Olly Wainwright

2 weeks ago | theguardian.com | Oliver Wainwright |Olly Wainwright

“It’s like nose-to-tail eating, but for trees,” says Paloma Gormley, co-founder of the ecological design studio Material Cultures. “Industrial timber production is so wasteful. We should be making the most of every element of the tree, from its bark to the natural glue-like lignins and rosins – it all has value.”The organisation’s philosophy is currently on display at London’s V&A in a show called Material Cultures: Woodland Goods.

2 weeks ago | theguardian.com | Oliver Wainwright |Olly Wainwright

He has papered our walls and carpeted our floors, enlivened our curtains, coats and cups, and even infiltrated Britain’s nuclear submarine fleet. Almost 130 years after his death, the Victorian arts and crafts designer William Morris has blanketed the world with his unmistakable brand of busy floral patterns, wrapping our lives with tasteful swathes of willow, blackthorn and pimpernel, peppered with cheeky strawberry-eating robins. There’s no escape.

2 weeks ago | theguardian.com | Oliver Wainwright |Olly Wainwright

It is not often that the arts section of a newspaper finds itself concerned with the aesthetic merits of a sewage works. But then there are few facilities designed with the finesse of the new €139m (£117m) wastewater treatment plant in Arklow, which stands like a pair of minty green pagodas on the edge of the Irish Sea. Nor are there many architectural firms who have thought so deeply about the poetics of effluent as Clancy Moore.

3 weeks ago | theguardian.com | Oliver Wainwright |Olly Wainwright

A carved stone pangolin clings to the top of the tower, its scaly tail curled into the crevice of a cornice, as if holding on for dear life. It crowns an arresting arrival to Oxford, the city of dreaming spires, the anteater taking its place on this skyline of slender steeples and gurning gargoyles, up there at the summit of the newest – and strangest – spire of them all.

4 weeks ago | theguardian.com | Oliver Wainwright |Olly Wainwright

Four days after a nuclear bomb was first detonated over the Pacific islands of Bikini Atoll in July 1946, the French designer Louis Réard launched a provocative two-piece swimsuit at a poolside party in Paris. The two events might not seem to be connected. But Réard, who had been looking for a name for his design that would embody the tiniest garment imaginable, combined with the most explosive impact possible, hit on the almighty atomic blast as the ideal symbol. And so the modern bikini was born.