Explanation from Petr:
The exhibit is an active relaxation and rehabilitation bath with special features that permit the changeability of water volume (0-410 L) and provides a pleasant form of relaxation due to its continual and smooth changes to the ergonomical shape of the structure. The bottom contour of the bath adjusts in order to conform to the required position and height of the user. The various geometrical changes to the shape enables the bath to be “shortened” for example, creating a backing for the legs in order to maximize on comfort.

For the purpose of saving on water consumption, one can simply change the depth of the bath so it becomes shallow or select a shape that is most suitable for the user. The changes to the shape of the bath floor can be modified & readjusted anytime. Another wonderful trait of the bath is that it is equally convenient for bathing children, because one can adjust a safe depth of bath, reducing risk of drowning as well as being equipped with soft finish of the base. In addition to creating minimal dimensions, the bath itself can be used as a baby changing table. Getting in and out of the bath tub is simple and effortless. There’s no need to climb over edges of the bath. This way, it is beneficial for people with physical disability or those completely immobile.

Uniquely, in this bath we can experience an unmissable feeling of soft, rippling of the bath floor during bathing or when having a massage. This is a new form of relaxation which we can daringly refer to as “kinetic therapy”. The type of technology used forms system of 10 pneumatic pistons (compressed air powering pistons) and includes inclinable segments covered with soft upholstery. This lining creates a pleasant feeling without causing pressure on the body even in the case when the bath is low filled or during the filling or draining of the bath tub. The movable segments are covered by special, highly elastic, hygienic and strong foil (used in the concept of BMW Gina. The geometric shape of the head rest can be partially changed and is also made from movable structures, covered in flexible foil. The type of material`s used are synthetic rock (e.g. ceramics, plastic shroud), glass, elastic foil.

Other systems used are classic hydro/air massaging jets capable of being rotated and powered by electric motor. The connection to mains water supply, water outlet, air and hydro massage jet is through flexible hosing. The bottom of the tub is sealed and the whole base can be raised or lowered over a flat surface of the inner side-panels of the bath. That is how water tightness is ensured.

Everything is controlled electronically with a remote control. As a result, it is possible to select filling/draining of the bath, change water temperature, adjust hydro/air massage settings (duration, intensity, cycle program) and change the shape of the bath floor whit comfortably resting in the bath tub. This is done with the help of sensor button on the display of a remote control. The geometry of the bath can be altered simply by means of accessing touch display screen on the remote control. Naturally, the program remembers previous settings and if the conditions allow, the bath immediately fulfills the command of the user. Simultaneously however, whilst making the change, the height of the water surface, its volume and temperature as well as the total water consumption is electronically monitored.

The filling of the bath is possible through water inlets positioned right beneath the head rest, whilst draining is carried out through the segment located in the middle of the bath tub. If we were to come back to the principle of shaping the bath floor, an alternative method exists, which replaces pneumatic pistons and electrically tilted segments with air pouch system (ballonet). In addition, the foil covering the surface of various segments can also be replaced with a variety of other materials available on the market, that have similar properties.

Designer : Petr Kubik

Text from Adam :
There are over 400,000 reported drownings and 8 – 10 times as much near drowning experiences worldwide every year. In the UK there are 500 annual drownings. These figures have remained the same for nearly 20 years which tells us that any current equipment and practice is not having the required impact to reduce these numbers.

I have been a beach lifeguard for a number of years and further primary and secondary research has shown that there are a number of key problems that reduce the survival rate of beach users.
These problems are:

• Slow response time
• Surveillance
• Lifeguard safety
• Human limitation of lifeguards

From this research it was decided to look to the future to see what could potentially be new directions for beach safety equipment, this design is therefore based for the year 2020.

The design process was in close collaboration with the BSA (British Surfing Association) headquarters in Newquay (UK). Starting with brainstorming where no idea was a bad idea, followed by concept generation and a wide variety of modeling and system/ scenario testing, the design took innovation from nature, new and existing technologies and user testing.

Explanation of final design

The ‘Mantra’ lives on the sea bed during peak seasons just off the coast of beaches; it uses small hairs on its surface to collect and store energy from tides and waves (called ‘Super Cillia Skin’). It detects distress and drowning using electro sensors coupled with sonar which even today are highly sensitive, for example heartbeats and movements can easily be monitored. When a casualty is detected it swims up to 15mph using SMAs in the wings. The victim is carefully picked up onto an inbuilt stretcher where they are carried on top the water using hydrofoils and impellers. The ‘Mantra’ is always in constant communication with lifeguards and so is met at a specific beach location by lifeguards and ambulances where an EAP is in place and the stretcher is removed without disturbing the patient, who in the worst case scenario may have neck injuries.

Stretchers are replaced and the ‘Mantra’ can assume its position at sea once more. The whole process is estimated to take under 2 minutes.

The final design as can be seen from images, uses biomimicry from a manta ray for many reasons –

• Large flat surface area for all weather stability
• Excellent turning circle and manouverability
• Excellent strength to weight ratio
• Low energy travel
• Considered as a non aggressive creature/ form

Advantages of ‘Mantra’:

• Removal of contact with bodily fluid
• Safety of lifeguards
• Immediate response time
• Completely automated
• Better for spinal and other injuries
• Aesthetics
• Function
• Sustainable

Designer : Adam Scott

[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

Stone is common element that is found in creek. Stone and water always exist together. Stone is hard and strong; water is soft and transformable. Stone’s strong nature acts as a counterbalance to water softness. They are good partner in the nature world.

Creek is a platform for water stream to move into different ways. Without a large rock or stone blocked in the creek, the water stream move in smooth, regular and strong. When some rocks or stones are in the creek, the water flow is blocked. Then, it moves along the side of rocks. It moves in irregular and weak.

To apply this idea to develop the concept of the tap, the Dish of the tap represents the creek. When stone is pulled up, the water flows straight. When stone is pushed down, the water flows is blocked and spreads along the side of stone.

The Stone is act as “on and off” function. When the Stone turns anti-clockwise, it releases water. The Dish is water temperature control. When it turns anti-clockwise, it changes hot water. When it turns clockwise, it changes cold water.

Designer : Wong Ngo Bun

The 4 hydraulic legs of Landstorm can move independently and are providing great functionality by navigating over tremendously difficult terrain and raising itself up to reach the target. The use of these hydraulic drive-train attached with several powerful electric motors and powered by hydrogen fuel cell, have made the vehicle lightweight by removing the mechanical parts to impel the wheels. Moreover, it can be airdropped when the destination is far from the closest depot and then continue to reach the target on land.

The wheels of Landstorm are uniquely designed that feature small pods, allowing more grip on surfaces like loose dirt, mud or snow by increasing to compress surface area or just by using the edges to grip onto the surface. These are not just wheels, they feature a grapple gun or hook winch that lets the vehicle drag heavy debris or towing a standard vehicle. Once the Landstorm reaches the destination, the team will start rescuing and treating the survivors for emergency injuries.

The driver and navigator of Landstorm will have no problem finding out how far the destination is and how to get there by using the state of the art HUD technology along with a built in MultiSight camera (Infra Red, Night Vision and Cold Vision) powered with an advanced Computer AI. The heads up display features the most interactive information system which is controlled by the user’s neural patterns, which means, the information is controlled by the users thoughts. The rest of the cabin remains free for storage compartments for various equipments. There is a small backup unit that will start working if the main power source fails for any reason.

Designer : Peter Spriggs

Vlad Icobet says :
“The Egg is an all in one cooking and food preparation unit that unfolds like a flower from a cylindrical starting position using advanced electro-active polimers. The wings form three separate units that provide a place to prepare food, a cooking surface, and a washing facility. The Egg also includes an interactive holographic projector that allows the user to find information online to create recipes or get cooking instructions. When not in use, the Egg can be easily stowed to save space. It can be customized in any color to fit any kitchen decor.”

Designer : Vlad Icobet

The designer has considered few constrains when designing the violin, such as, a half violin and half music player that would break down the notes of a tune and show how to play it. A ball using as a bow grip that will always give a perpendicular stoke to the user and a lighting fingerboard that will indicate a node for a particular whistle sound. Digital strings have replaced the ordinary strings that are able to considerably reduce the learning pain and the sting setup has been done in a way that can create surround sound experience. Marks are no longer in use when a violinist gets proficient; therefore, the fading marks are another noticeable feature of the design.

The name Squidolin was driven from the squid like shape with the functionally and aesthetically right proportions of the design development. The shape of the bow of Squidolin is newly designed and is smart enough to detect motions and communicate back accordingly.

Giving the idea into shape was the toughest part. The designer used the mirror modeling to get a great symmetrical shape and then moved into Solid-works to CAD for milling. The interface of Squidolin is an essential part of the design and can be represented in different ways. When learning, students might come across synesthetic relationship screen which represents the reaction of virtual objects to sound in real world situations. Organic timing or tempo can be learned from real-world experiences like water drops in steady water surface. Monkey-Do will teach the violinist the correct posture and Squidolin could be connected to the social networks via internet where violinist could perform or share his/her musical talent.

Designer : Carlos Mendez

[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

Designer : Jason Lam

Designer : Ludovica and Robert Palomba via HomeDosh