Zarkon Group, Author at Zarkon Group Real Estate Builders & Developers

HP’s DesignJet “designed with both quality and sustainability in mind”

By Zarkon Group,09/09/2022

Promotion: technology brand HP has launched a series of large-format plotters that are energy-efficient and aimed at architects who use printers during their design process.

HP‘s latest ranges, such as DesignJet, are engineered to have a low-environmental impact while maintaining the “outstanding printout quality” of HP products.

Architects looking at cardboard model — HP’s large-format plotters are aimed at architects

The brand’s large-format DesignJet plotters are specialised printers that generate documents up to A1 in size, without losing out on ink quality or causing additional costs.

According to large-format printing channel manager Colin Easton, they are ideally suited to professionals working in architecture, engineering and construction (AEC) who require technical printouts and want to reduce the environmental impact of their creative process.

DesignJet plotter by HP — The DesignJet series is engineered to be highly energy efficient

“For AECs, sustainable design practices start from within the office and opting for a plotter which has the least environmental impact but still delivers outstanding printout quality,” HP’s Easton said.

“It’s even more crucial for AEC firms which rely on precise and accurate technical printouts of their designs,” he continued.

Designer at standing desk under pendant lights — The printers are constructed partly from recyclable elements

HP’s large-format DesignJet plotter series has been developed by the brand in collaboration with AEC professionals looking to become more sustainable.

While being energy efficient, the brand claims the plotters also embody principles of the circular economy.

For example, DesignJet printers are constructed partly from recyclable elements as well as recycled plastic. The plotters also rely on carton-based ink cartridges, rather than plastic-based alternatives, for ease of recyclability.

According to Easton, the brand hopes that its “plotters could be considered an essential tool for AEC professionals that enable them to bring sustainability into every day of their work”.

DesignJet plotter by HP in an office — They are also built with recycled plastic

“As the world’s desire for sustainability grows to help combat climate change, architecture, engineering, and construction (AEC) professionals are proactively looking to explore ways to embed sustainable and regenerative practices into their designs, processes, and services,” he concluded.

“HP is committed to providing the tools AEC professionals need to focus on what’s important – their vision, their customers, and the quality of their work – while also giving them peace of mind that they’re reducing their environmental impact whilst printing, helping to build a greener, healthier, more equitable future.”

To find out more information about HP’s DesignJet printer range and compare each model side by side, visit the brand’s website.

Partnership content

This article was written by Dezeen for HP as part of a partnership. Find out more about Dezeen partnership content here.

Architecture

HAPA Architects clads South Downs eco-home in charred timber

By Zarkon Group,09/09/2022

Local practice HAPA Architects has used charred timber planks to clad this eco-home in Sussex, England, which features large picture windows framing views of the South Downs National Park.

Located at the end of a country lane in a conservation area, Black Timber House has been designed using materials that will cause the building to weather over time.

Black two-storey timber house with brown door by HAPA Architects — HAPA Architects intends for Black Timber House to weather over time

“The material palette has been carefully curated to patinate and weather into its surroundings, using deep-grain charred English larch, complimented with natural copper guttering and dark slate roofs to create a particularly impressive aesthetic,” said the practice.

The form of the home comprises a rectilinear base topped with a gabled upper storey, with the two intersecting and slightly offset to create a projecting overhang that shelters the entrance.

Black timber-clad exterior of house by HAPA Architects — The two-storey charred timber home has a gabled roof

The ground floor contains a large living, kitchen and dining area around a wood-burning stove, with sliding doors that open onto a covered terrace, alongside a study and utility space.

A wooden staircase leads up to the first floor, illuminated by a long, wrap-over window cut out of the gabled roof that frames the landscape and sky.

Bedroom with hanging light shade and folding internal blinds — One bedroom features folding internal shutters

Above, the en-suite main bedroom occupies the northern end of the home, with a smaller bedroom tucked alongside.

Two further bedrooms can be found at the southern end, one of which features a thin, full-height window with bespoke internal shutters.

“At ground floor, the plan is a simple box containing the heart of the home…accessed from a generous entrance hallway providing a grand opening to the rear landscape,” said the practice.

“The vaulted ceilings in the bedrooms create impressive double-height spaces, and a wrap-over window over the staircase adds some fantastic natural light and drama as the occupants climb up towards the canopy space,” it continued.

Black Timber House by HAPA Architects — Windows overlook the South Downs National Park

The black, charred timber of the exterior was achieved using the traditional Yakisugi charring method to improve its resistance to moisture and pests, and the thin planks have been laid horizontally on the ground floor form and vertically above.

The dark exterior is contrasted by pale wooden window reveals and open, light interiors, with the first floor benefitting from high ceilings beneath its gabled roof, finished in pale plaster.

Bright kitchen in South Downs with green table and blue sofa — The open kitchen, living, and dining area on the ground floor opens onto a covered terrace

Where possible, natural and surplus products have been used for fittings and carpentry, with surplus oak flooring used to create kitchen cupboards and drawers around a central zinc-topped counter.

The home was designed to achieve a high thermal and energy efficiency standard, generating its own power using photovoltaic panels and using an air source heat pump.

Elsewhere in the South Downs, UK studio Sandy Rendel Architects recently converted a barrel-vaulted steel barn into a home, with finishes that celebrate its agricultural character and aesthetic.

The photography is by Jim Stephenson.

Interior Design

Nameless Architecture creates “artificial valley” at base of Gyeryongsan Mountain

Architecture studio Nameless Architecture has completed the Café Teri bakery in Daejeon, South Korea, in a pair of buildings that flow into a central courtyard.

Located at the foot of the Gyeryongsan Mountain in Daejeon, Nameless Architecture designed the two buildings to frame the entrance to a hiking trail that continues up the mountain.

Concrete brick courtyard at Cafe Teri by Nameless Architecture with two facing buildings — The cafe’s courtyard leads onto a hiking trail

The two rectangular buildings were angled, creating an outdoor space that narrows towards the mountain path. The three-storey building contains a cafe and the two-storey building opposite is a bakery.

“The artificial valley, where the distinction between the wall and the floor is blurred, creates a flow towards the forest and becomes the yard to the cafe and a path for walkers,” Nameless Architecture co-principal Unchung Na told Dezeen.

“We intended the building to become a path and courtyard that guides the flow of nature and visitors rather than blocking the promenade.”

Corner of Cafe Teri by Nameless Architecture with sloping walls — Concrete brick walls slope down into the floor of the courtyard at Café Teri

The 900-square-metre project was finished in concrete bricks, creating a rough texture on the exterior walls.

“The concrete bricks used to construct the architectural topography emphasise the continuity of the flowing space,” said Na.

“On the other hand, the facade wall made of rough broken bricks creates a difference of boundaries through the change of light, shadow, and time.”

Cafe interior with polished concrete walls and sloping wall with concrete brick steps — Nameless Architecture used concrete brick for the interior of the cafe as well as the exterior

The flowing exterior walls of the project are replicated inside the ground floor of a cafe, where the back wall of a double-height space curves down into stepped seating.

The floor, curved wall and stepped seating inside the cafe were finished in concrete bricks, and the remaining walls were finished in polished concrete.

“The fluid wall is continuous not only in the yard but also in the interior space, connecting the inside and outside scenery through a stepped space,” Na explained.

A backyard area features uplifted terrain that mimics the curved concrete brick walls of the cafe and bakery, which Nameless Architecture designed to provide a spatially interesting place for people to enjoy food outside.

Backyard of Cafe Teri by Nameless Architecture with uplifting elements from the ground — Nameless Architecture used curved walls to create a distinct “architectural topography”

The architecture practice designed the curved elements that appear to emerge from the ground with the aim of blurring the lines between what is wall and floor.

“The basic elements of architecture can be reinterpreted to induce various experiences and actions of people,” said Na.

“In particular, the two elements, wall and floor, are defined as fundamentally different architectural elements, but we tried to reconsider this strict relationship.”

Large glazed window showing the interior of Cafe Teri with sloping back wall of the cafe — The project aims to reinterpret how walls and floors are used as architectural elements

“The mutual relationship in which the wall becomes the floor, and the inside becomes the outside can be interpreted in various ways through the experience of the place,” Na continued.

Other projects recently completed in South Korea include a department store in Seoul with an indoor waterfall and skyscrapers with red-painted steel columns designed by Rogers Stirk Harbour + Partners.

The photography is by Kyung Roh.

Project credits:

Architect: Nameless Architecture
Principals-in-charge: Unchung Na and Sorae Yoo
Project team: Taekgyu Kang, Changsoo Lee and Jungho Lee

An AI tool makes it easy for students to take notes from video

Spotted: As anyone who has tried to learn from videos knows, it can be difficult to search, extract, and summarise important information – all while bouncing back and forth between the video player and a note-taking app. In response to this, Hari Subramonyam, a research professor at Stanford and two colleagues, Yining Cao from the University of California, San Diego, and Eytan Adar at the University of Michigan, have developed a new app called VideoSticker which uses artificial intelligence (AI) to help students take notes from video lessons.

The app uses AI to automatically identify and trim objects out of video lessons and place them into a note-taking area. In addition to capturing images, VideoSticker also pulls in key text, aligning it with the imagery. This way, students can easily manipulate images and text and supplement those elements with their own explanations. As a result, the app turns the passive experience of watching a video into an active one, helping students to better engage with the material and retain information.

A preliminary user test of VideoSticker’s effectiveness was conducted using 10 graduate and undergraduate students. During the test, the students completed a 75- to 90-minute note-taking session of a biology class. The researchers reported positive feedback from participants, with particular praise to VideoSticker’s flexibility in navigating between notes and video content.

Next up, the team will partner with other educators to further evaluate and improve VideoSticker before making the tool fully available commercially.

With more and more people turning to videos for educational content, apps like VideoSticker could help to make the learning process easier and more efficient. Other education-based innovations we have spotted recently include an edtech app that lets students upload maths problems through their phone, as well as a platform for students with learning differences and a tool that identifies struggling readers sooner.

Written By: Katrina Lane

8th September 2022

Email: harihars@stanford.edu

Website: ed.stanford.edu/faculty/harihars

Suri unveils modular electric toothbrush with recyclable brush head

London-based toothbrush company Suri has created Sustainable Sonic Toothbrush, an electric toothbrush with an aluminium body and brush heads made from plant-based materials that can be recycled after use.

Suri founders Mark Rushmore and Gyve Safavi designed the Sustainable Sonic Toothbrush after learning that nearly every plastic toothbrush ever owned still exists in the world. They believe it could replace plastic toothbrushes – four million of which they say are disposed of each year around the world.

A hand throwing a black electric toothbrush in the air — Suri has released an electric toothbrush that has a recyclable head

“Over the last few decades, electric brushes haven’t meaningfully changed; only novelty features, such as Bluetooth-enabled apps, have emerged on the market under the guise of innovation,” Rushmore told Dezeen.

“While most are bulky composites of plastic that can’t be recycled because they’re welded shut, it’s no surprise that every year over four billion brushes – including electric ones – are thrown away and end up either in landfill or in our oceans,” he added.

“We wanted to create a brush that champions design, performance and sustainability without compromise.”

A Suri toothbrush on a sink — The bristles are made from corn starch and castor oil

The Sustainable Sonic Toothbrush heads, which come with medium to soft bristles are made from corn starch and castor oil.

Traditional toothbrushes usually have bristles made from nylon, which end up as landfill waste or marine waste for decades.

By contrast, Suri claims that they are 100 per cent recyclable. Users can send their used brush heads back to the brand in the post in compostable paper bags provided by the company.

A toothbrush in a bathroom — The toothbrush body is made from aluminium

By using a pre-paid compostable return service, Suri hopes to make the process of changing heads as easy as possible and discourage its customers from switching back to disposable brushes out of convenience.

The company recommends changing the brush head every three to four months as you would traditional electronic toothbrush heads.

A green toothbrush being splashed with water — It comes in three muted colours

Alternatively, the brush heads can be recycled at home by removing the bristles and disposing of them in a home waste bin where the brand says they will eventually break down in a couple of years.

According to the toothbrush manual, the metal clips that connect the bristles to the head and the inner core of the head can also be recycled at home in the same way as aluminium foil. The remaining cornstarch shell can be sent to a local industrial composter.

Meanwhile, the aluminium body can be sent back to Suri to be repaired or have its rechargeable Li-ion batteries replaced once they run out. The batteries are designed to last for up to 30 days without being charged.

“Once a customer’s battery dies, they can send back the brush to us to replace the battery or complete any other repairs, if necessary,” Safavi explained.

“Whilst we’re refurbishing the brush, we will send that customer a replacement brush so they can still brush their teeth.”

Two hands holding a black toothbrush — Users can send the body back to the company to be repaired

Despite Suri’s sustainability claims, the brand sources the materials and manufactures its toothbrushes in China. As a result, the product’s carbon footprint is much larger than it would be if the product was manufactured locally.

“All components are sourced in China but we found that we could reduce our scope three emissions by not shipping parts to the region to assemble and then ship on once again,” Rushmore said.

“We are looking to make production more local, but this was the most optimal way to launch with sustainability in mind.”

Cutting down on virgin plastic in toiletries is one way that designers are trying to make their products more sustainable.

New York toiletries company By Humankind created refillable deodorants and dehydrated mouthwash that come in paper pods made of biodegradable paper while design studio Visibility developed a re-fillable container for plant-based deodorant brand Myro that uses 50 per cent less plastic than a regular disposable toiletry.

Suri’s Sonic Toothbrush has been shortlisted in the product design category of the Dezeen Awards. Other products shortlisted for design awards include Tenuto 2, a wearable vibrator by MysteryVibe that is designed for those who experience erectile dysfunction.

Images are courtesy of Suri.

One Drawing Challenge 2022: Send Us an Architectural Drawing. Tell Us a Story. Win ,000!

Architecture

One Drawing Challenge 2022: Send Us an Architectural Drawing. Tell Us a Story. Win $3,000!

Enter the One Drawing Challenge

Architizer is thrilled to announce that the Fourth Annual One Drawing Challenge is officially open for entries! Architecture’s most popular drawing competition is back and bigger than ever, including larger prizes (including an increased cash prize for our 2 Top Winners), more publicity and some amazing new jurors to boot. Without further ado, get started on your submission today, and don’t forget to share the competition with colleagues, students and friends who you know have the talent to succeed in this year’s program!

Submit a Drawing

Left: “See You at Work” by Dorian Sosa; Right: “Sutyagin’s House” by Pavel Dikov; Finalists in the 2021 One Drawing Challenge

Competition Brief

For the One Drawing Challenge, your task is simple and complex in equal measure — tell a powerful visual story about architecture and the people that inhabit it through a single architectural drawing.

All drawing formats, both hand-drawn or digital, are permitted. It could be a cityscape, an individual building, or even an architectural detail. It could be a plan, section, elevation, perspective, axonometric projection, sketch or abstract. As long as it includes architecture in some ways, it is eligible.

You are welcome to submit an older drawing or create something brand new. For some examples of the types of images that you could submit, we encourage you to explore the best 100 architectural drawings from last year’s competition.

Your drawing should be accompanied by a written passage (up to 150 words), which explains what your drawing depicts. Focus points could include but are not limited to: The type of architecture portrayed, where it might be located, who might inhabit it, what atmosphere it conjures, the essence it captures, and what makes it special.

Prizes

This year, we are excited to be able to offer our largest prize fund to date for our One X Challenge competition series: A total of $6,000 will be split evenly between 2 Top Winners (1 student and 1 non-student).

As well as their cash prize, our Top Winners will have top billing in the Official Winners Announcement (see last year’s announcement here), as well as an exclusive interview about their work. A further 100 Finalists will also see their work published globally, in one of our most viewed editorial features of the year: 100 Stories That Tell Powerful Stories About Architecture.

Both Top Winners will also secure themselves a seat on next season’s competition jury, giving them the opportunity to review entries alongside the likes of James Wines on SITE, Amanda Ferber of Architecture Hunter, Bob Borson of Life of an Architect and more!

Left: “Chicago : Drifted” by Gregory Klosowski; Right: “The Shipwright’s Anthology – A New Story of Fantastic ‘Knots’” by Jay Jordan; Finalists in the 2021 One Drawing Challenge

New for 2022: The Storied Drawing Awards

This year, we want to take the One Drawing Challenge back to its roots, celebrating architectural drawings as a medium for telling stories — not only about our built environmental, but also about our wider world. When done well, an architectural drawing has the power to reveal new perspectives about the impact of architecture on society, communities and individual people.

In honor of this power, we are introducing a series of new, narrative-driven awards called the “Storied Drawing Awards”. Participants can apply for any one of these special awards at no extra cost when submitting an entry, and Architizer’s Editorial Team may also nominate entries as they see fit. You can apply for a “Storied Drawing Award” for the following themes:

Utopian Vision
Dystopian Warning
Fantasy Island
Sci Fi Streetscape
Sustainable City
Political Narrative
Climate Change Future
Awe-Inspiring Atmosphere

The Storied Drawing Award winners are eligible for the overall prizes as well, so it’s possible for your drawing to win multiple accolades! Storied Drawing winners will feature in their own dedicated editorial, similar to last season’s Special Mention Award recipients. We’ll be revealing more about the Storied Drawing Awards in the coming weeks, so stay tuned!

Start Submission

Left: “The Palaver Tree” by Jonathan Nkunku; Right: “ELLITANIUM city(in praise of naught)” by Hosein Mosavi; Finalists in the 2021 One Drawing Challenge

Meet the Jury

New to this year’s jury, we welcome one of the most popular experts in architectural drawing: Eric Reinholdt of 30×40 Design Workshop! As well as his architectural practice, Eric is widely known for creating the 30X40 Design Workshop YouTube channel, where he makes videos about architecture, designs simple modern homes, and openly shares his process online. The videos are used as curriculum in architecture schools, and by students and professionals worldwide. Learn more and join 980K+ subscribers on 30X40’s YouTube channel.

Eric is joined by Sabina Blasiotti, the talented designer behind last year’s One Drawing Challenge Winner, “Outlines of Nuclear Geography”. Sabina is an architectural designer based in London and a guest critic at UCL, where she graduated with distinction. Her work focuses on aesthetics and challenging stories and was awarded and exhibited internationally by Architizer, Azure Magazine, Royal Academy, Soane Museum, RIBA and others. Prior to working independently, Sabina gained experience in acclaimed offices such as BIG and Kengo Kuma.

See the rest of the amazing One Drawing Challenge jury here.

Submit a Drawing

Follow in the Footsteps of Last Year’s Winners

In her exclusive interview with Architizer, Sabina Blasiotti reflected on the value of her accolade for herself and the wider architectural community.

“The prime reason that led me to enter the competition was the desire to share my work,” she explained. “I believe that for architects and architecture students, sharing one’s own work can be of great significance, both to further value the time spent in creating a project but mainly to collect feedback from colleagues and the public for personal improvement.

“This accolade boosts the faith in myself and cheers me on to keep working and experimenting in my own style. On top of that, it further asserts that the international architecture community is supporting and encouraging youngsters to speak up against controversial prominent climate and societal challenges, such support is of great importance for our generation.”

Left: “Vortex” by Endri Marku; Right: “Outlines of Nuclear Geography” by Sabina Blasiotti; Winners of the 2021 One Drawing Challenge

Similarly, architect Endrit Marku, last year’s Non-Student Winner for the extraordinary “Vortex”, used his interview to speak about the rewarding nature of the competition: “As an architect who loves drawing, it came naturally to search for a competition rather than, let’s say, finding an art gallery to exhibit my work. In this search, it is impossible to miss Architizer’s event. Winning was beautiful and unexpected. It is highly motivational having your work acknowledged internationally by reputable experts.”

Now, it’s your turn: Hit the button below to begin your entry, and tell YOUR story about architecture with a single drawing:

Enter the One Drawing Challenge

You can find out everything you need to know about this year’s competition here, including entry guidelines, deadlines, entry fees, FAQs and more. If you need assistance with your submission, don’t hesitate to reach out to us at competitions@architizer.com and we’ll be glad to help. Best of luck from the whole team at Architizer!

An app to identify animal and plant species through a phone camera

By Zarkon Group,07/09/2022

Spotted: As smartphones have become increasingly ubiquitous, there has been a corresponding increase in the amount of time that people spend looking at screens. This has led to concerns about the effect that phones are having on our ability to connect with the world around us. While efforts to get people to put down their phones and engage with nature have often been unsuccessful, one new app is hoping to change that.

EarthSnap is a new app that allows people to identify plant and animal species via their mobile phone’s camera. The app also provides information about the local area and its wildlife, helping to educate users about the natural world. The information will be open-source and shared with citizens and the scientific community. By making this tool available to as many people as possible, Eric Ralls, Founder and CEO of EarthSnap said he aims to “bring people back to nature, to help them realize that humanity is a part of nature, not ‘apart’ from nature.”

EarthSnap also features a social community: Earthchat. The e-social community connects users with other ecologically conscious individuals and organisations from all over the world via forums and feeds. The hope is that this will help promote and spread eco-friendly causes. EarthSnap is fully launched and can be found on the AppleStore and Google Playstore. The platform currently holds information on 2 million plant and animal species, and will use uploaded photos to grow EarthSnap’s database.

There are around 8.7 million species on Earth. With land use, pollution, and climate change driving a loss of biodiversity and an increasing number of species at risk, it is essential that we find ways to identify and protect them. Springwise has spotted several other recent innovations that aim to preserve and promote biodiversity. These include a method for conducting environmental surveys using DNA, biotech that matches trees to the eco-system, and a catfood brand helping to restore the world’s coral reefs.

Written By: Katrina Lane

7th September 2022

Website: earth.com/earthsnap

Contact: earth.com/contact

Architecture

Will Artificial Intelligence Make Designers Redundant?

By Zarkon Group,07/09/2022

Jet Geaghan is an Architect based in Woods Bagot’s Sydney studio. For Jet, every building should be conceived with purpose, expertise and wit. Clarity of communication is fundamental to his work, whether it be in a design gesture, construction detail, or cultural testimony.

Artificial Intelligence is the Frankenstein’s creature of the digital era. The possibility of the invention surpassing the inventor beguiles our collective imagination – conjuring emotions as far-ranging as hope, trepidation and even fear. Unnerving reports of a Google chatbot displaying sentience in June plays on our conscious, forcing us to consider the ramifications of an AI that fears us as much as we fear it.

The quickening pace of AI’s development is both alarming and exciting, fuelling speculation about our own obsolescence. It once seemed irrefutable – even amongst the pioneers of machine intelligence – that only humans could create art. Now, image generation AI like DALL E-2, Midjourney and Stable Diffusion use machine learning neural networks to create original, breathtakingly realistic images from a text description that would look as at home on a gallery wall as they would as concept images in an architectural bid (see fig.1).

These algorithms challenge humanity’s ownership of creativity as we know it, but they do not herald the designer’s last days. Instead, AI will be harnessed as a powerful tool that (1) allows for time better spent and (2) unlocks new dimensions of creative ideation. Both functions will synthesize the role of the designer towards a more productive, augmented future.

Time Better Spent

Using real data from Woods Bagot timesheets over the period of one year, this diagram postulates the gains in productivity that AI could provide by automating repetitious tasks across different project phases. The time freed up could be funneled back into meaningful design tasks – resulting in better use of resources and better outcomes for clients and end users.

The history of technological advancement is defined by massive leaps forward that have seen time-consuming, repetitive processes automated, fundamentally changing what humans can produce. AI continues this tradition by rapidly becoming more affordable and higher performing. Stanford University’s 2022 AI Index Report shows that the cost to train an image classification system has decreased by 63.6%, while training times have improved by 94.4% since 2018. The result of the swift development of AI is that designers – hired for their creative reasoning and expertise – could be freed from the bonds of mundane tasks.

These were developed with DALL-E 2 in a 20-minute timeframe, using variations around the prompt ‘feature lobby staircase with soft background lighting at night.’ Rather than generating a design, AI generated images help to quickly explore mood, materiality and character for early concepts.

In our inexorably visual world, AI like DALL E-2, Stable Diffusion and Midjourney streamline the image-making process. Today’s design concepts are expected to be communicated with photorealism and multi-dimensional dynamism for clients or buyers to assess. For designers, image production is a painstakingly meticulous and lengthy process, requiring precision and ingenuity in equal parts. Image generating AI, which produces beautiful visuals in minutes, dampens these pressures.

Even the smallest amendment to existing imagery can take many hours in human hands. With careful design supervision, an algorithm can produce sketch-like illustrations of space and mood in minutes. Here is an image of an abandoned power station placed next to an image of that space reimagined with DALL-E 2 as a contemporary hotel reception celebrating its industrial history.

These new tools give designers a speedy visual foundation on which to build an aesthetic, while still allowing them the depth of inquiry and emotional reasoning pivotal to the development of strong design concepts. The process of drawing a design unveils as many problems as it does solutions – image generating AI allows designers to arrive at the problem-solving stage quicker.

Unlocked Creative Ideation

AI presents a radical new method for exploring ideas that are liberated from the distraction and friction of architectural realities. Through these new methods of discovery, we see creativity redefined as something shared with AI.

Visions of New York City in an alternate future, created with DALL-E 2 (left) and Midjourney (right).

Unembarrassed and unencumbered by accepted strictures, image generating AI tests the bounds of convention by producing limitless possibilities. Though more whimsical than workable for now, these fresh visual takes on design briefs see AI push creative ideation – creating room for the unexpected. By providing DALL-E 2 with a number of text prompts we’re able to see a New York City in an alternate future – its iconic brownstone and leafy Central Park reimagined in entirely novel configurations.

This exploration challenges human assumptions of creative authorship, reframing it as something shared with AI. Though the ruling has since been overturned, the Australian Federal court’s 2021 decision to permit AI systems to be named as the inventor on Australian patent applications is a strong indicator of this incoming overhaul of our understanding of creativity.

Designers develop new ways as well as new things. The future will see designers explore the potential of using AI to improve working processes – unburdening their talent for exploration of ideas, testing, decision making and evaluation. Visualisation tools are already used for testing the success of different materials or geometries before committing to their application, or to measure variables like acoustics, daylighting and airflow. As it develops, AI of this ilk can clarify these judgments – making for easier decision making and better built outcomes.

Here is a photograph of the 275 Kent Street redevelopment, Sydney. Below is a DALL-E 2 interpretation of the key parameters of the brief.

What this comparison illustrates is that, while compelling, this tool cannot digest important factors like context, functionality or human experience. AI imagery cannot replace the understanding, inquiry and decisions of a designer.

AI’s capacity for the testing of ideas is demonstrative of how it will revolutionize workflow and electrify the creativity of design practitioners. Yet it is the directing and evaluating of ideas that requires human judgement to drive the preferred outcome. Design is decision-making, and that remains inherently human.

An Augmented Future

The evolution of AI and design move in tandem. Rather than be replaced, the next generation of designers will be collaborators with AI. This necessitates a new skillset: the adaptive reasoning to evaluate and synthesize the work of machines and a fluency in the computational logic that underpins AI creativity. The designers of the future will focus on creative investigations that require appraisal, interpretation, and sophisticated empathy – such as how a building connects with its site, the cultural ramifications of manufacture or construction, the lived experiences of inhabitants, communities and visitors and the ongoing strain on climate, ecologies and finite resources.

The role of designers has always evolved as new instruments have emerged, but the vitalness of a distinctly human judgement to wield these instruments remains the throughline. To deliver empathetic, reasoned designs, AI needs the human-hand. Likewise, for unrestrained ideation and visual streamlining, delegating to AI will become a necessity in the competitive architectural marketplace. This reciprocal relationship that makes AI a tool that will develop alongside its trade, not one that will leave it behind.

How can architecture be a force for good in our ever-changing world? During Future Fest, we’ll pose this question to some of the world’s best architects. Launching in September, our three-week-long virtual event will be 100% free to attend. Register here!

Wind turbine bioplastic can be recycled into gummy bears

By Zarkon Group,06/09/2022

Spotted: While wind power currently represents 6 per cent of global electricity production, one major obstacle to overcome is the disposal of decommissioned turbines. Most turbine blades are made of fiberglass, which is difficult to recycle. As a result, tens of thousands of discarded blades find their way into landfills every year. Now, Michigan State University may have found a solution to this problem. Researchers there have developed a new turbine blade material that can be easily recycled at the end of its life span.

By combining glass fibres with a plant-derived polymer and a synthetic one, Dr. John Dorgan, Ph.D., and colleagues have developed a thermoplastic resin that can be recast into new products.

To recycle panels made from the new resin, the team dissolved the used composite in fresh monomer, physically removing the glass fibres. They were then able to recast the material into new composite sheets, making new blades with the same physical properties as their predecessors.

In addition, the team’s work suggests that other applications for recycled carbon fibre composites may be possible. For example, the researchers found that digesting the resin in an alkaline solution produced potassium lactate, which is commonly used in sweets and sports drinks. The potassium lactate could even be used to make the gummy bears beloved by children around the world.

“The beauty of our resin system is that at the end of its use cycle, we can dissolve it, and that releases it from whatever matrix it’s in so that it can be used over and over again in an infinite loop,” explains Dorgan, representing the team at the fall meeting of the American Chemical Society (ACS).

The next step is for the researchers to build test turbine blades using the material. As for potential food-grade uses, the question is whether the public will be willing to eat something that was once used for such a clearly non-edible application. Dorgan’s response is that a carbon atom is a carbon atom regardless of where it comes from.

As wind turbines become more prevalent and the problem of their disposal becomes more apparent, Springwise has covered other methods for recycling wind turbine blades. These include a recyclable composite innovation turning turbine blades into snowsports equipment, and the UK’s first turbine blade recycling project.

Written By: Katrina Lane

6th September 2022

Email: jd@egr.msu.edu

Website: msu.edu