Posts tagged with "Timber":

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CRÈME proposes floating timber bridge to connect Brooklyn and Queens

Currently the only link between the rapidly developing neighborhoods of Long Island City, Queens, and Greenpoint, Brooklyn, is the Pulaski Bridge, a six-lane drawbridge with a narrow pathway where pedestrians and bikers jostle for space. Brooklyn-based CRÈME/Jun Aizaki Architecture & Design wants to change that by proposing the LongPoint Bridge, a 250-foot-long crossing dedicated to foot and bike traffic.

The bridge is distinguished from its counterparts across the city for its lightweight, floating timber construction. It is anchored on either end by a concrete and steel mast embedded into the waterbed of Newtown Creek (the East River canal that divides Queens and Brooklyn). Glulam beams joined by galvanized steel braces and pins rise in two trussed peaks of armature around the nearly 50-foot-tall masts. The structure is a nod to the area’s industrial past and present while also referencing the iconic profiles of other bridges in the city. Its height above the canal allows smaller vessels to pass underneath, but for larger boats, the bridge pivots open in the middle, with each section moving on propeller-driven pontoons. This floating feature also allows the bridge to rise and fall with the tides.

According to Jun Aizaki, the firm’s founder and principal, the bridge’s design and timber composition allows it to be assembled off-site and installed quickly and inexpensively; in the long term, it will require only minimal repairs. CRÈME also proposes public parks and loading docks to flank the bridge on both ends, along with a pedestrian crossing over the Long Island Railroad commuter rails just beyond the canal. Together with the timber bridge, the pathway would connect commuters to the G and 7 trains on either side.

With the impending L train shutdown in 2019 and the predicted growth of Long Island City as it hosts Amazon’s HQ2, the timing of a quickly constructed, relatively affordable bridge seems ideal. Aizaki and his team, which includes a community organizer, are busy raising support and funds through meetings with public officials and local community members. For Aizaki, the bridge is intended as “a grassroots, rather than developer-initiated, project,” which he hopes will “be a symbol of something the community can be proud of."

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Shigeru Ban Architects burnishes its status as a leader in mass timber

Histories of innovation in modern building materials typically recount how muscular substances are sculpted in the hands of masters: Eiffel and his iron, Corb and his concrete, Gehry and his shiny titanium scales. Shigeru Ban Architects (SBA), on the other hand, has sought out some of the less heroic products of our age, sometimes using trash as inspiration for the next big thing in structural solutions; the firm works with humble materials, but its final creations are no less accomplished for it. Wood is one of these seemingly humdrum materials that SBA has long played with, but in the past decade or so, it has skillfully taken advantage of the material’s flexibility. SBA is quite literally taking timber structures to new heights, and is currently at work on both the tallest hybrid timber structure and the largest mass timber development in the world. With work around the world, the firm has pushed the possibilities of what glulam, cross-laminated timber, and other wood products can do—both formally and functionally—proving to skeptical local administrators that timber is a material that can meet and even exceed their building codes. It’s not every firm that has clients with the appetite to replicate some of SBA’s more adventurous projects, but still, the firm has some basic advice for working with timber: Dean Maltz, the partner in charge of SBA’s New York office, said that “timber forces you to collaborate with trades closely,” which, he stressed, is both a challenge and an opportunity. Because mass timber products are prefabricated off-site and still something of an anomaly in much of the United States, it is crucial from the beginning of the design process to work with experienced fabricators. That early investment in collaboration can pay off later, though—Maltz claimed that even the firm’s more complex timber designs were built much faster than comparable steel or concrete structures because timber components can be prefabricated with incredible dimensional precision. The firm’s use of timber is not arbitrary—rather, it uses wood tactically, albeit sometimes extravagantly, to meet aesthetic and practical goals. While international building codes can be something of a jungle when it comes to mass timber, SBA is blazing trails through the wilderness. Aspen Art Museum The Aspen Art Museum, which is essentially a big-box building, doesn’t go wild with formal gyrations. Instead, for this low-key Rocky Mountain ski town, SBA let the structure steal the show. A basket-woven wooden screen dapples circulation spaces along the perimeter with Colorado sun, and the firm’s trademark paper tubes make an appearance as playful interior walls and seating. But the firm’s ingenuity really shines in the massive exposed timber roof truss. The space frame–like system is cleverly composed of interlocking planar timber members that curve gently at corners, a detail that allows components to be joined by a single fastener. The resulting mesh allows light to filter down to the spaces below while bolstering the roof against the winter snowfall. Kentucky Owl Park SBA’s most recent commission in the U.S. is for a 420-acre distillery and recreational campus themed after Kentucky Owl bourbon. Like much of the firm’s work, the park’s design blends bold geometry with nods to historical motifs and materials: While the trio of identically sized pyramids at the center of the complex contrasts with the surrounding big sky bluegrass landscape, these exposed timber structures are redolent of 19th-century metalwork, the kind that might have enlivened the original Kentucky Owl distillery. Further, wood columns will be girded by metal loops as in traditional barrel construction, and trusses webbed with curves and loops will add a stylized flourish. Swatch Headquarters and Omega Facilities SBA’s forthcoming trio of Swiss buildings for a pair of watch manufacturers (sister companies under the Swatch Group) are a study in contrasts. The new production facilities for Omega are rectilinear and formal, structured by a precisely gridded matrix of exposed engineered timber. The new Swatch headquarters, however, snakes along the Suze River under an arched wood canopy that is punctuated by periodic distortions before leaping across a street to connect to the joint Swatch-Omega Museum, also designed by SBA. Upon its completion later this year, the complex will be the largest timber development in the world. Shonai Hotel Suiden Terrasse No single SBA project displays the versatility and formal possibilities of hybrid timber structures as much as the Shonai Hotel Suiden Terrasse, completed in September 2018 in northern Japan. The hotel’s spa sits under a low dome supported by timber beams spectacularly interwoven in the same pattern used in La Seine Musicale, while the hotel itself showcases a sober mix of timber, concrete, and brick components. But in a shared central building, a long, open space is covered with a thin pleated wood roof that floats as though it were nothing more than a piece of folded paper.
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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.

Thermowood Lunawood

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.

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Looking for a log? Buy a big one and support disaster recovery

Is there anything better than a really large piece of wood? The answer, obviously, is no, there is not, which makes the rarity (and expense) of such pieces that much more painful. But the Coastal Marine Resource Center and Local Office Landscape and Urban Design (LOLA) have teamed up to find a way to bring large-format lumber to the masses and help people recover from natural disasters while they're at it. Here's the skinny: when Hurricane Michael tore through Florida late last year, it brought down massive live oak trees across the Panhandle. Some of those trees damaged homes and property and need to be cleared away, and those trees are also a source of hardwood on a scale not commonly found on the market today. The pair of organizations is arranging for the sale of that hardwood and is sending all of the proceeds to Solar Libre Puerto Rico, a group installing solar systems on the island in the wake of Hurricane Maria. Orders of live oak are only available by the truckload at a cost of about $50,000 to $60,000, but the organizers say that they invite potential purchasers to pool smaller orders together. Available sizes go all the way up to 20 feet by 4 feet. Those interested may contact LOLA here.
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UK implements a flammable cladding ban, but hits timber too

After a fire ravaged the Grenfell tower block in Western London last June, killing 72 and leaving hundreds homeless, an in-depth investigation was launched into the cause of the fire and why it spread so rapidly. After fire specialists BRE Global pointed the finger at the combustible cladding used in the tower’s most recent renovation, England acted to implement a ban on combustible cladding in new structures—a ban that includes timber. The original Clifford Wearden and Associates–designed tower was built in 1974 with passive fire prevention in mind. However, a 2016 renovation (reportedly to beautify the housing block to improve the views from the wealthier neighborhoods to the south and east) clad the concrete building in combustible polyethylene-cored aluminum panels. Alleged incompetence on the part of the contractors also created a “chimney effect” wherein flames were able to travel upwards through the gap between the structure and flammable panels. These revelations led the UK’s Ministry of Housing, Communities and Local Government to declare a ban on combustible external cladding for new buildings over 59 feet tall and those that contain housing. Hospitals, dorms, schools, and residential towers would all be affected. The ban goes into effect on December 21, a full 17 months after the fire. The ban, which would also affect retrofits, effectively limits the materials that can be used as exterior cladding to steel, stone, glass, and others with a European fire rating of Class A1 or A2. After the final terms of the ban were revealed, the Architects’ Journal reported that London’s Waugh Thistleton Architects, of cross-laminated timber (CLT) proponents, spoke out against the restriction of timber in high rises. Other than slowing the research and development of engineered timber, the ban would disallow the use of a low-carbon cladding alternative. On the other hand, the Royal Institute of British Architects (RIBA), has seemingly embraced the ban. Adrian Dobson, RIBA director of professional services, released the following statement shortly after the ban was first announced: “It is good news that the Government has acted on the RIBA’s recommendations to ban combustible cladding on high-rise residential buildings over 18m. The ban needs to be accompanied by clear guidance and effective enforcement to promote fire safety and leave no room for cutting corners. “However, toxic smoke inhalation from the burning cladding very likely contributed to the disproportionately high loss of life at the Grenfell Tower disaster. Permitting all products classified as A2 does not place any limits on toxic smoke production and flaming particles/droplets. In our view, this is not an adequate response to the tragic loss of life and might still put the public and the Fire and Rescue authorities at unnecessary risk.”
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Google fills a historic timber hangar with its sleek new Los Angeles office

The Spruce Goose, a derogatory nickname for the Hughes H-4 Hercules, only flew once, but the largest plane ever built (entirely out of wood, to boot) continues to live on in pop culture ephemera. The plane has found a permanent home in Oregon’s Evergreen Aviation Museum, but the Los Angeles hangar where the Spruce Goose was built is getting a second shot at life. Under the timber hangar’s four-story-tall roof, ZGF Architects has completed a voluminous open office for Google that celebrates the building’s aeronautical heritage. Inside the 450,000-square-foot Playa Vista space, ZGF has restored the building’s historic Douglas fir “spine,” a series of curved ribs that support the ceiling, using wood salvaged from the hangar. Any leftover wood was used for furniture throughout the office. The Spruce Goose hangar was the largest timber building in the world when it was completed, and ZGF and engineers Arup mostly kept true to that legacy by scattering wooden finishes throughout and leaving the ceiling exposed. An enormous ship-like structure at the office’s core anchors the circulation routes and staircases to each floor, and according to ZGF, creates a “unique building-within-a-building design.” The hangar had largely laid dormant until Google took it over as a tenant, though in the past it’s served as a soundstage for films like Titanic and Avatar. In renovating such a cavernous space, ZGF punched skylights throughout the 750-foot-long building’s roof to maximize the amount of incoming daylight. The office space also features plenty of aviation-themed conference rooms, a fitness center, cafes, a 250-person event space, and aerial boardwalks that connect the first, second, and third floors. A “perception sculpture” made up of 2,800 hanging steel balls has been installed in the central atrium, that, when viewed from a specific angle, reveals the airy shape of the Spruce Goose plane. The references to Howard Hughes’s and the site’s place in aviation history is also celebrated throughout with placards and stories about the building, the Spruce Goose, Google, and L.A. Although Google has approximately 1,000 employees in the city, it’s unclear how many will work out of the Spruce Goose office. ZGF is no stranger to designing for tech giants and is currently part of the team renovating Microsoft's Redmond campus. “Los Angeles is an ideal home for Google’s newest office,” said L.A. Mayor Eric Garcetti, who was on hand for a tour of the building over the weekend. “Our city is a hub of innovation, creativity, and homegrown talent that shaped the aerospace industry in the past and that’s redefining the tech sector today. “Expanding Google’s presence in Playa Vista connects an historic building with our dynamic future, a site that will serve as a hotbed of scientific excellence and economic success for years to come.”
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Knotted installation proposes ways to reduce timber waste

When a tree is harvested for wood, what happens to the pieces that aren’t ramrod straight? An installation designed by Cornell University’s Robotic Construction Laboratory (RCL) proposes an answer to that question and has used robotic fabrication to build a self-supporting structure from rejected wood cuts. LOG KNOT was commissioned as part of Cornell’s Council for the Arts 2018 Biennial and installed on Cornell’s Agriculture Quad on August 22 of 2018, where it will remain until December 8. The theme of this year’s Biennial is “Duration: Passage, Persistence, Survival." The closed-loop form of LOG KNOT, the interplay of a traditional material, wood, and a high-tech fabrication process, and the eventual silvering of the structure’s untreated timber, all directly address those points. On an AN visit to Cornell’s main Ithaca campus, RCL director Sasa Zivkovic (also of HANNAH) walked up and down the structure to demonstrate its strength. LOG KNOT was formed by harvesting irregular trees that would be normally passed over from Cornell’s Arnot Teaching and Research Forest, 3-D scanning each, and using their shapes to design a self-tensioning structure. Using a CNC mill, the logs were then cut into segments that would optimize the amount of stress they would experience, and joining notches were cut into each end. Thanks to the precision of the computer-controlled mill, the final structure was erected in-situ by hand, says Zivkovic. The RCL team was able to install LOG KNOT by having one person hold up a log segment while the next bolted it into place, all without the use of a crane. The final effect is of a single extruded log, even though LOG KNOT was built using two different species of wood. Only 35 percent of the wood taken from most trees is used in construction, typically the tree’s straight trunk. LOG KNOT, much as with the wooden portion of HANNAH’s forthcoming Corbel-Bacon Cabin in Ithaca, was built by using the natural contours of the trees to form the structure. While LOG KNOT may be a temporary installation, ultimately the RCL wants to use the same technique to cut back on wood waste in a way that creates aesthetic possibilities.
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This British mosque is structured with a flowering wooden lattice

In Cambridge, England, Marks Barfield Architects (MBA) is erecting a timber-structured mosque inspired by geometric design and landscaping found throughout the Islamic world.

The Cambridge Mosque Project, founded by Dr. Timothy Winter in 2008, purchased the one-acre site in 2009. Allées of cypress and linden trees ring the mosque, which occupies a symmetrical 27-feet-by-27-feet grid. The new house of worship will be able to accommodate approximately 1,000 worshippers.

In a statement to The Guardian, the deceased architect David Marks viewed the project as a shift from the “preponderance of Ottoman mosques” found throughout the United Kingdom. MBA saw an opportunity to design an Islamic center unique to the British community, with a massing similar to the surrounding Georgian terraces, featuring a height of three stories, brick elevations, and a subtle dome rather than a towering minaret.

For the project, MBA reached out to Swiss timber-construction specialist Blumer–Lehmann AG (BLA). Thirty free-form timber columns, built of curved glue-laminated beams, form the primary support structure of the Cambridge mosque. Each column flowers into a network of latticed arches and beams that is topped with a lightweight, 20,000 square-foot timber roof. Rows of circular skylights are embedded above the supporting columns, allowing for the significant diffusion of natural light throughout the prayer space.

Design-to-Production (DP), a Zurich-based firm at the forefront of building information modeling, was commissioned by BLA to optimize the timber structural system’s geometry, establish a pre-fabrication and assembly strategy, and develop a comprehensive 3-D model of the project.

Through parametric design, DP whittled down the project’s 6,000 structural joints to just 145 different timber parts. Then the firm plugged in their digital fabrication data to a 5-axis CNC milling machine to mass-produce the timber components along with pre-assembly instructions and drawings. After being transported 900 miles over land and sea to the United Kingdom, the components were assembled in under a month.

The onion-dome, with a base of arched clerestory windows, reaches a height of 30 feet and is placed atop the truss system made of glue-laminated beams.

Construction for the project should wrap up in 2018 and will open in January 2019.

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Oregon becomes first state to legalize mass timber high rises

Thanks to a recent addendum to Oregon’s building code, the state is the first in the country to allow timber buildings to rise higher than six stories without special consideration. Portland has become something of a hotbed for timber innovation as of late. Carbon12, PATH Architecture’s eight-story glulam and cross-laminated timber (CLT) tower with a steel core, recently became the country’s tallest timber building and was set to be surpassed by LEVER Architecture’s 12-story Framework. Alas, that project was put on hold due to mounting financial difficulties last month, but it seems the precedent that the project achieved in securing a building permit from the State of Oregon and City of Portland will live on. The timber allowance comes courtesy of Oregon’s statewide alternate method (SAM), a state-specific program that allows for alternate building techniques to be used after an advisory council has approved the “technical and scientific facts of the proposed alternate method.” The allowance comes after the International Code Council (ICC)–the nonprofit group that Oregon models its building codes after–established the ICC Ad Hoc Committee on Tall Wood Buildings in 2015 to explore the benefits and challenges of using timber in tall buildings. A Committee Action Hearing was held in April of this year, where the Ad Hoc Committee, made up of code experts, stakeholders, and industry members presented their findings. All 14 of the committee’s suggestions were adopted, introducing standards and best practices for fireproofing, the load-bearing potential of CLT and heavy timber, water resistance, sealing, seismic ratings, and more. Three new building classifications were introduced as a result: Type IV A, timber buildings permitted up to 18 stories and 270 feet tall, Type IV B, timber buildings with a maximum height of 12 stories and 180 feet, and Type IV C, which is permitted to rise nine stories and 85 feet tall at maximum. The shortest of the timber typologies is allowed to use exposed structural timber as an interior finish, whereas the tallest, type A, must enclose all exposed surfaces and include a three-hour fire-resistance rating for the structural elements. “We congratulate the State of Oregon on becoming the first state to provide building code recognition for construction of tall, mass timber buildings,” said American Wood Council President & CEO Robert Glowinski in a statement. “Mass timber is a new category of wood products that will revolutionize how America builds and we’ve seen interest in it continue to grow over the last several years. This action by the Codes Division Administrator helps code officials in Oregon by making provisions consistent throughout the state. In adopting this new method, Oregon has also recognized the significant environmental benefits that accrue from greater wood product use.”
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Portland reveals winner in public bench competition

Interested parties have been left standing around for an extra week while they wait to find out the three finalists of Portland, Oregon's Street Seats: Urban Benches for Vibrant Cities design competition. The announcement ceremony was rescheduled to avoid a potentially violent political protest at the adjacent Tom McCall Waterfront Park and eventually took place on August 9 in downtown Portland. Street Seats was an international competition to design new public benches for the city of Portland. Design Museum Portland organized the competition in partnership with Portland General Electric Company (PGE) and World Trade Center Portland (WTCP), which is also the site where the 15 semi-finalists have been installed. Nestled between the Willamette River and downtown, the contest aims higher than merely bolstering public seating. Juror Kregg Arntson, executive director of the PGE Foundation, hopes the seats "inspire people to come down and enjoy the community." Launched in January, the competition attracted over 200 international entrants, and many referenced the Pacific Northwest's rainy climate and penchant for locally sourced wood construction. In addition to basic physical and safety requirements, the design brief emphasized sustainable materials and innovative processes while requiring a 1/8th scale model and a video. Fifteen shortlisted entrants received $1,000 grants to fabricate and install their prototypes on site. Portland-based Kyle and Alyssa Trulen, a landscape architect and a videographer respectively, took the grand prize with their entry A Quiet Place to Sit and Rest. Inspired by author Shel Silverstein's "The Giving Tree," the bench reflects the design of a stump and protects the trees it's installed around from soil compaction and bark damage. The thermally treated pine and ash are also insect resistant. "The real purpose of the seat design is not merely protection," said the Trulens, "it's about the relationship of a person with a tree...in hope of a healthier urban environment for both." The runner-up, Fluid Wood, was the result of a collaboration between Portland-based architect Norberto Gliozzi and Axiom Custom Products. Fluid Wood comprises layers of laminated wood cut in an egg-like form. Another finalist by The Tubsters, from Berkeley, California claimed the people's choice award for Tub(Time), a cut-away bathtub containing hardened transparent resin representing the Willamette River and a topographical map of the downtown and central eastside. Passersby are encouraged to climb in and recline. The Design Museum, which hosted a similar Street Seats competition in Boston in 2013, was not the first to sponsor such a challenge in Portland. The City of Portland Bureau of Transportation (PBOT) had developed guidelines in 2012 based on similar programs in New York and San Francisco to convert on-street parking spaces to public use. During a 2014 collaboration with the Center for Architecture, Portland yielded two winning submissions for seating that were installed in the city's northeast quadrant. In the summer of 2015, Portland State University architecture students designed and built a seating structure downtown. PBOT canceled the 2016 competition for an uncharacteristically low response rate; however, PBOT's program still exists outside of the downtown area. This year's Design Museum Portland competition is unrelated to the City's previous efforts and was launched independently. Many passersby spontaneously stopped to try the seats and participate in the announcement ceremony after the unveiling, reaffirming Design Museum Portland's managing director Erica Rife's statement that it is "important to be a good neighbor and inspire this community to be closer"—a much-welcomed change from the previous weekend's police and protester standoff. The 15 seats and over 200 1/8th scale models will remain on view until February. Several seats—Fractal Rock by Holst Architects, B_tween Bench by Gamma Architects, and Fern by Yingjie Liang, in addition to the winner and runners-up—will remain installed at the WTCP while the others will be relocated to sites throughout Portland. An online exhibition and schedule of accompanying programs are hosted at designmuseumportland.org.
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This experimental concrete roof is half the weight of its peers

A research team led by Jamin Dillenburger, an assistant professor at ETH Zurich, has recently produced and installed a concrete ceiling shaped by 3D-printed sand formwork. Dubbed the “Smart Slab,” the 1000 square-foot ceiling is significantly lighter and thinner than comparable concrete ceilings. The concrete slab is a component of ETH Zurich’s ongoing DFAB House project. The DFAB House is a load-bearing timber module prefabricated by robots. According to ETH Zurich, Dillenburger’s research group “developed a new software to fabricate the formwork elements, which is able to record and coordinate all parameters relevant to production.” In effect, the design of the ceiling is the product of the team-created software rather than analog design or planning. Following the design and digital testing phase of structural elements, the fabrication data was exported for the creation of 11 pallet-sized, 3D-printed sand formworks. After fabrication, each segment was cleared of sand particles and prepared for concrete spraying. The spray consisted of several layers of glass-fiber reinforced concrete. At its thinnest point, the concrete shell is less than one inch thick. After hardening for two weeks, the 11 concrete segments were joined to create the approximately 15-ton floor plate. While the underbelly’s contours were formed by 3D-printed sand casts, the ribbed grid above was shaped by CNC laser-cut timber formwork. The load-bearing ribs, resulting from timber formwork, were outfitted with a series of tubes for the insertion of steel cables both horizontally and vertically. These post-tensioned ribs carry the principal load of the “Smart Slab.” In placing the principal load above the concrete shell, the research team was able to insert complex geometric features below. The “Smart Slab” is not ETH Zurich’s first execution of an ultrathin concrete unit. Earlier this year, the university fabricated an undulating, two-inch thick roofing unit for a new live-work space in Zurich.
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Trump's timber tariffs divide the construction industry

Last November, the U.S. Department of Commerce under President Trump announced an average of 21 percent import duties on Canadian timber products entering the U.S. The announcement was greeted with mixed reactions within the construction industry; builders claimed that the tariffs would increase the cost of construction, and American suppliers argued that the domestic timber industry would benefit, expand, and keep wood prices low. Single-family home construction in the U.S. relies heavily on Canadian softwood for roofing and framing. In 2017, Canadian lumber yards supplied 28 percent of the U.S. softwood lumber market, and home builders have been the first to raise concerns about the new duties, which were in effect by January. The National Association of Home Builders (NAHB) claims that the imposed tariffs have added approximately $9,000 to the cost of single-family homes and up to $3,000 on multi-family homes. The NAHB doesn’t believe U.S. domestic production is capable of meeting the current market demand and that the tariffs only hurt native manufactures by forcing them to increase their lumber prices. The NAHB is calling for the Trump administration to resume talks with Canada to secure a more mutually beneficial long-term agreement. David Logan, director of tax and trade policy analysis at the NAHB, says that historically, the U.S. lumber field has never been able to support rapid housing growth. “Buyers are still buying from the distributors they’ve always sourced from despite the tariffs,” he said. “Domestic lumber production has increased marginally in the last year, but it’s not kept up with the housing demand in terms of percentages, so it’s hard to say that we’re meeting the challenge. This has always been the case. We can’t meet that need...not even close.” Logan also argued that larger lumber companies in the U.S. are profiting unfairly from the deal, citing the Seattle-based Weyerhaeuser, which owns 12.4 million acres of forest in the U.S. alone and manages 14 million acres in Canada, as well as West Fraser, a Vancouver-based company that operates 48 mills across both countries. The NAHB claims that these companies are able to reap the benefits of both markets under the current trade agreement and likely won’t be affected if things change again. “We say over and over again that we need predictable and stable supply. That means using Canadian lumber,” Logan said. “Diversification of operations in the biggest mills on both sides of the border has really hampered any progress towards talking further about this issue because they’re able to increase production and do well. Prices have been so high there’s not really room for anyone but the big players to have a seat at the table, whether they’re Canadian or American.” The U.S. Lumber Coalition (USLC) rejects these claims. “Since the duties were implemented," the USLC wrote in a statement last week, "U.S. lumber shipments have increased by about 1.4 billion board feet, roughly filling the gap left by the decrease of Canadian imports. U.S. companies continue to invest in expanding their production capabilities to mill lumber from American trees by American workers to build American homes.” Pleasant River Lumber, a small milling company based in Maine, isn’t experiencing the negative side effects that the NAHB claims is coming out of the current tariffs on timber. In fact, the company is on track to complete a $20 million expansion at two of its four sawmills in the next 18 months. As part of the USLC, Pleasant River Lumber sources 95 percent of its lumber within the state of Maine and takes a bit from New Hampshire and Canada as well. Owner Jason Brochu is pleased with the country’s newfound focus on local production and plans to take advantage of it. “Increased demand due to forest fires and hurricanes in other states, spiked prices from the duties, heightened transportation costs, and a strong housing market all factor in to establish a level playing field for lumber production in the U.S. right now,” said Brochu. “We can’t compete against the government or any larger mills without things being equal.” Pleasant River Lumber is capitalizing on the growing lumber market by adding 50 percent more capacity to its production facilities and hiring 40 new employees as quickly as possible. They plan to boost production of their dimensional lumber from 200 million to 300 million board feet annually with the upgraded equipment. More importantly, they’re investing in their framing mills to address the increased demand within the housing market. “We believe we’re pretty typical of most mills in the country at this time,” Brochu said. “Most mills in Maine specifically are adding shifts or putting more money into mills to increase volume. We’re confident that the duties protect our rights as producers in the U.S. and we feel like the laws are working the way they should.” Brochu also emphasized how “relatively insignificant” framing lumber is in housing construction. USLC said the same thing stating that lumber makes up only 2 percent of the cost of a new home—which in 2018 stands at $368,500.  Framing lumber isn’t the only wood material that’s used to construct new homes. Plywood, which has zero duties imposed on it, flooring, and other timber products are also increasing in price. New York-based specialty wood-product manufacturer Hudson Company said the niche wood market has been affected as well. Two of its most popular reclaimed-wood products, both of which feature Canadian imported lumber, have both been impacted dramatically, says owner Jamie Hammel. Sales of silver pine siding are down by 60 percent, while hand-hewn beams are down 40 percent. “The reason our business is not down by 60 percent,” he said, “is because we sell other things. But we've had to limit the amount of volume we import because of the tariffs and we’ve had to diversify our product line to adjust and will continue to do. We’ve had to source more products locally which I guess was the administration’s goal.” The timber tariffs against Canada were among the first official duties placed on another country by the U.S. government since Trump took office. In the ten years since the Softwood Lumber Agreement (SLA) was established in 2006, the U.S. Commerce Department has allowed Canadian companies to sell lumber to the U.S. market at subsidized prices, lifting previously countervailing and anti-dumping duties as long as prices stayed above a certain figure. The SLA expired in 2015 and since then both countries have been unable to negotiate a new deal.   On behalf of the NAHB, Logan said that his organization doesn't foresee a new Canada-U.S. deal happening in the near future. “We don’t think the dialogue will reopen any time soon as long as the North American Free Trade Agreement negotiations are ongoing. If history repeats itself...the last time this happened it took around 5 years to settle,” he said referring to the original SLA. “Hopefully I’m wrong and this is done very quickly. Until then, prices will maybe get a bit higher, but volatility will certainly increase.”