Channeling the Wind LOGBOOK

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CH A N N EL I N G TH E WI N D Pro j e c t

Th e Royal Dan is h Ac a d e my of Fi n e Ar t s Sch o o l of Arch i te ctu re

2019/2020

Introduction

This project is a part of the Architecture and Extreme Environments master program at the Royal Danish Academy of Fine Arts in Copenhagen. This master programme has a strong focus on site-specific design, achieving this through direct engagement and expeditions to environments which are out of balance.

This year’s expedition was to Atacama Desert, Chile which took place between 18th of November and 14th of December 2019.

Architecture and Extreme Environments

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The programme aims to develop a site-specific and technology-focused understanding of architecture, as a response to present and future global challenges, including those defined as UN Global Goals. The first semester will centre on the understanding of the context/theme/site and its relevant challenges in habitation and the built environment. The semester’s work is divided into the phases; Information gathering, Prototype, Fieldwork, Formalization and Communication. The fieldwork revolves around the testing of prototypes that are designed to explore a certain theme and/or survey a chosen site. Emphasis is given to an understanding of the formal and artistic implications of the designs in the given contexts and how the design can instigate a dialogue with its surroundings. These exercises will culminate in the formulation of a preliminary architectural program. The main formats of engagement during this semester will be investigation, literature search, sketching, manufacturing, written work, on-site field exploration, collaborations with practices and manufacturers both at home and abroad and group work. A theoretical positioning is a pivotal part of this program, which translates into a continuous series of reading and writing activities focused on critical thinking.

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Index

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A NTO FAGA S TA

CONT E X T

ATACA M A D E S E RT A LB E D O A RT I N S TA L L ATI O N S WIN D I N S TA L L ATI O N S WIN D I N S TRU M E N TS R E SE A RCH PROJ EC T: M A LG ORZ ATA G RZES IKOWS KA

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Th e Royal Dan is h Ac a d e my of Fi n e Ar t s Sch o o l of Arch i te ctu re

Antofagasta (Spanish pronunciation: [antofaˈɣasta] is a port city in northern Chile, about 1,100 kilometres (700 mi) north of Santiago. It is the capital of Antofagasta Province and Antofagasta Region. According to the 2015 census, the city has a population of 402,669. Previously part of Bolivia, Antofagasta was captured by Chile in the War of the Pacific (1879–83), and sovereignty was transferred under the terms of the 1904 Treaty of Peace and Friendship between the two countries.

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WHERE ARE WE?

Chile Antofagasta City Area Total 756,096.3[3] km2 (291,930.4 sq mi) (37th) Water (%)1.07b Population 2017 census 17,574,003[4] (64th) Density 24/km2 (62.2/sq mi) (198th)

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Antofagasta

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The Atacama Desert (Spanish: Desierto de Atacama) is a desert plateau in South America covering a 1000-km (600-mi) strip of land on the Pacific coast, west of the Andes mountains. The Atacama desert is one of the driest places in the world (the driest being some very specific spots within the McMurdo Dry Valleys), as well as the only true desert to receive less precipitation than the polar deserts. According to estimates, the Atacama Desert occupies 105,000 km2 (41,000 sq mi), or 128,000 km2 (49,000 sq mi) if the barren lower slopes of the Andes are included. Most of the desert is composed of stony terrain, salt lakes (salares), sand, and felsic lava that flows towards the Andes.A The desert owes its extreme aridity to a constant temperature inversion due to the cool north-flowing Humboldt ocean current, and to the presence of the strong Pacific anticyclone.

The most arid region of the Atacama desert is situated between two mountain chains (the Andes and the Chilean Coast Range) of sufficient height to prevent moisture advection from either the Pacific or the Atlantic Oceans, a two-sided rain shadow.

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image credits: https://scienceandsf.com/index.php/author/ admin/page/2/

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DRIEST DESERT IN THE WORLD

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Atacama Desert

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CH A N N EL I N G TH E WI N D Pro j e c t

Th e Royal Dan is h Ac a d e my of Fi n e Ar t s Sch o o l of Arch i te ctu re WORLD’S COOLING DEMAND Using air conditioners and electric fans to stay cool accounts for nearly 20% of the total electricity used in buildings around the world today. Rising demand for space cooling is also putting enormous strain on electricity systems in many countries, as well as driving up emissions. Absent firm policy interventions, there is no doubt that global demand for space cooling and the energy needed to provide it will continue to grow for decades to come. However, there is an enormous opportunity to quickly influence the growth of cooling-related energy demand through policies to improve equipment efficiency. This special IEA report aims to raise awareness globally about one of the most critical energy issues of our time, outlining a sustainable path to the future of cooling that will allow people to reap the benefits of cooling without straining the energy system or the environment.

Energy demand for air-conditioning is expected to triple by 2050.

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image credits: https://www.hemmings.com/blog/wp-content/uploads//2018/11/salt.jpg

2019/2020

What are others solutions to make city cooler? Solutions: Green roofs and walls, porous paving, and switching the orientation of buildings, or better yet entire city grids, can reduce the amount of heat. Increasing albedo with white roads and roofs. Introduce water beds to cool down the area through vaporisation. Design shading areas and streets.

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Albedo (the salt episode)

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CON TE X T

Israeli artist Sigalit Landau uses the world’s saltiest sea as her laboratory.

Everyday objects are “baptized” by immersing them in the Dead Sea for months. Completely covered in salt, they obtain a hypnotizing effect. The transience of objects is transposed into the poetic aura of crystalline permanence.

In this form, issues of female identity and bodily experience, the shadows of the Holocaust, the tense political situation in Israel as well as questions of justice, structural violence, and economic exploitation of nature are negotiated. Salt Years is both a catalogue of these works created at the Dead Sea and a visually stunning documentation of the artist’s process.

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SIGALIT LANDAU ‘SALT YEARS’

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Sigalit Landau. Salt Years

‘Post Card Display’, 2017, installation view

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LOG B OOK / RES EA RC H 2019/2020

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BOAT ZHU JINSHI

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CH A N N EL I N G TH E WI N D Pro j e c t

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https://www.designboom.com/art/zhu-jinshi-suspends-boat-with-8000-sheets-of-folded-rice-paper-12-12-2013/

at the centerpiece of the exhibition ’28 chinese’ at the rubell family collection is zhu jinshi’s ‘boat’: a monumental, walk-in installation composed of bamboo, cotton and 8,000 sheets of rice paper. a complex layering of overlapping sheets of the xuan medium forms an almost complete, 12-meter cylinder suspended from the ceiling, one that asks visitors to enter within and view the intricately placed pieces at close range. row upon row of the fragile material — an ancient means of writing and painting steeped in history and tradition — stack in succession, wrapping around some invisible barrel and completing a gaping void. jinshi describes boat as representing ‘a symbolic journey’, as the numerous folds extend as walls, gently blocking out the outside world as each viewer moves through the length of the vacant tunnel. the sculptural work outwardly expresses the artist’s meticulous dedication to material, and his lifelong commitment to the language of abstract form. the opening of ‘boat’ and the exhibition spotlighting chinese creatives in the disciplines of painting, photography, sculpture and video has coincided with art basel miami beach 2013.

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Orlando took part in the Canary project and worked on an installation for a project involving sculpture, fashion and interventionist performances. A metaphoric and artistic perspective finding new solutions to increase the overall reflectivity of the earth. The Canary Project produces art and media that deepen public understanding of human-induced climate change and energized commitment to solutions. https://jussaralee.com/blogs/projects/9507785-increase-your-albedo-and-albedo-pilgrims

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Albedo is a measure of the earth’s reflectivity. The more reflective the Earth, the less sun is absorbed and the cooler it stays. Ice and snow are white. When they melt, the earth gets less reflective, warmer. More ice melts, and it gets even warmer. Jussara Lee collaborated with the Canary Project with a sculptural installation of 550 white dress shirts that hung outside of her old shop in the Meat Packing District.

Engineered by Orlando Palacios, the shirt clouds represented the level of carbon dioxide in the atmosphere we will reach by 2050, double of what was measured prior to the Industrial Revolution.

INCREASE YOUR ALBEDO!

Increase Your Albedo! was a fashion and arts based awareness campaign, helping to spread the word that every individual can do something about climate change.

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Th e Royal Dan is h Ac a d e my of Fi n e Ar t s Sch o o l of Arch i te ctu re

AEROREFLECTOR MANUAL Based on a truncated pyramid concept developed long before the Anthropocene, the parabolic structure of the Aeroreflector reveals generational connections across various cultures, materialising methodical parabolic techniques, essentially formulating a solar thermal collector for heating. The concept of concentrating light using curved mirrors has historically helped civilisations to use collective efforts to heat, cook, and to share meals from renewable energy sources, collaborating with simple forms of abundant elemental energies instead of the extraction of commodity fuels for combustion-based process of heat generation, at the expense of all natural phenomena, ourselves included.

In becoming more familiar with direct solar energy, discovering the warmth from this life-providing star and the ocean of air through which it transmits, we can rearticulate the way energy and heating power has been (ab)used since the dawn of a human-influenced geologic age. Turning our attention to new circular modes of nourishing each other and the planet simultaneously, we enter into a renewed reflective practice; one in which we re-attune to the Earth, adhering not only to ourselves but interplanetary rhythms, other species and nature itself too. Through this multidisciplinary exchange, we collectively attempt to understand how the sun made us, and what the sun could make of us, if we begin to sense it differently.

A sun-tracking instrument indexing time and temperature, with a shape alluding to a woman’s Victorian-era under garment, “Bloom” stitches together material experimentation, structural innovation, and computational form and pattern-making into an environmentally responsive form. Made primarily out of a “smart” thermobimetal, a sheet metal that curls when heated (no controls, no energy), the form’s responsive surface shades and ventilates specific areas under the shell as the temperature rises. When used on a building’s surface, it will reduce the absurd dependency on costly air conditioning and retard the “heat island effect”. Adding dynamic thermobimetal to the facade may seem trivial in the big picture of building technology, but the effect on our cultural will be tremendous. The increased complexities of building envelope design with new, smart and dynamic materials will bear careful consideration in the new era of facade aesthetics and urban meaning. https://www.autodesk.com/redshift/thermobimetal-architecture/

https://aerocene.org/albedo/

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DO|SU Studio Architecture - THERMOBIMETAL

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“The inspiration comes from observing nature and the feeling that we are only aware on a very surface level of what is really going on around us. Unexpected things revealed in time-lapse or hyper-spectrum photography fascinate me.

Like fractals recurring progressively, we feel the currents of air on our skin but do not see the larger movements. I wanted to play in that realm with this piece.”- Patrick Shearn.

Passive cooling technology dissipate heat from Earth into outer space (3 K) as infrared radiation through the atmospheric transparency window (8–13 μm).

A hybrid glass microsphere-plastic metamaterial film that is fully transparent to the solar spectrum while having an infrared emissivity greater than 0.93 across the atmospheric window has been developed.

When backed with a silver coating, the metamaterial film shows an average cooling power > 110 over three continuous days and a noon-time cooling power of 93 between 11am – 2pm.

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Liquid Shard dazzled downtown Los Angeles as a surprise to the city from July 28th to August 11th 2016. This large-scale, kinetic sculpture made of holographic mylar and monofilament was installed across Pershing Square in downtown Los Angeles. The piece spans 15,000 sq ft. and is comprised of two layers that rise from 15 feet off the ground to 115 feet in the air.

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LIQUID SHARD

RADI-COOL

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http://radi-cool.com/

As the center square for downtown Los Angeles, this work was created site specific to be viewed both from the ground perspective looking up to the sky and from the offices surrounding, looking down. This project allows viewers to slow down, and observe the wind slowly undulating and transforming the piece, similar to watching clouds or observing the slow mesmerizing motions of sea flora. The reactions have been overwhelmingly positive, as just the contrasting rhythm of this artwork to the hustle and bustle of downtown adds something unique and positive to the urban environment.

Now Art LA secured the location at Pershing Square which made the display of the project possible while Patrick Shearn of Poetic Kinetics had the privilege of designing this piece specific for this site with his students of AAV School.

http://www.poetickinetics.com/liquid-shard/

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Homes in Greece and other sunbaked countries are regularly painted white to reflect as much sunlight as possible. Researchers are building on that age-old strategy with a new wave of "passive radiative cooling" materials that shed sunlight and heat. Most are not easy to apply to existing roofs and walls, but a team of U.S. researchers has now created a cooling paint that can coat just about any surface, lowering its temperature by 6°C. The advance underscores "terrific progress in this field," says Xiaobo Yin, a materials scientist at the University of Colorado in Boulder whose team has developed a passive radiative cooling plastic film and has formed a startup company, Radi-Cool, to commercialize it. The new materials, Yin says, could drop cooling costs by up to 15% in some climates. "It's quite a big number," he says. And with 17% of all residential electricity use in the United States going toward air conditioning, the savings could be substantial.

With about 15% of the world’s electricity used for cooling, making air-conditioning systems more efficient could go a long way to ease future energy demand. A group of scientists in sunny California reckons it can do just that via “radiative cooling” – a process requiring essentially no external source of power that transmits unwanted heat into the cold of outer space via infrared emission. The researchers have shown that a device able to reflect almost all incoming radiation from the Sun while simultaneously emitting in the infrared could reduce electricity consumption from air conditioners by at least a fifth. https://www.dosu-arch.com/#!

White paints typically reflect only about 80% of visible light, and they still absorb ultraviolet (UV) and near-infrared (nearIR) rays, which warm buildings. To do better, the new materials start by incorporating materials or structures that reflect nearly all the sun's incoming rays, including near-IR heat and, in some cases, UV as well. They also contain polymers or other substances that, because of their chemical makeup, radiate away additional heat as mid-IR light, at wavelengths of 8 to 13 micrometers. The atmosphere does not block these wavelengths, effectively allowing the materials to shed excess heat into space without warming the surrounding air. https://www.autodesk.com/redshift/thermobimetal-architecture/

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DO|SU Studio Architecture - Thermobimetal

AEROREFLECTOR MANUAL

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Th e Royal Dan is h Ac a d e my of Fi n e Ar t s Sch o o l of Arch i te ctu re

Aerosols can have a major impact on climate when they scatter light. In 1991, the eruption of Mount Pinatubo in the Philippines ejected more than 20 million tons of sulfur dioxide—a gas that reacts with other substances to produce sulfate aerosol—as high as 60 kilometers (37 miles) above the surface, creating particles in the stratosphere. Those bright particles remained above the clouds and didn’t get washed from the sky by rain; they settled only after several years.

Climatologists predicted global temperatures would drop as a result of that global sulfate infusion. They were right: Following the eruption, global temperatures abruptly dipped by about a half-degree (0.6°C) for about two years. And Pinatubo isn’t a unique event. Large, temperature-altering eruptions occur about once per decade.

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AEROSOLS AND INCOMING SUNLIGHT

WHITE STREETS IN LA

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https://earthobservatory.nasa.gov/features/Aerosols/ page3.php

It might not seem like a lot, but according to the report by Environmental Protection Agency, if 35% of LA’s streets were covered with a reflective surface like this, it would translate into a 1-degree drop in temperature throughout the city, which means around $100 million per year in energy savings. https://www.cbsnews.com/news/los-angeles-is-paintingsome-of-its-streets-white-and-the-reasons-why-arepretty-cool/

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Image credits: http://www.johngerrard.net/western-flag-spindletop-texas-2017.html

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Art Installations

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CH A N N EL I N G TH E WI N D Pro j e c t 2019/2020

Th e Royal Dan is h Ac a d e my of Fi n e Ar t s Sch o o l of Arch i te ctu re

„I consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural form to make space distinct”, explained famed American minimalist artist Richard Serra when asked about his work in 1998.

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Such conceptual manipulation of space is nowhere more evident than in his recent work ‘East-West/West-East’ (2014); a public art piece that stands in the midst of the Qatari desert. There are no roads to get to this site, no maps, and no signs. There is only a GPS location that reads N25o 31.019’E050o51.948’ to help visitors find their way. There, between the gypsum plateaus of the Brouq Nature Reserve, stand four monumental steel plates in a straight line. Each piece of rolled steel is 10 cm thick, and measures between 14.7 to 16.7 meters in height. The top of the four plates are level; and positioned at equal intervals over one kilometer, they offer a visual center point to an otherwise vast and empty desert-scape.

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https://publicdelivery.org/richard-serra-qatar/

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EAST-WEST/WEST-EAST

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A rectangular prism of fluorescent orange burns bright under the sun in Coachella Valley. Titled ‘Specter’, it is the work of American artist Sterling Ruby, presented as part of the second iteration of Desert X. Occupying 55 miles of Southern California’s valley, Desert X has repurposed the former nuclear test site as a vast and beautiful exhibition space for artists. Neville Wakefield, the artistic director of the biennial, explained that the 19 commissioned artworks “embrace a range of ecological, environmental, and social issues that have been driving conversations about our role in the Anthropocene.”

Ruby’s ‘Specter’ is a luminous addition to the Californian landscape, its shimmering mass almost seems a mirage when viewed at a distance.

The color is blinding, increasing visibility of ‘Specter’, but decreasing legibility: What actually is it? Shaped like a bunker, the structure has no entry. Its monolithic mass will remain on show from sunrise to sunset until the 21st of April, 2019. Entry to Desert X is free.

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SPECTER

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https://www.ignant.com/2019/02/19/sterling-rubys-luminous-addition-to-the-californian-desert/

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In May 2016, a peculiarly colorful stone formation interrupted the stillness of the Nevada’s desert. Created by the artist Ugo Rondinone, ‘Seven Magic Mountains‘ is one of the largest land-based art installations in the US completed in over 40 years.

The installation consists of locally-sourced limestone boulders stacked in the groups and painted in fluorescent colors. Having been in the making for five years, the project continues Rondinone’s interest in natural phenomena and their relation to the human condition. Located ten miles south of the the city lights of Las Vegas, nearby legendary Jean Dry Lake, a place integral to the history of Land Art in the American West, it questions the borders between the organic and the artificial, reality and simulacra. It’s not the first time Rondinone has worked with stone as a prime material – the artist describes ‘Seven Magic Mountains’ as a direct reaction to his previous work, a series of colossal rock figures for the Rockefeller Centre in New York.

“Seven Magic Mountains elicits continuities and solidarities between the artificial and the natural, between human and nature.”

http://sevenmagicmountains.com/

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SEVEN MAGIC MOUNTAINS

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https://www.designboom.com/art/andrew-faris-landscape-painting-color-block-02-18-2016/

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less is more, urges the artist. ‘my thinking is this: in an increasingly complex and competitive society sternly ruled by technology and stainless robotic hands, there is impassioned need for artistic respite. simplicity, it has been said, is the essence of beauty. I couldn’t agree more.’

ANDREW FARIS

2019/2020

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https://www.rebecca-horn.de/

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Horn’s work is always inspired by the human body and its movement. In her early performative pieces of the 1960s and ’70s, this is expressed via the use of objects that serve as both extensions and constrictions of the body. Since the 1980s, her work has consisted primarily of kinetic machines and, increasingly, large-scale installations that “come alive” thanks to movement, the performing body being replaced by a mechanical actor. These processes of transformation between expanded bodies and animated machines in Horn’s oeuvre, which now spans five decades, are the focus of the Basel show.

REBECCA HORN

2019/2020

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CH A N N EL I N G TH E WI N D Pro j e c t 2019/2020

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Western Flag (Spindletop, Texas) 2017 depicts the site of the ‚Lucas Gusher’ - the world’s first major oil find - in Spindletop, Texas in 1901, now barren and exhausted. The site is recreated as a digital simulation and placed at its centre a flagpole bearing a flag of perpetuallyrenewing pressurised black smoke.

The computer generated Spindletop runs in exact parallel with the real site in Texas throughout the year: the sun rising at the appropriate times and the days getting longer and shorter according to the seasons.

The simulation is non-durational (having no beginning or end) and is run live by software that is calculating each frame of the animation in real time as it is needed.

Springs Western flag acts a stark reminder not just of the willful exploitation and depletion of resources that millions of years ago covered this former sea floor with an abundance of life, but of the energy taken to return the deserted land to its current state of artificial habitation. The invisible gas responsible for climate change is here made visible. Flying the flag of our own self-destruction we are asked to consider our role in the warming of the planet and simultaneous desertification of once fertile lands. http://westernflag.johngerrard.net/

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WESTERN FLAG

2019/2020

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CH A N N EL I N G TH E WI N D Pro j e c t 2019/2020

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The third and newest model of Dew Drops is a flexible floor lamp. The transparent plastic sheet with 750 LEDs can be fixed to serve as up- or downlight, as floor uplighter or reading lamp next to sitting furniture.

Many of its parts can be inclined, turned around and positioned in various ways. Dew Drops Floor invites the user to experiment, to codesign and to change according to the situation. The rather delicate construction makes sure the floor lamp isn’t intrusive, but melts into its surroundings.

With 2600 Lumen, 3000 Kelvin and a CRI of over 90 Ra the sheet makes a very pleasant and bright light, while consuming only 23 watts (EEC A). On the sheet, there’s a touch sensor for dimming and switching on and off. A sheet of paper is included and can optionally be used to vary the light effect. Optionally, a second LED sheet can be added. Both foils have a touch sensor for dimming and switching on and off. A general switch is placed on one of the rods.

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https://www.domusweb.it/en/news/2015/04/17/dew_ drops_floor.html

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DEW DROPS FLOOR

2019/2020

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LOG B OOK / RES EA RC H 2019/2020

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Image credits: https://ideas.ted.com/gallery-buoyant-balloon-art-that-will-take-your-breath-away/

2019/2020

Th e Royal Dan is h Ac a d e my of Fi n e Ar t s Sch o o l of Arch i te ctu re Visualize the invisible Helpers clutch ribbons of sheer plastic tubing on the crests of the Nitzana sand dunes in Israel. Filled with the desert wind, the tubes act as weightless prisms, absorbing the colors of the sun. This image is from the first Sculpting the Wind installation, which Gazit did when he was a college student. Since then, he has staged similar installations a couple hundred times on different beaches, deserts and cliffs. Unsurprisingly, Gazit — as an artist who works with air and wind — is preoccupied with the unseen. “I’m very much attached to the invisible,” he says. “I call it ‘the in-between’.” He views the human creative process as similar to his shaping of the wind. “When we are inspired by something, it is in our brain and it’s invisible. Then we go through the process of turning it visible, which can be a beautiful poem, story, sculpture or a drawing. Everyone can be inspired in a different way.”

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Wind installations

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Th e Royal Dan is h Ac a d e my of Fi n e Ar t s Sch o o l of Arch i te ctu re A kite is a tethered heavier-than-air craft with wing surfaces that react against the air to create lift and drag. A kite consists of wings, tethers and anchors. Kites often have a bridle and tail to guide the face of the kite so the wind can lift it. Some kite designs don’t need a bridle; box kites can have a single attachment point. A kite may have fixed or moving anchors that can balance the kite. One technical definition is that a kite is “a collection of tether-coupled wing sets“. The name derives from its resemblance to a hovering bird.

The lift that sustains the kite in flight is generated when air moves around the kite’s surface, producing low pressure above and high pressure below the wings. The interaction with the wind also generates horizontal drag along the direction of the wind. The resultant force vector from the lift and drag force components is opposed by the tension of one or more of the lines or tethers to which the kite is attached. The anchor point of the kite line may be static or moving (e.g., the towing of a kite by a running person, boat, free-falling anchors as in paragliders and fugitive parakites or vehicle).

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Kites

2019/2020

source: pinterest.com

2019/2020

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The individual elements of Jaschi Klein’s installations are superficially clear and rational, indeed they have a closeness to science. These are, for example, triangles, circles or squares, or even sails, shapes that are often used in science. Even an ensemble consisting of these individual elements still looks in a certain way without life, somehow too ordered , Only the elements bring the ensemble to life and open the view into another world. In this order and disorder at the same time, silence and unrest, light and shadow, drought and wetness. The black-and-white photography reinforces the opposites, but it can also wrap in soft cloth, through which the opposites seem to disappear. The reflections and projections show new dimensions. Jaschi Klein has captured in her books the moment that is special. In what way does the viewer have to fi nd out for himself. The pictures tell stories, and you have to take the time to develop them.

In the 5m high installations, moving objects refer to the elements wind and light. They are integrated into landscapes whose character says nothing about time and culture, so that the objects can unfold their pure message. The superstructures, their own architectures, seem to have captured cosmic sounds At the same time, meteorological phenomena become clear.

The installations have a temporary character in the landscape. They appear and disappear again. The action is focused on the final image.

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http://jaschiklein.com/

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JASCHI KLEIN

2019/2020

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WEATHER WATCHER

2019/2020

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Weather Watcher is an installation and performance work that considers changing human relationships to the weather as both a planetary phenomenon and a deeply local experience. It looks at weather as a complex, nuanced entity—not just empirical measures of temperature and total precipitation but something that’s also about an experience of colour, light, moving water and wind, patterns of sky, animal and human activity.

Until quite recently, weather was a quintessential topic of polite if bland conversation, something both common and innocuous. But we are now surrounded by climate instability, unseasonable patterns and catastrophic weather events and that is no longer the case. Weather, as a topic of conversation has become something ecologically and politically significant. Weather Watcher is based in paying careful attention to the meteorological phenomena that surround us, with a consideration of how our relationship to weather has shifted in this era of global climate change and ever-available digital data, where we are at once hyper-informed about global weather patterns and yet so often disconnected from the way weather plays out in relation to local experiences.

Given that abnormal weather and climate disruptions are difficult to recognize (in the context of everyday life) because weather is a system that is already highly variable by nature, it can be difficult to register the magnitude of climate change within a lived experience of the world.

This project is about taking the time to carefully observe immediate, local weather and paying attention for signs of disruption that connect local to planetary conditions… http://www.lisahirmer.ca/project/weather-watcher/

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https://www.danielburen.com/

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Meaning “The wind blows where it pleases�, Buren used 100 flagpoles with 100 windsocks on the beach of De Haan, Belgium to create the illusion of a forest. Continuing his site-specific works to create a context that helps define the work, this installation like others was meant to be interacted with. One would play around with walking about these poles to see the relationship between an object and its context to create multiple viewpoints and perspectives. In this installation, the work itself which took charge of the winds movement and imposed it on the viewer as the windsocks raised, lowered, and shifted left to right.

DANIEL BUREN

2019/2020

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searching for something to celebrate the arrival of spring, hungarian architecture uncomfortable workshop have developed ‘spring wind’. for the occasion, the collective conceived a standing structure that responds to the movement of the wind – highlighting the natural effects of a sheltered environment. the concept integrates a wooden frame as the structure – with an open-ended textile cover, which reacts to the different intensities of the elements – forming into different organic shapes as the wind interacts with the envelope of the piece. https://www.designboom.com/readers/spring-windhouse/

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SPRING WIND HOUSE

2019/2020

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2019/2020

Hyperbolic Paraboloid

A kinetic shade structure for the new Robert B. Green Clinical Pavilion in San Antonio. Composed of 5029 tilted aluminum vanes that sway in the wind, the artwork seeks to dissolve the boundary between architecture and atmosphere, linking the building to the ever-changing and normally invisible currents of air. Developed in collaboration with Overland Partners and RTKL Architecture. Completed in 2012.

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Installed on the new public plaza between the main terminal and the new hotel and convention center, the artwork consists of 18,500 counter-weighted aluminum elements that sway like tall grasses in the wind. People can walk through the middle of the field of moving “grasses� and also view it from inside the terminal and from hotel windows. The project was realized in collaboration with the architectural firm Gensler and was completed in 2015. Photo by Ryan Gouty / Gensler.

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An array of 9 vertical tubes, each 20-feet tall and spaced 4-feet apart are covered with thousands of thin stainless strips that oscillate in the wind like grasses swaying in a breeze. Each moving element alters the movement of the elements above and below it. The result is that they organize themselves into wave motions evocative of fish fins, manta ray fins, blowing flags and grasses moving in the wind. A collaboration with UAP, completed in 2016.

6 A series of a dozen, 16-foot tall fingers, fabricated out of wood and perforated aluminum. The fingers are counterbalanced so they sway in the wind but return to vertical when at rest

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A wind-animated cube that reveals a “volume� of wind instead of a plane.

The volume of the cube is filled with multiple layers of anodized aluminum vanes that rotate and reveal the ever-changing directions of the wind and alter the light porosity of the artwork. 2005 http://nedkahn.com/

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NED KAHN

Designed in collaboration with architect, Fred Fisher, the artwork consists of a folded square frame that rises up from the roof of the new science building and warps a cable net into the shape of a hyperbolic paraboloid. 1296 wind-animated vanes mounted to the cable net create a dynamic map of the ratio of wind forces to gravitational forces. The structure also serves as a shade for the rooftop gathering space. Completed in 2015.

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ANTHONY HOWE

2019/2020

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The Creators Project linked up with Anthony Howe, an Eastsound, WA-based painter and sculpture artist to highlight his work in the medium of surreal kinetic wind sculpture that are initially designed in 3D software. „I was bored with everything being static in my visual world,” Howe told us.

In other words, he believes sculptures don’t have to be stoic designs that are lifeless. Howe creates art that lives and moves with nature, and his metal cutouts give the impression of dancing, real-world screensavers.

The artist walked us through the workflow of how his pieces go from 3D models that he designs on his desktop to CAD designs made through Rhinoceros 3D. These designs are then laser cut using a plasma cutter before he meticulously crafts the structures using traditional metal work processes.

To make sculptures as hypnotic as Howe, you have to be a somewhat odd fellow and think big, think weird. During our interviews with him, he shared these shaman-esque nodes of wisdom that were too sharp not to include.

Get enlightened by Anthony Howe first with GIFs of his kinetic sculptures, but pair the vortex-like visuals with these quotes about art commerce, creation and innovation. Chanting these quotes to yourselves is encouraged to get the full effect of their transcendence. https://www.vice.com/en_us/article/qkwdgv/anthony-howes-kinetic-wind-sculptures-pulse-and-hypnotize

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https://neonstudio.uk/shiver-house/

SHIVER HOUSE BY NEON

Shiver House is a radical reinvention of the common Finnish Hut (mökki). The project is a kinetic “animal like” structure which moves and adapts in response to surrounding natural forces. The Shiver House is an exploration into the idea that Architecture can be used as a means to create a closer emotional link between its inhabitants and the natural world it sits within. In addition the project explores the idea that Architecture can be made to seem “alive” with the intention that this will engender a deeper and longer lasting emotional relationship between people the structures we inhabit.

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BLOOM

2019/2020

https://www.seeneon.com/topshop-bloom/

https://www.paris-art.com/sculptures-volantes-identifiees/

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“Bloom” is a large scale, kinetic installation created in collaboration with Topshop’s Oxford Circus flagship to herald the start of the Christmas shopping season. The installation was composed of 159 counterweighted petals which gently rose and fell in response to computersequenced pulses from fans positioned below.

2019/2020

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Windswept is a fascinating interactive facade that moves in response to the wind, revealing the exact direction it’s blowing at a specific location. Located on the exterior of the Randall Museum in San Francisco, Charles Sower’s wind-driven kinetic installation is part art and part science experiment. His precision instrument showcases the complex interactions between the wind and the building and gives us insight into something that isn’t normally invisible.

https://www.charlessowers.com/windswept

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Sowers spent a year and a half designing and testing wind arrow designs. He first built a 4′ x 4′ prototype panel fitted with 6 different arrow designs and mounted it on-site for a year of testing. He also mounted a few arrows on the outside of an apartment window at Baker Beach in San Francisco’s Presidio where they were subjected to a year of intense wind and salty air. After determining the best arrow design, they installed the arrows on the 40s era board-formed concrete building. Each anodized aluminum arrow is mounted onto a specially designed bracket off the wall so that wind can interact behind it. Watching the video shows how the installation acts when subjected to wind and the movement of the arrows wind ripples, swirls and gusts against the building is truly mesmerizing. Windswept was commissioned by the San Francisco Arts Commission for permanent installation at the Randall Museum.

WINDSWEPT

Windswept is a wind-driven kinetic facade installed on the exterior of the Randall Museum in San Francisco. Designed by Charles Sowers over the course of a year, the installation seeks to reveal the movement of wind as it interacts with the side of the building. Sowers is interested in creating instrumentation that allows insight into normally invisible or unnoticed phenomena and Windswept is one example of how to make the wind visible, or at least its direction. Each of the 612 freely-rotating directional arrows serve as discreet data points indicating the direction of local flow within the larger phenomenon.

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A DIALOGUE BETWEEN SUN AND WIND

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A dialogue between sun and wind Gazit has been to the Burning Man festival in Nevada eight times, calling it “a fountain of creativity.” He’s built installations on cars and other temporary structures there. In 2012, he wanted to use inflatables to make a connection between science and art. While the black color of the tubes absorbed the heat of the sun, pulling them upwards, the wind inflated them, animating them horizontally. The 150-foot-long tubes floated over festival-goers like two beckoning limbs. Gazit described the end result as “visualizing a dialogue between the elements” of sun and wind. When he sets up his sculptures at Burning Man, attendees gather around him. “Seeing people’s personal experience with the wind, the elements, with Mother Nature — that’s what’s so fascinating and beautiful to me,” he says. “That something so simple can create such a beautiful interaction between human beings and the elements and nature.” https://ideas.ted.com/gallery-buoyant-balloon-art-thatwill-take-your-breath-away/

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https://ideas.ted.com/gallery-buoyant-balloon-art-thatwill-take-your-breath-away/

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To form this “airbow,” Gazit enlisted a group of students to stand on either side of a ravine in the Judaean Desert and hold up tubes of plastic as the wind was blowing. “At that moment, all the elements were like beautiful pieces of the puzzle that fell into the right place. One end of each tube was open, and the wind was inflating and animating them,” he says. Gazit’s installations are typically a collaborative effort. The plastic resin tubes he uses are heavy and cumbersome, especially when they are 300 feet long and must be stretched across a canyon. While relying on serendipity, projects also require some planning. Carefully choosing the right material — he also uses nylon parachute fabric and spinnaker cloth — is necessary since his work depends on the elements. “Sometimes, the wind can be too strong or there’s no wind at all,” he says. “The surface can be too rough and cut the inflatables.” He acknowledges there’s a bit of irony in being an environmental artist who works with plastics, but he tries to be responsible. “I use my plastic resin many times before I send it back to the manufacturer or local recycling centers.”

“AIRBOW”

2019/2020

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https://mymodernmet.com/ illuminated-paper-blowing-in-the-wind/

ILLUMINATED PAPER BLOWING IN THE WIND

2019/2020

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Bourrasque, by London-based designer Paul Cocksedge, is meant to represent a large collection of papers blowing away in the wind.

Made for France’s City of Lyon’s annual Festival of Lights, each sheet of “paper” is made from a special conductive material that lights up when a current is passed through it. All are the exact size of a standard piece of printer paper and were formed by hand to obtain their dynamic shapes. Over 200 sheets make up this installation as it stretches over 80ft in length. Mesmerizing! http://www.howeleryoon.com/work/157/white-noisewhite-light

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http://www.howeleryoon.com/work/157/white-noisewhite-light

WHITE NOISE WHITE LIGHT

Comprised of a 50' x 50' grid of fiber optics and speakers, "White Noise/White Light" is an interactive sound and light field that responds to the movement of people as they walk through it.

What appears at first to be a static, neutral and transparent grid of vertical markers dissolves into a luminous sound-scape by night.

As pedestrians enter into the fiber optic field their presence and movement are traced by each stalk unit, transmitting white light from LEDs and white noise from speakers below.

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Windsock The orange airport wind cone is a simple yet effective tool used by pilots at nearly every airport in the world. Using only a fabric cone, or “sock,� pilots can determine both wind direction and an approximate wind speed. The Federal Aviation Administration (FAA) creates strict standards for the construction and placement of airport windsocks. These standard specifications are maintained in Advisory Circular (AC) 150/5345-27D. International standards vary from U.S. FAA requirements.

Size There are two main types of windsocks, the L-806 and L-807.

The type depends on how the sock is mounted, but their assemblies are similar. Depending on type, the windsock must be either 8 feet in length and 18 inches in diameter, or 12 feet long and 36 inches in diameter. Depending on the type, the windsock is mounted on a pole that is typically 10 to 16 feet high.

https://getawaytips.azcentral.com/airport-windsock-specifications-12503351.html

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WINDSOCK DESIGN

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Environmental Factors The windsock must work in ambient conditions between minus 67 degrees and 131 degrees Fahrenheit. The windsock must be able to withstand wind speeds of up to 75 knots (86 mph). The windsock must move freely when subjected to winds greater than 3 knots (3.5 mph) and must indicate true wind direction +/- 5 degrees. The windsock must extend fully when the wind reaches 15 knots (17 mph).

Lighting There are two types of lighting systems for windsocks. Style I-A uses an external lighting system with lights mounted either on the ground or above the windsock, and must provide at least 2 foot-candles (21.5 lux) of illumination on the extended sock.

Style I-B uses an internal lighting system. It must feature at least two separate lamp bulbs so the windsock is still useful at night in the event of a single burnt bulb. In certain cases, windsocks may be unlit at airports only used during daytime hours. Lighting must be aimed to reduce glare for pilots.

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Image credits: https://piggotts.co.uk/products/windsocks/ safeguard-windsock/

Color and Markings The fabric for the windsock must be made of cotton, a synthetic material or a blend of the two. The fabric must be waterproof or water repellent. The color of the windsock must be white, yellow or orange, although white is uncommon. All exposed metal parts must receive a primer, a body and a finish coat of paint. The final coat of paint must be orange. Ground markings referencing the cardinal directions (North, East, South, West) and 30-degree increments must be painted on the ground for reference.

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Wind Instruments

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ÉTIENNE-JULES MAREY

ht t p : // w w w. b e t t e r p h ot o g ra p hy. i n /p e rs p e c t i ve s / great-masters/etienne-jules-marey/48592/

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MOFFITT

2019/2020

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The Limekiln Grid Credits: Moffitt studio

THE LIMEKILN GRID

2019/2020

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Caption figure 2. Etienne-Jules Marey, photograph of wind tunnel with 57 injectors, without obstacle, 1901. From Georges Didi- Huberman and Laurent Mannoni, Mouvements de l’air, Etienne-Jules Marey, photographe des fluides , (Paris, 2004), plate xii. Collection Cinémath `que fran ̧aise, Paris.

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figure 3. Friedrich Ahlborn, sketch showing stream lines in even (left) and whirling or turbulent (right) flow. Deutsches Museum Archiv, Bildstelle, Munich.

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figure 4. F. N. M. Brown, plate with results of different alignments (0-, 2-, 5-, and 12-grid screens) in wind channel, without obstacle, 1971. From F. N. M. Brown, See the Wind Blow (South Bend, IN, 1971).

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figure 5. Friedrich Ahlborn, ‘‘vortex streets’’ behind a grid (flow straightener), 1931. The plate’s length is 10 cm; the distance between the trails is 2 cm. The white lines are due to a light reflection accompanying the rear end of the single elements of the flow straightener. From Friedrich Ahlborn, ‘‘U ̈ ber theoretische und natu ̈ rliche Str ̈mungen,’’ Flugwesen 10, no. 1 (1930): 5, fig. 8.

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figure 8. Etienne-Jules Marey, ''Chronophotography, Station Physiologique, Physique et Mechanique,'' 1900, poster for the World's Fair, Musée Marey, Beaune, France. Etienne-Jules Marey, Physique et M ´ ecanique, chronophotographies, ensemble monté pour l'Exposition Universelle de 1900, Dépôt du Collège de France en 1955, Musée Marey, Beaune, France. Photo: J.-D. Lajoux.

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figure 9. Etienne-Jules Marey, photograph of wind tunnel, with 57 injectors, with shutter function, 1901. From Georges Didi-Huberman, Laurent Mannoni, Mouvements de l’air, Etienne-Jules Marey, photographe des fluides (Paris, 2004), plate xxix. Collection Cinémath `que fran ̧aise, Paris.

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figure 10. Etienne-Jules Marey, chronophotograph showing the movement of pearls in a liquid meeting a flat obstacle, 1893. From E.-J. Marey, 1830/ 1904: La Photographie du Mouvement (Paris, 1977), 54. Collection Cinémath `que fran ̧aise, Paris.

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figure 13. See fig. 9, reworked by the author.

Collection Cinémath `que fran ̧aise, Paris.

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SheerWind’s mission is to provide sustainable, affordable, electrical energy to anyone, anywhere. SheerWind’s INVELOX™ system (named for INcreased VELocity) is a cost effective, high performance electrical energy generation system. The funnel shaped shroud system captures wind to deliver it to ground-level turbines for secure, efficient and cost-effective operation. With no harm to humans or wildlife, it requires less maintenance, and produces more electricity per dollar than conventional systems. INVELOX is a simplified system requiring much smaller blades and far fewer electro-mechanical sub-systems. Placing 75% smaller blades in a shroud or Venturi section eliminates dangerous low frequency noise, vibration and flicker issues associated with conventional wind systems.

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INVELOX

SheerWind’s technology was successfully adapted and installed at the very low wind, bird and wildlife sanctuary: The Nature Conservancy’s Palmyra Atoll. Located 1,000 miles south of Hawaii in the Pacific, a goal of 95% renewable energy use for the remote research station was set. INVELOX was the only viable wind solution for the location. Traditional turbines could harm the protected wildlife and simply would not produce power due to the low wind speeds and challenging conditions. By speeding up the wind, SheerWind’s INVELOX is successfully charging batteries at the very remote Palmyra Atoll location. http://wdo.org/site-project/invelox/

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https://www.smoutallen.com/envirographic-instruments

SMOUT ALLEN

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POD (WIND ARRAY CASCADE MACHINE)

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POD represents the fields of wheat found in the Saskatchewan prairies. It was created using data from the Wind Array Cascade Machine (WACM) sensor network and data archive. This 64-channel installation uses 2,880 light emitting diodes (LEDs) to portray a 4-dimensional picture of the wind wave patterns (3D plus time) The POD installation is 3 metres by 3 meters across, and 1,75 metres tall (eye level).

Each of the 64 LED “pods” functions like a velocity or amplitude meter for each of the 64 wind sensors in the WACM data network. As the amplitude or strength of the wind increases (or decreases) from the WACM data so does the light level of POD‘s LED clusters from low (dark green) to high (red) in 15 visual increments.

We all normally think of the wind as sound, but wind is not actually heard. We only hear the objects the wind touches (including our ears). By changing wind patterns into light, the silent wave patterns presented by POD become a catalyst for synesthetic observation, where many who have watched POD have also said they have heard it

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The system has already spawned an installation, Pod, presented at the Mois Multi 2003 in Quebec City, as well as at the Subtle Technologies conference (2003) at the Interaccess centre in Toronto. During these two presentations, the sensing device was placed on the roof of the Méduse complex in Quebec City, and the data transmitted by the network were used to control a series of corresponding light emitting diodes (LEDs) placed on long vertical rods in an exhibition space. Installed for a full year (2004-2005) on the roof of the Ex-Centris complex in Montreal, WACM powered the August 2004 Pod presentation at the Kiasma Museum of Contemporary Art in Helsinki, Finland, as part of ISEA 2004, as well as its presentation at Oboro in Montreal in November and December of the same year. The resulting luminous installation evoked a windswept field of wheat, thereby creating a visual analogy to express a natural phenomenon that is hard to perceive.

This system is similar to other devices created by artists integrating natural elements (for example, the wind and sun) into kinetic art. Yet Pod differs from this work in that the wind isn’t used for its energy potential but rather because it describes a space by occupying and modifying it. Such projects are motivated by a fascination for natural phenomena, a desire to incorporate them into the creative process in order to link us to nature in technological contexts that sometimes exclude us and tend to distance us from our own organic condition.

In addition, Heimbecker is working on the project Si(g)n(e), a sound installation using the same system. To carry out this project, the artist is designing a sine wave generator with 64 channels, which will be controlled by a programming environment linked to a corresponding multi-channel sound system. The technology is being developed within a residency in cybernetic art at Vidéographe thanks to a program funded by the Foundation (2). Si(g)n(e) harks back to the many sound portraits of outdoor spaces produced by Heimbecker in the past. http://www.steveheimbecker.net/

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The data generated by the WACM, when it was located on rooftops in Québec City and Montréal QC from 2003 to 2005, was digitally recorded and archived, like a film or photograph. Originally, the WACM data was streamed from Québec City’s rooftops in real time over the WWW to the 64-channel light installation POD (2003) while being exhibited in parts of Canada or Europe. This achievement, in 2003 makes the WACM / POD combination, a rare technological example of synchronized multi-channel data streaming, as the wind in Québec was being transported instantaneously thousands of kilometres away and reformed for the public.

Several installations were created for the WACM data set, compositions, and presentation systems including: POD (2003), Signe v1 (2005), Paravent (2006), the Synae Screen (2006), Turbulence Sound Matrix (2008) and Signe (2008).

http://www.asquare.org/networkresearch/2009/podwind-array-cascade-machine

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WIND ARRAY CASCADE MACHINE

The 2-metre tall “wheat stock” sensor units record the velocity (amplitude) of the wind by measuring the tilt of the sensor as affected by the force of the changing flow of the wind. While data collected by each sensor is relatively simple, wave complexity is formed by the entire 10 metre x 10 metre, 64-channel grid network. These wave patterns represent the movement of sound (sine) waves in space, including the effect of architecture space that sound waves exist in. This is the beginning conceptual formulation of Wind Space Architecture.

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The Wind Array Cascade Machine (WACM), 2003, is a 64-channel sensor network designed to capture in real time the kinetic wave patterns of the wind across a horizontal surface analogous to the wind patterns observed blowing across a prairie field of wheat or grain.

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https://www.quora.com/Why-is-the-wind-blowing-direction-checked-by-many-companies

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https://patentyogi.com/american-inventor/did-you-knowthat-the-white-and-orange-strips-on-windsocks-arenot-for-decoration-they-actually-indicate-relative-windspeeds/

AIRPORT WINDSOCK SPECIFICATIONS

https://www.quora.com/Why-is-the-wind-blowing-direction-checked-by-many-companies

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Venturi effect The Venturi effect is the reduction in fluid pressure that results when a fluid flows through a constricted section (or choke) of a pipe. The Venturi effect is named after Giovanni Battista Venturi (1746–1822), an Italian physicist.

A pair of venturi tubes on a light aircraft, used to provide airflow for air-driven gyroscopic instruments Background In fluid dynamics, an incompressible fluid’s velocity must increase as it passes through a constriction in accord with the principle of mass continuity, while its static pressure must decrease in accord with the principle of conservation of mechanical energy (Bernoulli’s principle). Thus, any gain in kinetic energy a fluid may attain due to its increased velocity through a constriction is balanced by a drop in pressure.

By measuring the change in pressure, the flow rate can be determined, as in various flow measurement devices such as venturi meters, venturi nozzles and orifice plates.

Referring to the adjacent diagram, using Bernoulli’s equation in the special case of steady, incompressible, inviscid flows (such as the flow of water or other liquid, or low speed flow of gas) along a streamline, the theoretical pressure drop at the constriction is given by: https://en.wikipedia.org/wiki/Venturi_effect

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Choked flow The limiting case of the Venturi effect is when a fluid reaches the state of choked flow, where the fluid velocity approaches the local speed of sound. When a fluid system is in a state of choked flow, a further decrease in the downstream pressure environment will not lead to an increase in the mass flow rate. However, mass flow rate for a compressible fluid will increase with increased upstream pressure, which will increase the density of the fluid through the constriction (though the velocity will remain constant). This is the principle of operation of a de Laval nozzle. Increasing source temperature will also increase the local sonic velocity, thus allowing for increased mass flow rate but only if the nozzle area is also increased to compensate for the resulting decrease in density.

Expansion of the section The Bernoulli equation is invertible, and pressure should rise when a fluid slows down. Nevertheless, if there is an expansion of the tube section, turbulence will appear and the theorem will not hold. Notice that in all experimental Venturi tubes, the pressure in the entrance is compared to the pressure in the middle section. The output section is never compared with them.

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Experimental apparatus

Venturi tubes are used in processes where permanent pressure loss is not tolerable and where maximum accuracy is needed in case of highly viscous liquids.[citation needed] Orifice plate Venturi tubes are more expensive to construct than simple orifice plates, and both function on the same basic principle.

However, for any given differential pressure, orifice plates cause significantly more permanent energy loss.[2

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A pair of venturi tubes on a light aircraft, used to provide airflow for air-driven gyroscopic instruments Venturi tubes The simplest apparatus is a tubular setup known as a Venturi tube or simply a venturi (plural: “venturis” or occasionally “venturies”). Fluid flows through a length of pipe of varying diameter. To avoid undue aerodynamic drag, a Venturi tube typically has an entry cone of 30 degrees and an exit cone of 5 degrees.[1]

VENTURI EFFECT

Venturi tube demonstration apparatus built out of PVC pipe and operated with a vacuum pump

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THE ECO COOLER

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Ashis Paul developed a clever DIY cooling system that doesn’t need any electricity and is built from a common waste item: empty plastic soda bottles. In just three months, Paul’s company has helped install its smart powerless air conditioners, called Eco Coolers, in 25,000 households, with many more still ahead.

The Eco Cooler is reportedly the world’s first-ever ‘zero electricity’ air conditioner, and its inventor wanted to get the concept out there to help as many people as possible. The Grey Group stepped in to help, using its position as a multinational advertising firm to put the plans online, at no cost, so that anyone can build their own Eco Cooler system. Volunteers from Grameen Intel Social Business helped build and install the units, as well as teach locals how to make them, so the wisdom can be passed on. https://inhabitat.com/this-amazing-bangladeshi-air-cooleris-made-from-plastic-bottles-and-uses-no-electricity/

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It allows for an ultra low maintenance, sustainable and inexpensive alternative using the porus terracotta as a heat exchange medium tapping on to cooling properties of water, converting the hot air from the gen-sets into a pleasant breeze. https://www.archdaily.com/878851/this-innovative-cooling-installation-fight-the-soaring-temperatures-at-the-borders-of-delhi/59a86235b22e38287b000 462-this-innovative-cooling-installation-fight-the-soaringtemperatures-at-the-borders-of-delhi-photo

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The team found the answer to this challenge in a traditional technique and ancient wisdom -Evaporative Cooling– reducing the temperatures using water and some local material- A wisdom that traces back to the Egyptian period.

COOLANT NATURAL AIR COOLER

This installation is a bespoke attempt to simplify and reinterpret the concept of air-conditioning, understanding that standardized solutions may not be universally applicable given the constraints of cost and surrounding environment. Using computational technologies, the team at Ant Studio has reinterpreted traditional evaporative cooling techniques to build a prototype of cylindrical clay cones, each with a custom design and size.

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CON TE X T

HEADS A series of four works at the beach of Hoek van Holland.

Overviewing the harbour of Rotterdam.

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Challenges for Antofagasta, Chile

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Urban Sustainability in Arid Climates:

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of Vertical Growth in Antofagasta Midtown

Urban Simulation and Environmental Evaluation

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What are arid environments?

Arid environments are characterised by a natural scarcity of fresh water and precipitation. Currently, arid environments cover over 30% of the world’s land surface, a percentage that is set to increase with climate change in the coming century.

Cities in these regions face complex challenges such as water scarcity, inadequate infrastructure, rapidly growing populations, and impacts on public health from the effects of urban heat islands.

Aridity is the result of the complex interplay between climate and geography, found in parts of the world where dry, descending air is prevalent, such as the subtopics. Arid zones are also found on the sheltered sides of major mountain ranges where ‘rain shadows’ are created, such as the Andes, and on dramatically-heated land surfaces far from major water bodies, such as inland Australia.

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In the context of Cities Alive, arid environments should not fall under the restrictive term ‘deserts’ — technically speaking, most of the interior of Iceland, with its severe cold and wet climate, is uninhabitable volcanic desert.

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Although arid environments have typical characteristics, they can be very diverse in character and are often defined by the specific interplay of temperature (hot and cold) and rainfall.

They have different flora and fauna, geography and geology, resulting in different forms of human settlement.

Broadly speaking, arid environments can be subdivided into three zones: hyper-arid, arid and semi-arid.

Hyper-arid zones cover over 4% of the earth’s surface, arid zones just under 15%, and semi-arid zones around 12%. Together, these account for almost a third of the planet’s total land surface, which is likely to increase with climate change.

tially due to the challenging arid conditions, innovative irrigation, farming and building techniques adapted to the local climate and seasonal rains made this region hospitable for long term settlement.

The size and shape of arid cities has always been driven by environmental constraints such as the ability to manage fresh water resources for food production and public health. However, over the last 60 to 70 years, technological advances in water management, logistics and transportation systems, and crucially, airconditioning, have allowed arid cities to grow exponentially.

Today, the Arabian Gulf region and the American south-west are home to a number of cities that, up until a century ago, had no capability to support millions of inhabitants. Cities like Las Vegas and Abu Dhabi could not support current population levels without innovations such as desalination technology, access to global food supply chains, climate controlled buildings, personal cars, and complex engineering projects such as the Hoover dam and Umm Al Nar power and desalination plant.

The drawback is that many of the same technological innovations that have enabled explosive growth and dramatic increases in quality of life are unsustainable and have resulted in new environmental challenges. These include climate change, desertification and degraded local habitats, water scarcity, public health issues related to air pollution and urban heat islands.

These challenges underscore the need to radically rethink the way cities in arid environments are planned and designed in the 21st century.

In arid environments, cities have stood at the forefront of urban innovation for millennia. The earliest urban settlements emerged between 4500 and 3500 BCE on the alluvial plains between the Tigris and Euphrates rivers. Despite, or poten-

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Hyper-arid zones comprise extremely dry land,

100mm

almost zones devoid of vegetation, from a few Hyper-arid comprise extremelyapart dry land, scattered shrubs.

Annual low, rarely almost devoid of vegetation, apartrainfall from a is few exceeding and irregular, sometime absent scattered shrubs.100mm, Annual rainfall is low, rarely for years.

Traditional human habitation is nomadic exceeding 100mm, and irregular, sometime absent withhuman no form of continuous for pastoralism, years. Traditional habitation is nomadicsettlement. pastoralism, with no form of continuous settlement.

precipitation

Arid zones are varied landscapes, planted with sparse

Arid zones vegetation, are varied landscapes, planted with native such as annual and sparse perennial grasses, native vegetation, such as annual and perennial grasses, shrubs and small trees.

Rainfall varies in regularity shrubs smallfrom trees.200mm Rainfall varies in regularity andand ranges to 300mm per annum. Human andhabitation ranges fromis200mm to 300mmby perpastoralism annum. Human characterised and limited habitation is characterised by pastoralism and limited settlement, historically linked to irrigated farming land. settlement, historically linked to irrigated farming land.

300mm

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This report is the product of collaboration between Arup’s Middle East Planning Team, and specialist planners, designers and engineers from across our global offices. The report has been guided by Arup’s Foresight + Research + Innovation team and their extensive experience. We are also grateful for the expert contributions from a range of external commentators

Semi-arid zones have no typical land form, native

Semi-arid zones have no typical land form, native vegetation includes a variety of species, such as grasses vegetation includes a variety of species, such as grasses and grass-like plants, half-shrubs, shrubs and trees. and grass-like plants, half-shrubs, shrubs and trees.

Annual rainfall is more regular, reaching up to 900mm.

Annual rainfall is more regular, reaching up to 900mm.

This level of precipitation is able to support sustained This level of precipitation is able to support sustained agriculture and therefore substantial urban development. agriculture and therefore substantial urban development.

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Cities in arid environments?

Hyper-arid, arid and semi-arid zones cover currently over 30% of the earth’s land surface and are home to more than a third of the world’s population. With climate change predicted to result in net global temperature increases in the coming century, arid zones are also expected to expand.

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Already vulnerable to water scarcity, the impacts of climate change are expected to be more severe in arid regions than in other parts of the world. Climate change will disrupt the frequency and intensity of rainfall in arid regions, with some areas seeing less overall precipitation and mothers experiencing more unpredictable rainfall patterns.

The effects of climate change are already starting to be felt.

In the United States, scientists have recorded that flora and fauna are creeping northward at an average rate of 3 miles per year due to the warming temperatures. In Australia, cities like Adelaide in the southern and eastern parts of the country experienced a crippling drought that lasted nearly a decade from 2001 to 2009.

These changes are putting additional stresses on infrastructure and water management systems, compromising food production, putting people’s lives at risk and destabilising national economies. At the global level, the cost in terms of lost GDP from the impacts of climate change have been estimated to be US$44 trillion dollars by the year 2060.6 Adding to this challenge, cities in arid environments are expected to experience the highest rates of natural population growth and urbanisation in the coming century. These future arid mega cities in underdeveloped areas such as the Sahel zone will need tailored responses to help them address challenges.

If status quo is to continue, it will result in cities that produce larger amounts of pollution and create waste heat from human activity. Such unsustainable cities would place increased demands on precious water resources and create less liveable cities.

The case for taking action to mitigate against and adapt to the impacts of climate change in arid regions appears a straightforward choice to make. However, for arid cities that have mushroomed over the last sixty years, current infrastructure and city making methods are not explicitly designed to meet this challenge.

arid regions, has helped fuel unsustainable urban development in formerly inhospitable environments.

Nowhere is this more evident than in cities of the Arabian Gulf like Dubai, where the combination of cheap land and connections to global transport and utility networks established since the 1980s has sparked rampant urbanisation on an unprecedented scale. Another important, if under looked, which has made formerly inhospitably hot regions around the world liveable. It would be unfathomable to think of Dubai or any other large arid city playing host to corporate head offices or glass skyscrapers without air conditioning.

The result of this globalised city making paradigm are arid cities that are sprawling, standardised and enabled by unsustainable infrastructure that are not responsive to local climatic conditions. Great swaths of cities as disparate as Doha, Phoenix and Ürümqi have similar skylines, share the architectural styles and infrastructural systems as cities in more temperate and northern climates.

This one-size-fits all approach to city making creates urban environments that are not only homogenous and poorly adapted to local conditions, they are unhealthy for people and the environment.

The use of heat-trapping building materials such as glass, steel, concrete and asphalt exacerbate the urban heat island effect, trapping atmospheric pollutants and damaging public health. The scarcity of water, and sometimes high temperatures, is also a ready-made excuse to not provide citizens with the quality public realm they would find elsewhere.

Taken altogether, the challenges facing cities in arid environments constitute a crisis that needs addressing. A rethink of arid city components, from entire neighbourhoods to individual buildings, squares and streets, will require new planning strategies, design approaches and changes to individuals’ behaviours and attitudes. This report outlines strategies for moving forward.

Many cities in arid regions lack infrastructure that is regionally specific and locally adapted to meet the specific needs of the local environment, let alone the challenges of a changing climate. This is because many cities in arid regions were planned and designed based on a global city making paradigm established back in the 1950s.

This global paradigm, based on car-centric design, separated land uses, speculative development and homogenised design has resulted in sprawling arid cities. The availability of vast tracts of cheap land, or land with limited economic value in

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Thought process PERTINENT TRENDS

THEMED WORKSHOPS

SOCIAL TRENDS Urban migration Household patterns Digital lifestyles Community cohesion Wellbeing Sustainable behaviours

TECHNOLOGICAL TRENDS

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Smart infrastructure Energy efficiency System integration Autonomous vehicles Intelligent buildings Small-scale solutions Digital modelling

URBAN RESILIENCE

PRECIOUS WATER

ECONOMIC TRENDS Regional connectivity User centricity City resilience Urban regeneration Sharing economy Self-sufficiency

ENVIRONMENTAL TRENDS Decarbonisation Water management Green infrastruture Extreme weather Environmental pollution Urban sprawl Heat stress Non-motorized transport Sea-level rise

PUBLIC SPACE

CITY GOVERNANCE

RESOURCE EFFICIENCY

POLITICAL TRENDS Collective consciousness Public opinion System interdependence Subsidies Building standards Public space

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THREE SCALES OF EXPLORATION

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POSSIBLE ACTIONS Preventing urban sprawl Aquifer recharge Attitudes to recycled water Active lifestyles Policy and fiscal incentives Development densities

CITIES

Green investments

Vegetative barriers

Decentralised infrastructure

Climate-informed design

Groundwater management

Irrigation and sustainable groundwater management

Social interaction

Combating desertification

Improved air quality

Improving quality of life

Civic pride Designing for walking

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Future-proofing mobility Efficient irrigation Nocturnal lighting

SPACES Promoting walkability in arid cities

Xeriscaped landscapes

Sustainable urban drainage

Having fun

Community value of public space

Sustainable drainage

Xeriscape

Inclusive spaces

Lighting arid cities at night

Permeable pavements Addressing intrusion Productive landscapes Complete streets Responsive building faรงades

BUILDINGS

Biodiversity

Buildings cooling the city Vertical gardens and green walls

Localised vernacular

Green, blue and xeriscape roofs

Microclimate

Recycling water from buildings

Dew harvesting Greening buildings Building orientation Green and blue roofs Indoor-outdoor spaces Innovation in cooling Recycling water Low-tech innovation

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Fog and dew harvesting

CH A N N EL I N G TH E WI N D Pro j e c t

Th e Royal Dan is h Ac a d e my of Fi n e Ar t s Sch o o l of Arch i te ctu re

What are Urban Heat Islands? “The world is warming and more people live in cities than ever before.

While these two facts might seem unrelated, they have an important connection due to a phenomenon called the Urban Heat Island.� 10 Met Office, UK

2019/2020

When cities exhibit higher temperatures than the rural areas that surround them, particularly at night, this is known as the Urban Heat Island (UHI) effect. The phenomenon is the result of a combination of factors, primarily heat generated from large swathes of impermeable and nonreflective surfaces, such as asphalt and concrete, that absorb and store heat.

Additional heat is generated by urban activities, such as combustion engines in vehicles, and exacerbated by the way cities are planned and developed. There is a direct correlation between UHI and population densities.11

heat islands through the design of the built environment, both in new developments or regeneration projects.

Simple and well-established practices include measures to minimise hardscape and incorporate more natural and permeable surfaces. Green roofs and walls, porous paving, and switching the orientation of buildings, or better yet entire city grids, can reduce the amount of heat absorbed

Cities in arid environments suffer from the effects of UHIs, with negative impacts on the environment, people and economies.

Heat islands are known to increase water use and energy consumption through increased demand on air conditioning, increasing air pollution and impacting public health and quality of life.12 Heatrelated illnesses and mortality are of particular concern for vulnerable groups such as children and the elderly.

There are methods to mitigate the impact of

Materials for Radiative Cooling: A Review

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New technologies offer innovative approaches to city cooling. For example, scientists have developed a costeffective radiative film, applied to the outside of buildings, that reflects heat from surfaces and reduces internal temperatures. Trials showed it was capable of reducing the internal temperature to 20 degrees Celsius, when it was 37 degrees Celsius outside.13 The roll out of driverless electric cars and other automated vehicles could help reduce the occurrence of UHIs, thanks to their improved manoeuvrability and lower heat emissions. Such vehicles could enable the design of

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What are Urban Heat Islands?

Beyond best practices, which are subject to change as technologies and circumstances evolve, the report proposes three guiding principles to inform the future of city making in arid regions.

Learn from the past and build on locally adapted

Learn from the past and build on locally adapted climate-specific design solutions. climate-specific design solutions.

City making in arid environments needs to be City making in arid environments needs to be adapted to meet the specific requirements of the local adapted to meet the specific requirements of the local climate, while planning for future climate changes. climate, while planning futurefrom climate A great deal can be for learned the changes. traditional A great deal can be learned from the environments, traditional architectural vernacular of arid which architectural arid environments, which has often vernacular evolved inof response to local conditions. has often evolved in response to local conditions.

Invest in green and blue infrastructure that is

Invest in greentoand bluewith infrastructure that is designed work local environmental and designed to work with local environmental and ecological systems.

The integration ecological systems. of green and blue infrastructure urban design can create healthier more socially Theinto integration of green and blue infrastructure and biodiverse urban environments intocohesive urban design can create healthier more sociallywith built-in against climate cohesive andresilience biodiversemeasures urban environments withchange in the form ofmeasures storm, flood, heat drought and built-in resilience against climate change pollution in the form of protection. storm, flood, heat drought and pollution protection.

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Design intelligent buildings and public spaces that can meet the needs of people in changing climate.

Design intelligent buildings and public spaces that Technologies such as data monitoring, internet of can meet the needs of people in changing climate. things, and networked devices can help optimise the Technologies such as data monitoring, internet of performance of buildings and public spaces. These things, and networked devices can help optimise the technologies can also help city makers achieve performance of buildings and public spaces. These energy efficiencies and provide intelligent insights technologies can also help city makers achieve into use and function to inform future designs. energy efficiencies and provide intelligent insights into use and function to inform future designs.

Extreme arid environments place severe limitations on ambitions, which good design practice Learning from the past,design investing in greeninand bluecase infrastructure and alone will not guarantee tolerable yearembracing new technologies can help cities in arid regionsconditions design more round. future.

Active Being systems, such as mechanical cooling air responsively for an uncertain responsive to climate change systems water features, consume and water, and planning for its effects is notand only needed to preserve the energy wellbeing of people and the environment, it also makes economicand sense. and should be used cautiously positioned where for maximum effect in key arid city locations.

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It is worth remembering that intermediate design options exist, between purely passive measures, like solar shading, and purely active measures. For example, there may be potential to create semi air-conditioned spaces, for the external design. Alternatively, public spaces could utilise space within some buildings to mutually gain the benefit of air conditioning through the space. This approach would provide valuable areas of respite within the public realm within hot arid cities that positively utilise existing cooling systems.

S Thermal analysis

S Wind speed analysis

Climate change is expected to make arid environments hotter and drier in the future and some headlinegrabbing research has stirred up concern.22 Good design can make a profound difference to in our efforts to meet the challenges, especially when greater emphasis is placed on low energy and water efficient strategies.

S Thermal image to assess existing condition

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https://grimstad.uia.no/puls/climatechange/nng01/05nng01a.htm