Thermowood is a beautiful, sustainable wood material produced using natural methods; heat and steam. It is dimensionally stable, resistant to decay and non-toxic. Lunawood produces Thermowood from Scandinavian PEFC-certified pine and spruce from Finland. It can be used inside or outdoors, in any climate. Lunawood is an eco-friendly natural product which is easy to machine and install.
Thermowood is a great raw material for further processing in industrial use. It is an excellent material for interior and exterior doors, windows, and furniture. Thanks to its durability and ability to retain original shape and measurements, Lunawood Thermowood can withstand highly demanding conditions. Other improved properties like better insulation capacity or the fact that Lunawood does not contain any chemicals are certainly advantageous and important from an industrial perspective. You can choose rough-sawn or machined Thermowood in pine and spruce, in several different dimensions.
Building design at its visionary best engages, exhilarates, and inspires. It possesses a quality—almost indescribable—that embodies design ingenuity, connection to place, and, above all, imagination.
But today’s architectural monuments aren’t meant only to be admired from afar. “It’s not about creating an icon, but shaping public space,” says Steven Holl, referring to the Linked Hybrid, the eight-tower residential-office-retail complex his firm designed in Beijing. “You can’t understand it unless you’re over, under, and around it.” The Linked Hybrid is also “ultragreen,” Holl notes, pointing to the 655 geothermal wells beneath the buildings that provide heating and cooling. Like the best architects of his generation, Holl marries social and environmental responsibility to aesthetic ambition.
TD Place Arena, originally the Ottawa Civic Centre, is an indoor arena located in Ottawa, Ontario, Canada, seating 9,500. With temporary seating and standing room it can hold 10,585. Opened in December 1967, it is used primarily for sports, including curling, figure skating, ice hockey and lacrosse. The arena has hosted Canadian and world championships in figure skating and ice hockey, including the first women’s world ice hockey championship in 1990. Canadian championships in curling have also been hosted at the arena. It is also used for concerts and conventions such as Ottawa SuperEX.
The arena is the home of the Ottawa 67’s of the Ontario Hockey League (OHL). It was the former home of the Ottawa Senators of the National Hockey League (NHL) from 1992 through 1995, the Ottawa Nationals of the World Hockey Association (WHA) from 1972 to 1973 and the Ottawa Civics of the WHA in 1976, and the Ottawa Rebel of the National Lacrosse League from 2002 to 2003.
Swisspearl the 5th façade has a special coating with opaque pigmentation which allows vibrant colors. It also provides an increased protection against weathering and UV radiation as well as a slightly textured surface.
Leave the conventional behind and strike out new paths. Swisspearl invites you to experiment with space, form and surfaces, and develop creative solutions without compromising the functional reliability in any way. The large-format roof panels with their proven Swisspearl quality will add character to roofs with a slope of just 6 degrees or more, and provide an exciting visual effect even when viewed from a distance.
Sizes
For detailed information about the sizes, see their delivery program.
Humans can survive for 30 days without eating, 3 days without drinking, yet only 3 minutes without breathing. Of course our need for air is also constant, we rely on it at all times indoors and outdoors although can often be less clean than we would hope. Unpleasant odors make us aware of bad air, but many irritants and unhealthy gases are not easily detectable by smell while still affecting our health. Smells are the most obvious signal, as they are consciously perceived by the brain and nervous system, allowing us to make judgements about our environment.
Learn more about where poor indoor air quality comes from, why it’s important to address within the built environment, and how to design for good indoor air quality and comfort.
Yet another treatise on Steve Jobs? 1 As an “architect” — really? And with Apple seemingly waning, aren’t we behind the curve on this? 2 Suffice it to say that my interest is not solely in Steven Paul Jobs himself, but rather in the challenge that the late computer impresario and legendary technologist poses to the methods and purpose of an architectural historian — starting with one who teaches across disciplines, at a public university near Apple’s lair in the Bay Area of California.
My job and my location place me close enough to Silicon Valley that students might fairly assume that I have something cogent to say about all this (they have already indicated as much). Now Apple is working with Norman Foster to build a donut-spaceship as its headquarters in Cupertino. But since architectural stories are surprising rare here on the edge of the continent, I need a shtick; no matter my connoisseur-ish personal tastes and leftist political dispositions. So what are my options?
Compare and contrast, that trusty standby of art history, in which I drill my students. I can compare Jobs with … with whom, exactly? Bill Gates, or maybe Thomas Edison? That route would take us away from design, away from architectural history, away from aesthetics. Not necessarily a bad outcome, and like many architectural historians, I pay close attention to both Science and Technology Studies and Cultural Studies, which are the disciplines perhaps most comfortable with technology and the American experience. But neither the Apple HQ, or the iPhone for that matter, readily lend themselves to STS and Cultural Studies’ emphases on flattened and distributed innovation and on user-generated meanings.
This is just one of the many questions we architects frequently ask, and get asked. But how much easier it would be if there was a foolproof way to manage revisions and know that everyone else is on top of it too.
As architects we don’t need organizing; it’s the rest of the team who are still in the dark ages and it inevitably falls back on our shoulders to keep the whole team on the right revision. It’s frustrating and time-consuming. The drawing register (document management platform) on SiteSupervisor is made to address this problem. All drawings are shown in a digital drawing transmittal format, highlighting exactly which revision per different project stage. In the drawing register it also provides the date for when the most recent revision was transmitted, and the main information you want the team to know is right there on the digital transmittal. Once a drawing is opened for viewing in the platform, there is a banner above the drawing which tells everyone if they are viewing the latest revision or not. There will never be any confusion about the latest revision again.
The Venice Biennale of Arts is a great opportunity to think outside the box. From the collateral events that bring new uses for centenary buildings to the country pavilions in Giardini or Arsenale, an architect can learn a lot by visiting the world’s oldest biennial. Here are 7 must-see pavilions if you are visiting Venice before the Biennale ends on the 24th of November.
Ghana Freedom
Entitled after the song composed by E.T. Mensah on the eve of the independence of the new nation in 1957, this is the first Ghana Pavilion at the Biennale. It examines the legacies and trajectories of that freedom by six artists. Rooted both in Ghanaian culture and its diasporas, the pavilion is designed by Sir David Adjaye. Each artist’s work is exhibited in elliptically-shaped interconnected spaces that are plastered with locally-sourced earth from classical structures in Ghana. It’s an exhibition that differs from all other pavilions through its space and art, a place to immerse yourself in the incredible and exponent Ghanaian culture.
Sun & Sea (Marina)
Golden Lion of this Biennial, the Lithuanian Pavilion transforms the interior of a historic quayside building within the Marina Militare complex into an artificially lit beach scene replete with sand and all the paraphernalia associated with seaside holidays. The artists Rugilė Barzdžiukaitė, Vaiva Grainytė, and Lina Lapelytė present a durational opera performance on this dystopian installation that makes the imagination of any architect go deeper and deeper on thinking the way we design and use spaces.
Neither nor: The challenge to the Labyrinth
Neither nor: is inspired by the Labyrinth that is Venice, which fascinated and inspired Jorge Luis Borges and Italo Calvino. Emerging from this context, the Italian pavilion presents works by three important Italian artists – Enrico David, Chiara Fumai, and Liliana Moro – whose layout is neither linear nor can be reduced to a set of tidy and predictable trajectories. It is a show where you can enjoy a sense of dilated time and get lost in the space, a fascinating parallel to the host city of the biennial that allows for different discoveries on another scale, be it in art or the encounters that this exhibition generates.
