Search results for "sustainability"
Five years after Detroit’s bankruptcy, design fuels recovery
It's a Gas: The Allure of the Gas Station Edited by Sascha Friesike, with a preface by Jay Leno Gestalten $60.00The Current: New Wheels for the Post-Petrol Age By Paul d’Orléans, Robert Klanten, and Maximilian Funk Gestalten $50.00 Automobiles fascinate architects. Le Corbusier designed the Voiture Minimum; Buckminster Fuller, the Dymaxion; Renzo Piano, the Flying Carpet; and Norman Foster, the Routemaste. And while Charles and Ray Eames were posing with a Velocette motorcycle, Michael Czysz—founder of Architropolis, his firm—was designing the record-breaking MotoCzysz E1pc electric motorcycle. Given recent developments in electric vehicle (EV) innovations, designers may soon create new infrastructure for these silent, zero-emission vehicles. Two books from international publishing house Gestalten reflect on this crossroads with one foot on the accelerator and one hand on the wheel. Jay Leno—late-night comedian and automobile aficionado—introduces It’s a Gas: The Allure of the Gas Station, edited by Sascha Friesike. Leno recalls his childhood fascination with “grease monkeys,” tending vehicles, hot rods, and watching new models come and go. Leno also remarks on gas station architecture, including Richard Neutra’s now-demolished stations. From the introduction onward, Friesike’s volume takes us on a joyride around the world of gas stations. Gas stations never became a celebrated typology, despite celebrated architects like Albert Frey and Norman Foster designing them. It’s a Gas begins to address this curiosity. Friesike presents an aesthetic history of the gas station from its 1888 origins in a Wieshold, Germany, pharmacy to the contemporary designs of Philippe Samyn and Partners. Along the way, Friesike also casts his gaze on Arne Jacobsen’s 1936 rectilinear facility with a contrasting sinuous canopy—a beautiful prototype sadly never replicated—and Atelier SAD’s mushroom column canopy. Canopies are typological features that shield from sleet, sun, and rain, and can encompass concrete shells, decked trusses, or even a B-17 bomber. Some stations forgo the billboard and inhabit teapots, tee-pees, and cowboy hats. Novelty attracts customers (there even exist floating gas stations to service motorboats), but unfortunately, in the U.S., mega-pump filling stations like Buc-ees seem to pass for novel. Canopies can differ greatly. Postcards from Eugenio Grosso’s trek from Kurdistan to Sulaymaniyah, and Tim Hölscher’s photos of isolated gas pumps and stations highlight typological differences. Every modern master has had stops and starts in petroland. In Quebec, in 2011 (the book misdates it as 2002), Les Architectes FABG completed the conversion of Mies van der Rohe’s Neue Nationalgalerie-esque gas station into a community center. In 2014, the Pierce-Arrow Museum in Buffalo, New York, unveiled a non-operational version of Frank Lloyd Wright’s never-realized station. Equal parts nostalgia and premonition, “Ghost Town Gas Stations” closes It’s a Gas by questioning the gas station’s future. If their fall “from grace came as the golden age of flying was ushered in,” will they hit rock bottom now that EVs have hit the scene? The Current: New Wheels for the Post-Petrol Age by Paul d’Orléans, Robert Klanten, and Maximilian Funk leans into this question, examining the state of EVs. Motorcycle aficionado d’Orléans charges through a history of EVs before running the gamut of the latest electric transporters. Given the author’s focus on motorcycle history and customization (and from working with him personally at motorcycle film festivals), I was pleasantly surprised to see all manner of land vehicles included in his survey. EVs are ideal for urban commuting. Electronic cars and motorcycles have a range of 150 miles at highway speeds. Electric bicycles and scooters are more accessible, but fizzle out around 60-mile ranges at 35 mph. China has been leading this “e-volution” by changing licensing classifications on e-scooters and banning internal combustion engine (ICE) scooters in large cities, leading to myriad manufacturers and sales of e-scooters. Other countries have been slower to adopt EVs, despite riders’ praise of their “fun factor” and sustainability. To combat customer hesitation, Taiwan-based electric scooter manufacturer Gogoro designed an e-scooter with batteries that can be easily exchanged. A subscription-based station network in Taipei supports its riders, who have already collectively logged 186 million miles. This infrastructure is key to reassuring potential riders that their destinations can be reached. Similar networks are now being planned for Paris and Berlin. Even mainstream manufacturers are flipping the switch. BMW developed an e-motorcycle weighing in at 600 pounds—a whale by industry standards, as many other models hover at around 250 pounds. Other large manufacturers developing EVs on the two- and four-wheel front include KTM, Yamaha, Porsche, Lamborghini, and Honda. Tackling a more sustainable approach, Ferrari has developed an E-Type concept retrofit for its 1950s through ’70s models. Taking sustainability further, the Dutch e-scooter Be.e boasts a flax and bio-resin body that foregoes the use of metal and carbon. Waarmaker—the designers of the scooter—said of their design process: “Form follows material and production.” Many EVs don’t travel far from the traditional styling of their ICE cousins. D’Orléans explains: “Designers walk a fine line of trying to push the boundaries of styling and technology while catering to a surprisingly conservative streak among the supposed rebels on two wheels.” The same goes for cars—witness name-brand dealer offerings. Thankfully, d’Orléans’s arc surpasses workaday solutions to showcase more provocative and lesser-known innovators. Joey Ruiter, who has designed furniture for Herman Miller, eschewed telltale signs in his Consumer car and Moto Undone motorcycle: Both are pared-down, minimal, rectilinear forms, in black and mirror finishes, respectively. These vehicles, while alluring, do not reference any stereotypical automotive styling. Bandit9 Motors’ bespoke L-Concept motorcycle is a tube with a turbine attached on two wheels. Meanwhile, Ujet’s Electric Scooter looks traditional but has an asymmetrical folding frame and battery-seat module that can be detached like a portable, wheeled tote for easy recharging. BMW’s Motorrad VISION NEXT 100 concept vehicle at once mimics the lines of the company’s first motorcycle and resembles a Tron Light Cycle. United Nude’s black crystalline Lo Res Car is as mysterious as Kubrick’s 2001: A Space Odyssey monolith. EVs and their potential infrastructures are inherently sci-fi. The books by Friesike and d’Orléans are both beautifully designed and illustrated, and one won’t find better volumes on EVs and gas stations without traveling to the realm of the overly technical. The Current lists specifications with its case studies, but highlights design, not mechanics. It’s a Gas exposes a new typology without drilling into the industry. Together these books anticipate the future of automobile architecture, including approaches to designing adaptive reuses of filling stations and exploring new types of e-stations.
The Unbearable Lightness of Being Kanye
Kanye West donates $10 million to James Turrell’s volcanic crater project
Went to visit the James Turrell crater two days ago. This is life changing. We all will live in Turrell spaces— ye (@kanyewest) December 13, 2018
On Monday, the rapper-turned-designer released a statement explaining that he wants Roden Crater to be “experienced and enjoyed for eternity.” The gift stands out among West’s philanthropic work, as he thus far hasn’t made similar contributions to any other artistic institutions. Still, this isn’t the first time that Turrell’s work has infatuated a rapper; Drake danced his way through homages to the artist’s light installations in the 2015 video for Hotline Bling. Turrell is attempting to fundraise the rest of the $200 million in conjunction with Arizona State University. According to Artforum, that money will go towards keeping the site open for the next five years, and the school hopes to eventually integrate Roden Crater with the curriculum of the “Herberger Institute for Design and the Arts, School of Sustainability, School of Earth and Space Exploration, and School of Social Transformation.”
Kanye and team visiting the Roden Crater by James Turrell in Flagstaff, Arizona earlier this week.Kanye also visited the location on December 11. pic.twitter.com/4rySiP5Ujs — TeamKanyeDaily (@TeamKanyeDaily) December 21, 2018
Stacked for Success
Renzo Piano completes offices for Kum & Go in Des Moines, Iowa
The U.S. mass timber industry is maturing while it branches out
This article originally appeared as part of our January 2019 print issue in the timber feature.
President Donald Trump’s tariffs, enacted in November 2017, have not yet made a significant impact on the U.S. mass timber industry. But if Trump chooses to take more aggressive action in the next two years of his administration, this could dramatically change. This urgency, coupled with the recent global obsession with building tall wood structures, newly motivates American wood manufacturers to become independent of foreign suppliers. This would entail American manufacturers catching up in machine technology and production capacity to bolster domestic trade and support innovative architecture sourced from home.
What’s clear is that U.S. demand for wood buildings is there. The country’s largest producer of cross-laminated timber (CLT), SmartLam, has experienced such rapid growth since opening six years ago that it is building a new headquarters in Columbia Falls, Montana, and planning a second facility in Maine to supply what the industry thinks will be an influx of midrise construction in New York and other cities along the Eastern seaboard.
“The expansion here is simply driven by need,” said SmartLam CEO Casey Malmquist. “There’s always been a grassroots support for CLT in the U.S. and a recently increased interest in research and testing. But now we’re no longer speculating about whether it will work—it’s going mainstream.”
While similar Pacific Northwest companies like DR Johnson and Katerra, as well as firms such as LEVER Architecture and Michael Green Architecture, have long led the field, production is growing in uncharted territories. South Carolina–based LignaTerra is adding another plant in Maine, while Canadian leaders like Nordic Structures in Montreal and Structure Fusion in Québec City, which already supplied CLT to projects across the country, are now focusing more attention on supplying the eastern U.S. market. Production is even swelling in the South with Texas CLT LLC, which is reopening a mill in southwest Arkansas.
But pioneering European companies, which have historically dominated the market and supplied American developers, are now putting down roots in the U.S. Austrian giant KLH is partnering with International Beams’ new factory in Dothan, Alabama, by supplying it with glulam blanks. Having opened this past September, it is the first plant east of the Rocky Mountains to produce CLT in the country and will primarily utilize the unique Southern Yellow Pine native to the region.
These investments show that the race to build such production facilities is vital to the U.S. market becoming competitive with other countries. But many experts say we need to increase cultural acceptance of mass timber as well as get investors on board before the industry starts churning up a sizable profit.
“The real strategy is that the big manufacturers in Europe are focused on making franchises here,” said Alan Organschi, principal of Gray Organschi Architecture in New Haven, Connecticut. “They can produce higher quality products cheaper, even with overseas shipping, than manufacturers can in the U.S. and Canada.”
Organschi’s firm has been at the forefront of timber innovation for 20 years. He is confident the market is growing and will prove that by designing 6- to 14-story buildings, the sweet spot for mass timber construction. Dominique Briand, general manager of Canadian structural engineering firm Structure Fusion, is also optimistic about North America’s future, but feels certain that product-specific issues still need to be addressed before wood can match the quality of other structural materials like steel and concrete.
“The problem is the tools are not there,” Briand said. “There’s not enough manpower or knowledge to make or sell mass timber in the United States. Plus it’s a disorganized market, which creates a big gap between the product and the project.”
Briand believes that as long as timber is trendy, it will take young U.S.-based companies about five to ten more years to be competitive with Europe. In the meantime, architects, engineers, and educators are working to imagine groundbreaking designs at modest scales to ramp up domestic interest and encourage policy changes.
Many U.S. states are using financial incentives to entice manufacturers to locate to their respective regions. In Maine, both the state and federal governments have provided funding for the University of Maine’s extensive research to advance timber assemblies. Russell Edgar of the university’s Advanced Structures & Composites Center says the ultimate goal of this work is to organize the state’s supply chain in order to make Maine viable for these companies.
“People are talking a lot about South Carolina and Georgia since they grow trees like corn at such rapid rates,” he said. “But in Maine, we have proximity to these huge markets in New York and Boston, so we’re busy trying to find ways to get these companies here now.”
Sourcing timber products within 250 miles of a project is a huge advantage to practicing sustainability and boosting regional economies—not to mention a reason for rarely crossing borders for building materials. But a little competition is healthy, especially for lumber producers who want to bid in a fair marketplace.
“The more people there are, the better it will be,” said Briand. “I only worry that because we’re such a fast-evolving industry, a lot of companies will build huge facilities and focus solely on making and selling products. It’s not just about the products; it’s about creating strong business plans so the investment pays off.”
Wood That Does You Good
Wood cladding products that can stand the test of time
Design facades that can endure the elements and look better with time. These exterior wood claddings offer sustainability, durability, and a touch of charm.
WOODWORKS Linear Solid Wood Panels Exterior Armstrong Ceiling & Wall Solutions
Available in six custom finishes and stains, WOODWORKS Linear Solid Wood Panels are made of western hemlock. The 12-inch-by-96-inch linear panels attach to Armstrong’s Prelude EL Exterior system via screw fasteners. Perfect for creating seamless indoor-to-outdoor transitions, the exterior panels are designed to withstand the elements and are great for overhang and soffit applications.
Made by glue-laminating panels of Scandinavian pine together, Lunawood’s cladding boards are made in a thermal manufacturing process where wood is processed using only heat and steam, a technique nearly as natural as the wood itself. Available in planks with horizontal or vertical textures, the natural brown color of the wood can be retained using a surface finish or left untreated to patina.
Exterior Wood Cladding Accoya
Made of durable New Zealand-sourced pine, Exterior Wood Cladding is optimal for both large-scale commercial projects and detail-oriented residential designs. Accoya’s external wood siding is extremely durable, and it is available custom profiled to fit specific building designs and specifications.
Alu Siding Technowood
Pairing the charming aesthetic qualities of wood with the strength and resilience of aluminum, Technowood’s aluminum panels are laminated with natural wood veneers. Using less wood than typical siding applications, AluSiding is environmentally sustainable, lightweight, and recyclable.
Nature – Pure FunderMax
Characterized by the clearly defined lines naturally occurring in solid wood, Pure is FunderMax’s new color collection in its Nature collection wood-based cladding. Stark yet soft in its straightforward design, Pure is offered in four thicknesses and six finishes.
Simulated Mass Transit
Fentress Architects unveils its Expo 2020 Dubai pavilion and hyperloop simulator
We’re looking at an Expo that is related to mobility, movement, travel, sustainability—things that are very important to the world today. We have designed this building to be circular in form with slants fashioned to project a sensation of movement, making the viewer feel like the building itself is in motion. And then, once you enter the building, it opens up to what the United States stands for: We are an open, accessible country where you can live to create ideas. It showcases all the things we are doing in America: developing technology and concepts that are going to move us forward in the future. Designing this pavilion is a tremendous responsibility—one we take very seriously—as we will be showcasing America and American ideas to over 25 million people expected to visit the Expo.Pavilion USA 2020, the collective entity responsible for the installation, also announced a partnership with the California-based Virgin Hyperloop One. Come 2020, the pavilion will host mock-ups of Virgin’s hyperloop pods and offer simulated rides ahead of a projected 2021 rollout in as-of-yet unfinalized locations. The three-story pavilion will feature an internal walkway wound around a central internal void and multi-media column that will double as a triple-height public plaza. The programming will explore a range of what “movement” can mean, from space travel, to shipping cargo, to tracking the flow of blood throughout a body. The Dubai 2020 Expo will open to the public on October 20, 2020, and run through April 10, 2021.
Governor Cuomo presents plan to prevent L train tunnel closure
If the L train repair plan proceeds as scheduled, one track at a time will be shut down on nights and weekends for up to 20 months. To offset the decrease in service, the MTA plans on increasing service on several other train lines, including the 7 and G.
MTA Acting Chairman Ferrer: "Why wasn't this approach considered earlier?" Because the process had never been applied to a rehabilitation project. In other words, the MTA is extremely unimaginative? Such a rehab project has never been needed afaik, period pic.twitter.com/XctpO6tLW9— Market Urbanism (@MarketUrbanism) January 3, 2019