DOCSLIB.ORG

Ohno, Mari. 2021. Composing with Matter: Interdisciplinary Explorations Between the Natural and the Artificial

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ohno, Mari. 2021. Composing with Matter: Interdisciplinary Explorations Between the Natural and the Artificial Ohno, Mari. 2021. Composing with Matter: Interdisciplinary Explorations Between the Natural and the Artificial. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/29971/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Composing with Matter Interdisciplinary Explorations Between the Natural and the Artificial Mari Ohno Music Goldsmiths, University of London Thesis submitted for the degree of Doctor of Philosophy 2020 1 Declaration I hereby declare that the work in this dissertation and the work presented in the accompanying portfolio have been carried out by myself except as otherwise specified. Signed, Mari Ohno January 2020 2 Acknowledgements I would like to thank my supervisors Professor John Levack Drever and Dr Freida Abtan, and my external supervisor Dr Patricia Alessandrini at Stanford University for their support, knowledge, and guidance throughout the pathway of this research at Goldsmiths, University of London. I would like to acknowledge and thank the scientists and artists, Oron Catts and Dr Ionat Zurr at SymbioticA, the Centre of Excellence in Biological Arts at the University of Western Australia, Professor Anatoly Zayats and Dr Manasi Nandi at King’s College London, who all supported and collaborated with me for the practice in this research. Many thanks to my family and friends for their generous support and encouragement for me along the way. 3 Abstract This practice-based research, which includes a written thesis and a portfolio of creative practice, represents the interdisciplinary exploration of co-composition between natural and artificial matter as otherworldly phenomena. Accelerated by the application of recent technologies to control natural materials, matter has become merged between nature and artefacts, offering new potentials, where the boundaries are becoming increasingly blurred. This thesis presents a series of complementing sound art works, including transition [systemic], transition [characteristic], and moment, which were devised through co-composing towards a creative outcome that combines sonic and visual elements by integrating natural and artificial matter as co-authors and co-makers within the creative process to generate multiple perspectives. Raising questions of the boundary between nature and artificiality, it aims to consider a new methodology for sound art in the human-dominated, Anthropocene epoch. This research employs natural elements and processes to engage with sonic and visual anthropomorphism. It is focused on generative processes in the organisation of matter, here analysed and harnessed for sound expression, using acoustic phenomena including the inaudible range that can be perceived through matter. Through a laboratory-based study made in collaboration with scientists, three ‘life-like’ features of the generative processes of materials are discussed: 1) fusion and division, 2) network formation, and 3) pulse and rhythm. The practice explores these features to develop a new methodology of authorship and making, examining the following two questions. How can life-like behaviours of matter be portrayed through sonic and visual modes of expression? And in what ways might the expression of life-like behaviours be grasped by human perception? In conclusion, by 4 integrating the agency of matter into the compositional processes, life-like features – as described by current theories in art, design, science, and philosophy – are made apparent. 5 Contents Abstract ................................................................................................................................................. 4 List of Illustrations ................................................................................................................................ 7 1. Introduction ....................................................................................................................................... 9 2. Research Context ............................................................................................................................ 29 2-1. Matter in the Anthropocene ..................................................................................................... 29 2-2. Matter of Sound ....................................................................................................................... 45 2-3. Generative Processes of Matter ............................................................................................... 58 2-4. Summary .................................................................................................................................. 71 3. Practice ............................................................................................................................................ 76 3-1. Life-like Behaviours of Matter ................................................................................................ 76 3-2. Fusion and Division ................................................................................................................. 83 3-3. Network Formation ................................................................................................................ 100 3-4. Pulse and Rhythm .................................................................................................................. 118 4. Conclusion ..................................................................................................................................... 132 Bibliography ...................................................................................................................................... 140 Appendices ........................................................................................................................................ 151 6 List of Illustrations Figure 1 bio effector, Mari Ohno and Kosuke Nagata (2012). Photo: Ryohei Tomita. ...................... 13 Figure 2 acoustic cluster, Mari Ohno (2013). Photo: Mari Ohno. ...................................................... 14 Figure 3 The five sound art works in relation to the three life-like behaviours. ................................. 26 Figure 4 The growing process of C2C12 cells, in my experiment at SymbioticA, School of Human Sciences, The University of Western Australia. Observed with 200x magnification inverted microscope. The snapshots of the time-lapse recording by Mari Ohno (2016). ................................. 79 Figure 5 transition [systemic], Mari Ohno (2017). Photo: Ken Kato. Photo courtesy: Tokyo Arts and Space. .................................................................................................................................................. 85 Figure 6 transition [systemic], Mari Ohno (2017). Photo: Ken Kato. Photo courtesy: Tokyo Arts and Space. .................................................................................................................................................. 85 Figure 7 The stills from energy in motion, Mari Ohno (2016). .......................................................... 88 Figure 8 My studies of alternative photographic processes, Mari Ohno (2017). ................................ 94 Figure 9 transition [characteristic], Mari Ohno (2017). Photo: Ken Kato. Photo courtesy: Tokyo Arts and Space. ......................................................................................................................................... 101 Figure 10 transition [characteristic], Mari Ohno (2017). Photo: Ken Kato. Photo courtesy: Tokyo Arts and Space. .................................................................................................................................. 101 Figure 11 My experiment of crystal formation using sea salt, Himalayan pink salt, Celtic sea salt, and grey rock salt (2017). Photo: Mari Ohno. ......................................................................................... 105 Figure 12 The formation of sea salt crystals, in my experiment at Professor Anatoly Zayats’s Laboratory, at King’s College London. Observed with 20x magnification reflection microscope through a polariser. Snapshots of the time-lapse recording by Mari Ohno (2018). .......................... 109 Figure 13 The formation of magnesium sulfate crystals, in my experiment at Professor Anatoly Zayats’s Laboratory, at King’s College London. Observed with 20x magnification reflection microscope through a polariser. Snapshots of the time-lapse recording by Mari Ohno (2018). ...... 110 Figure 14 The nano gratings: grooves in gold-coated glass chips that I made, in collaboration with Professor Anatoly Zayats (2018). Photo: Mari Ohno. ...................................................................... 112 7 Figure 15 The images of the nano gratings recorded under white-light illumination. The frequency of the grooves in each grating is shown in respective images. In collaboration with Professor Anatoly Zayats. The pictures were taken by Mari Ohno at Professor Anatoly Zayats’s Laboratory, at King’s College London (2018). ...................................................................................................................
Load more

Recommended publications
  • The Pennsylvania State University Schreyer Honors College
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ART HISTORY WOLFGANG TILLMANS: WORLD-MAKING YIZHOU ZHANG SPRING 2020 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Art History with honors in Art History Reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Thesis Supervisor Sarah K. Rich Associate Professor of Art History Honors Adviser Nancy E. Locke Associate Professor of Art History Faculty Reader * Electronic approvals are on file. i ABSTRACT This thesis looks into the body of art works created by Wolfgang Tillmans from the early 1980s to the present, with a focus on the transforming quality of the photographic medium. The essay first investigates the early clashing of mediums in the artist’s work: the photo printer, digital camera, and film in the photograph surface. Then, the essay delves into a longer history of abstract photography that relates to modernist notions of medium specificity. The third chapter deals with the issue of body in a double fold: the body of the art work, and the body of the artist. The fourth chapter introduces a systematic view on Tillmans’ thirty-years-long oeuvre, connecting the motif of astronomy with a distinct world view hidden behind Tillmans photographs. ii TABLE OF CONTENTS Acknowledgements....................................................................................................................... iii List of Figures..............................................................................................................................
    [Show full text]
  • Camera-Less Photography: Can It Be Considered Photography?
    Camera-Less Photography: Can It Be Considered Photography? By Samara Knight 1404424 BA (Hons) Photography FPHO6004 Word count: 8,800 TABLE OF CONTENTS Description page number 1 Introduction . 1 2 Chapter 1: A Brief History of Camera-less Photography . 4 3 Chapter 2: Key Theories . 7 4 Chapter 3: Case Study 1: Garry Fabian Miller . 13 5 Chapter 4: Case Study 2: Pierre Cordier . 19 6 Conclusion . 25 Bibliography . 27 List of illustrations . 31 INTRODUCTION Fig. 1. Diagram of Forces (1939) Photography has the ability to capture from the visual world around us things that the human eye is unable to process, even when it does, technically, capture it. As Dziga Vertov describes “I am an eye, a mechanical eye. I the machine show you the world the way only I can see…Thus I explain in a new way, the world unknown to you” (Dziga Vertov, cited in Jordan Bernier, 2012). James Elkins echoes this statement, articulating that "Again and again photographs have compelled people to see the world as they had not needed or wanted to see it” (Elkins, 2009a:XI). The photograph can capture and freeze moments in time, which is what made it a popular tool within scientific discovery; these photographs are typically equated with the use of the camera. Photography is also able to record duration but to its factual demise. The art of camera-less photography is very much included in this element, it preceded the camera-made photograph which is often assumed as the first fix of light on paper. ‘Camera-less’ is the term used to describe any image made using photographic or photographically related materials without the use of the camera.
    [Show full text]
  • Cameraless & Alternative Photographic Workshops
    Cameraless & Alternative photographic workshops All workshops listed below are tailored for your requirements, suitable for a range of ages and do no require any previous experience. Hannah Fletcher @hfletch www.hannahfletcher.com [email protected] Member of London Alternative Photography Collective @londnaltphoto Cyanotypes Lumen prints Workshops can range from drop-in 30 min sessions to 1 or 2 day classes and will result in finished prints to be taken away. The Cyanotype is a cameraless photographic printing process that produces a cyan-blue print. Absorbent materials -including papers, fabrics, woods and cardboards, are coated with a light sensitive solution and dried in a darkened space. Once dry, the material is layered with Workshops can range from drop-in 40 min sessions to full day classes objects or large format negatives and and will result in finished prints to be taken away. exposed to a source of ultraviolet light (either the sun or a UV exposure unit). Lumen printing is a cameraless photographic printing process that works Exposure time will vary depending on particularly well with organic materials. It can be done with any old, out of the strength of the UV light and can be date or fogged photographic paper or film. anywhere from 2 minutes to a few hours. Once thoughrouly washed in water, areas Materials and specimens are collected and picked for the workshop. These of the material that have been touched by are then placed onto the photographic paper or photographic film and light, remain blue, while any areas that weighted down inside a frame and exposed to a source of ultraviolet light were hidden from UV light source will (either the sun or a UV exposure unit).
    [Show full text]
  • Bio Design: Growing the Future Design Futures Design Melanie Glöckler
    Bio Design: Growing the Future Design Futures Design Melanie Glöckler Nature fuses with science in biofacturing, a cutting-edge approach to design Neri Oxman and manufacture that sees products and systems not made, but grown Overview – Biofacturing – biological manufacturing – is a system of production that sees humans working with nature to grow materials and objects – It can be split into two distinct, top-level approaches: makers and artists who work with nature very directly; and scientists, engineers and designers working in the growing area of synthetic biology – From lab-grown luxuries such as leather and diamonds to more earthy processes and applications, biofacturing is set to make an impact across multiple industries and at varied market levels – Key materials for biofacturing design include algae, bacteria and mycelium, all of which are fast-growing organisms that are (relatively) simple to work with – As consumers become more sustainably minded, biofacturing methods will also begin to enter the home, particularly for food, drink and nutrition Jen Keane From Made to Grown "Over 3.8 billion years, biology has evolved In general, natural materials are more likely to rapid-prototype, recycle and replenish to be biodegradable or renewable, better than any system ever engineered by answering growing consumer concerns humans," says Natsai Audrey Chieza, around sustainability. The specific output of founder of biodesign company Faber biofacturing also theoretically cuts down on Futures. "What if we could harness the waste, as products can be grown to fit the inherent intelligence of nature, to make needs of the user more closely. things from living systems?" As noted in Key Ideas: London Design That, in a nutshell, is the premise of Degree Shows 2018, symbiotic systems are Burg Halle biofacturing.
    [Show full text]
  • Design & Technology Bridging Work
    DT/Product Design Please complete the middle task and two other tasks from the task list below. PRODUCT DISSASSEMBLEY THE BAUHAUS GENERATING IDEAS Take an old unused domestic One of the most significant and Creativity is an essential part of the gadget, such as a torch or toaster influential Design Houses of the subject. An ability to turn a and take it to bits, see how it 20th Century. Find out a bit more problem into imaginative solutions works, document your findings about it. It’s ethos, when it and represent them and analyse stage by stage using photographs happened, the designers involved them on paper critical to what we notes and sketches. Consider if the and their contributions to 20th do. Produce one full A3 sheet of right materials have been used, if it century design and why it’s design ideas to address the could function any better and how eventual demise. Present this problem of the old fashioned and or could be made to look more information as an illustrated bi-fold very predictable nature of a appealing and why. fact sheet. As if you had been given traditional 3 pin 13 amp plug. it whilst visiting the place. ENVIRONMENTAL DESIGNING HISTORY OF DESIGN PRODUCT ANALYSIS What are the 6 R’s and why have The subject has it’s routes in a The ability to critically assess a they become so important. As a protest against the automation of product with a view to identifying designer today you will have a the industrial revolution. It has its weaknesses and overcoming responsibility to design in such a gone through many changes & them gives designers opportunity way that it minimizes the negative ‘movements’ and has thrown up to develop new ideas.
    [Show full text]
  • Spring 2007 Curriculum
    Spring 2007 Curriculum ART HISTORY AH 2259.01 The Birth of Romanticism: 1760 - 1820 Dan Hofstadter We shall begin with the first self-conscious stirrings of Romantic art, from about 1760 to 1820. Among the major artists covered will be David, Gericault, Ingres, William Blake, the early Turner, Caspar David Friedrich, and Goya. Readings will be drawn primarily from the poets and philosophers of the period, including Blake, Wordsworth, Diderot, and Rousseau. Our emphasis will be on the intimate relationship between late Neoclassicism and Romanticism, and on how the Romantic impulse originated in sketchbooks, small paintings, diaries, and other highly personal creations. Our principal topics will include the budding interest in chaos, natural phenomena, and spontaneity; the renewal of interest in the Middle Ages; the primacy accorded to the erotic impulse; and the fascination with the demonic and the revolutionary. Prerequisites: None. Credits: 4 Time: M, Th 9:15am - 12noon, Th 6:30pm - 8:20pm (This course meets the second seven weeks of the term.) AH 2286.01 Art in America Since WWII Andrew Spence After WWII, artists in U. S. cities played a major role in the transformation of contemporary art from Modernism to Post Modernism and the present. As a survey, this course looks at several of these artists’ works and their connections to important movements such as Abstract Expressionism, Pop Art, and the proliferation of later movements including Photo Realism, Minimalism, Feminist Art, Process Art, Earth Art, New Image Painting, Neo Expressionism, East Village Art, Identity Art and more. New York City as one of the world-class art centers is used as a focus for retracing these developments in order to gain a closer understanding and appreciation.
    [Show full text]
  • Lexicon * Cf. Lexicon ** Neologism by Pierre Cordier Auto-Chemigram
    Lexicon * Cf. Lexicon ** neologism by Pierre Cordier auto-chemigram ** (1979) Imprint of the face, the body, or a part of the body made with a localizing* product on a photosensitive emulsion*. Bayard Hippolyte (1801-1887) In 1839, invented a photographic technique using negative paper. His talent as an inventor was overshadowed because of the success of the daguerreotype. Bissectrix ** (1972-1979) The lines formed by the " magic varnish*" create clearer areas in the angles which underline the bissectrices. In a square, they form an « X ». From this observation came the idea to create the Bissectrix alphabet. Each letter can be read by following the virtual image formed by the changing directions of the parallel lines. cameraless photography Photography without the use of a camera. Cf. Photogram*, cliché-verre*, lensless* photography. camera obscura In which an image is formed by the light rays passing through a small hole or a lens. CHazard ** (1975) Chemigram whose forms are organized according to random numbers. chemigram ** The chemigram , invented in 1956 by Pierre Cordier, combines the physics of painting (varnish, wax, oil) and the chemistry of photography (photosensitive emulsion*, developer*, fixer*); without the use of a camera, an enlarger, and in full light. In 1958, to describe his technique, Pierre Cordier coined the words, today used worldwide: chimigramme in French; chemigram in English, in Dutch & Flemish; Chemigramm in German; chimigramma in Italian; quimigrama in Spanish & Portuguese. ( The word « chimigramme » was patented in March 1963 & the word « chemigram » in 1979 ) chemigrammer ** or chemigramist ** or chemigrapher One who utilizes the chemigram technique. chemigram negative ** (1956) Chemigram on negative material (film, plate).
    [Show full text]
  • Is a Landmark Publication That Encompasses the History, Art and Science of Photography in a Single Volume
    The Thames & Hudson Dictionary of Photography is a landmark publication that encompasses the history, art and science of photography in a single volume. At a time when information is instantly accessible on the internet but is often of doubtful reliability or provenance, this ambitious project both reasserts the veracity, reliability and accuracy of scholarly research in reference publishing and celebrates the pleasure and immersive experience offered by refined, elegant book design. Compiled under the editorial guidance of Nathalie Herschdorfer and in consultation with an international panel of 150 experts, The Thames & Hudson Dictionary of Photography is based on entirely fresh scholarship by seventy-nine researchers from sixteen countries. The culmination of nearly ten years of development and research, this is the new, relevant and truly definitive reference to photography. Key features Specification Over 1,200 concise yet fully detailed entries on all Casebound with jacket aspects of the subject, including photographers, images, 30.7 × 20.2 cm agencies, genres, movements, exhibitions, publications, (12⅛ × 8 in.) collectors, techniques and processes. 448 pages c. 300 illustrations, A comprehensive reference to over 180 years of photographic history. Truly authoritative and based on c. 60 in colour fresh scholarship. Illustrated throughout with over 300 images showing key works, artist portraits, exhibitions, installations, publications and technical diagrams. A book that offers an immersive experience, combining a clear presentation with the very best in modern yet timeless typographic design. The Thames & Hudson Dictionary of Photography – Information Pack 1 Over a decade in the making Fresh scholarship and clarity of writing The Thames & Hudson Dictionary of Photography Following the consultation and peer-review process represents over a decade of careful consideration, and the finalizing of the list of entries, a team of development and scholarship.
    [Show full text]
  • STEWART/STAND, an Amerian Design Firm
    STEWART/STAND about the design + fe + cr + mn + ni the american design firm stainless steel Eco-Conscious + Vegan Luxury Fashion Stainless Steel Textile + Design : The discovery, refinement + development of our signature stainless steel material coincided with thean exhibition at The Cooper-Hewitt National Design Museum in New York. The title of the exhibition: Extreme Textiles. Combining age-old tailoring techniques, with state of the art equipment, STEWART/STAND ensures a thin, lightweight alternative to the traditional. The stainless steel wallet: _ a new accessory ECO VEGAN + LUXURY ACCESSORIES It’s a fact - our best selling wallets are vegan. The Stainless Steel Wallet is an eco-conscious design. 100% of stainless steel is recyclable + our vegan wallets are made with 85%+ post-consumer recycled materials. We offer a wide variety of elegant options of earth friendly designs. These products in this assortment are “Peta- Approved Vegan”. Environmentally responsible design incorporates materials + processes that are safe for the planet. World-wide, we meet the highest consumer safety standards. State of the art equipment + talented tailors ensure the highest quality. We are proud of the technical tailors who have cut + sewn for us over the past 10 years. 01 02 / expect more THIS IS ECO VEGAN. THE STORY OF A SMART TEX- TILE. DESIGN- ING FOR MODERN LIFE. 02 03 / cruelty free A note from Nik : Cruelty-free products…to us, this goes further than just the materials that go into a product. I sense a tremendous responsibility to leave this earth a healthier place than I found it and to treat the craftspeople who make our products with respect.
    [Show full text]
  • Vegan Design – Or the Art of Reduction at the Salone Del Mobile, Israeli Designer Erez Nevi Pana Demonstrates That Designing with Integrity Is Possible
    Vegan Design – Or the Art of Reduction At the Salone del Mobile, Israeli designer Erez Nevi Pana demonstrates that designing with integrity is possible. How many animals must suffer for us to make one chair? To design objects without diluting your ethics is feasible, and the results can be amazing. The atypical work of an Israeli designer proves it, smack in the middle of the Salone del Mobile feeding frenzy. Rosso, Annalisa. “Vegan Design – Or the Art of Reduction,” Domus, April 10, 2018. It’s called “Vegan Design – Or the Art of Reduction” the exhibition by Erez Nevi Pana that you shouldn’t miss during the 2018 Milan Design Week. It doesn’t happen often that we stumble upon a similar concentrate of ethics, rigour and research with a special focus on salt. This solo show, curated by Maria Cristina Didero and produced by the 5VIE design district, proves how it is possible to design objects using neither animal-derived materials nor processes that contemplate them. “I met Erez in Tel Aviv when I was working on the Nendo exhibition at the Design Museum Holon in 2016,” says Didero. “We were both involved in an adventure in the ultra-orthodox quarter of the city. Afterward, he told me he was a designer, which is how I found out about his all-encompassing approach to life, to the relations between things, his work, his commitment to his discipline. His consideration of the world and design objects is given by his nature: unique.” Together, Nevi Pana and Didero decided to present this show during the Furniture Fair, precisely in contrast with the commercial character of the latter.
    [Show full text]
  • Harmless Studio
    Harmless Studio By David Thomas Pittman 2018 Thank you to my wonderful family and to all of the other kind, generous people I am so lucky to have in my life. In particular, I would like to thank Cayla Mackey, JJ, Jake Moritz, Maggie Coblentz, Charlotte McCurdy, Aaron Simmons, Julia Lemle, Andy Law, Tim Maly, Tom Weis, Ayako Takase, Tucker Houlihan, Thomas Thwaites, Anne Marika Verploegh Chassé, Deborah DiMare, Meredith Thayer, Andrew Mau, Jill Clarke, James Dean, Charlie Cannon, Paolo Cardini, Emily Rothschild, Jean Blackburn, Jan Fairbairn, Alejandro Borsani, Chris Sancomb, Jane Masters, Scott Geiger, Elena Quinonez, Maureen Buttenheim, Sue McGuire, and Sioban Imms for their help and support throughout this process. Harmless Studio A thesis presented in partial fulfillment of the requirements for the degree Master of Industrial Design in the Department of Industrial Design of the Rhode Island School of Design, Providence, Rhode Island By David Thomas Pittman 2018 Approved by Master’s Examination Committee: Thomas Thwaites Assistant Professor in Industrial Design, Thesis Chair Anne Marika Verploegh Chassé Critic in Industrial Design, Thesis Advisor Deborah DiMare Thesis Advisor CONTENTS Language Note 02 Introduction 04 1: Where are we? 06 Human-Centered 08 Our Alien Cousins 12 2: How did we get here? 22 Fellow Passengers 24 Built-In Animals 28 Early Vegetarians 30 The World Exists for Humans 32 Because I Said So 34 Descartes Was An Asshole 36 But Can They Suffer? 38 We’re All Family 40 Products of Cruelty 42 Beginning to Turn Around 44 3: Where are we going? 46 The Future 48 Animal Materials 52 Leather 56 Wool 58 Down & Feathers 62 Fur 64 Other Things To Watch Out For 68 Harmless Materials 70 Harmless Leather 72 Harmless Wool & Fur 76 Harmless Down & Feathers 79 The Objects 80 Bibliography 94 Abstract 99 source: https://www.mskcc.org/sites/default/files/node/139168/inline_images/oral-cavity-01_3x2.jpgvv Words are important.
    [Show full text]
  • Housebuilder & Developer
    HBD02 Cover_Layout 1 13/02/2020 15:49 Page 1 MHCLG releases Is sustainability an David Sheridan of Ilke response to the ethical or economical Homes gives the Grenfell Inquiry Phase issue? Jack Wooler lowdown on the 1 report – explaining reports from a recent economic realities of what it’s done so far construction seminar moving to offsite 02.20 HOUSEBUILDER & DEVELOPER THE LUXURY OF INDEPENDENCE London’s first luxury retirement community offers retirees independent living alongside hotel-inspired amenities, all within sight of Albert Bridge in Battersea HBD02 Cover_Layout 1 13/02/2020 15:49 Page 2 w FOR TECHNICAL SUPPORT Industry research found ## %*!+#$%$% '$!% $&""!#%#!$$ the structural warranty market. @labc_warranty | labcwarranty.co.uk w , " %#$#! &%#!!'# %! &#* &$ $"! &$%!#$#!%$) (## %*"#!'#$ ## %*# ! , $&# #'$% , $&# #'$$&%!#$ #&%*% ! &% &%!#%* HBD02 03-18_Layout 1 19/02/2020 09:52 Page 3 02.20 CONTENTS 10 THE CLIMATE CHALLENGE CARBON IN CONSTRUCTION: ETHICS OR ECONOMICS Staged to answer the question of whether action on climate change in the built environment is an ethical or economical issue, a recent seminar was held in Brighton & Hove saw panellists from across the construction sector discussing the problem in depth. Housebuilder & Developer’s Jack Wooler reports from the event. FEATURES: ALSO IN THIS ISSUE: 14 CASE STUDY THE LUXURY OF INDEPENDENCE 4-6 London’s first luxury retirement community offers INDUSTRY NEWS retirees independent living alongside hotel- inspired amenities, all within sight of Battersea’s Albert Bridge.
    [Show full text]