Modernism sought to bring a healthy uniformity to architectural design, in part through with clean lines and material minimalism. New technologies like air conditioning also allowed for an unprecedented level of global standardization in terms of temperature-controlled spaces. Of course, this often meant disregarding local traditions that had been successful for centuries (or longer). Among the regional strategies that got lost along the way was a seemingly small but critical factor: the variable heights of rooms humans build and occupy.

As a vernacular design critic who goes by Wrath of Gnon explains, “Before the International Style (modernism) in architecture, our ancestors knew how to adapt the room heights according to the climate, achieving maximum effect (comfort) for the least effort (energy). Today we trust in the grid and so build 8-9 ft rooms from Bermuda to Reykjavik.”

Ideally, the, in warm climates you want higher ceilings because “as hot air rises the difference in temperature at floor level and ceiling level in a tall room can be as much as 4 degrees [celcius] all other things being equal. Here, a comfortable looking gentleman in an 1817 room in Rome,” height around 15 feet. In Brazil, 15-foot homes were typical historically.

Conversely, in colder climates, lower ceilings meant higher temperatures. “Here are log houses from Russia and Sweden. The efficiently constructed fireplace created an interior draught that sucked fresh air in and expelled smoke, dust. Fans or mechanical ventilation not needed.”

In Japan, “with hot summers and relatively cold winters, a different technique was called for. Wooden houses allowed for perfect fine tunings of openings depending on exact climate and orientation. This traditional room built to maximize airflow, livable in summers without AC.”

In short: choosing the right materials, heights and orientations for a climate makes a big difference. “By building with nature and climate instead or regardless of it, by adapting our waking hours to the rhythm of the sun we can achieve remarkable levels of comfort—even superior—compared to what we have today in our modern homes built to international, industrial standards.”

Rivaling even the most surreal runway shows, these pencil-drawn, object-animated fashion illustrations use food and other found objects into cutting-edge apparel.

Amenian illustrator Edgar Artis starts with something simple: an illustrated figure that acts as an underlay. But things get strange quickly from there, as he drizzles on spaghetti and meatballs, sprinkles pencil shavings, or carefully arranges lettuce leaves to form dress patterns on top.

These mouth-watering works highlight the possibilities of ordinary colors, textures and patterns, like the fractal forms of fruits and vegetables or the organic diversity of trail mix.

Some are truly over the top, featuring entire entrees, like burgers, re-imagined as outfits (with an optional side of french fries). He says he was inspired after becoming “really tired of princess dresses,’ obsessively selling “beauty and perfection. I created a contemporary design which hides a beautiful message behind.”

“It reminds me of a caterpillar who is about to transform into a beautiful butterfly and fly,” says the designer. “Many people are afraid or shy of showing to everyone what they are capable of. Same situation was with me. Here is my advice, don’t ever ever be shy or afraid, open your beautiful world and show them who you are!”

These designs convey all of the diverse wonder of coral reefs without having to walk along an actual sea floor (and presumably slice open a foot in the process.

Porto-based Portuguese textile artist Vanessa Barragão crochets, weaves and latch-hooks her textiles with inspiration from coral, algae and fungi, often from exotic, remote and underwater environments.

Her works range from entire round Earths (and other abstracted planetoids) to small ecosystems constructed at 1-to-1 scale, creating a sense of visual realism without compromising creature comforts.

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A post shared by Vanessa Barraga?o (@vanessabarragao_work)

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A post shared by Vanessa Barraga?o (@vanessabarragao_work)

View this post on Instagram

A post shared by Vanessa Barraga?o (@vanessabarragao_work)

Artist bio: “My name is Vanessa Barragão, I’m from the south of Portugal but right now I’m based in Porto. I took a degree in Fashion Design and when I was doing the master degree I started exploring more about handcrafted textile techniques and the wool process.” She then dedicated herself to “doing artworks such as tapestries using several techniques: latch hooking, crochet, weaving, knitting, basketry and felt.”

Resin is often used creatively to fill in the gaps wooden shapes, but these vases take the opposite approach and employ sliced logs with waned edges as a framing device rather than making it the primary focus of the work.

Los Angeles artist Scott Slagerman worked with Jim Fishman on this Wood & Glass collection, in which each vase is blown into a wooden void.

Naturally, each creation requires careful planning and execution, involving hot materials coming in contact with flammable ones. Some of the works are clear, but reds, purples, greens and oranges playfully compliment and contrast with the woods employed as well, ebbing and flowing as hues do in nature.

Slagerman “has always been captivated by glass – how it is transformed from a fragile, yet unyielding solid state to molten fluidity and back again; and how this mutable substance, through a process that is both delicate and dangerous, can create objects both essential and esoteric.”

He is “fascinated by the role that glass plays in architecture, as well as in the everyday objects that we find around us.” Glassblowing is a an art of speed and dexterity, all the more so when working with something that could catch fire and itself be reshaped by the glass being blown.

Microorganisms in this Living Light project convert chemical energy from photosynthetic processes into electric current, making these lamps perfect for off-grid and other green, cost-reducing applications.

Dutch designer Ermi van Oers envisions this approach working at scale and used to power smart cities, starting with things like street lamps but eventually providing energy for other applications as well. Plans are already in place with Rotterndam to illuminate a city park unique this process and technology.

“The potential is huge,” the designer says. “Street lights could be connected to trees. Forests could become power plants. Rice fields in Indonesia could produce food and electricity for the local population.”

As photosynthesis takes place, organic compounds are released, which are in turn broken down by bacteria through a microbial fuel cell, which mimics natural processes but generates electrons that can be used to power LEDs. The project was deubted at Dutch Design Week in Eindhoven, with small and interactive versions that illuminated to the touch.

“I hope we come to a point where every plant pot is provided with this technology, and we don’t know any better than that plants are part of our energy system,”says van Oers. “Nature will get a higher economical value and we will start making more green places so that biodiversity can flourish, while lowering greenhouse gas emissions at the same time.”