ARCHITECTURE. INTERIORS. MATERIALS.
In BA SE
Issue #1 january 2013
CONTENTS 5 EDITOR’S LETTER 6 MATERIALS WE LOVE by Iliana. Charlotte. Vlad. Stine
10 MATERIALS TODAY
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10 CARPETS WITH STYLE
Brintons collaborate with Stacy Garcia by Charlotte McCann
12 GLASS by Stine Wojcik 16 THE CONNECTION Nature immortalised
by Vlad Cretu
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RETSROSPECTIVE 20 HISTORY OF MARBLE THe classical material 15 GLASS
Interview with Stine Diness
by Stine Wojcik
INOVATIVE MATERIALS 12 BUILDING THE FUTURE Brick by Brick
15 OPUBLICA TRAEDIIS, CO
AGENDA 45 FAIR CALENDAR FOR 2013 43 SUPER COLLIDER WORKSHOP 50 ECO BUILD FAIR by Iliana Mitova
Editorial team I’m a interior design student who likes to not take the so simple route in any way or form, in terms of design.
Charlotte McCann Editor Layout Design
I am keen on the use of natural materials, as alternatives to chemicals and harmful products destroying our living surrounding. I believe that we can live in balance with nature and benefit from it. Iliana Mitova
Layout Editor & Design Coordinator
My interests lie in the use of unusual and new materials in the process of construction and how these could improve and possibly prolong our presence on this ever changing planet. Vlad Certu Logo Design My interests lie in the use and advantages of new materials, and how they differ from old materials that have been successful for thousands of years. Killian O’Keeffe Logo Design My interests lie in architecture formed in organic shapes and new thinking structures, a different way of using well-known materials.
Johanna Svensson Contributor
Stine Marie Wojcik Contributor
I am an interior architecture student, I enjoy looking at residentual areas as my family are in the buiseness.
Joanna Alexander Contributor
Suad Mahamed Contributor
In BA SE Issue #1 january 2013
EDITOR’S LETTER
I
n this first edition of InBASE magazine, the team and myself have looked at the materials of today and tomorrow, in design, interior design and architecture. Materials have been founded and invented which almost seem surreal, such as ‘liquid wood’, ‘aeorgel’ and ‘self healing
concrete’, yet these materials are changing the path of design as a whole, and I predict in 10 years time we will be familiar with these materials, they will be part of our daily lives - so don’t forget to remember where you first heard of these materials, in issue #1 of InBASE magazine ... We are the future - just take a look at our Super Collider creation: ‘The Monument’.
Charlotte McCann Editor
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BIOLOGICAL CONCRETE for constructing
“living” façades with lichens, mosses and other microorganisms.
Researchers at the Universitat Politècnica de Catalunya in Barcelona, has developed a new type of bio-concrete. The new material, which has various applications, offers environmental, thermal and aesthetic advantages, according to the research team led by Antonio Aguado and supported by Ignacio Segura and Sandra Manso. From an environmental perspective, the new concrete absorbs and therefore reduces atmospheric CO2, thanks to its biological coating. Iliana Reference: www.upc.edu
3D TEXTILES the use of textiles in Interiors and
Architecture
An exiting and innovative way to manage the noise in a space, with style, is the use of fabric like felt, yarn or other textile materials. Two inspirational fabric designers: Aleksandra Gaca and Kyyro Quinn are developing bespoke wall coverings and artworks, suitable for commercial and residential projects. The material is cut, sewn and manipulated to create rich textures and patters specifically made for the space in which the object is going to be installed. The wall coverings are lightweight, resilient and have good acoustic isolation properties. Iliana
Image: Anne Kyyro Quinn
Reference : www.materia.nl
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NewspaperWood One of my favoured materials, at the moment, would be NewspaperWood. The deciding factor to this being one of my favourite materials is because of the fact it’s an upcycled material and it’s grainy grey colouring. The process sees newspaper being taken out of the usual system of recycling paper and than upcycled into a wood-like material. The resemblances to wood, include, the solidity of the material, along with appearance of the material - the layers upon layers of paper pressured together give the impression of grains in natural wood. Just like wood, NewspaperWood can be milled and sanded, along with other similar processes. Charlotte Reference: http://www.dezeen.com/2011/05/16/newspaperwood-bymieke-meijer-and-vij5/
SOME MATERIALS WE LOVE BREATHAIR®
Another favoured material of mine would have to be BREATHAIR®, due to it’s pleasing appearance of swirls, spirals and purity - and that is before it has been formed into an object. The material is formed by Japanese synthetic fiber technology and has been designed by Yasuhiro Suzuki. The curls of coiling material means it is very lightweight and infact 95% air, with high elasticity, high durability and is easy to maintain it’s cleanliness. Charlotte Source: http://www.dezeen.com/2009/04/16/tokyofiber-senseware-09-in-milan/
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VICTIMLESS LEATHER Since leather is such an important part of our world today as much as it was thousands of years ago, I believe that it’s about time we devised a new way of obtaining it. Even though there are synthetic materials which share the same proprieties and are similar in appearance, people still prefer real leather just because it is widely considered a mark of quality. However, thanks to forward-thinking people such as Oron Catts and Ionat Zurr, who have come up with a way to grow a leather jacket from the T3T cells of a mouse and human bone cells, leather no longer has to wear the stigma of murder.
Vlad Reference: http://www.wired.com/science/discoveries/news/2004/10/65248
LIQUID WOOD This is a very interesting material obtained from combining Lignin, an element of regular wood that is usually discarded, and natural resins, flax and fibres which can easily be moulded into any form. This process not only enables us to utilise a material we would normally discard but it also gives us the opportunity design things with wood which were formerly impossible.
Vlad Referance: http://dornob.com/liquid-wood-fantastic-100-organic-bio-plastic-material/
InBASE {MATERIAL INSPIRATIONS}
FOAM The “breathing chair” looks like a piece of white, square tofu. The chair is made of high-density foam plastic that is 100 percent environmentally friendly. Because of the various sizes of holes in the chair – based on professional calculation of the spatial structure, the tofu-shaped chair, coated with three layers of foamed plastic, can “automatically adjust” according to the weight and posture of the person sitting on it. Stine
FEATHERS Feathers are considered the most complex integumentary structures found in vertebrates. Architecture by Daniel Johnson Stine
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FLOORING
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THE CARPET WAY by Charlotte McCann
I
n this day and age, carpet is not a preferred choice of interior flooring, be it of the home or commercially. Many people i.e. an interior designer or, simply, a home owner – do not realise the fact that carpets can be technologically modern and aesthetically pleasing. How? Well, this is where Brintons comes into the equation .. rintons, founded in 1783, is a carpet company who have succeeded in bringing carpets into the modern era via technology, aesthetics and design – and they also boast of ‘owning one of the world’s largest commercial design archives and historical pattern libraries in the industry’.
B
At Brintons, a carpet can be what you want it to be visually and it will harm the planet in the least possible way. Firstly, they hold a wide variety of digital ready-to-use designs, in fact, 1000’s of designs so there is no doubting the thought of not being able to find what you want. Secondly, whatever your layout, thw company can map out your carpet design to have as little seams as possible, no matter the size or shape of the space. The way in which this is done is with the electronic jacquered technology – a technology in which Brintons was the first to utilise. Such technology holds many advantages, such as: •Being able to design directly into a space.
•Providing the client with a preview of what the carpet will look like set out in the space. •Creating less waste •Having little, or no seams •Being able to plan a layout for irregular shaped rooms And thirdly, sustainability is key. Brintons’ carpets are made largely from wool – a renewable source, also, any accumulated carpet waste goes directly back into another carpet design.
The collection “Nouveau Boho” by Stacy Garcia for Brintons. Shop online at www.brintons.net
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http://howisthisglass.blogspot.co.uk/
by Stine Marie Wojcik
Glass is one of the indispensable materials in architecture and inerior design. One of the amazing things about glass is, that it can lead the light from the outside to the inside of a space/room. It’s a material that gives us the opportunity to create a space where it’s actually comfortable to be in. Light is necessary in everyday life. It’s also important that we consider the use of materials nowadays because of sustainability, glass is a recycle material, and becomes by creating a chemical process. Melting quarts (small stones) within a temperature over 1200 degrees creates glass. Glass is also unique, because it’s possible to add so many other different materials to create a special textures, effect or color.
InBASE {MATERIALS TODAY}
Material/technique: Blown glass, mixed media Video/sound: Martin Thaulow, Year of origin: 2009 Dimentions: H: max. 90cm, W: 37cm,
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Stine Diness is a Danish glass artist, educated at the Glass and Ceramic Academy, on the Danish island Bornholms.
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Interview with STINE DINESS about her story of creating with glass. by Stine Marie Wojcik
H
er project, Falling water, started as an installation that consisted of 1000 drops. Like many things, this was a process and a resulted in another installation. An installation called Falling Light and that consisted of 200 drops. Stine Diness likes to focus on repetition. It’s a meditative to use the same form and then perfect its expression, so it takes in a new form said by Stine Diness. When working with glass its important to figure where it inspire and what the expression you want to achieve is. In Stine Diness work it’s about being honest as an artist so the expression is open and honest. Stine feels very honest when working with something that astonishes her. She fell like it’s her job to show it and pass it on the others. The process itself often plays a great part in the final result. When she works with glass she works with its movement and tries to find and capture the movement in the glass. The fact that glass can go from liquid to solid in a very short time. Stine tells that she work with
glass because the material can hold onto the present and capture a moment. Because she likes the connection between the process and the final result when capturing that moment in the process becomes very important to her. Being 100 % present as a person in the work involves an underlying honesty and an underlying basic condition that she finds extremely poetic and beautiful. When Stine Diness works with form and composition, it’s always something that grows and becomes a process. It’s a process that needs to be tested and therefor sometimes fail. According to Stine it often takes some imagination and luck to reach the goal. It’s also about being critical. She always aske herself in the end, did I reach my goal and capture the form? Because if you can’t express exactly what you want to then perhaps the work itself loses some of its poetry. When working with something for a long time ´, it can easily become very complex. Stine has so many stories she wants to tell trough her work. In this
specific artwork Falling light got a story behind it too. Glass has its own story and she works with that as a material, but also work with the idea of how we perceive ourselves. Stine Diness tells that she tends to compartmentalize things. She came up with an example from when she was riding her bike in the rain, she would get so irritated instead of just taking it for what it was, and experiencing the rain. So that’s why the form or framework of the pieces Falling Light is a cloud. In the installation Falling Water you experiences rain a different way. But you won’t get wet under this cloud.
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THE CONNECTION NATURE IMMORTALISED by Vlad Certu
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ith its cyclopean stature and monolithic appearance, you could be forgiven for mistaking Peter Zumthor’s “Brother Klaus Field Chapel” for an Egyptian pharaoh’s tomb. However, as impressive as it may be, this isn’t the focus point of the building. Step inside and you’ll find yourself surrounded by the negative snapshot of a dense pine
Photo by Pietro Savorelli www.urbanity.es
forest. This almost surreal look is the result of a very ingenious use of in situ cast concrete, where trunks of pine trees had been stacked together, forming a tent, and covered in large quantities of concrete. To extract the trees from within their concrete sarcophagus, a fire had been kept lit for weeks, leaving behind shapes that resemble a fossilized prehistoric forest.
So, here we see the concrete forming the “Brother Klaus Field Chapel” becoming more than just a building material, it transforms into a media - through which we can re-establish the lost connection to our primeval ancestors.
Photo from: http://arhitecturez.wordpress.com
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Photo by Pietro Savorelli www.urbanity.es
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Concrete House by BAK Architects By Joanna Alexander
InBASE {CASE STUDY} Mar Azul is a seaside town at 400km
low budget, a reduced impact in the
with its foundations exposed in the
south of Buenos Aires, character-
landscape, minimum or none poste-
opposite one. Consequently, the pure
ized for his large dune beach and his
rior maintenance and a short time of
form that contains the summer activ-
leafy coniferous forest. The owners
construction. According to these pa-
ities seems to emerge from the dune
had chosen a place in the forest with
rameters, the house was solved like a
with two differentiates faรงades. The
a challenging topography, away from
concrete prism of extended propor-
SW faรงade is sunk in the sand with an
the sea and from the most inhabited
tions and minimum height. It is locat-
opening that appears from the begin-
areas, to construct a cottage without
ed on a flat surface in a field that has a
ning to the end and which height is
loosing the important presence of the
strong diagonal slope. On this way it is
accompanying the slope of the dune.
landscape.
scarcely modified the section of dune
On the other hand, the NW faรงade is a
The experience of a constructed
and the views are not interrupted
curtain wall like a balcony that allows
house in the same landscape (Mar
from the bordering fields to the broad
distant views but, at the same time,
Azul House), with satisfactory results,
landscape, so that years later only a
it is partially protected of the glanc-
allowed BAK Architects to perform
floor would be observed (in fact, the
es from the street by partition walls,
and develop functional and aesthet-
ceiling of the house), covered by dry
that vary theirs position and amount
ics-constructed issues in the next
foliage of the pines.
according to the rooms they protect.
project, emphasizing the performance
The construction is located parallel
The glasses reflect the landscape as the
of the selected system and solving the
to the short side of the field and the
house is observed from outside, and
location in the complex topography.
slope of the dune is oblique respect to
they create and emphasize a series of
At the moment of choosing the con-
the orthogonal one, the house appears
vertical elements of much protago-
struction alternatives they focus on a
half-buried in one of its angles and
nism (true and reflected trees, true
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and reflected thin walls), that reduce
The “concrete furniture” defines the
not organized by functional reasons. It
the importance of the strong horizon-
dormitories. These ones are 0.70m
has also decided not to landscape the
tal presence of the prism and offer to
separated from the curtain wall façade
lot to maintain the quality of the nat-
the observer changing sights while
through two permanent windows that
ural landscape, which also has the ad-
moving.
can be removed or replaced by doors.
vantage of requiring no maintenance
It is a prototype plan. On the balco-
With this resource, anywhere in the
other than the removal of pine trees
ny façade one room follows the oth-
house can be recompose the entire
when they dry.
er, joined by the deck. On the sunken
façade and each room is enlarged be-
façade, we find the bathrooms and the
cause it’s visually prolonged into the
kitchen, and in the end that goes “un-
next. The place to park the car, the
burying itself ”, the dining room. The
barbecue and the platform to sun-
house does not have a main entrance.
bathe and refresh yourself and all the
It is a flexible construction in which
outdoor activities are determined by
we can get in by any of the rooms.
the place’s own topography and were
By Joanna Alexander
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It was decided for this new experi-
by three partitions walls that move of
there is no gas service in the zone,
ence to eliminate the structural iron
the line of the faรงade. The inner par-
was solved with a wood burning stove
cross section to take to the limit the
tition walls are of rendered hollow
that acclimatizes the meeting place,
concept of null later maintenance.
bricks and painted with white latex.
the first dormitory and the corridor.
The plan of the house is a reinforced
The floor is made of concrete screed
The main dormitory and the baths are
concrete slab that rest in the partition
cloths divided by plates of aluminum.
heated with electrical plates.
walls of the main faรงade. In the oppo-
The joins between walls and floor
site side was solved with a jutting out
were solved with an aluminum cross
that makes possible an opening in all
section to the skirting board. The
the extension without intermediate
openings are of dark bronze anodizing
supports. The jutting out is supported
aluminum. The heating system, since
By Joanna Alexander
by Killian O Keffee
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Stone House by Vo Trong Nghia Architects
by Joanna Alexander Refencing of pictures are from Dezeen, Archdailey , showing the Stone House
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his torus-shaped stone house
tinues to the green roof, connecting
the wall performs the play of light and
is located in a quiet residential
all places in the house. This courtyard
shadow. Massive and meticulous tex-
quarter beside the way to Ha Long
and green roof compose a sequential
ture of the wall generates a cave-like
Bay from Hanoi. A rising green roof
garden, which creates a rich relation-
space, which recalls the image of a
and walls composed of subdued color
ship between inside and outside of the
primitive house.
stones in dark blue create a landscape,
house. Residents discover the chang-
The family with 2 young children
which stands out in the new residen-
es of the seasons and realise their
has been enjoying their living in the
tial area.
wealthy life with the nature, thanks to
house. They sense each other and
The rooms surround the oval court-
this sequential garden.
deepen their communication, round-
yard, making a colony-like relation-
To create a wall with smooth curva-
ing and rounding in the house.
ship with each other. Circulating flow
ture, cubic stones with 10cm thickness
runs around the courtyard and con-
are carefully stacked. Consequently,
By Joanna Alexander
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THE USE OF GEMSTONES IN INTERIOR DESIGN
O
by Suad Mahamed ur lives are complemented by the
and aquamarine.
environment we live in. There is a
Incorporation of gemstones into the interior de-
need to establish a relaxed and
cor can be effectively achieved. Consideration
stress-free living space. Through interior design,
has to be given to a variety of factors. These
the space can be manipulated to achieve a
include: an individual’s taste and preference,
look that is both functional and beautiful. You
touch of culture, amount of lighting available,
can accomplish this effect on your own or by
the space, theme chosen and other pieces used
acquiring the aid of a professional interior de-
in the design. With all these carefully manipulat-
signer.
ed, a designer is able to create the desired ef-
To achieve this, gemstones can be used. In ba-
fect on the appearance (New House Flip, 2007).
sic terms, these are pieces of mineral, cut and
Colour is especially important as it has an ef-
polished stones - to be used for beautification
fect on the liveliness of the room as well as an
purposes. These stones exist in a wide range; this
individual’s mood. In hotels and restaurants, co-
provides a variety to choose from in terms of
lour is used to create a stimulating and inviting
size, shape and texture. Some of the common
environment that attracts more customers. Cus-
gemstones include: amethyst, sapphire, gold,
tomer satisfaction leads to increased profit. It’s
diamond, emerald, cat’s eye, ruby, opal, jasper
coordination, with the food on the menu, makes
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the food look more appealing (Lampher, 2009).
with uplifting colours, that take advantage of
Since gems come in a variety of colours, choos-
the light available, is a step in the right direction.
ing harmonious colours - to follow the scheme of the certain hotel - is made easy. Choosing stones
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The Design Council (2012) affirms that the cor-
would complement white or neutral walls with a
rect choice of gemstones serves to portray sta-
lot of lighting to make it lively.
tus, ambition and taste of an individual. This is
Bathrooms often call for stones with shades of
done depending on the theme one is interest-
blue to harmonise with the oceanic theme com-
ed in. A Victorian theme is characterised by use
monly used by designers. However, this can be
of dark furniture - which are often in dramat-
changed depending on an individual’s interests
ic shapes and textures. This calls for the use of
of course. Through the guidance of a profession-
bright and detailed gemstone pieces that result
al designer, one can combine and experiment
in an eloquent design, such as rubies, opals and
with a variety of bold colours. This creates an ex-
topaz. Conversely, a Western theme is achieved
plosion of colour and adds a personal touch to
through the use of a variety of interior design ide-
the room.
as. There is generous use of vibrant colours. The
In the living room, the use of gemstones should
gemstones incorporated in the various parts of
not be overdone. They should be just enough
the room should complement the colour of the
to add flavour and not give a congested and
furniture, rugs, scatter cushions and other items
messy appearance. When effectively selected
present. The use of the gems is easier because
and used, gemstones create an illusion of space
in comparison to the Victorian, this is a more
and complement the amount of lighting in the
relaxed theme. An African theme is rich in the
room. They can be on the walls, floors and dif-
use of colour and artwork in form of paintings,
ferent pieces added to catch the attention of
sculptures and beadwork. This doesn’t mean
whoever walks in.
you can’t add up gemstones here and there to
Rooms like bedrooms often require lower light-
spice up the final look. Stones with shades com-
ing in contrast to the living room and kitchen.
plimentary to the colours create a bold, beauti-
The use of soft colours is done to create a sub-
ful and eclectic scene (Lory, 2012).
tle theme depending on an individual’s prefer-
In the home, gemstones can be creatively add-
ence. Most commonly used colours are shades
ed into the decor of every room to create a
of brown and gold to create a dreamy and re-
unique and aesthetically pleasing look. In the
laxed mood. Gemstone selection should thus be
kitchen for instance: walls, floors and the cabi-
on the basis of warm shades.
net counter can be lined with stones depending
Correct design methods will turn your home into
on the colour and theme chosen. Stones with
a paradise; a safe haven where you retreat to
shades of blue such as the sapphires and opals
enjoy its comforts and forget all your troubles.
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by Johanna Svensson
The hist mar
F
or thousands of years marble
Athens and Rome were most build-
be classified as marble. Other clas-
has been an essential mate-
ings are made of the material. In the
sification methods of the stone are
rial in buildings and decora-
beginning marble were mainly used to
based on colour, use and place of the
tion all over the world. What is the
create columns and supporting struc-
origin. The marbles appearance de-
history behind this well-known stone?
tures for lager buildings. For centuries
pends mainly from which geographic
Marble is one of the first materials
the material has been a symbol of lux-
area the stone are coming from and
human used for creating buildings
ury, wealth and rich. The word marble
how the earth looks like in that par-
and decorations, it can be found ev-
means – “Ornamental stone taking
ticular area. The structure and ap-
erywhere in the world but are extra
polish�. Only metamorphic rocks of
pearance varies extremely much. The
common in ancient cities such as
recrystallized caited and dolomite can
stones hardness are mainly based on
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the minerals that makes the stones
Many of the old roman and Greek an-
shine like the sun. Others legends say
component, such as clay, silt, sand,
cient sculptures are created in white
that the shiny spears in the stone were
iron oxides, or chert. To identify is a
marble. White marble was and are still
Christ tears. Marble have not only
stone is marble or not expert are look-
today a common sculptural material,
been used for its function and aesti-
ing closer at the stones colour. If the
it’s very porous and easy to work with
cally appearance. Before the alphabet
colours are homogenous then it’s real
comparing to other stone materials.
was invented romans communicated
marble. Which colour the stone gets
There are many various myths about
with drawings and sculptures. Marble
depends on the component minerals
this legendary stone. In the iron-age
was used to create sculptures of great
or by pigmentation with the minerals
people believed that shiny rocks were
and powerful men. The sculptures
themselves.
created by god, mainly because it
were telling stories about their deeds,
tory of rble
everyday work, life and war. What
pensive material. The reason is mainly
days the easiest way to transport the
can be told is that this stone have had
because of its heavy weight; it´s weight
marble was on the river. The transport
a huge impact of the creation of the
from 2-3 tons every cubic meter and
has always been the most expensive
modern civilisation.
are a big challenge to transport with-
part of the manufacturing.
Marble is and have always been an ex-
out special equipment. Back in the
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Mazar-e-Quaid by Yahya merchant By Joanna Alexander
White marble shrine, Kerachi, Pakistan. Picture refenerencing from Archdailey.
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Otherwise known as the National
chamber directly beneath the ceremo-
of pristine while marble topped with
Mausoleum, the Mazar-e-Quaid is the
nial sarcophagus). In addition to its
a stucco dome. While marble is a rel-
tomb of the founder of Pakistan, Mu-
functional purpose as a mausoleum,
atively common material choice for
hammad Ali Jinnah. Sited in the cen-
Mazar-e-Quaid also serves as host to a
noteworthy monumental works of ar-
ter of Karachi Pakistan on a natural
variety of governmental and military
chitecture, the material also was cho-
plateau, this marble structure was de-
ceremonies.
sen to mitigate the climatic extremes
signed by the Indian architect Yahya
The approach to this monumental
characteristic of the region. White
Merchant and was completed in 1970.
mausoleum is a beautiful landscaped
marble was chosen for the interior
The mausoleum serves as the final
avenue comprised of gardens, ter-
and exterior of the structure, comple-
resting place for Jinnah as well as Li-
races, and fifteen symbolic fountains
mented only by the stucco dome and
aqat Ali Khan, (the first Prime Min-
leading up to a 75mx75m plinth that
copper lattice work at each of the four
ister of Pakistan), Mohtarma Fatima
forms the base of the mausoleum. pointed arch entrances. All materials
Jinnah (Jinnah’s sister), Abdur Rab
This 4m pedestal anchors the tomb in
used during the construction were
Nishtar and Nurul Amin. Upon en-
the landscape, delineating the man-
locally sourced and time-intensive,
trance through one of the four point-
made structure from its natural sur-
stimulating the economy of the area
ed arches entering into the mau-
rounding and emphasizing the impor-
with economic opportunity for the lo-
soleum, visitors enter into a grand
tance of the contents within.
cal population.
octagonal space with a ceremonial
The mausoleum itself is square in
sarcophagus in its center (the actual
plan with gently tapering walls — a
tomb, expectedly, is in a subterranean
simple and elegant form constructed
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Marble is one of the most versatile materials discovered by man. Its elegance and durability make it a prime choice for many and varied uses. However, the three principal uses of marble are construction, interior decoration and sculpture. As a construction material marble fits in perfectly in modern building designs due to its clean ascetically pleasing architectonic style. It combines well with ceramics, wood and other common construction materials. Marble is very durable, and can be used in high traffic areas like staircases and hallways. In fact, typically marble products come with a 20 year guarantee. http://www.alicantemarble.com
As a construction material, marble is easy to use, clean and maintain. Marble tiles can be applied over almost any surface. They can be cut to fit specific measurements and if well applied are perfectly adaptable to humid environments. Famous monuments all over the world like the Taj Majal and el Alhambra have been built with marble. And although perhaps the greatest architectural innovation of the ancient Romans was the systematic use of concrete, marble still formed the foundation of all of the most relevant Greek and Roman buildings. When used in interiors, the elegance and durability of marble make it a perfect choice for kitchens, bathrooms and staircases. Often marble is used to form beautifully complex tile mosaics by combining stones of different classes and colors. Marble flooring lends a sophisticated and elegant look to any room. Killian
by Killian O Keffee
by Killian O Keffee
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InBASE {INOVATIVE MATERIALS}
BUILDING
THE FUTURE by Vlad Certu
T
BRICK BY BRICK
he brick represents the oldest product that mankind has used for construction, but in an age where everything relies on technology, has the brick become obsolete? With thanks to the forward thinking of Brian Peters, it seems that our modern day technology, along with the process of brick making, go handin-hand. He has adapted a desktop 3d
printer to create a material efficient way to make bricks; this is due to the fact that this process rids of any waste whatsoever, be it because of the need for a brick making mould or because of excess material. This also elevates us on from the original rectangular brick shape, and allowing for an alternative approach due to the brick’s design being able to be altered in any way possible.
Also, thanks to Brian Peter’s “Building Bytes” project, bricks can now be used to build dividing walls, that are both resistant and translucent. However, this project is only the beginning, as this could lead to a future where entire sections of buildings can be “printed” as opposed to being built.
InBASE {INOVATIVE MATERIALS}
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The Polymer D3O ‘Smart polymer’ by Vlad Certu
D3O is a polymer composite which is an energy absorber, but a revolutionary one at that. The
constistency of D3O is of an orange gel-like form, therefore, very easy to manipulate into any shape/ size that is wanted or needed - obviously depending on the amount used. The easy manipulation takes place by moulding the gel, simply with your hands. The revolutionary element comes into play once the gel-like substance comes into contact with ‘impact’ i.e. once hit, then, the molecules lock together instantly in an act of ‘protection’.
Image From Telegraph.co.uk http://www.popsci.com
How D3O works The base material’s properties have been necessarily chemically exaggerated in order to adapt to several uses and needs, therefore, D3O now comes in three different solutions such as: ST, XT and SHOCK+ The main use for D3O right now, and has been since 2006, is protective-wear i.e. the military, in sporting activities, motorcycling and electronics. I believe future uses of this product could include the design of interiors, furniture and possibly architecture. Tech21 - Tech21 works in cooperation with D3O to produce protective-wear for electrical equipment, such the mobile. http://www.d3o.com/consumer/electronics/ http://www.d3o.com/ http://weburbanist.com/2009/06/16/10-fantastic-futuristic-materials-that-actually-exist/
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InBASE {INOVATIVE MATERIALS}
Materials of the Future ... & Beyond!
by Charlotte McCann
If there is one place that you should visit, whether or not materials interest you - which I presume they do otherwise you wouldn’t be reading this right now - is The Materials Library, situated at the UCL (Univeristy College of London). It’s a material fanatic’s dream, brought together through a team of designers, architects, scientists, and more. Every forward thinking designer - whether that be an interior designer, a clothing designer, a furniture designer, or an architect, should visit the The Materials Library - for more information visit http://www.instituteofmaking.org.uk/materials-library.
InBASE {INOVATIVE MATERIALS}
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FERRO LIQUID
Ferro liquid is a magnetic liquid which is actually an oil filled with nano-scaled rust particles - hence the the magnetic properties. To start with, the liquid appears as oil, then once a matierial with magentic properties is put near it, hedgehog like spikes appear, creating a solid look, yet to touch the spikes are still liquid in formation. The liquid is used today in particular cars for their suspensions in their hydraulics, however, more of the high-end nature.
http://www.eveningtweed.com/old/tom/ferro/1.jpg http://www.eveningtweed.com/old/tom/ferro/1.jpg
AEROGEL
It’s likened to the sky due to it’s colouration of a blue hue, and similarly to the sky, the blue isn’t pigmentation, it’s a formation from how the light is scattered throughout it. The lightness in weight is extreme, in fact, it’s one of the lightest materials on earth. The creators of such a material are NASSA, and the reason they created it is so it allows stardust to encapsulated in this material, aerogel, however, once captured, the stardust can’t be released. Aerogel will be part of design on earth in the future, being utilised in architectural insulation panelling.
SELF HEALING CONCRETE The concrete is filled with a bacteria that excretes a filling agent which ‘heals’ concrete i.e. hairline cracks etc. The process takes place when the concrete is open to water, to which the bacteria ‘eats’ and eventually , after a week or so, excretion takes place. I predict self-healing concrete will replace all use of concrete in architecture.
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InBASE {MATERIALS}
Materials @ instituteof uk/materi
InBASE {MATERIALS}
s Library fmaking.org. ials-library
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Metropol Parasol Largest timber structure
By Stine Marie Wojcik _______________________________________________ Over the years, Architects and Designers have come to the realisation that wood truly is an amazing material. Today we use wood for building bridges, skyscrapers, furniture and a lot of other smaller scale designs. Wood has always been the best building material whichever way you look at it. Wood is the world’s strongest material relative to its weight. That is why wood is an easy material to build with, but also economically friendly. Because nature made wood so strong and flexible, wooden buildings remain standing even during natural disasters such as earthquakes. Not only is it a good building material, but also it is also beautiful with a unique texture and a wonderful scent. Wood creates an excellent indoor climate and acoustics, and most importantly it is a good insolation material, which therefore keeps us warm. Metropol Parasol located in Seville, Spain claims to be the largest wooden timber structure and architecture design in the world, as well as a terraced pavilion. The building is known as the Las Setas de la Encarnacion (mushrooms Encarnacion). The building stands on an area of 1.8 hectares has a total area of 12 670 m2.
Jurgen Mayer H. German architect and artist. Leader of the architecture firm "J. MAYER H." in Berlin.
Foto by Stine Marie Wojcik
The Parasol was completed in April 2011 after a competition held by the city of Seville in 2004. The designer behind this huge timber construction is the German architect Hermann Jürgen Mayer. The project became the new trademark for Seville, a place where one can fully appreciate Seville's role as one of the world´s most fascinating cultural destinations. Metropol Parasol got its contemporary organic shape as a way to explore the potential of the Plaza de la Encarnacion. The site became the new fashionable, modern-day urban center of Seville in 2011. The vaults of Seville’s expansive cathedral inspired the shape of this building. Jürger Mayer wanted to create a "cathedral without walls" A shape that would be "democratic". As previously stated, Metropol parasol is one of the largest, but also the most innovative bonded timber-constructions with a polyurethane coating. The parasols grow out of the archaeological quarry into a contemporary landmark, defining a unique relationship between the historical and the contemporary modern city.
Metropol Parasol structure, with its imposing timber, offers several of attractions and facilities that can be used by the visitors of Seville. The building consists of an archaeological museum, a farmers market, an elevated plaza, and multiple bars and restaurants underneath and inside the parasols, as well as a panorama terrace on the upper level of the parasols. The parasols were also a creation to provide shade to the center of Seville. Through this architectural design, the game of light and shadows is quite out of the ordinary, and attention grabbing. Seville is one of the must humid and warm cities in Europa, and during the day it is too hot for most of the people. The use of a material such as timber also makes the wooden structure environmentally friendly, it’s the only building material made by the sun and carbon from the air. The timber stores the carbon and reduces the greenhouse effect. Taking into consideration that wood is an environmental material, makes Metropol Parasol a unique and worthy trademark for the city of Seville. Metropol parasol is just one example of how fascinating timber is; it inspired architecture and designs alike, as well as, being a very practical material.
Foto by Stine Marie Wojcik
Timber Pavilion By Stine Marie Wojcik __________________________________ Design inspired by nature is the theme in this pavillion designed by the Institute for Computational Design in Germany Stuttgart. The design of a temporary structure with a strong bionic influence in the timber design. The project is inspired by the sea urchin’s plate skeleto.
InBASE {MATERIALS TODAY}
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By Joanna Alexander
Timber Fin House
by Neil Dusheiko Architects
InBASE {CASE STUDY}
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A house made out of wood in Walthamstow London, refenerencing from the website http://www.architectsjournal.co.uk/aj-small-projects/timber-fin-house-walthamstowlondon-by-neil-dusheiko-architects/8609908.article
The concept was to create a series of
to and on top of one another with a
new timber staircase forms a link with
different volumes to accommodate the
singular nature borne out of using one
the existing house and connects to the
various functions in an informal stack
material. The differentiation of mate-
mid landing, where the existing stair-
of boxes placed next to each other like
rials allows it to be read as a separate
case continues down towards the front
packing creates. The extension exists
volume rather than mimic the brick
door.
as three timber containers sitting next
character of the existing building. The
The material used for the floor was birch plywood and the structure is oak framed, clad in Siberian larch. The larch was is from sustainable sources and supplied by Vastern Timber. The larch was mounted onto battens fixed to Panelvent sheathing boards, which have a high racking strength but also allow for a water vapour open construction. Panelvent itself is made from wood chips and forest thinings, utilising a unique Masonite defibration system to combine low formaldehyde emissions in use and low embodied energy in manufacture.
By Joanna Alexander
InBASE {CASE STUDY}
The floor was constructed out of a hard wearing birch plywood which was sealed with an acrylic coating which is both easy to clean and protects the surface from any moisture
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Timber Product Used:
Larch. The differentiation of materials
Structure: Oak framing for walls and
allows it to be read as a separate vol-
roof Floor: Birch plywood with acrylic sealant
ume rather than mimic the brick character of the existing building. The design plays on the juxtaposi-
ingress. Existing openings inside the
Staircase: Birch plywood painted
tion of natural light effects and artifi-
structure are framed in MDF, painted
Decking: Thermowood decking
cial lighting. Through shadows cast on
white to blend in with existing brick-
Timber Cladding: Untreated Siberi-
the facade by the timber fins a subtle
work, also painted white, to reflect as
an larch mounted on double battens
layering is revealed. As time passes
much light as possible into the interi-
on panelvent boards
the facade is animated by the chang-
or. A low step made of thermowood
Extension for a turn of the century
ing condition of light and shadow. The
decking links the house to the garden
family home in Walthamstow. The
cranked geometry allows for maxi-
and provides a low bench for seat-
playful design creates a much needed
mum sun penetration and the shapes
ing. A new staircase constructed from
flexible living space and extra bed-
the garden space. The vertical fins are
birch plywood connects to the mid
room for the young family. The shape
contrasted by a linear walkway serv-
landing of the existing staircase, giv-
of the extension is designed to track
ing as a bench connecting the house
ing the up and over feel, which pro-
the sun and create a positive space
to the garden.
vided the original inspiration for the
in the garden. The new structure is
extension.
framed in oak and clad in Siberian By Joanna Alexander
InBASE {NATURAL MATERIALS}
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Wool By Johanna Svensson Wool is a material that has been used for thousands of years. The first documented users were in Sumerian four thousands of years ago. This hair material can be found all over the globe, but varies depending were and from what bred it comes from. The length, lustre and colour vary depending on weather conditions which can influence the fibre formation of the hair. The softest wool can be found in Himalaya, it comes from the chest of Himalayan goat and are could cashmere. In Europe most of the wool comes from goats and sheep’s while in the Middle East it comes from camels. And in South America the alpaca supplies people with wool. Wool is the animal’s surface protection from different weather conditions. The wool creates an insulating layer that keeps their body heat and also repels rain. In warm climates wool have cooling characteristics while in cooler climates it got insulating functions.
To use the material in clothes the wool has first have to be transferred into yarn. The fibres are getting wrapped around each other to be created into threads. There is several of different ways of collecting the wool. One of them are to pluck the wool by hand when the animal shed its winter wool the other and the most common way is to shave the animal. Some goat breeds doesn’t need to be shaved their wool fall of by its self and can be collected on the ground. Australia is the leading wool exporters followed by China and New Zeeland. Sources: A Visual Guide to Traditional Techniques- World Textiles, Gillow,john. Sentence,Bryan. 1999, Thames& Hudston, Ltd-London. A History o Textile Art, Geijer,Agnes. 1979,W.S Maney O Son Ltd,Leeds Johanna Svensson
InBASE {NATURAL MATERIALS}
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Salmon Leather By: Johanna Svensson
Salmon leather is a by-product from the fishing industry where the fish mainly are caught because of its rich omega 3 meat. This relative new and innovative material can be seen in clothing, accessories, furnishing, home decor and even bikinis. The surface of a salmon contains small pockets which creates its detailed look. By using as much as possible from the fish this exotic material can be classified as a sustainable material comparing to other exotic leather materials such as snake and lizards. It´s also an eco-friendly material in terms of using chemicals that is less toxic in the process of tanning the skin comparing to other leather materials. Most
of the salmons come from Chile in Patagonia; they are also the largest exporters of salmon worldwide. This material is stronger and flexible than most land-leathers although it got a smooth surface. Even though it’s made from fish the smell of the leather is discrete. This is definitely a upcoming material that be expected to be seen more of in the future. Sources: http://www.green-talk.com/podcasts/salmonleather.mp3 http://www.ecouterre.com Accessed 14/1 2013
InBASE {NATURAL MATERIALS}
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BUILDING A BETTER FUTURE WITH
STRAW
by Iliana Mitova
S
traw is an organic material of a crop after its grains have been harvested. It is used for bio fuel, hat making or basketry, but its alternative use is in the building industry. Surprisingly, or not, people have been using straw in construction since ancient times. Examples include thatched roofs in Northern Europe; tatami flooring mats in Japan; and the tipis of North America, which were insulated with loose straw. Different techniques of mixing the straw with other materials can form mixture with diverse quality and properties. In the recent years there is a growing community of people who are aiming for a more sustainable future of living and building. More and more eco friendly organisations are offering workshops, talks and expert advice on building with straw and clay. STRAWBUILD is a not-for-profit social enterprise that provides straw bale building and training services across Europe. It is actively promoting the straw-bale techniques for building completely sustainable houses with locally sourced materials, an low energy consumption. Clay is sourced from the area of the building and straw from farms in the close surrounding. Bee Rowlan is the head of the organisation and the leader of most of the projects. She works
mainly in the UK, but often she is invited to lead workshops and talks around Europe. At the moment one of the major projects of the STRAWBUILD organisation is the building of a twin house in Pembrokshire, Wells. Mark Howlett is the owner of the Pembroke Dock Eco Houses, and he is also part of the natural builders assosiation in the UK. He provides bi-annual workshops for building with eco materials for people who whant to learn more about this innovative techniques. The coordinator and workshops leader of the project is Bee Rowen. Bee was Head of Education for amazonails for many years, and has lead Strawbuild for the last 18 months in which she and the team have built for Lush Cosmetics, Schumacher College, Dartington Hall, & for various self builders; run training courses for different venues including Centre for Alternative Technology, The Manchester College, Schumacher College and at strawbale builds across Europe. Bee is involved in european partnerships designing training materials and programmes in strawbale building and in clay plasters, and continues her practical support of flood resilience work in Southern Pakistan for natural building materials - and their inhabitants.
InBASE {NATURAL MATERIALS}
COB The mixture of straw, sand and clay with water, produces what we call ‘Cob’. The word comes from an old English term meaning a lump or rounded mass. This material is most probably the oldest earth-building material and, the simplest. The materials are easy to source and can be found in many soils around the world. Thus it makes Cob one of the most sustainable building materials. Once mixed together, Cob is than piled onto a wall and formed by hand. Using the mixture as building material combines the most enjoyable elements of masonry, ceramic sculpture and cooking. Cob’s long and varied history, from the cold, rainy, gale-swept British Isles to the deserts of Iran, West Africa and the American Southwest, shows it to be remarkably effective in a wide range of climates. Cob structures have successfully withstood many centuries of snow, frost, pouring rain and heat. It’s combination of high thermal mass and insulation make it ideal for passive solar buildings. STRAW BALE HOUSES One of the first things people ask when considering building a straw bale house is, will I be able to get home insurance for it and will I be able to get a mortgage. Due to the fact that this method of building is relatively new to modern construc-
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tion, you may find it harder to find home insurance and mortgage companies willing to lend to you. However, If you are building a house that doesn’t use the straw bales structually but uses them as in-fill for say a timber frame building you should have far fewer problems. If you want a truly ecological, environmentally friendly and low impact house it is hard to beat a straw bale house. Straw bales are available locally reducing transport and storgage costs and they offer fantastic thermal insulation values with virtually no impact on the environment. There are however some downsides, as with any building methods. Probably the biggest issue that affects most people is the thickness of the finished walls, a lot of internal room sizes may have to be compromised. A typical straw bale is around 500mm wide, once you add the external render and internal plaster walls can be 600-700mm thick. Apart from structuarl stability the number one concern when building with straw bales is moisture. The bales must be kept dry while you are building and the floor, roof and wall coverings must keep the straw dry once the building is complete. A good damp-proof and decent overhang on the roof together with breathable render, plaster and paint should stop the water from getting in and allow any that does get through to escape. http://www.strawbalebuildingassociation.org.uk
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InBASE {AGENDA}
by Iliana Mitova
E
cobuild is the world’s biggest trade event for sustainable design, construction and the building environment, along with being the UK’s largest construction event of any kind. The annual event will take place at the ExCel exhibition and conference centre, situated in the heart of the new Green Enterprise District in London’s Docklands. At the event they’ll be showcasing future green design trends, sustainable materials and green ideas for the building industries. Also, you’ll be able to view and interact with the latest developments, new products and people who inspire. The platform of the event is based on innovative solutions, practical advice with dozens of inspiring and interactive attractions and a preview of great ideas.
Next year’s fair program will feature a series of leading edge debates, talks, and lectures from key industry speakers, Ministers, lecturers as well as academics. The core three stream Ecobuild conference programme returns under these themes: • Making Sustainable Construction Happen • Beyond Construction: Achieving A Sustainable Future • Design Architecture and Sustainability In addition, Ecobuild 2013 will host two one-day conference streams on Property and International. The first stream will have an exclusive focus on Property issues such as investor and occupier considerations and will be held in partnership with Property Week. The International stream will connect sustainability to leaders across the international built environment and will link directly to the Ecobuild portfolio of China, India and Malaysia.
Photo by Iliana Mitova
Photo by Iliana Mitova
InBASE {AGENDA}
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SOME OF ECOBUILD’S ATTRACTIONS FOR 2013 FUTURE MATERIALS GALLERY - NEW
What materials will the next generation of architects be using? Brand new for 2013, The Future Materials Gallery – a futuristic showcase of the most innovative new materials that will construct our future.
GREEN DEAL TERRACE - NEW
14 million homes are set to benefit from the Green Deal by 2020. A programme of seminars and a comprehensive advice clinic will be taking place in the Green Deal Terrace, they aim to help you understand the ramifications from the government’s showcase policy and how you can benefit. Fabric First Through a series of live demonstrations using existing construction materials, Fabric First will show how to achieve a high performance building fabric which meets existing regulations and also future-proofs against the more stringent FEES set out in the 2016 zero carbon homes policy.
SOLAR HUB
Solar Hub returns with a brand new focus on the future of energy. Hear all the latest thinking, get practical guidance and advice from leading industry experts. The event is free for visitors and registration can be done online at http://www.ecobuild.co.uk, or at the venue. ExCeL, London, Tue 05 - Thur 07 March 2013
super/collider
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InBASE {SUPER COLLIDER} present the first 2012 CASS Workshop
THE MONUMENT
Task: To design a monument in praise of the Earth as a planet to be visited 1000 years from now. Each team will be allowed to choose two major materials with which to design and construct this monument. The structure needs to consider simple functions such as viewing, shelter or a thinking post. You are to consider the landscape and through evidenced predictions suggest your earthly environment. This might might suggest suggest aa dangerous dangerous world world or or one one that that has has thrived. thrived. This
THE MONUMENT by Iliana Mitova and Vlad Cretu
InBASE {SUPER COLLIDER}
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In November, a one week workshop exploring design for the distant future was lounched at CASS in collaboration with Super Collider. The Interior Design BA course students had the brief challenge to create a monument designed to be experienced 1000 years from now. thinking long-term, the students had to consider the qualities and performance of two structural materials: one wellknown and trusted and the other more newer and more innovative. after researching these two materials, teams looked into global locations ranging from the coast of Iceland to the mountains of South America, taking into account future scenarios ranging from climate change to earthquakes. finally, the students had to dream up a purpose or reason for future visitors to seek out their structure after an intense research session, the time came to stop reading and get hands-on building mock-ups and models showing the monuments. the winners in terms of structure and survivability, the InBASE team (Johanna Svenson, Joanna Alexander, Iliana Mitova, Vlad Cretu, Killian Okeefe and Suad Mohammed, Stine Wojcik) impressed us with their DNA repository in Mongolia (above). Combining a unique rotating structure to harness the wind with a carbon fibre/Kevlar surface to minimise dust accumulation, its location, design and contents led us to conclude that it would likely still be there, drawing visitors to the steppes long into the future
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