Close up of precast concrete slab with hollow cells created using 3D-printed FoamWork by ETH Zurich
CategoriesSustainable News

“The world needs cement” says concrete industry decarbonisation chief

Concrete will remain the world’s dominant construction material over biomaterials such as timber as the world transitions to net-zero, claims GCCA chief executive Thomas Guillot.

The second most widely used material on the planet after water, concrete is produced by a massively polluting industry that accounts for around seven per cent of the world’s carbon dioxide emissions. For comparison, aviation is responsible for closer to two per cent.

However, Global Cement and Concrete Association (GCCA) chief executive Guillot argues the focus should be on reducing the carbon footprint of concrete rather than seeking to replace it.

“Concrete is really the backbone of all modern society”

“If you look around us, concrete is really the backbone of all modern society,” he told Dezeen. “So it’s easy to say we get rid of cement, but the reality is that everywhere we look for infrastructure, for schools, for roads, for development, cement is there. The world needs cement.”

“So the question is now: if this material is fundamental to the world, then we are custodians as an industry of that material, and as much as we need concrete, we need us to bring net-zero concrete to the world,” he continued.

“The core of our priority is to bring net-zero concrete to the world in the next decades.”

Many sustainable building campaigners argue that to keep global temperature rises under control, concrete must increasingly be swapped out for carbon-sequestering biomaterials, especially timber.

But Guillot believes that his organisation’s vision for a net-zero concrete product will remain the building material of choice for most construction projects, in favour of timber or direct concrete alternatives like hempcrete.

“There are substitutes of concrete,” said Guillot. “The problem is the volume of the use of the material on the scale that concrete is used around the world. So what material can substitute concrete really?”

“You say some of these technologies are better, fine,” he added. “Put a price on carbon and let the market compete, and then we’ll see what is the most effective material,” he said in reference to the GCCA’s call for widespread market-based carbon pricing.

“I’m taking the bet: concrete has a future in a regulated world that says CO2 has a cost and you need to price it.”

The GCCA describes its mission as helping the concrete and cement industry transition to net-zero by 2050.

Its website features multiple fallacy-versus-fact-style articles pouring doubt on the suitability and sustainability of timber as a construction material while extolling the benefits of concrete.

Ribbon of Light in Los Angeles
Top: Thomas Guillot addressed the GCCA’s CEO gathering in Atlanta this year. Above: the Ribbon of Light viaduct in LA. Photo by Iwan Baan

But Guillot denies that his organisation is anti-wood.

“We are not against any type of materials,” he said. “I am definitely not the one that will start to bitch on wood or things like this, because that’s not the point, that’s not my role, honestly. We want to use our energy in trust-forming our materials, not bitching on others’ materials.”

Instead, he claims, the GCCA is seeking a “fair comparison” between the merits of concrete and timber.

“We need to use all the materials we have, but we need to have a fair understanding and we should be candid in front of the reality of what wood is,” he argued.

“We have an issue with deforestation, right? Try to scale using wood in core elements in line with deforestation, in line with mono types of forestry, biodiversity etcetera, etcetera, just try to map that.”

“We are not here to defend an old industry”

The GCCA’s membership includes huge corporations like HeidelbergCement and Cemex, plus more than 40 national cement associations.

It represents 80 per cent of the world’s cement manufacturing capacity outside of China, as well as some Chinese companies including CNBM, which produces around 500 million tonnes of concrete each year. China alone pumps out more than half the world’s concrete and cement.

The GCCA frequently cites the statistic that three-quarters of the infrastructure that will exist in the world by 2050 has yet to be built.

To enable that to happen, it argues, concrete will be crucial. However, Guillot insists the GCCA is not interested in “protecting the status quo”.

“We are not here to defend an old industry,” he said.

“We are not protecting the status quo. We are defending a tremendous – is it a revolution, an evolution? I don’t know, I can’t qualify it today – but we are defending a tremendous change of our industry.”

“We are habitants of the planet, and we totally understand that we are custodians of that material [concrete] and that we need to change things.”

And he concedes that the world will need to find a way to use less concrete and cement.

“We are not saying that it’s concrete and only concrete; there are things out there that will help, including reducing the quantity of material use,” he said. “I say we have to use that material in a more frugal manner.”

“We have to use concrete in a more frugal manner”

Guillot worked in the industry for 20 years before being appointed to lead the GCCA in 2021.

Last year, the body launched a 2050 net-zero roadmap, in what Guillot claims was a “first for the industrial sector”.

Its vision for net-zero concrete seeks “CO2 optimization at each place of the value chain”, according to Guillot.

That includes using concrete more efficiently with the help of 3D printing in construction and better design, plus more accurate measuring of cement brought to market – which is currently often sold by the bag.

The GCCA's net-zero roadmap
The GCCA unveiled its net-zero roadmap in 2021

It also involves adopting recipes for cement that use less of the high-carbon base material clinker, with the GCCA supporting research exploring clay cement as an alternative to the standard Portland cement.

“Circularity is also an important element,” added Guillot. “I mean how much you can reuse the concrete itself, the recycling of concrete, the recycling of cement. Some of our members have put on the market some cement which has up to 20 per cent of circular material inside.”

By reducing clinker-related emissions, producing and using concrete more efficiently and transitioning to renewable electricity, the GCCA believes that the concrete industry can cut its total global carbon dioxide emissions – currently 2.5 billion tonnes a year – by 64 per cent.

The remaining 36 per cent, the single biggest element in its net-zero roadmap, relies on carbon capture at cement plants.

“The technology exists, just it is not applied to cement conditions yet”

Industrial carbon capture involves capturing CO2 from factory flues using machines, which can then be stored or utilised for other purposes. At least 35 carbon capture plants are currently planned by GCCA members, though none are yet fully operational.

“All our members are working on that, making the technologies happen, working on innovation to make sure that this is coming,” said Guillot.

“The technology exists, just it is not applied to cement conditions yet, so this is about to be proven,” he claimed.

Some experts believe that carbon capture will form a major part of the world’s transition to net-zero.

Others – including Cambridge University engineering professor Julian Allwood – have argued that the novel materials and carbon capture technologies being explored by industry cannot be scaled up fast enough to decarbonise all of the world’s concrete production by 2050.

The GCCA’s roadmap calls the 2020s “the decade to make it happen” – the period in which it hopes the industry can develop carbon-reducing technologies to roll out between 2030 and 2050.

It had an active presence at the recent COP27 climate summit. One of its main asks is for governments, which represent a large proportion of global demand for cement, to “stop buying high-carbon concrete” according to Guillot.

“You need to create demand for low-carbon material so that these materials can flow, can have its own market,” he said.

Instead of binding targets, which it argues would place firms in some countries at a disadvantage, GCCA members are required to set their own sustainability objectives that increase in ambition year-on-year.

“Judge us on action”

The body’s recently released one-year action and progress report said that the latest available data showed its members had reduced their net CO2 emissions per tonne of cement by 22 per cent between 1990 and 2020.

However, research by the CICERO Center for International Climate Research found that the industry’s overall CO2 emissions have risen dramatically over the same period due to an increase in production.

“Judge us on action,” said Guillot. “We will be relentlessly working on getting people in motion to the transformation.”

“That’s the essence of this association, the GCCA – we need to accelerate the net-zero transition. This is our headache, this is our life motive, and I’m waking up at night saying ‘how do we do that quicker?'”

Reference

This Epic Architectural Triptych Depicts the Complexities of Hiroshima's Past, Present and Future
CategoriesArchitecture

This Epic Architectural Triptych Depicts the Complexities of Hiroshima’s Past, Present and Future

Upon first look over the minute details of One Drawing Challenge Student Winner Victoria Wong‘s award-winning triptych appears to revel in the medium itself. A drawing that harnesses the powers of digital processes, it certainly requires close looking to grasp the changing perspectives, intertwining scenes and layers of time that are compounded in each of the three scenes. One would be forgiven for assuming that the University of Michigan student set out to explore the aesthetic possibilities of digital sketching, 3D modeling and the various uses of other graphic software.

Yet, while Victoria demonstrates mastery of these techniques, they only tell one part of the story behind the drawing. At a fundamental level, before the composition and execution of these ideas, Victoria set out to explore the boundaries between designing, modeling and post-production. In this way, she approaches her subject matter, the site of Hiroshima, through a kaleidoscopic lens that incorporates Japanese aesthetic theory, contemporary music, and photographing imperfections in daily life. In this sense, the end goal was actually to overcome the hurdles of focusing on the technicalities of the design itself to instead foreground the emotive dimensions of a place, unlocking creative possibilities.

“Suggested by Lebbeus Woods, architecture is essentially an internalization of society yet an externalization of ourselves,” Victoria explained. “Through investigating the decay and death of artifacts and events, Into the Void illustrates the new collisions of regrowth and reshaping our relationship with different agencies.”

Architizer’s Architecture Editor invited Victoria to expand on conceptualization of her winning triptych. In the conversation that follows, the designer, who will be starting at Perkins&Will‘s Dallas studio this May, offers insights into her creative process and the underlying themes of her thesis project.

Hannah Feniak: Congratulations on your success with the One Drawing Challenge! What sparked your interest in entering the competition and what does this accolade mean to you?

Victoria Wong: Thank you, Hannah and your team, for hosting and curating! Also, congratulations to all the winners. I came across the One Drawing Challenge several years ago and appreciated Architizer showcasing a wide variety of entries so the public can appreciate those drawings. The simplicity of one image accompanied by storytelling has also been compelling. Regarding this accolade, it’s an honor to conclude my time as a student by sharing my thesis with the architecture community.

POSSIBILITIES.

Photo Study: The starting point of Victoria’s winning entry was idea curation. To this end, she sought to understand her subject matter through taking photos and analyzing music. 

HF: What were the primary challenges of conceiving your work, from forming the idea to the physical process of creation? 

VW: The triptych serves as the final scenes of my thesis, “Into the Void: Fragment Time, Space, Memory, and Decay in Hiroshima.” It was about a six-month study of various Japanese aesthetic theories of imperfections, including life and death, decay and rebirth, shadow and lights, etc. Since the topic is very conceptual, I took a non-traditional route to build my understanding of the matter by photographing the imperfections in daily observance and analyzing contemporary music after the first round of research. 

The major challenge was translating multiple layers of Hiroshima’s research and new information into the final scenes while acknowledging the historical, cultural and natural aspects of the site. There is a delicate balance in respecting the gravity of the past while proposing a parallel timescape that accepts and appreciates imperfections and the scarring. Another challenge was to showcase the idea through an appropriate medium; in this case, the stages are oversaturated yet harmonizing to counter argue our understanding and concept of “void.” 

The final production was relatively short once I decided what to highlight and how to narrate my thesis. All elements in the triptych were modeled digitally, thus requiring very little post-production work. I specifically enjoyed the production process of this triptych; it was an experiment in challenging how much the post-production process can be minimized. The boundary between designing, modeling and post-production is blurred. The strategy of ‘manipulating’ the illustrations fulfilled my curiosity in examining if the creation of an image can be as interesting as the design and the story behind it. 

Photo Study: A zoomed-in showing one of the panoramic views that was described in the text that Victoria was working with.  

HF: Could you describe why you gravitated towards these specific illustration techniques? 

VW: I usually gravitate towards two types of illustrations: imaginative and informative. The creative illustration reveals how the space feels instead of the technicality of the design, i.e. the mood palette, while the informative illustration showcases relationships in all scales, from connectivities of agencies to architectural detailing to a building’s contextual relationship with its site or cityscape on a larger scale. This triptych lays between the two categories. It is a relatively new way of seeing illustrations for myself, but it seemed fitting for this theme. 

For example, the middle panel conveys the “void in culture” by depicting an afternoon at Yagenbori, previously known as one of the largest red-light districts in Japan. It is currently at its sunset stage and losing its identity as the cradle of Geisha. To capture its story and depict the diversity of the area, I chose to collapse multiple perspectives and timescapes into a one-point perspective allowing time and space to condense into one scene where layers of imagination coexist. The duo-perspective illustrates different timelines in the scene. When the panel is viewed ‘top-down,’ it tells the story of the current days; when it is viewed ‘forward,’ it illustrates the past events. Other floating devices and elements demonstrate futuristic connections bridging the two. The timeline, scale, and space are distorted in ways where elements from different eras are reorganized and coexist in the same world. 

Mini Prints of Testing Images

HF: Your piece explores Japanese aesthetic theories through the city of Hiroshima’s past, presents and future. Do you have other drawings that are as conceptual as this? In terms of format, have you explored the narrative potential of the triptych format in the past?

VW: This is my first time creating a triptych, but I have always gravitated towards illustrations with a sense of humor and leaving room for imagination. The project started with a trio of panoramic collages using historic photos from WWII to re-visualize the same three Hiroshima sites shown in the triptych. They depict a parallel timeline in which human and non-human agencies got to reclaim the ruins and transform them into their habitat instead of reconstructing how the sites were before they were annihilated. In terms of format, I am currently researching a couple of other sites that follow the same trail of investigation and presentation format besides Hiroshima. They both have their challenges – historically, environmentally, culturally, and politically– and I’m excited to see where this way of investigation will affect our views towards scarring that are shared between generations and to inform architects of alternative possibilities.

HF: How did the process and workflow of creating your drawing compare to traditional architectural drafting?

VW: While technology certainly helps people visualize and communicate ideas, I’m attracted to the simplicity of pen and paper when thinking through ideas. During covid, when our mobility was primarily restricted, I started exploring digital sketching. The medium is different, but the general technique remains unchanged. While my ideas begin with analog and digital sketching, 3D modeling and other graphic software are productions and experimental tools that elevate my understanding of design. On the one hand, I enjoy how forgiving digital platforms are, yet making mistakes is the best part of experimenting. 

Detail of the final product: 1/3 of the triptych. 

HF: What one tip would you give other students looking to win next year’s One Drawing Challenge?

VW: Go wild and explore your imagination. There is no right or wrong answer to creating an excellent image as long as the message is conveyed. I’m excited to see how people depict their logic and systematically translate it into a visually pleasing drawing. Have fun, and enjoy the process! 

Thank you, Hannah and your team, for hosting and curating! Also, congratulations to all the winners. I came across the One Drawing Challenge several years ago and appreciated Architizer showcasing a wide variety of entries so the public can appreciate those drawings. The simplicity of one image accompanied by storytelling has also been compelling. Regarding this accolade, it’s an honor to conclude my time as a student by sharing my thesis with the architecture community.


Interested in seeing more work by Victoria Wong? Peruse her portfolio and connect:

> https://www.linkedin.com/in/vwongwt/ 
> https://www.instagram.com/vw.archive/ 

The winners of Architizer’s Fourth Annual One Drawing Challenge have been revealed! Interested in next year’s program? Subscribe to our newsletter for updates. 



Reference

Superzoom gallery in Paris with all-pink interiors
CategoriesInterior Design

Golem creates “pleasure-driven” pink interior for Superzoom gallery

Bubblegum-pink walls, floors and furniture create unconventional spaces for displaying art at this gallery in Paris designed by local studio Golem.

Headed by architect and artist Ariel Claudet, the practice was invited to design the interior for the Superzoom art gallery, which is located in the historic Le Marais district.

Superzoom gallery in Paris with all-pink interiors
Superzoom gallery in Paris features bubblegum-pink interiors

The gallery comprises three spaces arranged in an unusual order, with the gallery director’s office at the entrance, a white-cube gallery space in the centre and an accessible storage space at the rear.

“We flipped upside-down the classic and elitist sequence of an art gallery, offering visitors a new pleasure-driven experience and the gallery managers three spatial tools for a large range of curatorial approaches,” explained Claudet.

All-pink walls and floors in Superzoom gallery in Paris
Pink is Superzoom’s signature colour

Superzoom’s signature colour pink was used as the basis for the design, reflecting the vibrancy of the local nightlife and techno scene where the gallery mingles with artists and collectors, according to Claudet.

An integrated sound system hooked up to a vinyl record player provides a soundtrack of electronic music to enhance this connection.

The “pink den” contains a built-in bench for visitors and a synthetic grass

By placing the director’s bright-pink office at the front, Golem aimed to create an entrance that is warmer and more inviting than a typical white gallery space.

The “pink den” contains a built-in bench for visitors and a fake grass carpet that contributes to the warm, tonal aesthetic.

Record player within art gallery by Golem
The integrated sound system is hooked up to a record player

Visitors can continue through into a large and versatile white-walled gallery. This display area remains connected to the main spatial concept thanks to the pink openings on either side.

The final space within the gallery is a storage area with walls painted the same shade of lively pink. In a conventional gallery setting, this space would be hidden away. But here, it is open and accessible to visitors.

Each of the spaces in Superzoom’s gallery can be used for exhibiting work, either independently or together.

For example, Golem suggested the white cube could be used for a solo show while other artists’ work is presented in the director’s office and storage space.

White-walled gallery with overhead lighting by Golem
A white-walled gallery provides more space for exhibiting art

All of the furniture and the pink wall separating the white cube from the director’s office are mobile and can be removed to create a larger space for exhibitions or parties.

Golem designed the baby pink table featured in the director’s office as an emblem of the gallery that can be taken to art fairs or used for client dinners.

Pink interiors at Superzoom gallery
The pink office table can be removed and brought to art fairs

Claudet founded Golem in 2021 after working as an architect for practices including Rem Koolhaas’s Rotterdam-based firm OMA.

Other all-pink interiors published on Dezeen include a fur-covered Balenciaga store in London and the Minimal Fantasy holiday apartment in Madrid.

The photography is by Cyrille Lallement.

Reference

Traceability data for the fashion industry
CategoriesSustainable News

Traceability data for the fashion industry

Spotted: Most organisations have realised the importance of sustainability for their brand image. However, it is very difficult to guarantee supply chain transparency and product traceability over the large networks of suppliers that most big businesses rely on. To make things easier, Swedish company TrusTrace has developed a platform for product traceability and supply chain transparency within the fashion, food, and retail industries.

The TrusTrace platform uses artificial intelligence (AI) and blockchain to integrate retailer, manufacturer, and supplier systems, as well as third parties such as certification agencies, lifecycle datasets, and other sustainability solution providers. The system allows users to track and trace materials and ESG and compliance data for thousands of suppliers and products. Unlike some similar systems, TrusTrace is built specifically for the scale of ultra-large and complex textile supply chains, providing the fashion industry with much-needed transparency.

The software-as-a-service platform allows organisations to track transactions and scope certificates in a standardised and scalable way, while gathering the evidence needed to meet compliance requirements, and see the status of goods as they move through the supply chain.

TrusTrace co-founder and CEO Shameek Ghosh explains: “We have developed our Material Intelligence Frameworks for certified and non-certified materials, which accelerates a brand’s journey to achieve high levels of material compliance. Our goal is to make sure traceability data is accessible in real-time along the value chain as raw materials become finished products.”

Improving sustainability and traceability in the textile industry is the goal of several innovations Springwise has spotted. These include a platform that helps fashion brands have better control over their sustainability data, and a closed-loop production system for cotton goods.

Written By: Lisa Magloff

Reference

Modular facade of Green Solution House 2.0 by 3XN
CategoriesSustainable News

Green Solution House 2.0 is CLT-framed hotel designed by 3XN

Timber provides almost all the building fabric of Green Solution House 2.0, a hotel on the Danish island of Bornholm completed by architecture studio 3XN.

Located in the town of Rønne, the modular building consists of a structural frame of cross-laminated timber (CLT), an exterior of timber boards and a layer of wood fibre insulation.

Modular facade of Green Solution House 2.0 by 3XN
Green Solution House 2.0 has a modular CLT frame

The design was developed by 3XN with its sister studio GXN, which specialises in circular architecture, and is intended as a model for sustainable construction.

As well as specifying natural materials, the design team planned the hotel so that it could be built quickly and efficiently, with minimal waste.

Side view of timber-framed hotel by 3XN
Timber clads the exterior above a layer of wood fibre insulation

Its CLT frame was designed as a kit of parts and manufactured off-site. Material offcuts were carefully calculated and then used to create bespoke furniture elements within the building.

The building also incorporates granite surfaces made using waste material from local quarries.

Balcony of Green Solution House 2.0 by 3XN
The structure was designed as a kit of parts and built off-site

“The widespread use of timber is both good for the climate and gives a particularly warm atmosphere,” said Lasse Lind, partner at GXN and project lead for Green Solution House 2.0.

“The building itself is an expression of the hotel’s ambition to make green solutions an attractive element for guests.”

Staircase and atrium of 3XN-designed hotel in Denmark
Hotel rooms sit on either side of a central atrium and staircase

Green Solution House 2.0 is an extension of Hotel GSH, also designed by 3XN, which opened in 2015.

The three-storey building contains 22 single bedrooms, one double bedroom and two dedicated meeting rooms.

Its interior is organised around a linear atrium, sandwiched between two rows of rooms on the ground and first floors.

A generous staircase rises up through its centre, leading up to a terrace and spa on the uppermost floor.

Bedroom in Green Solution House 2.0 by 3XN
CLT offcuts were used to create bespoke furniture

A sheltered balcony or terrace fronts each room, helping to naturally shade floor-to-ceiling glazing while also providing guests with private outdoor space.

Inside the rooms, the CLT structure is left exposed to create a warm cabin-like feel.

View from balcony of Denmark hotel
Each room has its own balcony or terrace

Modularity was key to minimising waste in Green Solution House 2.0.

The building is formed of repeating box-like modules, arranged in a staggered formation to capture as much natural daylight as possible.

This standardised approach meant that offcuts were of the same size and dimensions, making it easier to utilise them for multiple furniture elements.

Top floor of Green Solution House 2.0 by 3XN
A spa is located on the uppermost level

Timber is a recurring material in 3XN projects, with recent examples including the Klimatorium climate centre, also in Denmark, and the planned extension to the Ecole Polytechnique Fédérale de Lausanne in Switzerland.

The extensive use of the material for Green Solution House 2.0 has led to the project being named a 2022 winner of Årets Byggeri, a prestigious architectural award in Denmark. Hotel GSH received the same award in 2015.

Wooden facade of Denmark hotel by 3XN
The facade is staggered to maximise natural daylighting

“We are very proud to receive this award, which focuses on the impact that architecture can have on society,” said Lind.

“As an office, we seek to inspire through our projects, and we hope the Green Solution House 2.0 will inspire people to build with biogenic materials, use local and upcycled resources, and make holistic sustainability the main design driver.”

Facade of Green Solution House 2.0 by 3XN
Green Solution House 2.0 forms part of Hotel GSH in Rønne

The building also incorporates rooftop solar panels and water recycling to reduce its energy footprint.

The studio expects the building to have a very low carbon footprint across its lifespan.

The photography is by Adam Mørk.

Reference

Free Webinar: How to Estimate Fees (An Architect's Guide to Success)
CategoriesArchitecture

Free Webinar: How to Estimate Fees (An Architect’s Guide to Success)

Architects: Ready to start mastering fees and better understand what they mean for your bottom line? We’re excited to be joined by Douglas Teiger, FAIA, founder of Teiger Consulting, for an insightful new webinar that will demystify the process and help you (and your firm) become more profitable.

As a bonus, architects can receive 1 AIA Continuing Education Credit for this event, courtesy of BQE! Hit the button below to sign up for the talk, which will take place at 1pm EST on Wednesday, February 8th:

Register for Event →

In this free live session, you will learn how to define your project scope, develop a Rough Order of Magnitude of construction cost, and estimate your project hours. We’ll finish off with how fees are broken down and explore a simple system to improve your overall project profitability.

By the end of the session, you will learn how to:

  • Identify the correlation between project scope, estimated cost of project, and fee.
  • Develop a Rough Order of Magnitude (ROM) of construction cost in a simple way.
  • Create a top-down approach to fee estimation based on a percentage of costs as a guideline.
  • Estimate fees whether hourly or fixed fee projects.
  • Define how many hours you have in each phase and how to manage those hours.

Join Douglas and Paul for what promises to be an engaging presentation — there will also be an opportunity to ask Douglas any questions you may have around estimating fees, improving your profitability and more. You can register for the talk here — we hope to see you there!

About Douglas

Douglas Teiger, FAIA, graduated from Cornell University, in 1982 with a BARCH. He opened his own firm in 1989 and grew from a solo practitioner to become managing partner of his 32-person firm. In 2009, Douglas received a Master’s in Spiritual Psychology from USM, where he learned tools and skills he is sharing with his staff and clients. His ability to effectively streamline the operations allowed for more time to be spent on design and project research while creating a culture that fosters a holistic approach to a work life balance.

In 2017, he served as President of the AIA Los Angeles Chapter and previously served on the AIA National Strategic Council. In 2019 Douglas transitioned out of his firm elevating three associates to partners, sold his shares and started his next venture, Teiger Consulting. Douglas’s mission is to “live an inspiring balanced life” whether it involves family, coaching, consulting, painting, or sports.

About Paul

Paul Keskeys is Editor in Chief at Architizer. A registered UK architect, Paul graduated from UCL and the University of Edinburgh, gaining an MArch in Architectural Design with distinction. Paul has spoken about the art of architecture and storytelling at many national industry events, including AIANY, NeoCon, KBIS, the Future NOW Symposium, the Young Architect Conference and NYCxDesign. As well as hundreds of editorial publications on Architizer, Paul has also had features published in Architectural Digest, PIN—UP Magazine, Archinect, Aesthetica Magazine and PUBLIC Journal.

Register for Event →

Reference

Meandering rattan structure in a dining room by Enter Projects Asia
CategoriesInterior Design

Rattan installation meanders through Thai art gallery by Enter Projects Asia

Architecture studio Enter Projects Asia has completed a private gallery for a collector in Chiang Mai, Thailand, featuring an undulating rattan structure designed by an algorithm that weaves its way in and out of the building.

The 2,000-square-metre gallery complex comprises gardens, water features and a series of pavilions for displaying the owner’s collection of silverware, fine china and porcelain, including what is reportedly the largest collection of Wedgwood porcelain in Southeast Asia.

Meandering rattan structure in a dining room by Enter Projects Asia
A rattan installation weaves throughout the gallery

Enter Projects Asia, which is based on the Thai island of Phuket, developed a holistic proposal for the project that spanned everything from spatial planning to lighting and furniture, with the fluid rattan structures providing a consistent element throughout the scheme.

The aim was to create a less “clinical, antiseptic” interpretation of a traditional gallery, based on the studio’s research into parametric design and dynamic forms, Enter Projects Asia director Patrick Keane explained.

Inside of a rattan pod with built-in shelving
The overhead rattan structure drops down to form several pods

“We sought to create an immersive experience, giving the space a warmth and depth uncharacteristic of conventional art galleries,” he said.

The gallery features two wings arranged on either side of a central entrance. Each wing contains an exhibition space, with a private dining area also accommodated in the larger of the two volumes.

Meandering rattan structure around a courtyard tree
The gallery complex also includes gardens

The rattan installation begins at the entrance and traces an overhead route through the building, seamlessly transitioning between inside and outside.

At several points, the suspended structure drops down to create bulbous open-sided pods, incorporating shelves for displaying artworks and objects.

Meandering rattan structure by Enter Projects Asia
The rattan structure weaves in and out of the building

The installation’s complex form was generated using generative design software and is intended to simulate the movement of clouds and steam.

Its shape seems to change constantly when viewed from different perspectives, adding visual dynamism to the interior.

Lighting integrated within the overhead structure creates a warm glow both during the day and night, while concealed lights illuminate the display areas.

The three rattan pods – measuring five, four and three-and-a-half metres in height respectively – were fabricated in a factory during the coronavirus lockdowns before being transported to the site and assembled.

Meandering rattan structure by Enter Projects Asia
Lighting was incorporated into the rattan shapes to create a warm glow

Enter Projects Asia regularly works with rattan palm, which is a naturally abundant resource in the region. Previously, the studio produced a similarly sculptural wickerwork installation for an office and factory building in Waregem, Belgium.

During the pandemic, the practice also launched an initiative called Project Rattan that focuses on creating bespoke rattan furniture and lighting using local craft skills.

Meandering rattan structure incorporated into outdoor landscaping by Enter Projects Asia
The rattan structure creates a cohesive scheme throughout the gallery

According to Keane, the fast-growing palm species are well suited to use in interior design, offering a sustainable alternative to conventional building materials.

“It is not hard to be sustainable in construction if we adapt to our environment,” he said. “Why would we use synthetic, toxic plastics when we have all the noble materials we need at our fingertips?”

Inside of a rattan pod with built-in shelving
The bulbous shapes were created with parametric design software

Keane founded Enter Projects in 2005 after completing his studies in Australia and the USA. Since relocating to Asia, the firm’s projects aim to combine a focus on innovation with a strong sustainable agenda.

Previously, a rattan studio the practice designed for yoga brand Vikasa was named leisure and wellness interior project of the year at the 2020 Dezeen Awards.

The photography is by William Barrington-Binns.



Reference

A countertop device for brewing plant-based milk at home 
CategoriesSustainable News

A countertop device for brewing plant-based milk at home 

Springwise: Some favorite foods, including staples such as pancakes, hummus, and guacamole, are relatively simple to make at home. However, it does take a bit more time to assemble all the ingredients and do the work than it does to open a container and enjoy something immediately. Non-dairy milks are another popular foodstuff that is fairly easy to make. They require a nut or seed, water, and a blender. Despite the ease, though, many of us just don’t have the time, inclination or ingredients to make these by hand. 

Step in GROW UP, a sleek, countertop milk brewer designed to produce fresh, non-dairy milk within minutes. Users choose from a range of up to 10 different ingredients, including nuts, oats, coconuts, and hemp seed. All it takes to make a glass of fresh milk is one cup of the chosen ingredient, plus water, added to the top of the brewer. With the push of a digital button, the device makes fresh milk in less than six minutes.

There are two colours available – black and grey – and parts of the machine are dishwasher safe. GROW UP also does not use single use packaging, and the machine includes a self-cleaning function. The machine is currently available for pre-order with a $50 (around €46) deposit and is scheduled to be shipped in spring 2023.  

As well as milk, recent innovations in non-dairy products that Springwise has spotted include vegan cheeses, lab grown egg whites, and bacteria-based whipped cream.

Written By: Keely Khoury

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Stephen Taylor Court by Feilden Clegg Bradley Studios
CategoriesSustainable News

FCBS creates Passivhaus student accommodation crescents in Cambridge

Architecture practice Feilden Clegg Bradley Studios has created a series of crescent-shaped student housing blocks with a CLT structure for King’s College at the University of Cambridge.

Called Stephen Taylor Court, the blocks contain 84 homes for King’s College’s graduate students and fellows that were designed to Passivhaus standards and to have as low a carbon impact as possible.

“Due to the considered material choice, prioritising low-embodied carbon materials, reuse of existing materials, local sourcing and targeting recycled content, and accounting for carbon sequestered in the cross-laminated timber, the project has negative embodied carbon on completion as more carbon has been sequestered in its production than emitted,” Feilden Clegg Bradley Studios partner Hugo Marrack told Dezeen.

Stephen Taylor Court by Feilden Clegg Bradley Studios
The project is made up of three crescent-shaped buildings

The architecture practice used its own carbon tool named FCBS Carbon at early design stages to help estimate and limit the whole-life carbon emissions of the scheme.

FCBS Carbon is a spreadsheet that is free to use by other architects and considers all the CO2 produced by a building, including the building material, construction and demolition.

Feilden Clegg Bradley Studios used Stephen Taylor Court as a “test case” for its tool and calculated its net carbon performance – both operational and embodied – to be less than zero for the first 10 to 15 years of the project’s life.

According to Marrack, the carbon calculations for the project did not consider furniture, fixtures and equipment (FF&E) or mechanical, electrical and plumbing (MEP).

Stephen Taylor Court by Feilden Clegg Bradley Studios
Steep-pitched roofs reference arts and crafts buildings in the area

Located within a conservation area in Cambridge, the apartments have a cross-laminated timber (CLT) structure clad in water-struck gault bricks that are similar in appearance to traditional Cambridge bricks.

The CLT structure was chosen for its lightweight property, airtightness of the structural envelope and the material’s low embodied carbon.

Stephen Taylor Court by Feilden Clegg Bradley Studios
Stephen Taylor Court has a cross-laminated timber structure clad in brick

“The lightweight CLT structure of the buildings reduces foundation loads, allowing the use of a thin reinforced concrete raft foundation ‘floating’ on rigid insulation,” explained Smith and Wallwork structural engineer Tristan Wallwork.

“This not only reduces the amount of concrete used in the substructure but also provides a perfect Passivhaus foundation solution.”

“Detailing of any inherent thermal bridges, such as facade restraint ties, is also drastically simplified due to the robust and solid CLT structural envelope – providing complete flexibility on location of any fixings required,” continued Wallwork.

Feilden Clegg Bradley Studios plans to continue to work with the college in the future to help maintain net-zero carbon beyond the first 10 to 15 years after completion, by implementing renewable energy options such as photovoltaic panels.

Stephen Taylor Court by Feilden Clegg Bradley Studios
The accommodation buildings surround a courtyard

The 4,300-square-metre scheme is located within a conservation area known for its arts and crafts houses, which influenced Feilden Clegg Bradley Studios’ design.

The housing at Stephen Taylor Court is made up of three brick crescents surrounding a garden courtyard with an adjacent red brick villa.

“The central triptych of three crescents creates an open and informal court which provides depth and breadth to views from the streetscape to the leafy context beyond,” said Hugo Marrack.

Stephen Taylor Court by Feilden Clegg Bradley Studios
A red brick villa sits at the centre of the scheme

Steep-pitched roofs, dormer windows that punctuate the roofline and oriel windows on the gable ends of the apartments reference the arts and crafts buildings in the area.

“The sympathy with the arts and crafts approach is in celebrating the joy in each of these building details and the material’s properties, rather than ironing them out, as one might with a more minimal approach,” Marrack explained.

“This being said, the results aim towards a leaner, contemporary expression of its time, rather than forms of reproduction. In some respects, the outcomes are almost brutalist,” he continued.

Stephen Taylor Court by Feilden Clegg Bradley Studios
The project is part of the college’s plan to provide sustainable living for its students

Along with the newly built housing, Feilden Clegg Bradley Studios refurbished and extended an existing Victorian-era villa on the site to accommodate a common room, library and laundry room.

Stephen Taylor Court is the second graduate accommodation at the college to be built in recent years after the development at Cramner Road by British firm Allies and Morrison, which was also built to Passivhaus standards and was longlisted in the 2021 Dezeen Awards.

The photography is by James Newton.


Project credits:

Architect: Feilden Clegg Bradley Studios
Landscape architect: Robert Myers Associates
Planning consultant: Turley
Structural engineer: Smith and Wallwork
MEP and sustainability engineer, acoustic engineer and Passivhaus consultant: Max Fordham
Principal designer, project manager and quantity surveyor: Faithful and Gould
Fire engineer: The Fire Surgery
Main contractor: Gilbert Ash

Reference

Reader’s Choice: Top 10 Architecture Projects on Architizer in January 2023
CategoriesArchitecture

Reader’s Choice: Top 10 Architecture Projects on Architizer in January 2023

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

Architizer’s journal is fueled by the creative energy of the thousands of architects from around the world who upload and showcase their incredible work. From conceptual designs to projects under construction to completed buildings, we are proud to serve as a platform for showcasing global architectural talent and the brilliance of visualizers, engineers, manufacturers, and photographers who are crucial members of the industry. A stellar drawing, rendering or photo, as well as a detailed project description, can go a long way in making a project stand out, as does indicate the stellar contributors on a project.

Firms who upload to Architizer share their work with professionals and design enthusiasts through our Firm Directory and Projects database. They also gain exposure by having their projects shared on our FacebookInstagram, and Twitter pages, as well as in our Journal feature articles. Indeed, through these various channels, hundreds of thousands of people in the global design community have come to rely on Architizer as their architectural reference and source of inspiration. In 2022, we’re rounding up our database’s top 10 most-viewed, user-uploaded architecture projects at the end of each month.


By CEBRA, Kolding, Denmark

Skamlingsbanken has long been a point for gather: the protective shelter of the rolling hills seemingly invited gatherings. Now, this natural landscape’s remarkable history as a civic landscape — one that hosted debates about women’s suffrage, democracy and more — is home to an architectural landmark that will continue this legacy, with little impact on the natural landscape. Indeed, The visitor centre is an architectural interpretation of the local topography and a representation of the local history; it is seeded with native species, selected in collaboration with biologies Mette Keseler, which shows optimal conditions for the local herbs and biodiversity.


By The One (Hong Kong) Design, Guangzhou, China

Moody lighting, textured walls and interlocking linear elements all come together to create a dynamically flowing space. Four principal moving lines are used to connect the apartment’s various zones, ensuring that the open space feels connected while its functions are differentiated. This tension between who and parts, static volumes and dynamic movement, amount a significant challenge to more traditional private homes. Based on the “unconventional” living space needs of the two owners, designers want to create a sense of privacy and closure that can break the traditional private house space for the owners.


By Signum Architecture, Paso Robles, California

Set on a 100 acre site in Paso Robles, this the architects of this project were faced with a complex task: to design a building with a unique identity that would invite visitors without detracting from the picturesque landscape — a contention at the heart of winemaker Eric Jensen’s minimalist philosophy of interfering with the land as little as possible. Thius the architects began with a typology familiar to the place: a trellis and terrace. Next, the visible fractures in the area’s chalky limestone soil helped to make out the buildings’ walls, in direct relation to the land and views.


By AB design studio, inc., Montecito, California

Popular Choice, 10th Annual A+Awards, Private House (M 2000 – 4000 sq ft)

Mies van der Rohe seems a likely inspiration for this modernization project in the foothills of Santa Barbara; however, this modernize project is deeply rooted in its source material — a simple 1950s wood cabin set in a rock quarry. The single-story residence takes into account the surrounding boulders and oak forest; the design sought to maintain original elements and to reuse stone found onsite.


By Myrto Kiourti, Athens, Greece

Many cities can claim hybrid identities as contemporary metropolises with ancient, historic pasts; however, Athens is one of those cities where this duality is ever-present, and the city’s legacy continues to inform designs of the present. Epitomizing this relationship to the past are those homes that Greek families literally build on top of their older residences. Known as “panosikoma,” these “upper-level extensions” are rooted in a traditional building practice that implicitly negotiates these identities. The Flying Box exemplifies this approach.


By Mario Cucinella Architects, Mormanno, Italy

Jury Winner, 10th Annual A+Awards, Religious Buildings & Memorials

One first glance, the flowing lines of this iconic floor plan is unlike any other ecclesiastical structure (actually, it’s safe to say they’re quite distinct from any other structure, period). Yet, the organic footprint of this monumental building was inspired by the curvilinear geometries of Baroque churches in Rome. Natural light — long an important element and symbol of Christian places of worship — floods the interior space, and is filtered through a memorable canopy of translucent veils.


By Beef Architekti, Balearic Islands, Ibiza

Mallorca is famous for its sapphire blue beaches and picturesque craggy cliffs; however, architects would be interested to learn more about the vernacular techniques long used in local construction on this mediterranean island. Using stones sourced from a nearby quarry, Beef Architekti pay homage to the traditional dry construction technique known as ‘pedra en sec’ used to express a typical design that can be found all over the island — one that was named an intangible Cultural Heritage of Humanity by UNESCO in 2018.


By bkp GmbH, Düsseldorf, Germany

The future of office culture hangs by a thread, and architects are increasingly seen as the heroes capable of coaxing a reluctant workforce out of their homes. Charged with strengthening employee’s identification with their employer, this multispace strives to integrate their patron’s long company history and state-of-the-art production techniques with the comforts of home offices, which allow employees to retreat when needed, and therefore to be fully present when needed in the work community.


By Feldman Architecture, Los Altos Hills, California

Photos by Adam Rouse

California’s leading place in avant-garde architecture of the 1960s is well established; however, homes with circular floor plans, which were experimented with during this period, remain absent from the canon of modern. Though challenging from a layout perspective, the many benefits and intrigues of designing homes with soft edges remain under explored. Feldman Architects were given the change to reconsider this residential layout in a recent commission to reimagine and modernize just such a home — and the result is truly mesmerizing.


By TYRANT Inc., Koizuka, Kumagaya, Japan

How to elevate a suburban box store into an intriguing and enjoyable space? This Japanese firm complicates the typical elongated rectangular in plan in several key way. First, the building appears to float thanks to a level difference, which helps it to stand out. Next, a small patio is carved into the front center of the building, not only enhancing the appearance from the outside, but also providing greenery on the interior, since the planted tree is visible from all sides of the commercial space. In this way a simple architectural design provides a rich presence for visitors.

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



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