In this week's comments update, readers are discussing Henriquez Partners Architects' designs for a trio of skyscrapers in Vancouver, including the city's first supertall skyscraper.

When completed, the 1,033-foot-tall (314 metre-tall) skyscraper is set to be wrapped in a steel exoskeleton covered in white panelling and glass. Its form and facade pattern take cues from sea glass sponges, according to the studio.

"Bravo to the designers and developers!" 

Commenters questioned the skyscraper's aquatic inspiration, debating the balance between its aesthetics and design.

"This is the most beautiful and exciting project to be brought before city council in Vancouver in my living memory," wrote Anthony Hartnell. "Bravo to the designers and developers!"

Commenter Ted was impressed by the marine-inspired design, writing "It's refreshing to see a 'supertall' project that draws its primary aesthetic and structural logic from local marine biology rather than just standard glass-and-steel geometry."

They added "can't wait to see how that summit atrium feels in person!"

Other readers were less excited. "There are few towers in the world, even in the USA or the Middle East, able to challenge for the worst nouveau-riche-kinky-expressive trophy," scathed Pa Varreon. "This Canadian one is on the ranks."

Frank Lloyd Wrong was similarly critical, saying "Everybody knows the non-market tower will never get built," before suggesting "the only thing these towers are missing are feather boas."

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"Leave it to the French to invent 3-way ping pong!"

Also scoring points in the comments section this week was Ping Pong Park, a series of quirky table tennis tables created by studio Exercice for a school in France.

Commenters were overwhelmingly positive, supporting the unusual way of encouraging creativity among children.

"The table with a hole each end would be bloody frustrating, but I really like the 3-way table and the table with raised sides," reflected Brett S.

The Discreet Architect was just as enthused, "Fantastic! I would love to try these out."

Camille Jung raved, "GENIUS. Love it," while BOBinRSI3 joked, "Leave it to the French to invent 3-way ping pong!"

Other readers were more measured in their assessments, with Dik Coates writing, "Lovely... I don't know if there are 'legal' sizes of tabletop, but I suspect there are."

Nick Marshall was sceptical, arguing "Table tennis is a great leisure activity, almost perfect in its simplicity. It does not need to be any more 'creative'. This is a complete waste of time and effort."

What do you think? Join the discussion ›

"An absurdly kitsch tower of Babylon"

One project on which readers could agree this week was US President Donald Trump's release of the renderings of the presidential library skyscraper in Miami.

The video rendering, which was shared by Trump on his Truth Social account on Monday, was designed by American architecture studio Bermello Ajamil & Partners, according to its end title.

Readers were rather derisive, with Pa Varreon writing, "There is one statue missing according to earlier press releases; perhaps they could borrow some gold painted statues, from Disney Epcot in that very State of Florida?" while Arch joked "They forgot the Nobel peace prize in the lobby visualisation."

Similarly amused, The Truth wrote, "As part of Trump's commitment to this building achieving LEED Gold status, all toilets will be flushed using harvested Liberal Tears."

"I'm gonna play devil's advocate and say Trump has better taste than this but the golden escalator is evidence this is not an April Fool's prank. That gold statue of him is way too thin though," said Stranger Than Fiction.

Other commenters took a more blunt view.

"An absurdly kitsch tower of Babylon. It's a supremely fitting monument that will be laughed at over the centuries," Guy Wilkins wrote.

Floooo was similarly scathing, "Gosh is this tacky, oversized and cheap... And right next to Miami's Freedom Tower, tasteless provocation".

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Comments update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days.

The post "The only thing these towers are missing are feather boas" says commenter appeared first on Dezeen.

Dutch architectural studio Woonpioniers has built a house on the dunes in the south of the Netherlands using modular methods.

Located on Goeree-Overflakkee island, Duinhuis – or Dune House – was constructed using portable methods in efforts to adhere to strict building regulations on the Ouddorp dunes.

A large section of the dune area is part of the "Natura 2000" nature reserve, which means that the construction had to consider the rules around nitrogen emissions, accessibility, as well as building during bird nesting seasons.

To work within these constraints, Woonpioniers founder Daniel Venneman and his team built the three separate units of Duinhuis off-site. The bathrooms, wardrobes and built-in beds were also constructed in the factory.

"We manufactured the house in a factory with significantly limited on-site work and environmental disturbance," Venneman told Dezeen.

"The cool extra advantage of this working strategy was that the clients and their children could also participate in the assembly in the workshop."

After each component was fabricated and transported to the site, the three units – complete with their interiors – were put up in the span of a day.

"It was like putting together a puzzle," he said.

For support, the structure rests on top of minimally invasive steel stilts. The stilts were carefully vibrated into the ground to avoid shocks to the surrounding environment.

From the frame to the floors, the building consists almost entirely of wood.

Thermally modified wood was used for the window frames, facades and roofs, and from the exposure to the dune's salty and windy conditions will turn a silvery grey over time.

Solar panels were recessed and the gutters concealed in the exterior roof layer. A sheet of steel separates the roofs' interior and exterior, making it watertight.

"We work as bio-based as possible," Venneman explained. "By primarily using sustainable materials, our negative ecological footprint was kept minimal, and supported the 'barefoot' lifestyle that feels at one with nature."

As well as building regulations, the dune location meant that wind conditions had to be considered.

Factoring in the dominant wind direction and the possibility of other air streams, each section of the house was designed to be used as a shelter yet remain in the sun.

"That's why the design feels like it has no back, but three front sides," said Venneman.

The precise placement of each unit also resulted in a "kaleidoscope" effect, letting sunlight and sound oscillate through the space during the day. What resulted is a "sense of protected connection with the surroundings".

The units were staggered in height, allowing the building to follow the dune's natural topography. And, with each module sporting a slim glass facade, the rooms have unique views.

"With the three units sitting at varying heights, the house moves with the dune and nestles itself subtly into the existing environment," said Venneman.

"It was important for us to be aware of the fluidity of the dune landscape," he continued. "This kind of terrain demands respect, and that's the reason why we didn't reshape the dune composition at all before building."

Two of the three modules contain bedrooms, while the third unit holds the living space and a terrace.

The main bedroom sits over the dune ridge and is exposed to optimal morning light, while the living room and terrace receive evening sun.

The guest quarters rest on the north side and consist of two built-in box-beds. This section of the home also features a study and a bathroom that opens externally as well, useful for those returning from the beach.

Centred between the three sections, is a pentagon-shaped kitchen, which also opens up to the dunes on three of its sides.

The kitchen functions as the house's "floating link", with three full-height glass screens that include the primary entrance and sliding doors to a patio and the dunes. Low stairs lead to the other areas of the house.

"The central glass link is designed to blur the boundary between inside and out," Vennemann said. "When the sliding doors are open, the sounds of the rustling poplar trees and the wind are amplified, and a sea breeze flows directly through the centre of the home."

Connecting the kitchen and each unit are concealed doors that allow each section to become a private "small house" when needed. When they are kept open, the different heights are the only way to tell the different zones.

"It's a bit like you're still 'climbing the dune', despite being inside," he commented.

Previous houses built on and around sand dunes on Dezeen include Seabreeze, a holiday home in East Sussex by RX Architects, and House in the Dunes, a cabin in the Netherlands by Unknown Architects.

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In this week's comments update, readers are discussing the Pickle Puffer, a gherkin-filled coat created by fast-food chain KFC.

Created to advertise KFC's upcoming pickle-themed menu, the jacket was designed for picklebacks on the go and features a built-in straw and pickle-shaped zipper pull.

"I pick the Pickle Puffer"

Commenters were left torn by the "unhinged" originality of the jacket, vacillating between puns and practicality.

"We made the KFC candle a few years back but I am truly relishing this," wrote James.

Another commenter, Peter Piper said, "I pick the Pickle Puffer".

Other readers couldn't pass up the opportunity for irony. "Oh sick, it's my wife's birthday coming up," said Chris. "She will be thrilled!"

"Maybe the National Cattlemen's Beef Association will make one filled with cow patties?" proposed Charlie Bing. "Makes about as much sense."

But for some, the Pickle Puffer was granted no applause. "Plastic, really, if you show it in your magazine, could you at least say something about the harm to the planet this causes," said Machteld Shrameyer. "This fact needs to be called out any chance we get. When is the quarter going to drop?"

RK was similarly cynical, "Yeah, because what the world is really short of now is novelty plastic tat for the LOLZ, eh? Asteroid: I think it's time."

What do you think? Join the discussion ›

"The pastel colours may be of its time but might not be timeless."

Another story that caught commenters' attention this week was a Brooklyn apartment block constructed in pink concrete by American studio SO-IL, who aimed to give the structure a "civic presence".

Some readers found the design refreshing, with Apsco Radiales writing, "Bold, very bold. I like it," while Ben said, "Damn this is nice. Well done. Major props."

Others took a while to warm up. "My initial reaction was 'I don't like the colour,' but by the time I'd scrolled through the images, I loved it," reflected Chris. "Feels vaguely brutalist internally, like something you'd see at the Barbican," he added.

Some were concerned about the colour palette, with JZ saying that "the pastel colours may be of its time but might not be timeless" and that "the institutional green (that also recalls drafting board covers) in particular is associated with certain less savoury occupancies."

Diorama was similarly exasperated, writing, "What a mess of a facade. The pink concrete is the definition of lipstick on a pig."

Have you had your say? Join the discussion ›

"One big, gaudy, gold leaf nightmare"

Also causing a stir in the comments section was news of the AIA suing Donald Trump over the Kennedy Center renovation.

Some commenters were hopeful with the steps taken by AIA. "So happy to see the AIA actually doing something to protect the integrity of the profession," wrote K Lenard. "It's not about politics, it's about holding the powerful accountable."

Other readers were outraged. Chuck Anziulewicz wrote, "By the time Trump is done with it, the inside of the (former) Kennedy Center will be one big, gaudy, gold leaf nightmare, not unlike what the Oval Office has become."

"How dare someone else (a classicist, gasp) co-opt the boorish tactics for which modernism is famous," scorned Jb. "Sue 'em all."

But the general consensus among the commenters read as weary. "Another lawsuit against Trump, another Leftist tantrum,"opined David Yborra." So productive."

"Lying is one thing," said Rule of One. "Breaking the law with impunity is another. Worse Trump is dismantling all institutions of justice and democracy."

"I think I need to contact my lawyer this afternoon and start my own lawsuit against Trump," joked The Discreet Architect. "Not sure on what grounds yet, as there are so many possibilities, but everyone else is suing him for something or other and I feel I may be missing out!"

What side are you on? Join the discussion ›

Comments update

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days.

The post "Asteroid: I think it's time" says commenter appeared first on Dezeen.

Architecture practice The Purple Ink Studio has created a temporary pavilion in India at the Kerala Literature Festival that aims to recall the region's Indo-German links.

Named the German Pavilion, the structure was designed to draw attention to forgotten historical ties between Kerala and Germany that date back to the arrival of a mission in 1830.

The Purple Ink Studio aimed to create a space that was both unusual and welcoming, while also highlighting connections between the city and the country.

"The form and the materiality of the pavilion offered an experience unfamiliar to the city, introducing a spatial language that felt welcoming and contemplative," said The Purple Ink Studio principal architect Nishita Bhatia.

The 1,020-square-metre structure was commissioned by the Goethe-Institut to mark Germany being guest nation at this year's festival.

Located on the beachfront in the southern Indian city of Kozhikode, the pavilion's roof features sloping planes that angle upward to resemble a ship's sail floating in the coastal wind.

The concept resulted from a design competition that gave the studio the freedom to choose a site along the Arabian Sea shoreline.

"The seaside site was chosen for its direct engagement with the landscape of the beachfront and its close relationship with the city's everyday life," Bhatia told Dezeen.

"The directional planes of the roof bend and appear to be caught in a moment of movement by the winds."

Within the slanted envelope a series of open, informal spaces were created for talks, conversations and performances during the four-day festival.

The studio drew from the region's cross-cultural past and incorporated it into the pavilion's handicraft design language.

Both local craftsmen and a variety of locally sourced materials were used in the fabrication of the pavilion.

The structure was made of bamboo and covered with woven sheets of dried grass mats named paaya, forming the roof.

Under the canopy, the open space was designed to reflect the feeling of community that comes with the traditional Keralan courtyard homes.

The ground was paved with terracotta floor tiles, while cotton rope screens and unfinished cotton fabric hang from above, creating partitions.

"The materials allowed the pavilion to be constructed in a very small time frame on a sand bed by the beach, while also ensuring most of the materials have a thoughtful afterlife," Bhatia explained.

Though mainly open-plan, textile screens were used to filter the light and wind and also wrap around semi-enclosed pods.

One of the pods contained the Berlin kitchen. Used for German culinary workshops, this space was centred around a large communal table to evoke the collective aspects of Keralan homes.

Facing the beach, reading and printing rooms provided spaces for visitors to pause and reflect away from the energetic festivities. On the landward side was the Salon – an amphitheatre enclosed within bamboo screens – used as a venue for talks.

The temporary installation was built in 17 days and was dismantled shortly after the end of the festival. However, that was not the end for the materials.

The untreated bamboo and the paaya were returned to the village they were sourced from to be used in construction again. The terracotta tiles were also sent back to the factory, to be used elsewhere, while the woven screens were donated to three local schools.

The photography is by Stories of Kunju, Advait Vinot, Saurabh Suryan.

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