Installed on the grounds of the 2019 Bundesgartenschau (BUGA) biennial horticulture show in Heilbronn, Germany, the BUGA Fibre Pavilion is a the product of years of research in biomimicry at the University of Stuttgart’s Institute for Computational Design and Construction (ICD) and the Institute for Building Structures and Structural Design (ITKE). Biomimetic design aims to produce structures, materials, and effects after principles and processes found in nature. In other words, the BUGA Pavilion is a not-so-primitive hut inspired by fauna rather than flora. Specifically, the pavilion’s 60 woven structural components are inspired by fibrous biological composites like cellulose and chitin, which form insect wings and exoskeletons. Evolved over millions of years, these naturally occurring organic fibers are incredibly efficient and incredibly strong. Adapting this principle to architecture, the Stuttgart team created the 4,300-square-foot BUGA Fibre Pavilion using half-a-million-square-feet of a human-made synthetic equivalent—glass- and carbon-fibers weaved together by a robot working between two rotating scaffolds. The resulting hollow warped cylindrical elements, which each took four-to-six hours to produce, resemble a toy finger trap. Workers connected them together on-site to form a dome shape spanning more than 75 feet. An appropriately advanced skin, translucent ethylene tetrafluoroethylene (ETFE), covers the fibrous synthetic muscle system. The design process required intense computationally-powered iteration. Although complex, the manufacturing process is wondrously efficient, producing zero waste and obviating the need for any formwork. It’s also quite strong. Five times lighter than a comparable steel structure, each component can withstand 250 kilonewtons of compression force—or, as the design team notes, “the weight of more than 15 cars.” The fabrication method recalls the futuristic 3D printer featured in the opening sequence of the HBO sci-fi series West World. The comparison is apt because the pavilion truly feels like something from the future. Indeed, as the researchers note, “Only a few years ago, this pavilion would have been impossible to design or build.” Thanks to the dramatic advancements in material science and our powers of scientific observation, the Stuttgart team was able to unite human innovation with natural principles to create something beautiful that perhaps transcends both science and art.

Toronto is known for many great things. Its weather isn’t one of them. For the city's architecture the question is: how can public, urban space be usable and comfortable throughout the year? The architecture collective PARTISANS thinks it might have an answer. Referencing the “maze of awnings…and glass arcades” that defined Toronto streets in the late 19th century, the firm has designed an adjustable awning, somewhat-humorously called the "Building Raincoat," that could be installed to protect the sidewalk (and its users) from the elements. Intended to be applied onto any building, or perhaps pre-planned in new construction, the ethylene tetrafluoroethylene (ETFE) structure latches onto the facade and to street pavers to create a protected space that remains transparent and lightweight, but still maintains the necessary durability to handle any meteorological assault. The Building Raincoat's four layers of EFTE help regulate sun exposure, and the spaces between the two interior layers inflate and deflate automatically to shift the opacity of the surface in order to regulate temperature under the canopy. The firm expects the Building Raincoat to double the number of daylight hours that can be comfortably spent outside each year. Cofounder Alex Josephson told Sidewalk Talk, the publication of Sidewalk Labs and Waterfront Toronto's joint effort Sidewalk Toronto, which hosted a presentation of the prototype of the building raincoat earlier this week, that PARTISANS took inspiration from other similar architectural typologies, like inflatables, that have been used to deal with space in experimental ways. The team iterated an array of possible structures before deciding on the three main qualities they needed: organic, folded, tensile. The raincoats have been developed in collaboration with structural designers Maffeis Engineering and environmental engineers RWDI, which have expertise in sustainability and in climate-conscious architecture.  To arrive at the right stable, comfortable, and aesthetically pleasing form, the collaborators have leveraged computer modeling tools from the get-go, integrating them into the design process, rather than just using them during later testing phases. Leveraging these technologies, they’ve developed what Josephson calls a “toolkit,” an array of different related shapes and systems that can be adaptably deployed and maneuvered. “This is real experimentation where the scientific method meets design,” Josephson told Sidewalk Talk. In addition to providing adaptable protection from the elements, engineer Gonçalo Pedro of RWDI said that the Building Raincoat acts as a natural extension of the space it is attached to. It creates flexible transitions and gradations between inside and outside, public and private. While still in the experimental phase, the team hopes that the building raincoat can help shape and shift our relation to public space, allowing us to occupy the street together as much as possible. This month, they've put it to the test and have installed a version of the Building Raincoat at 307, Sidewalk Labs' Toronto headquarters. During the afternoon session of Facades+ Toronto on October 11 PARTISANS, Maffeis Engineering, and Purpose Building will lead "Futuristic Skins: ETFE as Building Envelope," an intensive hands-on workshop focused on the design, application, and future of ETFE.

Big ideas start with small changes. This is definitely the case for the 11 outstanding projects that were just honored for their design excellence in small project design as the American Institute of Architects (AIA) just announced its 2018 Small Project Awards winners. The awards are given in three categories: architectural objects or environmental art that cost up to 150,000 in construction (Category 1), small project constructions that cost up to 1,500,000 in construction (Category 2), and projects under 5,000 square feet (Category 3). The theme this year is “Renewal.” Here are a few of the Small Projects award winners: Howeler + Yoon Architecture designed Shadow Play, a hovering canopy formed from triangulated modules. Located in downtown Phoenix, Arizona, Shadow Play is a cluster of shade structures that casts geometric shadows that transform the streetscape and how pedestrians congregate in the public space. The canopy’s design maximizes the shaded area but also allows for apertures that bring breezes underneath, making it an ideal space to sit and relax. substance architecture designed the Principal Riverwalk Pump Station in Iowa, which also received the award. The design includes two objects–a Pump House that responds to the neighboring Café Pavilion with similar materials of black zinc and steel, and a Gate Valve Platform that combines translucent glass atop and a solid concrete base. According to the AIA, “The creation of this facility has literally led to the renewal of Des Moines' Historic District and, in concert with the Café Pavilion, it frames a popular public space along the river.“ Kevin Daly Architects was recognized for a low-cost, low-impact prototype backyard home. The 500 square foot parcel dubbed BI(h)OME has an innovative facade made of a paper honeycomb inside layers of ETFE, making a lightweight but sturdy structure that creates a pleasing aesthetic. The prototype is recyclable and customizable, and aims to serve as a housing option for 500,000 single families in Los Angeles, a city that struggles with a “shelter crisis.” Sawmill, designed by Olson Kundig, is a family retreat standing in the high desert of California. In response to the harsh climate and the remote location, the net-zero home utilizes recycled but durable materials and employs strategies to reduce environmental impact and minimize operating costs. Cutler Anderson Architects’ design of Studio / Bunkhouse blends in with the wooded site in Washington. The 80 square feet compact, multi-purpose toolbox is set at the top of a waterfront bluff and complemented by the jury for the ability to work with limited power-tools within the challenging site. Other winners include Allford Hall Monaghan Morris for The Grand Lake Poolhouse, FXCollaborative for their Chapel at Congregation Kehilath Jeshurun, and Edward Ogosta Architecture’s design of Rear Window House. For the past 15 years, the AIA Small Project Awards program sets out to promote value and design quality in buildings, no matter their size. The complete list of the awarded projects can be seen in the link.

From biodomes to Disney resorts, "Sheds" and stadiums, ethylene tetrafluoroethylene, better known as ETFE, has become the material of choice for architects designing a venue for the spectacular. Appealing to designers as an affordable, translucent building skin, the material is now the go-to polymer for flamboyant facades. The Architect's Newspaper (AN) spoke to three firms leading the way to get the lowdown.

"When we designed Eden over twenty years ago, this was the largest installation of ETFE, which had principally been used for small sports buildings," said Andrew Whalley, Partner & Deputy Chairman at Grimshaw Architects. Whalley was, of course, referring to the Eden Project in the U.K.'s southwest, the project that put ETFE and its use for buildings on the map. Previously, the material had been used mostly in the aerospace industry, with the odd agricultural project thrown in. Now it was being used for huge, bulbous "biomes" that drew inspiration from Buckminster Fuller.

"I think the Eden project certainly gave it a much higher profile, which led quickly to its use on several high-profile buildings. This rise in popularity has lead to a continual refinement in the product, and with secondary applications," added Whalley.

Grimshaw has since gone on to be a pioneer of the polymer in architecture. Their U.K. National Space Center in Leicester was another landmark project, and, more recently, the firm has stepped it up a level, with the dazzling Disney resort, "Tomorrowland," in Shanghai. Whalley continued, "Current ETFE is much more transparent than its earlier version, is available in a range of color tints. It can be fritted, and combining this with variable air pressures can change the amount of light passing through the envelope." Light and colour certainly abound at Tomorrowland. David Dennis, Associate Principal at Grimshaw explained how this was achieved through a double-layered ETFE cushion that spans 164 feet across a complicated twin-gridshell canopy. This is then held in place by custom-formed aluminum clamps that respond to the tight bending and twisting of the structure. "ETFE’s inherent flexibility permitted spanning these complex forms. Meanwhile, advancements in imbedded color and custom-applied ‘frit’ patterns enabled a backdrop suitable for both daytime and nighttime light shows," elaborated Dennis. "The canopy structure required a lightweight cladding that could keep guests dry and comfortable in Shanghai’s wet summers. At the same time, it also needed to be an expressive and iconic canvas for lighting effects and projections that celebrate Disney’s stories and capture the Tomorrowland theme of an optimistic future," he added. "ETFE met these needs, providing flexibility of form and advanced capacity for showcase." But how is ETFE being used on U.S. shores? Alloy Kemp, a Senior Project Engineer at Thornton Tomasetti's New York office, was on hand. The engineering firm has already worked on numerous ETFE facades, including Banc of California Stadium (for the Los Angeles Football Club, MLS), the U.S. Bank Stadium (for the Minnesota Vikings) and the Hard Rock Stadium (for the Miami Dolphins) in Florida. Right now, Thornton Tomasetti is working with Diller Scofidio + Renfro (DS+R) and the Rockwell Group on The Shed at Hudson Yards which, yes, you guessed it, has an ETFE facade. According to Kemp, The Shed uses a pneumatic system, whereby three foils made into a panel are inflated with air. "The air is not structural; it serves to stabilize the foils," said Kemp. "The outer foil is fritted (printed with silver ink in a dot pattern) to reduce the light transmission of the panel into the space." The middle foil, meanwhile, is clear, and the inner foil is white, with 20 percent opacity. Kemp remarked that the "overall effect is to diffuse and scatter the direct sunlight into the space." ETFE is also representing the U.S. on foreign soil, too. Back in the U.K., Philly-based studio KieranTimberlake Architects recently used the material to clad the U.S. Embassy in London. Partner at studio Matthew Krissell told AN how the "single layer tensioned membrane," arranged in an array of sails on three sides of the building, optimized natural daylighting with a high level of transparency. Meanwhile, the scrim also provided a second air gap to give further resistance to thermal transfer.

Marking its first project on U.K. shores, KieranTimberlake Architects’ U.S. Embassy in South London is finally complete. The Philadelphia firm was the winner of a competition launched by the American Embassy in London in 2008. Now the Embassy’s new location in Nine Elms, just off the banks of the River Thames, will open a decade later this January. An official opening date is still pending, as the status of President Donald Trump’s inaugural state visit hangs in the balance due to a concern about widespread protests. Indeed, worries about security dominate the current U.S. Embassy in London, particularly after spate of attacks on other American consulates. Nestled in a Georgian enclave in Mayfair, the current Embassy, Eero Saarinen’s Grade II Listed structure from the 1950s, is unceremoniously fenced off. Despite a crowning aluminum bald eagle, the wealth of bollards that precede the fencing means the embassy's current locale is decidedly lacking in freedom. After surveying 40 possible locations, the U.S Embassy is moving to an even safer compound, one it can truly control. The architects didn’t have a say in curtailing this aspect; a prescribed 100-foot “seclusion zone” meant the embassy’s relationship to the site was never going to be an open one. However, some efforts have been made to make the notion of security less explicit. A bioswale in the form of a semi-circular pond (essentially half a moat), fortified hedges, and a gabion wall have all been sunk below ground level to make the embassy seem less stand-offish from afar. From this distance, KieranTimberlake’s work stands out as a crystalline cube from its brick-clad neighbors. On three sides of the 213-foot-tall structure are ethylene tetrafluoroethylene (ETFE) sails which act as a shading device. James Timberlake, a partner at the architecture firm, stressed the need to “filter all that enters,” listing “people, air, and even materials.” Birds too are kept out through star-spangled fritting found on the northern-facing façade, the only side free from the ETFE sails. But if the outside dazzles, which it almost does at night, the embassy's interiors are severely lacking. For those who can’t get or see in, you’re not missing out. Although Ambassador Woody Johnson pushed the idea that his embassy’s architecture was “outward-looking,” evidence of this is hard to come by. Inside, it becomes apparent that the sails block fantastic views out onto the river from the east and west sides of the building. As if a brief which stipulated such high levels of security wasn’t enough to strangle the life out of the building, striving for LEED Platinum status through the enormous shading sails has shot the architects in the foot. Perhaps because it is now on Brexit-bound soil, there is further evidence of insularity at a granular scale as well. The embassy, to the annoyance of at least one employee, is filled only with U.S. plug sockets "bar a few Brit outlets.” Besides a serene visa waiting hall and the ground floor lobbies, one of which features work from British artist Rachel Whiteread, the other Gensler-designed interior levels shown to journalists are remarkably boring. Interior gardens and garden balconies offer a sorry attempt at adding American charm. Their inclusion results in the embassy feeling more like a high-security Holiday Inn. This anodyne, ultra-safe approach seems to have leaked into the building's surroundings as well. A nauseatingly large amount of generic apartment blocks surrounds the embassy. They fall under the umbrella of “New London Vernacular,” a term that arose during Boris Johnson's mayoralty to encourage historically sensitive design.  Though most of the area is still under construction, what's built so far already hints at the non-place that the $20-billion Vauxhall Nine Elms Battersea Opportunity Area (VNEB), of which the embassy is a part, is set to become. In this bland context, the consulate’s isolationism as expressed in its distinctive facade may, in fact, be its best quality. One thing the embassy wasn’t fearful of though, was spending big. At $1 billion, it is the most expensive embassy in the world. You have to wonder, where did all that money go?

"Ethylene tetrafluoroethylene" doesn't exactly roll off the tongue. Thankfully "E-T-F-E" does. The material—commonly referred to by its acronym—is all the rave within the architecture world right now, mostly notably seen in contemporary stadia design.

A Project Engineer at New York firm, Thornton Tomasetti, Alloy Kemp spoke to The Architect's Newspaper about the material's key role in stadia projects such across the U.S. These included: the Banc of California Stadium (for the Los Angeles Football Club, MLS) and the U.S. Bank Stadium (for the Minnesota Vikings).

With regard to the latter example, the stadium makes use of a 240,000-square-foot transparent ETFE roof—the largest of its kind in the country. Here, transparency facilitates clear views outside and bathes the playing field in natural light. This also aids climate control within the space, a key factor when growing pitch-perfect grass. While the ETFE system facilitates solar gains, excess heat vents at the stadium's peak supplement ventilation requirements.

The latter meanwhile uses the material expose the structure as a roof clad with 190,000 square feet of ETFE film reveal long-span cantilevers. Kemp pointed out that the material lets a full spectrum of UV light through, something "which aids in plant growth." She also cited the material's "high span to weight ratio" and "its ability to warp" that allow "lighter and sparser structure," as a main reason for its selection. Additionally, kemp added that a low friction coefficient means with regular rainfall, it is capable of cleaning itself with little maintenance necessary.

Another stadium, this time for the LA Rams team, also makes use of ETFE. The stadium, designed by New York–based HKS, features a giant triangular roof supported by thick columns and made of the material. This super-roof also spans across an adjacent outdoor lobby called “champions plaza” to be used as a communal gathering spot for game day spectators. For year-round events, the stadium features a transparent ETFE canopy covering nearly 19 acres. The canopy allows all sides of the building to remain open to the air, allowing natural breezes to pass through while protecting the up to 80,000 patrons from inclement weather.

Alloy Kemp will be speaking at the next Facades+ conference in New York on April 6 There she and Edward Peck of Forum Studio will discuss ETFE's use in the LA Football Club and Minnesota Vikings stadiums as well as in the DS+R's Hudson Yards Culture Shed. Seating is limited. To register, go to facadesplus.com.