Download these grungy graffiti wallpapers for your iPhone Lock screen

Smatter your iPhone Lock Screen with these grungy, graffiti wallpapers that mix a color with shapes and squiggles.
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Adam Pendleton’s Canada solo show explores fragmentation of language and representation

American artist Adam Pendleton is presenting paintings from his Untitled (WE ARE NOT) series alongside brand new pieces for his first solo exhibition in Canada. Pendleton, who last year united with David Adjaye for an exhibition at Hong Kong’s Pace gallery, as well as holding a solo exhibition at the Museum of Modern Art (MoMA) in New York, is now bringing ‘These Things We’ve Done Together’ to Montreal. Pieces in the exhibition at the Montreal Museum of Fine Arts (MMFA) build on the themes Pendleton has explored in previous works, riffing off the tension between language and representation, which is encapsulated in a clash of textures. Alongside the works from Untitled (WE ARE NOT) sit seven drawings from his Black Dada series, created this year, as well as pieces created specifically for this exhibition. Adam Pendleton (born in 1984), Untitled (WE ARE NOT), 2021. Silkscreen ink on canvas. Collection of the artist The paintings are characterised by a clash of layers in spray paint, a method with which Pendleton experimented in 2008’s Black Dada, which marked the beginning of his exploration into the fragmentation of language. These latest Black Dada drawings consider the creation process behind this expression, incorporating images of traces of paint left on large sheets of paper hung on his studio walls while he worked. Pendleton’s video work, Just Back from Los Angeles: A Portrait of Yvonne Rainer (2016-2017) is also on show. Filmed in a New York City diner, the film portrays dancer, choreographer and filmmaker Rainer and Pendelton in conversation, as well as scenes of Rainer performing her dance Trio A (1966). She reads from a text edited by Pendleton, which collates writing from activists Keeanga-Yamahtta Taylor, Malcolm X, and Stokely Carmichael, poet Ron Silliman and Rainer’s friend, dancer and choreographer Barbara Dilley. Partial view of the exhibition ‘Adam Pendleton: These Things We’ve Done Together’. Photo MMFA, Jean-François Brière ‘The new four 20ft paintings form the foundation for the exhibition,’ Pendleton tells us. ‘The questions they pose and the process it took to make them are addressed and utilised in the Black Dada Drawings and the video portrait Just Back From Los Angeles: A Portrait of Yvonne Rainer. ‘All of the works are composed of nodes – gestures, words, letters, marks, splatters – acting upon and transforming one another. What interests me most, in the particular instance of this show, is the question of what might emerge from these transformations, in which the gesture passes between movement and stasis, in which language passes between abstraction and legibility, and in which the mark passes between inscription and circulation.’ § Adam Pendleton (born in 1984), Still from Just back from Los Angeles: A Portrait of Yvonne Rainer, 2016-2017, single-channel black and white video, 13 min 51 s. Courtesy of the artist   Adam Pendleton (born in 1984), Black Dada Drawing (C), 2021. Silkscreen ink on paper (2 sheets) 46.1 x 73 cm (each); 92.2 x 73 cm (overall). Collection of the artist
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Clusters of diamonds meet oversized silhouettes in Jessie Thomas’ new jewellery

London-based jewellery designer Jessie Thomas brings a chic modernity to traditional silhouettes with pieces that celebrate quirks, from unexpected stone settings to delectable clusters of diamonds. Her new collection encompasses undulating forms of gold and diamonds, designed to be worn in new ways, whether resting on the collarbone or coiling their way up the ear. ‘This collection is an extension of various stylistic elements found in previous pieces,’ Thomas tells us. ‘Whereas before I’d use a single row of stones in an organic shape, now the stones are multiplied and the shapes stronger and more abstract. Pieces are larger than before, but I’ve tried to maintain a feel of simplicity and timelessness – nothing that could be perceived as too trend-led but which still hopefully feels modern. I’m still working with sculptural forms, developed in this collection with the ear cuffs, which curve up and around the ear.’ In these new pieces, jewellery has been supersized, with shapes drawn in larger proportions and chains reassuringly heavyweight. ‘There are fewer layering pieces,’ adds Thomas. ‘I liked the idea that one cuff or one necklace would be the showpiece. I’ve also used a lot more white gold. I think if you’re working with large diamonds, it’s the best metal to show them off. I love yellow gold but sometimes it can distract from the stone when you don’t want it to. Other than that, the big focus is on using multiple diamonds in one piece and on one surface. I didn’t want it to look too traditional or flashy, so for some pieces my setter pin set the stones flush into the metal, where I think they look like droplets of water.’ This new direction prompted a rethink in the engineering of the jewels, with hidden hinging and unseen clasps not distracting from the fluid loops of precious metal. ‘Bigger pieces also need to anchor properly, I’m not a fan of jewellery that looks good but then is a pain to wear. Rings need to be comfortable, and earrings need to feel light and wearable, whilst also sitting well.’ §  
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Bold graphics and clever interventions define this Barcelona house redesign

In a tight urban site, BSP 20 is a Barcelona home in the buzzing Borne district. The property results from the revamp of an existing structure, and is designed by Raul Sanchez Architects’ eponymous founder, and project architect Valentina Barberio. The house has been reimagined using bold graphics and surgical interventions, but with its architectural roots intact. To arrive at the current design, the team reduced the building to its most basic assets. Removing damaged flooring and a semi-demolished stairwell, they were left with a promising 15m-tall blank canvas to play with. Only the façades, roof slab and dividing walls were retained, and the team rethought the property while keeping these elements central to its character. The exposed brick walls are a wink to the history of the house, celebrating the earthy ramshackle finish and textured grooves. Inside the historic shell, three newly built floors are supported by beams running between the dividing walls, none of which make contact with the preserved building façades. This disconnection incites a lightness that permeates the space. Each floor is separated from the front façade by a gap covered by a sheet of glass, which creates visual portals to each room and carries sunlight throughout. The rear façade is similarly separated by an internal void, and the detachment from the front and back walls allows the floors to sit lightly in the property.  Uniting the smartly arranged floors is the home’s glorious, freestanding winding staircase. Made up of seven exposed stainless steel cylinders, it runs from top to bottom of the house to connect levels and deliver utilities to all corners of the dwelling, without impacting the walls. The stair’s visibility adds an industrial tone, while the white finish maintains a minimalist, calming feel. The outcome is characterful but understated, the pared-back decor punctuated by colourful elements in bold graphic designs. The walls’ roughness and utilitarian feel pairs comfortably with the decorative simplicity. Oak and microcement floors add warmth. The kitchen is perhaps the home’s brightest element, its flooring lined in accent tiles (in typical local style) and kitchen units clad in striking gold panelling, adding a flourish to this smart but understated Barcelona home. §
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‘Pop! Pop! Pop!’: Jeff Koons on the drive behind his new limited-edition BMW 8 Series

In 1975 Hervé Poulain, a French auctioneer and art enthusiast with a sideline in auto racing, came up with a novel idea for combining his passions. Poulain planned on competing in the 24 Hours of Le Mans race and wanted to make a splash, whether he made the podium or not. He approached BMW Motorsport chief Jochen Neerpasch with the idea of commissioning an artist to paint a racing-spec BMW 3 series. Neerpasch liked the plan and they approached Poulain’s pal Alexander Calder who liked the plan too and got to work, initially working on a toy car before the BMW workshop upscaled his design. That debut Art Car was imagined as a one-off – a passion project rather than a PR device – but it created such a positive spin that 19 artists, including Roy Lichtenstein, Andy Warhol (who famously painted his car, by hand, in 29 minutes), Frank Stella, Robert Rauschenberg, Jenny Holzer, John Baldessari and Olafur Eliasson, have added to the list of BMW Art Cars, making it one of the most dynamic, enduring and compelling collaborative art projects.  Only one artist, though, has been invited back. In 2010, Jeff Koons designed the 17th BMW Art Car, an M3 GT2 that also competed in Le Mans. Koons was such a fan of the Art Car series – and given his clear interest in Duchampian readymades and the Pop Art of Lichtenstein and Warhol, you understand why – he actually offered his services to BMW. That relationship has grown and Koons and the German auto-giant have now collaborated again on The 8 X Jeff Koons, the first of the Art Car series to go into (very limited) production.  Only 99 of the Koons-pimped M850i xDrive Gran Coupés – which he describes as ‘sporty and flashy as well as minimalist and conceptual’ – will be produced, at the rate of two a week. The cars were launched digitally earlier this year and – all but one – were sold within three weeks.  The 8 X Jeff Koons made its first physical public appearance outside the Rockefeller Centre in New York earlier this month, a trailer for a Christie’s auction of the last available car from the production run. It eventually sold for $475,000, with all proceeds going to the International Centre for Missing & Exploited Children. (Koons is a major benefactor to the charity. The artist turned to them for help in the 1990s when his ex-wife Ilona Staller refused him the right to see their son Ludwig. Koons talks openly and movingly about the pain of that separation.) Koons is big on family – he has six children with his wife, the artist Justine Wheeler – and the new car is a relatively family-friendly four-seater. ‘I wanted a car I would actually drive,’ says Koons – but the design is closer to his first design for the debut race car. ‘My original idea was the car would go by on the track and suddenly you would see “Pop! Pop! Pop!” And it would be like these energy explosions taking place.’ Koons’ plan A for his debut car was to exaggerate the effect using lenticulars, but the idea proved impractical on a race car – ‘I wanted to make a car that had a chance of winning,’ he says. It’s even more impractical on a production car but Koons has returned to the ‘Pop! Pop!’ and a puff of smoke device, this time meticulously rendered in paint.  ‘I really wanted to return to something a little warm and minimal but with this essence of thrust and energy,’ he says. ‘So I’ve worked with lines starting in the front that are very thin and then get wider as you go back over the surface of the car. You get this sense of aerodynamics and these little popping areas of energy.’  BMW’s head of cultural engagement, Thomas Girst, says Koons made Covid-inconvenienced visits to its Dingolfing and Landshut plants as his design was realised while the Koons team in New York worked on complex digital designs. Getting the artist’s suggested paint job right initially took 300 hours of specialist man and woman power, but the company says they have since got that down to a more manageable 250 hours. Koons was insistent, though, that this design be realised in paint rather than as a printed vinyl wrap, the device used on his first art car (itself, no mean technical feat). ‘I love the generosity of paint,’ Koons says. ‘When something is printed you never get that saturation, you never get that generosity, the way light bounces of pigment.’ The red and leather interior, meanwhile, has a definite if unintentional Spider-Man vibe. ‘I didn’t plan that people look at it and think of Spider-Man but I did want them to feel that type of energy, feel something else running through their veins.’ Koons and Spider-Man do have some history. The producers of the Oscar-winning animated movie Spider-Man: Into the Spider-Verse admit that the Whitney Museum’s 2014 Koons retrospective was an influence and the idea has been floated that the car appear in a future Marvel production. Koons is somewhat sceptical.  He is keen to work with BMW again, though. ‘I hope that BMW invites me back. I hope that I could work on an electric car or some type of prototype car of the future. This car thrills and heightens the senses but I hope I have the opportunity to design something from scratch that can comfort and protect.’ §  
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Wallpaper* wants… five luxury earbuds for audiophiles

Earbuds are the category that never stands still. With almost every big audio brand now muscling in on the market, choosing a pair that ticks all the tech boxes is easier than ever. Earbuds still make a big statement, however, and if you’re not going down the tried and tested Airpods route, there are a plethora of ways of adorning your ears as you listen. Here are five new styles to take for a spin.  1. Bang & Olufsen Beoplay EX (image courtesy of Bang & Olufsen) Bang & Olufsen has taken a different tack with its latest earbud designs. The Beoplay EX is markedly different from the brand’s EQ models and takes a nod from Apple’s stick-like Airpods design. Bang & Olufsen has gone down the stem-shaped route to improve comfort and endurance, making these a good choice for activities as well as for listening in loud environments. Bluetooth 5.2, waterproof construction, and a touch surface formed from glass ensure the Beoplay EX meets the Danish firm’s consistently high standards of design.  Bang & Olufsen Beoplay EX, £349, bang-olufsen.com 2. Advar by Meze Audio  (image courtesy of Meze Audio) Meze Audio is based in Baia Mare, Romania, seemingly far from the traditional centres of global high-tech. Antonio Meze’s company’s newest product is Advar, a pair of in-ear headphones that eschew digital assistants and wireless connectivity in favour of highly crafted, high-quality audio. The name ‘Advar’ was chosen to evoke the idea of a powerful talisman, the sort of historic trinket associated with Romania’s long history. The company’s signature bronze and black finishes adorn the stainless-steel shell, and audiophile upgrades include silver-plated cables.  Meze Audio Advar, $699 / €699 / £582, mezeaudio.eu 3. Porsche Design PDT60 (image courtesy of Porsche Design) It’s all about the case. Porsche Design’s meticulous approach to engineering ensures that the aluminium and leather case with its sliding mechanism is one of the most stylish ways of keeping your earbuds safely stowed and fully charged. The devices themselves are ultra-lightweight, offering five hours of playback. The wireless-capable case adds another 15 hours of charging time. The noise-cancelling software enhances music and brings clarity to phone calls.  Porsche Design, True Wireless Earphones PDT60, €299, porsche-design.com 4. Astell&Kern AK UW100 (image courtesy of Astell&Kern) The faceted face of Astell&Kern’s new AK UW100 creates a distinct appearance for the high-fidelity brand’s first foray into earbud design. A&K is best known for high-end portable audio, and finally there’s a pair of earbuds that match with its range of Media Players. Bluetooth 5.2 and a proprietary smartphone app to shape your sound come as standard, as well as an onboard digital-to-analogue converter. The earbuds offer six hours of playback and another 18 hours available via the case.   Astell&Kern AK UW100, £249, astellkern.co.uk 5. Devialet Gemini  (image courtesy of Devialet) Not wishing to be out of this important market, French audio specialist Devialet has launched its own true wireless earbuds, the Devialet Gemini. From the brand best known for its mighty Phantom wireless speakers, the tiny Geminis are a very different proposition. That doesn’t mean the audio is any less important, however, and the Geminis have three listening modes – Active Noise Cancellation, Neutral, or Transparency – as well as three levels of intensity (Low/High/Plane), depending on your environment. § Devialet Gemini, £199, devialet.com
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Ten new hybrid and electric cars and concepts for 2022

The new normal is a world without the expensive fanfare of a regular calendar of international motor shows, making car launches a more frequent and inevitably online kind of affair. Spring was traditionally the turn of Geneva, and although the show will still go on in 2023, that hasn’t stopped a number of new cars and concept cars from breaking cover at this time of the year. Here’s our guide to the top ten debuts of the season.  Ten of the best new hybrid and electric cars and concepts 1. Audi Urbansphere concept  (images courtesy of Audi) Completing the trio of concept vehicles that began with Audi Skysphere and continued with the Grandsphere, the Audi Urbansphere eschews outlandish aero and low-slung design language in favour of a massive passenger cabin. Described as the ‘largest interior of any Audi to date’, the Urbansphere is a true living room on wheels, without a steering wheel, pedals or instrument panels. With swivelling front seats and an (imagined) full suite of autonomous driving features, the Urbansphere offers up a vision of life – whether work or pleasure – on the automated highways of the future megacity. Expect the basic form language of the concept to form the basis of Audi’s first MPV.  Audi Urbansphere, concept only, audi.com 2. Genesis X Speedium Coupé Concept  (image courtesy of Genesis) The Genesis X Speedium Coupé was unveiled at the brand’s Genesis House, a new cultural space in New York’s Meatpacking District. A development of 2021’s Genesis X Concept coupé, the Speedium has a sci-fi name and a slender, long-roof body shape that evokes the more idiosyncratic side of the grand touring era of the 1960s and 1970s.  Genesis X Speedium, concept only, Genesis.com 3. Mercedes-Benz EQS SUV (images courtesy of Mercedes-Benz) The EQS SUV is the latest in Mercedes’s line-up of pure electric cars, joining its acclaimed EQS saloon sibling at the top of the product tree. The SUV shares the saloon’s underpinnings, only this is a more conventional body style, smoothed over to create the EQ range’s characteristic lozenge-like appearance. The resulting aerodynamic machine should be good for around 381 miles of range. Inside, there’s the optional dashboard-wide Hyperscreen and also the possibility of a third row of seats, making this one of the few all-electric seven-seaters on the market. Mercedes-Benz EQS SUV, price tbc, Mercedes-Benz.co.uk 4. BMW X7 and 7-Series (images courtesy of BMW) Not only has BMW facelifted its flagship conventional SUV, the X7 (top), to bring it closer in spirit to the all-electric iX, it’s also revealed the next-generation 7-Series saloon. The latter is the company’s traditional flagship and tech showcase and comes in an all-electric i7 model with plug-in hybrids to follow next year. At nearly 5.4m long in standard form, it’s one of the biggest cars on the market. Most of that space is directed at the capacious rear compartment, enhanced by options like the 31.3in 8K BMW Theatre Screen with up to 36 Bowers & Wilkins speakers and reclining ‘Executive Lounge’ rear seats. Other options include Swarovski crystal headlights and a Sky Lounge panoramic glass sunroof with integral light show. The i7 has a projected range of up to 388 miles. BMW X7 and 7-Series, prices tbc; BMW i7, from £107,400, bmw.co.uk 5. Lexus RZe (images courtesy of Lexus) The new Lexus RZe was designed from the ground up to be pure electric from the outset. Interestingly, the exterior tones down the rather gauche design language that tends to sit a bit awkwardly on an ICE platform. Better proportions give the creases and crimps more space to breathe, and the fared-in grille is a marked improvement. Inside, there’s the first appearance of a steering yoke, not a wheel (available from 2023), part of a cabin set-up that gives the driver a greater sense of engagement with the road. Range is expected to be over 250 miles, with spirited acceleration and Lexus’ traditionally high levels of interior equipment.  Lexus RZe, price tbc, lexus.co.uk 6. Ferrari 296 GTS (images courtesy of Ferrari) Ferrari’s new 296 GTS drops the top on the 296 GTB, making this the car to beat in the open-air supercar category. It goes head-to-head with McLaren’s 720S Spider – still an impressive machine despite being well over three years old. The 296 GTS provides an update in the form of its hybrid powertrain, which together with its V6 puts out a combined power figure of 819hp. The folding hardtop roof flips open in 14 seconds, and the performance figures are typically out of this world.  Ferrari 296 GTS, c£250,000, ferrari.com 7. Smart #1  (images courtesy of Smart) The last time Smart made a four-door, it paired with the Renault-Nissan alliance. The result was the Smart Forfour, which shared its proportions and platform with the Renault Twingo. Now the German company is moving into the realm of the ultra-compact SUV with the introduction of the #1, a name that implies something of a reset for the brand. This time, the tech partner is Chinese giant Geely. Designed in Germany, with electric underpinnings fabricated in China, the #1 aims to be the all-conquering world car that the original two-seater never quite managed to be. Pared-back forms, inside and out, imply no-nonsense practicality.  smart #1, price tbc, future.smart.com 8. Maserati Grecale (images courtesy of Maserati) Maserati’s latest foray into the world of SUVs takes the form of the new Grecale. Slightly smaller than the Levante SUV, the Grecale is an important car for the Italian luxury manufacturer. Aimed at the still-expanding urban SUV market, the Grecale is being rolled out with a strong emphasis on bold contemporary palettes and cutting-edge infotainment technology. Four bespoke trim sets are available at launch, GT, Modena, Trofeo, and Folgore, inspired by Italian fashion, architecture, and performance, with the Folgore model set to be the first full-electric SUV offering from the company. Inside, the famous dash-mounted clock is now a digital screen, providing access to the Maserati ‘assistant’ as well as offering a number of different display options.  Maserati Grecale, prices tbc, maserati.com 9. Honda e:Ny1 Prototype (image courtesy of Honda) A preview of next year’s Honda e:Ny1 has been revealed, a car that hopes to do for compact electric SUVs what the exceptional Honda e did for city cars. It doesn’t quite have the cheeky presence of its smaller sibling, but more space and a longer range should help it become much more than a cult vehicle, offering more practicality for the brand’s traditionally older customers.  Honda e:Ny1 Prototype, concept only, honda.co.uk 10. Lincoln Star Concept (images courtesy of Lincoln) Ford’s Lincoln division celebrates its centenary in 2022. The last few years have been a bit rough on this bastion of American luxury, as its venerable Continental model lost the battle for market share to high-end saloons from Germany, leaving it an SUV-only business. This is the Lincoln Star Concept, a vision of a next-generation pure electric SUV that takes the company’s design language to another level, through interactive lighting, a multifunctional first-class cabin, and plenty of space for luggage. The Star isn’t slated for production, but it previews the three new EVs that are due from the brand by 2025.   Lincoln Star, concept only, lincoln.com §
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Sustainable architecture: innovative and inspiring building design

Gowland House Photography: Andy Haslam The Kirk Ella Conservation area is a large, verdant suburb situated in East Riding of Yorkshire, on the western outskirts of Kingston upon Hull. Its close proximity to a city centre along with its green natural environment and architectural interest (it combines well preserved samples of 18th, 19th and 20th century architecture) make it a desirable place to live; and this is exactly where a local couple chose to build their new home. The result is Gowland House, a generous, contemporary Yorkshire house by Grimsby-based ID Architecture. The residence replaced a small, existing bungalow on site. The clients’ main request was that the new space should be large enough to accomodate their extended family - children and grandchildren - for extensive stayovers during holidays and weekend breaks. As a result, the architects created a sprawling villa that wraps in an L-shape around a paved terrace with swimming pool, and spans two levels, in order to accomodate all the bedrooms and a variety of living spaces. The sizeable home - at some 600 sq m - also includes a home gym, pantry, utility spaces and a boot room, providing all-mod-cons for the residents. Additionally, there is provision for the infrastructure for sustainable technologies, including Tesla battery wall, solar PV panels and air source heat pumps.  Rain Harvest Home Photography: Rafael Gamo About two hours west of Mexico City in the region of Temascaltepec, a recently completed home for an architect and his family is giving a new face to water conservancy. Comprised of three small structures that include a main residence, an art studio and a bath house, the Rain Harvest Home integrates rainwater-harvest architecture – an uncommon practice despite the region having abundant rainfall. Designed by the home’s owner Javier Sanchez of JSa architects and Robert Hutchison of Robert Hutchison Architecture, the concept behind Rain Harvest Home is rooted in the unique qualities of where it’s located – within Reserva el Peñón, a landscape-driven development that has achieved water self-sufficiency for a community of 80 families in 450 acres of a nature reserve. Ecology Green Farm Photography: Andrew Esiebo At the end of a powdery orange dirt track, a two-hour drive from Lagos in the village of Ikise, in south-western Nigeria, sits an earth brick barn house. The jewel in the crown of Ecology Green Farm, it’s a new artists’ residency space established by British-Nigerian artist Yinka Shonibare. Set on the highest point of the farm’s 54 acres of land, surrounded by panoramic views of lush forest, grassland and bush, the building’s laterite shell radiates a warm golden glow in the late morning sun. Myriad butterflies settle and take flight, while the hum of insects, rustling grass and birdsong forms the soundtrack to this country retreat.  The barn house accommodates a studio and living quarters for the participants of the artists-in-residence programme, which launches this spring, offering the opportunity to live and work on site over a three-month period. Artists also have the option of spending the residency at an alternative location in Lagos, and both sites are run by the Nigeria-based Guest Artists Space (GAS) Foundation, a sister organisation to the Yinka Shonibare Foundation, led by director Belinda Holden. ‘We should all be closer to nature,’ says Shonibare, as he reflects on Ecology Green Farm’s remote location. ‘It’s an excellent environment for artists to be inspired and work, and to have some quiet.’ Additional writing: Idjeoma Ndukwe Agrotopia Photography: Filip Dujardin Addresssing sustainability and food production, the rooftop greenhouse of Agrotopia is the brainchild of Belgian studio META architectuurbureau and Dutch practice van Bergen Kolpa Architecten. This is the largest public building dedicated to urban food production in Europe, the architects claim, and it was a commission from the Flemish research institute for agriculture and horticulture, Inagro, and REO Veiling. The design, located in the Beglian city of Roeselare, boasts an innovative water recuperation system and reuses urban waste heat. ’Together with the clients, Inagro and REO Veiling, we have realised an ambitious building with numerous innovations. A single building featuring different climate zones, sustainable and economical use of space, research into leafy vegetables and fruit vegetables in the city, opening up the rooftop to a public function, circular use of space and energy, to name but a few,’ says Jago van Bergen of van Bergen Kolpa Architects.  Solar Greenhouse Photography: Adria Goula A prototype solar greenhouse for food and energy production in cities has been built in the outskirts of Barcelona. The project ’proposes a space for self-sufficient cultivation as a solution to producing food and energy in cities and advance towards the zero-emissions city model as proposed by the EU for 2050,’ explain its creators, and can be adapted and scaled up or down to fit empty urban plots, gardens or rooftops. The wooden structure, which was developed by a team of students and researchers of the Masters programme in Advanced Ecological Buildings and Biocities (MAEBB) of the Institute for Advanced Architecture of Catalonia, sits lightly on the ground in the Natural Park of Collserola. The design employes solar energy, sustainable materials and advanced cultivation technology to address a number of contemporary issues, including climate change and food production. York St John University’s new Creative Centre  Photography: Hufton + Crow Tate + Co Architects and York St John University have just launched the institution’s new Creative Centre; a new home for the music and computer science courses. Specialist spaces for performance, creative writing and media production students all sit within this elegant, low-energy building whose eco credentials span from operational to embodied carbon terms. A substantial timber frame and simple climate control are among the environmentally friendly strategies the East London architects adopted in their design, which uses timber to wrap many of its spaces in warmth and organic textures. ’The Creative Centre at YSJU demonstrates that you can provide students with state-of-the-art facilities without sacrificing environmental sustainability. It was important to plug these aspirations into the design from the outset and this is the reason the University chose our practice. They recognised that the only future for the campus is one that puts the needs of students first, while simultaneously supporting greater sustainable initiatives,’ says studio director Jerry Tate. Henley Hall Photography: Bruce Damonte Henley Hall, one of American architecture studio Kieran Timberlake’s latest education work is a striking new home for UC Santa Barbara’s Institute for Energy Efficiency; it’s also a project that has already achieved a coveted LEED Platinum certification, and won a 2021 American Architecture Award, among other accolades. “We are honored to work with UC Santa Barbara to make Henley Hall the ideal campus home for the IEE,” said Jason Smith, partner at KieranTimberlake. “Our expertise in innovative, sustainable design aligns perfectly with their forward-thinking mission to create new technologies in pursuit of an energy efficient future. These shared values contributed to a forward-thinking and vibrant environment for science and collaboration.” Woodlands Photography: Tim Soar A family home located in the UK’s High Weald area of outstanding natural beauty takes inspiration from its environment, with a focus on natural materials and sustainability. Woodlands, in the East Sussex village of Wadhurst, rethinks the 1920s chalet bungalow originally on the site, building on the previously developed land of the original house. The semi-natural grass already present – with its potential for biodiversity enhancement – becomes a living part of the new development. The five-bedroom home by Williams Griffiths Architects comprises an open layout, with interconnected living spaces offering extensive opportunities for a family to work and live in the space. The design considers the growing family’s immediate needs, with a choice of main and secondary entrances and a second kitchen presenting alternative living options for the future. Additional writing: Hannah Silver Villa Pirogovo Photography: Ilya Ivanov Approaching Villa Pirogovo from afar, a series of catenary dome structures appear to be peeking out from the ground. Made of concrete and glass, these are the dramatic bedrooms at Dutch architect Erick van Egeraat’s latest residential offering in Russia. When walking towards the main entrance, the villa fully reveals itself in all its expressive concrete glory that mixes angular geometries with those distinctive sleeping pods, all nestled into the dense pine tree forest along the banks of the Klyazma River in the Russian countryside. The commission came from a private client who was after a holiday home that would work equally well for both the pleasant summer and the harsh winter conditions of the region. The team at van Egeraat’s architecture studio focused on creating an exuberant composition that offers 21st-century design and all mod cons, while absorbing the natural beauty of the surroundings, allowing the views to take centre stage at almost every room through swathes of glazing, terraces and balconies.  Bide cabin Photography: Jake Balston If the pandemic has got you dreaming of the green countryside, secluded cabins and a poised, neat minimalist life, The Bide might be just the thing for you. This architectural Dorset cabin is a labour of love of a pair of design enthusiasts – one an architect, of London-based studio LAMA, and the other working for Nordic design brand Åben. The pair joined forces and brought together their expertise to build, almost entirely by hand during one of the recent lockdowns, this charming getaway – a rural escape with an architectural twist. The cabin was designed for themselves, as a private retreat, which can also be used on occasion as a rental. Handling the design, product sourcing and construction together, the couple ensured that their project employed principles of sustainable architecture, such as using local materials and eco-friendly building techniques. For example, The Bide is designed using the WikiHouse system, with a wooden frame cut by CNC and bolted together by hand. Low-carbon materials used include sheep’s wool and woodfibre insulation. There is a Separett waterless toilet from Sweden, a decentralised MVHR system, and a Nebia vaporised water shower that ‘uses 40 per cent less water than a regular shower’. Friendship Hospital Photography: Asif Salman Kashef Chowdhury/Urbana’s Friendship Hospital in Bangladesh has scooped the prestigious RIBA International Prize 2021. The institute’s award casts its net wide, celebrating outstanding, international works that ‘demonstrate design excellence and social impact’. The winning project, led by NGO Friendship, does just that. Not only does it provide functional and considered architectural space for important health services to the local communities of Satkhira in southern Bangladesh, but it also employs sustainable architecture to do so.  Shenzhen Rural Commercial Bank Headquarters Photography: Seth Powers SOM’s latest high rise offering, the Shenzhen Rural Commercial Bank Headquarters in China, employs clever design and biophyllic principles to help the structure adapt to its tropical climate and wider environment. ’The tower’s façade is defined by an external diagrid, which serves as both the building’s structure as well as an important solar shading element. At its base, the diagrid widens to create framed openings and views to the surrounding park and South China Sea, a short walk from the building,’ explain the architects. This diagrid, which is similar to an exosceleton, also helps define the building’s overall looks. Inside, the interior draws on Feng Shui principles, blending air, water and earth into the design. The tower is LEED Platinum and is targeting China Green Star certification.  The Mercury Store Photography: Naho Kubota A start-up space for theatre artists, from stage directors to choreographers and devisers, The Mercury Store is a new cultural hub in New York City, created by CO Adaptive Architecture. The space was designed to serve a variety of purposes, including residencies, studio and co-working space, community and funding activities. The architects used CLT - the first documented use in town of this carbon negative material - to transform the 12,700 sq ft former metal foundry, retrofitting it and reusing and repurposing many of its existing elements. ’This is the first project in New York City to use mass timber to transform an adaptive reuse building, and we hope it will lead by example; exemplifying the capacity of mass timber to simultaneously reduce our embodied carbon and reinvigorate our aging building stock,’ says CO Adaptive co-principal Ruth Mandl. Haus on the Ridge Photography: Edmund Sumner The Brownie, the series of photographic cameras made by Eastman Kodak in the early 20th century, inspired Haus on the Ridge, reveals the architect and owner of this Kent house, TP Bennett principal director Doug Smith. Nestled in the green English countryside, the home, created with project architect Sam Clarke, is not only a striking family abode, but it’s also conceived according to the principles of sustainable architecture and follows strict Passivhaus standards. ‘As architects we all dream of designing and building our own home. Having taken an early interest in the Passivhaus concept, this project gave me the perfect opportunity to challenge myself and Sam, bringing together clean, minimalist, exceptional design with Passivhaus sustainability credentials,’ says Smith. His wife, Wendy, adds: ‘The Passivhaus provisions give a level of comfort to the design standard and more. The simple, predominantly open-plan living space, with its incredible interaction with the outside space and the rural setting, makes living in the house a joy.’ PolyRoom by Cutwork x Bouygues Immobilier  Photography: Pierre Châtel-Innocenti, courtesy of Cutwork French developer Bouygues Immobilier has joined forces with architects Cutwork to launch an innovative new building model. Bringing together Japanese simplicity with LEGO-like assembly, the concept centres on a prefabricated, modular unit: PolyRoom. A prototype unit has already been built, and the team aims to launch the first development created using the PolyRoom concept soon, with a view for completion in 2023 in Bordeaux. The structure will herald a new living brand for Bouygues Immobilier - one that is green, functional and which is ’carefully designed to activate biodiversity and local ecologies’ on its site. Cutwork co-founder and architect, French-Japanese Antonin Yuji Maeno ’took inspiration from the Japanese concept washitsu 和室わしつ. A washitsu is a central room in traditional Japanese homes. It has no predefined or single dedicated purpose, but rather is an adaptive space that can take any shape to meet inhabitants’ changing everyday needs.’ Dwelling Unit for Musicians by Automated Architecture (AUAR) Photography: Naaro Created for a family of musicians - a cellist and double bassist - this sustainable home extension was designed by emerging design firm Automated  Architecture, and it is the studio’s very first dwelling. The clients were in need of space to use as an office and rehearsal studio. The design team obliged and composed a robot-fabricated, modular system made from timber elements, which extends into the existing home’s rear garden. The concept is easy and fast to assemble, reducing construction costs and pollution, and it is replicable since it can adapt to different sites and needs. The scheme combines a sustainable architecture approach with high tech fabrication methods, which makes it all the more practical, the team at AUAR explains. ’For AUAR, people are central to automation. This starts with design. Our homes are not standard, one-size-fits-all spaces, but can be tailored and customized for every unique client, for each specific plot of land. As we use intelligent robotics and automation, it doesn’t cost anything more to make a different home each time," says the studio’s chief technology officer Gilles Retsin.  Harvard Science and Engineering Complex by Behnisch Architekten  Photography: Brad Feinknopf Harvard’s new Science and Engineering Complex (SEC) has sustainable architecture at its heart. The eight-level, 544,000 sq ft structure was designed by architecture studio Behnisch Architekten, who prioritised functionality and environmentally friendly strategies in their design. As a result, the building, which includes energy-conscious HVAC and lighting systems, and planted roof terraces, has received a coveted LEED Platinum and Living Building Challenge certification. The generous structure spans three volumes housing classrooms, fabrication studios, teaching labs and amenity spaces, but is elegantly broken up by green areas and openings so that it allows its users space to breathe and lets nature in.  Wanchai Community Green Station by BREAD Studio Photography: Images courtesy of ArchSD The Wanchai Community Green Station in Hong Kong is ready to open. Designed by BREAD Studio, the project was part of The Hong Kong Environment Protection Department’s efforts to create a more sustainable recycling network - and this station is one of ten brand new Recycling Stations in this initiative. Made of steel, clad in wood and with a GRP double curved secondary beam, this new piece of industrial infrastructure features impressive geometries and an eye-catching, sweeping shape. As well as fulfilling its duties within the realm of sustainability, the structure also features a green square which will be accessible and open to all, so the local community can use it freely as an open air point to sit and gather.  The Arc at Green Scool by Ibuku Photography: Sach de Laage The Green School in Bali is known for its finely tuned programme that follows children from early years through to secondary education, infused with a focus on creativity, the arts and ecological responsibility. Founded by John and Cynthia Hardy in 2006 and built around the principles of sustainable architecture, the school is a unique take on education; and now, it can also boast a brand new structure in its midst. The Arc, designed by local design and architecture studio Ibuku, headed by Elora Hardy, has recently been completed, offering a fresh visual shorthand for education architecture and the school’s green identity through its pioneering, green bamboo roof. The project was designed to host a wellness space and gymnasium for the school campus. Whimsical but sturdy, beautifully undulating as well as light and dynamic – almost like the bamboo version of a boat’s billowing sails in the wind – the roof is thin and balanced, and feels organic and close to nature. The trick was marrying traditional, age-old techniques for building with bamboo, and new technologies, Hardy, explains.   Falcon House by Koto Photography: Olco Studios British-based prefabrication specialist Koto has been hard at work developing modular home design, from compact work cabins to agile mini abodes, since its inception in 2017. The forward-thinking company, founded by couple Johnathon and Zoë Little and architect Theo Dales, has completed a range of minimalist cabins, such as its off-the-grid sauna in Ireland, all infused with Scandinavian style and sustainable architecture principles. But the energetic brand is not resting on its laurels, taking its minimalist Nordic architecture aesthetic to the larger scale and launching its first ever, two-storey modular design – meet Falcon House.   Haus im Obstgarten by Firm Architekten Photography: Adolf Bereuter Offering a contemporary take on the traditional Austrian farmhouses of the region, Haus im Obstgarten is the brainchild of local studio Firm Architekten. The beautifully poised house – a small, minimalist timber tower – sits on a slope in the village of Frastanz-Gampelün, on a plot owned by the client and their family for decades. The new structure replaces an old stable building nestled on a hillside between two farmhouses. The minimalist architecture approach evident in Haus im Obstgarten’s exterior continues inside, where the only decoration is provided by structural details and the tactile nature of the wood – making this project a contemporary ode to timber construction. Embellishment is kept to a minimum throughout, contrasting with the regional farmhouses’ more ornate interior styles, the architects explain.   The Wood Hotel by Elite by White Architects This striking building boasts to be one of the world’s tallest biuldings. Set in Skellefteå, within the idyllic natural scenery of Swedish Lapland, the scheme is a hotel, aptly named The Wood Hotel by Elite and designed by White Architects. Combining the trusted, natural material and high end engineering innovation, the building also aims to be carbon dioxide neutral within its first five years. ‘Our concept is very inspired by the Swedish North’s unique nature and its legacy within forestry, but also Skellefteå’s modern position as an epicenter for progressive, green-tech engineering. We want to create memorable experiences and evoke a sense of hopefulness of what the future could hold, encouraging our guests to explore new ideas - be it inside of their room or beyond,’ says Caroline Chakraborty, the family-owned business’s partner and board member.  ‘The Sustainable Glasgow Landing’ at COP26 by New Practice What used to be a petrol station in the late 20th century, was just a vacant site on the Broomielaw for a while before being transformed into a temporary, dedicated venue for events during the COP26 conference in Glasgow. The project was led by a mutli-disciplinary creative team led by Glasgow based architects New Practice, in collaboration with Inhouse, and promises to offer space for a rich programme of events, from performances to knowledge sharing, exploring sustainable architecture for locals and visitors alike.  ‘Urban Sequoia’ model by SOM Architecture and the built environment have received scant attention in the coverage of COP26, the UN Climate Change Conference. It’s an obvious blind spot given that the building sector currently generates 40 per cent of all global carbon emissions and that massive population growth and increased urbanisation mean there’s a lot more building to be done. It is predicted that another 230 billion square metres of new building stock will be needed by 2060. Of course, many architects have developed innovative ways to reduce that carbon debt, both in construction and during a building’s lifetime, through sustainable architecture. Now one of the industry’s giants, Skidmore, Owings & Merrill (SOM), is unveiling a model for carbon-negative architecture – meet the ‘Urban Sequoia’. Additional writing: Nick Compton The Pavilion at Endeavour Square by ACME Photography: Hufton + Crow Stratford just got a new meeting place. The Pavilion at Endeavour Square has just been unveiled to a design by ACME, bringing sustainable architecture, fun design and a touch of placemaking to this part of east London. The London architecture studio’s director Friedrich Ludewig started off designing with a seemingly blank slate site – an open and as yet undeveloped part of Stratford’s International Quarter that sits just outside the borders of the Westfield complex and next to the large bridge that takes visitors through to the Queen Elizabeth Olympic Park, the Aquatics Centre and the West Ham’s London Stadium beyond. Surrounded at the moment by construction, newly completed office towers and enough rail tracks to make a train spotter happy, the site was in need of a purpose and a focal point – something fun and engaging, welcoming, useful and strong enough to act as a landmark for its corner of this still-growing London neighbourhood. FarmED by Tim Tasker Architects Photography: Tim Crocker This Cotswolds farming centre has been designed to be clever and sustainable by Tim Tasker Architects. FarmED at Honeydale Farm ‘works to educate communities on the role of regenerative farming in combating climate change, a mission that extends to the architectural aspiration and execution of three highly efficient mixed-use buildings on site.’ The U-shaped scheme is made up of three, minimalist, timber barn-like structures - a nod to the local vernacular typologies of the region. Extensive research on embodied carbon and careful material and construction method selection means this is a particularly eco-friendly complex.  REWE Market of the Future by ACME ACME has created a new model for a farmer’s market for the city of Wiesbaden-Erbenheim in Germany. The project experiments with timber construction, offering a ‘prototype for a new adaptable and sustainable market concept, able to fit any site typology,’ say the architects. The design is capticating yet simple, using standard wood elements, which were readily available locally and were assembled with simple screw connections. It is ‘an environment which re-establishes our human connection to locally sourced food,’ the architects say.  HiLo by ETHZurich Photography: Roman Keller Based on important ETHZurich research on architecture and sustainability, this is HiLo - the latest addition to Empa (Swiss Federal Laboratories for Materials Science and Technology) and Eawag’s (Swiss Federal Institute of Aquatic Science and Technology) NEST research building in Duebendorf, Switzerland. A team effort between scientists led by Philippe Block, Professor of Architecture and Structures, and Arno Schlueter, Professor of Architecture and Building Systems together with industrial partners, ‘explored how lightweight structures and efficient construction methods can be combined with intelligent and adaptive building systems to reduce both embodied and operational emissions in the construction and building industry.’ Ilulissat Icefjord Centre by Dorte Mandrup Photography: Adam Mork The spectacular Ilulissat Icefjord Centre sits on a craggy seashore on the edge of the UNESCO-protected Greenland wilderness. Designed by Danish architect Dorte Mandrup, the scheme, some 250 km north of the Arctic Circle, feels at one with its landscape. Its purpose is strongly connected to nature too, as it was conceived to highlight the ‘dramatic consequences of climate change on this remarkable landscape.’ A year-round visitor centre, as well as place to meet for locals, the building snakes around the hilly terrain telling, through its displays, activities and presence, the story of ice, nature and humankind. ‘The Icefjord Centre offers a refuge in the dramatic landscape and aims to become a natural gathering point from which you can experience the infinite, non-human scale of the Arctic wilderness, the transition between darkness and light, the midnight sun, and the Northern lights dancing across the sky,’ says Mandrup.  Casa Numa by Red Arquitectos Photography: Miguel Angel Vazquez Calanchini  A home designed to use as a personal retreat for the client, as well as a holiday rental, Casa Numa is the brainchild of Red Arquitectos. Nestled in a fairly moderst spot in Holbox Island, Quintana Roo in Mexico, the building is almost entirely created in coconut palm wood and is supported by sapote tree piles that come from the region’s jungle. This way, the project has a light impact on its sandy terrain and remains respectful to its surroundings, the architects explain. ‘The palm is considered the tree of life, since human existence could be sustained with everything that comes from it. It is a natural insulating material that offers a pleasant climate due to its thermal properties, allowing less energy consumption and natural cooling,’ says the team. The structure becomes a fine example of wood architecture and its main shell was created in a mere three months.  The Hilda Solis Care First Village by CRATE Modular Photography:  This LA-based project is dedicated to homelessness services and includes 232 units, a mess hall, and an administrative building. Created by CRATE Modular and named the The Hilda Solis Care First Village, the scheme was made almost entirely out of recycled shipping containers - each of which contains two sleeping pods. Looking sleek and modern, while keeping costs and construction impact to a minimum this clever project works hard for its money - prioritizing modular, sustainable architecture and building.  Bundeena House by Tribe Studio Architects Photography: Katherine Lu Taking its cues from modest fishing village cottages, this home is a prototype of a sustainable retreat cabin by Tribe Studio Architects. Set in Sydney’s seaside community of Bundeena, the project is cost-effective, environmentally-aware and supportive of local trades, explains the design team. ‘We could have had glorious views from a second storey, however we felt that reinforcing the local vernacular of single storey timber cottages was important, and that an introspective garden diagram was preferable to outward looking in this context,’ says studio director Hannah Tribe. ‘This house is an attempt to achieve a high level of architectural and sustainable outcomes at a low cost. It is an experiment in delivering a more thoughtful kit home.’  House Under Shadows by ZED Lab Created by Delhi based architects Zed Lab, this expansive home is a near net-zero residential structure. Called House Under Shadows for its perforated external shading that creates mesmerising shadow-and-light plays on its large terraces, the home was ‘an architectural response to the extreme weather in North India,’ explain the architects. ‘[The structure] achieves reduced solar direct and diffused radiation by 65% through digital modelling using parametrics and passive design strategies,’ says the team. The architectural approach combines elements from the local vernacular and modern, sleek style, while enabling natural ventilation and daylight.  AirBubble playground by ecoLogicStudio Photography: Maja Wirkus A strange circular structure has appeared in a green architectural garden at the centre of Warsaw, Poland, outside city’s the Copernicus Science Centre. This is the world’s first biotechnological playground integrating air-purifying micro-algae cultures, say its architects, London-based architecture studio ecoLogicStudio, led by Claudia Pasquero and Marco Poletto. The open air structure creates a purified microclimate where children can play. Merging biotechnology with archtiecture, the structure comes accompanied by a temporary exhibition on site. ‘There is untapped value in bringing the bio-intelligence of natural systems into cities, turning buildings into living machines that produce energy, store CO2 and clean the air. To achieve this, we need to think about the living world as a part of the current digital revolution: nature becomes part of a new bio-smart infrastructure,’ says Poletto.  House with Three Pavilions by Grounded Photography: Suryan Dang Combining a contemporary design approach with sustainable architecture, this home in a rural location in Goa was created by GROUNDED, the Indian architecture studio led by Anjali Mangalgiri. ‘The house attempts to leave a minimal or zero-impact on the functioning natural ecological cycles at the site that pre-date the new construction,’ she says. ‘It contributes positively by fostering biodiversity and recharging the underground water table.’ Created as a second home, the structure occupies a small fraction of its wider site. Natural materials the connect the building to its surroundngs play a key role in the design, and include terracota tiles, teak wood and a natural Indian stone in a blue-green colour. Timber House by Gbolade Design Studio Photography: Alex Upton A 1960s home in Chislehurst, Kent, in the UK, has been transformed with a dramatic extension by London based Gbolade Design Studio. Headed by Tara Gbolade, the architecture practice created a bold new design, Timber House, which goes beyond pure aesthetics to enhance the building’s sustainability credentials and the architecture’s overall functionality. Clad in stylish dark timber and featuring a defining pitched roof, the house results from a commission to refurbish and extend a family home. The new structure may have changed the home’s spatial experience but it doesn’t feel alien within its context; in fact, its new shapes and size are proportionate, respecting its surroundings and the existing building. Inside, however, the space has been significantly upgraded, with the addition creating soaring double-height ceilings, angular feature interiors (which reflect the original and new pitched roofs), and an open-plan arrangement that encourages interaction and flexiblity for the residents.  Torvbråten Primary School by Link Arkitektur Photography: Hundven-Clements photography This school in a rural spot within the Norwegian forest has just been completed to a design by locally based architecture studio Link Arkitektur. Guided by sustainability principles, theTorvbråten Primary School has become Norway’s second school to achieve the highly-regarded Nordic Swan Eco-label for best environmental practice. The building’s eye-catching curves have been clad with Kebony wood, the sustainably modified, durable timber. The result is not only a boost to the structure’s eco-credentials, but a highlight in its overall striking visual aesthetic too. Additionally, the school has been designed according to the passive house standards and is equipped with 800 solar cells and energy wells (geothermal heating). Now, it caters to some 470 students and 46 permanent members of staff between its classes, offices and multi-purpose hall.  Lemvig Klimatorium by 3XN  Photography: Adam Mork The town of Lemvig, on Denmark’s west coast, may be small and far away from the capital, but it aspires to play a vital role in the nation’s efforts to fight climate change. Aggressive storms and rising sea levels have heightened the risk of flooding, prompting the town to redevelop an old industrial area on its waterfront: adding a flood wall, installing a new promenade, spaces for new businesses, and most importantly, an international climate change centre, Klimatorium, to offer a meeting point for residents and tourists, educate the public about the climate emergency, and support Denmark’s role as an exporter of climate solutions. Commissioned by the town council to create this centrepiece, architects 3XN devised a two-storey building that makes a visual statement while keeping to a limited budget and environmental footprint. The landmark feature is a wave-shaped wooden pocket, caving into the southern façade of the building and facing a skate park by the Copenhagen-based studio Effekt, completed in 2013. Clad in local pine, the wave is smoothly contoured for the most part, but tiered at the base to provide seating. As Jan Ammundsen, senior partner and head of design at 3XN explains, the initial intention was simple: to create a sheltered spot that would be available to both the building’s users and passers-by, bathed in sunlight but protected from westerly winds across the water. ‘We are hoping to create a small possibility for them to sit, enjoy the moment, and speak to each other,’ says Ammundsen. ‘It’s a way for the building to give a little bit back to the town.’ Modular initiative by MiTek and Danny Forster & Architecture (DF&A) There’s a new kid on the prefab block; welcome the joint modular initiative of provider of innovative construction-based software, services, and engineered building solutions MiTek and Danny Forster & Architecture (DF&A). The scheme, which has been created by the digital systems specialist (who is owned by multinational conglomerate Berkshire Hathaway) and the New York based architecture firm, was conceived to champion prefabrication and flexible, sustainable building. Central to the initiative is the creation of a Modular Activation Platform (MAP), which will help simplify working with and designing modular buildings. ‘This will democratize modular – which means revolutionising the building industry,’ says DF&A principal Danny Forster. ‘Modular has such clear advantages, but for your average commercial builder, the risks are too high and the learning curve is too steep. Our activation platform will change that.’ ‘Structure’ by Better Shelter Social enterprise Better Shelter creates emergency and temporary sustainable housing for communities displaced by the climate crisis. With pilot sites for its shelters, called ‘Structure’, currently in India, Afghanistan, Tajikistan, and Rwanda, its short-term solutions provide a sustainable response to the climate crisis that has left millions homeless. The company, based in Stockholm, Sweden, delivers modular homes in flat packages that can be speedily assembled without the need for tools or electricity. Equipped with a lockable door and a solar-powered lamp, they are created using materials local to their site, such as bamboo, timber and wattle and daub, and have the potential to be adapted by their occupiers for longer use. Khor Kalba Turtle and Wildlife Sanctuary by Hopkins Architects Photography: Mark Goodwin This cluster of low, round buildings on the edge of the water in the Gulf region is the brand new Khor Kalba Turtle and Wildlife Sanctuary facility at the Kalba mangrove reserve in the UAE. Designed by Hopkins Architects, the project is an important sanctuary for rehabilitating turtles and nurturing endangered birds in this richly biodiverse part of the world. The project was commissioned by Sharjah’s Environmental Protected Areas Authority (EPAA). It encompasses education and visitor facilities too, helping to raise awareness of its important work in its field. ’Designing for a site like this is an incredible opportunity,’ says Hopkins’ principal Simon Fraser. ‘The pioneering circular forms we designed for the Buhais Geological Museum, are also perfect for this rich ecological location as they touch the ground lightly. We have adapted them using soft scalloped precast cladding made from discarded shells found in the local area which responds to the marine environment and which softens the external appearance of the project to harmonise with its surroundings.’ Kaj micro-hotel by Barbara von Haffner and Toke Larsen The Copenhagen architecture scene is full of must-sees – from modernist masterpieces to contemporary marvels, such as OMA’s BLOX. Yet there are also some smaller gems that bring a sense of architectural experimentation to the everyday for the discerning visitor – such is Kaj, the town’s latest sustainable micro-hotel, which has been designed as a boutique, one-room boathouse you can rent. It all started when owners and partners in work and life Barbara von Haffner and Toke Larsen spotted a gap in the market. With the help of architect Karl Smith Meyer, they decided to put a plan into action. ‘We have often been contacted by people who wanted to rent our houseboat or asked what it is like to live on it,’ they say. ‘The idea for KAJ Hotel arose in the wake of these questions, which were almost impossible to answer unequivocally, as the experience varies depending on wind and weather conditions, as well as what time of day – or year – one stays there. One has to try it out for one self – and every moment has its own charm.’ Now, set on Copenhagen harbour and built literally on the water, Kaj is created primarily in recycled wood. Its structure was partially prefabricated (on the deck of the couple’s houseboat) and craned directly into the site. Von Haffner also leads Undercover Copenhagen, a company specialising in recycled and sustainable fabrics, while the couple’s own home was created using environmentally friendly ways, so looking at this project from an eco-friendly angle came naturally to the pair. Cowboy Modern Desert Eco-Retreat by Jeremy Levine Photography: Lance Gerber Nestled within desert flora and rocky hills, the Cowboy Modern Desert Eco-Retreat is architect Jeremy Levine’s personal getaway – a stylish and entirely off-grid property with no water, sewer, or mobile service. Dramatic as this might seem, this sustainable home is as visually and technologically sophisticated as they come, featuring sleek contemporary forms and eco-friendly systems. Set in Southern California’s Mojave Desert near Pioneertown and Joshua Tree National Park, the two-bedroom residence is surrounded by mesas and low desert vegetation. Inspired by this beautiful natural landscape, the architect composed a home that acts as a flagship for sustainable living, both in terms of its building methods and its connection with its surroundings. Large openings, locally reclaimed weathered lumber for all interior and exterior wood, and a roof pitch that echoes the context’s angles, mean this retreat is very much in sync with its locale.  Tambacounda Hospital extension by Manuel Herz Photography: Iwan Baan A brick extension to the Tambacounda hospital in Senegal by Switzerland-based architect Manuel Herz is a true project of collaboration, rooted to the local community. ‘I received an invitation from the Albers Foundation and Le Korsa to take part in the competition for a new maternity and paediatric unit at Tambacounda Hospital,’ explains Herz. ‘I put a lot of thought into it and responded that the best approach was not to create a so-called architectural design “solution”. Instead, our entry took the form of a proposal embedded in research and collaboration; not a building, but a suggestion of how to approach the project.’ Herz’ considered thinking won the competition. The design is defined by the striking geometric bricks that make up the main façade. ‘I undertook a lot of research into the region for my book, African Modernism, the architect explains. ‘I also looked at responses to climate and elements like brise soleils, which became quite prevalent in the 1960s and 1970s.’ The porous veil of bricks is a relatively common façade treatment in the east of Senegal, with the bricks themselves typically made on site. ‘What I brought to the project was the specific shape and geometry of the bricks,’ Herz says. ‘With every building I design I try to come to learn something new and try out new things.’ The Voxel by the Institute of Advanced Architecture of Catalonia Photography: Adrià Goula The Voxel is a unique prototype designed by students and researchers of the Master in Advanced Ecological Buildings and Biocities (MAEBB) of the Institute of Advanced Architecture of Catalonia (IAAC) under the direction of Daniel Ibáñez and Vicente Guallart. It was created as ‘an advanced ecological building’ made of natural KM.0 materials and industrialized techniques within the natural park of Collserola in Barcelona, Spain. Part of the project is researching wood and its structural and thermal abilities, as well as its capacity to store CO2 in buildings. Using wood sourced through sustainable forest management, the team experimented with the Japanese Shou Sugi Ban charred wood insulation technique to protect the material and structure in an environmentally friendly way.  SLAK Campus by Kéré Architecture Turkana County in Kenya is a large expanse of beautiful yet arid land of low bushes and occasional trees, home to Lake Turkana, the country’s largest landlocked body of water and the biggest desert lake in the world. Termite mounds, buzzing with activity and up to several metres high, are dotted around the region’s gently undulating landscape. It was these tall structures that first caught the eye of Berlin-based architect Francis Kéré when he started researching the area for one of his latest commissions – a sustainable education campus on the lake’s banks. Celebrating the local context and the termite mounds, tall towers support natural ventilation ‘by extracting warm air upwards, while fresh air is introduced through specially designed low-level openings’, says Kéré. Electricity is produced on site, using solar panels. kerearchitecture.com TECLA by Mario Cucinella Architects with WASP Photography: Iago Corazza Mario Cucinella Architects has built the world’s very first 3D printed house made entirely from raw earth. Named ‘Tecla’, and built in collaboration with specialists in the field WASP, the structure demonstrates the point where natural materials meet technology and has just been unveiled in Italy’s Massa Lombarda region, near the city of Ravenna. ‘Adopted from one of Italo Calvino’s Imaginary Cities, one that is forever taking shape, the name ‘Tecla’ evokes the strong link between past and future combining the materiality and spirit of timeless ancient dwellings with the 21st-century world of high-tech production,’ say the architects.  mcarchitects.it Casona Sforza by Alberto Kalach  Photography: Alex Krotkov Known for its sandy beaches, green setting and surfing spots, Mexico’s Puerto Escondido now has one more card up its leafy sleeve: a new hotel with strong sustainability credentials, designed by acclaimed Mexican architect Alberto Kalach. Casona Sforza, conceived by the entrepreneur Ezequiel Ayarza Sforza, has just opened its doors and combines an eco-approach with striking architecture and state-of-the-art hospitality and interiors. Set in La Barra de Colotepec, facing Mexico’s Pacific Coast, the hotel’s distinctive form represents its strong ‘ecological commitment’, says the team. Composed of a series of round-roofed brick volumes, the flowing structure feels natural and uses the country’s ancient techniques of brickwork, arch and vault building. This approach not only feels appropriate to the project’s context and the region’s history, but also makes the most of the fine anti-seismic properties of the vaulted shapes. kalach.com Haycroft Gardens by Sarah Wigglesworth Architects Photography: Tim Crocker Engulfed in a wild, leafy garden, a new multigenerational home in north London is designed to be functional and inclusive. Haycroft Gardens, created by architect Sarah Wigglesworth and her team, may appear humble, but it takes sustainable architecture to the next level. Commissioned to work on an infill site in Kensal Green, Wigglesworth was invited to create a single-level, three-bedroom home that would accommodate the needs of a young family and an elderly parent within the same domestic scheme. ‘The long-term requirements of the occupants, such as mutual support, accessibility, comfort, energy use and adaptability’, were crucial in the design solution, explains the architect. The project was built according to Passivhaus principles. A specialist timber frame manufacturer was involved, while an air-source heat pump and MVHR (mechanical ventilation with heat recovery) provide heating and ventilation respectively. The aim was for the house to have a very low energy usage.  swarch.co.uk Elephant World by Bangkok Project Studio Photography: Spaceshift Studio Elephant World’s architecture nods to both human and elephant needs, showcasing a strong sense of social sustainability but a respect to the environment too. The Wallpaper* Design Awards 2021 Best Sanctuary winner is a design by Thai architect Boonserm Premthada and his practice, Bangkok Project Studio. Premthada worked with local labour and materials to create a complex dedicated to the wellbeing of humans and animals, including an observation tower, a museum and a multifunctional event space. The design blends with the landscape and uses natural materials. For example, the bricks used for the museum were created on site by local workers using loam found in the area. bangkokprojectstudio.co Powerhouse Telemark by Snøhetta This ultra-sustainable workspace is a building that actually creates more energy than it will consume over its entire lifespan. Architecture studio Snøhetta, together with collaborators R8 Property, Skanska and Asplan Viak, has recently completed the project, Powerhouse Telemark, the fourth energy-positive building in its Powerhouse portfolio. Located in the city of Porsgrunn, the project creates much needed office space. It features solar panels on its roof; natural shading is promoted, while plentiful insulation ensures heat is retained where possible; and heat is stored in the building elements, to be released slowly, while a geothermal well supports heating and cooling. As a result, Powerhouse Telemark was awarded a BREEAM Excellent certification. snohetta.com Anandaloy by Studio Anna Heringer  German architect Anna Heringer’s Anandaloy project in rural Bangladesh is a successful example of sustainable architecture, both in terms of social and environmental responsibility. The community centre and textile workshop in rural Bangladesh contains a therapy hub for people with disabilities on the ground floor and a fair-trade textile manufacturing workshop for local women on the first floor. Made out of rammed earth and bamboo, the structure explores age-old local building techniques and materials in soft curves and textures that connect with its place and the region’s vernacular. The building recently scooped the prestigious Obel Award for 2020.  anna-heringer.com Treehouse by Olson Kundig Photography: Nic Lehoux US architect Tom Kundig, of Seattle practice Olson Kundig, is behind this sustainable teak holiday house in Costa Rica. Called the Treehouse, the private home is built predominantly out of locally harvested teak, and is open to the elements. This makes sense for Kundig’s clients for two reasons: as avid surfers, it gives them a chic version of a basic surfer’s hut; and as environmentalists, their new home ticks a number of sustainability boxes. Spanning three floors, the building is designed to operate passively, and slatted panels keep it open to the outdoors. ‘Our aim was to create a home that is very leaky to the view and light and air,’ says architect Tom Kundig. The structure also has its own rainwater collection system.  olsonkundig.com Additional writing: Clare Dowdy Bahareya Village by ECOnsult Egyptian architect Sarah El Battouty, head of local studio ECOnsult, led the sustainable design of Bahareya Village, an eco-friendly compound for farm workers in the country’s Western Desert. Created to be home to the farming community engaged by organic tea producer Royal Herbs, the complex uses gravel manufactured from recycled construction waste for the base of its minimalist concrete structures. Cacti scattered throughout the campus offer splashes of greenery without compromising on a commitment to water efficiency. And a technique El Battouty borrowed from desert communities – raising the foundations of the buildings to create distance between the floor and therefore the rising heat from the land – reduces indoor temperatures by eight to ten degrees.  econsultarch.com Additional writing: Ijeoma Ndukwe Cold Spring Residence by Alloy Photography: Richard Barnes This minimalist and highly eco-friendly house overlooking the Hudson River Valley is the country home of New York-based Alloy’s principal, architect and developer Jared Della Valle. Named Cold Spring Residence, the house sits on the land as lightly as possible. Della Valle worked with passive house sustainability standards to create his retreat, including solar panels for year-round energy, a well-insulated building envelope and careful management of the site’s water resources. The building is also partly sunken and cannot be seen from the street, aligning with its creator’s desire for a ‘a degree of modesty’, so that the architecture doesn’t compete with the striking surrounding natural landscape.  alloyllc.com Copper Hill by BIG  Photography: courtesy of Amager Resource Center The Amager Resource Center in Copenhagen, also known as Copenhill, is one of the city’s latest initiatives that put climate action to the forefront. Designed by the Bjarke Ingels Group (BIG), the building is essentially a rubbish burner; yet it’s also so much more than that. The structure houses an artificial ski slope, recreational hiking area and climbing wall on top of the waste-to-energy plant. Built using aluminium blocks, this piece of infrastructure aims to treat 400,000 tonnes of waste annually. The result is supplying 150,000 Danish households with district heating and 70,000 with electricity from non-recyclable waste. big.dk Flying House by Martand Khosla Photography: Edmund Sumner Created by architect Martand Khosla for a Delhi-based family of four, this weekend retreat in India’s Dharamshala is rooted in traditional materials and techniques. Set between farmland and a lush forest on the Dhauladhar mountain ranges of the Himalayas, Flying House has been built using local resources – stone, stabilised mud brick, slate and pine. A lot of the earth and stone dug out from the site during the foundation excavation went back into the construction. Building site wastage was minimised and a lot was recycled, making this house quite literally of its place. The construction uses stabilised mud brick, a method local workers were taught, using equipment from Development Alternatives (a social enterprise for sustainable solutions in India). This way, not only would the local stonemasons be able to build this particular house, but they would be able to master the craft and continue using it in the future. rk-ds.com §
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Omani artists ponder past, future, environment and identity at first Venice pavilion

Among the national debuts at the Venice Biennale 2022, the pavilion of the Sultanate of Oman stands out for its diversity of artistic talent. Its exhibition, titled ‘Destined Imaginaries’, brings together five Omani artists across three generations: Anwar Sonya, Hassan Meer, Budoor Al Riyami, Radhika Khimji and Raiya Al Rawahi, whose work here presents abstract habitats of future relics largely inspired by their experiences of the Covid pandemic, and offers a snapshot of the country’s vibrant creative landscape. The pavilion’s curator, art historian Aisha Stoby, encouraged the participating artists to reflect on the past two years, ‘not in literal terms, but rather universally’, and to respond to a question raised by the Biennale’s artistic director Cecilia Alemani: ‘What would life look like without us?’ The result is a quartet of installations that have a broad outlook and resonance, while acknowledging their roots in the country’s landscape, tradition and folklore.  Anwar Sonya and Raiya Al Rawahi, Speed of Art, 2017 – 2022, installation view. Installation consisting of an abstract airplane fuselage and two monitors displaying a filmed performance by Anwar Sonya (five minutes). Commissioned by The Sultanate of Oman Pavilion The oldest of the participating artists, the septuagenarian Anwar Sonya is revered as the father of Omani art, and is best known for richly coloured paintings that convey the evolution of rural life in his country. It comes as a slight surprise that his contribution to ‘Destined Imaginaries’ is not a painting, but rather a filmed performance, based on a previously unrealised proposal by conceptual artist Raiya Al Rawahi, who sadly passed away from cancer in 2017, aged only 30. Titled Speed of Art, Sonya’s and Al Rawahi’s collaborative piece meditates on the relationship between art and technology, imagining a future in which artists are being put out of their jobs by artificial intelligence. The film plays inside what appears to be an abandoned aeroplane fuselage, with Sonya reciting an impassioned soliloquy about the importance of artistic creation in response to prompts from Al Rawahi. The artwork ‘is not meant to be optimistic’, explains Stoby, ‘but Anwar gave a powerful, wonderful performance that introduced this element of hope, and introduced this idea of personal voices that changed my perspective on the theme overall’. Anwar Sonya and Raiya Al Rawahi, Speed of Art, 2017 – 2022, installation view, as above Adjacent, another leading figure on the Omani art scene, Hassan Meer, presents the latest instalment of his ongoing project Reflection from Memories, which explores Omani life between the 1960s and 1970s. This was an era of modernisation and social change, accelerated by the discovery of oil in the sultanate. A lot of Omani diaspora moved back, among them Meer’s grandfather, whose suitcases, letters, family photographs and other personal effects are on view. Hassan Meer, Reflections From Memories, 2009 – 2022, installation view. Installation consisting of found objects from houses in the old town of Muttrah in Muscat, Oman, circa 1960 (antique suitcases, mandoos chests, Omani artefacts, personal notebooks and letters), two photographic projects, one photographic slideshow displayed on a stand-up monitor and two films (ten minutes). Commissioned by The Sultanate of Oman Pavilion Accompanying these are two films by Meer, which the artist explains were inspired by ‘the soul of my grandfather’s old house’. Stoby believes that for many international viewers, ‘it will seem a bit exotic because there’s national dress, and all these objects which they may not recognise. But at the same time, this reflects a period of modernism for all of the Global South, so I hope there will also be a universality in terms of nostalgia and memories.’ Hassan Meer, Reflections From Memories, 2009 – 2022, installation view, as above While Meer’s artwork is rooted in a rapidly modernising Muscat, and particularly the commercial centre of Muttrah, fellow artist Budoor Al Riyami draws her inspiration from Oman’s unique mountainous landscapes. Her installation, titled Breathe (pictured top of this article), is inspired by an igneous rock called peridotite, commonly found in Oman, which ‘inhales’ carbon dioxide – water passing over the rock triggers a mineralisation process, which in turn decarbonises the air. Al Riyami has created sculptures that emulate the appearance of peridotite (a concession to the limited weight-bearing capacity of the ceiling beams at the Arsenale), which hover over small pools of water that display video clips of human hands manipulating the material. Says Stoby, ‘the idea is to ask how it is that we try and shape our environments when our environments are perfectly capable of shaping themselves’. Radhika Khimji, Under, Inner, Under, 2022, installation view. Installation consisting of seven painted textiles, one wooden sculpture, two paintings on wood, one wooden panel and two interlocking tile structures. Commissioned by The Sultanate of Oman Pavilion Concluding the exhibition is a site-specific work by Radhika Khimji, incorporating textiles, sculptures and walls, all based on the Al Hoota Caves, a two-million-year-old cave system in Dakhiliyah, Oman. Famously, it is home to a rare species of fish that has adapted to the lack of natural light and thus lost its ability to see. Khimji imagines these fish emerging from the caves and contemplating their agency: ‘It’s about how we respond to our environments, and whether our environments define us,’ Stoby describes. ‘A lot of Radhika’s work comes back to national identity, and so it was important to have her voice to show the diversity of Oman, which is such a multicultural society.’ Appropriately, the pavilion design is the work of an Omani architect, Haitham Busafi, a co-founder of Oman’s National Center of Architects. Busafi has kept the spotlight on the artists, while deftly dividing the space and controlling light conditions, so viewers can give each installation the time and attention it deserves. Stoby points out that the exhibition structures hint at the influence of Zaha Hadid, who had been Busafi’s teacher at the University of Applied Arts, Vienna: ‘This style lends itself well to the idea of destiny, and a sort of timelessness that exists outside our present moment. It has a pseudo- futuristic aesthetic, which works out nicely with our themes.’ Radhika Khimji, Under, Inner, Under, 2022, installation view, as above Beyond showcasing the talent and creativity of its five artists, ‘Destined Imaginaries’ is a demonstration of soft power, and a symbol of Oman’s eagerness to engage with the world’s key cultural players. A statement from His Excellency Sayyid Saaed bin Sultan Al Busaidi, the pavilion’s commissioner, and undersecretary for the ministry of culture, sports and youth in Oman, emphasises the pavilion’s goals ‘to position Oman on the international cultural map, to raise awareness of the sultanate’s cultural identity at a global level, and to show our commitment to supporting Oman’s cultural development into the future’.  Crucially, there are already plans to take ‘Destined Imaginaries’ on tour in various parts of Oman after the Venice Biennale, so the people of the sultanate can witness the fruits of this cultural investment. ‘We really hope our largest impact will be locally, to introduce this calibre into our art scene and offer this unprecedented level of exposure to our artists,’ says Stoby. Stoby further reveals that the sultanate already has plans to be in future Biennales, including the Architecture Biennale in 2023, which have emerged as a result of the planning of this pavilion. This inaugural pavilion is a clear declaration of cultural intent and prowess, and a promise that there is much more to come. §
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Reclaim the Earth, urge artists at Paris’ Palais de Tokyo

‘Reclaim the Earth’ is both the title and the rallying cry of a new group exhibition at the Palais de Tokyo in Paris. It looks beyond the Western model to other ways of existing in the world, where humans are an integral part of the environment rather than a dominating, and often destructive, force. ‘I am convinced that artists are like sentinels, warning us about the problems of society,’ says exhibition curator Daria de Beauvais. The title comes from a collection of ecofeminist texts published in 1983. It is not a reference to militant feminism, De Beauvais explains, but rather ‘a term we find a lot in different struggles – to reclaim a territory, a sovereignty, an identity – and for different kinds of populations, notably Indigenous.’ Reclaiming the Earth means giving all life forms equal power to act. Kate Newby, it makes my day so much better if i speak to all of you., 2022. Porcelain, minerals, found glass (Paris). Produced at CRAFT (Limoges). Courtesy of the artist and Art : Concept (Paris) The show features 14 artists or collectives, half of them Indigenous. The Palais de Tokyo brought in two scientific advisors to ensure curatorial accuracy. In line with the museum’s own pledge to become more sustainable, 80 per cent of the scenography materials come from prior exhibitions. ‘Reclaim the Earth’ starts outside, in the urban environment, with two works by the New Zealand-born artist Kate Newby. Newby does all of her work in situ, using local materials and techniques, and is a careful observer of her surroundings, including the oft-overlooked details of the places she exhibits. Near an outdoor fountain, she replaced five neglected squares of earth with bricks imprinted with traces like ancestral marks and fossils. On the building itself, Newby removed five damaged glass panes from the 1930s front door, inserting stained glass panes into which she pressed parts of her body – a hand, an elbow, a knee – to create abstract motifs. (The door can only be seen when the museum is closed to the public.) ‘She notices things nobody else does, and showed me the building in another way,’ says De Beauvais.  Newby created one more work by asking the Palais de Tokyo team to pick up all the bits of glass they found on the streets of Paris, then melting the pieces into porcelain shells that she scattered on the floor like a bed of colourful oysters. Top, Asinnajaq, Rock Piece (Ahuriri edition), 2018. Video, 4’2”. Courtesy the artist. Above, Sebastián Calfuqueo, Kowkülen (Liquid Being), 2020. Video, 3’. Courtesy the artist and Patricia Ready (Santiago) Two short videos bookend the exhibition, both of them showing artists literally blending into the landscape. One, by the Canadian Inuk artist Asinnajaq, portrays her emerging from a pile of rocks, a return to the land and a reference to funeral rites. The other reveals Sebastián Calfuqueo, a Mapuche from Chile, in a ‘liquid state’, naked and half-submerged in a river. Yhonnie Scarce, Shadow creeper, 2022. Blown glass yams, stainless steel, reinforced wire. Courtesy of the artist and This Is No Fantasy (Melbourne) In Yhonnie Scarce’s Shadow creeper, a shower of blown glass pieces rains down from the ceiling. Their form was inspired by yams, which are important to the cuisine of Aboriginal Australians. Though beautiful, the glass cloud is meant to evoke the effects of the nuclear tests the British carried out in the Australian desert between 1956 and 1963, crystallising the sand and leaving radiation that persists to this day. Megan Cope, a Quandamooka from Australia, has been directly affected by climate change, her studio destroyed by the recent floods in her country. She created her installation Untitled (Death Song) (pictured top) prior to the event, in 2020. It assembles the tools and debris of mining and drilling: soil augers, oil drums, rocks. The accompanying soundtrack evokes the particular wailing cry of an endangered Australian bird, the bush stone-curlew.  Solange Pessoa, Cathedral, 1990-2003. Hair, leather, fabric. Video, 7’. Rubell Family Collection (Miami). Courtesy of the artist and Mendes Wood DM (Brussels, New York, São Paulo) Animism is a recurrent theme of the show, such as in the installation Catedral, by Brazil’s Solange Pessoa. She took human hair, used as an offering in pagan rites, and attached it to a backing several metres long, rolled onto spools like a long, skinny carpet. Unfurled in the space, it snakes across the floor and up the wall as though alive.  Huma Bhabha, (from left) Receiver, 2019. Painted bronze. The Past is a Foreign Country, 2019. Wood, cork, Styrofoam, acrylic, oil stick, wire, white-tailed deer skull, tire tread. Courtesy of the artist and Salon 94 (New York). God Of Some Things, 2011. Patinated bronze Huma Bhabha’s three totemic figures guard the entrance to a small room showing a film by the Karrabing Film Collective, founded by a group of Aboriginal Australians and the American anthropologist Elizabeth Povinelli. With a substance rubbed onto her skin to make it extra-white, Povinelli assumes the role of the monster in The Family and the Zombie, a satirical tale about Indigenous children playing in a natural setting that is increasingly corrupted by objects of consumption.  Karrabing Film Collective, The Family and the Zombie, 2021. Video, 29’23”. Courtesy of the artists In Study for a Monument, a sort of war memorial, the Iranian-born artist Abbas Akhavan’s fragmented bronze plants lay on white sheets on the floor, like remnants of weapons, or corpses waiting to be identified. The plants are endangered or extinct species from the banks of the Tigris and Euphrates, an area that has repeatedly been subject to conflict and ecological disturbance.  Foreground, Abbas Akhavan, Study for a Monument, 2013-2014. Cast bronze, white cotton sheets. Art Jameel Collection (Dubai). Family Servais Collection (Brussels). Courtesy of the artist, Catriona Jeffries (Vancouver) & The Third Line (Dubai). Background, Thu-Van Tran, De Vert à Orange – Espèces Exotiques Envahissantes –, 2022. Photographic prints on Fuji paper, laminated and framed, alcohol, dye. Courtesy of the artist & Almine Rech (Paris) To either side of this work are two others in which plants take the upper hand. The rebellion of the roots is a series of naïve drawings by Peru’s Daniela Ortiz showing, for example, coconuts falling on the head of Belgium’s interior minister. Facing it, the Vietnamese artist Thu-Van Tran created a botanical panorama in fiery colours, superimposing photos of tropical plants in European greenhouses over images of rubber trees in the Amazon, a comment on how human intervention and colonisation can lead to mutations and invasive species. The implication is clear: if we don’t reclaim the Earth, the Earth might just reclaim us. § Daniela Ortiz, The Rebellion of the Roots, 2020 – ongoing. Acrylic on wood. Courtesy of the artist & Laveronica Arte Contemporanea (Modica) Amabaka x Olaniyi Studio, Nono: Soil Temple, 2022. Soil, metal, stainless steel ropes, fabric (organic cotton, recycled ocean plastic fibre, seaweed fibre). Courtesy of the artists D Harding, INTERNATIONAL ROCK ART RED, 2022. Wool felt made with Jan Oliver, red ochre, gum arabicum, hematite. Courtesy of the artist and Milani Gallery (Brisbane)
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Roketsu offers spectacular Japanese kaiseki cuisine in London

How would you like to transport yourself to Kyoto for a few hours and experience authentic kaiseki cuisine? New Japanese restaurant Roketsu makes this a possibility for Londoners, having just opened its elegant doors in Marylebone. Kaiseki dining is a culinary art form where the taste, textures, and appearance of food are carefully considered, prepared in the ways that will best enhance them, and beautifully presented as a succession of delicious dishes. This lesser-known type of Japanese dining originated as a meal served to Buddhist monks at tea ceremonies – modern diners may expect to be taken on a spectacular sensory journey through unique creations that draw from Japanese heritage whilst embracing Western techniques.  Roketsu’s debut site in London is a significant new destination for the capital, with celebrated chef Daisuke Hayashi standing at the helm. He is one of the world’s only masters of the kaiseki tradition and trained at the triple Michelin-starred kaiseki restaurant, Kikunoi, in Kyoto – globally, Hayashi is at the forefront of progressive next-level Japanese cooking. Under his direction Roketsu offers an exceptional gastronomic experience presented as a ten-course set menu led by fresh seasonal ingredients, which changes monthly. To describe dinner here as exclusive is no overstatement, as the restaurant is made up of only ten seats, at a counter that faces the chefs as they perform their art. A private dining room, seating six, is planned to open in March 2023. Roketsu has a stellar sake selection to accompany such fine food; the drinks menu has been masterminded by Ryosuke Mashio – previously head sommelier at Michelin-starred Umu in London, where he played a major part in creating the award-winning wine list. Over 70 sakes are available by the bottle, with more than 20 available by the glass, and if you prefer the grape to the grain, there are 350 different wines to choose from, with expert advice on the perfect pairing.  This is not an eat and run situation, but rather an evening of exquisite culinary theatre to be savoured over three hours, and played out in an environment especially crafted to enhance each delicate mouthful. The space has been designed in the sukiya style, which is associated with traditional tea houses – a pared-back, streamlined aesthetic characterised by the harmonious use of natural materials, especially wood. The elegant interior of the restaurant was made in Kyoto using Japanese hinoki wood and shipped to London to be assembled by craftsmen from Nakamura Sotoji Komuten, a Kyoto-based company that is one the world’s leading experts in the sukiya style.  The resulting setting is one of restrained elegance – a little piece of Kyoto in the heart of London that offers a beautiful, tranquil space in which to discover the splendour of kaiseki cuisine. §
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