As one of three shortlisted proposals in a housing design competition, the 34-storey Wooden Skyscraper is presented by architect C. F. Møller, architect Dinell Johansson and consultant Tyréns as a vision of future housing that would be cheaper, easier and more sustainable than typical steel and concrete constructions.

"The main reason it hasn't been done before is that concrete and steel have a big part of the market," C. F. Møller architect Ola Jonsson told Dezeen. "But now the building industry has started taking responsibity for the environment."

He continued: "Construction accounts for around 30-40 percent of CO2 produced in the world globally and if you look at the CO2 released in the production of wood it is a lot better than steel or concrete."

According to Jonsson, using wood could even be a cheaper alternative, as it is a lighter material that costs far less to transport. It is also more fire-resistant than steel or concrete.

"We have a long history of building wooden structures in Sweden," he explains. "We have a higher knowledge of how to use the wood those days and we know that glued or nailed wood does have very strong construction qualities."

If built, the 34-storey building would exceed the height of the nine-storey Murray Grove tower in London, as well as a proposed 20-storey tower in Vancouver by architect Michael Green and a Swedish tower approved at 30 floors. "I've seen sketches of other buildings, but we are definitely at the highest end of this discussion," said Jonsson.

Wooden pillars, beams, walls, ceilings and window frames will all be visible through the building's glass facade. The presented designs also include a concrete core, although Jonsson says this could be replaced with wood. "We believe a modern building should use every material for its best purpose," he adds.

The winning entry in the competition, organised by Swedish building society HSB Stockholm, is scheduled to open in 2023 to coincide with the organisation's 100th birthday. Anyone can vote for the winner using the HSB Stockholm Facebook page.

Other projects by C. F. Møller include an art and craft museum completed recently in Norway and a centre for entrepreneurs with a green fibre-cement staircase.

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Here's some more information from C. F. Møller:

Wooden Skyscraper

For HSB Stockholm's architectural competition 2023, three teams of architects have produced innovative proposals for private residences of the future at three different locations in the centre of Stockholm. Berg | C.F. Møller's proposed design is a 34-storey skyscraper made of wood.

Berg | C.F. Møller Architects are working in partnership with architects Dinell Johansson and consultants Tyréns on their entry. The team has chosen to build upwards, and has designed a 34-storey residential building, which will be seen for miles.

The building will be built over a wooden construction with a concrete core, and it is intended to give the people of Stockholm a new and characteristic beacon and meeting place in their city.

Back to basics

Wood is one of nature's most innovative building materials: the production has no waste products and it binds CO2. Wood has low weight, but is a very strong load-bearing structure compared to its lightness.

Wood is also more fire resistant than both steel and concrete. This is due to 15% of wood mass being water, which will evaporate before the wood actually burns. In addition, logs get charred which protects the core.

Wood secures a good indoor climate, perfect acoustics, helps regulating the inside temperature and can be exposed without being covered with plaster or other costly materials.

In Berg | C.F. Møller's wooden skyscraper, the pillars and beams are made of solid wood. Inside the apartments, all the walls, ceilings and window frames are made of wood as well and will be visible from the exterior through the large windows.

Sustainable

Social and environmental sustainability is integrated into the project. Each apartment will have an energy-saving, glass-covered veranda, while the building itself will be powered by solar panels on the roof. At street level there is a café and childcare facility. In a new community centre, local people will be able to enjoy the benefits of a market square, fitness centre and bicycle storage room. A communal winter garden will provide residents with an opportunity to have allotment gardens.

All three design proposals are available on HSB Stockholm's Facebook page. Here you can vote for your favourite and thus play your part in determining how private homes in Stockholm will look in the future.

About the competition

HSB Stockholm - Sweden's largest building society - is 100 years old in 2023. At that time an ultra-modern residential high-rise building will be completed in Stockholm city. Three architectural teams are now preparing the competitive proposals for the spectacular house that will be placed at one of three different sites in Stockholm.

Berg | C.F. Møller Architects is working together with architects Dinell Johansson and the urban planning consultancy Tyréns. The other two competing teams are Equator Stockholm with Mojang (Minecraft) and Utopia Architects with Rosenberg Architects.

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After analysing the construction of chairs, Chang used CAD software to design the range before working with craftsmen to realise the maple wood and metal designs.

“I think footwear is a human support structure,” she says. “Their construction is integral to the design and uses the principles of the slotting system found in furniture and engineering.”

One shoe comprises two halves that slot together on pegs, wedged together using a third piece to support the heel. A wide tan leather strap over the top secures the foot.

The heel of another design is formed from strips of wood that create an angular shape, with the base balanced on one edge.

Holes in this section reduce the weight and are detailed with metal, which runs down the exposed underside of the arch into strips on the heel.

Another model, which scoops upward at the toe, has bronze-lined gaps through the middle and in the bottom of the sole.

Chang's references for the collection included London shoe designer and RCA alumni Chau Har Lee, as well as designs by Dieter Rams and Charles and Ray Eames. Also influenced by furniture, Rem Koolhaas' collection for United Nude includes a shoe with part of an Eames chair for a heel.

Other graduating Royal College of Art students presented headdresses covered in hundreds of colourful bristles and plump pastel silicone garments moulded from knitwear at the institution's annual show last month.

We've published a couple of stories about wooden shoes including chunky pairs that clamp around the wearer's feet and carved trainers for K-Swiss.

Previously we've featured back-to-front stilettos that force the wearer to walk in an unusual way and shoes that undergo physical changes to represent stages in a life cycle.

See more shoe design »
See our coverage of graduate shows 2013 »
See more design by Royal College of Art students »

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Entitled Cité des Arts, the centre comprises the Besançon Art Centre, which includes a gallery for regional collections and an art college, and the Cité de la Musique, a music school with its own auditorium.

Kengo Kuma and Associates won a competition to design the centre with plans for a timber-clad complex united beneath a single roof. This roof bridges the gap between a pair of three-storey buildings, creating a sheltered terrace in the space between.

"We did not want to propose a simple box," say the architects. "By covering the gorgeous riverside with one generous roof, we aimed to give a unity to a site characterised by heterogeneous existing elements, and to create a special space under the roof, a 'shade of trees' space where the wind from the river could blow and pass through."

Steel and glass panels are interspersed between the chequerboard of timber that blankets the exterior, creating different transparencies to various spaces inside the two buildings. Reception spaces are filled with natural light, while classrooms and exhibition galleries are made more opaque.

"A beautiful shade may pass through this mosaic and enfold the people on the riverside," say the architects.

The music school wraps around a small courtyard garden filled with mossy plants and low trees, while the art centre takes in a converted 1930s warehouse for use as an extra gallery.

Solar panels and sedum roof panels help to improve the sustainability of the centre. The structure is also elevated above ground level to decrease the risks of flooding.

Japanese architect Kengo Kuma has completed several timber buildings in recent months. Others include a bamboo-clad hotel and a primary school based on a traditional Japanese schoolhouse.

See more architecture by Kengo Kuma »
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Photography is by Stephan Girard, apart from where otherwise indicated.

Here's a project description from the architects:

Cité des Arts

The 7th July of 2008, the city of Besancon has been recognised as UNESCO world heritage for his outstanding fortification system erected by Vauban during the XVII century. The site of the future art and culture centre reflects the historical richness of the city: located in-between the bastions called Rivotte and Bregille, remarkable vestige of a prestigious history, the existing building in bricks attest of the industrial river traffic and activity of the region. Besancon is well known for being precursory in the green development in France. The site is inscribes in a generous natural environment in-between hill planted of forest, over hanged by the Citadelle and close to the riverside of the Doubs.

Concept

This project is the result of the union between history and architecture, water and light, city and nature.

We wish that the Besancon Art and Culture Centre strikes a chord with the environment by the fusion of the different scale of reading, from the details to the entire project, by blurring the limit between interior and exterior, to create a building able to enter in resonance with its environment: the hills, the river and the city of Besancon.

The roof creates the link between the building and its environment and makes the project blatant. Semi-transparent, the roof symbolises the fusion between built and not-built and act as camouflage when people discover it from the Citadelle which is height overlooking. It is an invitation to the citizen to gather below his protection. It symbolised the encounter between the city and the nature, the citizen and the riverbank, the public and the culture.

The site brings with itself both its own history and the history of the city. The riverbank always has been either a protection or a barrier. The project is a continuity of this history, its longitudinal geometry is following the orientation given by Vauban, the warehouse, old storage of wood, is kept and participate in the richness of the building. The Besancon Art and Culture Centre perpetuate the notion of protection, but can be read as well as a monumental gate between the city and the river, outstanding object and symbol of the unification of the city and his river.

It is a landmark, recognisable by a sober design and the quality of his materiality. We wish to reinforce the genius loci of the site through a strong and clearly identifiable building, but still respecting the relationship with the existing bastion, the river and the city.

Organisation Principle

Unified below the large roof, the two functions are identifiable by subtle differences in the patterns of the façade composed by wood panels and steel panels. The pattern dimensions are for the FRAC: 5000 X 2500 Horizontal while for the CRR 1625 X half floor height vertically.

The FRAC is partially located in the old brick warehouse building. After taking out two of the existing slabs, the void created is containing the main exhibition room. The large lobby of the FRAC is as much as possible transparent, open to both "art passage" and city side. The natural top light is diffused thanks to the random positioned glass panels of the roof, in order to achieve to communicate the feeling of being below a canopy of tree, where the light gently come through leaves down to the ground. The CRR is more an introverted space, except for his lobby which is 14 m height and largely transparent. Both lobby of FRAC and CRR are connected by the roof, creating a semi-outdoor space, the "art passage", which is flooded of natural light through the semi-transparent roof. This passage, a large void, is structuring the overall buildings: it acts simultaneously as a gate and a shelter; it emphasises the particularity of this project witch gathering two different functions.

The roof

The roof is the emblematic and unifying element of the project. Composed in a random way with different element such as glass, solar panel, vegetation and metal panels with different color finish, the natural light vibrates on its surface, depending of the absorption and reflection of the different elements composing it. It creates a pixelised layer where the apparent aleatory position of the "pixels" define a unique image, abstract and confounded with the environment hue. The transparency is partially defined by the necessity of the program below: opaque on top of the rooms such as classroom, administration, or exhibition room. It gets more transparent when it is on top of the lobby or when it is covering the outdoor spaces.

Suspended by a wood framework, this fifth façade made of variation of transparency and opacity represent a unique and innovative design, a thin pixelised layer floating on top of the Doubs river and becoming at night a landmark reinforcing the entrance of the city. The only element emerging from the roof is the old warehouse converted in exhibition gallery, reminding the industrial period of the site.

The landscape

The landscape design takes part in the pedestrian path along the river: it extend and connect the existing promenade. The main constrain of the site is the flood risk. We have reinforced the embankment and built on top of that dike. This is the reason why the building is installed on top of a pedestal. This pedestal can be physically experimented walking below the "art passage" semi-outdoor space, overhanging the street and connected to the river by a large stair.

The CRR is organised around a garden, called "harmony garden", a wet garden combining moss and low trees. In continuity with the "art passage", along the FRAC, a water pond planted with filtering rush is creating the soft transition between the city and the building. Partially covered by the semi-transparent roof, the shadow and light variations interweaves with the reflections on the reflection pond.

The interior design

The interior design is mainly structured by the façade and roof patterns, filtering the natural light.

Wood, glass, or metal meshes are combined with subtleties in order to generate a peaceful and relaxing atmosphere. The wood frameworks supporting the roofing appear in the lobbies, terraces and in the last floors, which intensify the presence of the roof. The views to the exterior are precisely framed either to the water pond, the river, the double or triple height spaces manage to offer different space experiences.

Conclusion

This place which always has been perceived as a physical barrier for the citizens (either fortification or industrial area) we propose to generate an open and welcoming cultural centre, a gate and a roof between the river and the city, in harmony with the environment.

Project Credits:

Architects: Kengo Kuma, Paris and Tokyo
Project team: Sarah Markert, Elise Fauquembergue, Jun Shibata, Yuki Ikeguchi

Architect associate: Archidev, Cachan, France
Structure and MEP engineer: Egis, Strasbourg, France
Landscaper: L'Anton, Arcueil, France
Acoustic engineer: Lamoureux, Paris, France
Scenographer: Changement à Vu, Paris, France
Quantity surveyor: Cabinet Cholley, Besançon, France
Sustainable engineer: Alto, Lyon, France
Site Area: 20 603 sqm
Built area: 11 389 sqm
Client: Communauté d'agglomération, Franche-Comté, Ville de Besançon,
Budget: 26 900 000 Euros

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The Fire Island Pines Pavilion had been the main attraction of the Pines community since the 1980s, so when the building was destroyed by fire in 2011 HWKN was asked to rebuild it with an improved design.

The new building is a two-storey timber construction with a bar and terrace at ground floor level, plus a dance club and outdoor lounge on the first floor. There's also a retractable roof so the club can be opened to the sky on warm summer evenings.

The corner of the structure appears to have been sliced away, angling the building's terraces to face the nearby harbour and directing views towards new arrivals.

HWKN's Marc Kushner explains: "When it is empty, [the new pavilion] is a muscular icon for the energy and vitality of the Pines - it visually welcomes every ferry that arrives to the island. As it fills with an afternoon crowd, the architecture fades in importance. The building becomes an armature to display the social spectacle of a weekend in the Pines."

Bars on both floors feature zig-zagging outlines, intended to encourage more social encounters. Inside the nightclub, bleacher-style seating areas create viewing platforms and a rectangular skylight offers a window to the stars.

"We infused every space with a social engine, including the triangular bars that encourage casual meetings, the arena-like bleachers in the nightclub that put the 'see and be seen' opportunity into the third dimension and the inviting openness of the triangular facade frames," comments HWKN's Matthias Hollwich.

Hollwich and Kushner are the founding partners of HWKN. The studio's most well-known project to date is Wendy, the giant spiky air-cleaning sculpture installed outside the P.S.1 Contemporary Art Centre last summer.

See more bars and nightclubs on Dezeen, including one with copper pipes stretching across its walls and one with chunky black trees inside.

Here's some more information from HWKN:

Hollwich Kushner (HWKN) and Blesso Properties announce the near completion of the New Fire Island Pines Pavilion.

Like a phoenix rising from the ashes, so goes the Pavilion. The Fire Island Pines Pavilion, destroyed in 2011 by a devastating fire, is now near completion, once again giving the Pines community a central hub for culture and nightlife. The reincarnation of the legendary dance club is designed by New York-based Hollwich Kushner (HWKN) and developed by Blesso Properties.

"The building, located at the intersection of all traffic to and from the island, is shaped to become a part of the everyday way of life for the community by fitting in comfortably with the open, beachy, and modern feel of the Pines," says Matthias Hollwich, co-founder of HWKN. "Going beyond that, we infused every space with a social engine, including the triangular bars that encourage casual meetings, the arena-like bleachers in the nightclub that put the "see and be seen" opportunity into the 3rd dimension, and the inviting openness of the triangular facade frames."

The building's form is sheared towards the harbour to visually welcome the over 800,000 visitors who arrive via ferry to Fire Island Pines every summer. The first floor offers a Welcome Bar to serve as a meeting place for all residents and visitors. The dance club encompasses the building's second level, with a 2,400 square-foot dance floor and a 2,600 square-foot outdoor terrace which will host High Tea in the evenings, and double as an additional lounge at night. The Welcome Bar, the High Tea deck, and the Pavilion club space are all connected by an internal loop of stairs. Inside the club, stadium steps cascade out from one wall, creating an elevated view of the dance floor, with a skylight overhead providing a constant view of the starry night skies.

"The new pavilion is an architectural chameleon," says Marc Kushner, co-founder of HWKN. "When it is empty, it is a muscular icon for the energy and vitality of the Pines - it visually welcomes every ferry that arrives to the island. As it fills with an afternoon crowd, the architecture fades in importance. The building becomes an armature to display the social spectacle of a weekend in the Pines."

The building is an exercise in sustainability. Many of the design elements that make the space fun, like the massive retractable roof over the dance floor, serve a double purpose by providing passive cooling on hot summer nights. The decision to open half of the building to the outdoors vastly reduces the need for air conditioning, while also re-connecting people to the beauty of the natural environment in Fire Island. Additionally, the choice of finishes on the exterior and interior is calibrated to minimise material usage by exposing the Pavilion's raw construction.

Hollwich adds, "When we started designing the Pavilion, we came to realise that we were not just reporting to Blesso Properties, but that there are also all of the Fire Island Pines homeowners and visitors who are our clients as well. We knew we needed to listen to all of them - and we believe we did, integrating everything we learned into the design of the new building."

Throughout the entire rebuilding process, the team received hundreds of letters, emails and Facebook messages from Pavilion devotees offering ideas, critiques, and support for the new complex.

"In most of our projects, if I can achieve 90% of our design goals we view it as a triumph. In this case we got 100% as HWKN designed a flawless building," says Matthew Blesso, Founder & CEO of Blesso Properties. "The design is incredibly bold, appropriately masculine and modern yet rustic. And they achieved this while meeting our diverse and demanding functional goals. The building will be a timeless icon for generations to come and I couldn't be happier with the end result."

The Pavilion's reopening is perfectly timed with the 60th anniversary of the Pines, as the club has a long-standing heritage in the community. Originally built in 1985, it instantly changed the social landscape, imbuing it with the type of heartbeat only a nightclub can provide. The legacy of the Pines has been lovingly interwoven into every part of the new Pavilion, from the architecture to the programming.

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Unveiled this morning at the London Design Festival 2013 press preview, the design comprises a complex configuration of steps to be made from 44 cubic metres of tulipwood. Visitors will be invited to climb the structure and use it as a viewpoint towards the River Thames, Millennium Bridge and Tate Modern.

"Endless Stair is a three-dimensional exercise in composition, structure and scale," said dRMM co-founder Alex de Rijke. "The Escher-like game of perception and circulation in timber playfully contrasts with the religious and corporate environment of stone and glass in the city."

The structure will be made of cross-laminated timber (CLT) panels, which are usually created by layering up softwoods to form cheap and stable panels for fast construction. This installation will instead use a sustainable hardwood - tulipwood - to form lighter and stronger hardwood CLT panels for the first time.

The Endless Stair will be created in association with the American Hardwood Export Council and engineered by Arup. A lighting scheme for the spot will be developed by London studio Seam Design using products from LED company Lumenpulse.

The same team delivered Amanda Levete's Timber Wave installation outside the V&A museum for the 2011 London Design Festival. The American Hardwood Export Council worked with Royal College of Art students on twelve wooden chairs at last year's festival.

Alex de Rijke is dean of the School of Architecture at the Royal College of Art in London. Previous architecture projects by dRMM include a golden wedding chapel by the seaside and a house with mobile walls and roof.

The London Design Festival 2013 takes place from 14 to 22 September. See more design events taking place throughout the year on our World Design Guide.

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