Ashes Magazine

Superuse Studios Superuse Studios (formerly 2012Architects) gives new life to what has, or is intended to be, thrown out. They use creativity and ingenuity to convert waste and existing systems into useful, imaginative and beautiful designs.

A lot of energy and resources are invested in the making of products, many of which are sent to waste in usable condition. When this happens, not only are the original energy and resource inputs lost but also, invariably, more energy and resources are used in the disposal or recycling processes. Added to this, designs that do not perform their intended functions well also waste energy and resources as they are not used, and are more likely to be prematurely discarded and need replacing.

In 1997, with this understanding, Césare Peeren and Jan Jongert started 2012Architects and began a journey founding and developing their ‘SUPERUSE’ design philosophy. Superuse is about finding ways to creatively reincorporate what already exists into functionally integrated designs. With this approach they strive to reduce unnecessary use and movement of energy and resources.

The three partners of 2012Architects in 2007 in front of an experimental installation showing the quality of stainless steel sinks as a durable facade. Left to right: Jan Jongert, Césare Peeren, Jeroen Bergsma. (Image by Karola van Rooyen)

Césare is head of ‘Design’ at Superuse Studios. He explains how nature and industrial architecture inspired and continue to inspire his Superuse thinking: “In nature all processes are, in one way or another, cyclic and interconnected. The waste material of one process becomes the input material of another. There is no ‘waste’ in nature; materials are simply transformed, and new is generated from old. Take a tree for example.

Part of its ‘waste’ gets recycled. Old leaves are broken down to component parts and used to

grow new leaves next year. While other ‘waste’ is re-used. A bird uses ‘waste’ leaves and sticks to build its house in the 'empty' spaces and structure of the tree. How the tree is used to house birds is how I see a city, in that new houses could be made in empty office blocks using the city’s waste-streams.

Also in nature, form and aesthetic are derived from function and functional integration. Again, using the tree example, it is not designed for beauty as such. Its shape and aesthetic is the result of the many integrated functions it performs. The size, shape, position, and even the color of its leaves let the tree collect solar energy and absorb and release oxygen and carbon dioxide. Its roots and trunk are shaped and located so water and nutrients can be accessed, and the tree has the form and dimensions to let it reach sunlight and resist wind. Industrial architecture is just as fascinating for me as a tree for the same reason. An oil refinery is not designed for beauty but to efficiently process raw oil. Its high degree of functional integration gives it, I believe, a certain aesthetic. I believe we achieve more beauty in design following this functional integration approach than with architecture that sets out to specifically design for beauty.”

“Part of a trees ‘waste’ gets recycled. Part of its ‘waste’ is re-used. A bird uses ‘waste’ leaves and sticks to build its house in the 'empty' spaces and structure of the tree. How the tree is used to house birds is how I see a city, in that new houses could be made in empty office blocks using the city’s waste-streams.” Cesare. Finch nests in Mulga, Simpson Desert, Central Australia (Image by Mel Feldmuller)

“An oil refinery is a more natural form of architecture then most modern architecture.” Cesare. (Image by Edward Burtynsky)

Over the last 17 years 2012Architects/Superuse Studios, have developed principles and tools to support their Superuse design philosophy. Key Superuse principles are to: 1) use materials that would otherwise be wasted; 2) use ‘waste’ materials harvested from as close to the project site as possible; 3) work closely with the properties and dimensions of materials and where appropriate, allow these to influence the final design; 4) make highly functionally integrated designs by examining each design element for its potential to perform multiple functions, and; 5) reduce or eliminate unnecessary movement of energy and resources in and out of the design system by connecting and interconnecting energy and resource flows within.

Through their many and varied art, design, architecture, urban and research projects, Superuse Studios have demonstrated that designs following these principles are not only energy and resource efficient, economical and ethical, but have a unique aesthetic. An aesthetic heavily influenced by the materials on which the designs are based and by how functions are integrated.

Césare again: “The key to Superuse design is to have at the same time a deep understanding of all the functions you are looking to integrate, and a deep understanding of all the functional properties and dimensions of available construction materials and structures. If you listen closely to the materials and work with them, rather than against them, new structures, designs and uses emerge that might not have had you come up with a design and worked the material to fit it. So it is kind of a co-design process that the designer oversees. I find there is a lot of serendipity and a lot of so-called ‘coincidences’ (that I don’t think are coincidences), which arise if you truly stay open to the process. You can have a lot of fun uncovering ways to use materials that surprise people. I enjoy it when people suddenly realize why something they have been using seemed somehow familiar. Also, by using locally sourced materials in architectural projects, the local history and stories of the area are interwoven into the new designs. I enjoy incorporating those “Ah huh” moments into my designs.”

Césare’s key areas of interest and focus are integrated functional design and waste materials research. He conducts experiments with art and theatrical installations, builds prototypes and conducts investigative workshops with students to explore the potential for re-use, refunctioning, and/or transformation of waste materials.

Architecture students research the properties of computer monitors for their re-use and re-functioning potential at a workshop in Almere.

From this work new and innovative ways to transform and re-use a variety of waste materials have been identified: washing machines for wall paneling; wood from industrial cable reel cores for cladding buildings; Perspex cosmetic advertising panels for lamps and floor tiles; wind turbine blades for public seating, playground equipment, and water storage; car windscreens for shelving and retrofitting buildings with climate facades; and, airplane interior paneling for acoustic paneling, to name a few.

‘Parici’ lamps made from discarded Perspex cosmetic advertising panels. (Image by Denis Guzzo) ‘Cilly’ storage system. A storage system made from cable reel cores (Image by Abe van Ancum)

The ‘harvest map’ is a simple but highly effective tool developed by Superuse Studios to assist with the Superuse design and construction process. Scouts explore the project area for available materials from sources such as production waste, demolition sites, abandoned buildings and scrapyards. Gathered information is shared on their open source ‘harvest map’ website (www.oogstkaart.nl) to assist interested designers, architects and others.

Harvest map for the Moes Restaurant interior fit-out in Rotterdam. The harvest map identifies materials available in the vicinity of the project site and at the time of the project. It is a tool on which to base the design. (Image by ‘Oogstkart’)

As well as locally sourced materials, materials from further afield are used where appropriate.

It may be beneficial and environmentally sensible to use materials intended for waste that have been invested with large amounts of energy and resources, or which are difficult for industry to dispose of or recycle, such as wind turbine blades.

Miele Space Station For one of their first projects, front-loading washing machines were investigated as a construction material. Over 500,000 washing machines are sent to waste each year in Holland alone.

Washing machines from a scrapyard in the same street as their studio, where investigated for their potential as construction resource. Removing 4 screws gave washing machine fronts ready for re-use. It was found that working with the properties, specifications and dimensions of the washing machines and, without adding excessive energy or producing offcuts, that washing machines could be reworked into modular sections that could be easily combined to make spaces for different purposes. The standard 60cm width of washing machines determined the 60cm width of the modular sections.

The first prototype of a modular unit made from washing machines. It turned out that all washing machines are 60cm wide. (Image by Césare Peeren)

Being waterproof, white and shiny, and having ‘windows’, the washing machine modular sections proved ideal for the construction of an outdoor live-in space at the Rotterdam Museum Park from which to display and sell art. On museum night, the ‘Miele Space Station’ was launched and went on a European road trip to promote architecture made from waste.

Five modular sections of the ‘Space Station’ at the Rotterdam Museum Park (2003). (Image by Denis Oudendijk)

The completed ‘Miele Space Station’ was launched on museum-night, the start of a European travelling road show to promote architecture made from waste. (Image by Césare Peeren)

After 4 years of touring, the Space Station was purchased and landed at the architecture faculty of the Delft Technical University in 2007. There it underwent its final transformation into an espresso bar. Unfortunately it was destroyed when the faculty burnt down a year later.

‘Miele Space Station’ Espresso Bar at the architecture faculty at the technical university in Delft. Unfortunately it was destroyed when the faculty burnt down one year later. (Image by Allard van der Hoek)

Eamescape Superuse Studios were asked as one of six of the most innovative design studios in the Netherlands to create an installation for the ‘Confrontations’ exhibition at the Vitra Design Museum in Basel. This exhibition was held in conjunction with an exhibition showcasing the work of Gerrit Rietveld.

For this they designed and constructed ‘Eamescape’.

Vitra is active worldwide in the manufacture and distribution of furniture for homes, offices and public spaces. The Swiss company has achieved renown as a producer of works by such design icons as Charles and Ray Eames, George Nelson and Verner Panton along with contemporary designers like Konstantin Grcic, the Bouroullec brothers and Jasper Morrison.

In keeping with their philosophy, Superuse Studios designed a piece of furniture for Vitra by locating and using materials and components that would otherwise be sent off for recycling.

Eamescape is a seating element made from the production waste of Eames chairs. Every week hundreds of Eames executive chair frames that do not pass strict quality control are discarded.

Tiny defects in the cast aluminium frames only become apparent during the frame chroming process. Recycling these defect components is a down-cycling in that the resultant recycled material is an inferior, contaminated aluminium.

The Eames executive chair (Image from: http://www.officechairsplace.com/modern-office-chairs/herman-millereames-aluminum-group-executive-chair.html); The Eames rocking chair (Image from: http://www.arredodesignstore.it/en/rar-chair-roking-eames.html)

Two crates of production waste from VITRA furniture manufacturing plant. (Image by Césare Peeren)

Combining three frames gives a rigid and structurally strong 'triangular' element. The Eames executive chair comes in 3 different variations, and combining these results in a diversity of seating options.

Combining three Eames chair frames gives a rigid and structurally strong 'triangular' element. (Image by CĂŠsare Peeren)

That diversity allows everyone using the Eamescape to find his or her own way to be comfortable, be it sitting upright, reclining, sitting alone or interacting socially and playing.

Waste wood from a carpenter that produces the rockers for the Eames rocking chair was used for the slats.

Arranging the triangular elements in different positions results in a space frame with different comfortable seating and reclining options, as the architect demonstrates here. (Image by Pieter de Jong)

Eamescape provides different seating options from sitting upright to reclining to facing away or facing others for social interactions. (Image by CĂŠsare Peeren)

The Eamescape was located was strategically located outside the Vitra museum so students could sketch the architecture of Frank Gehry, Tadao Ando, and Herzog and de Meuron.

Eamescape located in the park of the Vitra Campus outside the Vitra Design Museum. The frame is from production waste from three variations of the Eames executive chairs, the wooden slats are from waste wood from production of the Eames rocking chair. Hanging chair in the foreground is a waste Eames rocking chair seat discarded due to color change in the plastic that occurs when color runs are changed. (Image by Césare Peeren).

Superusing wind turbine blades Wind turbine blades are another waste stream identified by Superuse Studios as a construction resource. Every year, approximately 3% of wind turbine blades are replaced for safety reasons.

Little cracks in the polyester make these 3,500 kg blades a danger in the sky, yet on the ground they might last another 200 years. The fiberglass-plastic composite makes it currently impossible for these blades to be recycled. In addition to the energy and environmental benefits of not needing to produce new resources, their reuse also helps resolve a serious waste-recycling problem for the wind turbine industry. Currently 200 wind turbine blades in the Netherlands and 30,000 blades worldwide are discarded every year. For Superuse Studios this waste stream provides a large scale, large volume resource opportunity for design and architecture. They see worldwide potential for forming local partnerships and using locally harvested wind turbine blades to build a range of objects.

Rewind In ‘Rewind’, a project for the Rotterdam City Council, public seating was designed and constructed at Erasmusplein, next to the world famous ‘Swan’ bridge of Rotterdam. Nine 6m long wind turbine blades were used. Tilting and arranging the blades in the right position provides comfortable seating.

Public seating constructed from 9 wind turbine blades. ‘Rewind’, Erasmusplein, Rotterdam (Image by Denis Guzzo)

‘Rewind’, Erasmusplein, Rotterdam (Image by Césare Peeren)

Wikado For the ‘Wikado’ playground in Rotterdam, 30m long wind turbine blades were harvested and cut in two to create towers and tunnels. These were arranged to create zones for different kinds of play. The large size of the blades provides play equipment large enough for kids to play one of their most important games - chasing each other through a labyrinth. Kids playing in the ‘Wikado’ playground have different ideas of where they are. Because of the abstract forms this playground can be a cave, a glacier, an airplane, space ship or just a castle with four towers, or…. windmill wings!

30m long wind turbine blades were cut in two to create playground towers and tunnels. ‘Wikado’, Rotterdam (Image by Denis Guzzo)

Kids playing in the ‘Wikado’ playground have different ideas of where they are. Because of the abstract forms this playground can be a cave, a glacier, an airplane, space ship or just a castle with four towers, or, windmill wings! (Image by Allard van der Hoek)

The shape of the blades provides ergonomic seating and table functions.

‘Wikado’, Rotterdam. The shape of wind turbine blades provides ergonomic seating and table functions in the playground. (Image by Allard van der Hoek)

Duchi Shoe Shop Car windows and waste wood are the main Superuse elements used in the ‘Duchi’ Shoe Shop fit out at The Hague. Four hundred Audi car windscreens were harvested from a factory that discards 12,000 new windscreens every year. The windscreens were used for the display and storage of shoes.

Car windscreens used as shelving in the ‘Duchi’ Shoe Shop, The Hague (Image by Césare Peeren)

The pie shape form of the windscreens led naturally to a circular shelving plan. The circular shelving reduced the amount of construction work needed to stack the pie formed car windscreen shelves. And the circular shelving plan led to a functional floor plan in which clients sit on a raised ‘shoe fitting island’ in the middle of the store and are served from a corridor around it.

Ergonomic shoe-fitting island with supermarket conveyor belt treadmill surrounded by circular car windscreen shelving system. Duchi Shoe Shop, The Hague (Image by Jasper van Made)

‘Duchi Shoe Shop’, The Hague. The more open shop entrance allows single shoes to be viewed, while the shoefitting island separates shoppers from the main stock storage area (Image by Jasper van Made)

The ‘shoe-fitting island’ is an example of how multiple functional needs can be integrated into the design and how the final form is a consequence of function. The raised outer edge of

the island prevents customers from stepping off the island and reaching the stock. The highest point was located near the counter to hinder customer access to the cash register. The heightened edge also allows the shop assistants to help clients fit shoes without having to bend down. The back rests of the two chaise lounges also function as support for a person using the re-functioned supermarket conveyor belt in between to test the shoes. When not in use it is a nice play zone for clients’ (bored) kids. The chaise lounges also allow the shop assistant staff to relax discreetly with their feet up in quiet periods with full view of the store.

In this way numerous functional and ergonomic requirements were integrated into the small space.

The shoe-fitting island was constructed from waste wood harvested from a window frame factory. And though the shoe-fitting island was ergonomic and beautiful, the waste wood was a very rough starting material for its end use. It was not an ideal choice economically or ecologically. It required significant input of labour and energy to reshape and make smooth enough for sitting on in fine clothes.

Shoe fitting couch constructed from wood harvested from waste window frame wood. A supermarket conveyor belt is re-functioned as a shoe testing treadmill. Duchi Shoe Shop, The Hague (Image by Jan Korbes)

Worm Create and Re-create project ‘Worm’ is an avant-garde music, art and film recreation venue. It provides studio and office spaces, a performance stage, shop, bar and dance floor to facilitate concerts, performances, parties, courses, and the production of publications, film and radio.

Césare designed the interior for Worm when it was located at Rochussenstraat, a former VOC building, and again when Worm relocated to their current 2000m2 premises in the historic NRC building in the centre of Rotterdam.

All of Worms’ functional needs were able to be integrated into the small space with minimal structural change to the historic building. Mapping the functional and workflow requirements for Worm activities against the structural properties and historic uses for the building’s rooms was the first step in achieving this. A strategic opening made in the façade and one in the floor

effectively connects the building’s original spaces. This minimal structural intervention radically transformed its original function as a photographic institution to its new multifunctional role.

Worm Re-create, Rotterdam. A strategic opening made in the floor connects all the spaces to allow effective multi-functional use of all the space and efficient flow between them.

The resource and energy efficient transformation of old to new was repeated in the interior fitout. A compactable archive system found in the basement of the building is now movable shelving, counters and table seating in the combined shop, foyer and bar area. The seating is made from reclaimed industrial cable reel wood. The movable furnishings make it easy to expand or contract open floor space for different day or nighttime purposes.

Compactible archive system turned into movable shelving, counter and table seating in the combined shop, bar and dancefloor space. The shelving and seating can easily be moved to change the open floor plan and give more or less dance floor as needed. Worm Re-create, Rotterdam (Image by Allard van der Hoek)

‘Worm Re-create’, Rotterdam (Image by Allard van der Hoek)

Chemical container drums were readily transformed into toilet cubicles. The fittings to fill and empty the chemical containers were easily adapted for sewerage outlets.

Toilet cubicles made from chemical drums, Worm Re-create, Rotterdam (Image by Allard van der Hoek)

Superuse harvest map for the ‘Worm Re-create’ project (Image by Oogstkaart)

There were a number of functions that needed to be incorporated into the relatively small concert hall space. This space is used for both seated and standing functions and requires good acoustics, temperature control, air quality control, lighting, and a flexible floor plan.

Materials from two airplane interiors were well suited for the purpose. Being lightweight, airplane seats used for theatre and film nights can easily be removed when more space is needed. The interior paneling of discarded airplanes also provided an excellent multifunctional construction resource.

“Sometimes five different functionalities can be found in the one material. We were looking for a material that wasn’t flat so it could provide acoustic properties and that was thin, lightweight and fire resistant. The paneling from airplane interiors provided this and more. As we worked with the material and continued looking for more ways to integrate functions in the design, other functional properties became apparent. The window openings in the paneling allowed easy integration of an LED-lighting system, and also allowed air from the ventilation system to re-enter the space. For me the interior paneling in the concert space is a lot like human skin in that it takes care of many functions and even provides a color to the space. ” Cesare.

The ventilation system was incorporated into a waist-high cupboard that runs along the length of the wall and appears as wall paneling on the lower portion of the wall. The paneling here was made from water resistant changing cabins and lockers harvested from Tropicana (a bankrupt Rotterdam swimming pool). ‘Trespa’ desktops from a demolished bank now function as flooring. A graphic of how desks can be arranged was sandblasted into the desktop-come-flooring material as well as the ventilation cupboards. It provides grip on the floor and visually connects all the various spaces throughout Worm.

Airplane interior paneling provides multiple functional roles in the concert/performance hall. It serves acoustic, ventilation and lighting functions. Worm Re-create, Rotterdam (Image by Erik Stekelenburg)

The creative transformations of existing materials and structures has provided an effective and highly integrated functional design and give the aesthetic of the space, and even influences its

color scheme. A new, avant-garde life has been given to an historic building and materials intended for waste now provide “ah huh� moments as their former functions and histories are recognized by their new users.

For further information visit: www.superuse-studios.com www.oogstkart.nl www.superuse.org www.cyclifiers.org