(…) plant based materials have a valuable benefit for health, ecologic, comfortable habitat (moisture management, thermic and acoustic) and sustainable materials (…) can be qualified as environmental-friendly and efficient multi-functional (…) The use of crushed hemp (shiv), flax and other plants associated to mineral binder represents the most popular solution adopted in the beginning of this revolution in building materials (…) in particular, for hemp, for which the corners of the market are as varied as fibers for the automobile industry, foodstuffs for the grain or indeed the wood of the stem for construction (…) Indeed, many projects aim to create construction materials using one or more forms of lignocellular matter as a reinforcement to the structure rather than as a lightweight aggregate with an insulating purpose (…) More recently, projects used various sources of bio-aggregates, such as wood, coconut, sisal, palm, bamboo, or bagasse (…) Bio-based aggregate are coming from the stem of plants cultivated either for their fibers (hemp, flax, etc.) or for their seeds (oleaginous flax, sunflower, etc.)
Agro-concrete: “A mix between granulates from lignocellular plant matter coming directly or indirectly from agriculture or forestry, which form the bulk of the volume, and a mineral binder”
Hempcrete is a mixture, in very changeable proportions, of two very different components: a plant-based granulate and a hydraulic and aerated setting binder. It exhibits multiphysical behaviour which is unusual in the domain of construction materials. Indeed, the particles of hemp wood are characterized by a high degree of porositywhich results in a high capacity to deform, absorb sounds and have hygrothermal transfer ability: this is one of the essential characteristics which set hempcretes apart from tradition mineral-based concretes for which the granulates are considered non-deformable (…) the variability of the behaviour depending on the formulation enables us to adjust and optimize the performances of this material for diverse applications as a roof filling material, in walling or as flagging (…) It can undergo differential compression, contraction or dilation with no apparent cracking (…) Hemp-based materials are considered as phase-change materials (PCM): the thermal behavior reduces the amplitude of the variations in the ambient air temperature, whilst improving the thermal comfort by bringing down the surface heat of the material. Thus, the use of such materials is an excellent means of passively regulating the indoor temperature, and thereby decreasing the building’s energy requirements (…) these materials are able to improve summer and winter comfort, and stabilize the indoor temperature between day and night, whilst preventing the phenomena of condensation and dampness on the walls (…) 1.8 tons of CO2 are sequestered for every ton of hemp shiv used (…) there is a favorable impact on the greenhouse effect; the hempcrete wall constitutes an interesting carbon absorber for a duration of at least 100 years (…) Some studies have shown that wetting/drying cycles, used to simulate natural variations of humidity, had an influence on the mechanical and thermal properties of hempcretes (…) fungi may also appear at the surface of materials
In 1973, following the strikes that beset the British construction industry during the early 1970s, Alistair McAlpine commissioned a design program for his construction company, Sir Robert McAlpine & Sons, that aimed to increase production efficiency and improve labour relations. Cedric Price’s proposal took the format of a two-volume report and a Portable Enclosures Programme (PEP) which, while presenting a critical view of building sites, also demonstrated his ambition to go beyond the immediate brief, employing architectural knowledge and thoughtful design to respond to pressing societal issues and human necessities.
The project emphasizes “the social role and responsibility of the architect by rethinking traditional field practices and pursuing strategies to initiate social progress through critical research, new tools and experimental attitudes” (Domus, 2017). The designer becomes the moderator of social activity (Herdt, 2016).
To qualify labour on building sites, Price acknowledged the need to reframe the relations between the multiple actors involved, from government to service suppliers, from technical staff to workers’ unions. He often stressed the importance of communicating to everyone, from the workers to the administrative personnel, the purposes and goals of the report, introducing “a participatory form of Company planning” and resisting the tendency for decision making to be “too top heavy.”
The theme of the 19th Oslo Architecture Triennale, Enough: The Architecture of Degrowth plays with the explosive power of this word to open up new debates into how much the pursuit of economic growth has damaged the environment and of the need to try out new solutions in architecture (floornature). The curators (Matthew Dalziel, Phineas Harper, Cecilie Sachs Olsen and Maria Smith) argue that “architects are mistaken if they believe they can confront the climate crisis by merely rethinking the way they design buildings. Instead, it is the economy and the very armature of our civilisation that requires a rigorous redesign.” (AR)
You must be brave to peel back the skin concealing the ugly ribcage of our economic system, its guts ingesting gas, coal, trees, animals, minerals, water and clean air and flatulently defecating an endless stream of clothes, plastic bags and neat packets of processed food. (AR)
The program develops in the “Academy,” the “Theatre,” and the “Playground,” until November 24. (Official site)
I only bumped into this artist because of a post he made on Instagram I read about on Dezeen. Influenced by the group finch3d and their Adaptive Plan 3d algorithm for designing houses Sebastian Errazuriz urged architects through his post to “continue to think and design “architecture” for more abstract systems” in fear that the nature of the profession is changing and fewer architects will be needed in the future.
The finch3d tool is actually pretty fun to watch: a house plan keeps changing while someone presses/slides different buttons of a grasshopper code. Yet I fail to see how that changes architecture. First of all, someone did write that code, probably an architect, choosing what parameters can be changed and how. The very choice of what can be changed is already intentional; it expresses the hierarchical thinking of its designer. By transferring this intentionality to a potential client you only allow him/her to think within a framework that is already set. Unless the client himself/herself writes this code, finch guarantees no more freedom in planning than before.
And by allowing/promoting the use of such tools to the greater public do we really think that we are being deprived of designing? Hasn’t it always been the case in anonymous architecture? US building code for example allows people to freely build their houses on their own as long as they comply to state regulations. So what if that person used the finch tool? And why is the finch tool any different in its conception that the state regulations? They both perceive design as in keeping up with predetermined rules.
So, do I think that architecture is an endangered profession? Do we really risk our jobs by evolving and expanding into new realms? Not really. Experimenting with different design tools has always been a core activity of our profession. But designing is not just designing space, is it? Because then, a code like that could definitely jeopardize what we do. We don’t design space: we design spaces for the people who use them. And it is the elusive nature of human thinking and being keeps us afar from any certainties. It is this incompleteness, the lack of a single answer that drives us and will keep on driving us to explore what it means to be fully human.
And then I see Errazuriz’s breathtaking installation: a led lit image of the earth set in an urban void, an unexpected surprise event that invites viewers to contemplate on the “fragility of our existence.” (artist’s own words). And then I think: “go ahead and make as many codes as you like. You will never be able to codify the feeling/the sense of fragility of existence.”Because there are qualities and values in architectural designing that can not possibly be expressed algorithmically.
Architecture can never be generic, nor abstract. In that case, it isn’t architecture, it’s just building. Architecture in my understanding is site-specific, it is contextual, it is a means of communicating who we are not just in terms of our physical existence, but also in relation to others, it is transcendental, just like that earth image suddenly hitting you as you walk by. And if there is ever a code that does that, hell, I am gonna be the first to use it.
The base of the Wikkelhouse is ‘virgin fiber paperboard’, which is made from Scandinavian trees. This so called goldboard, is wrapped around a huge mold, with a method patented by RS Developments, while environmentally friendly glue is added. This creates a tough and insulating sandwich structure. By this wrapping process a heat insulation and construction method are integrated in a sustainable way. Afterwards each segment is finished with a protective film and a shell of wooden slats.Wikkelhouse meets the criteria for temporary or permanent housing. It is about eight times more durable than traditional construction.
(…) these were actual mesh cages suspended from apartment windows, much like a window-unit air conditioner would be today (…) it was believed that babies who are exposed to daylight during the afternoon hours slept better than those who were not (…) Invented in the United States in 1922, baby cages really took off in London in the 1930s and allowed for city-dwelling moms to offer their young ones a bit of fresh air when heading down to the local park just wasn’t an option (…) The cages became popular in London in the 1930s among apartment dwellers without access to backyards (…) Once installed, a caretaker could simply place their tot inside the wire basket and go about tending the home
Students protest the classical pastiche designs made for the Medical School (1968) at the University of Louvain/ University agrees to the formation of a student committee/ Students produce a counterproposal by Lucien Kroll who had no ties to the University/ Kroll organises collaborators and students into teams and turns design into an assemblage of disparate political fractions/ Work is done in his studio at a distance from the institution to ensure freedom/ Collaboration becomes “a kind of architectural method acting” accepting every outcome even if it defies prevailing arch conventions (de Graaf)/ Kroll, when denied the participation of le Roy, his preferred gardener, also engages the adjacent community into participating in the landscape component/ For two years this is an harmonious collaboration/ However, University representatives who visit the site oppose the outcome and the budget increase and fire Kroll/ Kroll exposes the contractor for high pricing but is then accused of vandalising the building site during his open call to the neighbouring community/ The building is highly criticised as a “failed experiment” and “less than a sum of its parts” (de Graaf)/ Petitions for the building’s demolition are opposed by massive support (Excerpts from Reinier de Graaf’s book: Four Walls and a Roof)
In a DOMUS article dated back in 2010, Kroll is presented as “icon of democratic architecture”:
Communication through architecture is an eminently political act, Kroll maintains: the architect is the catalyst of a creative process and social dynamic, in respect to which they make their knowledge available for the translation of interpersonal relationships into a suitable space (…) architects must step out of themselves and put themselves in the shoes of future residents.