Hannah clads off-grid Ashen Cabin in New York with infested wood

Ashen Cabin by Hannah

US architecture studio Hannah has used 3D-printed concrete stilts to elevate this tiny off-grid cabin in Upstate New York, which has walls made from infested ash wood.

Ashen Cabin by Hannah

Ashen Cabin is intended as a small-scale study of more sustainable construction that combines lumbar destroyed by an invasive beetle with digital fabrication techniques, such as 3D printing.

“From the ground up, digital design and fabrication technologies are intrinsic to the making of this architectural prototype, facilitating fundamentally new material methods, tectonic articulations, forms of construction, and architectural design languages,” Hannah said.

Ashen Cabin by Hannah

The small house is clad with wavy wood panels and windows framed with black plywood. Concrete is used to form a tall concrete chimney and chunky legs that protrude from the structure.

Hannah used 3D printing system to stacks the layers of concrete and form the structure’s angular base and bulky extrusions.

Ashen Cabin by Hannah

All of the concrete shapes, including the prismatic legs, curving chimney and fireplace, textured flooring and furniture objects, feature a linear pattern marked by jagged edges.

“The project aims to reveal 3D printing’s idiosyncratic tectonic language by exploring how the layering of concrete, the relentless 3D deposition of extruded lines of material, and the act of corbelling can suggest new strategies for building,” it added.

Ashen Cabin by Hannah

The studio, which is led by co-principals Sasa Zivkovic and Leslie Lok, worked with a group of students at Cornell University to realise the residence that uses wood infested by the Emerald Ash Borer beetle.

Typically infested ash trees, destroyed by the insects, aren’t used for construction because of their difficult shapes and inability to be processed by sawmills. Instead, they are left to decompose or burn, releasing harmful carbon dioxide into the air.

Ashen Cabin by Hannah

“Infested ash trees often either decompose or are burned for energy,” Zivkovic said.

“Unfortunately, both scenarios release carbon dioxide into the atmosphere, and so the advantage to using compromised ash for construction is that is that it both binds the carbon to the earth and offsets the harvesting of more commonly used wood species.”

To cut the irregular shaped logs into curving boards that vary in thickness the team used a robotic arm and band saw attachment. The cut panels define the windows on the exterior and are also used to form architectural features inside, such as shelving and surfaces.

“The curvature of the wood is strategically deployed to highlight moments of architectural importance such as windows, entrances, roofs, canopies, or provide additional programmatic opportunities such as integrated shelving, desk space, or storage,” the studio said.

Ashen Cabin by Hannah

Over time the wood boards will naturally grey and the siding will blend with the colour of the 3D printed concrete used throughout the house.

The team’s 3D printing system eliminated the need for a concrete mould, reducing the amount of the material used and its carbon dioxide footprint.

“By using 3D printing, we eliminate the use of wasteful formwork and can deposit concrete smartly and only where structurally necessary, reducing its use considerably while also maintaining a building’s integrity,” Lok said.

Ashen Cabin by Hannah

Each of the four windows is outlined with a custom-built frame of marine-grade plywood painted black to stand out against the pale siding. They are each oriented to face the wooded landscape.

The cabin has no power or running water. Instead, a small camping sink made with the coiling concrete provides water. Foam insulation and the wood burning fireplace are used to regulate the temperature of the off-grid residence.

Ashen Cabin by Hannah

Inside, walls are covered with the same timber that is used on the outside and the concrete floors have interlocking design.

The 3D printed material is also used to form a seating platform that doubles as storage. A bench-like surface made with the black plywood used on the window frames extends from the seat to form a bed.

Ashen Cabin by Hannah

Hannah was founded in 2014 by Alexander Chmarin, Alexander Graf, Leslie Lok, and Sasa Zivkovic and has its office in Ithaca, New York.

Off-grid residences have increased in popularity as architects try to find ways to build more sustainably. Other off-grid cabins include a black cedar dwelling in New York by Marc Thorpe  and a customisable and self-sufficient cabin in Chile.

Photography is by Andy Chen.


Project credits:

Project team concrete: Christopher Battaglia, Jeremy Bilotti, Elie Boutros, Reuben Chen, Justin Hazelwood, Mitchie Qiao
Assembly and documentation team concrete: Alexandre Mecattaf, Ethan Davis, Russell Southard, Dax Simitch Warke, Ramses Gonzales, Wangda Zhu
Project team wood fabrication and design: Byungchan Ahn, Alexander Terry
Wood studies: Xiaoxue Ma, Alexandre Mecattaf
Assembly and documentation team wood: Freddo Daneshvaran, Ramses Gonzalez, Jiaying Wei, Jiayi Xing, Xiaohang Yan, Sarah Elizabeth Bujnowski, Eleanor Jane Krause, Todd Petrie, Isabel Lucia Branas Jarque, Xiaoxue Ma
Representation team: Byungchan Ahn, Kun Bi, Brian Havener, Lingzhe Lu
Cornell Arnot Teaching and Research Forest: Peter Smallidge

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10L Rugged Camera Sling

Available in six- or 10-liter sizes, Moment’s rugged sling features a durable exterior and a vast, compartmentalized interior with padded dividers for cameras and accessories. Unlike many larger camera bags, Moment’s retains a rigid structure, ensuring that it won’t droop if items aren’t perfectly balanced within. Water-resistant YKK zippers and a waterproof sailcloth construction protects gear in the rain or snow, and a wide top zipper provides easy access while shooting on the go. The thick, padded sling (which can be attached to a stabilizer strap) makes carrying heavy gear extra comfortable, distributing weight evenly.

"The pandemic is a handy excuse" to scrap Sidewalk Labs' smart city in Toronto say commenters

Toronto Tomorrow by Sidewalk Labs

Readers are debating why the Alphabet subsidiary’s plans for a waterfront smart city were abandoned and sharing their thoughts on other top stories in this week’s comments update.

“Unprecedented economic uncertainty” caused by the coronavirus pandemic has been cited as the reason why  Sidewalk Labs has abandoned its plans to create a smart neighbourhood in Toronto.

“Good riddance to a large-scale data-harvesting wheeze”

But Dezeen commenters are unconvinced. “Best news during the pandemic thus far,” said Troels Steenholdt Heiredal. “Good riddance to a large-scale data-harvesting wheeze,” agreed Bunker Mentality.

“The pandemic is a handy excuse,” added Tyrannosaurus Rek. “But opposition and concern about privacy was widespread.”

“As this health crisis is just temporary I wonder if it is the right move to scrap a project that’s basically a playground for research,”  countered Zea Newland. “This is a missed opportunity to show the world how a smart city can enhance life.”

Was the coronavirus pandemic to blame? Join the discussion ›

Three Chimney House by T W Ryan Architecture
Three Chimney House by T W Ryan Architecture

Three Chimney House by T W Ryan Architecture is “an immense work”

Commenters are impressed by a house in Virginia designed by US studio T W Ryan Architecture to reference a modernist Mies van der Rohe residence and a neighbouring plantation.

“That’s the most elegant new house to have come out of the States I have seen on Dezeen,” said Thrum Hall 1986. “It feels very Nordic.”

“Tour de force,” added JZ. “An immense work for a young architect, and a client, and a builder.”

What do you think of Three Chimney House? Join the discussion ›

52 Lime Street – Scalpel skyscraper, City of London by KPF
The Scalpel skyscraper by KPF in the City of London

KPF’s Scalpel skyscraper is “child’s play on steroids”

Readers are debating London’s skyline after architecture studio Kohn Pedersen Fox completed the Scalpel skyscraper alongside the Lloyd’s building in the City of London.

“A new addition to London’s list of weird and most awkward skyscrapers!” said Mr Architect. “Keep going London!”

“London’s skyline is comically confusing,” agreed Jack Woodburn. “Almost child’s play on steroids.”

What do you think? Join the discussion ›

MuseumLab by Koning Eizenberg Architecture
MuseumLab by Koning Eizenberg Architecture

MuseumLab restoration of  Pittsburgh library is “freaking outstanding”

Koning Eizenberg Architecture has delighted commenters with its renovation of a lightning-struck library in Pittsburgh, USA, which has re-opened as a museum for children.

“Freaking outstanding,” said Jay C. White Cloud. “Enthralling restoration, renovation, intervention and adaptation,” agreed GeofBob.

Has MuseumLab captured your imagination? Join the discussion ›

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Meet the world’s first 3D-printed Hypercar

The Czinger 21C is a pretty impressive hypercar. The completely American-made automobile comes with an in-house developed 2.9-litre twin-turbo V8 engine which supplies it with 1250 hp and takes it from 0 to 60mph in a staggering 1.9 seconds… like I said, that’s pretty impressive for an automobile, especially considering the 21C is also the world’s 1st 3D printed hypercar.

Designed and built in California, the 21C is best described as one of the most unique hypercars ever built. Most of the car’s chassis, for starters, is 3D printed to achieve strength while saving costs on tooling. Made with aluminum and titanium alloys for the most part, with a few pre-fabricated carbon-fiber tube parts making their appearances wherever possible, the entire car’s chassis is like an organic skeleton. Moreover, it achieves exactly what it needs to, by saving materials wherever necessary, reducing cost by avoiding tooling and molding, and giving you the best combination of strength and aerodynamics. This unique ability also allows the 21C to have the kind of cockpit it does… because while most hypercars have two seats arranged side by side, the 21C uses a 1+1 layout by putting its driver in front and the rider right behind. This unique seating layout comes personally from founder Kevin Czinger’s love for bikes and their seating arrangement. There’s a sense of control and focus when you sit in the 21C’s driver seat which comes from the seat’s central alignment, almost like being in an F1 racecar’s cockpit, with all your controls at arm’s length. For the most part, the car’s steering wheel and dashboard sport the same organic styling associated with its 3D-printed approach, while being fabricated from carbon fiber, just like the car’s outer body. Two butterfly doors on either side of the 21C give you access to both the driver and the rider seats at the same time, while the car’s incredibly narrow cabin allows its front wheels to have massive air exhausts right behind them. Move to the rear and the car’s rear panel is almost entirely a grille, allowing air to easily pass through, barring probably the 3 taillights which lend a strong character to the car’s rear, and a unique 3D printed rectangular exhaust tip (right beside the branding), which shoots X-shaped flames as you rev its engine… because why not – which seems to be an underlying theme in the 21C

The 21C is limited to 80 units, which will be manufactured at Czinger’s unit in California. From start to end, the entire vehicle is an amalgamation of possibilities, showcasing the sheer power of 3D printing combined with top-notch designing and engineering… after all, with a top speed of 236mph, and an acceleration of 0-60 in just 1.9 seconds, the 21C definitely deserves a world of credit for pushing both boundaries as well as performance!

Designer: Czinger Vehicles

This $300 3D Printer makes it easier to create designs than to buy them online

There was a time when you needed to have a highly specialized skill set to operate a camera. Today cameras on phones can be used by toddlers. The same sort of goes for cars. Today an AI can do the same thing a licensed driver can. Objects are getting easier to use, for the sake of being adopted by more consumers, and the 3D printer is no exception. You’d need manuals, experience, and technical prowess to use a 3D printer 10 years ago. Today, Creality’s CR-6 SE printer takes literally 5 minutes to assemble, and less than 2 minutes to use. How does it do that? The same way a smartphone camera or an AI-driven car does – by handling the heavy-lifting and leaving the easy tasks to you.

Convenience is by far the most important function of the Creality CR-6 SE. While most 3D printers need reading through manuals and require basic maintenance activities before and after each print, the CR-6 SE just simply works out of the box. The printer’s self-leveling tech means you never need to manually calibrate your baseplate and nozzle before each print – if you didn’t understand a word of what I just said, the CR-6 SE was sort of designed for you. Its easy-to-assemble form factor is as simple as building a 5-piece LEGO house. Once put together and plugged in, the printer’s bilingual setup and its 4.3-inch HD touchscreen help you use it in just minutes. Feed the sliced design in, either online or via an SD card, and the printer gets to work. Its patent-pending self-leveling technology calibrates the print-bed to perfection, resulting in faster, better quality prints every time; while its innovation-driven structure and nozzle-design work effortlessly while dissipating heat and requiring no periodic maintenance. The cherry on the cake? A silent chipset that allows the printer to run without that droning whirr that most printers make while executing a job.

For the more technically sound, the CR-6 SE lives up to Creality’s legacy of producing some of the finest 3D printers at affordable prices. With an early bird price of just $319, the CR-6 SE may be the most budget-friendly self-calibrating printer. To top things off, it comes with a heated baseplate too, allowing you to print in a variety of filaments, and you can even stash all your printing and prying tools into the machine’s built-in tool drawer. The CR-6 SE comes with a print-area of 235*235*250mm, with a resolution of ±0.1mm… it handles STL, OBJ, and AMF formats, and even comes with power-resume, allowing prints to temporarily halt during a power outage, and resume once the power’s back.

With the CR-6 SE, Creality makes an ambitious attempt to cater both to power users as well as novices. Designed to be less than half the price of your average 3D modeling or rendering software, the CR-6 SE brings the ultimate tool for creation and prototyping to your desk. Why render a design when you could just fabricate it? Or conversely, why buy a product when you could just print it in a matter of hours??

Designers: Michael Tang, Louis Tang & Alan Xu

Click Here to Buy Now: $319 $431 (26% off). Hurry, only 911/1500 left! Raised over $1,450,000.

Creality CR-6 SE – Leveling-free DIY 3D Printer Kit

The CR-6 SE  is a simple and robust aluminum-built modular 3D printer that features an intelligent leveling-free system for superior accuracy and advanced 3D printing features, in an easy-to-use printer that is also affordable.

The printer scored a total of 26.5 out of 30 points on the Autodesk Kickstarter test.

Main Features

No complications. No special skills required. No confusion. You can easily assemble it in only 5 minutes and then all you need to do is plug it in and switch it on. The CR-6 SE 3D Printer starts working and delivering amazing results—whether you’re a pro or a newbie—in almost no time.

Ground-breaking true leveling-free technology. For the most part, accurate 3D printing is the result of a leveled bed. That’s usually a challenging goal, though, because most 3D printers will present nozzle clogging, poor adhesion, and generally unleveled-related issues that compromise the quality of prints. The CR-6 SE offers precisely the opposite. Featuring an innovative true Leveling-Free Technology, this is a 3D Printer that lets you always rely on highly accurate results.

Customizable and easy to keep modular nozzle. Never see your creativity and productivity affected by nozzle-related replacement issues. The CR-6 SE is designed with a modular nozzle that means you can customize it. From the heat block to the nozzle tip, among other parts, this is a Modular 3D Printer that’s easy to keep.

Better heat dissipation with unique caved heat sink.

Photoelectric filament sensor and flexible fixator

A dependable extruder. With its compact and reliable extruder, you know that a smoother extrusion and an easier filament feed will ultimately generate faster, quieter and smoother prints.

Cut the noise. 3D printers shouldn’t be annoying in the noise they make, which is why they added a Silent Chipset to the CR-6 SE. Its latest Trinamic driver helps to ensure that voltage control, fast movement and printing in silence are a given.

A hotbed for a hot result. The CR-6 SE 3D Printer comes with a carborundum glass hotbed platform that is flatter than aluminum and which offers a stellar thermal performance that ensures quick heating up, strong adhesion and prints that are easy to remove.

Strong, stable, and stylish. This work station has a beautiful design that compliments any desktop you use it on. Meanwhile, self-designed profiles and stepper motor cover prevent from filament scraps and dust. The CR-6 SE also comes with a well-arranged ribbon cable that ensures safety issues are never a concern.

Reduced Vibrations. This unique printer is designed with a wider foundation and equipped with dual Z-axises matched with an adjustable timing belt that translates into reduced unwanted motion and improved refined results. So the stability of the machine and its performance is simply impressive.

A 3D printer you can carry. Weighing only 9.2kg and with manageable dimensions (442*462*540mm), the CR-6 SE is a 3D Printer that you can carry. In fact, it features a convenient removable handle that makes it easy to carry whenever you need to.

Photoelectric Filament Sensor. These are the three magic words that basically mean that your CR-6 SE will keep your printing performance running smartly and smoothly. If the machine suddenly runs out of filament or if it simply breaks, the printer’s photoelectric filament sensor will instantly pick up that disruption and will stop the machine. As soon as the new filament feeds in, the CR-6 SE will resume its operation without making you lose your work.

Intuitive user experience. The CR-6 SE 3D Printer features a 4.3in HD Color LCD Touch Screen that allows you to easily and intuitively operate the device.

Review video by Naomi.

Click Here to Buy Now: $319 $431 (26% off). Hurry, only 911/1500 left! Raised over $1,450,000.

"Design pervert" Karim Rashid wins 2020 American Prize for Design

New York designer Karim Rashid has won this year’s American Prize for Design, which is regarded as “the highest and most prestigious design award in the United States”.

The New York designer was named the 2020 laureate of the accolade awarded annually by The Chicago Athenaeum: Museum of Architecture and Design and The European Centre for Architecture Art Design and Urban Studies.

Rashid, whose best-known works include the Snoop and Woopy chair and the Bobble water flask, describes himself as a “design pervert, cultural shaper, poet of plastic, digipop rockstar”.

Snoop and Woopy by Karim Rashid for B-Line
The Snoop and Woopy chair design for Italian furniture brand B-Line is one of Rashid’s best-known works

“Design is my lifelong hobby,” Rashid said. “Design is something that can be so emotional, so experiential, so romantic, so poetic, and so human and yet constantly moves us forward.”

He intends to champions “democratic design”, a term he uses to describe making good design available for all, through projects focused on unnoticed or overlooked items.

Pans with colourful handlesa faceted glass bottle for American vodka brand Anestasia, a “deconstructed” wine bottle and a smartphone charger are among his creations.

“We must evolve, we must innovate, and we must change,” the designer added. “I want to change the physical world.”

Bump portable charger by Karim Rashid for Push and Shove
The Bump smartphone charger, which “eliminates the knotty tangle of power cords”, is among his recent projects

In addition to 3,000 objects, Rashid’s portfolio also includes fashion, exhibitions, interiors and architecture projects, completing a sex shop in Munich, the University of Naples subway station and a restaurant in Dubai.

The Chicago Athenaeum’s president Christian Narkiewicz-Laine commended Rashid for his “dizzying array of projects going all over the globe”. “What stands out is that the man is driven. Scratch that. Hyper-driven,” Narkiewicz-Laine added.

“Entering the mad design world of Rashid is like being trapped inside a gigantic, rotating kaleidoscope, where the turning and twisting of bits of coloured materials between two flat plates against two plane mirrors produce an endless variety of crazed patterns and dizzying possibilities,” he said.

Born in Egypt in 1960, Rashid received a Bachelor of Industrial Design from Carleton University in Ottawa, Ontario, Canada.

After graduating in 1982, he moved to Italy to study at the Rodolfo Bonetto Studio in Milan. He worked under influential designers Ettore Sottsass, Rodolfo Benetto and the late Alessandro Mendini, who he counted as a mentor.

Decant by Karim Rashid
His work focuses on redesigning unnoticed items, like this “deconstructed” wine bottle

Rashid established his New York design studio in 1992. He teamed up with architect Alex Hughes to launch an architecture and development firm called Kurv Architecture in 2017, the same year he also established a line of kitchen utensils and accessories.

Described as “the highest and most prestigious design award in the United States”, the American Prize for Design is awarded by The Chicago Athenaeum in conjunction with the Good Design Awards.

Each year, candidates are nominated by design practitioners, press, educators and its advisory board, which includes architects and designs like Adrian Smith, John Marx, James von Klemperer, Santiago Calatrava and Serqei Tchoban.

Previous winners of the American Prize for Design include British architect Norman Foster and Italian Ferrari designer Flavio Manzoni.

The post “Design pervert” Karim Rashid wins 2020 American Prize for Design appeared first on Dezeen.

Brandon: Weep

From Riverside, California-based singer-songwriter and producer Brandon, the new track “Weep” delivers a narrative of disconnect and vulnerability through soulful, stacked vocals. Brandon wrote the track during shelter-in-place orders and its balance of raw emotion and soothing harmonies feel timely. The single comes with an intimate music video, directed by Justin Segura, that hones in on Brandon as a compelling performer.

Test Ride: Specialized’s Turbo Vado SL E-Bike

At the helm of the respected brand’s momentous new electric model

As an industry leader, Specialized champions the simple pleasures (and the thrilling abilities) of pedal-powered bikes. But, in an effort to keep up with a shifting cycling landscape and to remain at the forefront of mobility innovation, Specialized acknowledges the marker of a new era—the emergence of e-bikes. “The future is electric… and the future is here,” the brand proudly states alongside today’s announcement of its Turbo Vado SL E-Bike, a lightweight ride capable of reaching 28 miles per hour and nearly 120 miles per charge (with the add-on range extender). It’s the company’s most versatile e-bike yet. We’ve been joyfully riding a test unit for a couple weeks now and wanted to dig in to the category a bit further as well.

by Josh Rubin

Specialized designers carefully considered every inch of the Turbo Vado SL to make it as light as possible. Smartweld aluminum construction makes it approximately 40% lighter than other models on market—a difference we immediately noticed when riding the bike and carrying it up a flight of stairs. Engineers made adjustments to the housing material (opting for magnesium over traditional resources) and employed a lightweight SL1.1 motor within. An integrated battery in the bike’s stem provides the aforementioned engine with power, giving riders the freedom to visit a local shop or park on two wheels rather than in a car.

While the bike proves perfect for carefree cruising, its design and performance teams didn’t skimp on power. At full steam, the Turbo Vado SL matches the riders input at 100%—meaning the rider reaches a speed of “two times you.” This power propels one up a hill with ease. Different modes—OFF, (0% power) ECO (30% power), SPORT (60% power), TURBO (100% power), and SMART CONTROL (algorithm-determined outputs dependent on your desired ride length, destination, and battery level post-ride that update every 10 seconds)—offer variability depending on your activity. Moving between modes is easy using the controls at your left thumb (or on the top tube of the frame) and the power-assist in the pedals has a smooth, magical feel that rewards your own physical input.

To further appeal to both ends of the biking spectrum (those choosing e-bikes as their first owned ride and those adding an e-bike to a collection of two-wheelers), the Turbo Vado SL comes in “Unequipped” and “Equipped” models. The latter signifies the addition of a rear rack, front and back fenders and a rear light. However, standard on both models are all of the ergonomic features that make longer rides comfortable but still a careful balance between challenging and carefree.

To attest to these features, and expand upon the importance of Specialized’s growing footprint in the category, we spoke with LYFT and Tesla alum Ian Kenny, Specialized’s Brand Lead for Turbo e-Bikes.

As electric mobility becomes more pervasive, affordable and compact, it makes sense that we’d see it in bikes, but which driving force pushed the innovation to where it is today? Were e-bikes born from need or opportunity?

A little bit of both. Bikes have always been incredible tools for local transportation and recreation. As lower cost technologies—such as small electric motors, higher energy density batteries, and the digital tools needed to connect them to riders—became increasingly available, it was a natural evolution for people to start experimenting with how they could make the bicycle even more useful, fun, and efficient.

Now, we’re learning that people who ride e-bikes are riding farther and more regularly than they ever imagined possible—and they’re getting as much, or more, exercise as those riding bikes without rider amplification. It’s a little counterintuitive, we’ll admit, but if it means more rides more often, we’re all for it.

Electric bikes are often faster in congested areas, cheaper on a per-mile basis, and more fun than sitting in traffic when you’re out and about. Of all trips taken globally in cars, most are short—like, less than 10 miles short. Making the switch to two wheels for local transportation helps to eliminate your most carbon-intensive trips taken in a car.

Riding e-bikes for sport or recreation was once reserved for early adopters, but electric bikes have come a long way, and they can now take you on some pretty serious rides. Whether it’s more laps on your favorite trails, exploring past that next bend in the road, or an epic cross-country journey, e-bikes give riders the power to ride farther, faster.

There are e-bikes with powered wheels and there are ones with pedal assist technology. Philosophically, what’s the difference and why did Specialized choose to focus on the latter?

From the start, we’ve aimed to build e-bikes that are great bikes first, that just happen to be electric. It’s where our Turbo e-bike promise “It’s You, Only Faster” comes from. While there’s certainly a place for other types of electric mobility, we believe that amplifying a rider’s natural pedal power not only makes for a more efficient machine—meaning that you can go further faster—but that it also yields cognitive and emotional benefits that are only derived through the act of riding a bike. Check out Outride to learn a little more about some of the primary research we’ve done in this area.

With variable levels of pedal assist why does the bike need so many gears?

Our e-bikes are specifically tuned for maximum efficiency and range by amplifying the natural pedal power of the rider. That means that the motor is most efficient when the rider is most efficient. Gearing allows riders to achieve better efficiency in their pedaling while the pedal-assist modes are there to provide variation on the level of amplification that the rider requires.

The extra level of control you get from the app is great—do you have a sense for what percentage of customers take advantage of it?

While you can operate all Turbo e-bikes without using the Mission Control app, nearly all new riders have their bikes registered and paired to the Mission Control app to make use of features like Smart Control to help achieve optimal range, custom tune motor output to meet their needs and preferences, and soon to receive advanced alerts for common service needs should they arise.

You probably own a few bikes. What’s your personal use case for when you choose to ride an e-bike?

My wife and I have virtually eliminated short car trips by using the Turbo Como and Turbo Vado bikes that we have at our house. We use them for errands, getting to and from work, and for date nights. I’ve also been riding a Turbo Creo SL Evo (our electric gravel bike) for weekday workouts. I can get almost twice as much riding in over an hour-long lunch ride as I could previously and I’m still worked when I’m finished. I’ve also used it to discover a ton of new trails that I wouldn’t have otherwise as I no longer pay the penalty for exploring further than I might have before.

Images courtesy of Specialized

Live interview with architect Virginia San Fratello

Architect Virginia San Fratello leads architecture studio Rael San Fratello

Architect Virginia San Fratello will speak to Dezeen today in this live Screentime conversation sponsored by Enscape, as part of Virtual Design Festival. Watch the talk live from 5:00pm UK time.

San Fratello leads Oakland-based architectural studio Rael San Fratello alongside co-founder Ronald Rael. Amongst the studio’s work is a group of 3D-printed earth structures intended to demonstrate the potential of using mud in architecture.

The studio attracted international recognition when it installed three pink seesaws in between the metal slats of the US-Mexico border wall, so that children on either side can play together.

The pair are also the co-founders of additive manufacturing startup Emerging Objects, which 3D-printed a pavilion using salt harvested from San Francisco Bay.

Architect Virginia San Fratello leads architecture studio Rael San Fratello
Architect Virginia San Fratello co-founded Oakland-based firm Rael San Fratello

Other creatives featured in our Screentime series include trend forecaster Li Edelkoortarchitect Dong-Ping WongNew York architecture practice SO-ILThe World Around curator Beatrice Galileefilmmaker Gary Hustwit and British-Israeli architect Ron Arad.

This Screentime conversation is sponsored by Enscape, a virtual reality and real-time rendering plugin for architectural design programme Autodesk Revit.

Virtual Design Festival is the world’s first online design festival, taking place from 15 April to 30 June. For more information, or to be added to the mailing list, contact us at virtualdesignfestival@dezeen.com.

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Painted Airplane Windows showing Luxurious Landscapes

Si vous avez eu la chance d’avoir le très prisé « window seat » lors de votre dernier vol en avion, vous savez à quel point observer le paysage au dessus des nuages est inspirant…

Jim Darling s’est inspiré de la vue du hublot pour créer une série de peintures au concept original, chaque pièce présentant différentes scènes du point de vue d’un passager. Avec « Windows », l’artiste américain reproduit la vue d’un avion en représentant des paysages luxuriants qu’il place dans des cadres blancs.

« J’ai pensé au siège de la fenêtre : à quel point il est spécial et comment il peut être pris pour acquis. Ces vues étendues peuvent être très impressionnantes. Tout le monde est fasciné par le fait de voler et, pour l’instant, c’est en avion que nous pouvons le vivre. À un moment donné, sur chaque vol que j’ai pris, j’ai réalisé que j’étais assis sur une chaise dans le ciel, et ça me semble fou à chaque fois. »