“Today, we tell the world that America has achieved a tremendous scientific breakthrough,” said U.S. Secretary of Energy Jennifer M. Granholm in a December press conference. “…This milestone moves us one significant step closer to the possibility of zero carbon abundant fusion energy powering our society. If we can advance fusion energy, we could use it to produce electricity, transportation fuels, power heavy industry, [and] so much more.”

The revolutionary leap forward took place on December 5th in the National Ignition Facility at California’s Lawrence Livermore National Laboratory, where scientists have been trying to generate fusion since 2009.

“The pursuit of fusion ignition in the laboratory is one of the most significant scientific challenges ever tackled by humanity, and achieving it is a triumph of science, engineering, and most of all, people,” says LLNL Director Dr. Kim Budil. “Crossing this threshold is the vision that has driven 60 years of dedicated pursuit — a continual process of learning, building, expanding knowledge and capability, and then finding ways to overcome the new challenges that emerged. These are the problems that the U.S. national laboratories were created to solve.”

The experiment consisted of physicists pointing 192 of the world’s most powerful lasers at a pencil eraser-sized fuel pellet wrapped in a diamond. The pellet, made up of deuterium and tritium (both isotopes of hydrogen), was blasted with 2.05 megajoules of energy and heated up to 3 million degrees Celsius for a fraction of a second. The heat vaporized the hydrogen nub and released a wave of neutron particles that produced 3 megajoules of energy.

This is the first time that scientists have been able to breach the dividing line of “ignition,” the point at which the amount of energy created equals the amount of energy required to start the reaction.

“You see one diagnostic and you think maybe that’s not real and then you start to see more and more diagnostics rolling in, pointing to the same thing,” says Annie Kritcher, a physicist at Livermore who reviewed the data immediately after the experiment. “It’s a great feeling.”

By breaking the ignition barrier, scientists have proved that reproducing the same energy that creates stars is possible and could eventually lead to a sustainable form of energy that doesn’t require harmful carbon dioxide or other polluting byproducts.

Of course, it could still be years before clean energy on is available on a mass scale. “Probably decades,” said Dr. Budil during the press conference. “Not six decades, I don’t think. I think not five decades, which is what we used to say. I think it’s moving into the foreground and probably, with concerted effort and investment, a few decades of research on the underlying technologies could put us in a position to build a power plant.”

To make nuclear fusion viable as a global energy source, scientists will have to develop more efficient lasers and better containment options. Current power plant designs can’t handle the kind of heat and energy created by nuclear fusion.

The December 5th breakthrough in nuclear fusion gives us hope that truly clean energy is in our planet’s future. “This is a great day,” said Energy Secretary Granholm, one that “will go down in the history books.”

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Set within the city’s High Fashion District, the industrial club has plenty of interesting things to look at, not the least of which is the 01, a compact crossover plug-in hybrid featuring a 177-horsepower, 1.5-liter gas engine and an 80-horsepower electric motor. Though it’s available for purchase, the main appeal of the 01 is Lynk & Co’s monthly subscription service, which grants you use of the vehicle whenever you need it without worrying about things like insurance and maintenance. The car can also be borrowed for shorter periods. It’s designed to appeal to a broad range of tastes, and it offers all the functionality most people need in an urban vehicle.

A partnership between Chinese company Geely and the Swedish Volvo, Lynk & Co knew that people curious about renting or borrowing the 01 vehicle would want a chance to see it in person, but they didn’t want it to feel like visiting your neighborhood Toyota dealer. They decided to bring the car to the people who will use it most — those located in large cities — instead of opening a larger public facility in a more suburban location.

Designed in collaboration with Gothenburg-based studio New Order Arkitektur, the company’s Milan location is the tenth such club to open in the past few years. The interiors repeat some motifs like a cocktail bar and a signature mustard yellow sofa, but it also boasts elements that are distinctly Milanese. A neon “whirlpool light” wraps around a column in the center of the mostly concrete space, which is also outfitted with stylish furniture, a curving lamppost sculpture by local brand Seletti, and the Lynk & Co 01 set under a skylight.

The Tarot Room offers guests a chance to look into the future, and the Candy Shop Toilet encloses sweets within glass tubes, with everything else in the restroom painted a lurid pink. The company’s commitment to sustainability is also on display in the form of recycled materials and objects for sale that hew to the same vision (like Triwa watches with recycled plastic straps). A wood-clad meeting room is lined with reproductions of famous Milanese art. Runways also weave through the space, paying homage to Milan’s reputation as a center of the fashion world.

Previously, Lynk & Co opened a second club in Barcelona designed by Masquespacio. That space was designed to evoke “a world of utopias,” drawing in curious passersby on the well-trafficked Paseo de Grácia with big, colorful sculptural elements visible through the front windows. Other clubs are located in Gothenburg, Antwerp, Rome, Berlin, and Amsterdam, with a new location coming soon in Dusseldorf. Lynk & Co seems to be focused on Europe for now, but CEO Alain Visser has said the company sees market opportunities in U.S. states like New York and California.

“Being present in Milan means not only being part of a beautiful city that renews itself on a daily basis, but it also means entering a fabric where the community that lives there pulsates with ideas: with our club and the events we will organize here,” says Visser. “We want to give space to all those people who want to change their concept of mobility and lifestyle. It’s important to have fun while driving towards a more sustainable future.”

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The machine is everything you want a coffee maker to be: functional, easy to use, reliable, and attractive. At a glance, it looks like a more colorful version of an average consumer espresso machine with all the parts you’d expect to find, including a hopper, brewer assembly, and water tank. Turn it around and you’ll find that all the typically mysterious interior parts are visible and clearly labeled, including the water pump, flow meter, thermoblock, and power adapter.

Each module has intuitive interaction points so it’s easy to see how to pull it out and reattach it. Aligning magnets ensure that each component fits securely into place, and a repair drawer includes all the tools a user needs to disassemble the machine completely (as well as a few spare parts like extra screws and water pipes).

The Kara uses only one type of screw with two different lengths, both color-coded so it’s easy to tell exactly where they go. The water pipes running from one component to another are visible so you can physically see if there’s a problem. When you do need to self-service, the same touchscreen on the front that lets you choose how the machine brews your beverage also guides you through the repair process.

“Repairing the most common failure points does not require specialized tools and can be done easily and safely by a layman even without much technical knowledge,” says Mair. “The housing is designed so every part can be 3D printed if you don’t have access to original replacement parts, and technical components can be replaced or substituted because they are part of an open system.”

Mair’s vision of more sustainable consumer appliances isn’t just repair-oriented — it also incorporates the ability to substitute parts as needed. He calls for industry-standard parts and components that can be switched out easily by the end user. If mainboards in washing machines, dishwashers, and other appliances were universal, for instance, they could all be easily repurposed.

When possible, components should be made of a single material to make them more recyclable when they do break down. Parts like knobs and buttons should be designed so their replacements can be 3D printed or laser-cut while still offering the same performance. All objects should also be built to last, so we don’t have to replace them constantly.

The Kara is a brilliant proof-of-concept, demonstrating that sustainable consumer appliances aren’t actually that hard to produce. We’ve all just been suckered into a form of consumerism that finds disposability not just acceptable but desirable.

The corporations that manufacture all the things we use every day count on us throwing away the old version in favor of the new on a regular basis. While it’s unlikely that those companies will voluntarily switch to a system like Mair’s, which would probably net them fewer profits in the long run, perhaps future legislation will put consumers and the environment first. One can dream, anyway.

The post Kara: The Sustainable Coffee Machine That Lasts a Lifetime first appeared on Dornob.

Wastewater management tends to be a big problem in rural India. In villages like Kundli, located on the outskirts of Dehli, hundreds of factories have popped up in a matter of decades, often releasing water contaminated with chemicals directly into the ground. The problem is that these factories, which manufacture items like plastics, rubber, jewelry, and polyester, typically don’t have enough space for high-tech water treatment solutions, even if they could afford them. The pollutants in turn make their way into groundwater and nearby waterways, contaminating the local bathing and drinking water.

The Indus tile system’s algae-based bioremediation process involves placing a wastewater tank on top of the building and then allowing gravity to funnel the water though “veins” in the “leaves.” The designers traveled to India and observed the production processes of textile dyers in Panipat and bangle makers in Kolkata, where various processes release different types of heavy metals into the wastewater. The team found that one particular type of algae was able to reduce cadmium levels in the water by 10 times within 45 minutes.

Fabricated in Khurja, India, which is known for its ceramics, the Indus tiles are made of clay and deeply textured to hold onto a viscous hydrogel containing the most promising pollution-busting species of algae. The vein-like channels are shaped by an algorithm to optimize their ability to absorb pollutants. As the water flows over a tile, the microscopic algae cells absorb and store the substances for energy. The hydrogel acts as a “biological scaffold” that keeps the algae alive, and it’s biodegradable. The materials required to prepare the hydrogel and algae cells can be supplied in a powdered form and reapplied to the tiles as needed.

The modular tiles fit together into a beautiful pattern using half-lap joints, so individual tiles can be replaced as necessary without disassembling the entire wall. This also makes it easy to scale the wall size up or down, tailoring it to each site. In the future, the designers hope to integrate a second phase in which the saturated hydrogel packed with heavy metals is removed and sold to high-tech companies, which can use the metals in their own manufacturing processes. The Indus tiles are set to undergo performance tests in the UK and then a pilot project in India itself.

The creators imagine adapting Indus wall tiles to different regions and needs, making them from local materials like stone or even waste materials. Different tiles could be tailored to different pollutants, infused with the particular type of algae that works best in that context. Given that the end result is so beautiful, it’s not hard to imagine the concept extending to residential applications, too. Just imagine installing a wall of these at the edge of your own roof instead of a gutter, cleaning rainwater for personal use later on.

The post Leaf-Shaped Wall Tiles Full of Living Algae Absorb Pollutants from Rainwater first appeared on Dornob.

“Public Art Electric Vehicle Charging Stations” is a collection of proposals that merge art, architecture, and technology, giving people something fun to look at and interact with while they’re charging their electric vehicles. The project addresses one major anxiety of transitioning from fossil fuel-powered vehicles to EVs — a lack of charging stations. Jantzen believes that creating massive, bright, and oddly-shaped charging stations could draw attention to the need for sustainable options and reassure the public that such stations actually exist.

Perhaps even more importantly, these EV charging stations don’t rely on grid power. Electricity in most of the world is still supplied by fossil fuels like coal and oil, and EVs usually depend on that energy to charge. To get around that issue (which will only be solved by shifting power grids to renewable energy sources), Jantzen’s charging stations are all solar and/or wind-powered.

The five public art charging stations are respectively named the Silver Solar Charging Station, the Black Waves Solar Charging Station, the Red Solar Charging Station, the Yellow Solar Charging Station, and the Solar Wind Charging Station. Each one sort of resembles a futuristic car wash, but each has its own set of distinguishing features.

The Silver Solar Charging Station is a corrugated steel structure supporting a large photovoltaic panel that’s held high in the air on two massive silver arms. The Black Waves Solar Charging Station, also made of steel, has a more fluid, aerodynamic design, with ribbon-like sections of steel covered in photovoltaic panels undulating over the top.

The bright pops of color seen in the Red Charging Station and Yellow Charging Station stand out even from afar, drawing the curiosity of passersby for miles around. The Red version has zig-zag solar panels on top, while the Yellow version features an eco-friendly concrete composite dome, with a series of circular disc-shaped solar panels mounted on its roof.

The only one that isn’t designed to be entered is the Solar Wind Charging Station. “Instead, people can drive alongside of the station to charge their vehicles,” says Jantzen. “It is also made of steel with a large curved shaped photovoltaic panel mounted onto the overhang. In addition to the solar panel, it also has a large vertical axis wind turbine incorporated into the design. Both the solar panel and the wind turbine make electricity from the sun and from the wind to charge the electric vehicles directly, and/or with batteries they continually charged.”

Thus far, these sculptural EV charging stations are just concepts, but perhaps they’ll spark some creativity as new charging stations continue to pop up around the world.

The post Michael Jantzen’s Artsy EV Charging Stations are Impossible to Ignore first appeared on Dornob.

Christophe Guinet mainly works with natural materials to create his botanical sculptures. His latest project “highlights a series of sculptures representing tree trunks that come straight out of a fantastic and magical universe,” as he explains on his website. “This series of works consist of five tree trunks which connote through their shapes emotions that we can find in nature.”

The collection includes five large sculptures: a heart, an infinity loop, a spring coil reminiscent of barbed wire, a simple knot, and a more complex knot he calls “Wooden Lace.” Guinet stages the pieces in the forest and photographs them in their “natural environment,” adding to the illusion that someone has stumbled upon strange natural formations. The artist hopes the sculptures spur a sense of childlike wonder, awe, and appreciation for everything trees can do.

We’ve seen other works of art in which living trees are painstakingly guided into certain shapes over years or even decades, like the stick buildings of Patrick Dougherty and “Baubotanic” living architecture by students at the University of Stuttgart. Sometimes nature itself does the shaping, like when trees grow around objects, twisting themselves into surprising and unexpected forms. Monsieur Plant makes things happen a little faster than that with his own artistic methods, which involve plaster and real pine bark.

Guinet says forest walks inspired him to work with natural materials, raising questions about how nature adapts to its environment and its own innate creativity. His previous works often incorporated wood, bark, and moss, like an entire wearable Batman suit made of pink bark, a tree bark skateboard, arm-shaped moss sculptures wrapping around a real tree, and Nike sneakers made out of flowers.

“Contemplative and passionate aesthete of the plant world, he uses his findings related to places and seasons, to create works of art with care and a concentration close to the meditative state,” reads Guinet’s artist statement. “The artistic process is thus an integral part of the final work of art. As ephemeral and fragile as a bouquet of flowers, Christophe’s compositions show us the beauty of nature through everyday and cult objects. His care to minimize the harmful impact on the environment is in contrast to the escalation of consumerism and the race to keep producing objects which are ever newer, more technical, more ‘hype’.”

“His fields of reflection revolve around love, life, death, as well as the ambiguity of the cycle of life in a society where death has become extremely taboo. It is interesting to see a work fade, die, follow the cycle of the seasons. It reminds us of our own cycle: a flower blooms and fades to resume the same cycle the following year. We too follow certain cycles & states: childhood, adolescence, adulthood, old age, then death. It is inevitable and every stage of life should be celebrated and magnified.”

The post Monsieur Plant Molds Tree Trunks into Shockingly Unnatural Sculptures first appeared on Dornob.

Responding to the threat of rising sea levels and other hazards of climate change, Land on Water envisions a flexible, sustainable solution that totally eliminates the need for environmentally harmful materials like styrofoam. Floating homes, campsites, community centers, small parks, and structures supporting all kinds of other functions rest on flat-pack mesh cages made of reinforced recycled plastic and filled with upcycled flotation materials.

If the needs of the occupants change and they want to expand or increase the weight of whatever the foundations are supporting, they can simply add more flotation materials to the foundations. MAST imagines that such a system could help avoid the waste that plagued the architecture of the 20th century, which was too rigid to support changing needs and lifestyles.

“The system was inspired by gabion construction, an ancient technology which utilizes mesh cages filled with rubble to create extremely sturdy, low cost foundations,” says MAST. “In this case the concept is inverted; and the modular ‘cages’ are filled with locally sourced, upcycled flotation supporting the weight of any structure built on top. They are also much more adaptable than existing solutions since flotation can be added or adjusted at any time if weight is added or shifted around above.”

“‘Land on Water promises a far better underwater environment than existing solutions. While steel and concrete foundations are commonly treated with toxic anti-fouling paints, Land on Water provides an ideal habitat for fish and crustaceans and an anchor point for mollusks and seaweeds.”

MAST says a floating community could be as small as several homes belonging to members of a single family or as large as an entire city. The architects imagine its use everywhere from houses in Seattle to campsites on an Oslo fjord and saunas on the riverfront of Hobart in Australia.

The modules can be assembled into all kinds of configurations, incorporating areas of open water connected by walkways as sheltered places to fish and swim. Large terraced decks can double as outdoor auditoriums and dance floors. The bases are also strong enough to support the growth of mature trees, potentially allowing for the creation of small floating forests.

If any of that sounds unrealistic to you, here’s a great example where a similar floating neighborhood system worked in the real world. Designed by Dutch firm Rohmer, these 75 mixed-income units on Steigereiland on the Netherlands’ IJ Lake are also designed to grow and change. However, this community is made of more conventional materials like steel and concrete. While both concepts have the potential to help us envision a new way of living, MAST’s design improves upon the idea with its focus on sustainability.

The post Land on Water: A Modular Floating Building System by MAST first appeared on Dornob.

“The fashion industry produces 10 percent of humanity’s carbon emissions and creates a huge amount of pollution in the process of making textiles,” Holloway explains, adding: “By contrast, this project explores the promising possibility of root-grown textiles and imagines compostable and sustainable fashion. As fashions change, new clothes grow and old clothes are composted. Grown from root, inspired by marine life.”

Rootfull takes advantage of overlooked materials that exist literally right beneath our feet. Certain grasses grow roots that can reach over a dozen feet down into the Earth. Even common Bermuda grass, found in most lawns, has roots measuring eight feet. Holloway used wheatgrass for the series, cultivating the seed in templates carved from beeswax. Roots naturally grow into mesh-like structures, but Holloway guided them into templates over a 12-day growing period to get the shapes she wanted.

“The challenge is to sew, cut, tease, join, pluck, set, and reset until the root has found the optimal form,” Holloway writes. “Root is an exciting and versatile material where the most honest results are achieved by working with the natural flows of the fiber. It can be grown into large hanging structures or set and molded to form vessels, and it responds especially well to natural dying processes.”

“When freshly harvested, the roots are heavy and damp, and after 24 hours they dry out to become featherweight, and strong enough to support their own weight. The root forms a kind of botanical skeleton, trapping carbon, and therefore becomes a tiny part of the solution to the complex problem of climate change.”

Because of the nature of living materials, each piece in the collection is entirely unique, even if the same beeswax templates are used. In a sense, Holloway collaborated with Mother Nature herself, guiding the wheatgrass roots to produce visually interesting results. She’s even able to grow the roots into large mats much like a bolt of fabric so they can then be shaped into beautiful dresses. The silhouettes they achieve are truly remarkable, demonstrating the kind of creativity that’s possible when we stop limiting ourselves to harmful polluting materials simply because that’s what we’re used to using.

Holloway’s non-wearable Rootfull pieces have their own sense of natural elegance. Some of them really do resemble coral and sea fans, so why shouldn’t we display these in our home instead of contributing to the many threats to coral reefs? The pieces are also gorgeous as lampshades, with the light bringing out the intricacy of the woven patterns.

The post Zena Holloway Weaves Living Plant Roots into High Fashion Outfits first appeared on Dornob.

The architects were tasked with building for the long-term while using present resources wisely, working with designers, consultants, builders, and craftsman to develop a space that improves the success and well-being of students. The College wanted The New Library to honor its past without just passively “blending in.” The result is an inspiring structure that preserves a human scale.

“The result — a solid and confident, yet deferential new kid on the college block,” says Allford. “The light-filled, warm-wood interior lifts spirits and fosters connections. The overarching commitment to build something that will stand the test of time can be felt in every material and detail, and from every viewpoint. This is the epitome of how to build for the long-term.”

Sited in a sensitive historic setting along the boundary wall between the enclosed Master’s Garden and open Fellow’s Garden, The New Library is a contemporary, sustainable addition to the Magdalene College campus. Its exterior consists of elegant brickwork set adjacent to the wood-and-glass gables. The older college buildings are made of load-bearing brick with timber floors and similarly gabled pitched roof structures — the architects simply translated these elements into modern forms that maintained a sense of harmony with the historic facilities.

The interior spaces are built with cross-laminated timber structural elements as well as hardwood bookshelves and tables. There’s a sense of rhythm to the layout, with all the roof lights, columns, light baffles, windows, and balustrades forming an orderly “warp and weft” throughout the space. Natural light comes streaming in at just the right angle to illuminate the library without creating glare or damaging the books. Spaces are single, double, or triple height, ranging from small and intimate study areas to awe-inspiring halls with contemplative views.

“The library is approached from Second Court, through a little doorway, and out under an old Yew tree,” say the architects. “From this shady corner, you sense the presence of the river opening out at the edge of the lawn. We wanted to make the building a journey that gradually rose up towards the light. On the way up there would be rooms, galleries, and places to perch with a book. At the top, there would be views out over the lawn towards the water. We wanted to create a variety of ways for someone to situate themselves depending on inclination. You might sit in a grand hall, a small room, or tuck yourself into a tiny private niche.”

They add: “For us, good architecture plays a variety of experiences against underlying order so as to produce harmony. The new library is based upon a logical latticework of interrelated elements. A regular grid of brick chimneys supports the floors and book stacks and carries warm air up to ventilate the building. Between each set of four chimes, there is a roof lantern bringing light down into the spaces below: air rising and light falling.”

The selection marks the first time the RIBA Sterling Prize has been awarded to a college. It’s also the first win for Níall McLaughlin Architects, who have previously been shortlisted for the prize in 2018, 2015, and 2013 for its timber Bishop Edward King Chapel.

The post Níall McLaughlin Architects Wins the 2022 RIBA Prize for Magdalene College Library in Cambridge first appeared on Dornob.

Designed by Dutch architect Koen Olthuis, the SeaPod is supposed to represent a new way of living in harmony with coastal ecosystems. Ultra-minimalist and nearly all-white, the unusual home features 830 square feet of living space spread across three levels, including a bedroom, kitchen, living room, bathroom, and storage areas. It’s perched on a 7.5-foot-high pillar connected to a floating base hidden beneath the surface of the water. This stabilizing base uses more than 1,688 cubic feet of air-filled tubes to stay afloat. To get to and from the home or order supplies, occupants wear a smart ring that summons a vehicle or a food delivery drone. Prices range from $295,000 for the smallest and most basic pods up to $1.5 million.

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The idea behind the SeaPod is to unlock the ocean as a new frontier offering a high quality of life. In contrast with “green technology,” which usually refers to sustainability, Ocean Builders calls its philosophy “blue technology,” turning rising sea levels into a positive by working with the oceans instead of against them. The design of the SeaPod is based on the forms and materials of sea shells, which the company cites as beautiful, organically shaped, and naturally strong.

Ocean Builders CEO Grant Romundt says: “Every day, thousands of people all over the world move closer to the top 15 major metropolitan cities which are within 50 miles of a coastline—a trend that will continue to grow… We’ve been motivated by the opportunity to change and challenge the traditional real estate and tourism models and create first-in-class living experiences that can give back to our ocean environment.”

If all of that sounds a little too futuristic to work, the failure of the launch event might seem like a sign that this technology isn’t quite ready for prime time. Ocean Builders says the embarrassing incident was caused by a bilge pump malfunction that affected the balance of a steel spar in the prototype and caused it to flood. They insist that there was no damage, and in a statement to Autoevolution, a spokesperson for the company says “Like all innovation and new technology, there is a likelihood of trial and error, and that provides an opportunity to learn, improve, and continue to innovate on ocean technology.”

Every innovation has its stops and starts along the way, and an incident like this isn’t necessarily indicative of failure. But one interesting thing to note is that the prototype is so visually different from the company’s renderings. What was revealed in Panama last month looks more like a standard marine lookout tower than a sexy futuristic floating home, raising the question, once again, of whether this launch was just a tad rushed.

The post Eco-Friendly SeaPod Prototype Home Collapses on the Day of its Launch first appeared on Dornob.

Three new facilities are planned for the cities of Thessaloniki, Komotini, and Sparta in Greece. The largest of the three in Thessaloniki will be a dedicated children’s hospital. Not only will these new hospitals bring much-needed modernization to underserved areas that have suffered economically since the country’s government debt crisis started in late 2009, they’ll also act as templates for state-of-the-art hospitals throughout Europe and the rest of the world. Developed as part of the international SNF Health Initiative, the hospitals will focus on equity, serenity, dignity, and comfort just as much as high-quality medical care.

This philosophy is rooted in three core values: the therapeutic power of nature, environmental sustainability, and medical excellence paired with holistic patient-centric care. That translates to spaces and practices that provide privacy, personalized care, direct connection to the outdoors, and room to grow so hospitals can avoid stagnancy by keeping up with changing needs and ideas. Piano’s designs are all similar in their appearance, featuring long rectangular buildings topped with overhanging flat roofs covered with solar panels. These visible structures host clinical centers, while other buildings tucked into the surrounding hillsides contain labs and other technical facilities.

When SNF first started researching this project, they spoke to the local communities where the hospitals are being built and asked them what they’d like to see included in the design. They asked for healing gardens, upper-floor patios, art on display, and recreation areas along with green campuses ringed with trees instead of massive parking lots. In fact, the landscape was designed specifically so that patients can see trees from the windows of their hospital rooms. Plentiful windows and skylights let natural light come pouring into all spaces, including intensive care units and operating rooms.

Healing gardens have become more common in medical settings in recent years, mostly for the benefit of patients. But doctors, nurses, and other hospital staff will also benefit from the ability to walk out into a lushly planted outdoor space to take much-needed breaks from the stress of their jobs. Family members waiting to hear news of a patient’s prognosis or to comfort them after a procedure can experience a sense of relief in these spaces, complete with areas for kids to play, as an alternative to dim, institutional lobbies.

“The basic idea in the tree projects is, to give shape to facilities, which are totally immersed in nature, in order to foster a quiet, relaxing environment for patients and their relatives, but also for doctors, nurses, and all staff,” says the Renzo Piano Building Workshop. “Nature has in fact a ‘therapeutic’ role in every patient’s rehabilitation process, as in the ancient Asklepeion.”

The post Renzo Piano Integrates Therapeutic Gardens into 3 New Hospitals in Greece first appeared on Dornob.

Currently, the experimental Red Rail train is just a half-mile test track on steel poles with a two-carriage train carrying passengers between elevated platforms. Once the tests are complete, the government plans to extend the trail to 4.7 miles and boost speeds up to 120 km/h (75 mph). The train will offer commuters an incredibly smooth and quiet ride from stop to stop, lifting them above the gridlock on the streets below and operating even during power outages that otherwise grind the province to a halt.

Maglev technology isn’t new. It was first conceptualized way back in 1904 by rocket scientist Robert Goddard, who was just a freshman college student at the time. In 1910, French engineer Emile Bachelet applied for a patent for a rail car running on alternating-current electromagnets, and in 1935, German engineer Hermann Klemper proved that levitation without a power source is possible. It took until 1972 for the first maglev train to be built (in Germany, as an experiment) while Japan tested its electrodynamic (repulsion) magnetic train system in the same decade. In 1984, the maglev system was finally available to the public for commercial use, but it never quite took off on a large scale.

Maglev technology is sustainable, and it works — so why isn’t it more common? It partially comes down to cost and material availability. Most maglev trains use electromagnets, which require a significant amount of electricity to levitate. Permanent magnets, on the other hand, create a constant repelling force to hold the train aloft, saving at least 31 percent of the energy usually required to suspend the trains using electromagnetic levitation technology.

The rare earth elements required to make permanent magnets aren’t exactly easy to come by, and about 40 percent of the world’s known reserves are located in China (with the second-highest concentration in Vietnam). Six state-run Chinese companies produced 85 percent of the world’s refined rare earth elements in 2020. That means this impressive breakthrough will likely remain in China only, at least for the foreseeable future. As of 2022, the United States has no maglev trains at all, mostly due to a lack of federal funding. Other countries, including Japan and Germany, are currently working on more conventional electromagnetic maglev networks, but remain hampered by the high cost of construction.

“The permanent magnet maglev train offers personalized and intelligent transport, which can complement subways and light rail,” Long told China’s state-run publication PLA Daily. “In the future, it will also help to create a new engine for the high-end equipment industry and give China a new advantage in leading the world on rail transit.”

The post China’s Incredible Sky Train Silently Soars on the Power of Magnets first appeared on Dornob.

Commissioned by artisan café brand Colicci, architecture firm Mizzi Studio took inspiration from the verdant foliage of the Royal Parks, giving the kiosks a vaguely tree-like structure complete with curves and canopies.

This mimicry and appreciation of local environment are a common strategy for the studio. “We call our work ‘bio-architecture,’ said company founder Jonathan Mizzi in an interview with Architizer. This approach “characterize[s] our studio ethos, a philosophy that rests on bringing humans and nature closer together through thoughtful and innovative design solutions.”

“The architecture and design industry has seen a massive shift in practice towards trends that favor a nature-led approach,” he added. “Mizzi Studio has been focused on this philosophy since day one of our foundation. Our architecture holds the natural world as its greatest teacher and inspiration — this ethos is central to The Royal Parks project.”

The team started by spending months exploring the heritage of each park. After channeling “all of that research into a design strategy…driven by nature and the variety of tactile experiences it offers” (the firm’s own words), Mizzi Studio invented a fleet of kiosks, each “unique, tailored to the history, nuances, and demographics of its respective site within the parks.”

While each kiosk has a slightly different 360-degree organic profile and volume, they all share a tree-based sculptural outline, and an instantly recognizable silhouette from far away.

Set conspicuously at the entrances to Hyde Park, Green Park, and St. James’s Park, eight of the nine kiosks are covered in “steam-bent” wooden English oak timber, a sustainably sourced material, in addition to the stainless steel and copper used in the frames.

The ninth iteration — the flagship Horse Shoe Bend kiosk in St. James’s Park — got the royal treatment as it sits at the base of Buckingham Palace. While the shape follows the patterns of its siblings, this “kiosk is clad in tubular brass, mirroring the ornate precious metals of the nearby Sir Thomas Brock’s Queen Victoria Memorial,” Mizzi explains.

Each kiosk was constructed with the lowest impact to the environment in mind. Modular in design, all are freestanding and able to be transported in just two truckloads, cutting down on carbon emissions.

The timing of the kiosk project — on the heels of the COVID-19 pandemic — made it especially impactful for visitors. “Aside from the spectacular landscape of the Parks, which directly influenced the design of the kiosks — our hope was that the fleet would stand as a new architectural structure and symbol of collective respite,” Mizzi says. “We believe in the power of public space to bring people together and restore them both physically and emotionally. The aftermath of the pandemic became the context for the completion of the Royal Parks fleet, and therefore we saw this as a moment where architecture could help restore mental well-being, bring people together, and offer surveillance and support at a time when the city’s inhabitants felt most vulnerable.”

The post London’s Royal Parks Kiosks Get Sustainable “Bio-Architecture” Update first appeared on Dornob.

The bacteria grows in colonies that look like thin mats, with individual microbes connected to each other through a series of natural nanowires. It’s already known to produce electricity, having previously been used in “microbial batteries” capable of powering electronic devices. However, because the bacteria used in those batteries were alive, they had to be fed constantly in order to work. This new biofilm doesn’t need that kind of input and care because the bacteria is already dead.

“It’s much more efficient,” says Derek Lovley, Distinguished Professor of Microbiology at UMass Amherst. “We’ve simplified the process of generating electricity by radically cutting back on the amount of processing needed. We sustainably grow the cells in a biofilm, and then use that agglomeration of cells. This cuts the energy inputs, makes everything simpler, and widens the potential applications.”

The bacteria is able to take advantage of a “huge, untapped source of energy” that we don’t often consider: evaporation. We’re only just beginning to learn about the possibilities, but some scientists believe harnessing evaporation as an energy source could provide truly sustainable electricity free of toxic byproducts or the need to mine rare minerals. Eventually, evaporation engines could be placed above bodies of fresh water, irrigation fields, and greenhouses. Most current prototypes for larger-scale evaporation engines don’t make use of bacteria, instead incorporating materials that shrink as they dry, pushing and pulling with a lot of force.

“This is a very exciting technology,” says Xiaomeng Liu, graduate student in electrical and computer engineering in UMass Amherst’s College of Engineering and the paper’s lead author. “It is real green energy, and unlike other so-called ‘green-energy’ sources, its production is totally green.”

The biofilm produced by UMass works by growing bacterial mats and then etching small circuits into them using lasers. Once etched, the biofilm is sandwiched between electrodes and sealed in a soft, sticky, breathable polymer that can be safely and comfortably applied to the skin. The biofilm is then able to “plug in” to moisture on the surface of our skin from sweat, which is constantly present even if we don’t feel sweaty. That energy is enough to power small devices, even when the biofilm patch is very small.

“Our next step is to increase the size of our films to power more sophisticated skin-wearable electronics,” says Jun Yao, professor of electrical and computer engineering at UMass, and the paper’s other senior author. Liu adds that eventually, the team hopes its biofilm will be able to power entire electronic systems instead of just small devices.

The post Sweat-Powered Biofilm Band-Aids Harvest Energy for Wearable Electronics first appeared on Dornob.

ZNera Space sees the Downtown Circle as sustainable and self-sufficient vertical urbanism. The mega-complex stands an incredible 550 meters (1,804 feet) off the ground on five relatively narrow supports as an alternative to a bunch of unconnected skyscrapers. Containing housing, retail stores, offices, and schools as well as public spaces like parks and museums, the ring-shaped tower even has its own transportation system. Theoretically, residents wouldn’t ever have to leave the tower if they didn’t want to.

Downtown Circle contains five levels, including two main rings held together by a continuous green belt the architects call Skypark. Spanning the multi-story vertical space between the structure’s two rings, the Skypark is its own self-contained ecosystem full of swamps, waterfalls, canyons, sandy dunes, and tropical vegetation. It also incorporates rainwater harvesting, solar power, and agricultural production, so the community can grow some of its own food and produce its own energy. And with full-size trees capable of storing carbon, the Skypark also helps to offset the ring’s greenhouse gas emissions.

To get around the ring, residents and visitors will travel in a fleet of suspended peripheral pods that transport them from one node to another. The vessels follow tracks along the structure’s bottom tier. An elevated heliport on the roof of the inner ring lets inhabitants travel down to the city and back up again. An outer layer of louvers protects the facade from intense sunlight and helps reflect light to areas that get shaded by the geometry of the building throughout the day.

“We wanted to go down to the basics of how gated communities were established as a very horizontal built environment,” says Najmus Chowdry, co-founder of ZNera Space. “But you can’t have that here because of the dense urban fabric of Dubai. The best way to explore and practice this concept was in downtown itself.”

“The concept was of a vertical city,” says Nils Remess, the firm’s other co-founder. “When COVID-19 hit hard, we thought a lot about sustainability and how can we change things and how we can create better urban planning. We looked at aspects such as garbage disposal, food production, traffic problems, and pollution. We put all these things together and came up with a concept.”

Concepts like the Downtown Circle could definitely help with the challenge of packing more people into cities as the global population continues to grow amidst the threats of climate change. One thing few of them seem to address, however, is the question of whether such structures would contribute to further segregation of economic classes within cities, leaving poor residents on a ground level that would feel downright subterranean when shaded by megastructures that elevate richer people into the sky above. In that case, higher-density cities will only feel livable for some people and not others.

The post Massive Ring-Shaped Structure Could Encircle Dubai’s Burj Khalifa first appeared on Dornob.

Towering 1,640 feet above sea level, the city will be 656 feet across and occupy a total of about 13 square miles, according to a recent article by CNN.

Itself part of the Neom project (a larger mega-development backed by billions from the Saudi government that began in 2019), the Line is just the latest in a series of developments, architectural projects, and cultural reforms collectively referred to as “Vision 2030,” a plan aimed at making Saudi Arabia a vacation hotspot on par with its neighbors Dubai and Abu Dhabi. Critics have repeatedly cited the country’s human rights record as a somewhat disturbing backdrop to this rebrand.

The crown jewel of Vision 2030 was the earlier announcement of the Red Sea Project. Itself a plan to dramatically transform the desert into a luxe island and mountain resort with its own airport, the development would undoubtedly become a bastion for billionaires, and a huge boon for the Saudi economy.

But The Line may even outshine this mega development. A high-tech paradise featuring its own high-speed rail, the vertical city will also be largely sustainable. “Powered by green energy and run with the aid of artificial intelligence…robot maids, flying taxis, and a giant artificial moon” are just some of the proposed features mentioned in the press release.

Ambitious? Yes. Dystopian? A little. Imminent? Probably, though undoubtedly years into the next decade. As Crown Prince Mohammed bin Salman recently said in a press release, “[The Line] designs…will challenge the traditional, flat horizontal cities and create a model for nature preservation and enhance human livability.”

Whatever the outcome, it’s clear that Saudi Arabia is carving out a path for itself to be a world leader in both sustainable development and global tourism with this towering techno dream that even George Jetson would approve of.

The post Saudi Arabia Announces Plans for 100-Mile-Long City in the Desert first appeared on Dornob.