cave dwellings to Afro-Brazilian architecture developed by freed slaves to post-independence Modernist buildings. Some buildings showcased are in disrepair, despite most of the modern structures remaining in use today, including Hotel de la Paix and the Bourse du Travail, suggestive of a future of repair and celebration. Estonian Pavilion (photography: Joosep Kivimäe) Estonia Pavilion Another firm favourite this year is the Estonian exhibition on Riva dei Sette Martiri on the waterfront between Corso Garibaldi and the Giardini.  The Guardian’s Olly Wainwright said that outside the Giardini, it packed ‘the most powerful punch of all.’ Simple and effective, Let Me Warm You, curated by trio of architects Keiti Lige, Elina Liiva and Helena Männa, asks whether current insulation-driven renovations are merely a ‘checkbox’ to meet European energy targets or ‘a real chance’ to enhance the spatial and social quality of mass housing. The façade of the historic Venetian palazzetto in which it is housed is clad with fibre-cement insulation panels in the same process used in Estonia itself for its mass housing – a powerful visual statement showcasing a problematic disregard for the character and potential of typical habitable spaces. Inside, the ground floor is wrapped in plastic and exhibits how the dynamics between different stakeholders influence spatial solutions, including named stickers to encourage discussion among your peers. Venice Procuratie (photography: Mike Merkenschlager) SMAC (San Marco Art Centre) Timed to open to the public at the same time as the biennale, SMAC is a new permanent arts institution in Piazza San Marco, on the second floor of the Procuratie, which is owned by Generali. The exhibition space, open to the public for the first time in 500 years, comprises 16 galleries arranged along a continuous corridor stretching over 80m, recently restored by David Chipperfield Architects. Visitors can expect access through a private courtyard leading on to a monumental staircase and experience a typically sensitive Chipperfield restoration, which has revived the building’s original details: walls covered in a light grey Venetian marmorino made from crushed marble and floors of white terrazzo. During the summer, its inaugural programme features two solo exhibitions dedicated to Australian modern architect Harry Seidler and Korean landscape designer Jung Youngsun. Holcim's installation (photography: Celestia Studio) Holcim x Elemental Concrete manufacturer Holcim makes an appearance for a third time at Venice, this time partnering with Chilean Pritzker Prize-winning Alejandro Aravena’s practice Elemental – curator of the 2016 biennale – to launch a resilient housing prototype that follows on from the Norman Foster-designed Essential Homes Project. The ‘carbon-neutral’ structure incorporates Holcim’s range of low-carbon concrete ECOPact and is on display as part of the Time Space Existence exhibition organised by the European Cultural Centre in their gardens. It also applies Holcim’s ‘biochar’ technology for the first time, a concrete mix with 100 per cent recycled aggregates, in a full-scale Basic Services Unit. This follows an incremental design approach, which could entail fast and efficient construction via the provision of only essential housing components, and via self-build. The Next Earth at Palazzo Diedo (photography: Joan Porcel) The Next Earth At Palazzo Diedo’s incredible dedicated Berggruen Arts and Culture space, MIT’s department of architecture and think tank Antikythera (apparently taking its name from the first-known computer) have come together to create the exhibition The Next Earth: Computation, Crisis, Cosmology, which questions how philosophy and architecture must and can respond to various planet-wide crises. Antikythera’s The Noocene: Computation and Cosmology from Antikythera to AI looks at the evolution of ‘planetary computation’ as an ‘accidental’ megastructure through which systems, from the molecular to atmospheric scales, become both comprehensible and composable. What is actually on display is an architectural scale video monolith and short films on AI, astronomy and artificial life, as well as selected artefacts. MIT’s Climate Work: Un/Worlding the Planet features 37 works-in-progress, each looking at material supply chains, energy expenditure, modes of practice and deep-time perspectives. Take from it what you will. The 19th International Venice Architecture Biennale remains open until Sunday, 23 November 2025.

Wellness is no longer something we seek out. It’s something we’re building into our homes. From infrared panels and cold plunges to entire rooms designed for rest and recovery, the wellness-at-home movement is reshaping how we live and reset. Thermasol, a pioneer in steam and sauna innovation since 1958, embraces this shift with a new collection of Scandinavian-inspired saunas that bring spa-level luxury to both indoor and outdoor spaces in your home. With natural materials, European craftsmanship, and smart features like WiFi-enabled controls and ambient lighting, each sauna is designed to transform daily rituals into immersive moments of restoration. Aalto Indoor Sauna The new indoor models – Aalto, Astra, and Lumaria – each take a distinct approach to serenity. Aalto, named after the Finnish word for “wave,” features sculptural lines and a seamless blend of wood and glass, creating an organic sense of flow. Astra Indoor Sauna Astra, derived from the Latin word for “stars,” offers a luminous experience with a sleek, corner-friendly layout that maximizes space without compromising elegance. Lumaria Indoor Sauna Lumaria, a combination of the words “lumina” (which means light) and “aria” (or melody), lives up to its name by blending gentle illumination and refined design in two flexible sizes. The Medium fits two to three people while the Large fits up to five – perfect for home wellness areas of all shapes and scales. Ombra Outdoor Sauna Designed by award-winning designer Bojan Črešnar, Thermasol’s five new outdoor saunas feel like you’re stepping away for a short vacation away from home. Each model is a study in contrast – bold yet serene, architectural yet inviting. The Ombra uses tinted, reflective glass that offers privacy while maximizing the views. Wavy wood accents add an organic warmth to the otherwise streamlined facade. Ombra Outdoor Sauna Ombra Outdoor Sauna Ombra Outdoor Sauna Vue Outdoor Sauna Vue Outdoor Sauna Vue Outdoor Sauna The Vue opens up to nature with a striking full-glass front, while the Fortis leans into warmth and durability with thermally modified wood and layered insulation. Fortis Outdoor Sauna Fortis Outdoor Sauna Spectra Outdoor Sauna For those with smaller footprints, the Spectra delivers big on style in a compact form, and the Vera is tailored for balconies, rooftops, and garden corners, bringing wellness to even the coziest of spaces. Spectra Outdoor Sauna With this new collection, Thermasol continues to evolve what wellness can look and feel like at home. These saunas merge design, technology, and tradition in ways that feel both elevated and deeply personal. Whether you’re carving out a moment of stillness indoors or soaking in the quiet of your backyard, these saunas invite you to pause, reset, and reconnect – no spa membership required. Vera Outdoor Sauna To learn more about Thermasol’s newest saunas and bring tranquility into your own home, visit thermasol.com. Imagery courtesy of Thermosol.

Heydar Aliyev Center | © Olivier Blanchette via Unsplash In contemporary architectural discourse, the building envelope is no longer a passive partition but a dynamic interface capable of interaction, regulation, and adaptation. Amid rising environmental complexity and performance demands, composite materials are emerging as enablers of this transformation. Their potential goes far beyond lightweight strength; composites are redefining what intelligence means in architectural materiality. As the industry pivots toward energy-conscious design, real-time responsiveness, and multi-functional skins, composites provide structural solutions and performative systems. In this context, the envelope becomes a site of intelligence. From Passive Shells to Active Systems For centuries, architectural skins served primarily as barriers, blocking weather, enclosing space, and symbolizing permanence. But the 21st century demands more. We require façades that filter air and light, mediate thermal flux, integrate sensors, and generate power. Traditional materials, limited by monolithic performance and weight, have struggled to adapt. Composites, by contrast, are inherently systemic. They are engineered layers rather than singular substances. Through the integration of fibers and matrices, composites enable architectural envelopes that perform structurally while accommodating embedded systems such as thermal insulation, acoustic control, impact resistance, and photoreactivity. These characteristics make them prime candidates for high-performance envelopes in buildings and infrastructure alike. In the Qatar Integrated Railway Project, composite roofing and FRP façade panels were employed to meet the demands of the harsh desert environment. This solution reduced structural loads and improved thermal performance while ensuring long-term durability in a climate defined by extremes. Performance Layering and Embedded Intelligence What distinguishes composites from conventional materials is their capacity to combine multiple performance layers in one unified system. Instead of applying insulation, waterproofing, and cladding in sequence, a composite panel can consolidate these into a single prefabricated, high-performance element. A compelling example is the Eco Casa in Australia, designed by Ian Wright, which used frameless DuFLEX composite panels. The result was an environmentally conscious home with significantly reduced material waste, enhanced thermal performance, and minimized emissions. These outcomes demonstrate how composites offer design efficiency and ecological responsibility. The capacity for prefabrication and integration is particularly valuable in settings where labor conditions, transportation logistics, or weather exposure make traditional multi-layered construction inefficient or impractical. Composites with a Nervous System: Sensing the Built Environment Recent innovations in smart composites extend these capabilities further. By embedding fiber-optic or piezoresistive sensors into composite assemblies, architects and engineers can develop building skins that sense stress, temperature changes, humidity, or vibration in real-time. These responsive façades can feed data into building management systems, enabling performance optimization or alerting maintenance teams to signs of wear or structural fatigue. This functionality has been successfully explored in transport infrastructure. The King Abdullah High-Speed Rail Station in Saudi Arabia used 27-meter composite sandwich panels to span vast distances with minimal support. The lightweight system reduced the need for extensive reinforcement while enabling thermal and mechanical performance in a climate that demands resilience. Such examples are foundational to a future in which architecture does not merely resist the environment but interprets it. Formal Freedom Meets Functional Responsiveness Guangzhou Opera House | © Scarbor Siu via Unsplash Beyond embedded intelligence, composites also expand formal expression. Their moldability, especially with parametric design and digital fabrication, allows for envelopes that curve, fold, and morph in unattainable ways with conventional rigid materials. The Guangzhou Opera House, designed by Zaha Hadid Architects, is a defining example. Advanced composite assemblies that merged structural demands with formal ambition enabled its seamless curvatures and sharp transitions. These systems supported high-precision details and complex geometries while reducing material weight and installation complexity. This freedom extends to smaller-scale yet equally ambitious projects. At the Tilburg School for VAVO, translucent composite panels embedded with knitted textiles reference local craft while offering thermal performance and design cohesion. Such examples show that intelligence in architecture includes cultural sensitivity as well as technical adaptability. Toward Circular and Regenerative Envelopes The sustainability potential of composites is often overlooked. While early generations relied heavily on fossil-derived materials, newer systems use bio-based resins, natural fibers like flax and basalt, and recyclable matrices that fit into circular design models. Composite panels can now be designed for disassembly, repurposing, or reintegration into new construction, minimizing waste and conserving embodied energy. The Pasarela de Almuñécar in Spain exemplifies this ethos. As the world’s longest carbon-fiber walkway, it replaced heavier materials and extended structural lifespan while reducing maintenance. The project signals how composites can fulfill both technical and ecological ambitions. Efforts to embed digital tracking into panels, such as RFID tags, also support long-term monitoring and facilitate reuse planning. This vision aligns with emerging concepts like material passports, which will play a critical role in lifecycle accountability. Pasarela de Almuñécar in Spain | © Luis Garcia, CC by 3.0 Overcoming Barriers to Adoption Despite the clear advantages, composite adoption in architecture still faces notable hurdles. First is the challenge of integration with legacy materials such as concrete, stone, or steel. Connection detailing requires careful coordination to ensure structural continuity and thermal performance. Second is the perception of cost. While composites may require a higher upfront investment, their lower maintenance demands, improved energy performance, and reduced structural requirements often result in favorable long-term economics. Finally, regulatory frameworks continue to evolve. Building codes have been slow to reflect the unique properties of composites, although this is changing as standardization increases and successful pilot projects proliferate. A Vision for the Future: Architecture as Adaptive Intelligence Composites are not merely substitutes for traditional materials. They represent a paradigm shift in how we understand performance, integration, and the role of material in space-making. As architecture becomes increasingly data-driven, climate-responsive, and energy-conscious, the intelligent envelope will become the norm rather than the exception. Composites make this future feasible by offering structural capability, aesthetic freedom, environmental stewardship, and embedded intelligence within a single engineered solution. From high-speed rail terminals to cultural landmarks, these materials are shaping a new kind of architecture that listens, learns, and evolves. It is no longer sufficient for architecture to stand still. The next generation of buildings must adapt, interact, and perform. Composites make that future tangible. Learn More Explore how composite materials are redefining the building envelope in the construction sector and beyond: Visit Composites.Archi by ArchEyes Team Leave a comment

Transparent design is the intentional use of see-through or translucent materials and visual strategies to evoke openness, honesty, and fluidity in both spatial and product design. It enhances light flow, visibility, and interaction, blurring boundaries between spaces or revealing inner layers of products. In interiors, this manifests through glass walls, acrylic dividers, and open layouts that invite natural light and visual connection. Transparency in product design often exposes internal mechanisms in products, fostering trust and curiosity by making functions visible. It focuses on simplicity, clarity, and minimalist form, creating seamless connections between objects and their environments. Let’s now explore how transparency shapes the function, experience, and emotional impact of spatial and product design. Transparent Spatial Design Transparency in spatial design serves as a powerful architectural language that transcends mere material choice, creating profound connections between spaces and their inhabitants. By employing translucent or clear elements, designers can dissolve traditional boundaries, allowing light to penetrate deeply into interiors while establishing visual relationships between previously separated areas. This permeability creates a dynamic spatial experience where environments flow into one another, expanding perceived dimensions and fostering a sense of openness. The strategic use of transparent elements – whether through glass partitions, open floor plans, or permeable screens – transforms rigid spatial hierarchies into fluid, interconnected zones that respond to contemporary needs for flexibility and connection with both surrounding spaces and natural environments. Beyond its physical manifestations, transparency embodies deeper philosophical principles in design, representing honesty, clarity, and accessibility. It democratizes space by removing visual barriers that traditionally signaled exclusion or privacy, instead promoting inclusivity and shared experience. In public buildings, transparent features invite engagement and participation, while in residential contexts, they nurture connection to nature and enhance wellbeing through abundant natural light. This approach challenges designers to thoughtfully balance openness with necessary privacy, creating nuanced spatial sequences that can reveal or conceal as needed. When skillfully implemented, transparency becomes more than an aesthetic choice, it becomes a fundamental design strategy that shapes how we experience, navigate, and emotionally respond to our built environment. 1. Expands Perception of Space Transparency in spatial design enhances how people perceive space by blurring the boundaries between rooms and creating a seamless connection between the indoors and the outdoors. Materials like glass and acrylic create visual continuity, making interiors feel larger, more open, and seamlessly integrated. This approach encourages a fluid transition between spaces, eliminates confinement, and promotes spatial freedom. As a result, transparent design contributes to an inviting atmosphere while maximising natural views and light penetration throughout the environment. Nestled in St. Donat near Montreal, the Apple Tree House by ACDF Architecture is a striking example of transparent design rooted in emotional memory. Wrapped around a central courtyard with a symbolic apple tree, the low-slung home features expansive glass walls that create continuous visual access to nature. The transparent layout not only blurs the boundaries between indoors and outdoors but also transforms the apple tree into a living focal point and is visible from multiple angles and spaces within the house. This thoughtful transparency allows natural light to flood the interiors while connecting the home’s occupants with the changing seasons outside. The home’s square-shaped plan includes three black-clad volumes that house bedrooms, a lounge, and service areas. Despite the openness, privacy is preserved through deliberate wall placements. Wooden ceilings and concrete floors add warmth and texture, but it’s the full-height glazing that defines the home that frames nature as a permanent, ever-evolving artwork at its heart. 2. Enhances the Feeling of Openness One of the core benefits of transparent design is its ability to harness natural light, transforming enclosed areas into luminous, uplifting environments. By using translucent or clear materials, designers reduce the need for artificial lighting and minimize visual barriers. This not only improves energy efficiency but also fosters emotional well-being by connecting occupants to daylight and exterior views. Ultimately, transparency promotes a feeling of openness and calm, aligning with minimalist and modern architectural principles. The Living O’Pod by UN10 Design Studio is a transparent, two-story pod designed as a minimalist retreat that fully immerses its occupants in nature. Built with a steel frame and glass panels all around, this glass bubble offers uninterrupted panoramic views of the Finnish wilderness. Its remote location provides the privacy needed to embrace transparency, allowing residents to enjoy stunning sunrises, sunsets, and starry nights from within. The open design blurs the line between indoors and outdoors, creating a unique connection with the environment. Located in Repovesi, Finland, the pod’s interiors feature warm plywood floors and walls that complement the natural setting. A standout feature is its 360° rotation, which allows the entire structure to turn and capture optimal light and views throughout the day. Equipped with thermal insulation and heating, the Living O’Pod ensures comfort year-round and builds a harmonious relationship between people and nature. 3. Encourages Interaction Transparent design reimagines interiors as active participants in the user experience, rather than passive backgrounds. Open sightlines and clear partitions encourage movement, visibility, and spontaneous interaction among occupants. This layout strategy fosters social connectivity, enhances spatial navigation, and aligns with contemporary needs for collaboration and flexibility. Whether in residential, commercial, or public spaces, transparency supports an intuitive spatial flow that strengthens the emotional and functional relationship between people and their environment. The Beach Cabin on the Baltic Sea, designed by Peter Kuczia, is a striking architectural piece located near Gdansk in northern Poland. This small gastronomy facility combines simplicity with bold design, harmoniously fitting into the beach environment while standing out through its innovative form. The structure is composed of two distinct parts: an enclosed space and an expansive open living and dining area that maximizes natural light and offers shelter. This dual arrangement creates a balanced yet dynamic architectural composition that respects the surrounding landscape. A defining feature of the cabin is its open dining area, which is divided into two sections—one traditional cabin-style and the other constructed entirely of glass. The transparent glass facade provides uninterrupted panoramic views of the Baltic Sea, the shoreline, and the sky, enhancing the connection between interior and nature. Elevated on stilts, the building appears to float above the sand, minimizing environmental impact and contributing to its ethereal, dreamlike quality. Transparent Product Design In product design, transparency serves as both a functional strategy and a powerful communicative tool that transforms the relationship between users and objects. By revealing internal components and operational mechanisms through clear or translucent materials, designers create an immediate visual understanding of how products function, demystifying technology and inviting engagement. This design approach establishes an honest dialogue with consumers, building trust through visibility rather than concealment. Beyond mere aesthetics, transparent design celebrates the beauty of engineering, turning circuit boards, gears, and mechanical elements into intentional visual features that tell the product’s story. From the nostalgic appeal of see-through gaming consoles to modern tech accessories, this approach satisfies our innate curiosity about how things work while creating a more informed user experience. The psychological impact of transparency in products extends beyond functional clarity to create deeper emotional connections. When users can observe a product’s inner workings, they develop increased confidence in its quality and craftsmanship, fostering a sense of reliability that opaque designs often struggle to convey. This visibility also democratizes understanding, making complex technologies more accessible and less intimidating to diverse users. Transparent design elements can evoke powerful nostalgic associations while simultaneously appearing futuristic and innovative, creating a timeless appeal that transcends trends. By embracing transparency, designers reject the notion that complexity should be hidden, instead celebrating the intricate engineering that powers our everyday objects. This philosophy aligns perfectly with contemporary values of authenticity and mindful consumption, where users increasingly seek products that communicate honesty in both form and function. 1. Reveals Functionality Transparent product design exposes internal components like wiring, gears, or circuits, turning functional parts into visual features. This approach demystifies the object, inviting users to understand how it works rather than hiding its complexity. It fosters appreciation for craftsmanship and engineering while encouraging educational curiosity. By showcasing what lies beneath the surface, designers build an honest relationship with consumers that is based on clarity, trust, and visible function. Packing a backpack often means tossing everything in and hoping for the best—until you need something fast. This transparent modular backpack concept reimagines that daily hassle with a clear, compartmentalized design that lets you see all your gear at a glance. No more digging through a dark abyss—every item has its visible place. The bag features four detachable, differently sized boxes that snap together with straps, letting you customize what you carry. Grab just the tech module or gym gear block and go—simple, efficient, and streamlined. Unlike traditional organizers that hide contents in pouches, the transparent material keeps everything in plain sight, saving time and frustration. While it raises valid concerns around privacy and security, the clarity and convenience it offers make it ideal for fast-paced, on-the-go lifestyles. With form meeting function, this concept shows how transparent design can transform not just how a bag looks, but how it works. 2. Enhances User Engagement When users can see how a product operates, they feel more confident using it. Transparent casings invite interaction by reducing uncertainty about internal processes. This visible clarity reassures users about the product’s integrity and quality, creating a psychological sense of openness and reliability. Especially in tech and appliances, this strategy deepens user trust and adds emotional value by allowing a more intimate connection with the design’s purpose and construction. The transparent Sony Glass Blue WF-C710N earbuds represent something more meaningful than a mere aesthetic choice, embodying a refreshing philosophy of technological honesty. While most devices conceal their inner workings behind opaque shells, Sony’s decision to reveal the intricate circuitry and precision components celebrates the engineering artistry that makes these tiny audio marvels possible. As you catch glimpses of copper coils and circuit boards through the crystal-clear housing, there’s a renewed appreciation for the invisible complexity that delivers your favorite music, serving as a visual reminder that sometimes the most beautiful designs are those that have nothing to hide. 3. Celebrates Aesthetic Engineering Transparency turns utilitarian details into design features, allowing users to visually experience the beauty of inner mechanisms. This trend, seen in everything from vintage electronics to modern gadgets and watches, values technical artistry as much as outer form. Transparent design redefines aesthetics by focusing on the raw, mechanical truth of a product. It appeals to minimalism and industrial design lovers, offering visual depth and storytelling through exposed structure rather than decorative surface embellishment. DAB Motors’ 1α Transparent Edition brings retro tech flair into modern mobility with its striking transparent bodywork. Inspired by the see-through gadgets of the ”90s—like the Game Boy Color and clear Nintendo controllers—this electric motorcycle reveals its inner mechanics with style. The semi-translucent panels offer a rare peek at the bike’s intricate engineering, blending nostalgia with innovation. Carbon fiber elements, sourced from repurposed Airbus materials, complement the lightweight transparency, creating a visual experience that’s both futuristic and rooted in classic design aesthetics. The see-through design isn’t just for looks—it enhances the connection between rider and machine. Exposed components like the integrated LCD dashboard, lenticular headlight, and visible frame structure emphasize function and precision. This openness aligns with a broader transparent design philosophy, where clarity and honesty in construction are celebrated. The DAB 1α turns heads not by hiding complexity, but by proudly displaying it, making every ride a statement in motion. Beyond just materials, transparent design also reflects a deeper design philosophy that values clarity in purpose, function, and sustainability. It supports minimalist thinking by focusing on what’s essential, reducing visual clutter, and making spaces or products easier to understand and engage with. Whether in interiors or objects, transparency helps create a more honest, functional, and connected user experienceThe post Transparent Design: How See-Through Materials Are Revolutionizing Architecture & Product Design first appeared on Yanko Design.

Gerrard Healthy Housing replaces a single-family home in a walkable Toronto neighbourhood with 10 rental housing units. Photo by Alexandra Berceneau Gerrard Healthy Housing, at Gerrard and Main in Toronto, delivers exactly the kind of “gentle density” that has been much discussed and desired in the city. The eight-unit walk-up rental building with two laneway houses replaces a single-family home, while carefully integrating with its walkable neighbourhood. But achieving this outcome was no easy matter. To streamline approvals, TMU professor Cheryl Atkinson, of Atkinson Architect, aimed to design with no variances. “Everything’s to the minimum in terms of distance between the attached four-plexes and the laneway units,” says Rolf Paloheimo, of P&R Development, who also acted as project manager. “We built to the maximum height within 100 millimetres.” Atkinson had designed a panellized, net-zero missing middle housing unit exhibited at DX’s EDIT festival as part of a TMU research project; Paloheimo was the client and developer behind the 1996 CMHC Riverdale Healthy House, a model sustainable development designed by Martin Liefhebber. For Gerrard Healthy Housing, they set out to create as close to Passive House as possible, specifying all-electric heat pumps and ERVs, using wood framing, and deploying blown-in-cellulose insulation to achieve a quiet and airtight R45-R65 envelope—although stopping short of installing triple-glazed windows. “We wanted to make it reproducible and affordable,” says Paloheimo. “Part of my argument for doing this scale of development is that if you stay in part 9 [of the building code], the construction is a lot lighter, the consultant load is lighter. You’re stuck with higher land costs, but costs are quite a bit lower to build,” he adds. The construction costs for the project tallied up to $300 per square foot, and the all-in cost for the project was $650 per square foot—about half the square-foot cost of condo construction. Atkinson’s sensitive design provides natural light on three sides of all but two units, ample cross-ventilation and closet space, and office nooks that overlook entry stairs—as well as façades detailed to fit in with the scale of neighbourhood. Details like bespoke mailboxes add polish to the composition. The financial success of the project depended largely on government incentives for housing: just before construction started, the province waived HST on rental developments, and the City exempted four-plexes from development charges.  Paloheimo’s project management of the endeavour ensured the project stayed on track. He kept a close eye on the prices tendered by the general contractor, and ended up finding some of the trades on his own—developing such a good rapport that he bought them cakes from a nearby patisserie at the end of the project. Both Atkinson and Paloheimo also befriended the neighbours, one of whom provided temporary power from her home when the hydro connection was delayed.  Can this kind of success be replicated at scale? Paloheimo is cautiously hopeful, and plans to continue with small-scale development projects in Toronto. But he acknowledges that it’s not an endeavour for the faint of heart. “You have a house that used to be just four walls and a roof,” he says. “And then we’re gradually adding complexity. If you’re doing sustainable housing, it’s got to have a certain R-value, a certain airtightness. So it creates headwinds if you want to make affordable housing.” The bigger problem, he says, is the financialization of housing—unlike a car, which you expect to lose value and cost money each year, we expect our homes to continually increase in value. “If we could get away from that, we could focus on what’s really important about housing: which is comfort, space, light, services.” As appeared in the June 2025 issue of Canadian Architect magazine The post Editorial: Gentle Density in Action appeared first on Canadian Architect.

Submitted by WA Contents Three circular volumes create Villa Noon in Sotogrande designed by Fran Silvestre Arquitectos Spain Architecture News - May 30, 2025 - 12:29   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Valencia-based architecture practice Fran Silvestre Arquitectos has revealed design for a house composed of three circular volumes in Sotogrande, Spain.Named Villa Noon, the house is thoughtfully incorporated into a topographically defined setting, utilizing the slope of the ground to open each volume onto a distinct horizon. In order to achieve visual harmony with the natural environment without leaving an unwelcome footprint on the landscape, the house's layout, which is divided into five circular sections, was designed to seamlessly blend with the surroundings.Every one of these pieces has a rear patio that offers protection from the strongest winds and a front terrace that shields from the sun. In addition to optimizing orientation, this circular geometry reduces the volumetric impact, enabling the building to interact with the landscape in a controlled and deliberate manner. The outside materiality gradually integrates into its surroundings because it was constructed from indigenous Sierra Elvira stone, which has white veins and grey tones. This organic texture will eventually blend in as though it were a natural feature of the relief of the ground.A spacious, open vestibule that serves as a threshold between the outside and the inside of the villa is the entryway. It is surrounded by a curved wall. Visitors are introduced to a series of chambers that adjust to the various terrain levels in this transitional area. While the day area unfolds on a lower platform, open to the landscape and directly connected to the outdoors, the night area is located on a higher level, apart from the other functions.The well-being areas, like the gym, are located on the same floor and provide both practical and visual connections to the separate visitor area. Each zone's privacy is protected by this tiered arrangement, which also keeps the composition's overall spatial continuity flexible. By combining geothermal and aerothermal technologies, the house produces an excess of electricity and becomes energy self-sufficient. A mechanism for atmospheric water condensation is also included, which draws moisture from the air for household usage.Techniques including choosing native plant species based on their water requirements, utilizing natural mulch to prevent evaporation, and installing a drip irrigation system that only turns on when required are used to cut down on water usage in the garden. While infiltration trenches, also known as swales, filter and direct rainfall, green roofs enhance insulation and collect rainfall. This system is completed by permeable surfaces and cisterns, which enable the collected water to be stored and used again.By taking these steps, the house also becomes self-sufficient in water, which is a very reasonable objective in this region of Spain, which is the wettest in the nation due to the Sierra de Grazalema."We have always been fascinated by how the Namib Desert beetle collects water: in an extremely arid environment, this insect tilts its body into the wind to condense fog on its shell, whose surface combines areas that attract water and others that repel it, allowing the droplets to slide directly into its mouth," said Fran Silvestre Arquitectos."A natural lesson in efficiency that inspires and reinforces the logic of this system," the firm added.The idea is reminiscent of architectural works like Kazuyo Sejima's Villa in the Forest and Arne Jacobsen's Leo Henriksen House, whose circular shapes and attention to the environment served as inspiration. In contrast to radiocentric solutions, this proposal chooses what we refer to as "the squaring of the circle": service areas are included into irregularly shaped zones, while residential spaces are resolved through an orthogonal floor plan. In the end, we anticipate that this architecture will blend in with its surroundings over time, appearing to be a component of a karstic relief.SketchRoof level planFirst floor planGround floor planBasement floor planSectionRecently, Fran Silvestre Arquitectos unveiled design for a winery with curvacious form adressing winemaking process in Zayas de Báscones, Soria, Spain. In addition, the firm completed a house featuring irregularly shifted volumes on an irregularly shaped plot within Altos de Valderrama, in Sotogrande, Spain.Project factsProject name: Villa NoonArchitects: Fran Silvestre ArquitectosLocation: Sotogrande, Spain.Developer: Cork Oak MansionAll renderings & drawings courtesy of Fran Silvestre Arquitectos.> via Fran Silvestre Arquitectos

The Swiss Federal Railways’ repair works in Zürich are being lightly transformed for new commercial uses Workers at the Swiss Federal Railways’ (SBB) central repair works in Zürich used to climb the roof of its halls and practise handstands. It was as good a place as any to do gymnastics: out in the open air, with a view to the Käferberg rising across from a tangle of railway tracks and the river Limmat. A photograph from 1947 survives in the SBB archives, showing a light turf growing on the roof – most of the buildings that make up the works had been constructed about 30 years earlier, between 1906 and 1910 – and a group of young apprentices exercising under the stern supervision of a foreman. The photograph captures the beginning of the repair works’ heyday. SBB was formed in 1902, the result of an 1898 referendum to nationalise the nine major private railway companies operating in Switzerland at the time. The construction of the Zürich repair works began soon after, with an office building, a workers’ canteen, shower rooms, workshops, stores and carriage halls laid out across a 42,000m2 site flanked by Hohlstrasse to the south‑west and the railway tracks connecting Zürich Central and Altstetten stations to the north‑east. Here, rolling stock could easily be redirected to the works, and transferred into its functional, skylit brick halls with the use of a lateral transfer platform.  In the postwar decades, the works came to employ upwards of 800 staff, and served as the SBB’s main repair works, or Hauptwerkstätte – there were smaller ones in Bellinzona, Chur, Yverdon-les-Bains and other locations, established by the private railway firms before nationalisation. In the same period, SBB gained international fame for its early electrification drive – the landlocked confederation lacks fossil fuel deposits but has hydropower aplenty – and modern industrial design. The Swiss railway clock, designed in 1944 by SBB employee Hans Hilfiker, is now used in transit systems around the world, and the network’s adoption of Helvetica for its graphic identity in 1978 contributed to the widespread popularisation of the typeface – long before the first iPhone.  At the turn of the millennium, SBB was turned into a joint‑stock company. All shares are owned by the state and the Swiss cantons, but the new company structure allowed the network to behave more like a private enterprise. Part of this restructuring was an appraisal of the network’s sizable real-estate holdings, which a new division, SBB Immobilien, was set up to manage in 2003. Around the same time, the Hauptwerkstätte in Zürich was downgraded to a ‘repair centre’, and plans were drawn up to develop the site, which was vast, central and fashionably post‑industrial – and so ripe for profitable exploitation. The revenue generated by SBB Immobilien has only become more important to the network since then, as its pension fund – long beset by market volatility and continuous restructurings – relies heavily on it. When, in 2017, SBB and the city and canton of Zürich organised a competition for the redevelopment of the old repair works, Swiss architecture practice Baubüro In Situ was selected as winner ‘for its expertise in adaptive reuse, sustainable circular practices and participatory approach’, says an SBB Immobilien spokesperson. For SBB, it was important that the redevelopment, now dubbed Werkstadt Zürich, made use of the railways’ enormous catalogue of existing materials and components. (SBB even has its own online resale platform, where, for example, four tonnes of gravel, a disused train carriage or a stud welding machine can be acquired for a reasonable sum.) For the canton, it was imperative that the scheme make room for local manufacturing in line with a broader drive to bring production back into a city dominated by services.  Founded in Basel by Barbara Buser and Eric Honegger in 1998, Baubüro In Situ (previously Baubüro Mitte) was in a unique position to meet such a brief, as it operates alongside what it terms its three ‘sister companies’: Unterdessen (founded in 2004, to organise ‘meanwhile’ uses for buildings and sites), Zirkular (established in 2020, focusing on materials and circular construction), and Denkstatt Sàrl, an urban think tank run by Buser and Honegger together with Tabea Michaelis and Pascal Biedermann. All informed the masterplan for Werkstadt Zürich, which will complete its first phase this year.  The Zürich offices of the four companies have been housed in various spaces on the repair works site since 2017, while the project has been ongoing. For the past year, they have had a permanent home on a new mezzanine level constructed around the internal perimeter of the works’ cathedral‑like carriage hall. This level is accessed via two central staircases composed of reused components from SBB’s network – I‑beams of various profiles, timber, metal tube railings – which, as has become a trademark of Baubüro In Situ’s work, come together in an artfully mismatched whole. ‘The main thing this office does is as little as possible,’ says Vanessa Gerotto, an interior architect at the firm. SBB still uses parts of the site, as is evident from train tracks that crisscross it. ‘They do repairs in some of the halls,’ explains Gerotto. ‘But they have reorganised, relocated and compacted their repair sites,’ so that approximately 18,450m2 have been freed up for commercial use at Werkstadt Zürich, including a swathe of units in the carriage hall. Here, as in other areas where they are no longer needed, SBB’s tracks have been retained but filled in with concrete and smoothed over.  Businesses have slowly filled Werkstadt Zürich as new units have been completed, and are mostly rarefied, small‑scale producers of luxury consumables: there is a chocolatier, a granola‑maker, a micro‑brewery, a gin distillery and a coffee roastery, as well as a manufacturer of coffee machines. The first commercial tenant, however, was somewhat more in keeping with the original programme of the site: the Swiss outdoor equipment brand Transa moved its repair workshop into one of the spaces in Werkstadt Zürich’s magazine building, to the south of the site, in 2023. Here, a team of 13 craftspeople repair and waterproof Gore-Tex clothing, backpacks, tents and sleeping bags that individual customers either drop off or mail to them, or that official partnering brands send directly to the centre.  ‘The Transa team is currently working on a new set of curtains for the Baubüro In Situ’s offices across the yard’ This part of Werkstadt Zürich was also the first to be renovated. Baubüro In Situ, working closely with colleagues at Zirkular, undertook a substantial interior fit‑out of the triple-height space, located in the western part of the magazine wing. A new timber mezzanine was added to maximise use of the space for the client, who did not require a double-height ground floor space. This was designed to be structurally independent from the shell of the building, so that the listed structure was not impacted.  However, the weight of the mezzanine necessitated new foundations, which needed to support a load of 100kN per timber support. There were not any suitable concrete elements available on site at Werkstadt Zürich, so the teams opted for what Zirkular architect Blanca Gardelegui admits was an ‘experimental’ move, reusing concrete from a demolition site in Winterthur. Here, slabs were cut using a diamond blade saw and stacked on site using a crane. ‘Additional work,’ explains Pascal Angehrn, architect at Baubüro In Situ, ‘came from the temporary storage of the blocks,’ and their transport. Once the blocks had been fitted into place, new concrete nevertheless had to be poured around the timber supports. This meant that, although efforts were made to reuse a wide variety of components and fittings – heaters, doors, plumbing fixtures, lights and stone windowsills – the fit‑out did not meet the architects’ own best‑case scenario of 50 per cent greenhouse gas savings, compared with using new materials and components for the renovation. Instead, they calculated the savings to sit at around 17 per cent. ‘Concrete is one of the most challenging materials to recycle,’ says Gardelegui. ‘The idea is not to do something perfectly, but to learn from the process.’ Finally, the teams introduced a wide staircase into the centre of the space, using the timber from the cut-out mezzanine flooring to make up its steps. Upon moving in, the staff at Transa’s repair centre embraced the architects’ spirit of reuse, creating their own furniture from pallets, and uplholstering with insulation cut‑offs. Tobias Stump, a member of staff at the centre, explains that their team is currently working on a new set of curtains for Baubüro In Situ’s offices across the yard.  ‘The idea is not to do something perfectly, but to learn from the process’ Werkstadt Zürich has the atmosphere of a creative testing ground, where materials get shifted around and reconfigured as needs and uses change. There is genuine camaraderie among the new commercial tenants: they make curtains for each other; organise monthly ‘open factory’ days; and have even recreated the 1947 photograph of the gymnasts on the roof. But antics on the roof may not be viable much longer. The next phase of Werkstadt Zürich involves the construction of vertical extensions atop the halls and magazine wing, densifying the site for further financial gain. Bland, brand new residential towers loom just off site, a little further up Hohlstrasse. Altstetten is gentrifying rapidly, part of the city’s continual remaking of itself.

© Sergey Omelchenko via Unsplash Older buildings possess irreplaceable quality, architectural value, and history that new buildings may lack. However, they are often neglected due to perceived renovation costs or structural integrity. With the right plan, these buildings can be transformed into valuable investments. Below are seven of the best strategies for making good investments in aging buildings. 1. Assess Structural Stability Thoroughly Even if you have not yet enrolled in a project, it is critical to understand the building’s structural integrity. Have a structural inspector or engineer examine any major foundation issues, load wall defects, roof, or plumbing issues. The report will tell you how much you need to repair and the estimated renovation cost. Consider also a building’s listings as historic, zoning codes, and compliance. There will be buildings under preservation or heritage statutes, which can be very restrictive in what can or cannot be modified. Knowing about such constraints upfront can allow you to plan better and spend your budget more appropriately. 2. Consider Adaptive Reuse This is an innovative way to transform existing building structures, such as old churches, schools, or textile mills, into thriving business offices or community spaces. The adaptive reuse supports the concept of sustainable architecture. Besides preserving the uniqueness of a building, it provides several economic and environmental advantages. Innovative reuse of older buildings, like redeveloping an aging warehouse as a hip loft space or an unused church as a shared workplace. This will tap into marketplace niches, reinterpret former designs for new purposes, and reduce demolition waste expense since existing infrastructure can be used. It will also likely be tax-credit qualified in most instances, making it a worthwhile investment. 3. Go Smart with Technology Integration With smart thermostats, lights, security systems, and energy monitoring systems included, the performance and appeal of your newly renovated building can be significantly enhanced. Upgrades help consumers be more practical, increase operational efficiency, lower energy expenses, and provide the high-tech benefit that distinguishes your building. Upscale renters willing to pay more for smart living experiences can also find smart features appealing. One example is the remote management features, such as the HVAC, which add more functionality to a property. Smart locks at the entry points also increase safety levels. 4. Going Green to Draw Modern Tenants © Pedro Miguel Aires via Unsplash Green restoration might give the structure more appeal to environmentally sensitive residents and lower future energy bills. When renters choose to live or rent, sustainability becomes a consideration, so green facilities are a significant advantage.  Use green materials, including insulation, and install energy-efficient appliances. Having those properties green-certified by LEED or ENERGY STAR will make those buildings even more marketable. Not only does that give your project respectability, but it will also make you a beneficiary of government incentives. 5. Mixed-Use and Flexible Occupancy Design Flexible, mixed-use design is one way to de-risk revenues and maximize rental yield. Split your building into office suites, co-living, pop-up event spaces, and retail storefronts. Modular furniture, movable partitions, and plug-and-play utility infrastructure facilitate flexible build-outs. It helps tenants arrange space to fit their needs, providing more opportunities. For example, ground floor cafe space can generate spill-over foot traffic for upstairs shared office tenants, and weekend community workshops that generate buzz and additional revenues. Diversification minimizes vacancy risk and allows you to re-mix tenants based on shifting market demand. 6. Emphasize Unique Architectural Elements Older homes possess unique design elements not found in new homes, like arched windows, detailing, ornamentation, or exposed brick. Rather than concealing these elements, emphasize them as part of restoring your property. This will make interested individuals see the building as one with great sentimental value, especially when you capture the historic relevance of the design. Emphasizing a property’s unique architectural elements can differentiate your property from the rest in an oversaturated housing market. The architectural elements give a property character and individuality that cannot be achieved in newer homes. 7. Involve the Community and Build Local Support Engaging residents, owners, and heritage organizations early in the conversion process can create goodwill among residents and ownership about the project’s success. Community support is especially helpful in getting permits, zoning variances, or adjustments because local backing carries much weight with city planning measures. Open a forum to provide regular social media updates or even a poll to engage people and their input to inform the stakeholders and become informed themselves in the process. If people feel heard and considered, they are more apt to be ambassadors for your work and spread good word-of-mouth. Endnote Transforming aging buildings into successful investments requires vision, planning, and respect for their heritage. Revealing structural integrity, location, sustainability, and visionary reuse, buried value in older structures can be unleashed. You need to plan the project well and work closely with competent contractors who will make the re-creation excellent. Adaptive Reuse by ArchEyes Team Leave a comment