InBASE magazine

Page 1

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

16

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

12


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

W

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}

25

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}

25

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.


24

InBASE {MATERIALS}

Materials @ instituteof uk/materi


InBASE {MATERIALS}

s Library fmaking.org. ials-library

25


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}

13

By Joanna Alexander

Timber Fin House

by Neil Dusheiko Architects


InBASE {CASE STUDY}

24

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

13

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}

12

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}

35

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}

28

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-

29

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


7

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}

7

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

30

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}

31

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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