As part of the Global Institute of Sustainable Forestry's "Art of Wood" event series made possible by funding from the Ball Foundation, visiting architects Michael Green and Andrew Waugh presented the latest in timber-based architecture and design. Andrew Waugh presents Waugh Thistleton's 9 storey building made from cross-laminated timber (CLT). Waugh and Green also talk about their new project: Finding the Forest Through the Trees (FFTT). The FFTT project is an innovative, open source plan for building tall wood buildings through a "strong column-weak beam" balloon-frame approach that uses large format mass timber panels for vertical structure.
These are highlights from the Global Institute of Sustainable Forestry's "Art of Wood" event series made possible by funding from the Ball Foundation, visiting architects Michael Green and Andrew Waugh presented the latest in timber-based architecture and design. Andrew Waugh presents Waugh Thistleton's 9 storey building made from cross-laminated timber (CLT). Waugh and Green also talk about their new project: Finding the Forest Through the Trees (FFTT). The FFTT project is an innovative, open source plan for building tall wood buildings through a "strong column-weak beam" balloon-frame approach that uses large format mass timber panels for vertical structure.
For the full lecture, please see our video: http://youtu.be/O4XLRLY29iw
Building a skyscraper? Forget about steel and concrete, says architect Michael Green, and build it out of ... wood. As he details in this intriguing talk, it's not only possible to build safe wooden structures up to 30 stories tall (and, he hopes, higher), it's necessary.
TEDTalks is a daily video podcast of the best talks and performances from the TED Conference, where the world's leading thinkers and doers are invited to give the talk of their lives in 18 minutes -- including speakers such as Jill Bolte Taylor, Sir Ken Robinson, Hans Rosling, Al Gore and Arthur Benjamin. TED stands for Technology, Entertainment, and Design, and TEDTalks cover these topics as well as science, business, politics and the arts.
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The Tohoku earthquake and tsunami shattered coastal cities in Japan in 2011. Kengo Kuma, taking as a point of departure his experiences in the aftermath of that natural disaster, will examine humans’ relationship with nature, questioning the perceived strength of steel and concrete and proposing the reintroduction of wood in design as a fair and practical mediator between humans and nature.
Born in Tokyo, Kuma completed his master’s degree at the University of Tokyo in 1979 and spent time as a visiting scholar at Columbia University before establishing Kengo Kuma & Associates in 1990. Among his many works, recent projects include the Yusuhara Wooden Bridge Museum (2010), which won the 2011 The Minister of Education, Culture, Sports, Science and Technology’s Art Encouragement Prize; the Asakusa Culture and Tourism Center (2012), Nagaoka City Hall Aore (2012), and Ginza Kabukiza (2013). Two of his buildings outside Japan are the Besancon Arts and Culture Center and FRAC Marseilles and Aix-en-Provence Conservatory of Music (both 2013). The firm currently has some one hundred projects ongoing in Europe, the U.S., Japan, China, and elsewhere in Asia. One of the most high-profile of these is the new national stadium for the 2020 Tokyo Olympics.
Since 2009, Kuma has been a professor at the Graduate School of Architecture, University of Tokyo. He has also written more than a dozen books—including Anti-Object (2013)—which have been published not only in Japanese but frequently in English, Chinese, and Korean, earning him a readership in many parts of the world. Kuma is an International Fellow of the Royal Institute of British Architects, an honorary fellow of the American Institute of Architects, and, as of 2009, an Officier de L’Ordre des Arts et des Lettres in France.
The design and structural craft of building with wood in America is finally changing - for the better. Innovations in the timber industry and the rise of cross-laminated timber (CLT)* are forcing Oregonians sitting on the richest sustainable resource, the Douglas Fir, to rethink how to harvest, sustain and reshape the future.
*Cross-laminated timber is a wood panel typically consisting of three, five, or seven layers of dimension lumber oriented at right angles to one another and then glued to form structural panels with exceptional strength, dimensional stability, and rigidity.
Ben owns both the Kaiser Group, Inc., which is committed to commercial and residential construction, and PATH Architecture, Inc., which offers the highest level of conceptual design and timeless modern works of architectural beauty. Kaiser recently concluded an 8-year term on the Portland Design Commission, which is tasked with overseeing the constant zoning, design and planning within the City of Roses. He is currently developing the tallest engineered timber building in the United States - Carbon 12.
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Inside the Wood Pavilion at this year’s AIA Convention, we had the chance to chat with Benton Johnson of Skidmore, Owings & Merrill (SOM) about SOM’s research on using wood for highrise buildings. Although wood is a sustainable and efficient material, it hasn’t entered the world of skyscraper construction yet. However, through their Timber Tower Research Project, SOM has come up with a structural system for skyscrapers that uses mass timber as the main structural material and consequently minimizes the building’s carbon footprint.
“Architects should focus on using wood for these types of structures because we do think of it as the way of the future. Energy and resources are just going to become more and more important going forward, and mass timber technology has no way to go but up,” Johnson explains.
The Five Thousand Pound Life: Land
Session Two: Density
Recorded September 26, 2014
The Five Thousand Pound Life: Land was a symposium on rethinking land and its value in light of climate change organized by The Architectural League and co-sponsored by The Cooper Union Institute for Sustainable Design in September 2014.
Participants in the Density panel drew on their backgrounds in architecture, landscape architecture, geography, city planning, and urban theory to discuss the value of density and the forms that it takes — or should take — to mitigate ecological impact.
Albert Pope urges us to “be in panic mode” in response to climate change, arguing that the implications of climate science need to be taken on as a cultural problem and “issue of urban reform.” With 75 percent of our built environment now spine-based, rather than grid-based, urbanism, he insists that designers need to leave affinity for the grid behind and begin responding to the non-walkable “cul-de-sac world” that predominates today. His research into the potential of spine-based neighborhoods shows that Hong Kong has by far the lowest per capita energy consumption of any modern city, particularly in newer portions of the city built following Radiant City planning principles. He concludes by presenting his design proposal to reimagine the Fifth Ward in Houston as a dense, carbon neutral neighborhood with open spaces for carbon sequestration and high-rise housing units built from emerging wood technologies.
Albert Pope is the Gus Sessions Wortham Professor of Architecture at Rice University. He is the author of Ladders (1997) and numerous articles concerning the broad implications of post-war urban development.
The Five Thousand Pound Life (5KL) is an initiative of The Architectural League on new ways of thinking, talking, and acting on architecture, climate change, and our economic future.
Client: People's Government of Sidu Village, Songyang County
Structure System: Timber Structure
Gross Floor Area: 307.7m2
The village of Pingtian is situated on a mountain ridge and consists mostly of rammed earth structures with traditional wood construction on the inside. The houses are grouped organically along the topography and can be accessed on foot by means of stairs and very narrow alleys.
For the programme of an exhibition about traditional agricultural equipment and a handcraft centre, the architect Xu Tiantian proposed repairing parts of one group of buildings and organizing other parts so that the old building substance satisfies contemporary requirements through gaining new amenities. The L-shaped exhibition spaces for agricultural equipment on the bottom level can be accessed from two sides. The exhibition space situated on the upper storey can be accessed from the higher-lying alley at the back and is also connected with the building situated next to it, which young designers use as a workshop for indigo dye. The workshop building was created from two identical houses standing close together, which are now connected by means of a newly installed skylight. Two space units available for rent were created on the top storey, from where the eye can wander over the village and landscape.
The handling of existing structures, which was new for the local craftspeople, provoked resistance that had to be overcome in arduous discourse. In many cases, expectations in the village with respect to new materials and new forms of expression—frequently from the urban context—have resulted in the destruction of the historically matured culture of form and material. In the case of this example in Pingtian, the architect succeeded in persuading the local population that, using local means, it is possible to come up with a contemporary solution that both takes their needs into account and preserves the identity of the village as well.
Part of "Rural Moves – The Songyang Story, Xu Tiantian, DnA_Design and Architecture, Beijing" exhibited at the AEDES Forum, Berlin.
Herwig Baumgartner introduces Jun Sato, currently conducting a workshop at SCI-Arc with Elena Manferdini’s design studio, noting his parallel professional work at Jun Sato Structural Engineers, and his research work at the Jun Sato Laboratory, University of Tokyo.
Jun Sato characterizes his interest in engineering structures with slender elements as derived from nature, especially the effect captured by the term komorebi (sunlight filtering through leaves).
He describes a series of collaborations with architects, including
•Park Groot Vijversburg, Netherlands visitor center, with architect Junya Ishigami (2017)
•Extreme Nature greenhouses for the Venice Biennale, Junha Ishigami (2008)
•Kawatana Onsen Community Center, Shimonoseki, Japan, with Kengo Kuma (2010)
•Cloud Arch , Sydney, with Junya Ishigami (2019)
•House NA, Tokyo, Japan, with Sou Fujimoto (2010)
•New Hakushima Station, Hiroshima, Japan, with Kazuhiro Kojima / Cat (2015)
Sato discusses a series of projects with Kengo Kuma employing modified traditional kigumi woodworking techniques: Prostho Museum Research Center (2010), Sunny Hills in Aoyama Tokyo (2013), and Carved Tower, Vancouver (2017).
Sato describes his research projects at various universities in terms of effects found in nature. Not only komorebi, but also sazanami (ocean ripples within the total seascape), and seseragi (quiet river stream in a natural setting). He attempts to reproduce these effects using spectrum analysis and optimization software he has developed. He describes workshops including:
•Nebuta tree house, University of Tokno (2015) lightweight structure of washi paper and steel string
•Transparent structure as perceptual filter, Stanford (2015) with high strength glass panels
•Komorebi Pavilion, Harvard (2017)
Hernan Diaz Alonso introduces the panelists.
Achim Menges discusses his research in design computing synthesized with physical materialization. By embedding the physical properties of a material into generative design codes, and linking that to the possibilities and constraints of contemporary manufacturing processes, Menges demonstrates the efficiencies and performative advantages of wood as compared to composites.
Andreas Froech of Machineous discusses his company’s use of automotive robots in the digital fabrication of architecture and furniture. Froech presents multiple projects including several with Greg Lynn, and two SCI-Arc Gallery installations with Patrick Tighe and Hitoshi Abe.
The panel discusses the impact of digital fabrication on the design process.
Introduced by Robert Magurian, Peter Zumthor discusses the experience of space through building and materials, stressing the cultural importance of elemental materials such as stone and wood (“madeira, madre, material”).
Zumthor reflects on his own practice and his quest for design which relies on recalling experiences of spaces, places and of dwelling through materials, sounds, light, and shadow. He also stresses the harmony between the work of nature and the work of man.
Zumthor discusses several projects by other architects which have interested him in terms of material and composition. He states the importance of material and construction and how patterns and compositions of these elements create an architecture which is dynamic. He reflects on embracing buildings as bodies through surface, texture and skin manipulation, in an analogy to tattooed bodies.
Zumthor discusses how his Thermal Baths project gained another identity through material presence once construction began. He reflects on the quest for a design which is based on remembering experiences of other spaces and places, through light, material and sounds, and dwelling.
Ando describes the design of the Festival Shopping center in Naha. He describes how he created three-dimensional vertical circulation space in the atrium, and how he used daylighting.
Ando describes the Times building in downtown Kyoto, and its relationship to the adjacent river.
Ando describes two tea houses he has designed, which he considers a pure expression of his architectural ambitions. The first is entirely made of concrete, while the second is very small and made entirely of plywood. Both structures have a minimal aesthetic and play with daylighting.
He also shows the daylighting in his office at various times of the day, to emphasize his interest in lighting effects.