A series of colorful solar facades and photovoltaic murals give the SunRise tower in Alberta, Canada, renewable energy. Once an aging, 12-story residential building, the retrofit by Mitrex with murals by indigenous artist Lance Cardinal can help reduce carbon emissions by using the building-integrated photovoltaics. These are solar panels that don’t look like the regular ones with a bluish tint. Instead, they resemble tiles or panels, with the energy-absorbing technology hiding underneath them. 

The building-integrated solar facades and photovoltaic murals in Alberta, Canada, work as the sunlight hits the surface of the panels. During the retrofit, the company made sure that the system was large enough to meet the energy goals of the project, so they improved the original plan, which was only for a 60 kW system, and increased it to 267 kW. That big jump can help the building exceed the 50 percent carbon reduction target.

all images courtesy of Mitrex

solar facades and photovoltaic murals in alberta, canada

The colorful solar facades and photovoltaic murals outside of the SunRise tower in Alberta, Canada, double as street art. The building-integrated panels come in a mosaic of granite tones and bright orange, yellow, blue, and purple accents. The murals are found on the northern wall of the building, standing tall at 85 feet, by the Edmonton-based Indigenous artist Lance Cardinal. These photovoltaic murals next to the solar facades in Alberta, Canada, are a tribute to First Nations and Chinese cultures, which are part of the history of the area. It is dubbed the world’s largest BIPV mural, and at the time of publishing, it is being officially recognized by the Guinness Book of World Records. The system is not painted but built directly into the solar panel system. 

Mitrex and the building team, including the architect MBC Group and the contractor Chandos Development, worked carefully to make sure the project would be realized. Before the renovation, the energy company studied the aging building’s needs, created energy models, tested panel colors, and planned a rainscreen system to keep the building safe from different weather conditions. In the end, Mitrex’s solar facades and photovoltaic murals were installed on all four sides of the building in Alberta, Canada (the murals being on the northern wall). The total system is 267 kilowatts, enough to create around 180,000 kilowatt-hours (kWh) of energy per year, and it is equal to the amount of power used by 23 homes in one year.

these solar facades and murals in Canada resemble tiles or panels with the energy-absorbing technology

they cover the four sides of the building

construction view of the solar facades and murals of SunRise tower in Canada

the retrofit by Mitrex with murals by indigenous artist Lance Cardinal can help reduce carbon emissions

view of the the retrofit by Mitrex with murals by indigenous artist Lance Cardinal

project info:

name: SunRise Retrofit

company: Mitrex | @mitrex_solar

artist: Lance Cardinal | @lancecardinal75

architect: MBC Group

contractor: Chandos Development | @chandosltd

location: Edmonton, Alberta, Canada 

The post colorful solar facades and photovoltaic murals power up the sunrise tower in alberta, canada appeared first on designboom | architecture & design magazine.

Florim‘s Authentic Luxe porcelain stoneware collection moves away from decorative excess to emphasize the intrinsic elegance and tactile substance derived from classic travertines, limestones, and marbles. Embracing the rising trend of quiet luxury, these carbon neutral ceramic surfaces are defined by soft tones, subtle mineral details, and rich but restrained veining that offer visual harmony and material depth. The minimalist aesthetic is expressed through a neutral color palette, accentuated by gentle chromatic inflections that remain consistent with the collection’s understated style, all while conveying calm, warmth, and a distinct sense of enduring quality.

Florim’s Authentic Luxe collection recalls classic stone and marble in ceramic surfaces | all images courtesy of Florim

FULLY CARBON NEUTRAL ARCHITECTURAL SURFACES

Florim is an Italian manufacturer known for its architectural surfaces that combine craftsmanship, technological precision, and environmental responsibility. As part of the CarbonZero program, every surface in the Authentic Luxe collection is fully carbon neutral. From raw material extraction and production to transportation, installation, and use, every stage of Florim’s production is measured by its environmental impact to align with the company’s long-term sustainability goals. Wherever emissions remain, they are offset through certified projects that support clean energy production in developing countries.

capturing the visual signature of marble with chromatic vitality

AUTHENTIC LUXE OFFERS SUSTAINABLE STONE AND MARBLE OPTIONS

Authentic Luxe not only offers sophisticated surfaces, but a material statement of accountability — one that supports high-end design without compromising on sustainability. Its collection reinterprets classic stone varieties — travertine, limestone, and marble — ensuring they meet contemporary aesthetic demands while retaining their intrinsic character and appeal.

The collection consists of two travertines in Gold and Pearl tones, four limestones in shades of Jura, Chablis, Montpellier, and Dordogne, and two marbles, Aubisque and Nuage. This curated selection of material tones ensures wide stylistic versatility, allowing for the creation of exclusive environments that prioritize a sense of well-being and tranquility without overt display.

a minimalist aesthetic conveying calm and warmth

Beyond the primary surfaces, Authentic Luxe is complemented by three distinct dimensional additions. The Honeycomb mosaic subtly references the ancient cloisonné technique, offering intricate yet refined detail, while the Rustic Edge motif features irregular edges, embracing the natural imperfection of stone. Finally, Slats provides a precise, symmetrical pattern, creating a subtle two-dimensional interplay.

craftsmanship, technological precision, and environmental responsibility combined

every Authentic Luxe surface is fully carbon neutral

reinterpreting classic stone varieties for contemporary demands

delicate surface textures with an authentic, organic feel

capturing the visual signature of marble with chromatic vitality

soft matte finishes recalling natural stone nuances

understated design thoughtfully enhancing architectural spaces

Authentic Luxe supports high-end design without compromising on sustainability

project info: 

name: Authentic Luxe

company: Florim | @florim_ceramiche

material: Porcelain Stoneware

colors: Gold and Pearl Travertine, Jura, Chablis, Montpellier, and Dordogne limestone, Aubisque and Nuage marble

finishes: Matte Leather, Matte Silk, Matte, Glossy

The post florim’s authentic luxe reinvents classic stone and marble surfaces with carbon neutral design appeared first on designboom | architecture & design magazine.

At ETH Zurich, scientists develop a building material that is alive and store carbon dioxide from air using growing bacteria and hydrogel. The research has already been applied to the 3D printed biostructures inside the Canada Pavilion at the Venice Architecture Biennale 2025 as well as in Dafne’s Skin at the 24th International Exhibition in Triennale Milano. The team’s goal is to make living materials that can be used for construction and to capture and store carbon dioxide from air using photosynthesis. To achieve this, they combine active cyanobacteria with hydrogel, and as a result, they can shape it using a 3D printer. 

The living material, then, grows, and as it does, removes the carbon dioxide from the air. The scientists add that the material only needs sunlight, a kind of artificial seawater with nutrients, and carbon dioxide to survive, and because of this, they believe it can be used in architecture to store carbon, which in turn can help fight climate change. The building material that stores carbon can also cause minerals to form with a chemical reaction that happens during photosynthesis. These solid minerals trap the carbon dioxide in a more stable way than biomass does.

all images courtesy of ETH Zurich; photos by Yifan Cui and Dalia Dranseike, unless stated otherwise

cyanobacteria is able to form and build up minerals

A reason that the building material that stores carbon dioxide is possible to use for architecture is because as the cyanobacteria is able to form and build up the minerals inside the living object, it becomes harder and stronger eventually, and the structure becomes solid over time. In the published study, the scientists document their laboratory tests where they discovered that the building material kept absorbing carbon dioxide for over 400 days, or more than a year. Then, most of the captured carbon was stored as solid minerals inside the material. 

The scientists have also used hydrogel as the base to mix cyanobacteria with because it is light enough to allow nutrients, and even carbon dioxide, to pass through it and spread out within it evenly. The team turns to 3D printing to shape the building material that stores carbon dioxide, and they’ve also created tailored shapes that allow the light to come inside the object so the nutrients can spread inside and bacteria can stay active for more than a year inside the material. For the scientists, this is a low-energy, eco-friendly way to capture carbon dioxide from the air.

view of a 3D printed lattice structure using cyanobacteria in hydrogel

Projects where the living material is applied to

Some projects have already started applying the building material that stores carbon dioxide to their works. The first is in Picoplanktonics, which is an exhibition of 3D printed biostructures inside the Canada Pavilion at the Venice Architecture Biennale 2025. Led by Andrea Shin Ling, a doctoral student at ETH Zurich and lead designer of the Living Room Collective, the project uses cyanobacteria on a large scale to capture and store carbon dioxide from the air. It is an example of how the bacteria hardens the structure enough to be used in architecture and construction.

The second is at the 24th International Exhibition at Triennale Milano through an installation called Dafne’s Skin. A collaboration between MAEID Studio and Dalia Dranseike, it is part of a larger exhibition called We the Bacteria: Notes Toward Biotic Architecture, which looks at how living things can be used in architectural design. The structure is covered with wooden shingles where microorganisms are growing on the wood, creating a green layer over time. This green layer, called a patina, is usually a sign of aging or decay, but here it’s part of the design, changing the look of the wood while absorbing carbon dioxide from the air over time.

3D-printed pineapple with cyanobacteria growing inside after a development period of 60 days

3D printed cup that can trap carbon dioxide from air

detailed view of Dafne’s Skin at Triennale Milano

living patina on wood (II): Microbial texture (visualisation, generated with AI) | image by Lorem / Luca Pagan

Picoplanktonics in Canada Pavilion at Venice Architecture Biennale 2025 | photo by Valentina Mori | read here

the project uses cyanobacteria on a large scale to capture and store carbon dioxide

project info:

name: Dual carbon sequestration with photosynthetic living materials

institutions: ETH Zurich, University of Wyoming | @ethzurich, @uofwyoming

scientists: Dalia Dranseike, Yifan Cui, Andrea S. Ling, Felix Donat, Stéphane Bernhard, Margherita Bernero, Akhil Areeckal, Marco Lazic, Xiao-Hua Qin, John S. Oakey, Benjamin Dillenburger, André R. Studart, Mark W. Tibbitt

study: here

The post scientists create living building material that stores carbon dioxide using growing bacteria appeared first on designboom | architecture & design magazine.

MVRDV‘s solar panel-clad Sun Rock has topped out at the Changhua Coastal Industrial Park in Taiwan, revealing a presence that feels like both architecture and landscape. Designed for Taipower, the state-owned utility company, the operations storage facility is set to play a major role in Taiwan’s renewable energy transition, expressing its purpose through form and material. On site, the building appears to absorb sunlight from every angle, expressing its function through a geometry tailored for efficiency. The design for Sun Rock was first unveiled in January 2022 — see designboom’s previous coverage here.

The Sun Rock responds directly to its solar-rich context with a rounded, domed silhouette that shifts in profile from north to south. This gradient is intentional. MVRDV has sculpted the building to catch early and late light with its northern dome while the southern slope captures the more intense midday sun. This way, the structure stands as an instrument calibrated to its environment.

Sun Rock tops out in Taiwan to reveal its full solar-oriented form | images © Reiju Construction Co, Ltd.

Orientation as Strategy

The architects at MVRDV design Taiwan’s Sun Rock to feature a facade whose geometry is informed by the needs of solar collection. Each pleat serves as both a mounting surface for photovoltaic panels and a modulation of light and shadow. These pleats vary in angle, a subtle optimization that allows the panels to operate at peak efficiency throughout the day. Interwoven among them, windows are placed with discretion, maintaining internal function without compromising energy gain.

The structure is expected to generate close to one million kilowatt-hours of energy annually, enough to render it entirely self-sufficient. But the building’s ambition extends further. With additional PV coverage under consideration, it could reach an output of 1.7 million kWh per year, contributing excess energy to the grid and underlining the building’s identity as both infrastructure and resource.

the building supports Taipower’s green energy transition

sun rock shaped by A solar Surface

The Sun Rock will function as an active part of Taipower’s operations, with workshops, offices, and equipment storage. However, its expressive exterior elevates it into something symbolic. MVRDV co-founder Winy Maas elaborates: ‘We cladded the entire facade with photovoltaics… allowing the building to become a tool of energy production.’ The building is both a generator and a generator’s home, making visible the systems it supports.

Overall, it integrates over 4,000 square meters of photovoltaic panels into its curved facade, each one oriented with intention. This design, as MVRDV notes, is about pushing the potential of every surface. The result is an active skin, an architecture tuned to performance without sacrificing visual impact.

a rounded form is designed to maximize solar exposure throughout the day

its facade is covered in photovoltaic panels angled for optimal energy generation

the structure is expected to produce nearly one million kilowatt-hours of energy annually

project info:

project title: Sun Rock

architecture: MVRDV | @mvrdv
location: Changhua County, Taiwan
founding partner in charge: Winy Maas
partner: Wenchian Shi
design team: Hui-Hsin Liao, Daniel Diez, Mirco Facchinelli, Carolina Martin Peñuela, Chi-yi Liao, Tseng-hsuan Wei
MVRDV next: Yayun Liu

client: Taipower 

images: © Reiju Construction Co, Ltd.

co-architect: Y.C. Hsu Architect & Associates
contractor: Reiju Construction Co., Ltd.
structural engineer: Chih-hung Kao Structural Engineer & Associates
MEP: Chia Feng Mechanical & Electrical Corp.

The post skin of solar panels takes shape as MVRDV’s sun rock tops out in taiwan appeared first on designboom | architecture & design magazine.

In a quiet Venetian courtyard, a concrete structure stands as the result of an experimental collaboration between Holcim and ELEMENTAL. At first glance it’s austere, shaped as a blocky sectional module of precast panels. Most important is its material of biochar concrete and the story it tells. At the 2025 Venice Architecture Biennale, sustainable construction firm Holcim and Chilean architecture studio ELEMENTAL unveil a full-scale prototype that demonstrates a new way of building which resists the choice between climate action and social housing. Instead, it proposes a method to both sequester carbon and propose answers to urgent housing needs. designboom met with ELEMENTAL founder Alejandro Aravena in Venice to learn more about the collaborative project.

‘Whoever comes with solutions and technological developments that lower the carbon footprint of building is welcome,’ Aravena tells designboom in an interview. This collaboration with Holcim emerged from years of overlapping commitments to climate responsibility and socially-responsive architecture. Aravena, a Pritzker Prize-winner, recalled his team’s first encounter Holcim during post-earthquake reconstruction efforts in Chile. ‘It was pragmatic: people need places to live, and they’ll build them whether or not governments or markets are ready. This project explores what happens if we meet that inevitability with better tools.’

Alejandro Aravena (Founder, ELEMENTAL), Miljan Gutovic (CEO, Holcim) | image © designboom

elemental notes architecture’s human-centric process

The prototype on display at the 2025 Venice Architecture Biennale is a deceptively modest proposal by Holcim and ELEMENTAL. It is a structural sanitation unit that addresses core needs — water, shelter, and infrastructure — through an expandable frame. This is ‘incremental design,’ a method pioneered by ELEMENTAL in which housing is conceived as a process over a finished product. ‘You have to reframe your role as an architect,’ Aravena explained. ‘It’s not about control. You start the thing, but then you have to let it go.’ According to Alejandro Aravena, the role of the architect is to provide a sturdy beginning. He recognizes the inevitability of self-construction, especially in the Global South, where most new square-meters are built by individuals, not design studios.

‘In most developing countries, public housing is also property. It’s the biggest transfer of public money to private families,’ Aravena noted. ‘If we can help it gain value by being adaptable, expandable, better placed, it becomes more than shelter. It becomes an economic investment for its owners and occupants.’ The structure in Venice reflects decades of this thinking. ELEMENTAL’s earliest incremental homes tripled in value by allowing for self-built expansion.

Holcim and ELEMENTAL debut a carbon sink housing prototype at the Venice Biennale | image © Celestia Studio

carbon neutrality through holcim’s biochar concrete

Aside from the process, the Venice Architecture Biennale display is a celebration of a new material logic by Holcim and ELEMENTAL. At its heart is the construction company’s new carbon sink technology, which introduces into concrete a charcoal-like material called biochar, which is derived from organic matter. Biochar traps carbon permanently, preventing its release into the atmosphere at end of life. According to the team, one kilogram of biochar can prevent up to three kilograms of carbon emissions. What matters is that it performs with no compromise. It’s not weaker, not slower, not more expensive. Applied to cement, mortar, and concrete, this biochar formulation creates what Holcim calls ‘net-zero concrete,’ here used with 100% recycled aggregates in a closed-loop construction process.

Holcim’s biochar concrete sequesters carbon while maintaining full performance | image © Celestia Studio

‘Normally, the world moves by example,’ Aravena tells designboom, describing his optimism for the project’s impact. ‘When we proposed our first project in 2003, people said it wouldn’t work. Too idealistic. Too expensive. Too slow. So we built it. Then we built it again, in different climates, on flat land, on slopes. The skepticism faded.’ This prototype is similarly direct. It is a built object, not a rendering or a speculative diagram. ‘You can’t argue with a real thing,’ Aravena continues. ‘Some people will find excuses, but others, especially policymakers and engineers, will see that there’s no technical reason not to do it.’

For both Holcim and ELEMENTAL, the project is not disruption for disruption’s sake, but a response to the realities of the built world. ‘Forget utopia. What’s pragmatic is that people will keep building,’ Aravena reflects. ‘So let’s make what they’re building work for them, for the environment, for future generations.’ That vision echoes in the rough concrete shell by the canal. In a year when the Biennale theme circles back to ‘Time Space Existence,’ this prototype quietly reframes each: time as carbon accounting, space as participatory infrastructure, existence as inhabitation with agency.

ELEMENTAL’s incremental housing approach empowers residents | image © Celestia Studio

the prototype addresses basic needs with a precast core designed for rapid deployment | image © Celestia Studio

Aravena explains that most housing is self-built and must be treated as part of the solution | image © Celestia Studio

recycled aggregates and net-zero biochar technology reduce environmental impact | image © Celestia Studio

Aravena hopes the project will serve as an inspiring, real-world example | image © Celestia Studio

the goal is not to control the process but to channel the energy of those who build | image © designboom

Holcim and ELEMENTAL will exhibit the carbon sink unit in venice through November | image © Celestia Studio

project info:

event: 19th International Architecture Exhibition of La Biennale Di Venezia

architect: ELEMENTAL (Alejandro Aravena)

construction: Holcim

photography: © designboom, © Celestia Studio

The post ‘examples move the world’: holcim and ELEMENTAL’s net-zero prototype at venice biennale appeared first on designboom | architecture & design magazine.

In their first collaboration, Swiss bathroom brand LAUFEN and designer Yves Behar present VOLTA – a sink that takes the humble wash basin to new environmental and poetic heights. Unveiled as part of the ‘A New Dimension of Water’ exhibition during Milan Design Week 2025, the product builds on the brand’s carbon-free production process and Behar’s interest in connecting sustainable technology with everyday rituals. The basin introduces a sculptural, river-like flow that reduces water usage and simplifies cleaning, reflecting the duo’s shared belief in purposeful design and environmental responsibility. 

designboom visited the exhibition and spoke exclusively with the designer Yves Behar and Marketing and Design Director of Roca Group Marc Viardot to learn more about the ideas behind VOLTA, and how ceramic design can become a platform for sustainability and sensory experience.

‘There was no reason to reinvent the wash basin. With Saphirkeramik, we had already spent 12 years reinventing typologies, aesthetics, proportions, textures… but this was about new functionality,’ starts Viardot our conversation in Milan, reflecting on how the partnership began.

LAUFEN and designer Yves Behar present VOLTA | all images courtesy of LAUFEN

A COLLABORATION POWERED BY THE WORLD’S FIRST ELECTRIC KILN

Central to the project is LAUFEN’s electric kiln, the world’s first tunnel kiln for sanitary ceramics powered entirely by renewable energy. Developed in collaboration with German company Keramischer Ofenbau, a technological leader in ceramic kiln engineering, this groundbreaking production technology eliminates the need for gas-fired kilns. It also laid the foundation for the partnership between the Swiss company and the industrial designer. More than an innovation in manufacturing, the electric kiln signals a shift in ceramic design – one that brings sustainability into dialogue with both functional and aesthetic ambition.

‘The starting point was the electric kiln – a major innovation,’ says Viardot. ‘It’s the world’s first CO2-free ceramic production line. We are currently the only ceramics factory doing this, which is a huge leap, and hopefully just the beginning. That’s where our thinking began: the kiln already fires all the products in the Gmunden factory today, but we started wondering what else it could unlock.’

developed using LAUFEN’s fully electric kiln, VOLTA reflects a shared vision for sustainable ceramic production

RECREATING RIVER STREAMS IN CERAMIC DESIGN

For Yves Behar, the electric kiln represents more than just a breakthrough in ceramic production – it sets the tone for a design approach that seeks to optimize sustainability at every stage, including how the basin is used. With VOLTA, he reimagines the conventional wash basin by introducing a sculpted water path that offers a dynamic and intuitive experience. Inspired by the movement of natural streams, the design gently guides water through a central channel, helping it carry away debris more efficiently. The result is a more natural interaction that reduces water consumption and simplifies cleaning.

‘In most bathrooms, water is delivered invisibly and disappears quickly. It’s purely functional,’ Behar tells designboom. ‘With VOLTA, we wanted to create an experience closer to nature. The form emerged from that intention. The idea of a river or a vortex was in the very first sketches.’

inspired by the movement of natural streams, the design guides water through a central channel

Transforming the concept of a river into a functional ceramic form was no small feat. Both Behar and Viardot faced technical and conceptual challenges as the prototypes began to take shape. Without any digital simulation tools to predict the water flow, the team had to rely on physical experimentation, building full-scale ceramic prototypes, adjusting angles, and observing how the water moved in real-time. The sink’s distinctive geometry is made possible by LAUFEN’s Saphirkeramik, a high-performance material that enables the precise formation of thin lips and intricate contours, pushing the boundaries of what ceramic can do.

‘The main challenge was not knowing if it would work,’ recalls Behar. ‘There wasn’t any software to simulate this – we had to build real, full-size prototypes to see how water would behave. Persevering in an unknown direction was the biggest challenge. You can always make something “pretty,” but doing something new and functional takes courage and belief. Without Saphirkeramik, the design would’ve looked thicker, heavier – less appealing. That material innovation from Marc and LAUFEN really enabled us to pull this off.’

fine edges and intricate forms are made possible by using Saphirkeramik

The collaboration marks more than just the launch of a new product – it signals a broader vision for the future of bathroom design. For Behar and Viardot, VOLTA is not a standalone object but the beginning of a larger exploration into reducing water consumption and incorporating natural elements into home design. Its sculptural form and functional principles have the potential to evolve into a series of products aimed at changing the way we interact with water.

‘This is more than just a product. It’s a fundamental innovation with many applications,’ concludes the designer. ‘We see it not only as a product, but as a platform for reducing water consumption, for exploring the poetics of water.’

the basin reduces water use and simplifies cleaning – blending form, function, and environmental intention

Volta was unveiled at the ‘A new Dimension of Water’ exhibition during Milan Design Week 2025

its intention is to create a closer experience to nature

Behar and Viadot view the basin as a hallmark for broader water-conscious design

project info: 

brand: LAUFEN | @laufenbathrooms

product: VOLTA

designer: Yves Behar | @yvesbehar

material: Saphirkeramik

The post yves behar explores ‘poetics of water’ with LAUFEN VOLTA wash basin appeared first on designboom | architecture & design magazine.

A curving, solar-clad mass timber structure is set to rise from the historic grounds of New York City‘s Governors Island. The Skidmore, Owings & Merrill (SOM)-designed structure, set to complete in 2028, will house the upcoming Center for Climate Solutions. While earlier plans for the net-zero campus were unveiled in April 2023, the design has since been updated to reveal a simplified building, its sloping rooftop punctuated with ribbon-like skylights. A research hub masquerading as architectural sculpture, the project toes the line between radical environmental ambition and deft urban insertion, reshaping one of the city’s most iconic islands in the process.

visualizations courtesy The New York Climate Exchange and SOM

new york city’s ambitious climate statement

The Center for Climate Solutions on Governors Island will stand as a monumental statement about where the city’s priorities lie in a warming world. Originally born out of a 2020 rezoning proposal, the project has evolved into a consortium-driven initiative led by The New York Climate Exchange, anchored by Stony Brook University. The team at SOM first joined the effort in 2023, bringing its signature clarity and global-scale design expertise to the table.

The center will function as a year-round campus and incubator, expected to serve thousands annually — including 600 postsecondary students, 6,000 workforce trainees, and up to thirty startups focused on climate solutions. More than a think tank in isolation, the campus will support K–12 education programs and house new initiatives like the Trust’s Living Lab and the expansion of the Urban Assembly New York Harbor School, reinforcing the island’s longstanding ties to public service and education.

the Center for Climate Solutions is designed by SOM with a curving, solar-clad mass timber structure

an open, mass timber structure

SOM’s updated renderings show a campus raised eight feet above the current grade to combat rising sea levels — a subtle but vital architectural gesture. Mass timber and expansive glazing define the material palette, while large-format windows frame natural views and open the interiors out toward the waterfront. A newly revealed convening hall sets the tone for public engagement, with green spaces and outdoor labs threaded throughout, offering flexibility and functionality in every season.

The design of the Center for Climate Solutions on Governors Island continues to evolve toward fluidity, quite literally. The building’s sinuous form echoes the island’s coastal setting, while its solar roof now ripples like a wave, creating a dynamic gesture visible from the harbor. This motion-driven form is more than just visual flourish—it represents a tectonic shift in architectural language toward biomimicry and adaptability.

a wave-like solar roof adds a sculptural element visible from Yankee Pier

The project aims for True Zero Waste certification and full alignment with the Living Building Challenge, a high bar that no current building in New York has reached. With these goals, the Center for Climate Solutions on Governors Island is expected to become one of the most environmentally ambitious projects in the country, deploying energy-positive strategies and zero-waste operations from the ground up.

While Governors Island has been long-known as a summertime escape, it is preparing for a new identity. It will become a climate-forward, year-round space for research, education, and public dialogue. The Center for Climate Solutions will host talks, exhibitions, and events to engage New Yorkers and visitors alike — positioning the island as both a Saturday getaway for New Yorkers, and as a proving ground for the sustainable city of the future.

SOM’s design elevates the site by eight feet to prepare for future sea level rise

the campus will serve students, researchers, and businesses focused on climate science

project info:

project title: Center for Climate Solutions

architecture: Skidmore, Owings & Merrill (SOM) | @skidmoreowingsmerrill

location: Governor’s Island, New York, NY

collaborator: Stony Brook University | @stonybrooku

completion: expected 2028

visualizations: courtesy The New York Climate Exchange and SOM

The post SOM updates design for climate exchange laboratory on new york’s governors island appeared first on designboom | architecture & design magazine.

Templa and ALLIED Feather + Down team up to create a biodegradable down puffer jacket that completely disappears in around five years. The design teams produce it using 800-fill power-down insulation combined with biodegradable synthetic fabrics. When placed in an anaerobic environment, the biodegradable down puffer jacket completely decomposes from Earth. It is an intentional design to help reduce the production’s carbon footprint.

The biodegradable down puffer jacket’s trimmings are by AAG, with the silhouettes from Templa. The design teams say that down is suitable for use in any sustainability-minded apparel program. ‘Not only is it biodegradable, but it is recyclable and boasts an exceedingly low carbon footprint as a raw material. It’s the perfect insulation to combine with biodegradable fabrics and trims,’ says Matthew Betcher, creative director with ALLIED Feather + Down.

all images courtesy of Templa and ALLIED Feather + Down | photos by Ken Claes

99 percent biodegradable down puffer jacket 

The biodegradable down puffer jacket is due for release in September 2025 as part of Templa’s FW25 – Edition 12 Collection. Before the launch, Templa and ALLIED Feather + Down have already tested their outerwear. The design teams share that all fill, trims, and fabrics are 99 percent biodegradable, backed by testing by Amni Soul Eco by Solvay and CiCLO. In line with the accessory, ALLIED Feather + Down announces the start of its Future Now: program with AAG and Templa, beginning with the Designing to Disappear project.

Part of the initiative is to produce recyclable outerwear made using biomaterials. In the meantime, the biodegradable down puffer jacket is a 2024 ISPO Award winner. Anati Rakocz, Founding Partner with Templa, says the project is more than just an interesting silhouette or new technology. ‘It is about making responsible choices for meaningful change. And we’re grateful that our efforts, alongside AAG and Allied Feather + Down, have been acknowledged by our industry leaders, reinforcing our belief in the power of collaboration for the greater good,’ she adds.

Templa and ALLIED Feather + Down team up to create a biodegradable down puffer jacket

when placed in an anaerobic environment, the outerwear completely decomposes from Earth

the design teams produce it using 800-fill power-down insulation

the outerwear also contains biodegradable synthetic fabrics

the outerwears’s trimmings are by AAG, with the silhouettes from Templa

all of the jacket’s fill, trims, and fabrics are 99 percent biodegradable

project info:

name: Biodegradable down puffer jacket

design: Templa, ALLIED Feather + Down | @templa_projects, @alliedfeatheranddown

photography: Ken Claes | @ken.claes

The post biodegradable down puffer jacket by templa and allied feather + down decomposes in 5 years appeared first on designboom | architecture & design magazine.

The Block Research Group at ETH Zurich develops a lightweight and reusable formwork system that reduces the use of concrete and steel in construction. Called Unfold Form, the fan-shaped structure led by student and researcher Lotte Scheder-Bieschin uses up to 60 percent less concrete and 90 percent less steel. This is compared to the conventional reinforced concrete floor slab. In this case, the reusable formwork system can reduce carbon emissions and material waste that leave environmental footprints.

The Unfold Form is a new method for constructing reusable vaulted concrete floors in unreinforced concrete using less steel in construction. The mold is made of lightweight plates connected by textile hinges. These plates are folded flat for transport and then unfolded like a fan into a self-supporting shape at the construction site. Once unfolded, the formwork can hold 1,000 kg of concrete. So, instead of using reinforcement steel, the reusable formwork system is robust because of its specific curved shape. This is a case of the ETH Zurich team’s reusable formwork system reducing concrete and steel in construction.

all images courtesy of ETH Zurich and Block Research Group | photos by Andrei Jipa, unless stated otherwise

ETH zurich’s Unfold Form relies on geometry-based principles

The reusable Unfold Form by The Block Research Group at ETH Zurich relies on geometry-based principles rather than traditional materials like concrete and steel in construction. Its fan-shaped, curved, and foldable creases made of bending-active plates allow for a self-supporting, corrugated structure. In return, these ridges make the structure stiff enough to keep it from bending or collapsing and let the system distribute weight evenly. 

Design-wise, the team – which comprises Lotte Scheder-Bieschin, Mark Hellrich, Dr. Tom Van Mele, and Dr. Philippe Block – uses computational co-design to devise the formwork and shell structure. The materials they work with to create the reusable formwork system with less concrete and steel in construction include PVC-coated polyester textile and 8 mm-thick plywood plates. The system is delivered as a kit that can be assembled on-site in just 30 minutes without any special skills or tools needed since it opens like a fan.

the Block Research Group at ETH Zurich develops a lightweight and reusable formwork system

Testing the system in Zurich and Cape Town

The research team has already put their reusable formwork system in place: one in Zurich and another in Cape Town. In both areas, the system results in just 24 kilos and measures 160 x 40 x 25 cm. They’re able to transport the compact, flat-packed formwork as checked luggage by plane from Switzerland to South Africa. On top of that, they’re able to reuse the same mold across multiple casting cycles, all the while not losing the structure’s quality.

The test gives them a concrete shell, spanning 3 meters by 1.8 meters, weighing 1,000 kilos in total, is 5 centimeters at its thinnest, and 13 centimeters at its thickest. They use a circular fill to complete the floor system, and the corrugations provide structural height for live loads. Moving forward, the team collaborates with NonCrete, who has developed a bio-concrete based on chipped alien invasive vegetation. They’re also looking into consistently using the formwork system as well as the resulting shell floor to combat wasteful molds and inefficient slabs.

the reusable formwork system that reduces the use of concrete and steel in construction

called Unfold Form, the formwork system can create a fan-shaped structure

the reusable formwork system can reduce carbon emissions and material waste

the mold is made of lightweight plates connected by textile hinges | from here on, photos by Lotte Scheder-Bieschin

the structure relies on geometry-based principles rather than traditional materials

view below the structure

the reusable formwork system is robust because of its specific curved shape

once unfolded, the formwork can hold 1,000 kg of concrete

the team uses computational design to devise the formwork and shell structure

project info:

name: Unfold Form

institution: ETH Zurich | @ethzurich

team: Block Research Group | @blockresearchgroup

researchers: Lotte Scheder-Bieschin, Mark Hellrich, Dr. Tom Van Mele, Dr. Philippe Block

photography: Andrei Jipa, Lotte Scheder-Bieschin

The post ETH zurich’s light and reusable formwork system reduces concrete and steel in construction appeared first on designboom | architecture & design magazine.

Florian Busch Architects’ (FBA) newly completed House W in Nakafurano, Hokkaido, marks the firm’s first project that generates more energy than it consumes. Rather than achieving this carbon neutrality through compact design, the solution lies in breaking up the structure. A young family from Tokyo commissioned FBA to design a home on the western edge of the Furano Plateau, a 25-kilometer (15.5 mile)-long and 5-kilometer (3 mile)-wide stretch known for its cold, snowy winters and mild summers. The team’s goal was ambitious: to create a building entirely independent from the local power grid, achieving net-zero energy consumption.

In reality, House W surpasses this objective, producing nearly twice the energy it consumes over the course of a year. The family selected a site in the middle of active agricultural land, prioritizing functional farmland use over picturesque countryside aesthetics. The plot was previously home to a farmer’s barn, and the surrounding landscape consists of rice paddies, asparagus fields, irrigation channels, and roads. This setting offers an open, largely man-made natural environment.

images © Florian Busch Architects

florian busch: ‘a house is a plant for living with’

Architect Florian Busch challenges Le Corbusier’s 1923 notion of a house as a ‘machine for living in,’ suggesting instead that ‘a house is a plant for living with.’ The clients requested a simple wooden structure, much like a traditional barn. However, while a barn’s purpose is primarily passive –providing shelter for tools — House W must actively engage with its surroundings, adapting to natural conditions to sustain the family’s daily life. The design concept envisions a home that behaves like a plant, responding dynamically to its environment and utilizing available resources.

The immediate surroundings include agricultural fields, irrigation channels, roads, and power lines. However, in the distance, the Furano Plateau offers a striking panorama. The site is framed by the Tokachi mountain range to the east, rolling hills to the northwest, and Mount Furano Nishi to the southwest. House W’s design maximizes these contrasting perspectives. The property features a natural water source with a stable flow and temperature year-round. FBA integrates a heat pump system to harness this resource, providing underfloor heating and hot water for the house.

The site’s flat terrain is also ideal for solar energy collection. Unlike conventional approaches where photovoltaic panels are added later in the design process, House W incorporates solar performance as a core design element from the outset. The building’s ‘solar skin’ consists of a dark, rigid exterior that houses integrated photovoltaic panels, forming an energy-generating surface. Openings are strategically positioned not by cutting into this skin but through a more radical design approach.

Florian Busch Architects’ House W generates more energy than it consumes

Growing Through Modularity

Initially conceived as a compact volume resembling a barn, early design studies by Florian Busch Architects explored various ways to optimize House W’s orientation toward three main directions. Instead of polygonal footprints or branching structures, the final design breaks the building into two rotated volumes, aligning their short ends with the eastern and northwestern mountain views. This creates an interstitial space facing Furano’s ski slopes to the southwest.

This strategy maintains the simplicity of the original compact form while revealing a contrasting interior: a soft, wooden core sheltered within a hard, homogeneous exterior. The interstitial space serves as a crucial climate regulator, controlling movement and airflow within the home. Adjustable louvers modulate sunlight, blocking it in the summer and allowing warmth to enter in the winter.

The idea of dividing the structure originated from the clients’ initial request to phase construction due to market volatility. While phases one and two were ultimately built simultaneously, a third phase — comprising a shed for storage and a workshop — was added before the main house was even completed. The modular design allows for future expansion while preserving architectural integrity. The shed, positioned parallel to the road and slightly lower in height than the main house, appears as the first of multiple potential black volumes. This adaptable layout ensures that additional structures can seamlessly integrate into the existing design.

a young family moves from Tokyo to the countryside for a self-sufficient home

inspired by a plant, the design actively engages with its environment

panoramic views frame farmland, infrastructure, and distant mountain ranges

a natural water source powers a heat pump for heating and hot water

House W serves as a prototype for sustainable rural living

a solar skin integrates photovoltaic panels into the building’s exterior

project info:

name: House W

architecture: Florian Busch Architects | @florianbuscharchitects

location: Nakafurano, Hokkaido, Japan

ground floor area: 163 square meters

completion: 2024

photography: © Florian Busch Architects

design team: Florian Busch, Sachiko Miyazaki, Yutaro Osawa, Reo Shima, Christian Baumgarten
structural engineering: Kawata Tomonori Structural Engineers (Tomonori Kawata)
consultant: Jan Warzecha (integrated energy concept)
contractor: Hashimoto Kawashima Corp.
environmental engineering: ARIGA Planning Co., Ltd. (geothermal)
environmental engineering: Clenergy Japan (photovoltaics)

The post florian busch architects’ modular ‘house W’ generates more energy than it consumes appeared first on designboom | architecture & design magazine.