Is Graphene the Next Revolutionary Building Material?
CategoriesArchitecture

Is Graphene the Next Revolutionary Building Material?

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What is Graphene? Graphene is a single layer of carbon atoms arranged in a hexagonal lattice, making it the thinnest material known to man. Despite its thin composition, graphene is incredibly strong — two hundred times stronger and 6 times lighter than steel. First isolated by researchers Andre Geim and Konstantin Novoselov from the University of Manchester in 2004, the material received the 2010 Nobel Prize in Physics, garnering increased global attention and interest. Graphene is durable and malleable, and scientists see promising architectural potential in the new material.

Graphene is also highly conductive and equally holds unique light-absorbing qualities. When it comes to conducting electricity, graphene rivals copper; when it comes to conducting heat, it trumps all other known materials. Meanwhile, graphene is nearly transparent, making it a suitable material for products such as touch screen devices, as well as light and solar panels. When mixed with plastic, graphene becomes a strong conductor of electricity, making it a potentially useful product in the satellite, aviation and automotive industries.

Although it is still in the early stages of research and development, there are many companies and research initiatives already dedicated to understanding the potential uses of graphene. Due to its unique property makeup, graphene can be used and applied in a plethora of ways, making it a worthwhile and lucrative material to research, study and develop commercially. This certainly holds true in the architecture and construction industry. Will this material have a revolutionary role in the design world? 

Properties of Graphene:

  • Thermal and electrical conductivity
  • Flexible and malleable
  • Extremely durable
  • Ability to generate electricity through exposure to sunlight
  • Transparent and lightweight
  • Antibacterial & resistant to ionizing radiation

Graphene as a Concrete Additive

In 2018, researchers at the University of Exeter found that incorporating graphene into concrete can produce a durable and water-resistant concrete composite. Researchers at the university suggest this composite material is two times strong and four times more water-resistant than any existing concrete. Through a new nano-engineering technology, the researchers suspended thin graphene in water, which produced an extremely resistant and usable concrete composite. Seeing that concrete releases high levels of CO2 into the air, this new composite material perhaps promises a greener alternative to traditional concrete.

The research was carried out in accordance with the British and European standards for construction, which ensures a safe material for architects to build with. Moreover, graphene’s water-resistant properties could equally be beneficial for sites that are difficult to reach and properly maintain — making this concrete composite not only durable but practical. It is possible that graphene-reinforced composites could be the future.

National Graphene Institute by Jestico + Whiles, Manchester United Kingdom. © Hufton+Crow Photography

Intelligent Cities

Some have suggested that graphene can easily up building’s intelligence. Architect Chenthur Raaghav Naagendran explains his research in a TEDx talk in Vienna, where he explores the possibilities of implementing graphene as a flexible skin for architecture. He proposes that graphene can be used to make architecture interactive, intelligent and adaptable. Chenthur’s research suggests that graphene could be used to replace traditional building materials and wires to create smart structures that respond to societal threats, such as global warming. Essentially, graphene can turn static structures into responsive agents.

Graphene in Paint

In 2017, paint manufacturer Graphenstone released a lime-based paint infused with graphene. Limewash paint has been around for centuries and has been revered for its breathable, bacteria-resistant, odor-absorbing and hypoallergenic properties. The company incorporated graphene into its renowned lime-based paint to create a thermal-regulating product. To resist heat from radiating through walls, the graphene present in the paint assists in capturing heat and thus improves a room’s insulation. Graphene’s thin makeup and durable properties mean less paint is required to achieve a corrosion-resistant and durable finish.

National Graphene Institute by Jestico + Whiles, Manchester United Kingdom. © Hufton+Crow Photography

Summary

Understandings of the role that graphene can play in the architecture and construction sphere are still in the early stages of research. However, there are promising concepts and graphene-present materials in development today. Equally, there are countless research initiatives and institutions dedicated to the commercialization of graphene. For example, the National Graphene Institute at the University of Manchester, designed by architecture firm Jestico + Whiles, is a world-leading research center dedicated to the research and development of graphene. Located at the very same institution where the material was first isolated, this institute demonstrates the UK’s dedication to remaining at the forefront of graphene commercialization.

Although there are still factors standing in the way of graphene commercialization — such as cost and maintaining quality during large-scale production — graphene could lead to more durable and thermally-regulated constructions in the future and is not to be overlooked.

Browse the Architizer Jobs Board and apply for architecture and design positions at some of the world’s best firms. Click here to sign up for our Jobs Newsletter.

Reference

A new genomics programme offers patients a chance to identify risk earlier
CategoriesSustainable News

A new genomics programme offers patients a chance to identify risk earlier

Spotted: There has been a growing interest in the uses of population genomics to innovate healthcare. These programmes combine clinical information with large scale genetic data to deliver information that can help individuals, researchers, and government and industry health programmes. One recent innovation is myGenetics, a population genomics programme developed by HealthPartners health system and genomics company Helix.

The myGenetics programme is a large-scale community health research programme that will integrate patient health records from HealthPartners clients with population genomics data collected by Helix to help identify areas of risk for individual patients. Similar programmes have helped as many as 1 in 75 participants discover and mitigate risks for serious health issues.

Those enrolled in HealthPartners’ health plan can register for the voluntary programme. They will be given genetic screening at no cost, which will include a variety of information. The programme will screen for some common cancers, heart disease, as well as regional ancestry, and other traits. The results will be used to provide patients with a detailed picture of hereditary health risks and to help care teams provide more personalised preventive care recommendations.

The project is explained by Steve Connelly, MD, co-executive medical director at HealthPartners, who says the company sees population genomics “as a critical step in our efforts to improve the health of the communities we serve across Minnesota and surrounding states. By understanding the role genetics play in an individual’s health, we can deliver more personalized care and improve the lives of our patients.”

Programmes like this, combining genetic testing with analysis and personalised treatment, are increasingly looking like the future of medical care. Other personalised health programmes we have recently seen include an AI-powered mental health app, a health-tracking platform powered by genomics and any number of wearable for home health tracking. 

Written By: Lisa Magloff

Website: healthpartners.com

Contact: healthpartners.com/contact/

Reference

The Future of Architecture: Stylish Home Furnishings With Lighter Ecological Footprints
CategoriesArchitecture

The Future of Architecture: Stylish Home Furnishings With Lighter Ecological Footprints

 The A+Product Awards is open for entries, with a Main Entry Deadline of June 24th. Get started on your submission today! 

Environmental ethics has been increasingly the concern of the built environment industry. When constructing buildings and styling interiors, more and more attention is paid to sustainably sourcing and recycling materials. Eco-friendly design does not limit products to just a few looks, nor does it compromise their functionality. These four beautiful A+Awards winning products will add tasteful texture to your designs while lessening the environmental impact of your project.

The Embossed Acoustic Panel Series from Woven Image, distributed in the USA by Kirei
Winner, 2021 A+Product Awards, Acoustics

Acoustic panels are useful not only for workplaces and auditoriums but in domestic scenarios as well. Whether in a home office or a family theater, acoustic panels make sounds and voices sharper by reducing undesirable reflections on hard surfaces. They also insulate your room from external noises.

The Embossed Acoustic Panel Series by Woven Image offers high-quality acoustics together with a range of choices for styling. There are three types of patterns to choose from: the linear, simplistic ZEN, the rhythmic GEM, and the origami-inspired ION, each comes in 12 colors.

The panels are made from over 60% recycled PET and fiber while manufactured in a carbon-neutral production facility that utilized solar energy. The product has a low VOC emission rate of 0.023mg/m²/hr and a good Noise Reduction Coefficient of 0.75. It is also easy to trim that a utility knife can cut it through. The subtle light and shadow created by the 3D patterns make the panels an addition to interior styling.

Silestone® Sunlit Days by Cosentino Group
Winner, 2021 A+Product Awards, Hard Surfacing, Tiles and Stone

Quartz surfaces are popular in home designs for their stone-like appearance, high versatility, durability and accessibility, especially when compared to natural stones like granite and marble. They are cast from a mixture including small pieces of quartz, resins, pigments, etc. Bonded by resins, the finished surface comes sealed and flat, making them easy to clean. The mixture is made in a way that allows it to be colored as needed, ensuring that owners will not have to make compromises on home styling. AT present, Quartz surfaces from the Silestone® Sunlit Days series are available in white, light grey and red, blue, and green in low saturation. The soothing colors and clean shapes give interiors a modern looking.

Quartz surfaces have the appearance of stones but are more eco-friendly than natural stones. The Sunlit Days series provide carbon-neutral quartz surfaces that incorporate extra strategies to cut the material’s carbon footprint. The production uses 99% reused water, 100% renewable electric energy and a minimum of 20% recycled raw materials in its composition. Furthermore, the brand has committed to offsetting GHG emissions through the Voluntary Carbon Market. Being environmentally aware does not limit our choice of furnishing and surface texturing to synthetic materials that comprise recycled resources. Instead, natural materials can also be consumed sustainably.

Brace by Davis Furniture
Winner, 2021 A+Product Awards, Contract Furniture

Brace from Davis Furniture is one of this kind. Each Brace table is made from a tree at the end of its lifecycle, leaving plenty of time for the material to store carbon during its growth. Furthermore, the brand has committed to planting two saplings for each tree they harvest. In this way, the sourcing is sustainable and the European forest is never overly exploited by the product’s production.

The solid wood table comes in various sizes and shapes to accommodate a range of events. For example, a long, rectangular table can be perfect as a home office desk while a small, round one can serve an intimate meal for two people, etc. The sleek table top is supported by the iconic legs. Each leg splits into two as it goes up, creating a slim triangular space within itself. More than 50 types of selectable coatings on each Brace table allow the table different colors and textures that best suit the home design. The design celebrates the uniqueness of the natural material with the technological precision of modern design.

Koroi Side Table by MAJA
Winner, 2021 A+Product Awards, Residential Furniture

The Koroi Side Table also embraces the characteristics of natural materials. Each Koroi Side Table is handcrafted from solid wood by artisans in Bangladesh with a resource-efficient approach. Burls, deep cracks and other features of the tree remain visible from the smoothened surfaces. Comprising two geometric forms, the design of Koroi sets a subtle balance between fragile and sturdy. Althought the connection between the two parts looks delicate — precarious, perhaps — the piece’s solidity is guaranteed by the thick wood. The two parts are cut at opposing grains, giving them contrasting textures and different reflectiveness.

 The A+Product Awards is open for entries, with a Main Entry Deadline of June 24th. Get started on your submission today! 

Reference

The Peak – Boutique Hotel // studio symbiosis
CategoriesSustainable News

The Peak – Boutique Hotel // studio symbiosis

Text description provided by the architects.

The Peak Resort and Spa, is located in the untouched serene landscape of Udaipur, Rajasthan, the desert kingdom of India. Designed as a destination to unwind and rejuvenate the property hosts, 8 pool villas, event space, Restaurant, Spa, Gym, star gazing platform and an outdoor pool.Cocoon villas nested in natureThe design concept amalgamates the untouched beauty of nature that engulfs the site, along with regional architecture of Rajasthan.

© studio symbiosis

© studio symbiosis

The idea of built and landscape is seen as an amalgamation in the design. The original contours of the site have been used as an interface to create architecture. Each villa is nested as a cocoon space in the landscape. These cocoon villas have been designed by excavating earth, to create minimum disruption to the natural beauty of the site.

© studio symbiosis

© studio symbiosis

Local patterns were studied from the architecture of Rajasthan, and a “Hexagonal” pattern that is a common denominator in nature as well as the regional architecture has been used as a unifying element for the design. This hexagonal base pattern has been grafted on the site to create a system driven approach to design the landscape, entrance buildings, scooping of the villas, water bodies, etc.

© studio symbiosis

© studio symbiosis

to create a sense of harmony and symbiosis in the design.Design EvolutionHalf of the site terrain is almost flat and then it slopes drastically from the south towards the north. The dominant views from the site are mountains towards the south. This natural terrain of the site has been used as a design driver.

© studio symbiosis

© studio symbiosis

The flat part of the site that is adjacent to the approach road has been used for Drop-off, Reception, All day dining, and Spa and then further on an open event space. The design idea was to create a form nested in nature. The sloping part of the site has been used as an opportunity to excavate earth and nest villas within the topography.

© studio symbiosis

© studio symbiosis

This helps us in capturing the beautiful views of the south facing mountains. The natural topography of the site creates a height difference between the various villas, thereby giving them all complete privacy.Window to LandscapeArchitecture of Rajasthan boasts of intricate carving and Jharokha’s (Semi covered balconies with perorated windows all around).

© studio symbiosis

© studio symbiosis

The concept of a Jharokha has been translated in the design as the villas are scooped out from the terrain to create these “Jharokha’s” with outdoor pool, star gazing deck and sit-out space. Each villa is conceptually a window (Jharokha) to experience nature. Resource ConservationVillas have been nested in landscape, by excavating the earth of the site.

© studio symbiosis

© studio symbiosis

This excavation of 1427 cubic units gave us 142.7 cubic units of rocks and 90% is mud. As a part of the design process, we are using the excavated earth and rocks, by mixing natural fibres in them to strengthen and create compressed mud blocks. The retaining walls around the villas are being constructed from these mud blocks, where the raw material is coming from the site itself.

© studio symbiosis

© studio symbiosis

It’s an idea of a closed loop civil construction, where we take from mother earth and put it back on the site in a new form, in this case we take mud and rocks and graft back rammed earth walls. Rest of the materials are being locally sourced within 5 kms of the project site.

© studio symbiosis

© studio symbiosis

Given that Rajasthan is the stone hub of India, locally available stone has been used for the outdoor landscape as well as indoor finishes.Villas & earth breamingThe villas are designed for “leisure travellers” as well as for “work from destination”. The design brief looks at creating a home away from home with villas cocooned in nature.

© studio symbiosis

© studio symbiosis

Each villa is 140 sqm indoor and 130 sqm outdoor area. The villas are equipped with the outlook of a long stay traveller, with a master bedroom, living, dining, pantry, outdoor pool, star gazing platform and an outdoor deck.
Using regional patterns, a stone carved pergola has been designed for shading the outdoor decks of the villas.

© studio symbiosis

© studio symbiosis

This helps in shading from the direct sunlight and creates playful patterns of light and shadow on the deck. The villas are nested within earth, to create a heat sink and keep the villas naturally cooled in the scorching dessert heat during daytime, and keeps the villas warm during the night in the winters.

© studio symbiosis

© studio symbiosis

Since each villa is surrounded by earth, the heat gain and heat dissipation happens at a controlled rate. The outdoor terraces and the depth of the villa has been designed to ensure ample light inside the villa, without exposing the surface area of the built to the sun directly. Outdoor space and Shallow water bodiesThe wind direction on the site is from South which is the entrance of the site and travels along the depth of the site up towards north.

© studio symbiosis

© studio symbiosis

This wind movement has been channelized by creating two building flanking either side of the entrance that create a wind tunnel effect and compress and accelerates the wind. Further shallow water bodies have been designed along the path of the wind which cools it down. Given the villas are scooped out of an inclined surface, the wind coming in contact with the water bodies is cooled down and travels seamlessly along the sloped site and creates a cool breeze reaching the villas which is further pushed in the villas with the help of a pergola.
Using cfd, the inclination of the pergolas has been optimized, to direct the wind inside the villas.

© studio symbiosis

© studio symbiosis

Porosity of the pergola has been calculated to retain the wind pressure. The central plaza has been designed as a multifunctional space. This can have regional folk dance, puppet shows (regional to Rajasthan), breakout space for high tea, archery, pool deck, as well as event space.Sustainability Sustainable design solutions have been integrated in the design in various stages of design and construction.

The temperature in this region of Rajasthan can go up to 45-47 degrees. Design strategies have been introduced to reduce the cooling loads in the building and create a sustainable resort.
Natural topography of the site has been used to nest the villas by using earth berming to cool the villas and the outdoor spaces are shaded with pergolas to reduce direct heat from the sun.

The wind blowing on the site from the south has been accelerated by creating a wind tunnel by flanking buildings on either side of the entrance. This accelerated wind passes over shallow water bodies designed in the central plaza, thereby cooling the wind. The cooled wind moves up the inclination of the site and is pushed in the villas using pergolas, optimized by cfd.

Excavated earth from the site is transformed into mud blocks being used as retaining walls of the villas, with rest of the construction materials sourced from within 5 kms of the site.This project is driven by design moves to create a model of sustainable design in scorching heat of Rajasthan..

Reference

A safer, greener, and cheaper battery
CategoriesSustainable News

A safer, greener, and cheaper battery

Spotted: Electrification of day-to-day activities, such as transport and heating, is essential if the world is to transition away from its reliance on fossil fuels. But as new electrified technologies come online, the overall demand for electricity is set to sky-rocket. According to German startup So-Cer, electrification of mobility will triple the demand for electricity, while electrification of heating will triple it. And as variable renewables are added to the energy mix, there is an increasing need for smart energy storage solutions that balance supply and demand.

So-Cer has developed a reliable and affordable battery that can help to address both the rapidly growing demand for electricity and the addition of renewables – a situation the company refers to as the ‘energy balance challenge’.

Using only locally sourceable raw materials and base components, the brand aims to reach a lifetime storage cost of less than one cent per kilowatt-hour of storage. This would make the So-Cer Battery the most cost-effective option on the market, and the go-to choice for homeowners and businesses alike.

One of the key issues with many current battery solutions is their reliance on materials—notably lithium and cobalt—that are extracted using environmentally harmful processes and are only available in certain regions of the world. By contrast, the So-Cer cell leverages cutting-edge battery technology that does not require lithium or cobalt. Instead, it uses salt, water, carbon, nickel, stainless steel, and alumina – all of which are globally abundant resources. This makes the So-Cer cell an attractive option for reducing international procurement dependencies.

In addition, the company claims that it is the safest of its kind on the market, being non-combustible and non-explosive with no degassing, no thermal runaway, and no conduction.

The cell’s power rating is comparable to that of current lithium iron phosphate (LFP) batteries and is being marketed for stationary applications because of its chemical properties. 

Other recent battery-related innovations spotted by Springwise include a modular lithium extraction plant, sodium-ion batteries for remote communities, and a company turning used electric vehicle batteries into home energy storage systems.

Written By: Katrina Lane

Email: info@so-cer.com

Website: so-cer.com

Reference

Zero-emission, high-performance ammonia fuel powers heavy machinery
CategoriesSustainable News

Zero-emission, high-performance ammonia fuel powers heavy machinery

Spotted: With just a handful of countries dominating agricultural machinery sales use, replacing polluting diesel engines with a zero emissions alternative could be done relatively quickly. The result would make a significant dent in global greenhouse gases. New York-based Amogy has created a fuel and power system to do just that by using the world’s second most-produced chemical – ammonia. Use of the clean, high-power fuel system is part of Amogy’s plans to reduce around five gigatonnes of air pollution from transport by 2040.

Focused on the heavy machinery industries of shipping, truck transport, and agriculture, Amogy’s clean fuel provides the power and longevity needed by heavy-duty vehicles. And now, a retrofitted John Deere tractor has successfully showcased the new fuel.

Made by combining hydrogen with atmospheric nitrogen, ammonia is usually used as the basis of nitrogen fertilisers. Readily available as a material and easy to produce, it is a fuel source that can be integrated into current heavy industry structures such as storage, pipelines, and terminals. And with its high energy density, new vehicles using the fuel can be built smaller and lighter, and retrofitted machines won’t become restrictively heavy.

Ammonia has been more frequently spotted by Springwise as something to be removed. For example, Springwise has spotted a probiotic soap that removes ammonia from river water, as well as a portable industrial air quality monitor that detects pollutants, including ammonia. Amogy is instead seeing it as a more sustainable alternative to fossil fuels in transport. 

Written by: Keely Khoury

Website: amogy.co

Contact: amogy.co/contact

Reference

Why Architects Should Never Stop Drawing By Hand
CategoriesArchitecture

Why Architects Should Never Stop Drawing By Hand

James Wines is a renowned American artist and architect associated with environmental design, and is founder and president of SITE, a New York City-based architecture and environmental arts organization chartered in 1970. He’s also on the jury for Architizer’s One Drawing Challenge, architecture’s biggest drawing competition, which offers $2,500 to its winners and publication opportunities for participants. In this essay, originally published in Blueprint Magazine with the title “From Hand to Mouse and Back Again”, Wines makes the argument for hand drawing as a means of architectural representation in the digital era.

It may seem strange to champion hand drawing, especially in view of the universal triumph of digital graphics, when every progressive architect in the world seems obsessed with elevating computerized delineation to new heights of illustrative supremacy. At the same time, as the software revolution has taken precedence, there appears to be a fresh incentive among many architecture students and emerging professionals – actually, a kind of quiet revolution – based on a new-found desire to hone their manual skills and learn to draw in the old way.

I have been a long-standing supporter of dual skills, encouraging young designers to maintain equal graphic abilities on paper surfaces and computer desktops. This advocacy is based on a deeply felt conviction that, by focusing exclusively on computer generated illustration alone, something conceptually profound is forfeited in the design process. When electronic response mechanisms replace the filtration of idea development through tactile means and guiding fingertips, the fertile territory of “subliminal accident” is lost. This refers to marginal calligraphy that dribbles off the edge of the paper, the inadvertent congestion of squiggly lines with no apparent meaning, the unwelcome blobs of ink that drop off a pen tip, or the inclusion of seemingly irrelevant visual references that have nothing to do with initial intentions.

On innumerable occasions over the years, I have been the creative beneficiary of my own graphic musings and the chaotic trail of ambiguities left behind by random charcoal smudges and watercolor washes. In other words, this pictorial detritus inscribed on paper, without any pre-determined architectonic mission, has often become the springboard for new ideas.

A selection of Wines’ sketches. Slide from James Wines’ “Mind to Hand” presentation, 2021; images courtesy James Wines

Frequently, when watching some seemingly pre-pubescent computer whiz use software to whip out multi-dimensional views of a complex structure in a matter of minutes, I feel as though I may be pushing a hopelessly old-fashioned aesthetic ritual, as a consequence of some deep-seated psychological resistance to the cybernetic world. I recall, two decades ago – when proficiency in computer rendering was being applauded as some kind of transcendental feat – how impressed I was with the photo-fidelity of digital drawing. Everything churned out in those days looked too good to be true . . . and it was. As my eyes became accustomed to sorting out slickness from substance, I gradually acquired a highly refined aptitude for detecting mediocrity (or outright crap) lurking under the pictorial gloss – to a point where I can now spot digital dazzle, camouflaging conceptual vacuity, at a distance of fifty feet from the monitor screen.

In addition to the inspirational merits of those idea generating graphic accidents credited earlier, one advantage the computer can never offer is the kind of calligraphic proficiency needed to draw really well. As I often try to explain to architectural students, this elevated status is a combination of aesthetic instinct and responsive rendition that goes considerably beyond the conventional ability to produce photo-like images with great fidelity . . . a commonplace talent in architecture, which is frequently mistaken for genuine drawing. Mechanical reportage also forms the basis of computer graphics and it is the primary reason that digital tools will always be best employed as an efficient means of confirmation (describing the big idea after it has been conceived), but never a deeply resonant art experience in itself.

When teaching drawing to young designers, their most noticeable deficit is a lack of understanding of the complex aesthetic challenges in accomplished draughtsmanship. These include knowledge of the origins of written language, the evolution of calligraphy, the nature of signification and the abstract dimension that unites positive and negative visual elements on a picture plane. In this context, I am speaking mainly of drawing in its subsidiary role as a recorder of thought process within the larger goal of building design. But, like the artist’s study for a painting or sculpture, the calligraphic nature of the conceptual sketch is always a decisive factor in its ultimate qualification as art.

Particularly among design students, the tradition of illustrative purpose often seems to hinder their grasp of what might be called the “deep structure” of drawing, with its multiple layers of art value and sources of content. For this reason, it can be a revelatory experience – especially in the computer age – to review the history of graphic invention and its relationship to the fusion of signs, symbols and aesthetic choices.

Slide from James Wines’ “Mind to Hand” presentation, 2021; images courtesy James Wines

The discovery in of the Altamira and Lascaux cave paintings (in 1879 and 1940 respectively) confirmed the fact that Paleolithic cultures as far back as thirty thousand years ago had mastered the art of drawing and established the foundations for all subsequent graphic selection in the formation of written language. Contrary to the previous view that Cro-Magnon people were simply meandering hunter/gatherers, these communities obviously absolved a privileged minority of visually skilled individuals – perhaps as designated religious shamans – from their food-harvesting obligations. It is clear, given the consummate artistic quality of the cave murals, that this level of mastery was probably the result of centuries of stylistic refinement.

Without going into myriad speculations on the how and why of Lascaux and Altamira, it is sufficient to view the reality and conclude that nothing this aesthetically resolved could have occurred without a profound investment in both the urgency of communication and its translation into culturally endorsed nuances of line, tone and color. The illustrative factor was certainly part of the purpose of cave art; but those Magdalenian masters also knew that the profundity of visual language resided in its abstract elements – in essence, the connections linking symbolism and philosophy – apart from any reportage intentions.

It is reported that Picasso wept when he first viewed the Spanish cave paintings, exclaiming that, “After Altamira, all is decadence.” As one of history’s greatest draughtsman, he understood that prophetic Neolithic artists had anticipated not only the development of Egyptian hieroglyphics and Chinese calligraphy thousands of years later, but also the signifier/signified basis of linguistics and the role of mind and hand in the evolution of visual ideas. Historian Andrew Robinson refers to Magdalenian art as “proto-writing;” seemingly based on the assumption that Ice Age people did not yet have a legitimate alphabet. On the other hand, there are enough abstract symbols punctuating the cave murals to suggest that these Cro-Magnon painters had already laid major groundwork for the development of written language . . . as well as all subsequent calligraphic innovation in art and design.

Slide from James Wines’ “Mind to Hand” presentation, 2021; images courtesy James Wines

Supporting this argument, there is also the remarkable stylistic consistency linking the art of Lascaux and Altamira with innumerable other cave paintings in Chauvet and La Marche in France, as well as those found in Africa and Australia. For example, bison, deer and wild boar are represented with an extraordinary sensitivity of rendering techniques – particularly in terms of linear and tonal choices – which are parallel to those same skills found in the drawings of Da Vinci. Rembrandt, Van Gogh, Matisse and Giacometti and, in architecture, Alberti, Piranesi and Frank Lloyd Wright. In the context of prehistoric times, it was only a small aesthetic and linguistic leap to associate the gracefully tapered legs of a bison with all forms of stability and movement in nature. The next logical step was to abstract this fragment of anatomy into a pictographic symbol, refine it into a cuneiform inscription and, finally, amplify its meaning by phonetic markings and syllabary alphabets. With progressive logic, the extended legacy of this process eventually evolved into the serviceability of e-mail on one hand and the expressive pathos of Picasso’s drawings for Guernica on the other.

Observing the bridge from Magdalenian culture’s deep sense of symbolism and lyrical representation in the depiction of mammal prey to the advent of written language in Asia pretty much says it all concerning the value of graphic invention. By following a similar route four thousand years ago, China had already developed calligraphy to a degree where fragments of the first alphabet still remain a part of contemporary Chinese writing. This interface between language development and the aesthetics of drawing is at the core of graphic expression.

It is also a cyclical and continuously evolutionary form of communication, thriving on renewal and re-invention. As described by linguist Noam Chomsky; “Language is a process of free creation; its laws and principles are fixed, but the manner in which the principles of generation are used is free and infinitely varied. Even the interpretation and use of words involves a process of free creation.” To his “use of words” must be added the “use of line.”

Slide from James Wines’ “Mind to Hand” presentation, 2021; images courtesy James Wines

Chinese writing and drawing have remained synonymous skills in the hands of Asian calligraphers since the first pictographs emerged – which, in later dynasties, included “ideographs” to embody fully developed narratives. Like all languages, Chinese underwent a logical development from the faithful contour depiction of such images as “man, sun, ox, water, etc., toward a more complex system of signs needed for phonetic/semantic functions. But, the continuing beauty of Chinese characters is their metamorphic quality . . . moving gracefully back and forth between representational and conceptual realms of signification.” This “art of language” has kept Asian painters and poets continuously supplied with renewable source material and has perpetuated the performance role of master calligraphers. It is the kind of drawing that becomes a true fusion of theater, communication and graphic style. It is also extremely instructive to anyone seriously committed to understanding what the successful coordination of mind and hand can accomplish.

At the core of Chinese calligraphic aesthetic is the gestural rhythm of the pen or brush stroke and the manual control demonstrated by the flow of thick and thin lines. However, it is the raggedness of edges, the spontaneous splatters, the inadvertent drips and their collective interaction with negatives spaces – reinforcing that all-important element of “subliminal accident” mentioned before – which I personally consider essential ingredients in the multi-layered practice of drawing. For the master Chinese calligrapher, these indeterminate factors are usually captured in bold gestures; but the same spontaneity and fragmentation (and this includes architectural drawings) can be manifested in the smallest and most search-oriented lines on paper.

Slide from James Wines’ “Mind to Hand” presentation, 2021; images courtesy James Wines

I want to summarize a few of these observations on calligraphic values by discussing the contemporary efforts of SITE in this direction. From the beginning of the studio in 1970, our work has been a fusion of art, architecture and landscape. The philosophy of the firm is based on a view that communicative content in the building arts can be based on sources outside the traditions of formalist/functionalist design. These include the social, psychological and ecological implications of a post-industrial era.

SITE’s buildings and public spaces are frequently interpreted as “filtering zones” for receiving and communicating information about the environment, rather than designed as hermetic objects sitting in the environment. For example, in certain graphic works this proposes a narrative function of architecture. It suggests that a building’s wall surfaces, volumes, and adjoining spaces can be seen as absorptive, sponge-like conveyors of messages that go considerably beyond conventional sculptural relationships – suggesting a function of “architecture as the inversion of architecture.” It is a means of converting the familiar ingredients and processes of construction technology – plus the public’s subliminal acceptance of certain kinds of archetypal buildings – into a form of critique and/or commentary about architecture. By prioritizing these reflex identifications (rather than focusing on compositions of abstract shapes) my own sketches tend to view architecture as a “subject matter for art,” rather than the objective of a conventional design process.

Slide from James Wines’ “Mind to Hand” presentation, 2021; images courtesy James Wines

A number of my recent drawings explore the integration of architecture and landscape. This approach is often responsive by a situation where the building is located in a natural site and the objective is to preserve as many trees as possible. As a result, architecture appears to be consumed by its own environment – or, seen more perversely, as a victim of “nature’s revenge.” In other examples, the renderings describe the need for more forested areas, water sources and urban agriculture in the cityscape. The primary purpose is to explore the integration of architecture with context to a degree where it becomes difficult to discern where a building ends and the environment begins. Also, in this way, vegetation can become as much a part of the aesthetic fabric of a structure as masonry, glass, and steel.

From the perspective of fusing computer graphics with hand drawings, SITE has developed an extremely fluid interface between multi-media and conceptual development. For example, our studio’s “Residence Antilia” for Mumbai, India offers a clear sequential demonstration of this creative process, realized through a combination of interactive hand + digital drawing techniques. It shows the basic stages of source referencing, search-for-idea sketches, design clarification and renderings for pure aesthetic experience. The proposal also demonstrates the calligraphic underpinnings as they appear in multiple formats, scales and comparative qualities of line, tone and color. This residential tower, designed in 2003 for industrialist Mukesh Ambani, is located on a very restrictive hilltop site, overlooking the entire city of Mumbai.

Antilia “Vertiscape” Tower proposal, Lower Levels, 2003, Image © SITE

The concept responds to the client’s desire to have a multi-tiered, heavily landscaped structure, similar to (his wife’s preference) the ancient Hanging Gardens of Babylon. For this reason, the entire building is conceived as a “Vertiscape” garden in the sky, freeing park spaces from their normal earthbound confinement. The concept responds to Vastu principles in Hinduism, wherein the spine is regarded as the main source of support, leading upward toward enlightenment. The seven levels of the residence are supported by a stratified structural spine, stabilized by the core and a series of steel cables that support five “floating” floor planes and a variety of interim garden terraces, verandas, trellises, viewing platforms, water features, and recreational facilities.

All horizontal projections emerge from the core structure, similar to the role played by vertebrae in the spine. In accordance with Chakra meanings in architecture, the zones of this building are linked to the themes of earth, water, fire, air, sound, light and information. The main residence, located on a crowning 4000 square meter platform, continues the visually unifying theme of stratification. All of the Vertiscape references, sources and interpretations are accounted for in my related series of drawings, which range from tentative pen lines, to amorphous washes, to hard-edged media combinations. And finally, most importantly for making conceptual choices, these depictions invariably explore what I refer to as the “ambient sensibility” of a place, the role of light and shadow and architecture’s capacity to transform context into content.

Slide from James Wines’ “Mind to Hand” presentation, 2021; images courtesy James Wines

My continuing advice to young architects seeking to draw for reasons of idea development (or pure pleasure) is to follow Picasso’s obsessive example; “I draw like other people bite their nails.” In his enthusiasm for the power of the hand, the great Spanish artist is also purported to have taken a dim view of the digital revolution by commenting; “Computers are useless. They can only give you answers.” While overstating the case – and probably reflective of a certain 1960’s naivety concerning the importance of an emergent computer age – Picasso correctly prophesized the current revival of interest in hand drawing and the widening acknowledgement that there are conceptual and aesthetic territories that the software of Form Z, AutoCAD and Sketchup can neither equate, nor replace.

When I watch masses of architectural students locked into computer monitors as prosthetic extensions of their bodies and churning out facile simulations of buildings, I recall Baudrillard’s eerie assessments of Post-modern culture. Particularly resonant are his views of media phenomena – as illusion replacing reality; where substitution ultimately becomes the reality. In his world of “simulacra” I personally find that signs scratched on paper with a pen or pencil do have a way of restoring the authenticity of representation, as well as the nature-centric validity and socially relevant value of symbolic content in the subject described.

As Baudrillard astutely observed, the illusions created by media tend to remove people from the organic and tactile world around them. Retaining this connection between mind and hand seems just as valid now as it was for the cave art masters who immortalized the hunt in Lascaux and Altamira. The quest for calligraphic quality is no less relevant as well. It is an objective perfectly described by by the writer/animator, Walter Stanchfield; “We all have at least 10,000 bad drawings inside of us. The sooner we get them out and onto paper, the sooner we’ll get to the good ones buried deep within.”

Sign up to be informed when the next One Drawing Challenge competition opens for submissions. Be sure to check out the rest of this year’s extraordinary Winners and Commended Entries.

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Non-recyclable plastics added to asphalt for stronger, more sustainable roads
CategoriesSustainable News

Non-recyclable plastics added to asphalt for stronger, more sustainable roads

Spotted: Through the improvement of road construction materials, startup Ecopals has set an annual goal to take 1.5 million tonnes of plastic out of circulation and reduce carbon emissions by 1.8 million tonnes in Europe alone. Using non-recyclable plastics that would otherwise be burned, Ecopals created EcoFlakes, an asphalt additive made from a mix of waste materials and streams. Using EcoFlakes in asphalt improves road longevity and reduces the need for virgin materials and petroleum-based products such as bitumen.

A pilot site at Fraunhofer ICT has been in-situ since 2011, providing the partnership of Ecopals, Fraunhofer ICT, and the University of Kassel with 10 years of performance data. The team has found that adding EcoFlakes to roads improves overall resistance to cracking and increases strength at high temperatures, while also maintaining the expected flexibility of the road at cold temperatures.

And for each tonne of asphalt with EcoFlakes added, 6.6 kilogrammes of carbon dioxide emissions are prevented. Ecopals currently seeks feedback from users on the optimum time for mixing materials in the dry and wet stages, and the company is working with local partners in the global south to spread the use of the technology.

From a carbon-negative road repair process to the addition of plastic milk bottles to repaving materials, communities worldwide are seeking to improve the sustainability of millions of kilometres of road. 

Written by: Keely Khoury

Email: info@ecopals.de

Website: ecopals.de

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5 Californian Vineyards Pairing Fine Wine With Fresh Design
CategoriesArchitecture

5 Californian Vineyards Pairing Fine Wine With Fresh Design

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletter. 

The summer months are upon us, which comes with the return of beloved summer activities, including wine tasting and vineyard touring. California is one of the world’s largest wine-producing regions and is visited by millions of tourists each year. Its sunny climate makes for successful growing seasons and an abundance of wines to try. From Napa to Sonoma to Los Carneros, there are countless vineyards to explore and taste the best of the region’s grape offerings.

The Californian landscape equally draws in visitors, with countless mountain ranges and rolling hillsides to explore. In California, we see unparalleled wine tasting experiences, which are often a result of successful architectural design. When architecture successfully responds to the geographical nuances of a particular land and prioritizes visitor experience, the result is a bespoke, intimate wine tasting experience that is hard to beat. Listed below are 5 wineries located in California, all of which boast intimate and site-specific environments to taste wine and embrace the scenery.

Aperture Cellars by Signum Architecture, Healdsburg, CA, United States

Located in Healdsburg, California is a unique vineyard that merges the art of winemaking with photography. Designed for a winemaker and his father, this project embraces the landscape as well as the family’s unique approach to winemaking. The winery was built into two volumes — a production space and a hospitality building. Both volumes are seen as apertures into the process of winemaking, which echoes the father’s love for photography.

The large 20,000 square-foot production building was designed in such a manner that despite its size, it’s not harsh against the landscape. Keeping with the theme of the aperture, the architect’s deconstructed the hexagonal lens and used this shape to inform the roof’s design. Both volumes are connected by a series of interconnected and abstractly protruding rooflines. A darkened metal covers the buildings’ façade, equally reducing the sense of scale (so as not to take from the landscape). The hospitality building is set facing the Sonoma Mountains, with large windows that create a connection between the indoors and outdoors. The space features private, glass-walled wine tasting rooms with views of the surrounding mountain range.

Theorem Winery by Richard Beard Architects, Calistoga, CA, United States

Nestled in Napa Valley’s Diamond Mountain appellation is Theorem Winery, a bespoke winery experience. The goal was to create a space that eschews the large-scale winery experience, instead creating an intimate space that offers uncompromised hospitality. The winery sits on 60-acres and is made up of a series of 19th-century structures that once served as a country retreat. Certain original structures, such as the Greek revival cottage and schoolhouse were individually restored before commencing the large master plan.

The new build was inspired by the site’s vernacular architecture and was designed with the intention of complementing the original edifices. The guest experience is centered around a play of light. Visitors are welcomed into the 8,000 square foot venue through a large-scale trellis which shades the sun and prepares guests for the darker subterranean levels. The winery is filled with numerous tasting sites that are deliberately oriented toward picturesque landscapes. Steel-framed windows adorn the structure, filling the space with natural light and connecting the indoors to the outdoors. The structures are clad in a dark material to ensure the site blends and does not take away from the surrounding landscape. Theorem Winery is by appointment only, which reinforces the intimate and bespoke nature of this wine tasting experience.

Covert Estate Winery by Signum Architecture, Napa, CA, United States

Located amid the rolling hills in the Southeastern part of Nappa Valley is Covert Estate Winery. This vineyard achieves the quintessential winery feel while still offering a surprising and unmatched experience. The client — a passionate winemaker — desired a space that reflected both his love for wine and the land. The challenge was to erect a space that was unexpected and unique while minimally impacting the land.

Responding to the client’s request, Signum Architecture designed the entire winery underground. Three circular portals are seen from ground level, which follow the natural curves of the hillside and is completely invisible within the landscape. The volumes were curved around the existing landscape to not sacrifice trees during its construction. The tasting room was positioned near the entrance to ensure guests can enjoy and benefit from natural light. The interior space is defined by its barrel-vaulted ribbed ceilings and series of curved tunnels which lead to winemaking and guest rooms.

Quintessa Pavilions by Walker Warner Architects, Saint Helena, CA, United States

Quintessa Pavilions are a series of independent volumes, each designed to offer personalized and privately hosted wine tasting sessions. The pavilions were an added addition to a Napa Valley winery that sits on 280-acres. Each of the three volumes was carefully placed to ensure guests are well protected from the elements while still offering views of the surrounding landscape. This way, the pavilions can be enjoyed year-round.

Moreover, careful consideration was taken to preserve the mature oak trees found throughout the property. Guests are guided to each pavilion through a pathway nestled in the forest which leads to the whimsical pavilions. The architects made sure to mimic the existing winery’s aesthetic by using similar materials and color palettes. The pavilions lie elegantly within the landscape, with operable doors that offer ventilation and unobstructed views. The grounds surrounding the pavilions were planted with drought-resistant grasses that create a smooth visual transition from the pavilion to the mountain range.

Progeny Winery by Signum Architecture, Napa, CA, United States

Located high in Nappa Valley’s Mount Veeder AVA is a winery with an untraditional ethos. The winery sits atop a mountainous terrain known for producing incredible wines; however, its rugged, uneven and steep terrain posed a big challenge to the architects. The clients wished for a gallery-like space where they can exhibit their wine like a fine painting. They equally wished for a site that responded and remained authentic to the unique landscape.

To achieve this design, the master plan includes two separate volumes: one for entertainment purposes and the other housing private offices. The volumes are set only four feet apart, which allows for a smooth operation and a connected environment. Both volumes were oriented in such a way that views are offered of the mountains to the west and the vineyard to the northwest. Raw concrete was chosen for the frame as its aging properties fit the feel of the terrain. To achieve a gallery-like experience, the interior space boasts a monochrome aesthetic, with white walls and light wood floors. This atypical gallery ethos makes for a distinctive and relaxed wine tasting experience.

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletter. 

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Technology enables messaging and app access without data or wifi
CategoriesSustainable News

Technology enables messaging and app access without data or wifi

Spotted: The internet has become so ingrained in our daily lives that most of us can’t envision life without it. However, there are still many parts of the world where internet access is unavailable or unreliable. Mexican startup Bridgefy is on a mission to connect users even without internet access. 

Bridgefy leverages other nearby smartphones’ Bluetooth and Wi-Fi antennas to create a mesh network that connects devices within a 330-foot range. The company has developed a free offline messaging app but this is not the only use of its technology, which also allows apps to function without an Internet connection.

Only those apps within the Bridgefy network can provide services to users without internet access. But the startup has developed a software development kit (SDK) that helps app developers easily incorporate the mesh network technology into their iOS or Android code.

Bridgefy created the SDK to get their product out to a wider audience faster and with less hassle. Thanks to Bridgefy, developers can now provide their users with offline capabilities in a variety of situations, whether it be for messaging, payments, or even social networking.

Bridgefy charges companies depending on how many users they attract while using the app offline. The company expects to be able to support ride-hailing apps, cruise ship apps, educational apps, social media, and gaming.  

One of the most successful uses of the technology is a collaboration between Bridgefy and SkyAlert that helps citizens connected in times of natural disaster. SkyAlert, which is also based in Mexico, issues earthquake warnings shortly before they happen. 

Other innovations, spotted by Springwise, that look to extend connectivity include smaller satellites for faster internet, a satellite communication network for remote communities, and a startup that brings Wi-Fi to remote farm communities.

Written By: Katrina Lane

Website: bridgefy.me

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