Designer : Johanna Schoemaker

[Press Release]

Ancona, Italy. September 22, 2009. WHY, Wally Hermès Yachts, today unveils a revolutionary
approach to cruising in motor yachts with the presentation of a full size model of its first born, an
innovative 58 metre-long 38 metre-wide yacht, in Ancona’s shipyard.

Wally Hermès Yachts: a joint-venture.
WHY is the result of the joint-venture signed in June 2008 between Hermès and Wally, to develop a new type of motor yacht redefining the art of living on the sea. The iconic Parisian house and the iconic Monaco yacht brand formed an equal partnership whereby each company is fully involved in all aspects of the conception and design of each project. Pierre-Alexis Dumas, Artistic Director of Hermès says : “When we met, in autumn 2007, Luca Bassani Antivari, President of Wally had thought about asking Hermès to accessorise the interior of one of his boats. I was impressed by the daring of his projects. My instinct was to get on board with him and go and seek out new territories in yacht design, but I had no interest in speed.”

Luca Bassani Antivari explains: “What I’ve always liked about Hermès, aside from its intrinsic quality, is its audacity and radicalism; its desire to go beyond trends, to make no compromises and to maintain the authenticity of the house. Wally shares the same values, ‘Hermès-on-Land’, ‘Wally-on-Sea’: inevitably our paths had to cross.”

WHY 58×38
The common values of the two brands have led to a first yacht that offers an unparalleled living space at sea. WHY was developed to give life to this concept assembling a team of dedicated talents in design, engineering, and naval architecture.

Then the tried and tested Norwegian Ramform hull characterised by exceptional and unprecedented stability and volume and spotted by Luca Bassani Antivari, revealed itself as the ideal choice to be adapted to the WHY 58×38 project.

Following this unique adaptation, the decks and the interiors were developed in accordance with the fundamental credo of WHY, ‘form-equals-function’. Thus were born other innovations in the world of mega yachts: patios generously flooding the interior with natural light, photovoltaic panels on the glass hull sides, as well as on the roof opening, like Venetian blinds, a 25 metre-long forward end swimming pool, and a 36-metre aft deck beach.
WHY 58×38 offers comfort, privacy, stability, space, independence and sustainability.

Sustainability
“We are very interested in creating a yacht that will have a low environmental impact”, says Pierre-Alexis Dumas. “Its relationship with the sea must be respectful and easy. WHY intends to offer a new way of moving over water by creating an innovative way of managing and recycling its sources and uses of energy.”
“If you want to go totally ecological, it’s only sailing yacht. The reality is that today, 90 % of the market is powerboats, echoes Luca Bassani Antivari. Our aim is to reduce diesel consumption per year and per yacht: 20 to 30 % for propulsion and 40 to 50 % for generation.”

Thanks to its specific hull, WHY 58×38 requires less power at cruising speed than a boat of equal size. Its diesel-electric propulsion is the most efficient motorisation today, and the surface of the photovoltaic panels, almost 900 square metres, covers most of the boat’s auxiliary system needs.

WHY Research and Development plan to optimize this project’s energy consumption by improving the isolation of the yacht and the heat recovery of its engines, and is also investigating the latest wind energy production and wind propulsion system technologies.

In comparison to a yacht of the same size, WHY 58×38 has been conceived to reduce drastically its energy consumption, saving up to 200 tons of diesel per year.
The WHY R & D program includes tank testing for hull stability in the SSPA facilities in Sweden, and the construction of a full-scale mock-up in order to allow the design team to fine tune the living areas correctly in accordance with the hull’s unique shape.

“The WHY 58X38 yacht looks very unfamiliar but it remains on a human scale. Space is the greatest luxury on the sea, but I believe the new luxury will be the time to enjoy it”, concludes Pierre-Alexis Dumas.

Designer : Pierre-Alexis Dumas, Luca Bassani Antivari, Gabriele Pezzini, and MauroSculli

Aside from being just a bio-reactor and a local renewable energy source, the Eco-Pod will also be a good research incubator where scientists can examine algae species and ways of fuel extraction, including innovative methods of using low energy consuming LED lighting for modifying the algae growth cycles. This module can easily be placed to various places around Boston, infilling empty sites, examining new proposals, and creating initiatives with other communities in order to meet the growing energy requirements.

Designer : Howeler + Yoon and Squared Design Lab

[Press Release]

DRAGONFLY, A METABOLIC FARM FOR URBAN AGRICULTURE

2009 : 800 MILLION OF URBAN FARMERS FOR RESPONSIBLE ECO-CITIES

The world of fast-food and frozen food is over! The urban keen interest of the beginning of our Century turns toward the garden flat bringing back the countryside in our overcrowded cities fighting from now on for a community urban agriculture able to contribute to the durability of the city and to rethink the food production.

On the roofs, terraces, balconies, in the hollow of the non-built public spaces, in the interior yards and the suspended greenhouses, the eco-warrior aspires to escape from its competitive and consumeristic universe imposed by the laws of the market. He desires to cultivate its immediate landscape so as to better take root in the ground by creating his own ecologic and alimentary biodiversity. The consumer becomes from then on producer and the garden inhabitant !

From the Parisian « worker gardens » to the « community gardens » of New York going though Muscovite « vegetable squares », eight hundred million of urban farmers, i.e. more than one human being out of ten, consume nowadays chlorophyllous products from these cosmopolitan kitchen gardens. These new gardens, aware of the emergency to reduce our fuel consumption and the necessity to modify our behaviour facing the climatic changes, decrease thus their environmental impact and build eco-responsible cities on a community way.

2025 : 5.5 BILLION OF CITY SLICKERS FACING THE FOOD CHALLENGE OF THE 21ST CENTURY

According to the PNUD (Programme of the United Nations for the Development), the worldwide urban population will go from 3.1 billion of inhabitants in 2009 up to 5.5 billion of inhabitants within 2025. Looking for a positive energetic assessment, the contemporary city aims within fifteen years at producing cleanly and intensively more energy than it consumes so as to pack this urban exodus! It develops therefore the urban agriculture to become food self-sufficient by recycling at the same time its liquid waste by phyto-purification, its solid waste in fertilizers by composting and by producing energy by biomass, photovoltaic cells and other renewable energies (thermic solar, photovoltaic solar, wind, tide-turbine energies…).

In order to avoid the asphixiation of the planet and the feeding of its 9 billion of inhabitants within 2050, it deals thus with reinventing the traditional energetic pattern between the city and the countryside between western countries, emerging countries and developing countries. This sums up as following: on the one hand import of natural and food resources, and on the other hand export of waste and pollution. The ecologic city aims at reintegrating the farming function on the urban scale by emphasizing the role of the urban agriculture in the use and the reuse of natural resources and biodegradable waste so as to close the loop of ecologic flows.

The urban agriculture can feed the city without any pesticide or chemical fungicide (whose toxicity is proved on the human being : cancer, sterility…), and make it less food dependant of its backcountry or other regions of the world. Organising the distribution of fresh products in short circuits, that means linked directly with the consumer, the urban agriculture complete thus the traditional agriculture. In addition to the nutritive quality of the produced and consumed food, the urban agriculture is also a growth lever of the urban unemployment market and the local economy. It is used directly as a social link in the conciliation of the primary needs of the newcomers with the challenge of their integration in the life of the city, fighting thus against poverty and exclusion. On the sanitary level, this farm approach presents also an interesting potential for the decontamination of polluted grounds and undergrounds as well as for he purification of the polluted atmosphere in CO2.

Due to the fuel crisis and climatical change, the rural agriculture of the western countries must answer to the worldwide food crisis of the developing countries and mainly Africa. Its role is from now on to produce (with an increase estimated of 60% within 2050) all the foodstuffs transportable by boat such as cereals or corn. This is based on the evolution of the science and the most advanced biotechnologies. In addition to this nutritious role, the rural agriculture is newly challenged to recycle its own culture rebus for the green chemistry in order to produce the bio fuel called “second generation fuel” using the energy of non-consumable materials from the plants, that means fibres such as celluloses.

DRAGONFLY, A NOURISHING VERTICALY CULTIVATED CENTRAL PARK

The architecture has to be in the service of this new agriculture and to design this new social desire in this context of ecologic mutation and food autonomy! The Dragonfly project suggests therefore building a prototype of urban farm offering around a mixed programme of housing, offices and laboratories in ecological engineering, farming spaces which are vertically laid out in several floors and partly cultivated by its own inhabitants. This vertical farm sets up all the sustainable applications in organic agriculture based on the intensive production varied according to the rhythm of the seasons. This nourishing agriculture is furthermore in favour of the reuse of biodegradable waste and the keeping of energy and renewable resources for a planning of ecosystemic densification.

Floor by floor, the tower superposes not only stock farming ensuring the production of meat, milk, poultry and eggs but also farming grounds, true biological reactors continuously regenerated with organic humus. It diversifies the cultivated varieties to avoid the washing of stratums of soft substratum. Thus, the cultures succeed one another vertically according to their agronomical ability to provide some elements of the ground between the essences that are sowed and harvested. The tower, true living organism, becomes thus metabolic and self-sufficient in water, energy, and bio-fertilizing. Nothing is lost; everything is recyclable to a continuous auto-feeding!

A BIONIC AND ENERGETICALLY SELF-SUFFICIENT ARCHITECTURE
The architecture of Dragonfly prototype suggests reinventing the vertical building (that outlined the urbanistic booming of New York City since the 19th Century) as structurally and functionally as ecologically and energetically.

To ensure the social diversity and a permanent life cycle (24h/24) in the tower, the mixed programmation is mainly laid out around two poles of housing and work places. Around housings, offices and research laboratories as well as the most private to the most public agricultural and leisure spaces are designed in gardens, kitchen gardens, orchards, meadows, rice fields, farms and suspended fields. The distribution of flows is made around a true safe spine spreading in loop the numerous elevators, the goods elevators and stair wells serving all the levels by separating simultaneously the inputs and the outputs recycled from plants, animals and human beings.

Architecturally, the functional organisation is represented by two oblong towers symetrically arranged in pair around a huge climatic greenhouse that links them and deploys itself between two crystalline wings. These very light wings in glass and steel retake the loads of the building and are directly inspired from the structure of the dragonfly wings coming from the family of “Odonata Anisoptera” whose transparent membrane is very finely nervured. Two inhabited rings buttress around these wings. Their organically chiselled exo-structure accommodates the inter-climatic spaces that receive the agrarian cultures. They buttress.

The whole set forms «double layer» architecture in bee nest mesh that exploits the solar passive energy at its maximum level, by accumulating the warm air in the winter in the thickness of the exo-structure, and by cooling the atmosphere by natural ventilation and by evapo-perpiration of the plants in the summer. Protecting thus the cultures from climatic changes in New York (from -25.5°C in the winter to +41°C in the summer), these plug spaces are useful to reflect on the agriculture not anymore in terms of surface area but really in terms of volume. Actually, whereas grounds nourish orchards, each wall and each ceiling are metamorphosed into three-dimensional kitchen gardens. The interior frontages of the housing and offices throw towards the skyline of New York the cantilever of their hydrophonic balconies with hexagonal section thanks to what it multiplies the culture layers by floors. The vegetation abounds, the earth is swarming of insects and animals are freely brought up in holding tanks by urban consumers with low income. The architecture becomes eatable!

Designer : Vincent Callebaut Architect

From Patrik:

The Reason Why
In Sweden, inviting friends over to one’s home for coffee is a very common social gathering. During my research, I found that people who have espresso machines don’t use them during these social coffee gatherings but serve conventional coffee instead because it’s more simple, more time efficient, allows easy refills, and it brews at a touch of a button which doesn’t take the host away from the party.

The making of an espresso beverage is a procedure that is traditionally taken with much pride and joy. Originating in Italy, espresso drinks have grown popularity all over the modern world. I wanted to create an espresso machine that will allow all participants to experience this procedure of creating their own espresso drink, rather than the host being in charge of everyone’s beverages and be left out of the conversations. And the procedure should be simple enough so that all people, regardless of knowledge of espresso making, can use and enjoy.

How It Works

Docking mode
The barista espresso machine consists of a docking station, brewing unit and five espresso cups. One of the main features with the Barista is that it allows multiple users to be in charge of their own espresso brewing, instead of just only one person in conventional espresso makers. To enhance the portability and make it easier to carry, the Barista works in two modes, carry mode (collapsed) and brewing mode (raised). The Barista is connected to the wall outlet when in docking mode, and functions as conventional espresso machine, where beans are grounded for each individual cup in the kitchen.

Portable mode
To make it portable some task are divided up to optimize the power consumption; the coffee beans gets pre-grounded in the kitchen and the water is pre-heated into a thermos at the same time to eliminate unnecessary energy consumption. Collapse the brew unit by pressing down the top part, to raise it, give the handle a push and the machine will raise by itself to brewing mode. The turning top allows the users to access the machine from all directions. Place cups on the tray and rotate the turning top part to move the nozzle over to the other cups.

Designer : Patrik Petersson

[Press Release]
MVRDV wins Gwanggyo City Centre Competition, near Seoul, South Korea

The Daewoo Consortium and the municipality of Gwanggyo announced the MVRDV concept design for a dense city centre winner of the developer’s competition for the future new town of Gwanggyo, located 35km south of the Korean capital Seoul. The plan consists of a series of overgrown hill shaped buildings with great programmatic diversity, aiming for high urban density and encouragement of further developments around this so-called ‘Power Centre’, one of the envisioned two centre’s of the future new town.

Since the beginning of the millennium local nodes with a high density concentration of mixed program are used in Korean town planning. These nodes consist of a mix of public, retail, culture, housing, offices and leisure generating life in new metropolitan areas and encouraging further developments around them: the Power Centre strategy. The Gwanggyo Power Centre will consist of 200,000m2 housing, 48,000m2 offices, 200,000m2 mix of culture, retail, leisure and education and 200,000m2 parking.

This diverse program has different needs for phasing, positioning and size. To facilitate this all elements are designed as rings. By pushing these rings outwards, every part of the program receives a terrace for outdoor life. Plantations around the terraces with a floor to floor circulation system store water and irrigate the plants. The roofs of these hills and the terraces are planted with box hedges creating a strong, recognizable, cohesive park. This vertical park will improve the climate and ventilation, reduce energy and water usage. As a result a series of overgrown green ‘hills’ appear in the landscape.

The site is surrounded by a beautiful lake and forested hills, the design aims to create a landscape on top of the new program that enlarges the green qualities and that links the surrounding parks by turning the site into a park.

The shifting of the floors causes as a counter effect hollow cores that form large atriums. They serve as lobbies for the housing and offices, plazas for the shopping center and halls for the museum and leisure functions. In each tower a number of voids connect to the atrium providing for light and ventilation and creating semi-public spaces. On the lower floors the atriums are connected through a series of public spaces on various levels linking the towers and serving the outdoor facilities of the culture, retail and leisure program. The Power Centre creates a dense urban program with a green regard.

The concept plan is currently at the Gyeonggi provincial authority’s Urban Innovation Corporation for further development and feasibility study, the entire new town will be a self sufficient city of 77,000 inhabitants. The estimated budget and timeframe are still in the process of being established, completion is envisioned for 2011. A consortium lead by Daewoo develops the project with local firm DA Group, which commissioned MVRDV to design the scheme. British firm Arup is involved as engineer.

Designer : MVRDV via IGreenSpot via WordArchitectureNews

Some description from the designer :
Algaster uses algae for biomass production, because of their high oil content (several energetic industries are taking this into account from spain to japan). At the same time it provides eutrophic water cleaning (creating energy from pollution, in a way).
The system is composed by several machines, as needed (it could be used in sea water as well as in lakes). Every machine is independent (controlled by a GPS system and driven by robotic legs so it doesn’t destroy the underwater ecosystem) and acting as unit of an insect swarm.

Every unit harvests algae, cut them in little pieces (to make them dry out sooner) and treat them with UV rays (this way sterilizing algae’s spores). Then the load is stored in nets (contained in ten sliding boxes in the back of the machine). When the net is full with treated algae, an inflatable structure closes it and brings it on surface. When every net is full, an inflatable structure brings the machine on surface too. Power supply is provided by solar cells, on the back. In this way, while in the surface without net-containing boxes, it fully recharges. Every machine can harvest a 100kg load every day (10kg every net), a 10 machine system can harvest 1ton of algae!

Designer : Stefano Pertegato, Philipp Frank, Marco Nicoletti, Francesco Schiraldi, Eloisa Tolu

Text from the website:
Our original goal was to improve the CFL bulb, both in color and usability, but the technology to do so was not obvious. We began to explore colored filters and realized that any filter would reduce the lumen output. We then looked into adding LEDs to change the overall color output. This led us to the realization that florescent lights have huge environmental drawbacks. CFLs use ballast, which contains mercury, electronics and plastic housings. Most consumers just throw fluorescents out with the trash, even though they should be disposed of as toxic waste. CFLs are not dimmable and therefore use their maximum light output each time they’re turned on. In addition, the form and cold color of CFLs keep them from being widely accepted as a replacement to the incandescent bulb.

As our ideas began to focus on combining LEDs with a fluorescent, we sketched several forms that tried to create harmony between the two technologies. The idea of creating a separation between work and home life through the modulation of the color output drove some of our early forms. As soon as we chose to use only high-output LEDs, our forms changed significantly, rendering the old concepts no longer valid.

As designers are inclined to do, we started to create beautiful forms that revolved around the advantages of the new technology and the form factor it lent itself to. This may have been our biggest wrong turn. With LEDs, that form was flat and thin; but this would not solve the problem we had defined for ourselves. To create the biggest impact on society, this design had to keep the barriers to acceptance as low as practical—which in part meant no super-sexy, fluid designs that would only be found in high-end design stores. Any unnecessary styling would cause a rift in its mainstream acceptance.

We realized the easiest way to create acceptance was to deliver the technology in an already widely accepted form. The form of a standard light bulb was then the obvious choice. It would not ask consumers to change their form of power, their light socket or replace the lampshade attached to the bulb. And it underscored the notion that good design is about solving problems for the whole ecosystem of the product.
Designer : FrogDesign

Paul Howse words :
Luxury doesn’t have to mean expense or extravagance. Moreover, in the fragility of 21st century consumerism, exclusivity could go much further, where its perceptual value increases over time and through an experience of the product. Just as classic watches and historic cars develop a story and history over time, the owner of a vehicle should feel this experience. A patination of material such as bronze, that is hand-crafted or develops over time and is unique to each ownership situation would bring a valid ‘local quality’ that could be argued as being lost in today’s globalized world.

Technology was also an important part of the project, in that being at the forefront of technology would allow an entirely new, exclusive proportion of vehicle. By using bio-electric hybrid technology in situated low down in the chassis, I was able to celebrate the lack of an internal combustion engine and create an entirely new proportion of vehicle. The use of cameras and projections on the interior allows for the deletion of the traditional windscreen and allows the long, low, sculptural bonnet to run up over into the roof, uninterrupted. Again, something only exclusively possible with this car. I also wanted to emphasize the interior element, to show that it is cradled in the structure, a precious entity much like a Faberge egg. By suspending the interior in magnetic levitation it further separates it from the technical elements of the car whilst providing a truly serene ride quality.

As it is intended to be used only on special occasions and cosseted, it will be kept in a specifically designed building from which you can control the atmosphere the car is kept in and thus control the patination, much like a cigar humidor. The building will be covered in photo-voltaic solar panels and will be able to store up solar energy to be used to power the car. If energy levels drop, then it will run off the national grid, but otherwise it will be solely self-sufficient.

All of these factors should add up to truly unique, exclusive ownership experience, while a creating a mystique about the car, the like of which may not have been seen since the art deco period.

Designer : Paul Howse

Vortex project is planned to be in the streets by 2045 and the conceptual design its based on the flow of energy that a hit or a crash can generate doing by the form the flow of this energies to the exterior of the transport giving to the passengers a total protection from all points of crash.

Designers : Alejandro Hernandez Castañeda, Carlos Alberto Escalante, Jose Jorge Hinojosa Primo, and Victor M. Aleman