Laminaria

Laminaria

What's this

Laminaria includes some varieties of brown algae found along the Atlantic coasts, with the exception of southern Spain. These algae are easily found on the shores of the sea and are collected in periods of low tide. They belong to the laminaraceae family and include three different varieties: laminaria saccarina or japonica, laminaria typed and laminaria hyperborea. The distinction into three groups of algae depends on the length of the stem, called the stem. Laminaria saccharin has a short stem with a dark olive green frond; the laminaria digitata has a long stem with olive green frond stained with brown, while the laminaria hyperborea has a large and wrinkled stem. These algae are all used in the industrial field and in phytotherapy, since none of the three is harmful, but rather, they are algae rich in substances that are very useful for the proper functioning of our body.


Property

Laminaria (including all the three varieties that we have indicated) is an algae rich in mineral salts, vitamins (A, B, C, D, E) and trace elements, among which iodine stands out, essential for the proper functioning of the thyroid and of the body metabolism. Other substances with beneficial effects are alginates, including alginic acid, a thick and gelatinous substance that has the effect of absorbing and retaining water, so that once in the stomach it promotes a sense of satiety and induces a mild laxative effect. In fact, in phytotherapy, laminaria-based products are used as slimming, remineralizing and stimulating. The basic products of laminaria, as well as for aesthetic reasons, are also used for health purposes, as in the case of thyroid insufficiency, typical of areas poor in iodine. The intake of iodine in subjects with problems of insufficient functioning of the thyroid gland allows to avoid or reduce the typical discomfort of this pathology, such as weight gain, goiter and slow metabolism. Laminaria alginates are also taken as adjuvants in diets aimed at weight loss. In the industrial field, alginates are used to obtain gelling agents for ice creams and fruit juices. The part of the laminaria used to extract the phytotherapeutic products is the thallus, that is, the whole vegetative body of the alga. After being harvested by hand or by machines placed on boats, the seaweed is dried and subjected to industrial processing processes aimed at extracting the active ingredients. From laminaria saccharin or japonica, a Japanese researcher has also managed to extract monosodium glutamate, the main substance of cooking nuts and sausages. It also appears that supplements based on laminaria japonica were used to detoxify residents affected by the nuclear disaster at Chenobyl from radiation. The intake of laminaria extracts appears to have reduced the amount of heavy metals in the populations affected by the disaster and also appears to have restored thyroid function, which was severely compromised following the accident.


Uses

From the thallus of the laminaria various food supplements containing dry extract are obtained. The latter in turn can take the commercial form of powder or capsules. Laminaria powder is taken with a variable daily dose, from one to five grams. The capsules should be swallowed with water just before meals. The recommended dosage is two capsules twice a day, to be taken before meals with plenty of water. The laminaria dry extract capsules are very rich in iodine, the same applies to the dry powder extract. These products are used in cases of excess weight, obesity and hyperthyroidism. To obtain evident beneficial effects, laminaria extracts must be taken for a period of three months.

However, the use of laminaria-based products is not recommended for those suffering from hyperthyroidism, that is, excessive thyroid function which in turn causes excitement, sweating, insomnia and tachycardia. In these subjects, the iodine contained in the laminaria causes a worsening of the symptoms indicated. Taking laminaria-based supplements is also not recommended for those allergic to iodine. If symptoms such as palpitations or tachycardia occur while taking seaweed-based supplements, you must immediately stop taking them.


Laminaria: Products

Laminaria-based products are easily purchased in herbalist's shops, drugstores and e-commerce sites. To be sure to buy supplements obtained through processing that respects the highest safety standards, it is advisable to be wary of portals where it is not possible to trace the name of the seller. Rather it is preferable to buy at the online sites of the same herbalists that describe exactly the pros and cons of the remedies offered for sale. From the point of view of costs, it must be said that supplements based on laminaria extracts have prices that remain within the average of other herbal remedies, except for particular commercial forms. A pack of 60 capsules based on laminaria seaweed costs about 14 euros, while a pack of 90 capsules of 500 mg can cost up to 50 euros. Instead, 100 grams of dry powdered extract cost just under 4 euros.


Combination to Oily Skin

Remove impurities, mattify the skin and reduce excessive greasiness without drying the skin. The purifying and astringent properties of the organic Green Mandarin Unicellular Water are contained in face creams for combination skin and rebalancing masks for oily skins.


Tips for use:

Apply morning and evening to a clean face. It is recommended to use in combination with the products of the Radiance Vitamin C Line.

Warnings: Avoid direct contact with eyes and keep out of reach of children.

Formulated with: 0%: ALCOHOL-BHA-BHT-COLOURANTS-EDTA-PEGPARABENS-PETROLATUM-SLES-SLSSILICONES

NICKEL TESTED INCI: Aloe barbadensis leaf juice (*), Dicaprylyl carbonate, Propanediol, Cetearyl olivate, Sorbitan olivate, Butyrospermum parkii butter (*), Caprylic / capric triglyceride, Olea europaea oil unsaponifiables, Glycerin, Persea gratissima oil (*), Rosa damascena flower water ( *), Argania spinosa oil (*), Arctostaphylos uva-ursi leaf extract (*), Laminaria digitata extract, Lycium barbarum fruit extract (*), Punica granatum extract, Chlorella vulgaris extract, Vitis vinifera seed oil (*), Caesalpinia spinosa gum, Hydrolyzed caesalpinia spinosa gum, Mandelic acid, Lactobionic acid, Ferulic acid, Hydrolyzed hyaluronic acid, Sodium ascorbyl phosphate, Maris aqua, Aqua, Bisabolol, Tocopherol, Ascorbyl palmitate, Lecithin, Benzyl alcohol, Cetearyl, Sorbitylitate palmitate alcohol Parfum, Sorbitan oleate, Oryza sativa starch, Xanthan gum, Ethylhexylglycerin, Tetrasodium glutamate diacetate, Limonene, Linalool, Citric acid, Alpha-isomethyl ionone, Phenethyl alcohol, Saccharide isomerate, C itral, Sodium benzoate, Potassium sorbate.


Balancing Face Gel Cream Unicellular Waters

Mattifying, non-greasy, easily-absorbed gel that helps normalize excess sebum, combats and evens out oily areas and minimizes skin imperfections.
Contains Organic Green Mandarin Unicellular Water, with a refreshing and astringent effect, and Alga Laminaria extract, purifying and soothing.

With Organic Green Mandarin Unicellular Water base To balance out combination and oily skin.

A highly-prized variety of green Mandarin is cultivated in the ancient citrus groves located between the seaside and the mountains of Calabria. The extraordinarily pure water is obtained from squeezing the fruit.
It is procured from the plant's vital cells and rich in trace elements, vitamins and essential oils. Organic Green Mandarin Unicellular Water is a natural source of vitality and balance for the skin.

Natural Active Ingredients

Organic Green Mandarin Unicellular Water: re-balancing - Alga Laminaria Extract: sebum balancing, moisturizing - Hyaluronic Acid with three different molecular weights: super-hydrating and toning - Mat active: anti-shine effect - Red Spruce Extract: sebum balancing, anti- shine


TechFocus Making Cosmetics Seminars

Innovative Textures for your Toolkit

With a whole host of exciting new products in our formulators ’toolkit our imagination is the only limit for creating sumptuous personal care treats for hair, face and body. Focusing on delivering contemporary textures, we breathe life into traditional formats to bring novel sensory experiences to everyday routines. Combining high quality performance ingredients we put our own twist on everything from solid products to light textured products. Demonstrating the versatility and diversity of our product portfolio we will talk you through the science behind the creation of a number of showcase formulations guaranteed to delight your consumers and secure your place in their daily regimes.

How to fight against urban pollution with lime extract

Pollution is present everywhere in urban areas. It is composed of pesticides, heavy metals, particles and other harmful chemicals that will disrupt skin barrier function and microbiota.

Pollution will produce several intracellular damages by oxidative stress, activation of mitochondrial AhR, ATP production decrease and inflammation.

To fight against this daily aggression, BIOLIE has developed a lime extract thanks to its enzymatic extraction process. This lime extract, rich in citroflavonoids and saccharides, has been tested on urban pollution using an original test on keratinocytes with URBAN DUST (NIST® SRM® 1649b). URBAN DUST, approved by FDA, is representative of urban pollution, including all type of molecules (not only heavy metals or particles). The test evaluates pollution impact on keratinocytes DNA by the comet method.

Our results showed that Urban pollution significantly increased (by 100%, P BIOLIE SAS

Oxynex ST Liquid - the new frontier of Anti-Pollution

Pollution has become a major concern within the last years. Causes of air pollution are multiple and associated with a release of harmful substances such as particulate matter, heavy metals or volatile organic compounds. Skin exposed to pollution is characterized by biochemical stress reactions like e.g. overproduction of reactive oxygen species (ROS), lipid peroxidation, release of inflammation mediators and overall epidermal damage. The ultimate consequences are visible signs of premature skin aging.
Antioxidants may represent good candidates to circumvent pollution-induced oxidative stress. Therefore, we investigated the ability of our potent antioxidant and photostabilizer Oxynex® ST Liquid to protect skin from environmental aggressors. We explored the protective effect of Oxynex® ST against the formation of ROS and the release of inflammatory cytokines in skin cells exposed to urban dust and UVA radiation. Further, the anti-pollution effect was evaluated in human skin explants exposed to a pollutant mix of diesel particles and heavy metals.
Oxynex® ST was found to positively impact all tested parameters in both in-vitro and ex-vivo models. In particular, Oxynex® ST showed an amazing effect in preventing all epidermal alterations induced by pollution. These outstanding results make Oxynex® ST Liquid the perfect solution to fulfill protective demands of skin against pollution - and satisfy an increasing demand of end-consumers

Trend Inspiration: Urban Forest story

In a world increasingly dominated by technology, the trend we will present is a constant approach to nature and a return to origins. Our cities become small urban forests! Green no longer as decorations or for environmentalists but essential for survival. Flowers and plants play a leading role in patterns and prints: it's time for blooming fashion! The petals and colors of the forest blossom in Bregaglio's formulas for a true garden experience.
Nature likes to wear, to live, to eat but it is a real must in beauty. Raw materials change, new techniques are born to give life to an unexpected cosmetic biocouture in products that look like gardens.
Our urban forest story in an atmosphere for the modern farmers of the future!

ALL FOODIE (Back to Basic)

While eating well is part of an effective beauty-from-within-routine, it should be complemented by a healthy skin care. Superfoods are no longer just for eating, they’re actually amazingly effective ingredients in personal care that provide the benefits of nature’s very best to help us look and feel better.

With All Foodie. Back to basics, Lipotec proposes a new way to incorporate superfoods in the beauty routine by following the traditional five-colored diet in topical skin care formulations. Selection of botanical extracts from each color group that bring the best that nature offers us and can be incorporated into different topical formulations, for a balanced and healthy-looking skin.

The importance of Anti-Pollution active ingredients and the protection of the Microbiome

In times of rapid environmental change, due to industrial growth in all parts of the world, the threat of pollution is pressing. Increasing pollution has a strong impact on the microbiome of our skin which needs effective protection to maintain its protective properties as the first defensive barrier. As a reaction to pollution, the widespread increase in ROS and RNS is evident.

The increase in ROS and RNS levels is not only attacking our skin but also the microbiome of our skin, weakening it. The use of Cayoma ® Grapefruit and Cayoma Green Coffee in the formulations significantly reduces the formation of ROS and RNS as a reaction to oxidative stress. Plant-derived polyphenols such as Naringin present among others in Grapefruit and chlorogenic acid present in Green coffee help to keep the defenses active. The detoxifying and anti-glycation effect support our natural and innate protective shield, but Cayoma Anti pollution also prevents the loss of elastin and collagen, providing high prevention of dry skin.

Environmental sustainability of detergents and formulation technology of lipoprotein derivatives

Surfactants are substances with a high molecular weight with a double affinity (polar head, non-polar tail), capable of reducing the surface tension of water and the interfacial tension between two immiscible substances.

The condensation of vegetable fatty acids with vegetable protein hydrolysates gives rise to the lipoprotein surfactants (Sodium Cocoyl Hydrolyzed Wheat Protein, Potassium Abietoyl Hydrolyzed Soy Protein, Potassium Undecilenoyl Hydrolyzed Soy Protein). They are hydrophilic compounds that do not contain ethylene oxide, so from a toxicological point of view they are safe, forming an elegant combination of the characteristics of protein derivatives with those of fatty acid salts.

Equally valid are the lipoaminoacidic surfactants, derived from the condensation of the fatty acids of coconut and amino acids of wheat, oats or peas (Sodium Cocoyl Wheat Amino Acids, Sodium Cocoyl Oat Amino Acids, Sodium Cocoyl Hydrolyzed Pea Protein, Cocoyl Proline) are very delicate products and well tolerated by the skin, being in practice composed of fatty acids and amino acids.

The new generation lipoprotein and lipoaminoacid surfactants, therefore, gently cleanse without irritating, have a high skin and eye compatibility and also, due to the protein part in their structure, reduce the aggressiveness of traditional surfactants.

Here are the formulation suggestions in the field of detergency of lipoprotein / lipoaminoacidic surfactants.

The essential in hair-care cosmetics starting from the hair follicle

Hair-care market is one of the most important in the cosmetic field. Cosmetic companies need to innovate and to develop more specific formulation to compete and to be successful in their markets. Hair follicle together with the physiology of the scalp define a complex system. Hair follicle metabolism is one of the most complicated in our body and its activity drives the hair shaft formation and its health state, while scalp homeostasis is a key point to inhibit scalp disorders, dryness and visual appearance of the hair. Shampoo, conditioners, hair dyes and hair styling could impact positively or not to the hair health.

This is a brief description about hair, its follicle and the scalp, aiming at analyzing solutions for the most innovative claims such as hair growth, grayness, conditioning and dye of the hair from root to tip. Innovative helpful ingredients to create new formulations or give higher performances will be introduced.

Direct, Accelerated & Real-time Stability Studies according to Cosmetics Guidelines ISO / TR 18811: 2018

Stability studies of complex cosmetic formulations are demanding, especially when done classically by naked eyes. Despite availability of modern, sophisticated analysis techniques storage tests are still time consuming due to the huge extend of test candidates. These examinations, however, are essential to guarantee high product quality and customer satisfaction. Challenges formulators face are manifold, as a broad spectrum of conditions, parameters and influencing factors need to be matched. The talk emphasizes how the new Cosmetics Stability Guideline - ISO / TR 18811 supports formulators to shorten time to market. Hereby comprehensive information obtained from direct, accelerated stability studies is employed. Presented data are based on LUM GmbH's cutting-edge STEP-Technology® platform as implemented in the Dispersion Analyzer LUMiSizer®. Selected cases studies are presented.Exemplarily, difficulties of the classic test setup are illustrated in contrast to the benefits of advanced technical solutions provided like STEP-Technology®. Results of accelerated stability studies were extrapolated to standard storage conditions and evaluated in relationship to real-time measurements at gravity done by Separation Analyzer LUMiReader® X-Ray. Opportunities of more efficient storage testing procedures, higher sensitivity to sample inhomogeneities and reduced sample extend as resulting from the smart combination of Cosmetics Stability Guideline and direct, accelerated stability studies, are demonstrated.

Vetivyne ™, fragrance inspired skin youth booster

On top of natural, consumers are now seeking for ethical and sustainable generation of products, delivering high level of efficacy while resonating with passions. Created from the inspirational world of fragrances raw materials, Active Beauty has designed a unique active to answer these new consumers' needs. From the upcycle of exhausted fine fragrances vetiver roots, Vetivyne ™ is a fully natural, concentrated odor-free extract showing impressive skincare benefits. Vetivyne ™ is the first cosmetic ingredient derived from Givaudan Innovative Naturals program supporting a cooperative of over 260 vetiver farmers in Haiti, who achieved Ecocert organic standard and fair trade certification. Its exclusive water based extraction and purification processes are highly respectful of the environment, delivering a superior natural quality. Three clinical studies versus placebo on mature volunteers have shown the significant consumers benefits of Vetivyne ™: skin regains its tonicity (+ 11%) and reduces its mechanical fatigue (-18%). 100% of the volunteers showed a reduction of their perilabial wrinkles down to -18%. Impressively, Vetivyne ™ is boosting by + 25% the long-lastingness and sensuality of fine fragrances on skin. Water soluble, China compliant, odor-free and sustainable by nature, Vetivyne ™ offers new creative possibilities to design the next generation of ethical, traceable, sustainable and natural skincare products.

Avogelia ® Detergent System: properties and functionality of a new combination of naturally derived ingredients, for a modern cleansing approach

Avogelia ® D.etergent S.ystem is an extension of the Avogelia ® brand developed to best convey, within detergent formulations, the functionality of the amino acids of rice, acylated with coconut oil, and the emollient and regenerating properties of avocado oil. Specific efficacy studies have confirmed the advantage of introducing Avogelia ® DS in detergent formulas, including mass market ones, where a favorable action has been demonstrated in the process of restoring skin function while ensuring greater ease of use. Avogelia ® DS is able to convey its oily fraction in detergent formulations without having to resort to the use of traditional solubilizers (PEG, PPG, Polysorbates). Avogelia ® DS is characterized by a high naturalness index in accordance with the ISO 16128 standard, and is suitable for its functionality and innovative features to be introduced in “green” formulas, guaranteeing an effective and modern cleaning approach.

Exploring the garden of microflora: a new way to improve the appearance of the skin

Excessive sebum production alters the balance of the skin's microflora. To prevent the worsening of the situation with the formation of blackheads and acne, various physiological obstacles must be overcome. In addition to rebalancing the skin microflora to prevent the proliferation of Propionibacterium acnes, the elevated state of inflammation must be reduced, the keratinocytes and sebocytes must be reprogrammed and the hormonal quantity of didrotestosterone must also be limited. We therefore introduce SEBOCLEARTM-MP, which by expanding the regulation of microflora, has essential properties for perfect skin.

HABooster - Hyaluronic Acid and Endogenous Biosynthesis of Collagen

HABOOSTER is a very low molecular weight hyaluronic acid capable of carrying out a marked anti-aging action, both in light of its effective penetration and permanence in the stratum corneum and by directly modulating the endogenous biosynthesis of collagen.

Already active at very low percentages, it is a valuable aid when you want to formulate an effective product using a safe ingredient with an important application history.

Technological innovations from METTLER TOLEDO for the cosmetic laboratory

METTLER TOLEDO is a world leader in the manufacture of precision instruments for the laboratory and industry. The intervention, aimed at laboratory managers and technicians, will aim to present the latest technological innovations in the analytical field for the cosmetic laboratory. Densimeters, refractometers, drop points, UV / VIS spectrophotometers, pH measurement systems are just some of the important innovations recently introduced for the cosmetic market which aim to optimize and simplify the analytical processes of the most modern laboratories. Particular attention will be paid to the LabX management software designed to support the user in all phases of an analysis, provide a secure database for data, interface with company data management systems (LIMS ERP) and ensure compliance and traceability in agreement with the most important sector regulations (UNI ISO, CFR21Part11)

Deodorants for a Personalized Body Care

Human axillary odor is commonly attributed to the bacterial degradation precursors in sweat secretions. Age, sex, genetic factors, environmental factors, hygiene and the use of cosmetics may contribute to body odor by influencing the quantity and quality of secretions or types of bacteria present on skin.
A cultured-based approach used to isolate odor-generating bacteria identified Corynebacterium and Staphylococcus species. Corynebacterium is related to formation of malodorous acids: volunteers with an axillary flora dominated by Corynebacteria species are characterized by a more intense axillary odor.
Mérieux NutriSciences has set up a new approach that combine the traditional sniff test with the skin microbiota evaluations to better understand the product characteristics, evaluate the real efficacy and performance, and choose the right target and deodorant positioning in the market.

Respect the timing of nature: from harvesting to extraction to ensure functional plant extracts

Nature teaches us how important time is: the time of sowing, harvesting and waiting time before ripening.
Agripharma is an agricultural company that bases its work on the knowledge of medicinal plants and their habitat, starting from the selection of the seed, which is then cultivated in different areas of the Venetian Po Valley. It uses only the best agronomic techniques and proceeds to harvest in full respect of the "balsamic time".
It will be documented how Agripharma manages to give value to its extracts thanks to the strict respect for the timing of nature, the analysis will be made on 3 plant extracts typical of the Po Valley: Tilia Tomentosa Moench, Taraxacum officinale Weber., Santureja Montana L.

Multifunctionality in cosmetic formulations

Cosmetics and personal care formulators are constantly looking for new and innovative ingredients that are effective, safe and sustainable. Temest J110 combines the effects of azelaic acid, known for its effects in pharmaceutical formulations, with the safety of a cosmetic ingredient. Through an esterification process it transforms the difficulties of using a powder with the ease handling of a liquid product and easily inserted into the formulations to create increasingly sophisticated and efficient formulas.

Algal intelligence to protect skin against damage caused by digital (blue light) and urban pollution

Odycea, located in the Lannion technology park, on the north coast of Brittany (France), has established itself in the research and production of rare bioactive substances.

Taking inspiration from the marine, vegetable and mineral world, Odycea was able to create active ingredients of proven effectiveness and oriented to the major dermo-cosmetic claims and trends.

All products are COSMOS certified and approved for use in China.

Design of lexicon and referential to help hair care product development

The need to validate and support advertising claims by means of scientific testing is growing in importance, and methods of measuring product properties are an essential part of any modern cosmetic program. The objective of this study shown in this presentation was to generate a lexicon and a referential in order to describe and quantify the sensory products performance of hair care product during all using process: from pick up of product to conditioning effect on dry hair.

New customized solutions for hair conditioning

Genadvance ® conditioners respond to the needs of consumers with dry and damaged hair. As a globally recognized concern, dry and damaged segment is specifically divided into dull, extremely damaged and naturally dry hair. For each of those types Clariant offers a specialized solution, allowing individualized products by overcoming conventional quats limitations.

We will present three innovative and most advanced conditioning ingredients to inspire formulators to create new hair conditioning products best suited to individual consumer needs. In particular, benefits of the new technologies, mode of action and proof of performance related to hair revitalizing, repair and moisturization will be discussed.

Zetemuls HC Plus: all the pluses of an unconventional cationic emulsifier

The use of cationic surfactants in the hair-care sector after traditional washing with a shampoo is recommended as the keratin of the hair, acting as an insulating material, can be enriched with electrical charges if subjected to mechanical stress (friction, stretching ...) accumulating electricity static. The localized negative charge also increases following particularly aggressive technical treatments, and after the use of aggressive shampoos and particularly concentrated in anionic surfactants.

The cationic surfactant therefore, showing a positive charge, electrostatically interacts with the net negative charge of the keratin, reducing it. The result is a hair that is easier to comb, more disciplined and more receptive to styling & finishing treatments.

Zschimmer & Schwarz presents ZETEMULS HC PLUS, the new ultra-performing cationic emulsifier enriched with Myristyl Lactate. EO-free and PEG-free, very easy to formulate without turbo emulsifier and without the need to add consistency factors. Perfect for both professional and home use, it can be formulated in both balms and masks, can be used with spray dispensers and in jar creams. An ideal solution for hair care.

Keep Your Skin Flora Happy

The skin as our largest organ hosts approx. one million bacteria per cm². This sounds scary? Maybe ... But IT'S A GOOD THING! Millions of tiny organisms define our skin flora and play an important role in skin's functioning. This explains a new skin health trend using strengthening ingredients commensal skin bacteria. Evonik Nutrition & Care GmbH offers a carefully selected active ingredient derived from a hero probiotic, the lactic acid bacterium Lactobacillus! It supports a healthy appearance of the skin by stimulating the growth of selected beneficial bacteria in order to keep and restore the natural balance of the skin

In vivo and in vitro study of a new anti-cellulite active

In the cosmetic panorama, the active substances for the treatment and prevention of cellulite are among the most studied and also those that lend themselves to an innovative scientific development involving advanced in vitro and in vivo tests for the evaluation of the reduction of lipid accumulation. .

In defining the most effective composition of our raw material, in vitro tests conducted on a line of human adipocytes proved to be an indispensable tool. Subsequent in vivo clinical-cosmetological studies on volunteers with different levels of cellulite, using laser blue reflection dermo-mapping techniques, demonstrated a significant clinical-cosmetic efficacy of the active even when inserted into a standard emulsion.

Only a research that integrates synergistically in its phases, in vitro tests and in vivo tests can allow a real optimization of the composition and effectiveness of new cosmetic active ingredients.

A Holistic Approach to Formulating for the Beauty Microbiome

The synergy between the skin and its network of microflora is a hot topic and many different Probiotic, Prebiotic and Postbiotic approaches are offered to support this diverse environment. However, there is a conflict between the addition of live bacteria to a formulation, the legal requirements of a safely preserved cosmetic product and the subsequent effects on the skin microbiome. In response to this, sister companies Active Micro Technologies and Active Concepts are offering a holistic approach to formulating for the Beauty Microbiome, combining natural antimicrobials and global metabolic stimulants, to support this unique and intricate system of microorganisms.

Hair dyes: new technologies and trends

Biocompatible lamellar clays as a carrier of cosmetic active ingredients

Great attention has been focused on clay minerals since the earliest days of civilization due to their abundance in nature and potentials. The use of clay minerals for curative and protective purpose is as old as mankind itself.
Layered clays are biocompatible raw materials already successfully used in pharmacaeutical field as antiacid, antipepsinic and multifunctional excipients. Moreover, clays are commonly employed in cosmetic products as rheological modifier, texturizing and mattifying agent. Layered double hydroxide (LDHs) are clays with positively charged layers and charge-balancing exchangeable anions located in the interlayer region. Synthetic LDHs have attracted special attention because of their easily tuning chemical composition, biocompatibility and lack of toxicity. Zirconium phosphate and natural montmorillonite based clays instead have a negatively charged layers that can be used as carriers of active molecules with positive charge.
Prolabin & Tefarm has developed innovative and green synthesis methods for the production of layered clays intercalated with cosmetic ingredients having a high loading (up to 50 wt%) of active. The intercalation technology greatly increases the efficacy and the safety of the active ingredients improving the stability, the photoprotection, the bioavailability and optimizing in a controlled manner the release.

Sugarderm H2O - Cutaneous Prebiotic

The monosaccharides, in particular L-Fucose, contained in the active ingredient Sugarderm H2O are born as additives for artificial milks, such as Human Milk Oligosaccharides, to stimulate the bacterial flora in newborns.

Prebiotics balance each microbial community to obtain a beneficial effect, on the skin this balance influences the functionality of the skin barrier: a correct 'dialogue' between the skin and its microbiota protects against the harmful action of external and internal agents, which could lead to risk of infections, inflammation, the appearance of sensitivity, itching or irritation.

As a preliminary study, the prebiotic activity is investigated in comparison with two microbial strains made to grow in competition in the same broth culture, in the presence or absence of the active ingredient.

The 'good sugars' of biotechnological origin, components of Sugarderm H2O, have proved - starting from 1% - excellent nourishment for the saprophyte S. Epidermidis, which on healthy skin inhibits inflammatory states, inducing the secretion of interleukin-10 while disadvantaged the growth of the pathogen, S. Aureus, capable of producing ceramidases, which degrade ceramides, essential components of the skin barrier.

Furthermore, Sugarderm H2O confers dermal hydration, which both contributes to the preservation of the skin's physical barrier and prevents the potential growth of invasive Staphylococci.

Alternative solutions for rinse-off applications

An exploratory journey to learn about BASF's alternative solutions in response to the growing demand for eco-friendly and biodegradable cosmetic raw materials that meet the demands of environmentally conscious consumers.

These include Euperlan® OP White, an easily biodegradable wax dispersion with a matting effect characterized by an excellent degree of whiteness for surfactant systems, suitable for Eco-Label formulations, an excellent alternative to synthetic matting polymers.

Cegesoft® Peel: Small, spherical shaped wax beads that provide a gentle, gentle exfoliation without the harshness of typical sharp-edged abrasives. Made with renewable and non-GMO raw materials, Cegesoft® Peel is a “readily biodegradable” alternative compared to the commonly used synthetic proposals.

Dehyquart® Guar HP: “High Performance” cationic conditioner derived from guar flour, especially dedicated to rinse-off applications such as shampoo and hair treatments, perfect alternative to "poorly biodegradable" polyquaternium.

Finally Rheocare® XGN, the new flexible and versatile Xanthan Gum, a valid alternative to competing products on the market or synthetic viscosifiers, provides excellent transparency to the formulations and has a high resistance to electrolytes and ethanol.

Graphene: the next wonder material for cosmetics?

Graphene is a new material derived from graphite. It has very peculiar properties and it is widely used in a number of different markets and technologies.PROGRESS Graphene has been specifically developed for cosmetic applications. Three different types of PROGRESS Graphene are already available, which are suitable for different types of formulations. It will be profitably used for eyes area makeup, hair products, foundations, compact powders, lipsticks, antiaging. PROGRESS Graphene will be a real revolution in the cosmetic world.

Discover which formulations have already been made with PROGRESS Graphene!

BEL-EVEN: innovation in protecting the skin from the effects of daily stress

Life today puts us in stressful situations every day. The skin naturally responds to stressful times by producing more cortisol, the stress hormone. If cortisol remains in excess for a long time it becomes an enemy for the skin.

BEL-EVEN® is a new active ingredient designed and patented by DSM which, by reducing cortisol levels, locally rebalances the negative effects of stress on the skin and visibly counteracts the signs of a stressful lifestyle

PolyAquol ™ -2W and PolyAquol ™ -OS2: Naturally emulsifying

Through years of research, Innovacos has developed an expertise in polyglycerol technology. This knowhow led to a new generation of polyglycerol-based emulsifiers known as PolyAquol ™.

The first member of the PolyAquol ™ family, PolyAquol ™ -2W, is a patent pending O / W self-emulsifier. PolyAquol ™ -2W possesses a wide range of formulation compatibility while providing a unique skin feel to emulsions. On a more functional level, PolyAquol ™ -2W can generate highly organized liquid crystals important to provide stability to the emulsion and to ensure compatibility with the skin. Clinically, PolyAquol ™ -2W was shown to prevent and repair damage caused to the skin barrier function by UV exposure.

PolyAquol ™ -OS2 is the second member of the PolyAquol ™ line. PolyAquol ™ -OS2 can generate W / O emulsions endowed with a very light texture and skin feel. Its molecular arrangement provides strong emulsifying properties without the need of co-emulsifiers and it can advantageously be used also for cold-processed emulsions. It is perfectly suited for sunscreen and makeup formulations containing powders and pigments.

Both, PolyAquol ™ -2W and PolyAquol ™ -OS2 emulsifiers are all naturally derived with Ecocert and Cosmos approvals.

High-performance film-forming, biodegradable and based on natural raw materials

Polyurethanes meet many challenges of formulating high-performing & sustainable products due to their unique and innovative properties. Specially made for the cosmetics industry, Baycusan ® and Baycusan ® eco polymers are the ideal film formers environmental-friendly formulations.

Film forming polymers are widely used as waterproofing agents or hair fixative agents. Like other cosmetic ingredients the film forming polymers generally end up their life cycle in water, whether it is domestic waste water or directly in the environment water. In contrary to other synthetic film formers, Covestro’s polyurethanes have the potential to biodegrade in water, while keeping a high level of performance required for groundbreaking formulations.

Furthermore, the sustainability profile of Covestro polyurethanes has been further improved by using renewable materials. Our new bio-based product Baycusan ® eco E 1000 opens new perspectives for formulators offering natural hair care formulations with high performing styling properties as synthetic polymers do. It also allows formulators to circumvent natural polymers that often lack performance and the desired sensorial properties.

Discover Covestro, supplier of choice when it comes to combine innovation, high-performance and sustainability!

Raw materials from the Amazon rainforest

Beraca Ingredients, a Brazilian company with an international reach already operating in the chemical, cosmetic, pharmaceutical, veterinary and food sectors, specializes in the production and marketing of special oils and butters extracted from seeds of plants originating in the Amazon forest, intended for the dermo-cosmetic sector. making use of an important philosophy that provides for absolute respect for the protection of the natural environment and the social context in which the company operates.
In a few years Beraca has become a leader in this particular sector with various lines of innovative products.
The high-performance Beraca functional principles add value to the products of numerous global brands operating in the cosmetic and pharmaceutical area. The ingredients come from mining communities across Brazil and form a bridge connecting Brazilian biodiversity with thousands of consumers around the world. Through a relationship marked by transparency, traceability and innovation, Beraca contributes directly to the regional development and environmental conservation of the Amazon forest, the most important ecosystem in the world.

Phytessence range: Efficacy Inspired by Nature for Genuine Beauty

Nature is inspiring us to create the most unique and innovative ingredients. Botanical extract is not only the natural ingredient in a cosmetic formula but also the main marketing tool to bring emotions and life to every cosmetic. Plants that were well-known for their medicinal virtues are now hugely valued for cosmetic products.

As the botanical extraction specialist for more than 40 years, Crodarom manufactures eco-designed ingredients to extract the best of the plants with sustainable approach.

The Phytessence range from Crodarom, perfectly combines the proven efficacy with the emotion inspired by the plants.

Through this conference you will discover 3 of the trendiest ingredients from this range.

Phytessence Purple Ginseng, a genderless ingredient with strong astringent power, dedicated to oily skin and scalp. Phytessence Pink Pomelo EC, the anti-gloom remedy that helps increase cell renewal for a radiant and perfect complexion. And our Phytessence Peach Flower, the perfect delicate flower for a new lease of life for the skin, that demonstrated strong anti-pollution and anti-asphyxia powers.

Phytokeratin - Green Keratin, cosmetic innovation from utopia to reality

The cosmetic industry progressively continues its path towards the use of "green" specialties at the expense of synthetic ingredients

one of the most challenging fields for this change of philosophy is the Hair care sector (in particular in the professional field, in which the use of conditioning and restructuring active ingredients of synthetic origin still represents the '' leitmotif '' of most of the products and new developments).

Kalichem technology has taken up the challenge by introducing plant polypeptides to be used to replace animal keratin in hair care

the '' green keratins technology '' involves the use of restructuring and / or conditioning agents, based on amino acids and keratin-like polypeptides, in pure or quaternized form.

Ingredients that find their best use for volumizing, nourishing, hydrating, protecting and restructuring the hair shaft, as well as improving its manageability properties.

The Eco-friendly, "green" philosophy, founded on the cornerstones of sustainability and animal free, finally eludes and overcomes the barriers and limitations of new market trends, of "old school" cosmetic formulation schemes: from utopia to reality .

Anti Pollution: the new Anti-aging barrier. Multifunctional approach

Air pollution has become one of the most important risk factors for human health. The expansion of cities and the consequent increase in traffic and emissions will increasingly expose our skin to very small substances (PM 20, PM 10 and PM 2.5), heavy metals, etc., which will negatively affect the appearance of our skin. Dehydration, loss of antioxidant capacity, loss of brightness are some of the effects that pollution can cause on our skin.
From the IMCD portfolio an innovative solution to protect and fight pollution through synergistic protection mechanisms: Protection, Antioxidant action, Increase of the barrier effect.

GENU pHresh ™ DF Pectin, a natural polymer extracted from citrus to helps protect the skin barrier

The protective layer formed by sebum on the surface of the skin is called acid mantle. Its pH varies naturally, with an average around 4.8, and it can be affected by a great number of factors such as skin moisture, sweat, sebum, age, as well as detergents, application of cosmetic products, and occlusive dressings. Maintaining the natural acid mantle is important for both permeability barrier formation and antimicrobial defense. Failure to readily regenerate the acid part of the epidermis results in itching and cracking of the epidermis.

GENU pHresh ™ DF pectin is a unique proprietary natural polysaccharide extracted from citrus fruit. It possesses strong pH buffering capacity combined with a long-term alkali scavenging ability, which helps quickly restore and stabilize cutaneous pH over time.

Clinical in vitro and in vivo testing on GENU pHresh ™ DF pectin will be shared on non-irritation, buffering capacity, moisturization, long term protective effect on skin barrier and skin pH after soap cleansing.

Applications for GENU pHresh ™ DF pectin include facial and body lotions and creams, shaving products, deodorants, hair & scalp care, liquid soaps, feminine hygiene…

A Proactive Approach to Speed ​​Up Product Development

Integrate all of your R&D data in one centralized system and save 30% laboratory staff time. The right tools improve search capabilities, detect regulatory and market non conformance and instantaneously generate reports (ingredients list, dossier / PIF etc. ...).

Attend this Coptis session and learn how your company can benefit from Coptis' innovative solutions designed specifically for cosmetic R&D.

Technological and sustainable innovation in cosmetic formulation

Today the theme of sustainability is increasingly present in our daily life. But what exactly are we referring to when we use this term? We talk about ethical sustainability, social sustainability and environmental sustainability. Where are the markets heading? What are the latest trends?

Consumers are increasingly aware and sensitive to the issue of sustainability, which has an ever greater weight on purchasing decisions. International public bodies are taking an increasingly active position through recommendations, limitations and new opportunities for debate, which make it possible to materialize significant changes in the market and industry over time.

Some companies have become aware of this reality, making significant investments in research to offer cutting-edge products and technologies, while respecting sustainability.

amita health care Italia presents innovative and technological concepts in sustainable formulations thanks to the synergy of active and functional ingredients of its main partners distributed exclusively in Italy.

ROELMI HPC and KOKYU ALCOHOL KOGYO CO., LTD: where effectiveness, technology, sensory experience and sustainability meet and act in synergy in an excellent way.

Evaluation of the safety and efficacy of sun protection products

The safety of sunscreen products is assessed in vitro by performing tests on cell cultures / reconstructed tissues (cytotoxicity, skin irritation on reconstructed epidermis, prosensitizing activity, phototoxicity) and in vivo and in vitro tests that allow to verify the achievement of the sun protection factor declared on the label and UVA protection (UNI EN ISO 24444: 2011, UNI EN ISO 24442: 2012, UNI EN ISO 24443: 2012).

In order to improve and refine the method for the in vitro determination of SPF and UVA protection for solar products containing physical filters (discrepancy between the results obtained in vitro and in vivo), the attention in our laboratories is focused on the development of new non-regulated internal protocols based on the UNI EN ISO 24443: 2012 method.

No less important is the need to develop specific internal protocols capable of providing an in vitro predictive evaluation to support the claims of efficacy of sun protection products: in our laboratories, internal methods have been developed for the preliminary evaluation in vitro of resistance to fresh, salt, chlorinated water and artificial sweat and for the evaluation of the protective action against UVB / UVA / Vis / Blu Light / IR radiations.

Advancements in Micellar Hair Care Science using Microcare® Emollients and Quaternised compounds

Hair care formulators are recognizing the success of skin care micellar water
and utilizing the same gentle cleansing principles in shampoo and hair
treatments.
Micellar technology is used in hair care products to help remove dirt from the
scalp without being too aggressive.
Thor Personal Care laboratories (Microbiology, Toxicology and Applications)
have worked together to offer gentle Microcare solutions for
Micellar Hair Care.
Designed to be easy-to use, specific Microcare Emollients and Amides
have been shown to be highly effective in the treatment of hair fiber.
Various mild shampoo and conditioner formulations, assessed using the
Thor VitroDerm® model, have successfully passed multi-inoculation
microbiological tests.

Genomic analysis as a support to innovative research in cosmetics

The "omics" sciences such as genomics, transcriptomics, proteomics and metabolomics study sets of complex biological molecules with various functions within living organisms and have a very broad field of application. In the cosmetic field, these techniques are a powerful tool for identifying the metabolic processes that occur in the skin and involved in skin aging, such as changes in the production of extracellular matrix proteins, antioxidant capacity and skin hyperpigmentation. . The analysis of the whole of the genetic heritage and the environmental interactions of all the microorganisms present in the skin, or the microbiome, also offers considerable support in understanding the determining factors that intervene in the case of skin and skin appendages diseases.

In the future, thanks to the knowledge gained from the “omics” sciences, it will therefore be possible to develop innovative cosmetic ingredients and finished products aimed at improving the skin's defenses and slowing down the aging process.

To repel pollutants from the skin

One of the main concerns today is pollution and its harmful effects on health and skin. Combining a polymer with metal chelating properties with a powerful antioxidant that targets free radicals, POLLUSHIELD ™ functional ingredient was developed to protect the skin from damage caused by heavy metals, fine dust and other harmful substances found in large cities and in polluted areas.
The ingredient's effectiveness in improving the appearance of skin affected by pollution was recently tested in a new study carried out in Milan. After only 14 days of treatment, the dark spots on the face, a visible manifestation of pollution damage, have become lighter, resulting in a brighter complexion appearance.
POLLUSHIELD ™ functional ingredient not only protects the skin from pollution, but reverses the harmful effects of pollutants on it.

Shake up your mind: from the science the Holy Grail of Beauty! Fermentology, BIO-Placenta and much more…

Cosmetic industry is a fast-moving reality that is driven by science and innovation. In the last years many scientific breakthroughs shook the cosmetic world with new applications, new technological solutions, customized products and innovative mechanisms of action.
Science is a key-innovator player in the cosmetic sector, since about 10% of new products launched in the market are based on novel ingredients. The new horizon for the personal care industry bases his foot on the advances in biotechnology and fermentation processes.
This year will be the year of the FERMENTOLOGY. This new term is coming up to describe the science of fermentation based-productions. Fermentation represents an opportunity to reduce the need for chemical ingredients and promote the skin's own defense mechanisms.
Nature is the ultimate master of innovation! Every new challenge comes from natural processes.
One of this process is related to the extraordinary cell growing capacity during gestation, therefore many companies looked at the composition of placenta to obtain a similar regenerative profile for topical application.
We present, the last cutting-edge material in this field: BIO-PLACENTA, showing the properties of human placenta and coming from biotechnological production.
Scientific innovation never stops, new challenges ahead!

Benefits of hybrid ester surface treatment in cosmetic applications

Developing performing raw materials for the cosmetic industry consists in associating skin / human body needs and properties to technology know-how. From essential ingredients such as amino-acids and ester, Miyoshi has designed a unique hybrid-treatment for pigments and fillers suitable to a wide range of beauty products. The advantages of those multi-functional ingredients will be disclosed through illustrated studies focusing on hydrophobicity, low oil absorption, color development, sensoriality and long wear.

Natural texturizers: what’s new, what’s hot, what’s trendy?

What are today’s most "trendy" consumer needs in terms of textures? How do meet these needs by deploying innovative formulae based on natural texturizers extracted from algae, seeds or biotechnologies? Which are the other criteria influencing the choice of natural texturizers like sustainability and regulation?

There is a clear trend toward creating innovative formulae using natural texturizers. In this conference, the author will show how to play around with different parameters such as: mixtures of different texturizers thickening, suspending, gelling and film forming properties synergies with other ingredients level of this texturizers in formulae formulation procedures. Exploring all these parameters will allow the formulator to meet current customer needs for innovating and natural textures.

Univar - Hair integrity: A holistic approach to health and styling in the new urban context

Consumers are increasingly concerned about the consequences of exposure to environmental factors such as UV or urban pollution, looking for solutions for maintaining the beauty of their hair.This presentation highlights the benefits of specific silicone technologies in reducing the impact of environmental pollution on the hair, in addition to their other established hair care benefits. Four formulations are presented that help maintain a healthy look and feel of the hair despite daily exposure.
In addition, MaizeCare ™ Style will be introduced, a new 100% naturally sourced bio-based hair fixative with performance that meets the style needs of consumers, from soft to stiff, in a range of innovative textures.

Brenntag - Relationship between sensory analysis on hair and measurement of foam parameters using instrumental: Dynamic Foam Analyzer - DFA 100

Hair cleaners and especially liquid shampoos face major technical challenges to adapt to consumer expectations, but they also need to further meet the unspoken ones. Also the main criteria to consider and evaluate are the visual appearance, the consistency of the foam and the touch of the hair after rinsing. The most relevant method to evaluate the sensory performance of the shampoo is the sensory evaluation => to evaluate the different sensory attributes => it needs the help of a group of expert judges. However, this method takes time and is not relevant to product development / requires data to ensure security. Therefore, instrumental investigation is preferred to save time in formulation screening. The aim of the present study is to study the sensory profile of 3 shampoos formulated with a single ingredient change. The aim was to study the replacement of 2 common silicones on the sensory performance of the foam.

Eurosyn - PolyAquol ™ -LW and PolyAquol ™ -VO4: low energy process for natural emulsions

Years of research in the field of polyglycerol chemistry have enabled Innovacos to create a line of natural emulsifiers, known as PolyAquolTM.
A careful selection and purification of the polyglycerol and fatty acid chains, associated with a deep know-how of molecular engineering, has allowed to expand the formulation platform with the introduction of two new emulsifiers: PolyAquolTM LW and PolyAquolTM VO4. Both have been conceived to respond to the growing demand to formulate emulsions with low energy, "cold" and eco-sustainable processes.
PolyAquolTM LW allows to obtain O / A emulsions with low viscosity and sprayable lotions in cold processes. The natural origin and Cosmos certification, on the one hand, the absence of palm oil derivatives and the possibility of avoiding the use of the turbo-emulsifier in particular conditions, on the other, make it an ideal candidate for formulations " green "and bio-sustainable.
PolyAquolTM VO4 differs from traditional A / O emulsifiers, as it introduces a new concept of "Fusion" between oil and water, W + O, which allows to obtain light and fresh textures, typical of O / A emulsions. This is made possible thanks to the particular chemical structure, based on an extensive natural polymer, with long hydrophilic polyglycerol chains capable of incorporating high quantities of aqueous phase (> 80%). In addition to being “Cosmos approved”, PolyAquolTM VO4 is able to emulsify lipid phases completely made up of vegetable oils. It can also be used at very low concentrations, starting from 2%, surpassing the competitors in terms of stability and sensoriality of the emulsions obtained.

Lucas Meyer Cosmetics - Phospholipids to enhance natural color cosmetics: when nature, texture and performance satisfy

The choice of an ingredient in a cosmetic product is determined by a number of elements, including its technical, sensory and effective properties. In makeup, the behavior of a pigmented ingredient is even more important.
Phospholipids offer natural and efficient solutions with their powerful emulsifying properties together with efficient biological properties and their characteristic touch phospholipids. "
In makeup, phospholipids can be used to disperse pigments effectively and naturally. Their moisturizing and restructuring effects make them useful for creating active makeup tricks, with an elegant and comfortable skin feeling.
Come and find out how phospholipids can improve your makeup formulation!

Complife - Hair, scalp and trichological evaluation in the cosmetic field | Hair, scalp and the trichological evaluation in the cosmetic field

Evaluating the effectiveness of hair care products is a specialized approach that involves study designs, techniques and knowledge borrowed from trichology. Starting from the ex vivo approach up to the in vivo approach, the presentation will introduce the study techniques and protocols currently used in the cosmetic field. Ex vivo tests on human hair strands are a powerful tool for screening different formulations with a cost-effective and time-efficient approach. Hair elasticity, color and texture can be successfully assessed using ex vivo tests. Human studies, on the other hand, are the method of choice when it is necessary to take into consideration the cosmetic acceptability of the product and the interaction with the physiology of the hair and scalp.

Merck - Banish the Microplastics

Today, awareness is rising about the negative effects of plastics. Microplate microspheres are commonly used in cosmetic application for peeling effects, but also for formulation enhancing properties, such as skin feel or texture enhancement. The Merck RonaFlair® functional filler portfolio offers environmentally friendly alternatives that are primarily used as skin and texture enhancers. With a clever combination of RonaFlair® functional fillers, a higher softening effect and wrinkle reduction can be achieved than Nylon-12 and PMMA, while maintaining the tactile properties and smooth skin feel.

Sinerga - Eco-sustainability in the world of hair care through the use of innovative and natural-oriented raw materials

Sustainability and naturalness are no longer prerogatives of the skincare world, but are also spreading to other segments, which are growing and always looking for innovation, such as hair care.

This is why Sinerga provides a wide range of natural and effective solutions for hair health:

Pea.Protein, a blend of hydrolyzed proteins of different molecular weight that protect the hair, increasing its resistance to breakage and with a restructuring effect.

Hair App, natural non-silicone alternative to keep hair straight for a long time and at the same time prevent damage caused by heat.

Biodegradable surfactants: gently cleanse skin and hair without harming the environment.

Kalichem - Post biotic research for micro beauty

The skin microbiota protects the skin from allergens, photoaging, radicals and pollution. The "good" bacteria "communicate" with each other and with the skin through "Postbiotics", beneficial molecules too complex to be synthesized. Kalichem promotes a worldwide research project, a new generation of biotechnological ingredients, obtained from a “clean” and patented bio-fermentation that optimizes the production of Postbiotics. Kalichem and Postbiotica present Kalibiome the first platform of Postbiotic ingredients that protect sensitive skin by increasing its defenses, regulate skin responsiveness by acting at the same time as a powerful and revolutionary anti-aging factor.

LCM - Bicoalgae XT

Bicoalgae® XT is a natural active for the skin with extraordinary anti-aging properties, produced through an eco-bioprocess that increases the production of natural astaxanthin of the H. pluvialis microalgae. The active, stabilized and incorporated into an innovative delivery system, is transported to the deep epidermal layers where it carries out its action.
Bicoalgae® XT has proven effective in repairing wrinkles, increasing firmness, brightness and increasing the skin barrier function. Its use also induces intense detoxification by accelerating cell renewal and increasing the antioxidant capacity of the skin. In addition, it protects the skin from the blue light of electronic devices and prevents the penetration of polluting particles.
Bicoalgae® XT demonstrates once again how much Science can constitute a virtuous union with what Nature offers us and provide us with innovative products for cosmetic application.

Safic Alcan - Navigating the J-Cosmetofood trend with Wamino-Bonbon, a synergistic blend of sake lees and refined sugars to improve skin conditions

J-Cosmetofood (J indicates Japan) is one of the growing trends in Europe. This is why Ichimaru Pharcos recently launched Wamino-Bonbon, a unique blend of fine sake lees and highly refined sugar molasses. Sake lees are white solid residues from the traditional method used to make sake. Wasanbon sugars are prepared using ancient extraction methods from sugar cane grown in some specific areas of Japan. Wamino-Bonbon is in line with sustainable development trends, in the sense that the remnants of food and beverage preparation processes are recycled.

The uniqueness of this synergistic blend of two traditional materials lies in its composition which includes vitamins (such as vitamin B2), amino acids (glutamic acid, aspartic acid, leucine and arginine) and sugars.

In an in vivo test, a lotion containing 1% Wamino-Bonbon showed a significant improvement in skin hydration and density after only one week.

Eico Novachem - Flor'Innov: Floral active ingredients for the regulation of the circadian rhythm and the protection of the microbiota

Flor'Innov is an innovative line of natural active ingredients in liquid form, approved according to Cosmos regulations, extracted from flowers from Provence. Thanks to the effectiveness tested, these active ingredients are able to protect the skin from attacks by external agents, ensuring proper hydration and a correct balance of the skin microbiota. The increase in UVA and UVB protection, achieved by acting on different levels, allows the restoration and reactivation of the correct cellular biological cycle. The effects on the slowing of skin aging are immediately visible with the reduction of annoying skin imperfections, especially dark circles.

Biochim - Epidermal jetlag®: what it is and how to fight it

Res Pharma - Sustainable beauty in cosmetic formulations

The identikit of the cosmetic of the future is a product that takes care of the skin but also of the planet and people.
Environmental and social factors are increasingly affecting the purchase of cosmetics. Attention to the health of the planet and of one's skin directs the consumer towards products that protect it and prove its care functions, but which are also respectful of the environment and add ethical value.
Thus there is growing interest in formulations and textures that combine functionality, sustainability of the supply of ingredients and attention to environmental and social impact.
Discover our sustainable beauty formula: “Protect Your Skin-Protect Your Planet”!

Solvay - Enjoy transforming textures and customizable wording

Transforming textures and customizable formulations is gaining momentum in the personal care industry. To meet the needs of the market, Solvay offered 2 innovative products:

- Miracare ® OGE - a new emulsifying system that allows a multifunctionality and an innovative formulation of textures with a beautiful sensory profile. It will help you formulate a clear emulsion with a high internal phase (emulsify up to 80% oil) and help you develop innovative textures or new formats.

- Rheozan ® SH - a natural polymer that offers excellent skin sensation (smooth / non-sticky, post-velvety) with excellent emulsifying properties that enable the formulation of natural, sensory-pleasing skincare products that meet consumer demand

INT.E.G.RA - New trends in the collection and management of information on cosmetic products in R&D, Production and Regulatory

Sensient - Mineral SPF Booster & Blue Light Shield

The Green Revolution is on!

From the recent global awareness of the environment, nature is
at the center of all attention. and so too the "naturalness" in the fragrances
and in cosmetics.
TechnicoFlor is a globally recognized pioneer in the development of
natural fragrances.
For over a decade (long before it was trendy), our perfumers
committed have developed an undeniable experience in formulation
natural.
In an endless search for innovation, TechnicoFlor has enriched its
palette of raw materials with new "isolates" - natural molecules obtained from the
fractionation of an essential oil through green chemistry - that as well
to the incredible natural ingredients we use, allow ours
perfumers to create unique natural signatures.
Driven by the approach to CSR, TechnicoFlor also demonstrates its own
ecological responsibility in many ways: by sourcing its patchouli del
fair trade in Indonesia and helping an entire community of farmers,
starting a program in Madagascar for ylang-ylang, arguing
an urban agriculture start the cultivation of saffron and putting
beehives on the roofs of Paris, etc.
Combined with our analysis of current and emerging trends, e
inspired by the extraordinary plant species, TechnicoFlor imagined one
creative collection of 12 Natflor® fragrances called "Grow Your Own
Garden ".
Let us guide you through this fragrant journey and discover ingredients
extraordinary. that could become the trendy ingredients of tomorrow.


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Interiorisme en BCN_Interior design in Barcelona

Posted: Sat, 10 Nov 2018 14:17:00 +0000

I find myself here again, in Spain, living and starting over.
From where? From the interior projects, the "Catalan interiors", in which I live, and for which I worked for several years, in the renovation of ancient buildings, interiors where I was able to appreciate the interesting use of traditional materials and techniques related to this earth, which are experienced day after day.
Simple materials, such as wood, a cult in Spanish renovations, which is often combined with another material, such as steel, or metal, or concrete, usually painted in white, a combination that could bring to mind Nordic architecture, that in the manner of Alvar Aalto, so to speak.
And the tiles, those in flooring, brought to light, ancient cement tiles that are cleaned and rearranged, are the original tiles called "mosaic hidràulic", which give elegance to the rooms while preserving the Liberty designs of "Modernism".
I looked for cement tile factories here in Catalunya, and I found some that make these tiles the old way.

Like the flooring, the roof slab is usually kept in renovations. It is enough to look up at the attic to realize the ancient Catalan vaults, the "bovedillas", which are almost always left exposed in a renovation.
The construction system is called "entrebigat" (between beams), they are fine brick vaults that rest on wooden beams.

And I found a research and recovery group on ancient Catalan traditional materials and techniques, the Greta group. Interesting is their experimentation with the ancient techniques, reproducing them with students.

I show you below some projects of some studios, which I consider interesting to make you notice this use of materials and techniques in the renovation of Catalan interiors.

The following is a renovation of an apartment of a 1930 building in the Eixample of Barcelona, ​​in Provença 371, it is a 70sqm apartment.
The EO Arquitectura studio initially had to restore the apartment to its original appearance, which was not an easy task due to the precarious state of conservation the building was in: layers of different materials had accumulated over time, installations over the years had invaded the spaces , which in the meantime had been further subdivided.

photo: ©Adrià Goula

photo: ©Adrià Goula

The architects immediately restored the original floors and the Catalan vaults which, in this case, were repainted in white.
Once the antique elements were defined as priorities, the space was organized using custom-made wooden furniture with a simple design, creating a volume with sliding wooden panels, like a module, where the bedroom was placed, a space in space to create movement in the apartment.

Data sheet:
Location: Provença 371_Eixample, Barcelona, ​​Spain. Client: Juanjo y Magda Architect: Adrian Elizalde.Collaborating architect: Clara Ocaña. Area: 70sqm
Completion of works: 2014.
Photography:
Adrià Goula

I now show you a finalist project of the FAD 2015 award of "interiorism" (interior design) by Pepe Ramos in collaboration with Miquel Mariné, a renovation carried out in Barcelona in the Poble-Sec.
In the past the place had been an old poultry house, then a garage, with a height of 4 meters and with a patio-garden behind it. During the renovation, the original elements of the structure were immediately brought to light, such as the iron columns, the wooden beams, the brick walls and the two large wooden entrance doors.
Taking advantage above all of the height of the room, all the furniture has been custom designed.
Great importance was given to the natural light coming from the patio and from the entrance doors.

photo: ©José Hevia

photo: ©José Hevia

photo: ©José Hevia

Data sheet:
Location: Poble Sec, Barcelona. Spain.
Client: Lena Wiget-Joe Littenberg.
Architects: Miquel Mariné, Pepe Ramos Temiño.
Technical Architect: Albert Brufau
Completion of works: 2014.
Photographer: José Hevia

This is a complete renovation of the M2arquitectura studio, carried out in the Ensanche in Barcelona in 2013.
"Reforma integral de piso pasante del ensanche de Barcelona".
In this renovation, the studio creates a clear separation between the living area and the sleeping area, with an intermediate area where it installs a gray piece of furniture that serves as a container, crossing the apartment, thus also organizing the spaces for the kitchen, for the closets. , etc.
The division of the rooms can also be seen in the flooring, parquet and stoneware with geometric designs in gray and blue.

photo:©Gerard García Vilarrasa

In the upper area, in contact with the original roof, the studio realizes a single central caisson that follows the direction of the underlying storage unit, accommodating the various electrical and filing systems, in such a way as to leave the rest of the floor with exposed beams. .

photo: © Gerard García Vilarrasa

Arquitectos: M2arquitectura
Photos: ©Gerard García Vilarrasa

Data sheet:
Location: Barcelona, ​​Spain.
Architects:
M2arquitectura
Area: 85.0 m2
Completion of works: 2013.
Photographer: Gerard García Vilarrasa

And could not miss a renovation carried out by the EMBT Miralles-Tagliabue studio, where I had the opportunity years ago to collaborate as an architect in some projects.
This is a renovation of 9 apartments in a building in the Barrio Gótico in Barcelona, ​​in a low cost mode.
The building has undergone many transformations over time, and has many layers.

photo: © Marcela Grassi

The studio immediately identified and found the original elements to bring them back to light, such as the frescoes of the early twentieth century, the brick vaults of the attic with wooden beams, the flooring with ancient majolica, the Gothic arches and the lime mortar. ancient.
A base of original construction elements from which the studio started for the renovation project, taking advantage of the conservation of ancient materials, the studio thus proposed a low-cost renovation, spending only on the furniture made of wood and dividing elements.

The frescoes were left partially exposed, creating vertical bands, creating a unique effect, between the new and the old.
Some furniture was found in the building and recovered to be later incorporated into the furniture.
To give more light to the interior spaces, many partitions have been removed and replaced by light walls, with a structure in pine wood and polycarbonate to let the light through.

photo: © Marcela Grassi

photo: © Marcela Grassi

photo: © Marcela Grassi

Arquitectos: EMBT
Photos: © Marcela Grassi
Data sheet:
Location: Barrio Gótico, Barcelona, ​​Spain.
Client: Lena Wiget-Joe Littenberg.
Architects: Benedetta Tagliabue-Miralles EMBT
Project director and construction manager: Salvador Gilabert
Area: 1,872 m2
Completion of works: 2012.
Photography:
Marcela Grassi




And I leave you some links, for those interested in learning more about the theme of hidràulic mosaics.

I found a book L'art del Mosaic Hidràulic a Catalunya written by Jordi Griset.

History of the main mosaic factories in Spain.

White in the city. White in Milan

Posted: Tue, 28 Feb 2017 15:23:00 +0000

These days I received an invitation to participate as a "Blogger Friend" for "White in the city", the event in the event of the"Milan Design Week", an invitation to talk about the color white for this event.
White, the color of essentialism, and, for me, the background color that enhances all the other colors.
White has always had importance in ancient times, it was seen as the color of light, a color that symbolized divinity, purity, the ideal of perfection.
Both in architecture and in sculpture, white expressed perfection in monochrome mode, in fact Canova adopted it for his neoclassical statues.
White is a color that amplifies space, it has often been associated with purism, the color of rationalism, white defines ethereal and abstract volumes.

An itinerary that will tell the story of White in its thousand chromatic and symbolic facets, between art and design, from the small to the large object.
A challenge launched by its creators, Giulio Cappellini and Claudio Balestri of Oikos.

I'm five locations which have been chosen in the well-known Brera district, which will be set up for the exhibitions:

Brera Academy of Fine Arts, where prototypes of works will be exhibited, through which the students of the Academy will give their vision of the "White Future”, A material and immaterial symbol of well-being, an innovative research on the theme of white, an exhibition in the corridors between the plaster casts by Canova and the vaults of the former Jesuit college.
Brera 's picture gallery, where the theme will be presented "White Architecture", two mirrored architectural installations by Giulio Cappellini will be created in the courtyard of honor, which "will take up the strong presence of the building itself in an unprecedented and contemporary way". The Pinacoteca will host Stefano Boeri Architetti, David Chipperfield Architects, Studio Libeskind, Aires Mateus Associados, Studio Marco Piva, Patricia Urquiola, Zaha Hadid Architects.
Cusani Palace, where the exhibition will be set up "White on White", "white understood as essentiality, as idealization, as an exploration of volumes through shadows." An experience to tell. On the Noble Floor, another exhibition will be set up "White Icons", curated by Giulio Cappellini, an exhibition that, as the curator describes, "wants to tell with a simple but evocative setting the main products and materials that have become points of reference and are characterized by the use of white."
Palazzo Cusani will also host the 5 + 1AA architects Alfonso Femia-Gianluca Peluffo, Alberto Apostoli, Studio Asia, Caberlon Caroppi Italian Touch Architects, Raffaella Laezza Underarchitecture, Studio Mamo, Jasper Morrison, Studio Rotella, Studio Svetti.
Former church of San Carpoforo, where white will be represented with an installation, the "White Oikos"," a large wall that with different sized tiles will recount the enormous range of white Oikos Colore del Benessere in a game of textures and shades. "
Some of the youngest and most promising designers will create some furnishings using the different Oikos finishes and materials from companies with a strong sustainability feature.
Class Space editors, a space dedicated to young international designers, who will represent with the exhibition "White Young"the choice of white in sustainability.
An unusual garden and a loft in the center of Milan that will frame the creations of these designers, a place for meeting and dialogue, where young designers and companies can experience moments of interaction and exchange of ideas.

A journey through these 5 locations, in search of White as color and sensation.
"White in the city" - Milan Design Week from 4 to 9 April 2017.

author of the post: arch. Susy Di Monaco
February 2017 © copyright "Architettura Take Away"

Credits: editorial board "White in the city"
Main sponsor: Oikos
Art Director: Giulio Cappellini curator

Children and Architecture

Posted: Tue, 31 Jan 2017 15:10:00 +0000

image: © Take Away Architecture

However, it is my intention to underline other points that accompany the design discourse psychological, pedagogical and behavioral points concerning the child it is not at all easy to find documents, tables, notions and material on how to think and create this type of architecture, it would be interesting instead. see a joint and detailed study on the many aspects that concern it. Aspects that should be the basis of this design, and I tried to highlight some that I find fundamental.

o) The most instinctive word that a child arouses in us is PLAY, the playful aspect.
So what is the game? From a psychological point of view it is fundamental for a child, and this is where child psychologists come into play (excuse the pun) :).
Piaget, the Swiss psychologist, considered in his studies play a fundamental phase for the first two years of a child's life, as a stimulus to sensations, cognitive and psycho-motor development.

o) The LIGHT element, whether natural or artificial, has a basic importance: for example, natural light is useful in the growth of the child when you think of a structure where a child will stay, the project must be well equipped with windows, skylights, light wells and all that is needed to let in direct and indirect natural light, distributing a correct lighting surface in proportion to the areas, thus considering the amount of sunshine and studying the shadows.

o) COLOR another fundamental aspect for the child, everything that surrounds him has color, and stimulates visual perceptions. According to some chromotherapy studies, the colors must be suitable for children, stimulating different sensations with respect to the different spaces, the age of growth, and curiosity towards the materials used.

o) NATURE. Beautiful aspect in architecture, I find the relationship he has with children to be a crucial point. I see many agri-asylums being born, and I find interesting the tactile and olfactory sensations and perceptions that children can develop in contact with nature, a full immersion of the child between play, activity and nature. In fact, the German pedagogue Fröbel was the creator of the kindergarten, what we call the Kindergarten, even if the meaning he thought was different: he really meant a school-garden. For Fröbel the child was like a plant, he had to grow in free and natural spaces, and he conceived the garden divided into many small spaces where each child had his own garden to manage and thus have an individual and direct relationship with nature. The teachers were called "gardener teachers" and had to be prepared from a pedagogical and psychological point of view to accommodate the stimuli and spontaneity of the children.
In short, an example to follow. I also found it interesting that in recent years a manifesto has been drawn up in Ontario, a charter of the rights of the child, a manifesto that describes the relationship that children must have with open spaces and with nature, I report what the manifesto says:

o) Another point, ECO-SUSTAINABILITY, we need to think about designing with bio-ecological materials, using non-toxic paints, thinking about the provision of energy resources, such as photovoltaic systems, the reuse of rainwater, the use of recycling systems.
The world needs green architecture and recycling systems, and getting children used to respect for the ecosystem from infancy is important.
I found a sort of ranking of green schools, which every year challenge each other to become the first green school of the year: the Global Coalition for Green Schools.

o) SAFETY and ERGONOMICS, are all children's furniture really ergonomic?
The furniture as well as the objects must be exclusively suitable for children, with non-toxic materials, and with a safety data sheet regarding use.
And the spaces? do they really respect the legislation, or the various stages of the child's growth? Just as there should be no architectural barriers, a theme that should also be superfluous, and instead we often still see an evident lack in many structures.

o) Another point, the DESIGN, the design and the relationship it has with children. Bruno Munari has shown us that it can be done. Children can learn by playing, and be stimulated to build everyday objects, according to the method that the artist Munari proposed in his educational workshops in the 1970s.

o) The vision and PERCEPTION of spaces. Have we ever positioned ourselves at child height to be able to visualize their world? Perspective points of view change with respect to what we see, and the perception of space changes. Montessori told us that you need to think about the right proportion to create a better visual perspective. So studying their perspective point of view is a good idea at the design stage. o) And MUSIC, yes, the music that children like so much. It is very useful in environments to relax them or to stimulate them. Music, like dance, has always been fundamental for the perception of freedom of movement. Children need music, to hear sounds, to have fun by moving their bodies according to the rhythm.
And these are various aspects that, I think, should merge into a single architecture intended for children, as well as a fusion of features that stimulate the child, entertain him and interact with him. I have chosen some examples to show you.

In this project, I noticed the importance of space in relation to play and the relationship it has with nature, as well as lighting, which are some of the main key points.
It is a kindergarten in Tokyo, designed by two Japanese architects, husband and wife, Takaharu and Yui Tezuka, who created this structure in 2007 thinking of children who can relate to spaces as they wish, having full freedom of movement, for example, go up to the roof and use it as a play area. These two architects, always close to the world of children, and letting themselves be inspired by their children, thought of the kindergarten as a playground, "The playground lets kids run forever".

An added element to Fuji Kindergarten is the "Ring Around a Tree". A space for waiting for the bus and the entrance to the school, a simple architectural element such as the staircase that wraps around a tree, a 50-year-old tree, the zelkova, which has become a symbol for the locals, because it has managed to maintain itself standing during a typhoon. A tree that reminds the elderly of when they climbed up to play, thus becoming a game with nature and enjoying it in an architectural space.

Another project that I find interesting is the school in Guastalla in Reggio Emilia, designed by Mario Cucinella Architects in 2014, designed to replace the old structure that collapsed in the 2012 earthquake. they compose and follow each other give shape to a sinuous structure, using wood as the primary material, letting in a lot of natural light, becoming one with the surrounding space. Children can thus feel at ease with a continuous relationship between inside and outside.

In this school many of the points I have outlined above have been taken into consideration, such as the choice of materials, such as wood, the fundamental relationship with nature, the choice of natural lighting, the shape of the interior spaces dedicated to the various areas of growth, the choice of colors that stimulate children's perceptions and sensations.

Particular attention was also paid to eco-sustainability, such as the use of systems for collecting rainwater, thermal insulation, the installation of a photovoltaic system on the roof.

Paul Chevallier School designed by the French studio Tectoniques, in Lyon in France, it is another example of a school that has a strong relationship with nature, built on a wooded slope of the Brosset park, taking advantage of the morphology of the land, it was designed to integrate into the natural context . The architects created a garden roof with lawn and flowers, which covers the entire school, underlining the importance they wanted to give to the entire project. In addition to the green space on the roof, on the southern side the school also has a vegetable garden and a large courtyard.

The structure is almost entirely made of wood, the Tect studio has been designing sustainable buildings for years, using wood as the primary element. In this school the interior spaces are simple rectangular modules for the classrooms, the dormitory areas, the library and other services, all equipped with large windows to let in the light and stimulate the children to look out, right towards the green space.
These internal modules with their regular structure mark the difference with the irregularity of the external spaces that define part of the landscape.

The school is also equipped with solar panels, a wood heating system, and the windows have been designed to take advantage of natural lighting.

Another project I noticed is a children's library in Monterrey, Mexico, designed in 2013 by the Anagrama studio converting a former steel mill into a library and cultural center.
Here there is a discourse of industrial recovery, an approach for the little ones towards what is ancient, abandoned, thus stimulating the perception that children can have when seeing the contrast between new materials with bright colors and the old structure of the library. with neutral tones.
The new asymmetrical platform simulates the topography of Monterrey's mountainous territory.

Another example of a library is in Njoro, the Children’s Library in Tanzania, designed by Patricia Erimescu.
It was necessary to build a library for 408 children, on the slopes of Mount Kilimanjaro, in an isolated area, without energy, a challenge for many children who need to read, not having books at home.
A library to which the children themselves have given their working contribution in the realization, following the indications of Patricia Erimescu in collaboration with the education NGO.
The library was built according to the Masai tradition, thinking above all of the materials in relation to the hot climate, the walls were built in such a way as to allow ventilation, with spaces-interstices of ventilation between the bricks, and the slope of the roof, with the shadow generated by the trees planted along the perimeter creates a passage of fresh air.

"Children's Home of the Future" is a social center for marginalized children in Kerteminde in Denmark, designed by the Danish studio CEBRA.
A building interpreted as a "home" trying to recreate an aspect of family daily life for these marginalized children.

The project has taken up simple and basic shapes of a simple house, as children see and draw, for example the classic rectangular shape with a triangular roof, and starting from this inspiration they have made a project, their project.

And then there are small projects like this, special projects for people who have a growth hormone deficiency and are as tall as children. It is a theater, the Little Ant Shadow Play Theater, built in Qianmen, Beijing, made free of charge by the URBANUS studio, from the design to the materials used that come from donations or recycling.

An exciting project, where the troupe made up of shadow puppeteers helps this "little people" in the search for their self-esteem, telling and staging ancient Chinese stories.

And I leave you with this sentence:
We learn to design for children.
author of the post: arch. Susy Di Monaco
January 2017 © copyright "Architettura Take Away"

New Look!

Posted: Fri, 21 Oct 2016 10:37:00 +0000

The charm of Corten

Posted: Thu, 03 Sep 2015 11:36:00 +0000

Corten… a material that I find fascinating, with that particular rust color and the appearance of worn and lived in time.
Corten, or Cor-Ten, CORrosion resistance + TENsile strength, a truly unique material, which in recent years has been awarded a notable prominence among the most used materials in restorations and renovations, attracting attention precisely for its characteristics: high mechanical strength, excellent resistance to corrosion and a aesthetic value in respect of ancient materials, all with a cost advantage.
Patented in 1933 in the United States, it has since been produced in three types (A, B, C) based on the chemical composition and thickness, usually type A is the one used in renovations.
Here are some examples of its use in renovations.

"Dovecote Studio" by architects Haworth Tompkins, is an example of how Corten was used in an old abandoned dovecote. The architects have inserted a small structure, a space for a music studio entirely covered in Corten, in the old enclosure of the ancient dovecote.

A small structure that offers a musical space for the Campus founded by Benjamin Britten, in Suffolk. The space has a bay window that allows musicians to play while contemplating the surrounding landscape, overlooking the marshes.
Internally it has been clad in fir wood, thus offering good acoustics to the artists themselves, and the entrance emphasizes the transition from the old enclosure to the new structure.

Photo Copyright © Philip Vile
Architect: Haworth Tompkins

Another example of the use of Corten can be seen in the salt museum "Salt Museum", in France, born from the ancient salt pans of Salins Les Bains, used in the Middle Ages but now abandoned since 1942.
The architects Malcotti, Roussey and Gheza, intervened by rearranging these ancient salt pans, inserting new elements in the ancient artifacts, using Corten steel clearly visible on the north front facade, where a block covered entirely with this material protrudes between the original walls of one of the salt pans, marking the entrance to the museum.

The architects created a walkway between the salt pans, rearranging the entire area.
In another salt, intended as a restaurant-casino, they rebuilt the façade with a double cladding, a large window flanked by handcrafted Corten sheets,
thus purposely creating a play of contrasts in the use of Corten, between the simple and clear volume of the museum entrance with this artistic-handcrafted facade of the restaurant.

In 2009 the salt pans of Salins les bains were included in the UNESCO World Heritage Site, together with the Royal Salt Pans of Arc-et-Senans.

Photo Copyright © Nicolas Waltefaugle
Architects: Malcotti Roussey Architectes + Thierry Gheza
http://www.salinesdesalins.com/

"Kew House", by the London studio Piercy & Co., Is a family home.
It is an intervention involving the insertion of two volumes in Corten steel behind a 19th-century fifth wall, in an area south-west of London.

In the design of the spaces of this house, the studio paid a lot of attention to the family, thinking of a balance between quiet and social spaces, arranging paths-connections between the various areas of the house, such as the glazed space that connects the two volumes, a space that also allows a lot of light to enter.

This insertion is similar to the first intervention I posted, a new corten structure behind an ancient wall enclosure.
And to take a look at the whole project, I am inserting a link:
http://www.piercyandco.com/

Photo Copyright © Piercy & Company
Architects: Piercy & Company-Architect's Studio

In the "Raif Dinçkök Yalova", a cultural center in Turkey, Corten steel was used in the panels as a covering skin to the structure.
The architects of the Emre Arolat Architects studio wanted to give an industrial aspect to the structure, like a rusty surface, to contextualize the building in the town of Yalova, where citizens are surrounded by industrial areas.
The panels were then perforated both for technical ventilation requirements and to have a suggestive nocturnal effect since the light, passing through the holes, creates a transparent curtain effect.

Photo Copyright © Emre Arolat Architects
Architects: Emre Arolat Architects

And these are just some of the many examples of the use of Corten which I repeat, in my opinion, is a truly fascinating material.
There are also various fake Corten on the market, but the original is always accompanied by certification.
Finally I leave you a link where you can appreciate various images with the use of this material.

Let's look out!

Posted: Fri, 06 Mar 2015 10:05:00 +0000

Look out, not from the usual windows, but come on point to watch, come on overlook, come on miradores is lookout scattered around the world.
Unique viewpoints, which are exposed with incredible jutting structures in the landscape, or simply which are perched on a mountain, fjord, cliff and even a volcanic crater.
Many of these miradores they are located in South America, perhaps because it enjoys spectacular landscape points of view, others overlook I found them scattered in Norway, on the beautiful fjords, and still others in different areas of the world that offer enchanting views.

And now let's look at Chile (South America), we are on the "Mirador Pinohuacho" observatory in Villarrica, built on an area of ​​26 square meters.

Designed by Rodrigo Sheward of the University of Talca, it was built in 2006 to reconvert an area devastated by the exploitation of timber and volcanic lava that has ruined agricultural areas.
A territory, therefore, that had to be reinvented.
In the construction of the mirador, the woods already cut and abandoned during the deforestation were recycled, local labor was used and the inhabitants themselves cut the logs.

The Mirador is located in a particular panoramic area, it is organized with two viewpoints, one looks towards the Villarrica volcano, the other towards the Calafquén and Panguipulli lakes.
In summer it serves as a shelter for wild boar hunters, and in winter as a refuge for hikers.
In carrying out this project, the University of Talca has remained faithful to its creed: "llevar la arquitectura donde no la hay" (to bring architecture where it doesn't exist).

Photo Copyright © Grupo Talca
Arquitecto: Rodrigo Sheward
Profesor Guía: Germán Valenzuela
Participantes en la construcción: Pedro Vázquez, Carlos Vázquez, Danilo Vázquez, Miguel Vázquez, Pablo Vázques, Hugo Vázquez, Rodrigo Sheward

Now we are in Jalisco, México and we look out from the mirador, "Las Cruces".
Built in 2010 on 140 m² by the Chilean architects Elemental, this mirador needed two observation points for the two fundamental stages of the "Ruta del Peregrino", a religious path that is a tourist destination in this region.
Thus was born the inspiration for a monolithic structure with bilateral observation, in the two directions on the valley and on the crosses of the pilgrimage, the two stages of the route.
The mirador therefore consists of two parts, one of which is placed on the ground, and the other with an overhang projects onto the valley.
Both openings in the volumes seem to frame the landscape, like large windows.

Photo Copyright © Iwan Baan-Elemental
Arquitectos: Elemental
Team: Alejandro Aravena, Diego Torres, Victor Oddó, Juan Cerda, Gonzalo Artea, Cristian Martínez, Fernando García

This time, however, we are on the crater of the Quilotoa volcano, in Ecuador, on the "Shalala" mirador, located in the Andes, 3974 meters above sea level, an unprecedented position compared to the other miradores.
Built on the edge of the crater with a diameter of 3 km, this mirador has a structure in wood and glass with a dual function: overlooking the upper part with an overhang on the volcano, and a stopping-contemplation point on the steps below, a truly strategic position for tourists who come to this area to admire the beautiful crater.

And if you want to take a look at the whole project, I leave you this link: mirador en shalala

Photo Copyright © Lorena Darquea, Daniel Moreno Flores
Architects: Jorge Andrade Benítez-Javier Mera Luna-Daniel Moreno Flores.
Collaborators: Manuel Galárraga, María Paz Villagomez, Diana Callejas, Christian Rea, Natalia Dueñas, Juan Carlos Cisneros

And now we move to northern Europe, to the beautiful Norwegian fjords.
We are on the Geiranger Fjord, in the Trollstigen valley (the troll ladder), here is one of the steepest roads in the world, with a gradient of 9%.
A series of trails on various gradients lead us up to this outlook point, designed in 2012 by Reiulf Ramstad Architects.
It is an extraordinary tourist route that is part of the national tourist routes project, a 66-mile tourist circuit through the Trollstigen fjords, surrounded by the Kongen (the King), Dronningen (the Queen) and Bispen (the Bishop) mountains, an organized route with terraces and viewpoints overlooking the fjords.
Reiulf Ramstad's project, beyond theoutlook point and the itinerary also includes a visitor center, a restaurant and an exhibition gallery.
The project received the "Mies Van Der Rohe Award" for contemporary architecture.

Copyright © Reiulf Ramstad Arkitekter AS
Photo Copyright © Diephotodesigner.de
Architects: Reiulf Ramstad Architects
Project team: Reiulf D Ramstad, Christian Fuglset, Anja Strandskogen, Christian Dahle, Nok Nimakorn

We are now on the Aurland fjord, in Norway, at an altitude of 640 meters.
"Aurland lookout", built in 2006 by architects Saunders and Wilhelmsen, has a structure in pine wood and galvanized steel, certainly a spectacular view, with its structure that seems to throw itself headlong into the surrounding landscape.
This project is also part of a national tourist route program commissioned by the Norwegian Department of Motorways.

Copyright © Saunders and Wilhelmsen
Photo Copyright © Bent René Synnevåg, Nils Vik

And now we are on the "Gudbrandsjuvet" viewing platform, on the Valldøla river gorge, also in Norway.
A truly beautiful spot for the river that has eroded the rock, creating a gorge and forming various waterfalls, this viewpoint is also part of a Norwegian tourist route.
Designed by Norwegian architects Jensen & Skodvin, the cantilever platform is a laser-cut sheet of steel that connects directly to the bridge.

An ancient legend has it that this ravine was named after a man called Gudbrand, who in 1500 kidnapped a woman he was in love with. To escape from his pursuers, he plunged into the river gorge. The man was thus always sought after, although they say that he lived the rest of his life in a stone hut in one of the side valleys above Gudbrandsjuvet, while no trace of his beloved was found.

Photo Copyright © Jensen & Skodvin Arkitektkontor

And as a last stop we move to Spain, we are on mirador "Paratge de Tudela-Culip", in Cap de Creus (Girona).
This mirador was born as a recovery project of the coast of Cap de Creus, in this area there was a tourist village that was abandoned after the area was declared a natural park. Given the beauty and uniqueness of this area, they thought of creating a mirador and a tourist route with information panels.
The morphological nature of the place is unique, the wind has shaped the rocks over the millennia, in fact, various eroded rocks have been attributed with figures.
Dali himself recognized the incredibly beautiful place.
The landscape architects of the EMF studio decided to organize the mirador with two belvedere-blocks that frame strategic points of Cap de Creus.

© Domènec Ribes Mateu
Copyright © EMF Estudi
Authors: EMF Estudi Martí Franch, J / T Ardèvol.Ton Ardèvol.
Colaboradores: M. Bianchi, M. Batalla, A. Alvarez, G. Batllori, C. Gomes, A. Lopez, L. Ochoa

And I leave you with this dedication by Dalí to this wonderful landscape.
"This part including entre el Camell i l'Àguila que tu coneixes i estimes tant com jo mateix és i ha de continue forever essent pure geology, sense res que pugui mixtificar-ho en faig qüestió de principes. És un paratge mitològic que és fet per a déus més que per a homes i cal que continuï tal com està ".
-Salvador Dalí.

(This part between the Camel and the Eagle that you know and love as I love myself, must continue to be pure geology forever, without anything that can alter it, I make it a matter of principle. It is a mythological place made for gods. more than for men and should continue to be as it is.)

Norwegian Architecture

Posted: Sun, 28 Dec 2014 17:31:00 +0000

This post is a special thanks to the Norwegian visitors of the blog, visitors I noticed in the majority, and it seemed nice to dedicate a few lines to them.
I must say that Nordic architecture has always attracted me, and thinking about writing a post on Norwegian architecture immediately involved me.
Norwegians have a great respect for nature and the landscape, and their architecture fits in a particular way in the natural context.

This post is a special thanksgiving to the Norwegian visitors of the blog, as I noticed that they are the majority of visitors and it seemed nice to dedicate them a few lines.I must say that the Nordic architecture always attracted me, and thinking about writing a post on the Norwegian architecture immediately involved me.
The Norwegians have a great respect for nature and the landscape and their architecture fits in a particular way in the natural context.

I have chosen only a few projects, just to highlight some aspects that I have noticed repeated in Norwegian architecture, and it seems right to share these personal considerations with you.
I chose only a few projects, just to highlight a few issues that I noticed repeated in the Norwegian architecture, and I think it right to share with you these personal considerations of mine.

Starting from the volumes, I noticed that in most cases they seem to break and open according to a rotation.
The shapes of their buildings appear in some cases angular, with the use of triangular shapes and diagonal lines, in other cases they are sinuous and curved.
It seems a contradiction, instead it is the result of a study on climatic conditions, for example, sometimes there are diagonal cuts of the roofs or, on the perimeter of the volumes, the buildings seem to have folds like origami, solutions that are used to counter the strong wind the snow.
Or you can see diagonal cuts at the entrances of buildings, again to solve the problem of snow accumulation.
Starting from the volumes, I noticed that in most cases, they appear to break and open up following a rotation.
The shapes of their buildings in some cases look spiky, with a diffuse use of triangular shapes and diagonal lines, in other cases they are sinuous and curved.
It looks like a contradiction, there is a study about the weather conditions though, like some diagonal cuts of the rooftops or, on the perimeter of the volumes, the buildings seem to have folds like origamis, solutions that counter the strong wind or snow.
Or you see diagonal cuts at the building entrances, again to solve the snow accumulation problem.

Another interesting aspect is the choice of the position of the openings, windows and large windows.
There is a particular study especially for corner solutions, both in public and residential and private buildings.
The windows or stained glass windows seem to empty the corner, creating a view in depth, a perspective view on the outside, a stage solution: whoever is inside sees the outside space.
The feeling I got is like a cut in the corner, a scissor cut at the building to break the hermetic seal and frame what is outside.
Other types of windows are those placed in the slopes of the roofs, designed with the right inclination to facilitate the entry of light.
Another interesting aspect is the choice of the position of the openings of windows.
It is noticeable a special study for corner solutions, both in private residential and public buildings.
Windows seem to empty the angle, creating a view in depth, a perspective on the outside, a stage solution: he who is inside sees the outer space.
The feeling I had was like a cut in the corner, a scissor kick to the building to break its tight sealing and frame what is outside.
Other types of windows are those located in the slope of the roofs, designed with the right inclination to favor the entrance of light.

I have often found some of the points I have described also in other Scandinavian architectures, as if to affirm a common line in Nordic architecture.
In fact, the use of corner windows, the use of wood and glass, the sinuous shapes contrasted by the angular ones, seem a common aspect, etc.
Often I found some of the points that I described in other Scandinavian architectures, as if to assert a common line for the Nordic architecture.
It seems a common feature the use of windows in the corner, the use of woodand glass, the sinuous forms matched with angular ones, etc.

An aspect to consider also to understand much of the Norwegian work, is their main activity: fishing. In fact, we find many renovations and replacements of old fishermen's huts, boat-houses and docks.
Pine wood is the most used material, the wood of their forests, even though a company in Oslo has recently found an "eco-sustainable" wood to curb deforestation.
One more aspect to consider in order to understand much of the Norwegian work, is their main business: fishing. We find in fact many renovations and replacements of old fishing huts, boathouses and docks.
The pine wood is the most common material, the wood of their forests, although lately a company from Oslo found a "sustainable" wood to curb deforestation down.

An example of a boathouse is the "Naust paa Aure", by TYIN Tegnestue architects.
It was an old dock, a shelter on the sea, and was used for fishing, but the owner, given the bad condition, decided to tear it down to have it rebuilt, recycling some original material for the new construction.
An example of a boathouse is "Naust paa Aure", from the architects TYIN Tegnestue.
It was an old dock, a retreat of the sea, and was used for fishing, but the owner, given its poor state, decided to demolish it in order to rebuild it, recycling some original material for the new building.

The old materials of the dock have been reused and inserted, for example, into the internal walls.
The old dock materials were reused and included, for instance, in the inner walls.

Among other types of renovations, I show you the recovery of an old barn-farm, "Farm House", converted into a shelter, inherited by a couple of historians with children.
The renovation was carried out by the architects Jarmund / Vigsnaes. It was an old farm on Lake Mjøsa in Toten, the barn has been completely eliminated, as the structure was now dilapidated, and the wood was partly reused for the cladding of the new structure.
The windows in the new shelter have a continuous solution along the entire perimeter, to guarantee light and a 360 ° view of the surrounding landscape.
Among other types of renovations, I show the recovery of an old barn-farm, "Farm House", converted into a shelter, inherited by a couple of historians with their children.
The renovation was carried out by architects Jarmund / Vigsnaes. It was an old farmhouse on lake Mjøsa in Toten, the barn was completely eliminated, because the structure was crumbling down, and the wood was partially re-used for the coating of the new structure.
The windows in the new shelter have a continuous solution around the whole perimeter, to ensure light and a 360º view of the surrounding landscape.

Photo copyright © Nils Petter Dale JVA

I insert below other structures that are often noticed in the landscape Norwegian: mountain huts, huts near lakes, cabins, or hotels inserted in the landscape.
I also show the following facilities that often are noticed in the Norwegian landscape: mountain lodges, shelters near the lakes, cabins, or hotels embedded within the landscape.

"Split View Mountain Lodge", by Reiulf Ramstad Arkitekter, is a winter holiday retreat designed for a family in the Geilo ski resort.
It is a particular structure, with a body that is divided into a sleeping area and a living area, you can see how the volumes seem to open up by rotating around a point.
"Split View Mountain Lodge", by Reiulf Ramstad Arkitekter, is a shelter for winter holidays designed for a family in the ski resort of Geilo.
It is a particular structure, with a body that is divided into a sleeping and a living area, and you can see that the volumes seem to open by rotating around a point.

The large windows underline the idea of ​​a panoramic refuge-lookout.
The structure is entirely covered in natural local pine wood.
The large windows underline the idea of ​​a panoramic refuge.
The structure is entirely covered with natural pine wood from the place.

Photo copyright © Reiulf Ramstad Architects, Søren Nielsen Harder

"Juvet Landscape Hotel" (JSA), by architects Jensen & Skodvin Architects, is a hotel built in Alesund, in the North West of Norway.
A hotel completely immersed in the natural landscape, consisting of seven volumes that house the rooms, each room has a different orientation, a different point of view: on the mountains, on the woods, on the river, etc. The rooms have been designed to make people feel in contact with nature, for example in the bedrooms you can hear the sound of the river flowing thanks to the special openings next to the bed. The interiors are quite simple and minimalist.
"Juvet Landscape Hotel" (JSA), by Jensen & Skodvin Architects, is a hotel built in Alesund, in the North West of Norway.
A hotel completely immersed in the natural landscape, consisting of seven volumes hosting the guest rooms, each room with a different orientation, a different point of view: towards the mountains, towards the forest, towards the river, etc. The rooms are designed to make people feel in touch with nature, for example in the bedrooms you can hear the noise of the flowing river through expressly made openings beside the bed. The interiors are quite simple and minimalist.

Photo copyright © Jensen & Skodvin Architects

"Cabin at Norderhov", by Atelier Oslo, is a refuge overlooking the Steinsfjorden lake.
With a cross plan that acts as a windbreak, it is clad in wood and equipped with large windows facing the lake.
"Cabin at Norderhov", by Atelier Oslo, is a shelter overlooking the lake Steinsfjorden.
With a crossed plan that acts as a windbreak, it is covered with wood and fitted with large windows onto the lake.

"Square House Veierland" in Nøtterøy, by the Reiulf Ramstad Arkitekter studio, built in 2011, is a sort of refuge-home. Square-shaped, it is surrounded by a large pine forest.
Covered in dark wood, it houses a space like a courtyard in the center, and the various rooms overlook this interior space.
"Square House Veierland" in Nøtterøy, by the studio Reiulf Ramstad Arkitekter, built in 2011, is a kind of shelter-house. With its squared shape, it is immersedin a large pine forest.
Clad in dark wood, the center hosts a space like a court, and the various rooms look down on this internal space.

Photo copyright © Reiulf Ramstad Architect

Another work by Reiulf Ramstad Arkitekter is "Fagerborg Kindergarten".
It is a kindergarten in Fagerborg, Oslo, designed so that the play area of ​​the outer space becomes part of a large city park. The roof with the windows in the different slopes and levels, allows the light to enter.
Another work of Reiulf Ramstad Arkitekter is "Fagerborg Kindergarten".
It is a kindergarten in Fagerborg, Oslo, designed so that the playing area of ​​the outer space becomes part of a large city park. The cover with the windows with different slopes and gradients, allows light toenter.

Photo copyright © Reiulf Ramstad Architects, Thomas Bjørnflaten

This refuge by Fantastic Norway architects, "Cabin Vardehaugen", stands on a fjord in Grøttingen on the Fosen peninsula.
The refuge has been shaped to cope with climatic conditions such as wind, snow, etc.
Thanks to this study of geometry and climate, outdoor spaces such as seats, platforms and atrium have been created.
This shelter by architects Fantastic Norway, "Cabin Vardehaugen", is located on a fjord in Grøttingen, on the Fosen peninsula.
The shelter was shaped to meet the climatic conditions such as wind, snow, etc.
Thanks to this study of geometry and climate, open spaces such as seats, footrests, and atrium were obtained.

Photo copyright © Fantastic Norway / Håkon & Haffner

And precisely these "Fantastic Norway" architects are a dynamic and original group, who on board their red caravan, with which they travel, communicate architecture to people, using the caravan as a mobile platform for architectural meetings, workshops, debates, etc. In short, certainly an unusual way to involve people in architecture.
And these architects "Fantastic Norway" are a dynamic and original group, who on board of their red caravan, with which they travel, communicates the architecture to people, using the caravan as a mobile platform for meetings of architecture, workshops, debates, etc . I mean, certainly an unusual way to engage people with architecture.

And I leave you with their motto:
"Every city is different every place is somehow fantastic. Our goal is to absorb this fact and through dialogue transform it into architecture".

And I leave you with their motto:
“Every town is different every place is in some way fantastic. We aim to embrace this fact and through dialogue transform it into architecture ".

Shadows

Posted: Wed, 05 Nov 2014 15:22:00 +0000

In the graphic representations of the architects of the Bauhaus, shadows were often experimented, precisely in order to better study the volumes, and then make the right changes.

Some interesting effects can be seen in these photos that I have included below.

Continuous Shadow: the shadows create an optical effect of a continuous line, the structure seems to continue on the ground, creating a closed continuous line.

Copyright © photo Diego Speri.

Similar effect also in this "Bell-Lloc Winery", by the Spanish studio Aranda Pigem Vilalta (RCR).
In this case, however, the effect is inverse, not shadows cast, but cuts of light that from the outer space enter the darkness of the underground winery.

"Bodegues Bell-lloc Palamós, Girona (Spain)"
RCR Arquitectes Copyright © photo

Case of shadow cast in a space: here the shadows enter through a window placed at an acute angle, creating a game of intersections, they are shadows cast by the uprights of the windows that intertwine to form a grid.

Shadows cast again, but from above. Shadows coming from the new structure built for the old Campanian amphitheater of S. Maria C.V ..
Shadow lines that accompany the viewer, projected shadows that highlight the passage and encourage one to walk along the corridor.

"Ancient Capua. In the amphitheater of Spartacus"
Copyright © photo Francesco Campanile
http://www.premioceleste.it/opera/ido:131287/

Shadows of re-entrant volumes
In this photo by Lucien Hervé, the shadows reinforce the recessed space of the volumes, thus highlighting the structure, illuminated by the light and the depth of the spaces.

"Villa Shodan in Ahmedabad, 1955"
Copyright © photo Lucien Hervé

via http://lucienherve.com/40046-herve09.html

Another similar shadow effect can be seen in this photo of Le Corbusier's Secrétariat.
Partitions designed with a particular angle, to obtain a double function that of blocking the excessive summer sunlight and allowing, instead, to let in the low light of the winter sun.


. and I leave you with a quote from Kahn:
"But today architects, in designing spaces, have forgotten their faith in natural light, accustomed to the ease with which a finger touches a switch, they are satisfied with still light and forget the infinite qualities of natural light ".
- Louis.I.Kahn

Next stop: green bus stop

Posted: Tue, 29 Jul 2014 09:38:00 +0000

A bus-stop designed for the city of Florence by a group of researchers under the direction of Carlo Ratti of the SENSEable City Lab of MIT (Massachusetts Institute of Technology).
EyeStop is a new way of understanding the classic bus shelter.
It is equipped with interactive touch-screen panels powered by solar energy, on which you can view the city maps, the bus timetable, the exact position and the shortest route to the chosen destination.
It is also equipped with Wi-Fi, LED lights, a display with pollution sensors and an interface for mobile devices, as well as a panel to publish ads.
In short, an innovative bus-stop, with a simple and at the same time green design, an inspiration for the next bus stops of the future.

photo © SENSEable City Lab

2nd stop: "Stop Solar"

Designed by Jae Pyung Lee, it is another innovative and ecological bus stop. It is equipped with street lighting, LED indicators, automatic water dispenser, charging station and Wi-Fi.
Also equipped with seats and shelves that can be used if necessary.

photo © Jae Pyung Lee

3rd stop: "Vegetal bus stop"

This bus-stop by French designers Florent Prat is practically a self-supporting plant shelter. Equipped with seat with rainwater recycling, LED lights and green wall for urban furniture.
It is the curved canopy itself which has a dual function, as a seat and a plant cover which contributes to the city's decor.

4th and last stop: "The Urban Field Farm Stop".

This is an idea of ​​"BCV Architects", a different way of conceiving an ecological bus stop, in this case it is not so much the structure that draws attention, but the concept of the bus stop itself, intended as a green space. to sell agricultural products.
A farm-stop at the bus stop, a link between the bus circulation network and the agricultural markets of the city.
Certainly a novelty that manages to satisfy both the need for agricultural products at zero km, and that of having a bus network that manages to interact with these farm-bus stops.

photo © BCV Architects

A sketched architecture

Posted: Wed, 07 May 2014 09:16:00 +0000

This time I want to tell you about the sketches, the sketch or esquisse, and it was a long time that I wanted to make a post.
I have always given great importance to freehand sketching, be it architectural, artistic, study, or seen as a simple quick annotation, or sketch.
I see the sketch as fundamental to be able to perceive a work, a project from the beginning and for a traveler it is a way to be able to quickly write down what he sees.

In recent years, however, I have noticed that the sketch has been increasingly lost as a graphic impulse, despite being a basic, preparatory study tool that accompanies the author in the various design and artistic choices.

There are many techniques used so far. Peering into the past we notice techniques such as that of charcoal, sanguine, ink and old graphite that have become increasingly unusual, giving more space and preference to watercolors, pencils, markers, various inks, pens and whatever else is available. in general, the media used were almost always paper ones.

It is complicated to make a temporal discourse, because most of the sketches have been lost or have deteriorated over time, but fortunately we have some that have come down to us from the past, such as those of Leonardo da Vinci, author of multiple sketches of both architecture and art, medicine, astrology, botany and so on, most of them done with pencils, charcoal or sanguine.
This, for example, is his perspective sketch-study of streets and buildings on two levels is the ideal city that Leonardo imagined for Ludovico il Moro: Sforzinda.

© Leonardo da Vinci (ca. 1490) Perspective sketch of a building and streets on two levels
Institut de France-Paris- Ms. B, f. 16r, detail

While this other sketch is by Dosio, also author of numerous drawings. Here is depicted an axonometric cross-section of the Pantheon, at that time called the Ridona.

© sketch G. A. Dosio (ca. 1533) Ancient Rome and the architectural drawings to the
Uffizi, Officina, 1976. via Arch'it

What can be seen in the sketches of the past is above all the attention paid to details, which were fundamental and were meticulously rendered, sometimes with incredible precision, such as to make them become authentic basic design drawings. It is enough to see how many capitals, pediments, and other architectural details were represented with all the indications and measures necessary to start a work.

The sketch has always served to express the idea that one had at that moment, it is a quick, quick gesture, an idea that is concretized on paper, it is a sign that is later reworked, reviewing it, underlining and highlighting the lines of force of the idea.
When sketching by hand, the mind is concentrated in the stroke it is drawing, it is a different concentration from the digital line stroke that today we are used to marking with the mouse and keyboard.
In the past it was easy to notice an architect, an artist, a traveler with his sketchbook, or as they say in the French, the carnet d'esquisses or de croquis.
It was nice to be able to sketch and take notes on a notebook, you took the time to trace your thoughts, your ideas on paper.

Over time the sketch has evolved stylistically, losing the precision in the details.
Graphically it has become increasingly "clean", simpler, with a more stylized and less refined study of details, also due to a change in the architectural-artistic line, which over time has rationalized more and more details and aesthetic details .
There are so many authors that I would like to illustrate to you, but I will limit myself to highlighting only a few. I cannot fail to mention Cattaneo and Terragni, who contributed to the history of architecture with their sketches.

This sketch is by Cesare Cattaneo, a study-sketch for a fountain in Como, made with pencil on paper.

© sketch Cesare Cattaneo - (ACC Cernobbio) (1937-'38)

Another sketch, also by Cattaneo, for the School of Cabinetmaking, made with pencil on paper.

© sketch Cesare Cattaneo - School of Cabinetmaking - (ACC Cernobbio) (1933)

Terragni's sketches for the Palazzo dei Congressi in Rome

© sketches Giuseppe Terragni (1937)

Leaving aside a few years, I continue by posting an overview of the 60s and 80s, illustrating sketches by some architects who have traced a sort of path, up to some contemporary authors.
I begin this discussion with Carlo Scarpa, author of various design sketches-studies. Below is his sketch for the plan of the exhibition area of ​​the statue of Cangrande in Castelvecchio, made with graphite, charcoal and blue pastel on sketch paper.
Calculations of construction details and annotations accompanying the various elements are often noted in his drawings.

© sketch by Carlo Scarpa - Castelvecchio Museum, Verona (1961-1964) Carlo Scarpa Archive

Still sketches by Scarpa, but this time on cigarette packets. Evidently for Scarpa the packet of cigarettes sometimes became a kind of notebook, and this shows that when an architect wants to make a design sketch, he is able to draw on any medium.
Unpublished sketches exhibited at the MAXXI Foundation in Rome.

© sketches by Carlo Scarpa - MAXXI Foundation
Street archinfo

Another architect who left us numerous sketches is Aldo Rossi. The dominant of his sketches is the strong color, the contrasts and the shadows that he has always used to highlight the line of his projects.
Here is a sketch of his for the entrance portal to the Architecture Exhibition of the Biennale in Venice.

© sketch by Aldo Rossi - Venice (1980)
Aldo Rossi Foundation

Another sketch by Aldo Rossi, a sketch for the Mozzo houses in Bergamo, made with ballpoint pen and colored pencils on paper.

© sketch by Aldo Rossi - The houses of Mozzo, Bergamo (1979-1980)
Aldo Rossi heirs

Another sketch by Aldo Rossi, but with Carlo Aymonino for their friend Francesco Moschini, made with pen and ink in spirit on paper.
It is pleasant and unusual to see a sketch made at the same time by two authors, with two different styles, and in this case there are several sketches that these two colleagues have drawn together.

© sketch by Aldo Rossi and Carlo Aymonino - "… To Francesco (Moschini)" (1986)
Heirs Aldo Rossi-Heirs Carlo Aymonino
via A.A.M. Modern Art Architecture Gallery

Two more sketches by Carlo Aymonino for the Monte Amiata housing complex

© sketch by Carlo Aymonino - "Monte Amiata" housing complex - Gallaratese district, Milan (1967-1972)

The following is made with pencil and markers on glossy paper

© sketch by Carlo Aymonino (1968)

Below, sketches by Vico Magistretti. It is a quick sign what you notice in his sketches, these two are for the town hall of Cusano Milanino.

© sketches of Vico Magistretti - Vico Magistretti Foundation (1966-69)

And, again by Magistretti, this sketch for the Cassina Showroom

© sketch of Vico Magistretti - Vico Magistretti Foundation - Milan (1979)

And this other for the Church of Santa Maria Nascente in the QT8 district

© sketch of Vico Magistretti - Vico Magistretti Foundation
via thevicocomagistretti foundation

A sketch by Konstantinos Maratheftis, for the Maratheftis architects' office.
It can be seen how the use of shadows in this sketch strongly marks the design mark.

© Konstantinos Maratheftis (1994)

Below, sketches by Renzo Piano. I really appreciate his clear style, you can easily perceive from his sketches what are the structural elements of the project and the idea itself.
This sketch is for the Jean-Marie Tjibaou Cultural Center, in New Caledonia.

© sketch by Renzo Piano - Jean-Marie Tjibaou Cultural Center - New Caledonia (1991-1998)

Another sketch by Piano, but for the Menil Collection in Houston, United States.
This must be a study sketch illustrating the reflection of light on the roof structure panels.

© sketch by Renzo Piano - Menil Collection, Houston (1982-1987)
Street foundazionerenzopiano

This other sketch is by Steven Holl, for the Francesco Moschini Archive, made with charcoal and watercolors on paper.

© sketch by Steven Holl - via collezionestevenholl

This sketch is instead by the Norwegian architect Sverre Fehn, for the new Gyldendal Publishers headquarters in Oslo. You notice the quick and essential stroke with which the architect drew the sketch.

© sketch by Sverre Fehn (2007)
Street architecturenorway

Latest sketches, these are by Irish architects O’Donnell + Tuomey.
Preliminary sketch for the Irish Pavilion at the 2004 Venice Biennale.

© sketch by O'Donnell + Tuomey (2004)

Also by Irish architects, a sketch, indeed a concept sketch for An Gaeláras, a cultural center for the Irish language, art and culture in the historic center of Derry.

© sketch by O'Donnell + Tuomey (2008)
Street O'Donnell + Tuomey

And I conclude with my considerations: I believe that the weak point of sketching in recent years has been the tendency to make digital sketches on the computer or with graphic tablets and digital pens, often with the help of rendering programs to obtain perspective views with incredible results. but it must be admitted that the feeling of a hand-drawn sketch thrown down on a piece of paper is of a completely different nature.
I do not exclude the digital sketch, but I try to capture the beauty and sensitivity behind a hand-made sketch, always appreciating the sketch as a source of inspiration, born from lines and scribbles of the studio.

I admire a lot, for example, urban sketchers, designers who go around the world to capture excerpts of everyday life, squares, monuments, and everything that makes them want to take pencils and watercolors, and start sketching. I leave you a link on Urban Sketchers
The initiative by Moleskine for "The Hand of Architects".

Replicas in Architecture

Posted: Wed, 27 Nov 2013 11:09:00 +0000

Yes, even architects replicate their works.
I don't know why, but I can imagine that maybe in that project they repeated they see the winning idea.
The problem, however, is when the same structure is inserted in different contexts, which I cannot help but notice unprofessional. Over many years I have observed that often a project is repeated in another place, also attributing to it a different function from the initial one.
Many times it is the same architect who repeats the work years later. Situation easily criticized for what concerns not only the contextualization of the project that is not respected, but the work itself, debasing the function and the spaces that arise from it.
I absolutely do not want to make architectural criticism, but the fundamental principles on which a project is born and lives should be clear to all of us architects. It is useless to remember the principles and canons of architecture, repeated so many times over time by the great masters, if then when the opportunity arises, one does much more than apply them.
I attribute a different sense to architectural details that are repeated over time.
Often there is a precise desire to take up certain elements, in this case perhaps we could give it a historical-cultural value, a search for the particular that is emphasized, or simply reinterpreted in one's project by paying homage to the revisited work.
History teaches us that details of Scarpa, Aalto, Wright, and other masters have many times been reworked and reworked. Indeed, even these great masters of the past in turn influenced each other in their projects.
There are various examples that I could illustrate, but I will limit myself to just a few.

Starting with the architectural replica, an example in my opinion that can be criticized is the one concerning the two works by architect Félix Candela, "Los Manantiales" built in Mexico in 1968, and "L'Oceanográfic" built in Valencia (Spain), in 1994. .
Two almost identical works and in this case also with the same function (a restaurant), but in a completely different context.

Los Manantiales_Mexico
Photo via http://www.deutsches-museum.de/presse/presse-2011/felix-candela/

Naturally, one thinks that, since the architect himself is the designer of the two works, the copy may be tolerable, especially if the containing function is repeated.
But I don't think that architecture should be replicated in its entirety: it makes no sense to repeat an entire work which is also hosted in a different place.

A particular fate has happened to much of Le Corbusier's work, imitated several times in the rest of the world. An example of evocation is the "Chapel of Notre Dame de Ronchamp", which was revived in the "Church of the Crucifix" designed by Costas Machlouzarides in Harlem (New York) in 1966.

Notre Dame du Haut_ Ronchamp, France
Photo © Alamy

Church of the Crucifix_ Harlem, New York
Photo via harlembespoke.blogspot.com

In this link (Stealing Beauty) you can read the many copies that have been made over the course of history, precisely of the works of Le Corbusier.
However, it is a strange trend that of the copy, which has been advancing in recent years. I found a handful of pretty much the same projects on this Ark Inu page with a Top 10.

Regarding the details and construction details, as I said before, the concept is a bit different.
Alvar Aalto, for example, repeated the line of his skylights both in the academic library "Akateeminen Kirjakauppa" in Helsinki (Finland) in 1969, and in the church of "Santa Maria Assunta" in Riola di Vergato in Italy in 1975.

Akateeminen Kirjakauppa_Helsinki, Finland
Photo © Moleskine arcquitectonico

Church of S. Maria Assunta_ Riola di Vergato, Italy
Photo © Giacomo Beccari

I also noticed a certain reference to Aalto's skylights in the skylights of the Scottish Parliament, designed by Miralles of the EMBT studio, in this case a reinterpretation-homage by another architect.

Other references to Miralles can be seen in the windows of the "University of Vigo", which are inspired by Louis Kahn's "Esherick House" of 1959.

University of Vigo_Spain
Photo © EMBT studio

Esherick House_Philadelphia, Pennsylvania
Photo via http://www.dezeen.com/2008/04/03/esherick-house-by-louis-kahn/

I close this post with a particular case, where an architecture is built to then be demolished and rebuilt again in a space close to the initial one.
This is the controversial case of the "Galeria Leme" designed by Paulo Mendes da Rocha in 2004 in Brazil, demolished in 2011 to make room for an office building, and rebuilt a few meters away. To you the reflections ...

Galeria Leme (first project) _Brazil

Straw is also a material

Posted: Mon, 26 Aug 2013 20:25:00 +0000

I am attracted to little used materials, sometimes called "poor", like this one.
When I write posts like this, I try to understand the use of this type of materials nowadays and their main characteristics.
Here in Holland I often see straw used to cover roofs, partly to maintain an ancient local tradition, partly to insulate them in an ecological way.
Straw is a good acoustic and thermal insulator, is durable over time and is eco-friendly. There are many constructions that are partly or wholly made with this material. Of course it is not only here in the Netherlands that it is used, but I was intrigued by the many renovations I have seen recently in the Dutch countryside, or new buildings, for which the architects have taken traditional construction types and materials as an example.

This building in Zoetermeer in the Netherlands is a contemporary reinterpretation of the style of traditional Dutch houses. Designed by the architect Arjen Reas, it is immersed in a rural area, respecting its context, in fact the architect used straw to cover much of the exterior, not only for the roof as was traditionally done, thus creating a game of balance between traditional local materials and modern materials.

photo © Kees Hageman-Arjen Reas

"Groote Scheere" of Bureau B + B, in Overijssel in the Netherlands, is an organized country estate with 9 constructions + 1 pilot for residential-agricultural construction.
Each house has a unique typology and its own name depending on the site it occupies and the natural element that it makes, for example the "Creek Villa" is crossed by a stream and has a roof that acts as a bridge. In this way, all the other residences were also organized and named: Reed, Field, Flood, Forest, Creek, Lane, Pond, Border and the Pilot Entrance. The construction style of the various types is similar, so as to create a single recognizable complex.
The shape is somewhat reminiscent of ancient barns, the roofs are covered with straw, but in a different way, the straw has been inserted inside a wooden frame, so as to be flush with the edge of the frame, creating a more elegant effect, a different way and more in keeping with today's minimalist schemes.
Inserted in the Dutch landscape, this complex is a new way to re-evaluate the rural sector of the Netherlands.

This was just an old abandoned barn. Taken over and renovated by the Dutch architects of the Arend Groenewegen studio to be transformed into a modern studio-office.
The new project respected both the main structure, improving the base, and the roof, covering it with new straw according to current construction techniques. The architects adopted the slats to cover a large part of the building for good ventilation.
A reuse project respecting the Dutch rural context.

photo © Arend Groenewegen Architect

We also have different examples, outside of Holland, such as "Casa na Areia" in Gràndola, Portugal by the architect Aires Mateus, 4 houses in an old fishing village rebuilt with traditional materials, such as wood, straw, etc.
Sand is part of the furniture, covering the ground in the kitchen and living room.

And I close with another example outside the Netherlands, the "Community Market", in Yusuhara in Japan, a building that contains a market for local products and a small hotel with 16 rooms.
Designed by architect Kengo Kuma, the facade is partly covered with straw blocks to isolate it from water infiltrations, given the large amount of precipitation that often pours into the area. The blocks are mounted on wooden pins, so that they can rotate and ensure ventilation.

A "written" architecture

Posted: Tue, 30 Apr 2013 15:39:00 +0000

I'm back, long absence due to reorganizing all work, bureaucracy, passions, interests etc. in a new land: Holland.
And it must be said that it was not easy to get creative ideas in this long Nordic winter, cold and gray, often I was born with a healthy and overwhelming desire for color.
I've basically spent months trapped in these gray colors, and now that I'm starting to get used to the idea, I analyze everything around me more critically.
Days ago I noticed with a different interest, the usual large writing on a public building, and a process of analysis began almost for fun in my mind, writings, brands, logos etc. that have always accompanied architecture: archigraphy (architecture and handwriting).
In fact, the first building that came to mind was the "Bauhaus", the German school of design, architecture and art active between 1919 and '43.
The enormous writing that occupies almost the entire height of the building characterizes this iconic work.

The typographic style used for most of the Bauhaus writings and publications can be attributed to the graphic designer Herbert Bayer.
He identified and created a style suitable for the design of that era, and many graphic designers later took inspiration.

There are various emblematic buildings that came to mind, in Italy who does not remember the "Lingotto" in Turin? Designed in 1915, the building has undergone numerous extensions and transformations over time, but the writing has remained a symbol. Large colored letters arranged along the body of the building testify to the greatness and importance it had in those times.

Another cult building that I felt right to remember is the "Olivetti" shop, designed by the great Carlo Scarpa in 1958.
The writing as a bas-relief emerges from the texture of the wall, underlining the very brand of the shop.

And it was precisely on Scarpa's graphics that an exhibition dedicated to his passion for typography and fonts was set up in Treviso two years ago.
It was the first exhibition dedicated to graphics and inscriptions that the master inserted into his architecture.

It must be said, however, that this mania for letters did not start from the early 1900s, already in ancient times many artifacts bore writings to suggest the type of work that was carried out there or to simply indicate the name of the family that resided in it.
Over time, most of the inscriptions were intended just as an architectural sign, to underline the content, and museums, industries, fairs, exhibitions, exhibitions etc. have given a hand to this use.
And over time the letters became bigger and bigger, giant letters like sculptures.

Some examples like this archigraphy in Germany.

Or this writing made in wrought iron in Brescia by the architect. R. Fogazzi.

And again the inscription of the Plaus station (Merano), designed by the Architekturbüro D3 studio

But the writings have also been used as huge signs on minimalist facades, such as that of the MoMA (Museum of Modern Art) in New York.
The writing dominates like that of the Bauhaus, on the side of the facade, to indicate an entrance.
A kind of modern banner.

Over the last few years, the tendency has arisen in various metropolises to insert enormous written-symbols in historic centers, which underline the name of the city, or simply a symbol that identifies it.
We find them in Amsterdam, Barcelona, ​​Taiwan, etc. which boast their writings in some spaces chosen as strategic points of the city.

"I amsterdam" is the iconic inscription of the city of Amsterdam.
Now it has become a symbol, the same writing can also be found in common gadgets for tourists, or simply in magazines and brochures.

The word "Barcino" in Barcelona, ​​in the Gothic quarter, is located near the ancient Roman defensive walls.
It is the ancient name dating back to the Carthaginian foundation of the city.

The big "Love" sign in Taipei, Taiwan.

And when is the whole building showing a series of writings or letters like a skin?
This is the case of the Alphabet Building "in Amsterdam, by the MVRD studio, dedicated to small and medium-sized creative enterprises that have problems finding adequate spaces in Amsterdam.
Each window marked with a letter of the alphabet identifies a space occupied by a company, practically it is called an incubator of creative ideas.

And if you are a fan of writings, letters, logos etc., I leave you with the Buchstaben Museum, the Berlin museum of letters that is right for you.
It houses writings, signs and logos that were once icons.

My personal note on writing in architecture:
I believe that an inscription on a building has an aesthetic responsibility.
It is necessary to know how to insert an inscription with a certain sensitivity, it is part of the project, it cannot be considered just an addition.
And in the case of a renovation or restoration, then the task becomes more delicate. History accompanies us with many examples of writings inserted or placed on ancient artifacts. Made of copper, wrought iron, stone, wood or materials that lend themselves well to being placed on the ancient artifact, they managed to blend with the building, respecting it, and not disfiguring it.
And I think it would be very interesting to be able to use this same sensitivity today.

30,000 visitors.

Posted: Tue, 22 Jan 2013 22:06:00 +0000

Made of MUD - Made of MUD

Posted: Tue, 18 Dec 2012 21:58:00 +0000

Strange to talk about something made of mud, right?
Objects, installations, parks, etc. made with this natural material.
Perhaps today little is thought of its use and its nature to model objects or as a building material, but since ancient times mud has been used in the most varied ways.

I found a project, the "Mdula", born from the collaboration of the UIAH (University of Arts and Design Helsinki) with the WWF.
It is a concept of production of biomass stoves made of mud, a research carried out by five students from different parts of the world. The project, thanks to the sponsors, started in Malawi, in Chembe Village, in 2004.

"Mud Brick Spiral" by artist Elin Hansdottir is an installation made with mud, in collaboration with eight local artisans. A spiral designed for the 2012 Marrakech Biennale, a work created for the village of Tassoultante, in Morocco.

"MudWorks" by Anna Heringer is another installation, but it was born as an example of how this material can be used to build walls.
A demonstration on the use of masonry of this type, which are solid and above all can replace concrete walls in some areas.
This work was created in the outer space of the "Harvard Design School" in Gund Hall

A plaque placed on this installation states: "Built with EARTH and WATER. Fashioned by the human HAND. As RESILIENT as concrete. This wall can be reclaimed by NATURE."
"Built in EARTH and WATER. Molded by the hand of man. RESISTANT like concrete. This wall can be claimed by NATURE."

And since I am here in the Netherlands, I also wanted to tell you about a project that is recently emerging, play areas completely immersed in nature, built with natural materials, such as earth, mud, sand and water. The project called Mud on your pants includes six play areas scattered throughout the Dutch territory. An original way to make children relate to nature.

And I leave you with these textures.

Below is a link with various themed textures:

Moss in Design

Posted: Tue, 06 Nov 2012 21:44:00 +0000

Since I arrived here in the Netherlands, I have felt surrounded by this natural element, which for me has always had an evocative charm, has always attracted me and I have discovered that it also attracts many designers, who are indulging themselves in using it a lot in objects, such as in furniture and installations.

At the London Festival of Architecture, Norwegian designers Pushak presented the installation "Moss your city" made with moss.
A labyrinth-path organized with passages-caves covered with moss.
The designers wanted to create attention around their climate, which in humid conditions favors the birth of moss, so they experimented with this installation in the city of London.
A project that as they say: "explores the relationship between Norway's contemporary architecture with its landscape and natural resources, in response to local London conditions."

MOSS design by the "Verde Profilo" studio is an example of how moss can be used in furniture.
From walls to home objects, the "Moss" have a touch of moss, creating unique effects.

They dedicated themselves to creating a real palette of colors, inspired by spices and herbs such as mallow, cumin, paprika, etc.

photos © Verde Profilo_MOSS design

The designer of the PIA design studio enjoyed experimenting with moss, inserting it into her carpets, such as the "Garden Rug", creating designs with naturalistic motifs.
And as she tells herself "What qualities can a living organism bring to an otherwise inanimate object? "
Interesting to read is his Moss Story

photos © PIA design

Lately, even in "street art", moss is being experimented with, with spray to create graffiti on the walls. Artists like Anna Garforth have made writings and drawings with this spray, finding a sort of recipe on how to prepare it. A simple and effective idea as a solution to graffiti, which sometimes stain monuments.



And finally various experiments are carried out with moss, such as "Moss Table", by designers Alex Driver and Carlos Peralta in collaboration with Paolo Bombelli.
Basically it is a concept design, a table with a lamp that uses moss and photosynthesis to produce a small photovoltaic bio-system.

With this experiment, the designers highlight the potential of photovoltaic energy in the future.



photos © A. Driver, C. Peralta, P. Bombelli

"Take Away Architecture" moves!

Posted: Mon, 01 Oct 2012 14:42:00 +0000

Here I am again, I apologize to all of you for the absence of posts in recent times.
The reason is that "Architettura Take Away" has left Spain to move to the Netherlands.
A time of changes, but new posts are ready to be published.
Special thanks to all of you for continuing to follow this blog!

Algae in Design?

Posted: Thu, 31 May 2012 11:15:00 +0000

Various scientists are studying and analyzing its properties, to exploit its potential both as a fuel (bioethanol), as an energy source, both as a new material and as a new fabric.
In short, there are many possibilities that can be expected from algae.


Lately, British researchers at the University of Aberystwyth are studying an alga from the coast of Scotland, "Laminaria Digitata", which could be used to produce biofuel. The best time for harvesting is summer, as the alga produces many carbohydrates and sugars which, by fermenting, are used to produce ethanol.
Virtually the energy of the future could be biofuel made from algae.

There are various projects and ideas that scholars have recently been trying to derive from algae.
Solutions such as the portable algae harvester, the Green Transformer by designers Y. Liu, J. Yu-ning and L. Jing, which transforms algae into bio-oil, a biofuel.
This device, equipped with solar panels, is immersed in the algae, and using the photosynthesis obtained from the panels themselves and combining with a chemical additive, it transforms the algae into bio-oil.
The eco-fuel stored in the tank of the device can then be transferred and used.


Conceived for the "Seoul International Design Competition 2010", Green Trasformer could be a solution to extract biofuel by yourself, in an easy and comfortable way.

© Yi Liu Jiang Yu-ning Luo Jing

These glasses can be eaten while drinking, releasing their flavor as they are flavored in three different flavors.
100% eco-friendly, if thrown on the ground they are excellent fertilizers for plants, as the agar-agar is full of minerals.


The designers have created these prototype glasses in the context of food design for the "GSS Jell-O Mold competition", a competition that concerns the gelatine used in design. In addition to these glasses, the designers are also working on prototypes of plates made in the same way.

© L. A. Tucker, C. Briganti, M. Bhatia and I. Zweifel "


This other lamp instead uses a mixture of algae and photosynthesis in order to function.
It is the "Latro Lamp" conceived by designer Mike Thompson's in collaboration with researchers from Yonsei University (South Korea)
A lamp with a mixture of algae that uses solar energy, CO2 (carbon dioxide) and water to function.
Basically to get our eco lamp, just expose the lamp to sunlight and blow into an opening of the CO2 tank, to give carbon dioxide to the algae.
This will start the photosynthesis process.
In another opening, water will be added to release the oxygen produced by the algae.
And here is the light from our Latro Lamp!


Why not? Fabrics can also be made of algae.
Like the fabric made with algae fibers and milk proteins, produced by a German company "Two Square Meter".
A fabric that in addition to being eco-friendly, is also beneficial for the skin.
A nice turning point for the future world of fashion.



And continuing to talk about fabrics, the I&S BBDO Tokyo agency has produced Design Nori, seaweed sheets for rolling sushi.
An idea of ​​the "Umino Seaweed Shop", to stimulate the seaweed trade in Japan, which had suffered a decline in sales after the 2011 tsunami.


These seaweed sheets are laser cut and represent designs from traditional Japanese symbolism and culture.
Five textures are Sakura the cherry blossoms, Asanoha the hemp flowers, Mizutama the water drops, Kikkou the turtle shell and Kumikkou the tortoise shell.

Algae can also contribute to city street lamps.
The French biochemist Pierre Calleja took care of it, lamp posts that absorb CO2, such as 150-200 trees.
They are experimental street lamps that exploit the energy of micro-algae and photosynthesis to absorb a ton of carbon dioxide in a year.




And finally, still talking about street lamps, I leave you with "Biolamp" by the Hungarian designer Peter Horvath.
A street lamp that converts carbon dioxide to CO2 found in the air in biomass.

Practically an eco-sustainable street lamp, which has various functions absorbs smog, transforms carbon dioxide to extract bio-fuel, and illuminates the city thanks to a liquid composed of algae and water, thus creating a chemical reaction with sunlight.

Did Design "break" too?

Posted: Mon, 09 Apr 2012 17:00:00 +0000

What do you think? Maybe some designers play at creating broken objects to want to send us a message, a provocation?
Or maybe it's just fun experimenting.
There are a number of specially created objects broken, shattered, torn to pieces, exploded.
And it seems to be nothing new if we look back at the work of Gaudì, which he covered with fragments of randomly broken majolica, part of his projects.

The Norwegian designer Hans Bleken Rud is the creator of "Scheisse", a suspension lamp that recalls the classic light bulb, but "broken".
A sort of experiment on light and shadows that the designer wanted to highlight, a game of positives and negatives obtained from these fragmented shapes.
A definitely original effect, a "tribute" to the light bulb, a symbol of the ancient lighting that explodes and re-illuminates us in a new version

Who among us as a child has not broken a vase? Who knows if inspired by such an idea, the mother would have appreciated :)
"Vase of Phases" by Studio Dror, are 3 vases that have been crushed, and then glued.
Basically vases really broken, and reassembled.
They are the winners of the "IF Product Design Award 2006", and are part of the permanent collection of the "Staatliches Museum für Angewante Kunst" in Munich, and of the "Eretz Israel Museum" in Tel Aviv.

A particular object is the "Less lamp" by the Spanish designer Jordi Canudas.
The lamp is a shell of fine ceramic.
The designer's idea is that everyone can break the lamp at will at various points, to let the light out, in fact it is equipped with a pointed hammer designed by Canudas himself.

"Crack of Thunder Plate" by London designer Reiko Kaneko, are ceramic plates, decorated with a motif that represents a discontinuous line that crosses them, as if the plates were to suddenly break.

Israeli designer Itay Ohaly illustrated a series of seat experiments called "Fractures".
The artist has experimented with the breaking of different types of materials such as wood, cardboard, stone, glass, etc.
He wanted to observe how they behave to be manipulated, broken, shaped and torn.

"Wounded Vase" by designer Muinire Kirmaci are ceramic vases featuring various cuts.
Cuts that want to indicate scars that, as the artist indicates, "underline the fragility of love". The artist presented these vases in an exhibition on the theme "Love with Care".

And, since Easter week has just ended, I leave you with the egg of the German designer Ingo Maurer, inspired by the egg of Piero Della Francesca.
An installation made up of five egg shells and one hundred kilos of aluminum.
The artist wanted to close the light inside the shells, and tells us that "The egg is the origin of life, it is perfect form, it is ideality." and "a thing that is beautiful can also be destroyed, and remain perfect."



© Ingo Maurer

An unusual handcrafted designer: useDesign

Posted: Sun, 11 Mar 2012 20:30:00 +0000

Why unusual? Because the designer Luca Scarpellini of useDesign is a very original artisan designer, always looking for old, discarded, recycled objects, to then recreate new ones giving them a different function.
Luca is a curious designer, continually stimulated by his surroundings, his laboratory looks like a "clinic for objects", where he assembles and modifies his creations.
We had a chat with Luca, read what he has to tell us!


Luca, "useDesign" is a name that attracts, would you like to explain to us what message you want to communicate?

useDesign is a play on words. Like everything in my work and in my life, it is the fusion of several meanings that find a new formula to define a concept. The English lent me two words: "use" and "design", words that I tried to merge into a single one that contained a third: "used". These three words, together, express the meaning of my work, that is design objects with a clear and simple functionality that come to life from used objects.


How useDesign was born, a passion for old, abandoned, recycled objects.

useDesign was born from the morbid curiosity about the past life, unknown to us of abandoned objects. Have you ever wondered what an old vacuum cleaner abandoned in the cold and dirt of a flea market has had to endure or what kind of existence has had? Have you ever tried, in vain, to deduce the past by observing and analyzing the scratches and dents that characterize it?


I have always been fascinated by flea markets and scrap metal since well before the birth of useDesign. I often went to these magical places just to enjoy the spectacle that regularly presented itself to my eyes. It was a bit like going to the square or the park and meeting other people. Each object spoke to me, or rather, tried to communicate something, which, however, I could not fully understand. I believe that abandoned objects have a lot to say, but that they use a language that is not completely understandable to us, so we are unable to perceive their real content.
Many people choose, voluntarily or not, to ignore these messages in order to live quietly, or to avoid being distracted from normal daily life.
useDesign was born as a function of a frantic search for answers.

How did you get the inspiration to create a design line from recycling?

The first piece of design I created was a gift for a girl: a sling transformed into a lamp, painted in metallic fuchsia. After that, within a year I made four other products: a green clock / telephone and two bookends / irons, also green, and a blue lamp / mocha, all made as gifts for special people.
I had obtained some interesting objects, and under the pressure of friends and onlookers I decided to embark on this adventure, creating the first line of products, creating the brand and organizing an exhibition in Ravenna. Given the success of the latter, I was convinced to continue my work and continue to produce objects from recycled materials. The rest is history ..-)


Can we say that useDesign is a reinterpretation of used, or is there some other essential ingredient?

I define my work as a "funeral in grand style", a worthy burial of all that the objects used carry over from their previous life. useDesign does not start from wanting to give new life, but from wanting to erase the last glimpses of the one already passed. This is why every object that comes out of my workshop is painted or sandblasted. The ingredient that makes useDesign unique in the contemporary scene is precisely this aspect, albeit extreme, of the design interpretation.

How do you work the objects that you find interesting, what are the phases of your work: choice of pieces, cleaning, assembly, assembly, etc.

As I just said, painting and sandblasting are the most important phases of my work, perhaps even more important than the very choice of the starting object.
For example, one of my latest collections, the 27gradi line, was born from a series of industrial fans transformed into watches. The choice of the starting object was almost random, perhaps banal and unplanned, but the surprise of finding a small writing under the dirt during the sandblasting phase made this line unique and full of meaning.

Sandblasting, but also painting, are important research phases that help me discover materials and objects, a bit as if stripping or burying them would allow me to get to know them in depth. There are different types of objects used: those that simply intrigue me and those that instead "call" me and attract me to the point of falling in love with them. Both aspects are important in the phase of choosing the piece used to work and imply a different attachment to it and therefore, a different restyling action.

From your pieces I understand that each object has various possibilities for you to be used. When you choose an object, can you immediately see the next use it will have, or are you fascinated by it and then later decide how to assemble it?

Generally I look for precisely those objects that attract me the most and in most cases I bind to a particular object immediately after seeing it among the wreckage. It is the object itself that chooses me, in a certain way.
In most cases, I can see the new function, and often also the color or finish, at first glance, but the object is not always transformed immediately. There are objects in my workshop that have been waiting to be transformed for years, but of which I have not yet had the right inspiration. Some products, on the other hand, have now been standardized over time, such as table lamps with toy guns from the childhood line and therefore, when I find them in the flea markets, I collect them for future production.




Do you find it inspiring that thanks to your design, people can bring new objects of old manufacture into their homes?

Absolutely yes. I often define my work as a sort of functional art, an art whose peculiarity is to create sculptures that have a well-defined functionality. It is precisely this placement of useDesign halfway between art and design that makes it very special and different from other reuse design brands. And it's also why designers usually accuse me of making art and artists accuse me of designing. I live in a middle ground, convinced that one day people can fully understand this sector and can see my products as real functional sculptures.

Do you think your design will become a flagship design in the near future?
Do you think we will return to the old, used, and increasingly to recycling?

Well, in recent years we have witnessed an increasingly understood and rooted spirit of reuse and recycling. Journalists are increasingly happy to publish re-use products, placing them on the same level as industrial design products. This bodes well for a future in which designers and artists of reuse will finally have their own well-defined artistic current.


Interesting. and your pieces are unique, as collectible, or do you also produce more identical pieces?

At the present time useDesign consists of 8 product lines, some of which are made up of pieces whose realization can be serialized. However, most of our works are unique pieces in different ways.
The childhood line, for example, consisting of lamps made with old toy guns, is a line in which the idea remains constant, while each model is different from the others the 27gradi line is a limited and numbered series of 21 apparently identical watches the underSkin line instead it consists of objects designed to be repeatable in an always the same way. The line of products that most characterizes useDesign is the luxury line. This collection is instead made up of unique pieces, numbered from 1 to 24. There are in fact only 24 different versions of the same object, whether it is a lamp with a mocha or a hairdryer or a clock with an iron.


Do you have a laboratory, an atelier, where you can view your products?

The useDesign products are born in my laboratory - 30 square meters in the open Romagna countryside around Forlì - to then be sold and exhibited throughout Italy. On our website www.usedesign.it you can find all the points of sale through which we currently distribute our unique pieces and our limited series. Normally the products are not exhibited in the laboratory, but I continually organize exhibitions on the national and international territory at art and local galleries. You can consult our website and subscribe to the newsletter from the "contact" page to stay up to date on our activities, exhibitions and new products and points of sale.


We thank Luca for having chatted with us and accompanying us on this visit in his original way of combining art and design.

Where to find Luca and how to contact him?


headquarters: Via del Bosco 6 / a, 47122, Forlì (FC)
telephone: (+39) 339 1042325
fax: (+39) 0543 728078
website: www.usedesign.it


The photos used in this article are courtesy of useDESIGN ©

Meetings with artisanal designers: L'Atelier Design Trasparente

Posted: Thu, 26 Jan 2012 17:20:00 +0000

And with the new year we open a new column:

We meet for you the designers who call themselves "Artisan".
Designers who work their products, one by one and not in industrial series.
A new idea of ​​design is being born, a more personal concept, controlled in every detail by the same designers who produce it.
Welcome to this new dimension of Design.


The first appointment is with the designers Emiliano Brinci and Francesca Solutions in their Atelier.
Well yes, we met the nice designers of "Transparent Design".
And, between a chat and another, the idea was born to make you participate in our meeting.
A nice chat about handcrafted design and the work they do in the Atelier.
Would you like to hear what we said to each other? Then make yourself comfortable and. enjoy the reading!

How was Design Trasparente born: passion for methacrylate and plastics?

Francesca and I met in 2004, when for work reasons we began to collaborate sporadically. I was designing stands for a company in Rome, while Francesca had recently opened her plastic material processing laboratory.
Two different design paths, but with many points in common.
This was our approach and the beginning of the collaboration.


Designing together, comparing each other, talking every day, we noticed that we both had a passion for research and for plastics and rigorous shapes that can be achieved with simple processes, contrasted with the vivacity of colors.
We understood that we are two ARTISANS / DESIGNERS.

Artisan not simply understood as a figure with technical and manual ability, but one who pursues for himself and for his own personal satisfaction, the search for an almost perfect work, good work done with art, intelligence, manual wisdom and knowledge, which goes against mediocrity and "just let it be done".


Does a handcrafted design fit easily into the reality of corporate designers?
And in terms of product sales, how did you enter the commercial world of design?

I would like to clear the stereotype of the workshop craftsman, surrounded by apprentices and with a pencil on his ear.
Being an artisan / designer means taking on the role of an attentive observer means looking to the past by aiming for Made in Italy futurism, as well as being equipped with both manual and technical skills.
Our products are designed with CAD, cut with numerical control machines and finished all by hand.
This means no industrial molding, no unlimited series.
This means doing things with art: manual wisdom and knowledge - the typical approach of craftsmanship - optimizing form, function, and aesthetics - the typical approach of the industrial designer.

Our objects are all similar but never the same.
In a historical period like the present one, where universities and private schools every year "churn out" hundreds and hundreds of designers and creatives who enter a market that is now saturated and in crisis like the industrial one where companies no longer have the time and money to investing and betting on new projects, the only way out is to think of oneself as a micro-enterprise, and start the path of self-production.

If we are not the first to believe in ourselves who else can?
It is not easy, we have experienced it on our skin.
You have to acquire technical skills, invest money, find an idea, know how to master the new means of communication and work on your name, which must become your personal brand.
Regarding the marketing of products, in a few years we have been able to open an online and offline Atelier, where we sell our design - and that of other Artisans / Designers like us - and to acquire some points of sale in Italy.


You work your products in an atelier: where did you learn how to work with methacrylate?

We like to answer this question by evoking the image of the plant that must consolidate the roots.
Every technical skill is acquired with exercise.
This is why we have worked, for years, side by side with those who knew the profession well, assimilating, like sponges, what no textbook can teach you: manual experience.


If you had to tell your path in a few points from your start in the atelier to today, how would you describe it?
(example: you started by assembling the workshop, bought the machinery, learned how to work them, and presented to the companies)

We briefly describe the recipe that must be followed to carry out a project like ours.
- Take a pinch of machinery, a slice of computers and start dressing them with an abundant number of fresh practices.
- After mixing everything and blending the various ingredients well, pour the contents into a container large enough to hold everything.
- Once the dough is finished, add a liter of technique, half a liter of design, a sachet of experience and a teaspoon of creativity.
- Bake everything for at least 5 years at about 200 °
- When cooked, add flakes of social networks, a pinch of blog, a series of events to your taste with a generous splash of word of mouth.
- Serve everything on a nice network and serve it still hot accompanied by a series of distributors and fresh outlets.



I would say your recipe is nice and comprehensive! :)
E. in addition to design, what are your passions as creatives?

When we don't think about “design” we nourish our body and our soul.
Eating, reading, drinking, walking and listening to music.


A tip for young artisan designers?

The moments of crisis are periods in which interesting opportunities can arise for those with creativity and the desire to emerge.
Don't waste too much time, start realizing what you are thinking of doing today.

Have you ever organized Workshops?

Yes, we have organized workshops, during sector events held in Rome, to make designers and simply curious people better know the potential of plastic products.

Well we thank Emiliano and Francesca, for being here with us, and for showing us their work.
And we invite you to take a tour of their creative Show Room in Rome.

- Where to find Emiliano and Francesca and how to contact them?

show room: Piazza Scotti, 23 - 00151 - Rome - [email protected]
atelier: +39 06.31.05.66.51

blog: http://designtrasparente.blogspot.com/
website: http://www.designtrasparente.com/

e-mail: Emiliano Brinci: [email protected]
Francesca Solutions: [email protected]


The photos used in this article are courtesy of Atelier Design Trasparente ©

An eco tree

Posted: Fri, 23 Dec 2011 15:00:00 +0000

In the name of a Christmas in eco-design, I would like to point out an initiative launched last year and revived this year by the French designer Fabrice Peltier.

A tree made of cardboard and recycled bottles, where part of the cost will go to the WWF.

Echo wishes to you all!
from "Architettura Take Away"


Design attracted to fractals

Posted: Wed, 23 Nov 2011 17:45:00 +0000

A fractal, a form repeated endlessly, changing scale.
We know what a fractal is, but applying it to design, architecture and art in general takes on another dimension. it is as if he emphasized that that form is exact because it is repeated endlessly.
Many designers and artists are fascinated by it: a continuum of geometries in various scales that follow one another in a unique intertwining.

For example, in these ceramic sculptures, the Irish designer Nuala O'Donovan creates various fractal weaves of geometric figures.
A meticulous and complex work, his ceramics can be appreciated in the various exhibitions that the artist presents all over the world.
The artist says "I hope that this aspect of my work also evokes the transitory quality of living organisms, which unites the traces of history, the present and the future, in the models that make up their surfaces and shapes."
"Teasel Standing"
"Coral Fragment"

Born from a series of sketches of a cube is "Fractal 23" by designer Takeshi Miyakawa.
23 drawers that open onto the sides of the cube, this is how the designer finds space.
A repetition of cubes within the cube dividing a geometry into other smaller parts.

"Module Platform" by designer Wertel Oberfell, is a coffee table created from fractal modules, which mimics the growth patterns of a tree.
The modules can be combined, have a hollow structure, which means saving materials, less waste and saving energy in the production process.
It is made of ABS (Acrylonitrile Butadiene Styrene) material, a thermoplastic styrene resin.

"Leaves" by Matali Crasset, is a leaf that branches into others, generating a structure for a lamp.
The designer says he "does not want to copy nature, but wants to testify to its magnificence"

Consisting of an enameled metal fractal that wraps around a light, the "Raiz lamp" by designer Edoardo Perri for Whomade's Avant Craft is part of a series of fractal-inspired products that the designer has created.



"Fractal Arcal and Cumulus lighting" are three illuminations by designer Sara Ivanyi.
A sort of fractal-web that envelops the light, creating very suggestive plays of shadow.
These clouds of painted metal and rubber threads belong to the "Drawing Light" series.

In addition to objects, some artists have also created installations inspired by fractals.

Like the Turin artist Carlo Maria Maggia, who creates fractal sculptures in steel and layered mirrors, sculptures that are camouflaged in a game of intersecting shapes.

Very particular are the structures of the architect Marc Fornes, who elaborates complex structures with computer studies.
Geometric shapes that repeat themselves in a gigantic fractal.

And I leave you with "Evening Line", an installation presented at the 2008 Venice Biennale by artist Matthew Ritchie, in collaboration with the architects Aranda-Lasch and the designers of the Arup group.
A fractal geometry that uses as a module an aluminum tetrahedron painted in black epoxy, which is repeated in various dimensions, occupying the three-dimensional space.
Evening Line is part of a major project that artist Matthew Ritchie has been working on for years.

The design illuminates us with natural textures.

Posted: Fri, 21 Oct 2011 21:25:00 +0000

We know that nature is a source of inspiration, various designers have always tried to simulate some natural form in their creations, but many times they fell back into banality.
Lighting that imitates natural textures or shapes must be considered in a wider context, at the base there must be a study of the elementary structure of the natural form, not simply repeating it as an aesthetic image.
I wanted to insert this post because I liked the idea of ​​the "Hyphae Lamp", a lamp that seems to evoke coral by studying the structure of a leaf.
I also found other lamps made following natural textures, based on interesting studies.

Let's start with the "Hyphae Lamp" designed by Nervous System Studios

Inspired by the veins of the leaves, the designers created 3D simulations, using simple algorithms.
By studying the physical principles of growth, they have thus created organic structures.


A network of nodes that merge with each other in the growth phase.
The material used is nylon, each casting generates a unique model.

Other examples of lamps inspired by natural models are part of the "MGX Materialize" designer collection.
An example is the "Bloom Lamp" by designer Patrick Jouin's, a lamp designed with hinges to open like a flower.

You can dose the amount of diffused light you want to give to the environment.


The lamp is a single piece, and when not in use it closes on itself like a bud with its petals.



A lamp with a particular natural design is the "Quin" by designer Bathsheba Grossman, a sort of dodecahedron, the solid that Plato attributed to nature.

"Cirrata Octopus Lamp" by designer Markus Johansson, is made of Corian.
A jointed lamp that mimics the octopus tentacles.



And finally I leave you with a curious and sweet experiment, the Godoy Lab, by designer Emiliano Godoy, which imitates the bud of a flower.
An eco-sustainable lamp, made with eight wedges of cooked sugar.
The designer's experiment consists in studying the lifespan of a product with respect to the material used.




We have reached 10,000.

Posted: Sun, 16 Oct 2011 14:51:00 +0000

Yes, there are 10,000 of us !!
Architettura Take Away thanks all of you who have visited this blog!
Of course I would like your more active participation with comments and various things, but reaching 10,000 visits to an architecture and design blog is a good goal, THANK YOU again.

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Footnotes

Barbier, E. B., Hacker, S. D., Kennedy, C., Koch, E. W., Stier, A. C., and Silliman, B. R. (2011). The value of estuarine and coastal ecosystem services. Ecol. Monogr. 81, 169–193.

Barillé, L., Robin, M., Harin, N., Bargain, A., and Launeau, P. (2010). Increase in seagrass distribution at Bourgneuf Bay (France) detected by spatial remote sensing. Aquat. Bot. 92, 185–194. doi: 10.1016 / j.aquabot.2009.11.006

Barrell, J., Grant, J., Hanson, A., and Mahoney, M. (2015). Evaluating the complementarity of acoustic and satellite remote sensing for seagrass landscape mapping. Int. J. Remote Sens. 36, 4069–4094. doi: 10.1080 / 01431161.2015.1076208

Beca-Carretero, P., Varela, S., Stengel, D. B., Beca-Carretero, P., Varela, S., and Stengel, D. B. (2020). A novel method combining species distribution models, remote sensing, and field surveys for detecting and mapping subtidal seagrass meadows. Aquat. Conserv. Mar. Freshw. Ecosyst 30, 1098–1110. doi: 10.1002 / aqc.3312

Bell, T. W., Allen, J. G., Cavanaugh, K. C., and Siegel, D. A. (2020). Three decades of variability in California's giant kelp forests from the Landsat satellites. Remote Sens. Environ. 238: 110811. doi: 10.1016 / j.rse.2018.06.039

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Keywords: habitat mapping, machine learning, rockweed, satellite remote sensing, seaweed, submerged aquatic vegetation, kelp, seagrass

Citation: Wilson KL, Wong MC and Devred E (2020) Branching Algorithm to Identify Bottom Habitat in the Optically Complex Coastal Waters of Atlantic Canada Using Sentinel-2 Satellite Imagery. Front. Environ. Ski. 8: 579856. doi: 10.3389 / fenvs.2020.579856

Received: 03 July 2020 Accepted: 15 October 2020
Published: 12 November 2020.

Andrea J. Vander Woude, NOAA-Great Lakes Environmental Research Laboratory, United States

Eric Jeremy Hochberg, Bermuda Institute of Ocean Sciences, Bermuda
Tiit Kutser, University of Tartu, Estonia

Copyright © 2020 Wilson, Wong and Devred. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author (s) and the copyright owner (s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.


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