This year both organizations have defined themes related to improving the quality of life and reducing the effects of the climate crisis by taking action in the built environment. While the International Union of Architects' 2021 World Architecture Day theme is "Clean Environment for a Healthy World", UN-Habitat's World Habitat Day has announced "Accelerating Urban Action for a Carbon-Free World" as their topic.
The SingaporePavilion for Expo 2020 Dubai illustrates the city's aspiration towards a sustainable future that merges architecture, nature, technology and culture. Under the title "Nature.Nurture.Future", the pavilion designed by WOHA Architects and landscape design practice Salad Dressing showcases a sample of Singapore's urban environment that epitomizes its City in Nature vision. The multi-layered green space creates a self-sufficient ecosystem highlighting ideas of sustainability and resilience through the marriage of technology and nature.
Henning Larsen has been creating projects that address cross-cultural design, tackle diverse climatic zones, and try to achieve ambitious sustainability objectives. All of this wouldn’t be possible without the use of technology and specially crafted digital and generative design tools that allow architects to treat any element as a parameter in design.
In a special interview with ArchDaily, Jakob Strømann-Andersen, Partner and Director of Henning Larsen’s Innovation and Sustainability Department talks about digital tools and their incorporation in the design process. Focusing specifically in this conversation on Sandworm, a new modeling program that uses sandboxes, Anderson explains how they have achieved to scan and directly transfer manipulated landscapes into a 3D model.
"Welcome to this strange book. With all the drawings, it might appear like a manual, but it isn't. The book is as much about joints as it is about pieces. Above all, it seeks the order that is inherent in things". These words are part of the introduction to Koen Mulder's book, "The lively surface: Masonry associations as a pattern art and tool of composition". Available in German, the 160-page manual, rigorously illustrated, presents a universe of possible pattern variations that can be created when you start designing.
We interviewed Koen to find out what inspired him to talk about this topic and to understand how he managed to gather all this information, while also figuring out the impact that this type of study can have on architecture students and architects.
Over the past couple of years, many designers have voiced their commitment to ethical and ecological sourcing, resorting to frugal designs through local materials, traditional techniques, and equitable architecture. Having this approach in mind, many found inspiration in their cultural heritage, reimagining ancient designs in contemporary contexts.
When thinking of recycled design trends, we can't overlook one of the most well-known and popular materials that was shared by nations all around the globe over the span of 100 years; on balconies, outdoor patios, gardens, and indoor living spaces: rattan. It is estimated that almost seven hundred million people worldwide use rattan, with many countries presenting it as an integral part of their cultures. In this article, we look at how architects and designers integrated rattan in their designs and found numerous ways to make the best out of Southeast Asia's popular local material.
Ronald McDonald House of British Columbia . Image Courtesy of reSITE
In a Design and the City episode - a podcast by reSITE on how to make cities more liveable - Vancouver-based architects Michael Green and Natalie Telewiak advocate for more sustainable building on Earth, with a special mention for one of their preferred materials - wood. The interview sees the two architects balance the benefits and disadvantages of mass timber construction, which they are a strong proponent of as evidenced by their project T3, a LEED Gold Certified, seven-story timber office building in Minneapolis, Minnesota.
AARHUS, Image by Rasmus Hjortshoj . Image Courtesy of BIG
"The future is already here, it's not just very evenly distributed". Starting off with this William Gibson quote, BIG’s latest publication Formgiving looks at the past and present in order to determine the future. Talking of predictions that aren’t so far down the road, but rather than could occur in 5, 10, or 50 years, the book seeks to “give form to the future”, or to what has not taken shape yet.
ArchDaily had to chance to interview Kai-Uwe Bergmann, Partner at BIG-Bjarke Ingels Group, and discuss not only the firm’s latest manuscript but the trilogy of publications: Yes is More, an “Archicomic on Architectural Evolution”, Hot to Cold an “Odyssey of Architectural Adaptation”, and Formgiving, an “Architectural Future History”.
Mass timber components for this project were prefabricated offsite which not only aids in the ability for on-site assembly but also aids in the disassembly of projects in the future if needed. Timber's versatility allows it to be disassembled and then reassembled into other buildings and furnishings, sequestering carbon for longer so long as it stays out of the landfill. Photo: PH1 construction by Naikoon Contracting, KK Law. Image Cortesia de naturallywood.com
The first Shikinen Sengu was held in the year 690, in the city of Ise, Mie Prefecture, Japan. It consists of a set of ceremonies lasting up to 8 years, beginning with the ritual of cutting down trees for the construction of the new Ise Shrine and concluding with the moving of the sacred mirror (a symbol of Amaterasu-Omikami) to the new shrine by Jingu priests. Every 20 years, a new divine palace with exactly the same dimensions as the current one is built on a lot adjacent to the main sanctuary. Shikinen Sengu is linked to the Shinto belief in the periodic death and renewal of the universe, while being a way of passing on the ancient wood construction techniques from generation to generation.
The idea of creating a building that will have an expiration date is not a common one. In fact, the useful life of a structure is often given little consideration. When demolished, where will the materials go? Will they be disposed of in landfills or could they be reused in new projects? There are certain construction methods and materials that make this process easier. Others make reuse unfeasible, due to several factors.
Bringing the weather inside is usually the opposite of what you want from a building envelope. However, new research from the University of Oregon, described in an article by The Washington Post, aims to show the physical and psychological benefits of letting nature inside. Signs of nature and change are both beneficial to our well-being, yet we don’t always have access to them when inside buildings—and humans are now spending 90% of our lives inside. But even in an urban setting, where nature may be hard to come by, there’s no escaping the weather. When researchers found ways to bring things like wind and dappled reflections of the sun inside, they found that exposure to these natural movements lowered heart rates, while being less distracting than similar artificially generated movements.
By now, green buildings are a familiar concept, but the article in The Washington Post proposes moving beyond green buildings as we know them today. While green building can be great in new construction, that excludes a lot of existing buildings that could and should also benefit from an intervention of nature. Ideally, buildings should actively demonstrate their relationship with nature, moving beyond simply “doing no harm.”
It is believed that copper was the first metal to be found by men and used in the manufacture of tools and weapons. This occurred in the last period of prehistory, more than 10,000 years ago, in the so-called Metal Age, when groups, until then nomadic, started to become sedentary, developing agriculture and starting the first urban settlements. Copper has since been used in diverse ways. Used for decorative objects, jewelry, automotive parts, electrical systems, and even for dental amalgams, the material has had huge demand. In architecture, copper coatings are greatly appreciated for their aesthetics and durability. But a factor worth mentioning is that copper can be recycled infinitely, practically without losing its properties.
Álvaro Siza's latest project in Portugal is a 16-meter high watchtower built with a lightweight steel structure featuring photovoltaic panels on the roof. This project is very different from most of Siza's works, both in terms of scale and materials. The watchtower is located in Serra das Talhadas, in the municipality of Proença-a-Nova, and is part of a larger project comprising several structures dedicated to ecotourism in the area, including the still unbuilt Miradouro do Zebro.
Swiss architect Mario Botta is known for his geometrically imposing, spatially captivating structures that are invariably dressed in zebra-like horizontal stripes in either black and white or red and white combinations. These both traditional and strikingly modern villas, chapels, wineries, schools, libraries, museums, company headquarters, banks, and residential blocks are scattered throughout towns and mountainous villages in the architect’s native Ticino region in southern Switzerland, extend all over Europe and can be encountered in places as far away as China, India, South Korea, Japan, and the USA.
Rendering of HAUT. Image Courtesy of Team V Architectuur
Across the globe, tall wood structures have begun transforming the world of skyscrapers and high-rise buildings, ushering in an important shift to an architectural practice that has traditionally been dominated by steel and concrete. Typically defined as wood-constructed buildings over 14 stories or 50 meters high, the past six years have seen over 44 tall wood buildings built or underway around the world. Notable examples include Michael Green Architecture and DLR Group’s T3 and Team V Architectuur’s upcoming 73 meter residential tower HAUT.
https://www.archdaily.com/924341/could-tall-wood-construction-be-the-future-of-high-rise-buildingsLilly Cao
Energy codes around the world get stricter every year, architects need to prepare for various challenges ahead. The first step is to understand the key metrics needed to conduct early-stage analyses and collaborate across various teams. With buildings responsible for 39% of total carbon emissions, the design practice is evolving to bake in data-driven energy efficiency. This change is leading architects to quickly become building performance experts and create spaces that are high performance and healthy for occupants.
https://www.archdaily.com/963003/sustainable-building-design-top-5-metrics-every-architect-should-knowSponsored Post
Talking to the Louisiana Channel, iconic Japanese architect Kengo Kuma discusses the many influences that have shaped his work - and also delves into the impact that the ongoing pandemic has had on the architectural field. In the interview, Kuma describes how influential his early upbringing was to his architectural career. Growing up in a small wooden house in the 1950s - originally built in 1942, would go on to guide his architectural perchance of using wood in his projects. Kuma also mentions Japanese architect Kenzu Tange as a key inspiration and cites Tange's Yoyogi National Gymnasium - constructed for the 1964 Summer Olympics in Tokyo - as a project that would influence him towards an architectural career.
In a Design and the City episode - a podcast by reSITE on how to make cities more liveable – Mexican architect Michel Rojkind talks about running, coming from a musical background, and the responsibility of architects to create buildings that can “give something relevant” back to the community. The interview delves into Rojkind’s philosophy of making sure that architectural conversations are not insular, but instead conversations that take place within a multi-disciplinary context.
Popularly known as the lotus, the aquatic species Nelumbo nucifera has a useful particularity. Its leaves are self-cleaning, or ultra-hydrophobic. This means that no particles of dirt or water adhere to its leaf, which is especially useful in the humid and muddy environments where the plant typically grows. However, this effect does not derive from a perfectly smooth surface or a resinous layer on the leaves. The lotus is, in fact, full of tiny folds that reduce the area of the contact surface and repel all the particles that try to adhere there. The lotus effect has been studied by nanotechnologists in order to apply this same effect to products, such as surfaces, paints, fabrics, and tiles that can easily clean themselves. As trivial as this may seem, when we think of the resources applied to cleaning skyscraper glass or even of the reduction in photovoltaic energy generation due to dust on solar panels, we can get a sense of the infinite possibilities that hydrophobic surfaces could represent.
Nature, over billions of years, has developed adaptive solutions that are beginning to be understood by us with new technologies applied to the needs of areas such as the construction industry. When professionals such as scientists, biologists, engineers, architects, and others join forces and focus on understanding aspects of nature, with an empathetic and respectful view, the results can be impressive.
Talking to the Louisiana Channel, Danish professor, sculptor, and artist Bjørn Nørgaard outlines the philosophy that underpins his work and reflects upon his architectural projects. Nørgaard describes in the film, a co-production with Munkeruphus, the strong influence of his mentor in the 1960s - German artist Joseph Beuys - whose theories formed a key part of Nørgaard's evolution and ethos as an artist. The concept of "die soziale Plastik", or social sculpture, would go on to shape Nørgaard's approach to architecture and other forms of art - its main philosophy being that every part of life can be approached creatively.
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