Professional Documents
Culture Documents
L
U
E
P
R
I
N
T
I
S
S
U
E
3
0
0 BLUEPRINT
March 2011 5.50
THE LEADING MAGAZINE OF ARCHITECTURE AND DESIGN
M
A
R
C
H
2
0
1
1
5
.
5
0
N
E
L
L
Y
B
E
N
H
A
Y
O
U
N
N
A
S
A
R
E
A
C
T
I
O
N
E
N
G
I
N
E
S
R
O
B
E
R
T
T
B
I
G
E
L
O
W
D
A
V
A
N
E
W
M
A
N
F
O
S
T
E
R
+
P
A
R
T
N
E
R
S
S
C
A
L
E
D
C
O
M
P
O
S
I
T
E
S
R
E
G
I
N
A
P
E
L
D
S
Z
U
S
S
T
U
D
I
O
D
R
O
R
O
N
D
R
E
J
D
O
U
L
E
THE
SPACE
ISSUE
B03 cover pm hw:1 21/1/11 14:59 Page 1
TE_Advert UR 08_12 Blueprint.indd 1 16/12/10 2:52 PM
UUR Blueprint FP.indd 1 21/1/11 09:28:07
Designed to live up to your expectations.
broadloom & carpet tile
bentleyprincestreet.com
tel 800.423.4709
2011 Bentley Prince Street, Inc.
| Designed for life.
Urban Tribe
Available in broadloom and carpet tile
Follow us at:
36x36 18x36
24x24
Rediscover our legacy of carpet tile.
BPS_BP_0311DLEv.7.qxd:Layout 1 12/30/10 1:32 PM Page 1
Bentley FP.indd 1 21/1/11 09:29:15
LC2 armchairs by Le Corbusier, Jeanneret, Perriand and Cassina.
Man needs colour to live (Le Corbusier). The iconic LC2 armchair is a piece of
design history and it is made even more extraordinary by its availability in a wide
palette of colours. The three renowned architects entrusted the visionary LC2
The only authorized authentic
UK_Blueprint_LC2d_Mar2011.indd 1 Cassina p4.indd 2 24/1/11 11:51:23
LC2 armchairs by Le Corbusier, Jeanneret, Perriand and Cassina.
Man needs colour to live (Le Corbusier). The iconic LC2 armchair is a piece of
design history and it is made even more extraordinary by its availability in a wide
palette of colours. The three renowned architects entrusted the visionary LC2
Design rst.
exclusively worldwide to Cassinas craftsmen, the only experts
authorized to produce it. Each LC2 is accompanied by a ten-year
guarantee. cassina.com/lccolour
24/01/11 10.35 Cassina p4.indd 3 24/1/11 11:51:58
Krono Blueprint NT Spider ad:Layout 1 19/01/2011 16:06 Page 1
kronospan.indd 2 21/1/11 09:30:13
PERFECTING THE LOOK OF WOOD
Natural Touch's cutting edge embossed in register technology creates astonishingly realistic grain and
beautiful colouration. So you can have the desirable look and feel of wood without the flaws of wood.
Technical and aesthetic excellence- it really is the perfect combination.
For a copy of our new Natural Touch brochure contact marketing@kronospan.co.uk Wood, perfected
D7965 / Elm
kronospan.indd 3 21/1/11 09:30:36
Barrisol
Lumire
2
0
0
9
p
h
o
t
o
g
r
a
p
h
e
r
:
R
o
l
a
n
d
H
a
l
b
e
Barrisol.indd 2 24/1/11 16:24:24
These exceptional projects
have one thing in common
www.barrisol.com
WORLD LEADER OF STRETCHED CEI LI NG
Barrisol
Star
Opera House
Oslo - Norway
by Snohetta Architects
2009 European Award
of Contemporary Architecture
Barrisol
Origami Tigers
Sydney - Australia
by LAVA Architects
Barrisol.indd 3 24/1/11 16:25:08
Woven Wire Fabric
Projects include multi-story wire mesh draperies for hotels,
auditoriums, and casinos; curved dividers for visual
merchandising; window treatments for private homes;
safety & blast mitigation screening; sculptural forms for
urban gardens; decorative interior/exterior wall coverings;
solar shading for buildings and parking garages; aviary
screening for animal habitats, and see-through appealing
barriers for commercial security. Whatever the application,
let us help you realize your creative vision.
Circolo
San Francisco
Woven Wire Fabric
EDITORIAL
EDITOR
Peter Kelly
pkelly@blueprintmagazine.co.uk
PRODUCT EDITOR
Gian Luca Amadei
gamadei@blueprintmagazine.co.uk
ASSOCIATE EDITOR
Tim Abrahams
tabrahams@blueprintmagazine.co.uk
SENIOR WRITER
Owen Pritchard
opritchard@blueprintmagazine.co.uk
ART DIRECTOR
Patrick Myles
pmyles@blueprintmagazine.co.uk
CHIEF SUB-EDITOR
Hayden Williams
SUB-EDITOR
Esme Fieldhouse
US CORRESPONDENT
Gwen Webber
INTERN
Natre Wannathepsakul
CONTRIBUTORS
Guy Bird
Dr Jeffrey Hoffman
Christopher Rainbow
Erik Spiekermann
Richard Williams
Herbert Wright
PRODUCT RESEARCH
PAGE DESIGNER
Dan Becker
dbecker@worldmarketintelligence.com
PRODUCT RESEARCHER
Sophia Sahin
T. ++44 (0) 20 7936 6856
F. ++44 (0) 20 7936 6813
Sophia.Sahin@progressivemediagroup.com
PRODUCTION
PRODUCTION MANAGER
Clare Ovenell
covenell@blueprintmagazine.co.uk
PRODUCTION COORDINATOR
Steve Buchanan
sbuchanan@blueprintmagazine.co.uk
PUBLISHING
CHIEF EXECUTIVE
Russell Milburn
HEAD OF EVENTS
Mike Callison
mcallison@blueprintmagazine.co.uk
EDITORIAL DIRECTOR
Simon Hodson
ADVERTISING
SALES DIRECTOR
Joe Maughan
T. ++44 (0) 20 7936 6847
jmaughan@blueprintmagazine.co.uk
SALES MANAGERS
Alistair Fitzpatrick
T. ++44 (0) 20 7936 6849
afitzpatrick@blueprintmagazine.co.uk
Ryan Sloan
T. ++44 (0) 20 7936 6841
rsloan@blueprintmagazine.co.uk
ACCOUNT MANAGER
Craig Jones
T. ++44 (0) 20 7936 6867
cjones@blueprintmagazine.co.uk
BUSINESS DEVELOPMENT MANAGER
Dean Cassar
T. ++44 (0) 20 7936 6838
dcassar@blueprintmagazine.co.uk
CLASSIFIED SALES MANAGER
Craig Glinski
T. ++44 (0) 20 7936 6855
cglinski@blueprintmagazine.co.uk
CLASSIFIED SALES EXECUTIVE
Liam ODonnell
T. ++44 (0)20 7936 3859
liam.odonnell@blueprintmagazine.co.uk
ITALIAN REPRESENTATIVE
Paolo Capitini
T. ++39 0399 715 671
paolo.capitini@nicheland.com
GERMAN REPRESENTATIVE
Randolf Krings
T. ++49 (0) 6115 324 416
look@emcmedia.de
TECHNICAL
PRINTING
S&G Print Group
NEWSTRADE DISTRIBUTION
COMAG Specialist Division
T. ++44 (0)1895 433800
BOOKSHOP/GALLERY
DISTRIBUTION
Central Books
T. ++44 (0)20 8986 4854
BLUEPRINT
Boundary House
91-93 Charterhouse Street
London, EC1M 6HR
www.blueprintmagazine.co.uk
COVER IMAGE:
ROBONAUT 2
BY NASA AND GENERAL MOTORS,
PHOTO: JOE BIBBY
WORLD MARKET INTELLIGENCE LTD
John Carpenter House
7 Carmelite Street
London, EC4Y 0BS
T. +44 (0) 20 7936 6400
F. +44 (0) 20 7936 6813
(ISSN 0268-4926)
Blueprint is published monthly for 52/year by World
Market Intelligence Ltd, a Progressive Media Group
company, John Carpenter House, 7 Carmelite Street,
London, EC4Y 0BS, England.
No responsibility can be accepted for unsolicited
manuscripts or photographs. 2011.
All calls may be monitored for training purposes.
SUBSCRIPTIONS
SINGLE ISSUE PRICE: UK 5.50; EU C =11.50; US $20.00; ROW $25.50
ONE YEAR: UK 52; EU C =124.50; US $184.50; ROW $224.50
TWO YEAR: UK 88; EU C =218; US $325; ROW $393
BLUEPRINT DIGITAL ONE YEAR: UK 46.84; EU C =55.33; US $79.44
Blueprint Customer Services: cs@progressivemediagroup.com
Subscriptions Hotline: ++44 (0)845 155 1845 (local rate)
Fax: ++44 (0)20 8269 7877 E: subscriptions@progressivemediagroup.com
Blueprint Subscriptions, WMI Trade Media, Progressive House, P.O Box 99, Sidcup,
DA15 0EN, UK. Subscribe online at www.getthatmag.com
B03 Editorial pm hw3 :B09 17 editorial/pm 25/1/11 10:00 Page 10
2011 sees the 60th anniversary of Russian astronaut
Yuri Gagarin becoming the first man in space. He was sent
into orbit in April 1961. A month later, Alan Shepard became
the first American to leave the Earths atmosphere. Ten
years later, he was playing golf on the moon.
That extraordinarily intense period of invention, research
and achievement has never been repeated. Yet the current
race to exploit space is offering something new, and just as
exciting. It looks like Virgin Galactic will get there first,
offering passengers a four-minute taste of suborbital flight.
Yet the terrestrial nature of Foster+Partners design for
Spaceport America (see page 36), emphasises how ordinary
such projects will increasingly become. As Richard Williams
points out, we should take note of what is achievable now by
anyone with a little cash, and some basic DIY skills.
Robotic astronauts, space elevators, inflatable space
stations, bio-engineered space suits: these are no longer the
realm of science fiction. Given the pace of invention, we
should easily expect the first extraterrestrial human to be
born in the next 50 years. For the moment, space tourism
has little to do with space exploration, but its potential to
inspire is huge. As aerospace designer Burt Rutan (see page
42) has said: I have a feeling that among those 100,000
that fly in those 40 or 50 spaceships over the next 15 years
there are going to be some smart, creative folk that have an
enormous breakthrough.
Some are already being inspired by this new space age.
Arts Catalyst, the London-based group will launch its
Kosmika series of space-related events on February 17 at its
space in Clerkenwell. These will lead to more ambitious
events, with the European Space Agency, later in the year.
Theres an interesting comparison to be made between
the tangible excitement of these plans, and those outlined by
the Southbanks artistic director, Jude Kelly, to celebrate the
60th anniversary of the Festival of Britain. Kelly denies that
there is any attempt to create a re-run of the ground-
breaking 1951 event. That would be too audacious she said.
The lack of vision more important than a lack of budget
is not unique to arts curators. It is a broader problem,
summed up in the calls for the recreation of Skylon, the
90m-high sculpture that towered over the Festivals site and
symbolised a modernist future for postwar Britain. Plans to
recreate it are considerably less inspiring than the SKYLON
spaceplane under development by British aerospace company
Reaction Engines. If one wants to see where exciting visions
for the future of humanity lie, it is up in space.
Peter Kelly, editor
EDITORIAL
BLUEPRINT MARCH 2011
11
BLUEPRINT
S
P
A
C
E
P
O
R
T
A
M
E
R
I
C
A
B03 Editorial pm hw3 :B09 17 editorial/pm 25/1/11 10:07 Page 11
Alias 150 St. John Street London United Kingdom
Alias.indd 1 25/1/11 11:11:33
BLUEPRINT MARCH 2011
36 56 48
50
SPACEPORT AMERICA
Virgin Galactics determined
pursuit of commercial space
travel has resulted in the
realisation of Spaceport America
in New Mexico. The project is
seen as both an economic
venture for the underperforming
American state and as a step
forward in aerospace technology.
Designed by Norman Foster, who
is fascinated by space-related
architecture, Gwen Webber
discovers a decidedly Earth-
bound and pragmatic spaceport
PROFILE: REGINA PELDSZUS
Missions to Mars are predicted
to be undertaken within the
next 20 years. Research into
the human factors of long-term,
manned spaceflight is becoming
an increasingly important field
as the missions become a
reality. Owen Pritchard meets
Regina Peldszus who has spent
three years undertaking a PhD
in space design, researching
the physiological and
psychological impact of design
on prolonged isolation
COMMENT
NASA Astronaut Dr Jeffrey
Hoffman argues that designers
need to be more imaginative if
commercial space travel is
to become a success
SPACE FOR SALE
Richard Williams explains that
as governments scale back their
space programmes, manned
spaceflight is being driven by
private investment and feverish
activity in design for
commercial clients
N
Y
E
I
N
A
U
N
G
/
L
I
F
T
P
O
R
T
G
R
O
U
P
13
42 SPACECRAFT DESIGN
California-based company Scaled
Composites has been pioneering
aerospace design since it was
founded by visionary engineer
Burt Rutan in the 1980s. The
company designed the White
Knight Two and SpaceShipTwo
crafts that will soon take paying
customers on sub-orbital flights.
As Rutan prepares for
retirement, Peter Kelly reports
on how the company is
continuing to set precedents in
design for space travel
56
42
I
R
E
N
E
L
.
S
C
H
L
A
C
H
T
&
E
X
T
R
E
M
E
-
D
E
S
I
G
N
G
R
O
U
P
2
0
1
0
FEATURES
50
M
A
R
K
G
R
E
E
N
B
E
R
G
B03 13 14 contents op hw ef op:B08_17 contents/pm/sd/pk/ta 25/1/11 10:53 Page 13
REGULARS
BLUEPRINT MARCH 2011
26
72
63
16
21
74
82
69 OPENING SHOT
Artist Nelly Ben Hayoun presents
her immersive installation Super
K Sonic Booooum
VIEW
Project M; Bigelow Aerospaces
inflatable space station; Buran
Space Shuttle; Dava Newmans
Biosuit; SKYLON spaceplane by
Reaction Engines; Erik
Spiekermanns Achtung!; Citius
by Tim Abrahams; Sour Grapes,
and Nailhouse by Christopher
Rainbow
PRODUCTS
MAN AND MACHINE
Czech architect Ondrej Doule
began the project to design a
structure for a human habitat
on Mars while working as an
intern at NASA and continued
to develop it at the
International Space University.
It is designed to be completely
self-sufficient and house
scientists during lengthy
research missions
REVIEW
Film: Gwen Webber reviews
Orphans of Apollo, a film about
the commercialisation of space
Exhibition: Guy Bird visits the
Mbius-Transe-Forme exhibition
at the Fondation Cartier in
Paris, a retrospective covering
five decades of the comic-book
artists influential work
Book: Natre Wannathepsakul
reviews Arctic Perspective
Cahier No.1 edited by Andreas
Muller, about designs for harsh
environments on Earth
63 PRODUCE: TRON ARMCHAIR
The digital landscape that
features in the recent sequel to
the 1982 sci-fi film Tron has
inspired a new chair by New
York-based practice Studio Dror
Benshetrit, designed for the
Signature collaboration between
Walt Disney and Capellini.
Gian Luca Amadei reports on
the ideas and manufacturing
process that have created a
chair with a unique aesthetic,
which manages to be both
unapologetic and charming
14
D
U
S
T
I
N
S
T
E
P
H
E
N
S
A
N
D
A
L
A
N
H
O
B03 13 14 contents op hw ef op:B08_17 contents/pm/sd/pk/ta 25/1/11 10:17 Page 14
tune the light
E
Announcing the launch of
the Logotec LED spotlight:
ERCOs first range of spotlights
uniquely designed and built
around the LED, the light source
of the future. With a design
that is a visible expression of
the use of innovative technol-
ogy, the flat, cast-aluminium
housing not only encloses the
control gear but its refined
heat management also ensures
long service life. High-power
LEDs in either warm white
or daylight white provide
luminous flux up to 1080lm
comparable to that of a 50W
low-voltage halogen lamp
yet present a connected load
of just 14W. The extremely effi-
cient LED lighting technology,
consisting of collimators and
Spherolit lenses, is exclusive
to ERCO and offers a choice of
six light distribution patterns
ranging from narrow spot to
wide flood, and from oval flood
to wallwash for creative
lighting concepts combined
with efficient visual comfort.
www.erco.com/led
Logotec LED
003_motiv_27_en_248x328_Blue_rechts.indd 1 03.12.2010 8:46:34 Uhr ERCO Blueprint.indd 1 21/1/11 09:31:34
BLUEPRINT MARCH 2011
16
B03 14 15 Opening shot ef hw:B09 20 Opening shot/pm/hw/ta 20/1/11 19:34 Page 16
BLUEPRINT MARCH 2011
17
OPENING SHOT
NELLY BEN HAYOUN
Artist Nelly Ben Hayoun studied Design Interactions at the RCA in London
and has exhibited her work in Paris, Tokyo, London and Dublin. Her award-
winning Super K Sonic Booooum is an immersive installation inspired by the
Kamiokande Observatory in Japan, and was exhibited at last years
Manchester Science Festival. An expert in particle physics accompanied
participants on a boat ride along the 15-metre river of water that ran
through a tunnel lined with thousands of balloons. Visitors experienced a
visual interpretation of the sonic boom that occurs when neutrinos and
water molecules interact. Nelly Ben Hayoun will be participating in the
inaugural Kosmica event in London at The Arts Catalyst on 17 February
(along with Regina Peldszus see page 54). www.artscatalyst.org
B03 14 15 Opening shot ef hw:B09 20 Opening shot/pm/hw/ta 20/1/11 20:00 Page 17
IDFX_PRISM_SEPTEMBER:Layout 1 27/08/2010 15:31 Page 1
Harlequinn Blueprint.indd 2 24/1/11 11:54:35
pri sm
by
FR-One, the worldwide standard in
I NHERENT FR
for more information 0845 126 5576 www.harlequinharris.com
Prism will be launched at the Sleep Show
24th - 25th November Business Design Centre, Stand M29
Harlequinn Blueprint.indd 3 24/1/11 11:55:10
TM
FURNI SHHH YOUR OFFI CE
Satisfying employee needs is not an extraneous or frivolous concern... research... indicates clearly that
open-plan office design influences the attitudes and actions of employees in ways that have important
financial consequences for the organization*
The private office has been swept away as the need for flexibility has led to open plan work spaces. Yet for
all their advantages, such as teamwork and space economy, noise can be a major distraction. And this can
affect workers' health and cost you money.
In survey after survey, noise is identified as a leading cause of dissatisfaction, irritation and lowered
productivity. Acoustics at Work have the solution. We can help you manage sound levels with a high degree
of accuracy, ensuring that productivity and privacy needs are met.
This means you not only save space. But you'll also save money.
saving space doesn't always
mean saving money
www.acousticsatwork.co.uk
01440 712700
Blueprint Masters:Layout 1 04/01/2011 11:36 Page 2
Screens at Work.indd 1 21/1/11 09:32:38
J
O
E
B
I
B
B
Y
infrared vision; a torso, which houses
the robots 38 Power PC Processors,
and two arms, each capable of lifting
a 10kg weight. Its operation is based
on partial robotic autonomy
carrying out pre-programmed tasks
and partly on relaying sensory
information to human operators so
that R2 can be used to perform
intricate tasks at remote locations.
At first, R2 will be confined to
operations in the ISSs Destiny
laboratory, deployed on a fixed
pedestal. Lower body elements, such
as legs and wheels to propel the R2
across Lunar and Martian terrain, are
currently in development.
The most advanced engineering
in R2 has been focused on the hands.
Unlike previous humanoid robots, R2
has slim fingers and thumbs; they
have 12 degrees of freedom as well as
two degrees of freedom in wrist. R2
has tendons to connect the skeletal
joints to sensors in the finger-tips
and actuators in the palm. These
allow R2s control systems to sense
reaction forces and continuously
adjust the grip. In public
demonstrations, R2s party trick has
been to shake the hands of every
visitor; no matter what size hand or
the firmness of the grip, the robot
automatically adjusts. For GM, this
dexterity marks a step-change from
Asimo, the robot created by Japanese
car manufacturer Honda, which has
BLUEPRINT MARCH 2011
become a familiar icon for advanced
robotics for more than 10 years.
As well as a demonstration of
technology to the government,
Project M is a public relations
exercise. R2s intricate hands may be
engineered to carry out delicate tasks,
but the sleek lines of its gold-and-
silver head reminiscent of designs
from Battlestar Galactica or Robocop
and the superhero proportions of its
torso are designed to generate
excitement in the general public. A
humanoid robot walking on the moon
will inspire students and demonstrate
our technological prowess. We also
thought quite frankly, President
Obama might agree that it is a
compelling and worthy mission for
NASA to conduct, says Ondler.
In its white paper proposing the
project, produced in February last
year, NASA stated: A humanoid robot
will be to this century what the
automobile, the television and the
personal computer were to the last
century The nation that leads the
industry of robotics, the nation that
designs, produces and markets robots,
will dominate the global economy in
this century. This is, of course,
promotional talk: it seems a curiously
old-fashioned vision of future
economies. Yet as a robotic remake of
the 1969 moon landing, Project M will
be a reminder of the inspirational
value of technological progress.
A masterpiece of engineering thats
been pencilled in for a moon landing,
Project M is not just an American
scientific marvel, it is also stunningly
effective PR, writes Peter Kelly
VIEW
21
be 300m, compared to 93bn for a
human mission to the moon.
According to the Project M engineers,
the economy of the mission means
that robots will play an ever-more
important role in space exploration.
February 2011 sees the first fruits
of the effort: NASA will launch
Robonaut 2 (R2) into space, on board
the final flight of the Space Shuttle
Discovery. The 150kg robot will be
delivered to the International Space
Station, where it will be tested,
refined and used to assist the human
crew members with basic tasks.
R2 has been designed by NASA
engineers along with robotics
specialists at General Motors. Its
primary purpose is to carry out
dexterous tasks in difficult or
dangerous environments that would
otherwise require human astronauts.
The 1 metre-tall humanoid robot
consists of a head, which contains
five cameras behind its reflective
visor to provide depth perception and
Above: glinting in
the dawn of a new
tomorrow. Legs,
wheels and
caterpilar tracks for
R2 are still being
developed by
Project Centaur
Project M, the mission to land a
humanoid robot on the moon within
1000 days, has been described by the
New York Times as a guerrilla effort
within NASA. The plan was announced
in 2009, at a time when Barack
Obamas scaled-back plans for space
exploration were becoming apparent.
Obama shelved a proposed manned
mission to the moon until 2028:
That is too many Presidential
administrations in the future to be
relevant or meaningful, says NASA
engineer Matt Ondler.
The engineering team behind
Project M led by Stephen J Altemus
at the Johnson Space Centre in
Houston has used discretionary
funds, bartered with private
engineering companies, and
persuaded other NASA units to co-
operate on this mission. So far, 5.5m
has been spent on the programme,
and engineers claim to still be on
track for a 2013 landing. It is
estimated that the total cost would
B03 21 View 1 hw ef:B09 25 v1/ki 20/1/11 19:37 Page 1
22
Bigelow Aerospace has designed an
inflatable space station, which is up
for rent. It offers both commercial and
political potential says the companys
founder. Herbert Wright reports
Right: the proposed
space station from
Bigelow
Aeronautics will
comprise two
Sundancer modules
and one BA 330
In 1969, David Bowies Major Tom
described his home as a tin can.
From our occasional glimpses into the
International Space Stations (ISS)
cramped confines, things have not
changed dramatically. There is,
however, an alternative being
mooted. Robert T Bigelow has a
different proposition: a habitable
inflatable module. Although this
sounds strange, it makes sense and
allows for larger volumes of usable
space to be packed tightly into the
same payload at launch as a
conventional metal tube. Bigelow
Aerospace plans a commercial space
station by 2015, with modules to rent.
The biggest, a BA 330, offers a roomy
BLUEPRINT MARCH 2011
330 cubic metre interior a giant leap
in habitable space compared to
NASAs current Destiny research
module at the ISS, which is only 106
cubic metres in volume.
Bigelow is passionate about
commercialising manned space
activity, and hes put his money where
his mouth is: hes invested $18 million
since 1998 in Las Vegas-based Bigelow
Aerospace. His aim is to commercialise
low Earth orbit (LEO) the area
roughly 160-2,000km above the Earth
in which youll find various satellites,
tonnes of debris and the ISS. LEO
becoming the domain of private
enterprise, says Bigelow, [means]
commercial companies moving beyond
serving as sub-contractors to NASA.
LEO has been dominated by NASA and
a handful of other government space
agencies. Bigelow is targeting entire
countries to lease his modules, and
argues that those who exploit the
opportunities of microgravity will
become the economic giants and
political leaders of the future.
Memoranda of understanding have
been signed by the UK, Japan and
other nations. Although not binding
commitments, Bigelow says they serve
as an important intermediate step.
What countries or companies do
with their module is up to them.
Bigelow built his personal fortune
from the Budget Suites of America
hotel chain, so not surprisingly the
press has touted space tourism. We
are not building a space hotel, he
insists, although if Hilton or Marriott
hired us, we would be happy to design
such a facility. Instead, Bigelow sees
more serious, wealth-creating use of
LEOs microgravity that will benefit
the entire globe. He stresses that his
offering is a world-class platform for
commercial and scientific research
and development as well as
manufacturing akin to a national lab.
Two habitable Bigelow modules
are almost ready to go. As well as the
13.7m long BA 330, which already
exists as a production model, there is
Sundancer, 8.8m long with a
pressurised volume of 180 cubic
metres. Bigelow already has
astronauts to service these modules.
Life-support systems testing began in
October. The roadblock to getting
them into service is a lack of a
transport system or capsule to get
astronauts up and down from LEO.
Without such a capsule we cannot
proceed, says Bigelow, and it
certainly represents the long pole in
the tent. Undeterred, his company is
now participating in Boeings NASA-
backed CST-100 capsule, designed to
dock not just with the ISS, but also
Bigelows station, which will consist
of two Sundancers and a BA 330
around a central docking unit.
Although Bigelow is one of a new
set of private entrepreneurs, his work
owes a debt to NASA. In 2002,
Bigelow licensed NASA patents for an
alternative to the conventional tin
cans that house astronauts and
equipment in orbit. The TransHab
project was based around a tube of
30cm-thick laminated materials
capable of absorbing impacts from
meteors and debris while also
insulating against exterior
temperature variations of 250
C.
The structure had to be flexible
enough to inflate to almost double
its launch diameter.
In 2000, the US Congress banned
the US space agency from building
expandable space modules, in a
complex bill addressing its spiralling
funding. According to Bigelow, My
understanding is that the furthest
NASA got before the programme was
terminated was to construct and test
some restraint layers. He adds that
many expandable habitats look alike
externally, which is why from a
superficial perspective NASA plans can
bear a resemblance to illustrations of
our own products.
The technology, though, now sets
Bigelow apart from his commercial
competition. Other companies such as
Orbital Technologies are planning to
launch a small metal module. This
month, Excalibur Almaz shipped two
unused 1970s Soviet military space
station modules to the Isle of Man for
testing. Bigelow is unfazed,
expressing confidence in his superior
architecture and usable volume.
A crowded marketplace in LEO is
exactly where Bigelows unique
inflated modules should blow away
the competition.
B03 22 View 2 hw ef:B09 26 v2 ki 25/1/11 11:30 Page 22
77
42
hm42
design: John Coleman
one of a broad and versatile
range of contemporary seating
designs for corporate, public and
residential projects. To view the
complete Hitch Mylius collection,
visit our website or contact us on
T +44(0)20 8443 2616
E info@hitchmylius.co.uk
www.hitchmylius.co.uk
hm42 27/08/2010 14:16
HM42.indd 1 21/1/11 10:13:56
HIGH DESIGN LUXURY VINYL TILES
FOR HOME INTERIORS
Visit FACEBOOK.COM/CAMAROFLOORING for a
large collection of inspirational installations or see
POLYFLOR.COM for general product details.
Polyflor.indd 1 21/1/11 09:42:48
BLUEPRINT MARCH 2011
Above: an
illustration by
Christopher
Rainbow of the
underwhelming
home of the Buran
by the Moscow
River, with inset
diagram of the
shuttle in
better days
owned and proudly displayed at the
Sinsheim Technology Museum in
Germany). In 2002, Buran 1.01, the
only fully operational orbiter, was
destroyed when the roof of its hangar
at Baikonur, buffeted by heavy snow
and unmaintained through budget
cuts, collapsed, killing seven workers.
Other models of the Buran remain
exposed to the elements in Baikonur,
while back in Moscow one can be
found in Gorky Park. Like the Buran at
Khimki pier, this snowstorm has
struggled to withstand the elements.
The Buran by the banks of the
Khimki might seem emblematic of
Russias emergence from the Soviet
era, but one should be wary of seeing
it as a representative of the state of
its contemporary space programme.
The government has struggled to
preserve the Buran as a treasured
artefact, but this does not mean that
the Russian space programme is dead.
Roscosmos, the Russian Federal Space
Agency is locked into an ongoing
contribution to the International
Space Station (ISS) and on New Years
Eve proudly announced that Russia
had launched two times more rockets
than the USA and China in 2010. In
fact, the Russian Soyuz rocket will
soon be the sole means of
transporting astronauts to and from
the ISS because NASA is due to retire
its remaining three Space Shuttles
later this year. As the Buran knows
only too well: yesterdays future is
tomorrows relic.
Once the pride of the Soviet Union, the
ghost of the Buran Space Shuttle finds
itself quietly haunting a Moscow
scrapyard these days. But dont let this
mislead you about Russias current stake
in space, reveals Christopher Rainbow
reduced throughout the 1980s.
The redundant Burans now remain
scattered around the country.
Originally they were manufactured
less than a kilometre away from the
Khimki pier, at the NPO Energia
factory. Transporting them, however,
was not easy. Each Buran is the height
of a five-storey building and has a
wingspan of 23.92m. The street
between the production line and the
pier was widened specially to
accommodate the wingspan. A barge
ferried the spacecraft to the
Zhukovsky airfield, 40km southeast of
Moscow and from there, the shuttle
would be mounted on the An-225 and
then flown to the Soviet Cosmodrome
at Baikonur in Kazakhstan.
The husk of the shuttle that
stands at the Khimki pier was on the
factory floor when funding for the
project evaporated, and remained
there until moved to its current home
in 2003 so as to free space in the
factory. Speaking a year later, the
factorys deputy general director
Mikhail Gofin said that he had been
advised to dismantle and melt down
the Buran. He had refused. We are
categorically against the destruction
of the ship, as it is our national
heritage. These relics cannot be
destroyed, he said.
Unfortunately the size and
expense of the craft has meant that
wherever a Buran has surfaced it has
struggled to find a secure home in its
motherland (although one model is
The Khimki Reservoir, on a tributary
of the Moscow River, is frozen. An
elderly couple is tugged across the icy
surface by eager grandchildren, while
nearby on a desolate snow-covered
football pitch, a pair of dishevelled
alcoholics glower menacingly at
passers-by. Behind them, a corrugated
iron fence delineates an open-air yard.
Inside, with missing wings, and its
exterior thermal tiles stripped to
reveal a green skin faded and battered
by the elements, the Buran space
shuttle snowstorm in Russian has
sat for the past seven years. By
contrast, the orbiter for the US Space
Shuttle Discovery sits on display at
the Smithsonian Institute in
Washington DC.
How did this once bold statement
of Soviet strength, a proud explorer
destined for outer space find itself
here, left to decay? In the mid-1970s
the Soviet leadership signed off the
Mir space station and Energia rocket
programme as the focus of its space
ambitions. When the Americans
launched the Space Shuttle Columbia
with 37 orbits of the Earth in 1981,
Russia began to covet the innovation
of combining a rocket launch with a
spacecraft that re-entered in its
entirety. Columbia was in fact a
compromise for NASA, who had hoped
to follow the Apollo missions with a
manned flight to Mars but failed to
achieve political support.
Sold on the concept of a re-usable
craft, the Soviets designed a response
around the US model, using Energia
rocket technology to propel the ship
into orbit. Five working craft were
constructed in addition to eight full-
size prototype models, yet the Burans
only ever completed mission
consisted of two Earth orbits on 15
December 1988. As an encore, Buran
appeared at the 1989 Paris Air Show
atop the An-225, at 84m long and
88.4m in wingspan, the worlds
largest cargo aircraft. For the space
programme, the collapse of the Soviet
Union in 1991 was the final death
knell, as its funding had slowly been
25
B03 23 v3 pm ef hw:B09 26 v2 ki 20/1/11 19:38 Page 1
26
pressure system, which used elastic
tension in a skin-tight garment rather
than gas in the EMU. Thirty years
later, while researching for her thesis,
Newman stumbled across the proposal
and recognised Webbs work as a
potential jumping-off point for a
practical solution to enhancing space
exploration. Her team now includes
former astronauts Buzz Aldrin and Jeff
Hoffman (see Comment page 46)
along with the original SAS designer
Paul Webb.
The newly brought-together team
has made fundamental changes to
Webbs original design, including the
addition of direct mechanical pressure
applied to the skin. This creates a
second skin and with it increased
mobility. Newman cites athletics as an
inspiration for the design. The Speedo
skin suit worn at the 2000 Sydney
Olympics was the creative thought,
she says, then, as an engineer I
applied the maths and facts. Indeed,
the BioSuits genius lies in its
engineering to produce a flexible yet
protective skin-tight material. To
prevent the astronaut from blowing
up, we need to control pressure on the
body and the fluids running through
and over the skin, says Trotti, director
of Trotti Studio.
The team used a 3D laser scanner
to map the contours of movement and
torque across the body. Wires and
cables were then embedded into the
BioSuits fabric; one set of skeleton
lines allowing flexibility and structure
while a second track links up to a
portable computer, which monitors
heart-rate and other biological
To create a BioSuit that will allow
future astronauts greater flexibility
than the clunky spacesuits of the
present, Dava Newman had to look to
the past. Gwen Webber reports
although ultimately the BioSuit might
rely on traditional elements as well,
such as a gas-pressured torso section
and helmet, the project has received
the go-ahead for funding from a key
player in the industry, and promising
client NASA.
Though it remains a research
project for now, the goal is for
astronauts on future moon and Mars
missions to don the BioSuit.
The suits that were used for the
Apollo missions were great for that
era, but the scale of ambition has
changed, says Trotti. Today we are
looking at realistic options for
inhabiting the moon: working on it,
farming it for resources and living on
it. The idea has been around for
decades and there have been people
whove tried to make it a possibility,
like Webb and his team. Now
technological innovation is allowing
us to realise these dreams.
In the short-term, the suit makes
practical chores easier for the
cosmonauts and astronauts charged
with maintaining the exteriors of
space stations and satellites.
Many of the current developments in
technology for space exploration are
based on defunct research by NASA.
In 1967 engineer Paul Webb proposed
a design to NASA for a Space Activity
Suit (SAS). After the failure of the
1970 Apollo 13 mission, though,
there followed a drought in
investment for moon exploration. The
SAS would have allowed astronauts
the mobility to live and work on the
moon, at the time a serious and
tangible proposition. Today, with
support from NASAs Institute for
Advanced Concepts and MITs Man
Vehicle Lab (MVL), MIT professor and
aeronautical engineer Dava Newman
has developed a new version of the
SAS, dubbed the BioSuit, along with
architect Guillermo Trotti.
Current suits only enable the
wearer limited flexibility, permitting
them to take the same loping strides
that Neil Armstrong and others made
on the moon more than 40 years ago.
These fully pressurised suits, or
Extravehicular Mobility Units, were,
and still are, as unwieldy as their
name. Webbs alternative was
revolutionary: creating a counter-
BLUEPRINT MARCH 2011
information across the body. The same
process allowed researchers to plot
the lines of non-extension lines
along the body that do not extend or
contract in length during movement
by mapping body surface curves with
the deformations of circles drawn
directly on to the skin and measured.
The different elastic materials
that make up the suits fabric were
woven using electrospinning, a
process whereby an electrical charge
draws very fine fibres from a liquid. Its
composite materials, manufactured by
Italian company Dainese, which
specialises in motorcyclist gear, will
have a huge impact on the feasibility
of the project. The implications of
using such a mix of recyclable
polymers as nylon and Spandex on the
outer layer could lower the cost of the
BioSuit to a tenth of the $20 million
price tag of one of todays spacesuits.
The teams 10-year project has so far
opened up new channels of enquiry
for example, the use of a spray-on
inner layer for a snug fit. The team is
still working on the most complicated
areas of the legs and arms, and
Above: a 3D laser
scanner was used
to map the
contours of
movement of the
body
Below: a series of
sketches show
the evolution of
spacesuit helmets
TO STOP ASTRONAUTS
FROM BLOWING UP,
WE NEED TO CONTROL
PRESSURE ON THE
BODY AND THE FLUIDS
RUNNING THROUGH
AND OVER THE SKIN
B03 24 v4 pm hw:B09 26 v2 ki 20/1/11 19:42 Page 22
Blueprint FP.indd 1 21/1/11 09:45:12
C
M
Y
CM
MY
CY
CMY
K
Blueprint-interiors002-120110.pdf 1 10/01/2011 10:42
IBE BP.indd 1 21/1/11 10:12:24
BLUEPRINT MARCH 2011
29
Using a name that was once iconic as
a piece of design, Reaction Engines
SKYLON is an example of British
science that is destined to be iconic
all over again writes Herbert Wright
Theres something of the optimistic,
heroic post-war spirit to SKYLON, the
reusable spaceplane under
development by Reaction Engines of
Abingdon, Oxfordshire. Although it
needs no pilot, Dan Dare would surely
have been just the man for the job.
The SKYLON vehicle is named after the
Powell and Moya-designed Skylon
needle that floated above the 1951
Festival of Britain and weirdly the
spacecraft has a similar shape and
scale to the sculpture even if the way
it challenges gravity is based on more
advanced British technology.
Far from being a piece of
nostalgic design, the SKYLON is an
important proposition for space travel
and could be in commercial service by
2020. Delivering 12 tonnes into orbit,
it will be ready to fly again within two
days of a mission, and capable of 200
flights over its lifetime. At 82m long,
it is longer than a Boeing 747, but its
wingspan is a mere 25m. Its fuselage
is only 6.25m across and with a black
aeroshell skin of fibre-reinforced
ceramic, its a sleek, dramatic form.
However, the design of the truss-
framework structure is purely
functional, minimising atmospheric
co-founders Richard Varvill and John
Scott-Scott, both ex-Rolls Royce
engineers. Initially, they used
Amstrad personal computers to
crunch numbers. What emerged was
not just the new SKYLON design, but
its key element a revolutionary
engine called SABRE. It performs as
an air-breathing jet up to a speed of
Mach 5, then switches during flight
into a rocket, conventionally burning
hydrogen and oxygen. What makes
SABREs performance so efficient is a
unique system that uses helium to
cool incoming air by 1150C while in
air-breathing mode, so it can be
compressed and burnt with
hydrogen. The unusual way the
exterior curves slightly, like a banana,
is a design feature that points the
air intake directly into the engine
during ascent.
Currently, the engine
development is part-funded by the
European Space Agency, but the
mechanical structure of SKYLON is
privately funded. Eventually, Reaction
Engines would license the vehicle
design to be built and operated by
others, so the company could
concentrate on engine technologies.
That hasnt stopped Reaction
Engines though from pursuing what
it calls advanced studies based on
SKYLONs capabilities.
Bond has an unusual track-record
with what may seem flights of fancy.
In the 1970s, he led a project for the
British Interplanetary Society to
design a space probe to reach a
nearby star. The work gained much
respect for its grounding in what was
feasible. Research Engines concepts
dont go that far, but they have
explored possible scenarios for the
infrastructure that would be built
around the SKYLON. These include an
Orbital Base Station, which is a vast
open cylindrical frame effectively an
orbiting shipyard. Large spacecraft
built in it could go to Mars, and
Reaction Engines has a plan for such a
mission in 2028.
However, Bond shares an
understanding with American space
entrepreneurs that there must be a
market for what he offers. It is
essential to get space transportation
into the same economic framework as
all other human activity, if human
aspirations for a future involving the
off-Earth resources of the solar
system are to be realised, he says.
SKYLON is only a beginning and other
propulsion systems and transport
architecture will rapidly follow. Bond
cannot predict the future, but
anticipates a day when we will not be
tied to this one piece of flotsam left
over from the formation of the Sun.
SKYLON has a long way to go
before it flies. Perhaps the biggest
fear is the sort of funding dry-up that
led to the cancellation of previous
British space projects. Bond says I
lament the loss of the opportunity
HOTOL afforded the UK and the
terrible attrition of highly skilled and
talented people that the nation
consigned to the scrap-heap during
the 1980s. Nowadays, he is more
confident, and says that we have no
complaints about the level of support
and interest we currently enjoy.
Above: SKYLON
celebrates the
ambition of British
engineers and is
much more than a
mere flight of fancy
drag. Most of the fuselage is occupied
by two liquid hydrogen tanks, with
the payload bay between them.
So far, everything in orbit has
got there on multi-stage rockets
even the reusable Space Shuttle
sheds vast booster rockets that are
strapped on to launch it. SKYLON,
however, takes off and lands all in
one piece. What it could deliver to
orbit includes geosynchronous
satellites (which remain fixed
relative to the Earth), supplies to
the International Space Station,
Solar Power Satellites, or even a
module for 25 people. SKYLON can
support anything that is foreseeable
in the near- and mid-term future,
comments Dr Mark Hempsell, the
Future Programmes Director at
Reaction Engines.
Reaction Engines, as the name
suggests, is primarily interested in
building engines. The company was
set up in 1989 by engineer Alan
Bond, leader of an earlier British
Aerospace spaceplane design called
HOTOL. After the British government
withdrew its funding from HOTOL,
Bond set about designing a better
spaceplane with Reaction Engines
B03 27 v5 pm hw ef:B09 26 v2 ki 20/1/11 19:43 Page 1
BRANDALISM
The award for the stupidest name for a
redevelopment project seems to be in
the bag already for 2011. With the
BBC moving its operations out of
White City to the new Media City in
Manchester, TCN and communications
agency JPCreative have agreed with
the BBC to utilise 5,570 sq m of
vacant building on part of the White
City estate. The interior of the existing
building will be refitted while the
listed exterior will remain. The
marketing geniuses behind the project
have, after extensive research and
mind-mapping (no doubt), rebranded
the building UGLI with the strapline
Beautiful on the Inside. Maybe they
were inspired by last years Be stupid
campaign for clothing brand Diesel.
A TONIC FOR THE NATION?
The 60th anniversary of the Festival of
Britain is coming up this summer.
Grapes had the pleasure of attending
the launch at which the programme
was announced. Many of the events
had a familiar feel, including the
Meltdown Festival and the E4
Udderbelly established annual
events dragged under the celebrations
banner. Southbank Centres artistic
director Jude Kelly confidently
announced: We are not trying to
produce a new Festival of Britain. It
would be too audacious. We are trying
to pay homage in a grateful and
playful way. A swish video featuring
Tracy Emin and Ray Davies upped the
ante, before a visibly excited Wayne
Hemmingway revealed his passion
for the 1951 Festival of Britain.
Flicking through the original
programme he declared: All the way
through its full of stuff that just
makes you want to dribble. So, in
short, the anniversary will be an
unaudacious rebranding of the annual
Southbank festival lightly coated in
Wayne Hemmingways saliva.
MACHO, MACHO MAN
At the recent Critical Futures debate at
the Gopher Hole in Shoreditch,
Blueprint editor Peter Kelly joined a
panel with curator Beatrice Galilee,
Shumi Bose, Kieran Long, Charles
Holland and Geoff Manaughs huge
digitised face to discuss the future of
architectural criticism. A good time
was had by all. Grapes was, however,
left perturbed by one suspect
comment from Standard architecture
critic Long: When Im in the pub, I
dont talk about computer games, he
said, I talk about football, because
Im your masculine archetype. When
it was pointed out that, he definitely
isnt an archetypal male. He conceded,
Well, maybe not in this jacket. No,
Grapes thought, not in that jacket,
or any other jacket.
30
MECHANISED MUSINGS
If there was any doubt that
Robonaut 2 was aesthetically
designed to be anything more than a
PR stunt, then Twitter has confirmed
Grapes initial cynicism. R2 has its
own cutesy account @Robonaut to
answer questions from the public as
well as musing on its own existence.
Dont expect any technical insight,
however. Recent offerings include: Ill
need a robot to play EVE to my WALL-
E. Or the equally desperate, Dear
Santa, I would like legs for Christmas,
please. I have been very good and
worked very hard since I was born in
May. Yours sincerely, R2. Who said
science was dumbing down?
NOVEL IDEA
Grapes has longed for the definitive
architecture novel to adorn its dusty
shelves. Since The Fountainhead by
Ayn Rand, there have been few serious
attempts at writing fiction featuring
the profession. When Grapes got wind
of a new novel scheduled for release,
Perfect Architect by Jayne Joso,
hopes began to rise. Upon reading the
press release, the hopes quickly faded
again. Its billed as Grand Designs
meets I Am Love and played out
against the international settings and
glamour associated with the world of
star architects. Grapes could only
picture Kevin McCloud, Tilda Swinton
S
O
U
R
G
R
A
P
E
S
and Norman Foster locked in a
vicious love triangle on a building site
in the Cotswolds.
ARCBIZARRE
Crowdsourcing is a buzzword used by
marketing types to get people to work
for free. Grapes (and a good few
others) was perturbed to read that a
group of business graduates from
Harvard have decided that this might
be a good business model to apply to
architecture and have established
ArcBazaar.org. Clients can now upload
their brief, architects can then carry
out the design process for free in a
competition format. If they dont win
the competition, they receive points
on their profile. Unfortunately, points
dont win prizes or a fee for the work
carried out. In all, its a very bad idea.
PRODUCT PLACEMENT
Grapes always relishes in a snoop
around the houses of the rich and
famous. The Times magazine indulged
us greatly with a nose around Design
Museum director and ex-Blueprint
editor Deyan Sudjics north London
home. Poring over the pictures, Grapes
was surprised to see that the cunning
Mr Sudjic had managed to sneak a
copy of his recent Norman Foster
biography into one picture, placed
carefully on the sofa in his first
floor living room.
BLUEPRINT MARCH 2011
B03 30 v8 pm ef hw:B08 36 v8 pm/sd/ta 24/1/11 19:09 Page 40
Call for entries
An annual commission and exhibition,
Designers in Residence asks recent design
graduates to create new work in response
to a specic brief
The designs will be showcased in a temporary
exhibition at the Design Museum
24 August 2011 22 January 2012
DESIGNERS IN
RESIDENCE 2011
Applicants must be resident in the UK,
have graduated from Higher Education
within the last five years and have been
working professionally in some form
of design practice for at least one year
The brief, set by Design Museum Director
Deyan Sudjic, application form and
terms and conditions are available from
designmuseum.org/exhibitions/2011/
designers-in-residence
The deadline for entries is
5pm on Monday 28 February 2011
DMDR_BlueprintAdvert_AW.indd 2 24/01/2011 16:17
Design Museum.indd 1 24/1/11 16:33:55
Spiral Staircase.indd 1 21/1/11 10:15:30
In 2008, Lord Coe grandly stated: we
are not in the business of building
football grounds. Yet as the Olympic
Park Legacy Company considers who
should become tenant of the Olympic
Stadium after the Games in 2012, the
two most likely candidates are football
teams: Tottenham Hotspur and West
Ham United. Indeed, Tottenhams late
entry to the fray has shocked many, as
it proposes the wholesale demolition
of the stadium. Although this bid is
definitely not the favourite, it does
highlight the political and economic
realities of sport in a way that the
West Ham bid, which promises to
retain the track and allow the stadium
to be used for athletics, does not.
In one very important way Lord
Coe was right. The Olympic Stadium in
Stratford is, as it stands, a crap
football stadium. Built in a cramped
site on a bend in the River Lea, it may
be an 80,000-seat stadium, but it is
designed with minimal facilities. A
simple bowl of seating and sporting
area, it has no toilets, suites, boxes
and very limited hospitality (during
the Games these will be provided in
separate temporary structures). It
doesnt have a roof, and perhaps most
importantly, it has an athletics track
that must remain. It was designed to
be a large stadium for only three
weeks, and then after the Games, for
sections to be removed so it becomes
a 30,000-seat stadium, which would
be both a community facility and the
home of British athletics.
Lord Coe may not have a position
within the OPLC and he may have been
forced to backtrack on his aversion to
a football club tenant, but his
influence over the whole development
is huge. Let us not forget he is a
former athlete, one of Britains most
successful. He is also an Olympian. He
won gold medals in the 1500m at both
the 1980 Moscow Olympics and the
1984 Los Angeles Games. In addition,
he is the vice-president of the
International Association of Athletics
Federations, the sports supreme
governing body. To be clear, Coe, a
former Tory MP, orchestrated Londons
victory in the bid to host the Olympic
Games. In the document produced to
help persuade the International
Olympic Committee, he promised that
the stadium would become a
permanent home for British athletics.
So if Lord Coe, who has had to
compromise on the tenant, wants an
athletics track, he is going to get one.
Although athletics tracks are
common around football stadia on the
Continent, in the UK they are seen as
anathema. The atmosphere of live
football, such an important selling
point to keep fans paying large
amounts to attend, depends on their
proximity to the action. This
proximity, paradoxically, has an effect
on TV audiences, whereby a match in
which the fans are close to the pitch
and voluble, is far better to watch
than one where they are removed from
the action. Even though the athletics
track for the City of Manchester
Stadium was removed when it was
converted to football use, Manchester
City fans still complain about the
distance of the main stands from the
pitch. The wiser ones, though,
grudgingly acknowledge that the move
to the bigger ground paved the way
for investment that has made them
one of the best teams in England.
In some ways the Spurs bid with
its promise to trash the athletics
track is a satire on Coes ambition.
Indeed, the conspiracy theory that it
is not a serious bid is convincing.
Tottenham submitted plans for a new
stadium at Northumberland Park near
its existing crumbling ground, White
Hart Lane, in October last year. The
project will also include a 77,000 sq ft
supermarket and over 400 new homes,
of which 40 per cent will be
affordable. It is an expensive package
at 450 million and the club has made
it clear that it feels the local
authorities are putting too many
obstacles in the way. Just as in 2003,
when David Dein (vice-chairman of
Arsenal Football Club) indulged in
some arm-twisting when he mooted
relocating to Wembley in the face of
local resistance to Arsenals new
stadium in Islington, so it is thought
that David Levy is doing the same with
Spurs and the Olympic Stadium.
What is funny about the Spurs bid
is that it would cost 200 million less
to demolish the Olympic stadium and
rebuild a new one incorporating little
of the original but the undercroft. The
club is offering to spend 25 million
on the Grade II-listed National Sports
Centre in Crystal Palace, the current
home of British athletics. This 15,000-
seat stadium is just the right size to
host the London Grand Prix although
it costs Londons authorities about
1million a year to maintain. Olympics
athletics retains a political clout
greater than its popularity, though.
David Lammy, who is MP for the
constituency in which Spurs ground
stands, asked the OPLC to 'detail the
framework that will be used to make
the decision'. According to the Daily
Mail the reply cited an 'elite sport' in a
context that suggested something
other than football. Although the
economic reality is that, in the UK,
football is the only sport that can pay
for a large stadium, politically it is
considered inferior to the rarefied
world of athletics. And West Ham fans
gazing over stretches of polyurethane-
coated rubber will be reminded of this
every time the team plays at home.
BLUEPRINT MARCH 2011
33
Against the wishes of Lord Coe, it seems likely that the
permanent residents at the Olympic Stadium will be a
Premiership football club. Hell make sure, however,
that athletics remains ingrained in the ground
CITIUS
THE ECONOMIC
REALITY IS FOOTBALL
CAN PAY FOR LARGE
STADIA. POLITICALLY,
IT IS INFERIOR TO THE
RARIFIED WORLD OF
ATHLETICS
B03 31 citius ef:B09 29 v3 ki 20/1/11 19:43 Page 31
34
Stanley Kubricks 2001: A Space
Odyssey, first shown in 1968,
presented quite a few concepts that
have since become reality. There is a
camera the size of a cigarette lighter
that wouldnt have been big enough
for films available at the time and
passengers watch movies on screens in
the back of seats, something not
introduced to airplanes until the
1980s. But Kubrick didnt imagine that
one of the greatest brands of the time,
Pan Am, would not see the year 2001.
In the film, Pan Am runs the shuttle to
the moon, staffed by stewardesses in
knee-high boots. In fact, the airline
went bankrupt in 1991.
The poster announcing the movie
in 1968 was set in Futura, a typeface
from the 1920s that was probably
chosen for its name rather than for its
space-age look (there is a Flickr group
dedicated to the lack of typographic
imagination, LTypI, which shows
similar examples, like many a souvenir
shop displaying the eponymous
typeface on its window). The Bell
company logo on the Picturephone
booth (!) in the movie is also but a
pleasant memory of bygone days
before voice prompts had been
invented and signals were clear, albeit
dependent on hard wiring.
Graphic designers working for
movies never displayed a lot of
imagination when it came to
predicting the typographic future.
Whether its 2001, Star Wars or Star
Trek, type on walls or on screens
always looked like it was designed in
early-1960s Torino, Italy: square with
rounded corners and the occasional
oblique protrusion. And always all
caps. Lower case letters were
obviously considered low-tech and too
wimpish for the purposes of serious
space travel. I am never quite sure
whether some of these styles were
influenced by the cool NASA logo with
its curvy N and A (without a crossbar,
like most Korean company logos) or
whether NASA itself got its inspiration
from space movies. NASA retired that
cool logo in 1992 in favour of a badge
designed in 1959, officially called
Insignia but fondly referred to as the
meatball. That one, in turn, looks like
it came from the Buck Rogers TV series
that debuted on ABC in 1950. Buck
Rogers adventures in space turned
space technology into a part of pop
culture and made Americans
susceptible to spending billions of
dollars on the joy of space exploration.
If space travel only evoked
geometric capital letters in graphic
designers imaginations, it doesnt
look as if they would be good at
predicting what the future holds, as
far as visual communication is
concerned. Our lack of interest or
imagination concerning the future of
space travel might simply have to do
with the fact that going into space or
at least landing on the nearest known
satellite rock, aka the moon, hasnt
been on our minds much lately.
If you mention the word space to
designers these days, theyll most
likely first think of the lack of space
on their hard drives or in their closets.
Some will make the connection to
the third dimension that we all live
in, and a few of us design for, but
that is firmly fixed to our earthly
presence physically by gravity,
mentally by inertia.
Today, up in space is where our
data lives, the stuff that connects us
to our mobile phones, our bank
accounts and our music. This space is
now called the Cloud, a euphemism
for the gigantic server farms (another
deliberately harmless-sounding
misnomer) run by the likes of Amazon,
Google, Microsoft et al. As of 2010,
there were about 16 million servers
in the US alone and one of those
computer agglomerations needs as
much as 100 Megawatts of electricity,
enough power to supply a town of
80,000 in the US (twenty times as
much as a town in China with the
same population).
This is only the beginning. Each
time we run a web search, we activate
roughly 7,000 or more computers. And
they all get their data from the Cloud,
the thing we also refer to as ether- or
cyberspace, the non-place where data
gets lost, but which might hold the
answer to the disappearance of single
socks and ballpoint pens. While outer
space, that black nothingness
between planets and stars, evokes the
adventures of bold men in metallic
suits with all-caps logos on them,
data space hasnt had a movie made
about it yet. Unless we include the
countless films about that other
space, the physical one between
people. This is supposed to disappear
by connecting individuals across
cyberspace. I cannot, however,
imagine Arthur C. Clarke writing a
book about social media and Stanley
Kubrick turning it into a movie, 2008:
A Myspace Odyssey, followed by the
sequel, 2011: The Facebook Revenge.
IF YOU MENTION THE
WORD SPACE TO
DESIGNERS THESE
DAYS, THEYLL MOST
LIKELY FIRST THINK
OF THE LACK OF IT ON
THEIR HARD DRIVES
OR IN THEIR CLOSETS
Erik Spiekermann
set up MetaDesign
and FontShop, and
worked in London
from 1973 to 1981.
A teacher, author
and designer, he
he is a partner at
EdenSpiekermann,
which has offices
in Berlin and
Amsterdam
Movies about space and real-life space travel
seemed to have spurred each other on, over the
years, to come up with the best ideas. Its a shame
graphic designers havent been able to keep up
ACHTUNG!
M
E
L
V
I
N
G
A
L
A
P
O
N
BLUEPRINT MARCH 2011
B03 34 v7 pm ef hw:B09 29 v3 ki 24/1/11 15:58 Page 34
Tel. 01923 818282
Email. sales@shopkit.com
www.shopkit.com
CABINETS
Design, supply and fit
all styles of cabinets with
great attention to detailing,
using high quality materials
and finishes.
Call for brochure or to
discuss your current or
future projects.
Shopkit BP Cabinet 1p Ad 30/6/10 14:31 Page 1
Shopkit sept.indd 1 21/1/11 10:18:44
BLUEPRINT MARCH 2011
36
SPACEPORT
AMERICA
NEW
MEXICO
M
A
R
K
G
R
E
E
N
B
U
R
G
B08 36 Spaceport pm hw ef2:B10 ?? ??/Interview 25/1/11 10:30 Page 36
VIRGIN GALACTIC HAS WON THE RACE AS
THE FIRST COMPANY TO OFFER SUB-
ORBITAL SPACEFLIGHTS. FOR THOSE THAT
CAN AFFORD IT, THE JOURNEY WILL
BEGIN AT SPACEPORT AMERICA,
DESIGNED BY FOSTER + PARTNERS.
GWEN WEBBER TRAVELS TO THE
BUILDING UNDER CONSTRUCTION AND
FINDS A MYSTERIOUS CREATURE NESTLED
IN THE SCORCHED DESERT
BLUEPRINT MARCH 2011
37
The Spaceport in New Mexico
is the first of its kind in the
world, marking the birth of a
new typology of building
Each Qubiqa mobile storage solution is unique and designed especially for your
organisations specic requirements.
A Qubiqa mobile system can provide up to 3 times more storage volume and
additional space for more desks and workspace.
Quick, safe, efcient and user friendly giving unlimited access with optional
security and integral lighting users love it!
High quality Jacob Jensen designed end panels compliment and enhance any
ofce environment.
Enables you to centralise your ofce ling and do away with clutter.
COMMENT
BLUEPRINT MARCH 2011
48
There are a few obvious issues of design for astronauts:
privacy features heavily in such an intimate, shared space. Across
the board, space-related design is quite conservative and the
challenge is mostly prosaic how to have a toilet on-board a
space shuttle, for example. The design itself isnt dissimilar to an
airplane lavatory, except that it is probably the only toilet in the
world with a seatbelt to avoid floating away when using it! When
theres sufficient motivation, humans are willing to put up with
less comfort for a short amount of time, like living out of a tent
on camping trips. So, when NASA sets guidelines for the
particular amount of volume of space required, related to the
need for comfortable working and living conditions, often there is
waste and inefficient design. When creating a design for an
environment, theres no one size fits all it is dependent on the
type of environment and the mission. In each circumstance,
designers should test the guidelines themselves and work to what
their own experience tells them: theres no easy way to explain
how it feels in space.
Recent developments in design have been the inclusion of
advanced communication technology: it is now possible to
telephone anywhere on Earth from outer space. The problem of
boredom in space travel has been the topic of some recent
discussion, but certainly on spacecrafts, there is no time to be
bored. It is more a case of isolation: you have a beautiful view
but you cant smell the flowers or hold your family, so
communication has been a huge progression for astronauts
and cosmonauts alike.
I recently attended the announcement of the winner of the
SHIFTboston Moon competition. It was an excellent starting
point for the exploration of design and to get people thinking
about the serious possibilities of lunar habitation. However, if we
tried to implement them, a lot of the designs would fall down
because of engineering problems. One of the biggest challenges in
achieving habitation on the moon is peoples desire to have a
great view of their environment but due to the vast amount of
surface radiation, people staying on the moon will probably have
to live underground. How do you deal with that? You need a lot of
material between you and the lunar surface. Its details such as
these that are the most fascinating and need focus. That is
architectures challenge
THE DESIGNERS OF SPACE
STATIONS NEED TO BE MORE
IMAGINATIVE IN ORDER TO
REFINE SPACE EXPLORATION
FOR COMMERCIAL TRAVEL,
SAYS NASA ASTRONAUT
JEFFREY HOFFMAN
//SPACE, AS MAVERICK
ASTRONOMER FRED HOYLE
ONCE REMARKED, IS HARDLY
REMOTE: ONLY AN HOURS
DRIVE AWAY, IF YOU COULD
DRIVE STRAIGHT UP. THE
PROBLEM OF GETTING THERE,
HOWEVER, IS FEROCIOUS //
B03 048 Space2 pm ef hw:B10 ?? ??/Interview 24/1/11 16:39 Page 53
BLUEPRINT MARCH 2011
Above: an illustration of
the space station Mir by
Nyein Aung. The image
was used on LiftPorts
publicity tickets as a way
to build public interest in
space elevators
54
As suborbital flights have caught
media attention, there is significant
activity in the area of commercial heavy
launch systems for humans. The satellite
launch business has long been
commercialised, but NASA has made clear
that it wishes to encourage the
commercialisation of crew launches too.
Its COTS (Commercial Orbit
Transportation Services) programme,
initiated in 2006, makes provision for the
development of private manned spaceflight
(COTS-D). The major sub-programme
supported by COTS is SpaceXs Dragon
capsule, for up to seven crew, successfully
tested unmanned in December 2010, and
the only serious replacement in sight for
either the Space Shuttle or Russias
venerable Soyuz capsule. Unremarkable-
looking, it has two innovations: it is
reusable, and has retractable landing gear.
However, neither the suborbital
trippers, nor SpaceX are offering anything
radically different: theyre nimble and
opportunistic, but their technologies refine
what already exists, and the financial
savings offered, one suspects, come from a
relative lack of bureaucracy. XCOR has
just 25 people on its payroll. A much more
substantive commercialisation of space will
occur with a different technology
altogether, one that can offer a 90 per cent,
or more, reduction on launch cost. That
requires (to invoke American physicist
Thomas Kuhn) something of a paradigm
shift. One such shift might be found in an
Oxfordshire business park, where a small
company called Reaction Engines (see page
27) has been developing a radical new
vehicle. Reactions proposition is
fundamentally a business-oriented one: a
reusable, single-stage to orbit (SSTO)
launch vehicle with engines that breathe
air, but also work in space. The vehicle
itself, the needle-like SKYLON has real
glamour; its capable if it works of
speeds four times that of the rocket planes,
and enough to get into orbit.
But the most elegant game-changer
would unquestionably be a space elevator
(first popularised by sci-fi writer Arthur C.
Clarke in his 1979 novel The Fountains of
Paradise), a 36,000 km-long tether linking a
geostationary satellite with Earth, and up
which slowly and silently would climb
a vehicle, delivering satellites and people
into orbit. Its a serious proposition: serious
enough for NASA to sponsor prizes in its
development, and for several companies to
be working exclusively on it, among them
the LiftPort group. In last years highly
prestigious series, the Royal Institution
Christmas Lectures, hosted by the BBC,
the materials scientist and engineer, Mark
Miodownik concluded with a passionate
argument for the construction of a space
elevator, as well as a physically eloquent
demonstration of its guiding principles (he
concluded the lecture in mid-air, attached
to a tether).
While we wait for the space elevator,
however, we might reflect on what is
achievable now by anyone with some
basic DIY skills. Since the mid-2000s, a
handful of amateurs with weather balloons
and digital cameras have achieved what,
until recently, only national governments
could achieve high-res images of the
Earth from above. Robert Harrisons
March 2010 experiment launched from
Yorkshire, and attained a height of close
to thirty miles not far off what XCOR
want to achieve with their first flight.
The resulting pictures were quite brilliant,
and the whole exercise, Harrison thought,
cost no more than 500.
NASA take note. .
B03 048 Space2 pm ef hw:B10 ?? ??/Interview 24/1/11 16:00 Page 54
D
e
s
i
g
n
:
F
o
r
m
(
w
w
w
.
f
o
r
m
.
u
k
.
c
o
m
)
REGISTER NOW
www.surfacedesignshow.com
THE SURFACE DESIGN SHOW
FOR MATERIAL THINKERS
WHERE ARCHITECTS AND
DESIGNERS FIND INSPIRATION
In association with Media partners
13_IDFX_FULLPG_AMEND.indd 1 13/12/2010 13:06 Surface design BP.indd 1 21/1/11 10:23:27
BLUEPRINT MARCH 2011
56
A GRADUATE FROM CENTRAL SAINT MARTINS
COLLEGE OF ART & DESIGN, PELDSZUS HAS
CARVED A UNIQUE NICHE AS A SELF-STYLED
SPACE DESIGNER. HER LATEST PROJECTS
INVESTIGATE THE PSYCHOLOGICAL
CHALLENGES FACED BY ASTRONAUTS.
OWEN PRITCHARD REPORTS
PROFILE
REGINA
PELDSZUS
I
R
E
N
E
L
I
A
S
C
H
L
A
C
H
T
&
E
X
T
R
E
M
E
-
D
E
S
I
G
N
G
R
O
U
P
,
2
0
1
0
.
B03 54 Profile Peldszus pm hw ef2:B10 ?? ??/Interview 24/1/11 16:05 Page 56
BLUEPRINT MARCH 2011
57
The Mars Desert Research
Station in Utah is a
NASA training facility
where Peldszus carried
out her olfactory study
on a crew in training
B
I
U
S
P
R
O
D
U
C
T
I
O
N
71
HE BROUGHT GROWN-
UP THEMES TO COMIC
BOOKS. THERE ARE
DREAMS WITHIN
DREAMS, PLAYS ON
WORDS AND MORE
B03 69 rev2 pm ef hw ef:B08 70/rev3/ki/sd/ta 20/1/11 19:48 Page 123
D
U
S
T
I
N
S
T
E
P
H
E
N
S
A
N
D
A
L
A
N
H
O
BLUEPRINT MARCH 2011
72
Arctic Perspective Cahier
No.1: Architecture
Andreas Mller (ed.)
Hatje Cantz, 17.99
Review by Natre Wannathepsakul
>>BOOK
The severe climate of the Arctic poses
one of the most demanding challenges
for architects, be it in designing more
permanent dwellings for the native
inhabitants or the more temporary
structures for the scientists and
researchers who work there. The
establishment of Western-style
townships in the circumpolar regions
by southerners (as everyone else in
the world inevitably is to the Arctic)
disregarded the nomadic lifestyle of
the native inhabitants, who have their
own tradition of building strategies
and an aesthetic deeply tied to their
spiritual beliefs. As more attention
turns towards the untapped resources
of the North, there remain today,
acute misconceptions about the way
of life suitable to its environs.
The Arctic Perspective Initiative
(API) was set up as a non-profit
cultural organisation to direct
attention to the global, cultural, and
ecological significance of the polar
regions. One of its main objectives is
geopolitics and ideologies and the
technological perspective on how to
build in this hostile condition is
promised in future volumes.
What this book promotes is the
argument for an informed, fair and
respectful engagement with the Arctic
environment, its people and their
cultures. Without denying the
advantages of modern technologies,
APIs approach tends towards that of
observer and imitator rather than the
patronising colonialist attitudes of
old. This is demonstrated when the
API crew realise the superiority of
traditional tents to their own dome
ones: Theirs are roomy, dry, and warm
canvas, compared to our nylon domes
that have little more than rooms to
sleep [] always amazed at how fast
the large traditional tents go up in
the development of a model for a
mobile habitat and communication
network for use in the circumpolar
regions. The inquiry centres on
Nunavut, which covers most of the
Canadian Arctic region and is one of
the northernmost permanently
inhabited area in the world, with a
principally Inuit population.
Arctic Perspective Cahier No.1:
Architecture is the first of APIs four
planned publications. Focusing on
architecture, it is divided into three
parts: the first is a documentation of
APIs open competition for a mobile
media-centric habitation and work
unit. The second part comprises
essays describing the traditional
shelters of the indigenous people; the
investigation into mobile structures
by southern architects, with
particular emphasis on the works and
influence of Buckminster Fuller; and a
reassessment of the architectural
works of the architect Ralph Erskine.
The third part of the book
accounts two journeys into the Arctic:
the first a detailed list of the
inventory and instructions for a
voyage to discover the possible
existence of a north-west passage
undertaken in 1818 by the British
explorer John Ross. The second is a
day-to-day report by members of the
API on their expedition in 2009.
The layout of Cahier No.1 is
puzzling and readers should start with
Part 2 and leave Part 1 until last. In
this way one is provided with the
general background of the Arctics
culture and environment, and the
history of the development of mobile
architecture. The inclusion of the
1818 voyage, while providing a
historical backdrop to APIs latterday
journey is superfluous to the
publication. But these are minor
quibbles, as the essays and APIs
fieldwork journal are written to be
informative without being abstruse
and are highly enjoyable. More
detailed analyses of the Arctics
Above right: an
entry for APIs
mobile unit
competition.
The Mediatechs
compact core is
enclosed within
an air-supported
envelope
Below: a modular
design for a mobile
media-centric
habitation and
work unit
comparison to our dome tents.
The most pointed illustration of
a nave attitude towards the
implication of colonisation comes in
the essay by Jrmie Michael
McGowan on the Swedish architect
Ralph Erskine.
Described as the exemplary
architect of modern Arctic indigenous
buildings, he was touted by the
architectural establishment for the
humanitarian concern of his work,
particularly through Architectural
Designs uncritical profile of 1977.
Erskine was taken at his own words,
or rather, his own drawings. The hand-
drawn image for the Resolute Bay
project in Nunavut shows a Utopian
community housed in a cluster of
brightly coloured boxes on stilts,
enclosed within a long coiling
building that acts as a perimeter wall,
shielding against the northern winds
and opened on the southern side to
the sun. Although it cemented
Erskines reputation, it was never
built. But what McGowan finds
problematic is the social and political
context within which Erskines design
was situated.
Erskines Canadian Arctic project
unwittingly or otherwise colluded
with the exploitative programme of
forced integration and relocation
of the indigenous population that had
been carried out by the government
since the 1930s.
The rhetoric Erskine employed
in the 1960s and 1970s in promoting
the northern circumpolar region as
an area replete in natural resources
and ripe for inhabitation bears an
uncanny similarity to the way we talk
about the moon and Mars today.
Similarly, the challenge to configure
a form of shelter that could sustain
human life in these environments
should not blind us to the need for a
careful study and analysis of their
existing natural systems and the
implications that our contact with
them may engender. The conquest of
the Arctic and its consequences may
be a lesson worth revisiting even if
these extraterrestrial bodies are
without sentient life forms as we
would define it.
PROMOTING THE
NORTHERN
CIRCUMPOLAR REGION
BEARS UNCANNY
SIMILARITY TO THE
WAY WE TALK ABOUT
THE MOON AND MARS
D
A
V
I
D
G
A
R
C
I
A
S
T
U
D
I
O
(
D
A
V
I
D
G
A
R
C
I
A
A
N
D
A
L
A
N
N
A
B
A
U
D
I
N
E
T
)
B03 72 rev3 hw ef:B08 70/rev3/ki/sd/ta 21/1/11 12:52 Page 86
Cottage Craft Spirals T: 01663 750716 sales@castspiralstairs.com www.castspiralstairs.com
Tilleys London Castings T: 020 8341 5975 tilleyslondon@btconnect.com www.tilleyslondoncastings.co.uk
COTTAGE CRAFT SPIRALS
Specialist designers and manufacturers of high quality, hand built, bespoke
spiral, helical, straight and combination stairs in cast aluminium and timber
bp0311 21/1/11 12:07 Page 73
BLUEPRINT MARCH 2011
74
?
???
Company Name
Address and Postcode
0???? ??????
www.website
ECOBUILD PREVIEW
<
<
???
?
Company Name
Address and Postcode
0???? ??????
www.website
>>
W blueprintmagazine.co.uk
ARMOURCOAT stand S554
Armourcoat announce the addition of
Ductal to their world-renowned product
range at Ecobuild. Developed by Lafarge,
Ductal Ultra-High Performance Concrete
(UHPC) presents a genuine revolution in
the concrete sector. The material
possesses a unique combination of
superior properties including strength,
ductility, durability and enhanced
aesthetics. This enables designers to
develop and realize new sculptural
approaches to concrete forms. Ductal is
ideally suited to the manufacture of
lightweight decorative building faades.
It can be cast in large thin panels with
an outstanding level of surface finish
detail, and has a strength and durability
greater than natural stone. Ductal can be
pigmented to a wide range of colours and
due to the very fine particle size, it will
allow excellent replication of fine surface
detail and texture from the mould.
<<
FORBO stand 151
At this years Ecobuild, visitors to the Forbo Flooring Systems stand, no 151, will take
an interactive journey through the company's impressive environmental initiatives and
achievements across its portfolio of linoleum, project vinyl, carpet tile, flocked flooring
and entrance matting system solutions. Centre stage will be Marmoleum, Forbos
sustainable and biodegradable linoleum. Made from 97% natural raw materials, more
than 37% of which have been recycled, Marmoleum has more independently awarded
eco-labels than any other flooring product in the world, making it the environmental
product of choice for many flooring specifiers. Already available in an extensive choice
of colourways and patterns, Forbo will be launching a new Marmoleum Special Edition
collection at the exhibition The unexpected nature of linoleum.
Forbo Flooring Systems
Forbo Flooring UK Ltd
PO Box 1
Kirkcaldy KY1 2SB
0800 731 2369
www.forbo-flooring.co.uk
Roca, the leading global bathroom brand,
will be exhibiting at Ecobuild 2011, the
worlds largest event for sustainable design,
construction and the built environment.
Showcasing its comprehensive range of
design led, ecologically sound products,
Roca will be present on Stand S555.
Ecobuild provides Roca with the perfect
platform from which to present its latest eco
design credentials and brand initiatives. One
of the key designs on the Roca stand will be
W+W (shown right), Rocas innovative all-in-
one WC and washbasin designed to
maximize space and conserve water. This
ground breaking idea, incorporating Rocas
new water-reuse technology, uses waste
water from the basin to fill the WC cistern,
thereby reducing water usage by up to
25% compared to a standard 6/3 litre
dual-flush WC.
ROCA stand S555
<
<
Armourcoat Ltd
Morewood Close
London Road
Sevenoaks
Kent TN13 2HU
01732 467994
www.ductal.armourcoat.com
Roca Limited
Samson Road
Hermitage Industrial Estate
Coalville
Leics. LE67 3FP
01530 830080
www.roca.com
Milliken Contract will be at Marchs Ecobuild event, presenting recently launched carbon
neutral certified ranges that provide sustainable carpet tiles across a broad spectrum of
public and commercial locations. Situated on Stand S350, Milliken Contract will showcase
its Formwork, Fixation, Shadowbox, Scattergraph and Paste Up collections, along with a
new brochure highlighting the companys innovative approach to sustainability that has
seen it considered as one of the most progressive carpet tile manufacturers. The Southern
Analogue collection, using Aquafil Econyl 95% recycled content yarn will also be
available for view for the first time at Ecobuild.
Milliken Contract
01942 612888
www.millikencontract.co.uk
MILLIKEN CONTRACT stand S350
<
<
Kerakoll has just launched an improved latex
additive for use with the H40 adhesive
range, with the added convenience that it is
a one bag one bucket solution making it
extremely easy to use. The new product
which increases thixitropicity and grab does
not contain aldehydes which are known to
cause cancer, and the combination of cement
adhesive and flexible additive is the first to
reach the EC1 standard, which is concerned
with the level of emissions of volatile
organic compounds given off by flooring. In
addition it is lighter in colour so that it does
not affect the colour of the adhesive and is
pleasant to use due to the low level of
odour. The facts that it doesnt change the
consistency of the adhesive making it nicer
to trowel, and that it has a longer pot life
than previously without affecting the setting
time of the adhesive, also mean that it is a
great product to work with.
KERAKOLL stand S360
Kerakoll
01527 578000
www.kerakoll.co.uk
>>
>>
Visit stand s760 at EcoBuild and see Strata Tiles demonstrate our exclusive range of
tiles that not only kills bacteria, removes dirt without abrasive cleaning or chemicals,
but incredibly, can clean the air we breathe. To be exact, 1000 sqm of our tiles
provides the equivalent oxygen to 70 deciduous trees, making this an EcoBuild must
see as the most durable, maintenance and eco friendly collection of products on
display. Bring your diaries too as youll be able to book a CPD visit where we come to
your office with samples, a CPD and demonstration well even supply lunch.
Strata Tiles
0800 012 1454
www.stratatiles.co.uk
STRATA TILES stand S760
<
<
BP Products 0311:pg 122/i/w/jdv/sp 20/1/11 18:52 Page 102
T: 01638 500338 F: 05603 419105 W: WWW.ARCHITECTURALTEXTILES.CO.UK
ARCHITECTURAL TEXTILES LTD
Architectural Textiles Ltd, Shardelows Farm House, New England Lane, Cowlinge, Suffolk CB8 9HP
Imagine your walls dripping with high gloss lacquer with a vertical texture! New from
PHILLIP JEFFRIES this LACQUERED STRI wallcovering is embossed with a vertical stri
pattern that is virtually seamless. Too luxurious not to fall in love with, the LACQUERED
STRI is conveniently matched with coordinating solids.
GREAT
CURVES!
Bristans new Oval brassware range takes inspiration from the trend for curves in architecture, cars
and kitchens. Taps and mixers have stylish easy-to-use lever handles and the basin mixer features a
water effcient fow limiter. The collection also includes two thermostatic shower valves which can be
ftted portrait or landscape, and a thermostatic bar valve with adjustable riser.
For further information on Oval visit www.bristan.com, call 0844 701 6273 or email enquire@bristan.com
T70
Now available from Aestus.
For further details please call Aestus on 01902 387080 or
email sales@aestus-radiators.com
Stockists of:
Arper
BestLite
Cassina
Driade
Established & Sons
Flos
Kartell
Magis
Moooi
Santa & Cole
Tom Dixon
Vitra
Zanotta
and many more...
Tel:
www.
0114
2433000
bp0311 21/1/11 12:07 Page 75
BLUEPRINT MARCH 2011
76
CAESARSTONE Ecobuild stand N710
CaesarStone, synonymous with style and durability, has created their Get Thinner
13mm designer collection, to compliment the existing 20mm and 30mm thick range.
The new range will be showcased at Ecobuild on Stand N710. CaesarStone will also be
exhibiting their full and exclusive colour range. The new selection includes Dusty
Stones, Black Rocks, Buttermilk, Organic White, and Pure White, the definitive white.
Five beautiful new colours introduced to compliment the existing range. CaesarStone is
an engineered quartz-based surface with low maintenance properties that provide an
ease of living that will look great for years to come.
CaesarStone
Charles Babbage Avenue
Kingsway Business Park
Rochdale OL16 4NW
00800 0421 6144
www.caesarstone.uk.com
Create striking designs with light, using Mykons flooring, ceiling tiles, internal hinged
doors, sliding doors, panels and bespoke furniture. Mykon create beautiful modern
transparent or opaque panels to order for contemporary homes and commercial settings,
using a unique aluminium honeycomb core sandwiched between toughened glass or
polycarbonate. For inspiration and case studies please visit www.mykon.com.
Mykon
5 Stukeley Business Centre
Blackstone Road
Huntingdon
Cambridgeshire PE29 6EF
01480 415070
www.mykon.com
MYKON Surface Design Show stand 212
<
<
<
<
W blueprintmagazine.co.uk
ECOBUILD & SURFACE DESIGN SHOW PREVIEWS
Attendees to this years show will be
able to discover some of the latest
developments from Antron carpet fibre
that has teamed up with SCIN to
explore the theme of colour in
materials. Surfaces and materials
specialist SCIN will showcase companies
that have proven track records as
innovators within their field and Antron
carpet fibre is delighted to once again
have been invited to take part.
Showcasing Antron Lumena and Antron
Legacy yarns, as well as Antron Lumena
carpet fibre with TruBlend fibre
technology, Antron carpet fibre will
present its 2011 Design Tool Kit and will
reveal elements of its Carpet and Space
campaign that explores how a
floorcovering can help to define a space.
ANTRON Surface
Design Show stand 302
Invista Antron carpet fibre
Ermin Street
Brockworth
Gloucester, GL3 4HP
0845 450 6434
enquires@antronfibres.co.uk
>>
NCS Navigator, the new online
colour design application based
on the Natural Colour System.
Easy to use, with free download
via our website. Find specific NCS
colours, develop colourways, and
cross reference between NCS, RGB
and CMYK. Or simply explore the
NCS System as 3D colour space.
All 1,950 NCS colours are
available from major paint and
coatings companies and
referenced in flooring, laminates,
ceramic tiles, glass, cladding, and
much more. You can check the
physical colours with the NCS
Index, Atlas or individual colour
sheets. See us on Stand EPP6 at
Ecobuild.
NCS COLOUR
Ecobuild stand EPP6
NCS Colour Centre
71 Ancastle Green
Henley on Thames
Oxfordshire RG9 1TS
01491 411717
www.ncscolour.co.uk
>>
C.R. LAURENCE Ecobuild stand N710
C.R. Laurence will be exhibiting their range of glass hardware and accessories at
Ecobuild, on Stand N710. The show will take place from 1st to 3rd March 2011 at ExCel,
London, where visitors can view a selection of CRLs extensive product range from
their revolutionary Taper-Loc System to Shower Door Hardware to Laguna Sliding Door
Systems. The Taper-Loc System is a revolutionary new frameless glass balustrade system
for fixing toughened or toughened laminated glass from 12mm - 25.52 mm thick. There
is no need for cement, therefore eliminating mess, and the precision measured control
gives you high quality installations every time. The system is tested to meet the
strictest building code requirements BS6180:1999 and BS6399-1:1996.
C.R. Laurence of Europe
Charles Babbage Avenue
Kingsway Business Park
Rochdale OL16 4NW
00800 0421 6144
www.crlaurence.co.uk
<
<
CORIAN Surface
Design Show stand 308
Corian distributors CDUK Ltd are
increasingly supplying this wondrous and
flexible material for architectual
applications and at the Surface Design
Show (stand 308) they will be showing
its full range of capabilities. A model of
the breathtaking Seeko Hotel in Bordeaux
will take centre stage. The playful facade
of convex and concave forms, all in
Corian has made the building an iconic
landmark. King Kong Architecture chose
Corian to create fabulous contoured
exterior cladding using vast panels but
without seeing any joints. Corians
resistance to moisture, heat and UV-rays
makes it as suitable for outdoors as for
indoors. Whats more, the building will
never need painting and will stay looking
pristine for years to come.
<<
CDUK Ltd
0113 201 2240
www.cdukltd.co.uk
BP Products 0311:pg 122/i/w/jdv/sp 20/1/11 18:53 Page 103
| www.fowlerco.co.uk | 01273 423111 | ben@brighton.co.uk |
Fowler & Co. designed and made this striking staircase for an
elegant Edwardian mansion apartment.
The stair strings are laser cut from 12mm thick steel to support
solid Native Oaks treads. A lighting channel runs up the edges of
the stairs to light the lobby below. The staircase hangs sweetly in
the space, with it's glass balustrade.
13 Stratford Road, Kensington, London W8 6RF
Tel: 07771 861939
www.paeredansk.com
pre dansk
BESPOKE SOLID ROSEWOOD TABLES
bp0311 21/1/11 11:05 Page 77
BLUEPRINT MARCH 2011
78
MILLIKEN CONTRACT
The latest modular carpet from Milliken Contract takes its colour cues from nature
forging striking colour combinations influenced by stormy skies and the intensity of
light as it breaks through the clouds in a dazzling three-dimensional product. As one
half of the newly created Out of the Shadows collection, Scattergraph is created
through Milliken Contracts Convergence
TM
technology, the Tufted Textured Loop Pile is
married with proprietary digital colour placement to create organic texture on the
floorplane, complementing the more structured Shadowbox in a palette of 14 shades.
Milliken Contract
01942 612888
www.millikencontract.co.uk
For designers looking to complement
heritage inspired interiors, Artwoods
Design Paint collection of wood flooring
offers a different and unusual twist on the
theme. With the Design Paint collection,
Artwood offers hand-finished wood flooring
in any Farrow&Ball floor paint finish,
including beautiful tones such as Mouses
Back, Eating Room Red and Tanners
Brown. Each colour within the Design Paint
collection is applied by hand and sealed to
provide a durable and long lasting painted
finish presented on high quality engineered
oak flooring. Artwood Design Paint is
available in both 14mm floating and 22m
structural versions and is backed by a
comprehensive warranty and a full range of
bespoke accessories.
ARTWOOD
PRODUCTS
<
<
Artwood Floors
Acton Lane
Park Royal
London NW10 7NB
0845 519 2726
www.artwood-floors.com
Maine recently installed their Mainestream range of drawers and tambour units in a
Financial Institution in London. Also specified were Maineseries31 lockers, pedestals
and bookcases. Mainestream is a modular range of storage units, which allow
streamlined heights and widths across all Maine storage ranges.
Maine
01908 271688
www.maine.co.uk
MAINE
<
<
Has the Big Freeze been losing
you money? Now there is no
need to stop working just
because the temperature drops.
Kerakolls Antigelo Eco is an
anti-freeze additive which can
be used in surface preparation
products and any of the Kerakoll
H40 Eco adhesives in conditions
as low as minus 10. The product
accelerates setting and
hardening times and increases
initial mechanical strength,
meaning that you can carry on
working all winter. Kerakoll UK
is a subsidiary of Kerakoll, one
of the leading Italian suppliers
of chemical products for tiles
and construction work.
KERAKOLL
Kerakoll
01527 578000
www.kerakoll.co.uk
>>
>>
To place products contact: Sophia Sahin T +44 (0)20 7936 6856 F +44 (0)20 7936 6813 E sophia.sahin@blueprintmagazine.co.uk W blueprintmagazine.co.uk
Miele's MasterCool refrigeration and wine
storage appliances are state-of-the-art
products designed to exceed the
expectations of the discerning consumer,
and offer unique solutions to preserve food
and wine easily and safely without
sacrificing freshness or texture. These
appliances are crafted using only the
highest quality materials, cutting-edge
cooling technology and Miele's proprietary
electronics made at our headquarters in
Gtersloh, Germany. In every aspect, from
the high performing dual cooling system to
the intuitive MasterCool touch controls,
Miele's legendary reliability is apparent,
giving you peace of mind that your quality
food and valuable wines are protected.
Feast your eyes on these pioneer appliances
which are set to become the new standard
in large capacity refrigeration and wine
storage units.
Miele
0845 365 6600
www.miele.co.uk
MIELE <<
KHRS
Khrs has launched its new World
Collection, which provides an eco-
friendly alternative to a tropical wood
floor. The new sustainable oak floors are
available in 1, 2 and 3-strip designs and
have an authentic exotic stained finish
in a choice of copper/red wine and rich
burnt orange/topaz tones. The launch
follows Khrs removal of all tropical
species from its range, until guaranteed
controlled sources can be found.
Collection styles include red toned 1-
strip Cayenne, 2-strip Chili and 3-strip
Habanero and topaz toned 1-strip
Coriander, 2-strip Nutmeg and 3-strip
Cardamom. Each design features Khrs
glueless Woodloc joint for fast, easy
installation and a durable lacquer
prefinish for easy care. All floors within
the new World Collection feature the
award-winning, eco-friendly construction
patented by Khrs in 1941.
<<
Khrs (UK) Ltd
Unit A4 Cairo Place
Endeavour Business Park
7 Penner Road
Havant
Hampshire PO9 1QN
023 9245 3045
www.kahrs.co.uk.
BP Products 0311:pg 122/i/w/jdv/sp 20/1/11 18:53 Page 104
F L I G H T D E S I G N
T. 0 2 0 8 9 8 0 1 0 0 0 E . I NF O@F L I GHT DE S I GN. CO. UK W. F L I GHT DE S I GN. CO. UK
S TA I RCA S E S | B A L US T RA DE | A RCHI T E CT URA L F E AT URE S
Turnstyle Designs, the English manufacturer of
design-led iconic ironmongery, introduce the
specially commissioned woven leather tube
made in Italy. The luxury and craftsmanship in
this new range of door levers and door pulls
are carefully bonded to plated brass door levers
and pulls. The leather, as with all Turnstyles`
products, is strong and durable and will age
beautifully with use.
TURNSTYLE DESIGNS
01271 325 325
www.turnstyledesigns.com
sales@turnstyledesigns.com
bronze & pewter door hardware
www.louisfraser.co.uk
free brochure 0845 003 7522
LOUIS FRASER
bp0311 21/1/11 11:05 Page 79
BLUEPRINT MARCH 2011
80
THE INTERIORS GROUP
The Interiors Group have completed a
24,000 sq ft refurbishment of the first
and ground floors at 89 Albert
Embankment, London, for the charity who
run both Comic Relief and Sports Relief.
Comic Relief, which many of us associate
with both the Red Nose Day campaign
and Sports Relief, use the money raised
from these events towards helping
poverty stricken people all over the world.
The brief given to The Interiors Group and
Jump Studios by Comic Relief, was to
produce a simple design on a tight
budget. A central hub has been created
by, The Interiors Group, by building a new
staircase to link the two floors together.
This relocation entailed reorganising how
people worked together and has created a
better flow of communication and team
atmosphere. As always, The Interiors
Group have carried out work at Comic
Relief with pure consistency according to
the brief that they were given.
<<
SAMUEL HEATH
Perko Powermatic concealed door closers have been used as part of the 220 million
refurbishment of The Savoy, London, one of the worlds most iconic hotels.
The capital citys largest ever hotel restoration project has involved the rebuilding or
redesign of all guestrooms and public areas, the introduction of an entirely new services
infrastructure and the structural stabilisation of the hotels listed riverfront faade
World-renowned hotel architects, ReardonSmith led the design team for this prestigious
project, developing and implementing interior design schemes created by Pierre-Yves
Rochon, which heighten the level of glamour and sense of luxury for which The Savoy is
famed across the globe.
Samuel Heath & Sons
Leopold Street
Birmingham B12 0UJ
0121 766 4216
www.samuel-heath.com
In a further extension to its comprehensive range of LED lights Collingwood Lighting
has introduced three fixed directional ground marker lights, which, thanks to these
opposing beams, are ideal for installation in any location around the edges, corners,
or even the middle of any ground space. A extremely versatile range, featuring high
powered Luxeon LEDs, the unique new marker lights GL062, GL063 and GL064 emit
a warm white glow in two, three and four directions respectively. These new cats-eyes
style lights may be installed either as part of the internal dcor or in outdoor spaces.
Collingwood
Brooklands House
Sywell Aerodrome
Wellingborough Road
Sywell
Northampton NN6 0BT
01604 495151
www.collingwoodlighting.co.uk
COLLINGWOOD
PRODUCTS
<
<
<
<
The Interiors Group
020 7495 1885
www.interiorsgroup.co.uk
Easy to maintain, hardwearing and with a forgiving aesthetic that could be tied in with
corporate identity, carpet tiles from Milliken Contract fulfilled the brief set by Bank of
China for its London offices. Snap Back from the Straight Talk collection has been
installed throughout working, breakout and courtyard areas of the building to a total of
5,000m
2
. The standard Snap Back pattern has been adapted with the addition of an
accent red in courtyard and breakout areas, reflecting the brand colours of the financial
institution. Using a standard dark colour throughout all areas to minimise the appearance
of soiling, Bank of Chinas corporate identity was further enhanced with the use of grey.
Milliken Contract
01942 612888
www.millikencontract.co.uk
MILLIKEN CONTRACT
<
<
New from Design at Knightsbridge is
Lugano, an extensive range of
upholstered seating for the hospitality
sector created for the company by design
consultant James A Wright. Intended to
set a distinguished tone in lounge and
reception areas, bars, restaurants and
bedrooms, Lugano includes handsomely
proportioned two- and three-seat sofas,
together with upright/easy armchairs and
club chairs in both compact and easy
versions. The design story throughout is
characterised by graceful sloping arms
and softened angles, with style options
embracing plain, diamond-buttoned or
fluted backs. Each model in the Lugano
range can be upholstered to suit
customer requirements, and a range of
show-wood finishes is available.
DESIGN AT
KNIGHTSBRIDGE
Design at Knightsbridge
01274 731900
design@knightsbridgefurntiture.co.uk
www.design-at-knightsbridge.co.uk
>>
To place products contact: Sophia Sahin T +44 (0)20 7936 6856 F +44 (0)20 7936 6813 E sophia.sahin@blueprintmagazine.co.uk W blueprintmagazine.co.uk
Distinctive Pearlazzo PUR is the latest
homogeneous product to be launched by
leading commercial vinyl floorcoverings
manufacturer Polyflor. Designed for the
modern commercial environment,
Pearlazzo PUR delivers the inherent low
maintenance and durability benefits
expected of a Polyflor homogeneous PUR
product while pushing the boundaries of
vinyl flooring decoration. The striking 24-
shade colour palette, a combination of
vibrant and neutral shades, has been
achieved by blending tonal chips and
pearlescent flakes fused into a solid
base colour for a unique decorative
option. Beneath the bold colours and
modern design, hardwearing Pearlazzo
PUR achieves the highest wear rating -
Group T.
Polyflor Ltd
Radcliffe New Road
Whitefield
Manchester M45 7NR
0161 767 1111
www.polyflor.com
POLYFLOR <<
BP Products 0311:pg 122/i/w/jdv/sp 21/1/11 15:09 Page 105
BLUEPRINT MARCH 2011
81
1 FORMANI UK
www.formani.co.uk T. +44 (0)1628 899710
2 LYDIA LEVER BY JEDO
www.ironmongerydirect.com T. +44 (0)1702 562 770
3 SAMUEL HEATH
www.samuel-heath.com T. +44 (0)121 766 4200
4 CAIRNEY HARDWARE LTD
www.cairney.comT. +44 (0)131 313 130
5 TURNSTYLE DESIGNS
www.turnstyledesigns.com T. +44 (0)1271 325 325
6 SIMONSWERK UK LTD
www.simonswerk.co.uk T. +44 (0)121 522 2848
7 SILVER KITE LTD
www.silverkite.co.uk T. +44 (0)1494 774779
8 NORTH 4 DESIGN LTD
www.north4.com T. +44 (0)20 8885 4404
1 2 3
5 4
7 8
SPECIALIST INDUSTRY: ARCHITECTURAL IRONMONGERY AND HARDWARE
6
Contact: Liam ODonnell T +44 (0)20 7936 6859 E liam.odonnell@worldmarketintelligence.com
bp0311 21/1/11 11:05 Page 81
BLUEPRINT MARCH 2011
82
Mars Base 10 is a plan for a permanent settlement on Mars designed by Czech
architect Ondrej Doule. The project was developed by Doule when he was an intern
at the NASA Ames facility in California and completed at the International Space
University in Strasbourg, France, where Doule now works as a researcher. Split over
three floors, the design includes sleeping quarters, bathrooms, laboratories, gyms,
a kitchen and a bar distributed radially from the base. The upper floor houses a
control room and briefing centre that will offer panoramic views of the Martian
surface. The inflatable structure assembles itself after landing and is powered by
solar panels and a nuclear reactor. Greenhouses and biospheres will provide food
and process waste as well as recycling water for missions that are expected to last
one-and-a-half years. www.isunet.edu
MAN AND MACHINE
ONDREJ DOULE
B03 82 Man+machine ef hw ef:B09 90 paper city/ki 24/1/11 19:10 Page 82
Alessi.indd 1 24/1/11 14:22:24
E
r
g
o
n
o
m
L
t
d
W
h
i
t
t
i
n
g
t
o
n
H
o
u
s
e
1
9
-
3
0
A
l
f
r
e
d
P
l
a
c
e
L
o
n
d
o
n
W
C
1
E
7
E
A
t
e
l
.
+
4
4
(
0
)
2
0
7
3
2
3
2
3
2
5
f
a
x
+
4
4
(
0
)
2
0
7
3
2
3
2
0
3
2
e
-
m
a
i
l
:
e
n
q
u
i
r
y
@
e
r
g
o
n
o
m
.
c
o
m
w
w
w
.
e
r
g
o
n
o
m
.
c
o
m
P h o t o M a r i o C a r r i e r i
U
n
i
f
o
r
O
r
g
a
t
e
c
2
0
1
0
,
C
o
l
o
g
n
e
0171210_BLUEPRINT_02-11:Blueprint feb2011 Orgatec 13/12/10 10:34 Pagina 1
Ergonom March.indd 1 21/1/11 10:41:07