The conception of architecture, understood since modernity, emphasizes permanence. The durability of tectonic construction can be manifested in various ways. However, what does it mean to associate architecture with ephemerality? And what happens when the idea of permanence is connected to transience? The Shikinen Sengu ceremony in Japan may help provide answers to these questions.
As one takes a visual tour through the city, one might spot structures that break the rhythm of finished architectural products. These are buildings encased in grids of metal or wooden sections, sometimes wrapped in colored nets, that communicate a moment of construction, repair, renovation, or demolition. They are called scaffolding systems, temporary structures built in the city to aid in the erection or maintenance of buildings. However, they have evolved to speak their own architectural language. As city-making is a continuous process, scaffolds serve as beacons, proposing silhouettes of the height, shape, or forms of new buildings. They step into the sidewalks, acting as shade or obstructions to the flow of human and vehicular traffic. In contrast to the permanence of architecture, they exhibit a sense of temporality that helps communicate time, the growth of neighborhoods, and the evolution of a city.
Henning Larsen has just revealed the design for Smyril Line's new headquarters and ferry terminal in Torshavn, the capital of the Faroe Islands. The building pays homage to traditional Faroese fishing boats and the historic Eastern harbor while embracing the picturesque backdrop of abundant landscapes and open seas. The new headquarters serves three functions: a ferry terminal, an office building, and a logistics center.
The Unhão complex, constructed in Salvador, Brazil in the 17th century, consisted of a sugar mill with a big house, chapel, and slave quarters. At the time, Salvador was one of the largest and most important Brazilian cities, and its port was the site of a large portion of the Portuguese colony's sugar exports, an economy fueled primarily by slave labor. The ensemble drew the attention of Italian-Brazilian architect Lina Bo Bardi at her first visit in 1958, during which she spent some years working and teaching in the city. Following Bo Bardi's decisive contributions, the buildings were restored and became the new home of the Museum of Popular Art and the Popular University. But within the whole complex, the element that draws the most attention for its plasticity, functionality, and symbolism is the helical wooden staircase.
As you make your way through the symphony of wooden colonnades, leafy screen walls, and unfurled roofing, towards the converging veins of flooring and ceiling ribs leading to the light, it feels like a space that was always meant to be there. Part of the park, the pavilion complements the nature around it, reflecting its patterns, and illuminates a main interior feature: a concentric set of tables and stools that inspire people to sit at the moment, hold conversations, and connect with each other. This narrative tells the tale of this year's Serpentine Pavilion, designed by French-Lebanese architect Lina Ghotmeh.
Titled, À table, It draws inspiration from the designer’s connection with nature growing up and is reminiscent of the French call to sit together at a table, share a meal and enter a dialogue. It foregrounds the table as a laboratory of ideas, concerns, joys, connections, and essentially brings people together. It further reflects on the architectural ideals that can provoke and welcome moments of collective conversations.
Timber is a natural, renewable material, easy to fabricate, and with low-carbon emissions. As a construction material, however, when put under enough directional force along its grain, sawn timber is structurally unstable, so deemed unsuitable under higher loads. In comparison, the manufacture of cross-laminated timber (CLT) involves simply gluing multiple layers of timber together at right angles. By crossing the direction of the grains, CLT achieves a far higher level of structural rigidity along both axes. CLT boards start with a minimum of three layers but can be strengthened further with the addition of more. Simply put, due to the complex physics involved in the perpendicular lamination, the strength of CLT board is similar to that of reinforced concrete, and has proven performance under seismic forces.
So what’s new? Wood’s been around for long enough now, and we’ve been using it as a building material for centuries. Surely this isn’t the first time someone’s realized it gets stronger the more you use it? Well… as you’d expect, the changing popularity of cross-laminated timber in construction does coincide with a greater understanding and focus on environmental causes, but the relationship hasn’t always been positive.
BIG has partnered with experimental clothing brand Vollebak to create the vision for a self-sufficient off-grid island in Nova Scotia, Canada. The 11-acre Vollebak Island will receive several pavilions built of natural and innovative materials such as seaweed, hempcrete, and 3D-printed concrete, all powered by carbon-neutral energy. The island, located in Jeddore Harbor, one quarter off the Nova Scotia mainland, will be auctioned via Sotheby’s Concierge Auctions beginning June 8. Bidders will vie for the chance to own the island and to be granted exclusive rights to the design vision, including the planning permission for those designs.
Wood is the concrete of the future. As timber construction becomes increasingly popular, you have probably heard this phrase. However, we are not talking about traditional construction techniques using timber, but rather about this well-known material combined with cutting-edge technology.
Solid wood, which has been used since prehistoric times and is still highly valued today, is extracted directly from trees without undergoing any lamination, pressing, or gluing processes. While it remains a universally used material in architecture, its widespread use has led to an increased demand and less efficient resource management. Therefore, solutions are being sought to optimize its use in production processes and reduce its consumption without losing its capabilities and characteristic beauty. To address issues such as warping, aging, and high environmental costs associated with solid wood, materials like Technowood have been developed. Combining technology and super-strength composites with natural wood veneers, Technowood maintains the beauty and characteristics of solid wood, but with greater durability and a sustainable approach, making it a suitable alternative.
When it comes to seismic resistance, there are a number of myths that question the ability of wood to adequately perform in the event of an earthquake. However, its ductility allows it to deform plastically without breaking, absorbing and dissipating the energy generated by movement and vibration. Furthermore, unlike steel or concrete, wood is a lightweight material with a good strength-to-weight ratio, enabling it to withstand seismic forces without adding excessive load to the construction. This has been extensively verified in smaller-scale structures around the world, but how does a high-rise mass timber building behave in the face of an earthquake?
To dispel doubts, the Tallwood Project recently erected a 10-story building made of cross-laminated timber (CLT) at the University of California, San Diego (UCSD). The structure was tested on a shake table that simulated the 1994 Northridge earthquake in Los Angeles, magnitude 6.7, and the 1999 Chi-Chi earthquake in Taiwan, magnitude 7.7.
As part of the Circlewood consortium, OMA’s David Gianotten and Michel den Otter have developed a modular system to build schools that can adapt and transform throughout their lifecycle. The system was selected by the City of Amsterdam to be employed to build multiple schools in the coming ten years, as part of the Innovation Partnership School Buildings program. The citywide initiative aims to build nine to thirty “high-quality, flexible, and sustainable” schools as a way to contribute to the city’s goal of becoming fully circular by 2050.
Towers, walkways, decks, cabins and tree houses. Since 2010, the Hello Wood Festival has erected dozens of temporary constructions, with one common denominator: wood. The initiative aims to make knowledge about this material more accessible to everyone, as it has immense potential for the future. However, despite its potential, wood still faces various prejudices within the construction industry. Through the connection between designers and artists from different cultural, academic and professional backgrounds, the event uses construction as a platform for innovation, discussion and knowledge. It offers participants the unique opportunity to experiment with sustainable design and construction methods, encouraging learning through experience, held in a forested area near Budapest, Hungary.
From ancestral constructions to the "concrete of the future", terms abound to describe timber. Present in the history and horizon of world architecture, the material demonstrates a sustainable possibility and is associated with the coziness and warmth that it provides in the spatial atmosphere. In Brazil, it is no different. Several contemporary works explore the qualities and benefits of its use, including structural bias.
Prefabricated wooden houses date back to the 19th century, when so-called "kit houses" became popular in North America. Sold by companies like Sears, they offered affordable and convenient housing options, especially for people living in rural areas where labor was scarce and expensive. Customers could choose from a few designs and dimensions, and the kits usually included all the materials needed to build the house, including numbered and precut lumber, nails, shingles, and other necessary components. For some time, however, prefabricated houses were seen as constructions of lesser quality and prestige, and coupled with the lack of flexibility of these solutions, they went into decline.
Nowadays, thanks to the technologies available in the market, modular and prefabricated constructions have emerged as clean, sustainable, and energy-efficient construction solutions. In addition, innovations in engineered wood have emphasized its many uses, with the added benefit of aesthetic and structural possibilities. It was in this context that the office UNA BV developed the Modular 5.5 project, whose goal was to create flexible modular constructions that could be assembled in different arrangements, allowing the construction of houses with a variety of dimensions and needs in different terrains. We spoke with Fernanda Barbara and Fábio Valentim about this project:
In a conversation with Louisiana Channel, the founders of the international practice Helen & Hard Architects reaffirm their insistence on community and sustainability. The use of wood, in their practice, has become more than a building philosophy, it has turned into a philosophy. “Trees have a life of their own, and you feel a deep respect for the time it has taken to grow. We work with something alive, an organic material. We can’t do as we please with it. We must interact with the material.”
In August 2022, Siv Helene Stangeland and Reinhard Kropf, the founders of Helen & Hard, were interviewed by Marc-Christoph Wagner at various locations in and around Stavanger, Norway. The area holds special importance for the architects, whose approach was influenced by the culture that permeates Stavanger and the west coast of Norway.
The Sámi National Theater Beaivváš and Sámi High School and Reindeer Husbandry School are two of the most important cultural institutions of Sápmi, a region in northern Norway, Sweden, and Finland traditionally inhabited by the Sámi people. To strengthen the position of the two institutions, a project was initiated in June 2021 to create a shared cultural and educational facility. A design proposal by 70°N arkitektur, in collaboration with Snøhetta and artist and architect Joar Nango, was chosen following a competition. The building, also known as Čoarvemátta, is currently under construction and is expected to be completed by 2024.
In an effort to address the architecture industry’s environmental impact, Henning Larsen is presenting the “Changing Our Footprint” exhibition at Aedes Architecture Forum in Berlin. The event features the small but scalable steps that the office is taking to move towards a more desirable future through the projects they are designing and the research they are conducting. The exhibition aims to be an engaging event, inviting visitors to participate in the dialogue, to think critically about the proposed solutions and initiatives, and to ask difficult questions in the search for better outcomes. The exhibition is open until March 22, 2023. Henning Larsen will also host a series of panel debates at the Aedes Architecture Forum from February 22 to March 14.
Everyone who has ever built anything—a model, a birdhouse, or small pieces of furniture—has a clear sense of the amount of things that can go wrong during the construction process. A screw that is impossible to tighten fully, a warped wooden board, an inattention or a miscalculation that can frustrate plans instantly. When we transport these small inconveniences to a building scale, with countless processes and many different people involved, we know how complex a work can become and how many things can get out of control, taking more and more time and requiring more and more resources to finish. And when we talk about a building that needs to float, be completely self-sufficient, and, after fulfilling its useful life, be completely reused—could you imagine the technical challenges of building something like this?
