Yussef Agbo-Ola creates jute temple for Sharjah Architecture Triennial
CategoriesArchitecture

Yussef Agbo-Ola creates jute temple for Sharjah Architecture Triennial

Architect Yussef Agbo-Ola has created a tent-like temple informed by Sharjah’s topography and biodiversity as part of the Sharjah Architecture Triennial.

Occupying a classroom within the former school that is now the triennial’s headquarters, the temple was designed by Agbo-Ola of London environmental design practice Olaniyi Studio as a place for incense burning and reflection.

Named Jabal: 9 Ash Cleansing Temple, the structure was made from jute, hemp and cotton yarns knitted into a fabric to encourage reflection on how climate change is impacting Sharjah’s biodiversity.

Temple by Yussef Agbo-OlaTemple by Yussef Agbo-Ola
Yussef Agbo-Ola created a temple for the Sharjah Architecture Triennial

“Jabal: 9 Ash Cleansing Temple is a living architectural entity for honouring non-human life and endangered species in the womb of a scared mountain,” Agbo-Ola told Dezeen.

“It honours ephemeral rituals across architecture, performance and art within Bedouin, Yoruba and Cherokee communities that respect the natural world and practice environmental consecration,” he continued.

“This sacred structure is an apparatus for collective aroma rituals of bakhoor or incense burning and invites visitors to partake in breathing ceremonies within the inner altars of the structure.”

Jabal: 9 Ash Cleansing TempleJabal: 9 Ash Cleansing Temple
The installation is called Jabal: 9 Ash Cleansing Temple

The tent-like structure, which is surrounded by dried mud, has a form and colour intended to evoke the Jebel Jais Mountain in Sharjah’s neighbouring emirate of Ras Al Khaimah.

“It is my core belief that mountains are the mothers that hold an environment’s wisdom and DNA within them,” said Agbo-Ola.

“They can speak to us and are seen as elements in a landscape that humble us in relation to their scale and presence. The truth is, they are also extruded from the land by the unseen tensions and movements of the tectonic layers under the surface.”

“The colours of the knit skins are inspired by the colour pallet of the mountains and rock formations in the landscape as well as light patterns that depict fractal fossilised micro-crustaceans,” he continued.

“When these organisms, which are symbolically represented in the knits, are linked together in the temple, they create a new visual ecosystem as a symbolic form of their dependence on each other for ecological balance.”

Jute, hemp and cotton fabricJute, hemp and cotton fabric
The temple is made from jute, hemp and cotton

According to Agbo-Ola, the structure was also designed to celebrate fertility and the natural process of transformation.

“I believe it is the things that we cannot hold on to, that we cannot possess or claim, that become meaningful and hold an essence of amazement or reverence within us,” he explained.

“Jabala: 9 Ash Cleansing Temple is designed in a similar way in the sense that each fabric skin in the design should be seen from the perspective of the single thread that holds it together,” he continued. “The decay that occurs when one microscopic organism eats the temple’s fibres or lays eggs on it is just as important as the overall form and shape of the temple from the macro scale.”

Temple in SharjahTemple in Sharjah
It was designed as a space for incense burning and reflection

Overall, Agbo-Ola hopes that the temple will act as a space for contemplation.

“As visitors walk through the temple they are invited to experience the perspectives and beauty of non-human entities while slowing down to reverence the presence of the sacred mountains,” he said.

“This element of contemplation is induced by the burning of bakhoor and incense in the temple as a collective ritual.”

Sharjah Architecture Triennial installationSharjah Architecture Triennial installation
The tent-like structure is surrounded by dried mud

“There is also a sound work that is connected to the piece, which acts as the voice of the temple,” he continued. “The sonic work draws from research into ritual, shamanism and the practices of healers, that can bring new and deeper connections to our ecological environments.”

“The experimental composition of orchestral and spatial gradients aims to mimic the multi-layered atmospheric acoustic conversations between botanical, geological and unseen environmental elements.”

The second edition of the Sharjah Architecture Triennial was curated by Nigerian architect Tosin Oshinowo, who explained the triennial’s theme of scarcity in a recent interview with Dezeen.

Elsewhere, we rounded up 12 intriguing pavilions and installations from the event.

The photography is by Edmund Sumner.

Sharjah Architecture Triennial 2023 takes place from 11 November 2023 to 10 March 2024 at various locations across Sharjah. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Snøhetta designs compostable hemp light Superdupertube
CategoriesSustainable News

Snøhetta designs compostable hemp light Superdupertube

Norwegian studio Snøhetta has teamed up with lighting brand Ateljé Lyktan to create Superdupertube, an office lamp made from extruded hemp and sugarcane bioplastic.

The design is a contemporary update of Ateljé Lyktan‘s Supertube – an office light from the 1970s made from extruded aluminium.

Hemp lamp by Snøhetta and Ateljé LyktanHemp lamp by Snøhetta and Ateljé Lyktan
The Superdupertube is a modern take on the Supertube lamp

“[The Supertube] had finished production in 2010 or something like that, so it was iconic but sort of forgotten,” Snøhetta partner Jenny B Osuldsen told Dezeen. “And it’s a tube. It’s not rocket science but it is what you need for a smart lamp in an office.”

“We really loved it and think it has a lot of possibilities, so we wanted to upgrade it to a new level,” she added.

Tubular hemp lamp Tubular hemp lamp
It is made from hemp and can be industrially composted. Photo by Ateljé Lyktan

The extrusion technique for the original lamp was developed in the 1960s, and Snøhetta and Ateljé Lyktan decided to create a lamp that would nod to the original design.

However, the aim was to lower the carbon footprint of the lamp by choosing the most sustainable material possible.

View of compostable lamp made from hempView of compostable lamp made from hemp
Snøhetta and Ateljé Lyktan chose to use hemp as the material is renewable and durable

The studios played around with multiple different materials before settling on the hemp bioplastic, which was used to form Snøhetta’s first office lighting design.

Snøhetta and Ateljé Lyktan first worked together on The 7th Room, a charred-timber cabin suspended among the treetops in northern Sweden, for which they also collaborated on the lighting design.

Detailed view of Superdupertube lampDetailed view of Superdupertube lamp
The lighting features twisted louvres. Photo by Ateljé Lyktan

“When we were doing The 7th Room project up in northern Sweden, everything was in pine and there were lots of pine cones,” Osuldsen said.

“We wanted to find a product or material that isn’t used for anything else, so we started testing the use of pine cones by grinding them, but it didn’t work.”

“The fibres in the cones are too short,” said Ateljé Lyktan product director Malin Gadd. “We also tried using coffee grounds but they are even shorter, so we realised quite quickly that we needed fibres that are long and strong.”

“That’s where the hemp fibres come into the picture,” she added.

Snøhetta and Ateljé Lyktan sourced the hemp used for the lights from the Netherlands, as the quality of the hemp from Swedish farmers “wasn’t quite there yet”, according to Gadd.

The Superdupertube light shown in an interiorThe Superdupertube light shown in an interior
Its shape is both extruded and injection-moulded

The hemp is mixed with a polylactic acid (PLA) bioplastic derived from sugarcane, alongside wood cellulose and different minerals to create a fossil- and gas-free composite.

The material is then extruded to create the main body of the lamp, which also comprises injection-moulded louvres and side covers. To add to the organic feel of the light, its electric cables are covered with linen fabric.

“Hemp is an old cultural plant and it’s very easy to renew [by growing more],” Osuldsen said. “And it’s very durable.”

Fastening on hemp lamp by Ateljé LyktanFastening on hemp lamp by Ateljé Lyktan
Linen fabric covers the electric cable. Photo by Ateljé Lyktan

The Superdupertube can be composted in an industrial composter or recycled and ground down into pellets to create more lamps.

However, this currently requires owners to send the lamps back to the producer, as the material cannot be processed in regular recycling centres.

Using the hemp bioplastic reduces the lamp’s carbon footprint by over 50 per cent compared to traditional aluminium variants, according to Snøhetta and Ateljé Lyktan.

Colour of SuperdupertubeColour of Superdupertube
The Superdupertube comes in a natural colour. Photo by Ateljé Lyktan

The dimmable Superdupertube features twisted louvres – an architectural detail that helps the light feel softer by angling the glare away.

“That’s why it’s a perfect workspace luminaire, it’s adapted to be better for the person sitting working and it’s also totally unique – it doesn’t exist on the market,” Gadd said.

The Superdupertube, which comes in four different lengths, has an organic beige colour with a natural pattern from the hemp and other ingredients.

Wooden wall behind Superdupertube lampWooden wall behind Superdupertube lamp
It is the first time Snøhetta has designed an office lamp

“We didn’t really know how it would look,” Osuldsen said. “The material is the colour of the hemp. And, of course, there’s probably something from the sugarcane because it’s heated up. It’s burnt sugar in a way.”

“So we get this specific colour and that also means that all of them will be a little bit different,” she added. “It’s all about the crops; if it’s a wet year or a dry year, the humidity in the material will be a little bit different. That’s why it’s sort of alive.”

Other recent Snøhetta projects include a glass-lined library in China designed to look like a forest and a hexagonal paving system for urban landscapes.

The photography is by Jonas Lindstrom unless otherwise stated.

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