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In Aarhus, Denmark’s second largest city, a consortium of architects, engineers, and manufacturers are advancing the capabilities of concrete construction formwork and advanced design. This effort culminated in a recently unveiled 19-ton prototype dubbed Experiment R.
The project, led by the Aarhus School of Architecture, Odico Formwork Robotics, Aarhus Tech, concrete manufacturer Hi-Con, and Søren Jensen Consulting Engineers, tackles the waste associated with concrete formwork through the use of a novel robotic fabrication method.
How does this new method work and why is it potentially so disruptive? According to the Aarhus School of Architecture, formwork is easily the most expensive aspect of concrete construction, making up to three-quarters of the total cost of a concrete project. Significantly reducing waste associated with the formwork process and the molds themselves boosts environmental performance and the economic feasibility of complex concrete geometries.
The project's new apparatus consists of a heated and electrically powered wire rotating at a speed of approximately 160 feet per second around a carbon fiber frame. This device is mounted atop a robotic arm, which can shape complex detailing. While a polystyrene mold was used for the formwork of Experiment R, the mechanism has the capacity to cut through harder materials such as stone and timber.
Conventional methods of formwork fabrication are significantly more laborious—a typical CNC milling machine is able to process an 11-square-foot surface in approximately three to five hours. In an action that Asbjørn Søndergaard, chief technology officer of Odico Formwork Robotics, refers to as “detailing the whole formwork in one sweep,” the new technology is able to process that same surface area in 15 seconds. Strikingly, this timescale is applicable to both straightforward and advanced design formwork.The 19-ton Experiment B prototype, installed adjacent to Aarhus's Marselisborg Lystbådehavn in July 2018, is an extreme example of what can be achieved with this new method, displaying future possibilities of construction. According to Søndergaard, it is the hope of the consortium that the highly optimized concrete formwork is translatable and ultimately adopted for everyday projects such as minor infrastructural works and standard residential or commercial development.
Let the Shopping Begin!
Holiday shopping? Check out our gift guide for architects
Because I'm Happy
Studio Cadena’s shimmery holiday installation takes over Flatiron Plaza
David van der Leer, exiting director of Van Alen Institute, noted the impact that Happy could have on people's’ daily lives during a cold and colorless time of year. “By expressing a positive emotion in a public space, Studio Cadena’s delightful installation invites people to take a moment to consider the joy of being in the big, busy city during the holiday season.” Happy was selected by a jury of experts in design and public art including the Corcoran Group’s Nick Athanail, Michael Bierut, partner at Pentagram, Emily Colasacco, event director of NYC Summer Streets, as well as V. Mitch McEwan, partner at A(n) Office, and Aleksey Lukyanov-Cherny of SITU Studio. The installation will be on view through January 1, 2019.
Is This the Real Life?
New virtual reality program could transform historic preservation
Like a Diamond
Daniel Libeskind designed a Swarovski star to top the Rockefeller Center Christmas tree
Modernizing the Middle East
Fikra converts abandoned bank into ground-breaking graphic design event
Spinning a Yarn
Zaha Hadid Architects and ETH Zurich team up to build a knitted formwork concrete pavilion
GRT Architects has designed a bold interpretation of classical details in tile
The Museum of Trans Hirstory & Art (MOTHA) queers monument design
The Museum of Transgender Hirstory & Art (MOTHA) is dedicated to moving the hirstory and art of transgender people to the center of public life. The Museum insists on an expansive and unstable definition of transgender, one that is able to encompass all transgender and gender-nonconforming art and artists. MOTHA is committed to developing a robust exhibition and programming schedule that will enrich the transgender mythos by exhibiting works by living artists and honoring the hiroes and transcestors who have come before. Despite being forever under construction, MOTHA is already the preeminent institution of its kind.The artists participating in The Stonewall Re-Memorialization Project take MOTHA’s subversive wit into the contemporary political climate, one in which trans communities are again both under attack and fighting back. President Trump recently announced that he is considering reversing rules protecting the 1.4 million Americans who identify as transgender, while at the same time a historic amount of LGBTQ candidates are running for office and are poised to hold greater political power. Trans entertainers and performers are achieving recognition even as transgender people in the U.S. are being killed in record numbers. “There were always limitations in accepting and inclusion," Vargas said. “This political moment has highlighted the limitations.” Monuments have become a particular flashpoint in the U.S.'s fraught political climate, and Vargas says that he began the Stonewall project questioning the role of monuments. "I went into it with a real critical lens, but to be honest, I’ve become more understanding of the importance they play…There’s a way they can evolve over time." Vargas cited the influence of the work of the artist Isa Genzken, whose Ground Zero sculpture series imagined for the World Trade Center site in New York City a series of kaleidoscopic churches and discos instead of drab office towers. Like Genzken's sculptures, the Stonewall proposals embrace messy emotionality and exuberant vitality over orderly construction. The carnivalesque approach reflects the overall strategy for MOTHA, a roving institution that Vargas says will never have a permanent physical home. “At the heart of my approach to this project is an acknowledgment that once you start you canonizing, once you start making an official history, you have to start policing boundaries of what is or isn't considered transgender, and I don't think the identity category lends itself to that approach." Vargas added, "I don’t think it makes sense to have a traditional institution…It makes sense to have it exist as an evolving parasitic entity.” Which is not to say that Vargas wouldn’t want architects to imagine what a home for MOTHA could look like. “It’s been a dream of mine to have an architectural design competition for the institution,” Vargas said. Architects, take note. Consciousness Razing—The Stonewall Re-Memorialization Project will be on view at the New Museum in New York City through February 3, 2019.