THISS Studio Advocates for Radical Reuse in Architectural Design
Architects Tamsin Hanke and Sash Scott prioritize material circularity over traditional, static design processes.
1Redefining the Architectural Workflow
THISS Studio, founded by Tamsin Hanke and Sash Scott, challenges traditional architectural methods by prioritizing material reuse. Instead of finalizing drawings before sourcing, the practice gathers available stock first. This shift forces architects to adapt designs as materials arrive, turning the construction process into a collaborative conversation rather than a rigid monologue.
2Material-Driven Design Logic
The studio’s approach is exemplified by projects like Barn Again, developed for the 2025 Copenhagen Architecture Biennial. By using beams recovered from disused Norwegian barns, the architects retain the wood's weathered history. This method proves that irregularities in reclaimed components can enhance architectural expression rather than detracting from the final aesthetic outcome.
3Adaptive Reuse in Retail
At Kiko Kostadinov’s London flagship store, THISS Studio repurposed an inverted pontoon boat installation by artist Ryan Trecartin. The boat’s railings were transformed into a ceiling-mounted support system for shelving. This project demonstrates how existing objects with established identities can suggest innovative spatial moves that designers might never conceive from scratch.
4Global Applications of Circularity
The studio’s commitment to resourcefulness extends to the Pergola project in Cairo, a public outdoor theater. The structure utilizes textiles made from recovered river plastic by VeryNile and recycled-plastic bricks from Rebloxx. By integrating locally sourced, reclaimed materials, the design team successfully addresses site-specific needs while maintaining a low environmental impact.
5Exhibition Design as Archival Work
Exhibition design requires a shift toward acting like archaeologists or archivists. For projects with the Design Museum, the studio catalogs existing infrastructure before drafting new plans. By scrutinizing every proposed addition against an inventory of available materials, they ensure that temporary displays do not become waste once the exhibition concludes.
6Designing for Future Disassembly
Hanke emphasizes that dismantling must be a designed feature, not an improvised afterthought. In their work with the V&A, the studio utilized an all-timber assembly without metal fixings to preserve components for future use. This ensures that materials leave the site as valuable resources rather than ending up as landfill waste.
7Institutional Procurement Challenges
Implementing radical reuse requires institutions to rethink funding and commissioning timelines. Hanke notes a tension between client expectations for early certainty and the flexibility needed for reclaimed materials. Organizations like Yes Make are highlighted for their ability to source and hold materials, allowing design teams to secure stock before construction schedules.
8The Future of Sustainable Practice
THISS Studio argues that reuse should be an integral part of the design process rather than a conceptual dilution. By focusing on the entire lifecycle of components, from initial sourcing to eventual separation, they redefine the architect's responsibility. This holistic approach transforms how buildings and installations are conceived, managed, and eventually dismantled.