Since the 1980’s, 3D-printing has offered new ways of developing architecture, engineering, and objects of daily use. When it comes to digitizing analogue processes, it is vital for users to become familiar with current tech innovations and their benefits. HIVE Project reshapes the art and craft of building in clay by combining traditional ceramics, smart geometry, and robotic precision to construct a masonry wall composed of one hundred seventy-five unique 3D-printed clay bricks.
Fungi are almost everywhere - in the air you breathe, the soil you walk on, we eat them and yes, they do also live inside of us.
Standing at 78 meters tall, the Museum of the Future (MOTF) is far from reaching Dubai’s famous skyline, which features skyscrapers like the unparalleled Burj Khalifa – the world’s tallest tower. However, with its bold shape and striking façade illuminated by more than 14,000 meters of Arabic calligraphy, it certainly succeeds in taking its place among the city’s most iconic buildings. The award-winning project by Killa Design and Buro Happold, described by many as ‘the most beautiful building in the world’, opened in February of 2022 in Dubai’s Financial District. In a total built up area of 30,000 sqm, it accommodates exhibition spaces for innovative ideologies, services, and products, as well as theater spaces, a laboratory, and a research center.
After water, concrete is the second most-consumed material on the planet and its production is substantially growing, expected to increase from 4.4 billion tons, reaching production up to 5.5 billion tons by 2050. Unfortunately, this comes at a huge environmental cost, accounting for almost eight percent of the global carbon emissions. With this estimated expected growth, stakeholders in the construction industry must work on integrating sustainable building materials and innovative processes.
Digital spaces and fabrication technology have become as prominent as ever within the current state of our post-pandemic society, becoming increasingly more accessible and enabling quick and spontaneous acts of iteration and evolution. These technologies have resulted in the ability to mass-produce non-standard, highly differentiated building components within the same facility as their standardized counterpart, transforming how buildings and their respective components are conceived, designed, and represented, and how they are manufactured, assembled, and produced.
The beauty of digital fabrication is its ability to blend aspects of mass and artisanal production to the point where costs nearly disappear. Technology’s capacity to fabricate so simply and almost seamlessly raise the issues for its potential to significantly alter our current perception of architecture, thus producing the question: has the influence of mass production in architecture resulted in a loss of intentional design?
'Innovation' and 'design thinking' could possibly be two of the most extensively-used phrases both online and offline during the past decade. To respond to the global need of "changing the status quo", established companies, start-ups, and even universities have used this framework to generate novel ways of solving problems and create new products, taking into account their desirability, feasibility, and viability. And with that, a new archetype was conceived: the design thinker, someone who has the creative toolkit to generate something disruptive. So what is the meaning behind design thinking and what is its relationship with architecture?
With the aim of generating a significant impact on the responsible and sustainable consumption of resources and energy in the construction industry, ETH Zürich in collaboration with FenX AG is using foam 3D printing (F3DP) to manufacture geometrically complex formwork for the construction of special elements in concrete.
Henning Larsen has been creating projects that address cross-cultural design, tackle diverse climatic zones, and try to achieve ambitious sustainability objectives. All of this wouldn’t be possible without the use of technology and specially crafted digital and generative design tools that allow architects to treat any element as a parameter in design.
In a special interview with ArchDaily, Jakob Strømann-Andersen, Partner and Director of Henning Larsen’s Innovation and Sustainability Department talks about digital tools and their incorporation in the design process. Focusing specifically in this conversation on Sandworm, a new modeling program that uses sandboxes, Anderson explains how they have achieved to scan and directly transfer manipulated landscapes into a 3D model.
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There's no question that 3D printing is here to stay. However, it is still a developing technology that raises certain questions: Is it really effective for massive and large-scale construction? How sustainable is it? Will it go from being an option to becoming the norm in the construction industry?
To help clarify the broader picture of 3D printing's place in architecture and construction, we spoke with Alain Guillen, Managing Director and Co-founder of XtreeE. XtreeE is a platform that allows architects to bring their designs to reality through advanced large-scale 3D printing, which generates quick and precise shapes without material waste. Read below to find out how he and his team envision the future of robotics in architecture and why architects should prepare to embrace this new technology, leading us toward a more efficient yet equally creative future.
In order to create vibrant public spaces, people need to have a constant presence in these locations, whether they are on their own or in groups. In fact, they need to linger in these places and establish social interactions. To do so, one major element has to be incorporated into the urban setting: the bench.
This seating feature, simple or high tech, insures firstly the comfort of the passersby and animates the area consequently, through the addition of the missing human aspect. Sometimes, this is all it takes to revive a space that became a dull passage. The most basic urban design component can take many forms and can be created from different materials, always generating a statement and serving its purpose.
Fungi are everywhere. In the air, in the water, in our bodies, in the trees, in the ceilings of our bathrooms, underground. They can be mushrooms (edible, medicinal, hallucinogenic, or very poisonous), or take other simpler forms, such as molds. They can trigger illnesses, but they can also produce antibiotic remedies, such as penicillin, or help ferment amazing cheeses and breads. Could they also be the future of packaging and building materials?
Now more than ever, architecture is in need of innovation. The pandemic has made us fundamentally rethink the functioning of our cities, public spaces, buildings, and homes. Meanwhile, the recent Black Lives Matter and racial justice protests have us questioning architecture’s complicity in broader socioeconomic issues. These challenges are pressing, and we cannot put off changing architecture any longer.
In 2013, Michael Osborne and Carl Benedikt Frey ranked 702 occupations according to their probability of computerisation in the near future, from least probable (“recreational therapist”) to most probable (“telemarketers”). "Architectural and Engineering Managers” was ranked seventy-third, and “architects” eighty-second, while “architectural and civil drafters” ranked three-hundred and fifth. Clearly, technological advancements in fields such as machine learning and robotics are rapidly confronting us with issues of changing professional demand and qualifications. In this essay, Maurizio Ferraris turns the table on us: what if what we should be concerned with is not maintaining the human element in labor as production, but rather recognising human labor as consumption? Expanding on the arguments of his 2012 book, “Lasciar tracce: documentalità e architettura,” the author sees in automation an extraordinary opportunity in defining a renewed centrality of the human element, as the production of value associated with digital exchange is read through the three concepts of invention, mobilization and consumption.
With the aim of creating immersive environmental experiences in interior spaces, the design studio Aqua Creations has developed Manta Ray Light, a lighting installation built with responsive RGB LED technology that mixes the colors red, green, and blue to generate more than 16 million light tones. By presetting its color spectrum, offering a range of brightness settings on a scale of 0.1 to 100%, and even loading images and videos into its internal memory, the system allows its user to add color and movement to expressive spaces, or deliver a feeling of warmth and concentration to intimate and private rooms.
The global climate crisis is not only forcing us to rethink architectural design and the way we live, but also the materials and products that shape our built environment, starting from its origins and manufacture. Toward this end, wood has become an efficient alternative to steel and concrete – materials with high levels of embodied energy – and has led to some important architectural innovations that may culminate in its more widespread use worldwide.
Inspired by the efficiency of nature, Strong By Form has developed Woodflow, a technology that generates wood panels of high structural performance, "combining the optimization of their shape, the orientation of their fibers in relation to the direction of stressors, and the variation in their density for better compression or traction," as explained by its creators. In addition, all of their products are developed in a controlled process through parametric software, integrated into BIM platforms and CNC manufacturing systems.
We talked with Jorge Christie, CTO of Strong By Form, to learn more about this new technology.
As the climate crisis continues to unfold, professionals in architecture, engineering, and sustainable design have relentlessly searched for new ways to mitigate the negative effects of modern industrial production. One group of such innovators, Zero Mass Water, have contributed to this effort through their creation of ‘the world’s first and only hydropanel’ - an apparatus called SOURCE.
.jpg?1643423986 "Villa Savoye, Le Corbusier, 1929. Image © Flickr User: End User")
.jpg?1643425181 "Villa Savoye, Le Corbusier, 1929. Image © Flickr User: End User")
_V%C3%ADctor_Pati%C3%B1o_George.jpg?1643424298 "Villa Stein, Le Corbusier, 1927. Image © Víctor Patiño George")
