Renishaw, a leading engineering technology company, has partnered with Cookson Industrial, a UK-based specialist in precious metal additive manufacturing (AM), to reduce the costs associated with 3D printing platinum-rhodium. This collaboration leverages Renishaws RenAM 500S Flex AM system, enabling Cookson Industrial to produce high-temperature corrosion-resistant components with improved material efficiency. The advancement is particularly significant for industries such as glass fibre manufacturing, where the viability of using platinum rhodium in additive manufacturing has been enhanced.Cookson Industrial, a division of Cooksongold and a subsidiary of HM Precious Metals, brings over three decades of expertise in designing and producing precious metal alloys. Faced with platinum rhodium prices averaging 80,000 per kilo, minimizing material waste was essential to make production economically feasible. To address this challenge, Cookson Industrial selected Renishaws RenAM 500S Flex, a laser powder bed fusion system designed for research and development in additive manufacturing.RenAM 500S Flex installed at Cookson Industrial. Photo via Renishaw.Renishaws AM engineering team collaborated closely with Cookson Industrial to adapt the RenAM 500S Flex for platinum rhodium production. While the standard system achieves powder waste levels as low as 1.5%, custom modifications were necessary to reduce waste to below 0.5%. Achieving near-zero wastage of platinum rhodium powder was a top priority, stated Jason Morgan, Senior Applications Engineer at Renishaw. We worked with Cooksons engineers to identify and eliminate potential powder traps within the system, followed by rapid testing and redesigns to minimize waste without compromising performance.The customization process involved modifying internal system components to prevent powder accumulation. This included removing overflow bellows and optimizing the rear overflow vent. Additional measures encompassed chamber redesigns and the creation of specialized casings and covers. These modifications resulted in a 95% reduction in powder waste, allowing Cookson Industrial to recover nearly all platinum rhodium powder. This substantial decrease in material loss translates to significant cost savings and enhances the commercial viability of large-scale production.Nikesh Patel, Head of Cookson Industrial, commented, Renishaws technology and expertise were crucial to this R&D success, enabling us to produce platinum rhodium parts on a commercial scale. Minimizing powder loss not only reduces our production costs but also makes large-scale manufacturing feasible, saving millions over the machines lifetime.Renishaws team. Photo via Renishaw.Precious Metals in Industrial AM and Metal Powder ProductionCooksongold recently launched Cookson Industrial, a division dedicated to integrating precious metals into industrial AM sectors such as aerospace and healthcare. Its facility in Birmingham includes multiple EOS Precious M systems and a RenAM 500S Flex, enabling the production of gas-atomized precious metal powders in small batches up to 15kg. A 750,000 grant from the Engineering & Physical Sciences Research Council (EPSRC) supports the development of specialized precious metal alloys at the University of Birmingham, with a focus on extreme environments.3D Lab, a Warsaw-based service bureau, is introducing the ATO Suite at Formnext 2024. This modular set of equipment manages metal powder production from feedstock preparation to final refinement. The ATO Lab Plus, ATO Noble, and related systems enable custom powder production, reuse of scrap materials, and control over particle size distribution. The equipment occupies a small footprint and includes vacuum casting and ultrasonic sieving options. Such configurations can support the handling of high-value materials by improving powder quality and minimizing contamination.Your voice matters in the 2024 3D Printing Industry Awards. Vote Now!What will the future of 3D printing look like?Which recent trends are driving the 3D printing industry, as highlighted by experts?Subscribe to the 3D Printing Industry newsletter to stay updated with the latest news and insights.Stay connected with the latest in 3D printing by following us on Twitter and Facebook, and dont forget to subscribe to the 3D Printing Industry YouTube channel for more exclusive content.Featured image shows the RenAM 500S Flex installed at Cookson Industrial. Photo via Renishaw.

Nano Dimensions shareholders have voted to remove Yoav Stern from the companys Board of Directors. The decision to replace Stern, who remains CEO, was taken at Nano Dimensions 2024 Annual General Meeting of Shareholders (AGM). Incumbent Director Michael X. Garrett was also removed. During the meeting, Ofir Baharav and Robert Pons, nominated by activist shareholder Murchinson Ltd., were elected to the Board.Murchinson, which owns approximately 7.1% of Nano Dimensions outstanding shares, achieved this victory as it jostles for control over the Israeli electronics 3D printing firm. In a press release, Murchinson claims shareholders have sent a strong message by rejecting Stern and Garrett.This follows the Israeli District Courts decision on November 21 to validate the results of Nano Dimensions Extraordinary General Meeting in March 2023. As a result, Murchinson-backed Kenneth Traub and Dr. Joshua Rosensweig could also be installed on the Nano Dimension Board.The addition of four Murchinson nominees could spell trouble for Nano Dimensions acquisition of Desktop Metal and its all-cash deal for Markforged. Before the 2024 AGM, Murchinson published a letter to shareholders calling the offers for Desktop Metal and Markforged overpriced and misguided. In a press release, it added that there is an opportunity for the reconstructed Board to carefully and critically examine the merits and success of past and present acquisitions.In an official Nano Dimension statement, the Chairman of the Board, Yoav Nissan-Cohen, thanked Mr. Yoav Stern and General Michael Garrett for their service as Directors on our Board as well as their expertise and guidance in developing our strategy and positioning Nano for the future. He added: We welcome Ofir Baharav and Robert Pons to Nanos Board and look forward to working with them to build long-term value for all Nano shareholders.Nano Dimensions CEO Yoav Stern (right) on stage with Stratasys CEO Yoav Zeif (middle) and Nikon SLMs CCO Charlie Grace (left) at RAPID + TCT 2024. Photo by 3D Printing Industry.What happened at Nano Dimensions 2024 Annual General Meeting of Shareholders?Murchinson has made several bold claims regarding Nano Dimensions 2024 Annual General Meeting, which it has called a turning point in Nanos history.According to Murchinson, Baharav and Pons were elected with the support of a significant majority of shareholders. However, the exact level of support for the new Board members has not been officially disclosed.Murchinson also stated that the 2024 AGM was the third general meeting at which a majority of voting shareholders removed Mr. Stern from the Board. The investment firm expressed its hope that Nano Dimensions CEO would finally adhere to the will of the shareholders and urges him to cease seeking ways to circumvent or delay their decision.Murchinson commented that the Stern-led Board had previously engaged in a plethora of obstructionist, costly legal manoeuvres and novel interpretation of the law and of the Companys own Articles of Association. It has now called on the Board to refrain from any further such actions and instead engage in a constructive dialogue with its shareholders, reaffirming its intention to defend shareholders rights and agency in court.During the 2024 AGM, shareholders voted on Murchinsons proposal to de-classify the Board, which would remove staggered elections and see all directors stand for reelection in the same year. Murchinson claims approximately 67% reportedly voted in favour of this proposal, falling short of the 70% needed to enact the change.Despite this, the activist shareholder commented that the result reflects a clear message from shareholders, which should prompt the Board to proactively seek its de-classification at the next general meeting. It called the classified Board an anti-shareholder measure associated with a lower return to shareholders and poor corporate governance due to diminished accountability.The meeting also saw shareholders vote to approve Nano Dimensions proposed compensation for all non-executive directors. However, approximately 75% of eligible votes were cast against the proposed compensation package for Yoav Stern, which Murchinson called outrageous.Nano Dimension offices in Munich. Photo by Michael Petch.Nano Dimensions shareholder battle continuesNano Dimensions feud with Murchinson is nothing new. Last February, tensions were ignited when the global investment firm issued an open letter to its fellow shareholders. This criticised the stewardship of Stern, pointing to poor capital allocation and unfortunate corporate governance. It argued that Stern possesses a dubious history as a capital allocator, and argued that the CEOs hand-picked Board could not be trusted with the approximately $1 billion in cash on the Companys balance sheet.Murchinson argued that Nano Dimensions share value had been lagging behind its only self-reported peer Stratasys by 27% over the past two years. Ultimately, the letter outlined Murchinsons plans to change the Nano Dimension Board and deploy the funds in an alternative manner.The Murchinson letter was followed in March 2023 by Nano Dimensions Special General Meeting of Shareholders. Both companies published contradictory statements regarding the meetings outcome.Murchinson claimed that all four of its proposals received overwhelming support, including the removal of then-serving Directors Yoav Stern, Yoav Nissan-Cohen, Oded Gera and Igal Rotem. All except Rotem, who resigned in October 2023, remained in place during the most recent AGM. Nano Dimension directly disputed Murchinsons claims. While the proposals received at least a 92% share of the votes, Nano argued that the percentage of outstanding Nano ordinary shares present was less than 13%, excluding shares owned by Murchinson and Anson.In November 2024, the Israeli District Court agreed with Murchinsons version of events, validating the results of the March 2023 meeting. It upheld all four of Murchinsons proposals.In addition to the removal of four Directors, these proposals included an amendment which would allow shareholders to fill vacancies on the Board, an amendment allowing shareholders to remove directors at any general meeting with a simple majority, and the immediate addition of Kenneth Traub and Dr. Joshua Rosensweig to the Board.The courts decision could have further implications for the makeup of the Nano Dimension Board. Murchinson highlighted that the 2023 AGM saw 52.1% and 52.3% of shareholders vote to remove incumbent Directors Ron Kleinfeld and Christopher Moran, respectively. At the time, they were not replaced as the 70% threshold was still in place. However, given the courts approval to remove this, Murchinson asserts that these individuals are no longer Board members.Additionally, one of the amendments proposed at the March 2023 meeting stipulated that the term of any director appointed by the Board would expire at the annual meeting following their appointment. Under this rule, the terms of incumbent Directors Eitan Ben-Eliahu and Georgette Mosbacher, appointed in April 2024 and June 2024, respectively, would have ended at the 2024 AGM.All the news from Formnext 2024.Who are the leaders in additive manufacturing? Vote now in the 2024 3D Printing Industry Awards!Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news.You can also follow us on Twitter, like our Facebook page, and subscribe to the 3D Printing Industry Youtube channel to access more exclusive content.Featured image shows Nano Dimensions offices in Munich. Photo by Michael Petch.

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Jami Al Rahmaniya Mosque | BLURRiLocated in the Al Rahmaniya Suburb of Sharjah, UAE, Jami Al Rahmaniya seeks to redefine the mosque as a structure and a space that overflows with spiritual and communal significance. Inspired by the Quranic verse, And do not walk on the earth arrogantly. You can neither penetrate the earth nor reach the mountains in height (Surah Al-Isra 37), this mosque embodies humility, simplicity, and beautycornerstones of Islamic architecture.Jami Al Rahmaniya Technical InformationArchitects1-5: AlmenaLocation: Al Rahmaniya Suburb, Sharjah, UAEArea: 3,650m2 | 39,000 Sq. Ft.Project Year: 2024 2025Images: BLURRi, AlmenaThe real generator of the mosques space becomes not the functional space but the function of the space itself. Almena ArchitectsJami Al Rahmaniya PhotographsExterior View | BLURRiExterior View | BLURRiEntrance | AlmenaEntrance | AlmenaCourtyards | AlmenaCourtyard | BLURRiInterior | BLURRiInterior | BLURRiInterior | BLURRiDesign Philosophy: The Mosque Beyond Physical BoundariesIn Jami Al Rahmaniya, the row emerges as the foundational spatial unit. This concept reflects the essence of Islamic prayer, where worshipers align shoulder-to-shoulder in unbroken rows. These rows extend beyond the mosques physical walls, illustrating the fluidity of sacred spacea spiritual and communal continuum that seamlessly accommodates growing numbers of worshipers.Drawing from the hadith of the Prophet Muhammad (PBUH): The Earth has been made for me (and for my followers) a place for praying and a means of purification, the design broadens the definition of a mosque. Jami Al Rahmaniya exemplifies how a mosque can transcend its architectural boundaries to exist wherever worshipers gather, integrating the physical with the spiritual.Architectural Features and Spatial ExperienceThe spatial organization of Jami Al Rahmaniya begins with the Qibla wall, the axis around which the mosques spaces are arranged. Unlike traditional mosques, this design ensures parity in experience for men and women by placing their prayer halls on the same level, eliminating hierarchical spatial arrangements. The surrounding Riwaq frames the mosque and incorporates necessary amenities while maintaining architectural coherence.Courtyards as Connective Spaces: The courtyards act as transitional zones between the prayer halls and the outdoors. These spaces are designed to connect worshippers to the sky, creating a serene environment for reflection and spiritual elevation.Lightness and Integration: The mosques Riwaq introduces a sense of lightness and permeability, blending the building seamlessly with the urban fabric. This openness fosters community interaction and extends the mosques function beyond worship.The central courtyard features a water element symbolizing purity and a garden with trees representing paradise. The minimalist minaret acts as a visual marker and spiritual guide, while the Qibla walls solidity contrasts with the surrounding openness, anchoring the spiritual focus of the mosque.Natural daylight filters through the Qibla wall, creating an ethereal ambiance in the prayer hall. This interplay of light and shadow emphasizes the sacred nature of the space while maintaining simplicity and elegance.Jami Al Rahmaniya as a Timeless MosqueJami Al Rahmaniyas design prioritizes its relationship with the surrounding community. By integrating prayer spaces with community gardens and flexible outdoor areas, the mosque extends its influence beyond the confines of its structure, creating a public space for spiritual and social engagement.The mosques adaptability allows it to serve the evolving needs of its community. Rows of worshipers can extend beyond the prayer hall, and outdoor spaces can be repurposed for gatherings or contemplation. This flexibility ensures that the mosque remains relevant and functional over time.Jami Al Rahmaniya contributes a contemporary narrative to mosque design, balancing tradition with modernity. It challenges conventional ideas of architectural permanence by focusing on the spiritual and communal essence of the mosque. This project reaffirms the role of Islamic architecture as a medium for spiritual elevation and cultural expression.Jami Al Rahmaniya PlansFloor Plan | AlmenaSection | AlmenaSection | AlmenaAxonometric View | AlmenaAxonometric View | AlmenaJami Al Rahmaniya Image GalleryAbout AlmenaFounded in Cairo in 2019 by Abdallah Mekkawi and Abdelrahman Adel, Almena is an Egyptian design partnership rooted in socially and environmentally conscious architecture. With a shared academic background in architecture and a deep commitment to meaningful design, the firm emphasizes projects that positively impact communities and the built environment. Relocating to Dubai in 2021, Almena broadened its perspective by engaging with diverse architectural practices while maintaining a strong connection to its cultural roots. Guided by a philosophy of context-driven and innovative design, Almena strives to strengthen communities, respect regional traditions, and drive impactful change across Egypt and the broader region.Notes & Additional CreditsLandscape Design: Hossam El HadadSignage & Wayfinding: XO Design StudioEngineer of Record (AoR) & Engineering: Al Nahda Engineering ConsultantsBIM Consultant: Asset BIM ConsultantArt Direction: BLURRi

NHM Commons, the recently completed addition to the Natural History Museum of Los Angeles County by Frederick Fisher and Partners, is now one of the quietest architectural expressions in Exposition Park, a 160-acre cultural campus that, as Alissa Walker recently noted, will be a centerpiece of the 2028 Olympics. A straightforward glass structure set beneath a faintly undulating metal scrim, the 75,000-square-foot designappears far less hungry for attention than, say, Frank Gehrys California Aerospace Museum on the opposite side of the park, or the fortress-like Los Angeles Memorial Coliseum plonked at its center. Sited across from the Lucas Museum of Narrative Art, MAD Architectures extraterrestrial design expected to open by the end of next year, NHM Commons may even be experienced as less of an architectural statement than a mere extension of the park floor.Glass and natural light are integral to the design of the NHM Commons lobby. ( Benny Chan/Courtesy Natural History Museums of Los Angeles County)That is because, when its glass doors are swung open, NHM Commons adds a crucial fourth entrance to a museum at its southwest that was previously a collage of civic architectural styles more formidable than inviting. The east entrance, an imposing Beaux Arts composition completed in 1913, centers on a geometrically precise rose garden, while the blank midcentury wall of the south entrance seems to drive visitors away. The Otis Booth Pavilion that marks the north entrance, an Apple Storelike cube displaying a suspended whale skeleton from its ceiling, can only be reached by crossing a suspended bridge. NHM Commons is a significant departure from the museums former attempts at signaling to the public that it is, in fact, their museum. This type of unambiguous messaging especially matters for a city-funded cultural institution in south Los Angeles, a portion of the city that has historically experienced its share of harm from urban development. Fred Fisher, founding partner of Frederick Fisher and Partners, said: Our philosophy from the start was that the building itself is not the content, but rather a framework to allow NHM and the community to make it their own.Around the addition are native plants, the landscape scheme was designed by Studio-MLA. ( Benny Chan/Courtesy Natural History Museums of Los Angeles County)The singular gesture from the very beginning was to connect the new museum commons and entry to its surrounding context of Exposition Park, and let the park flow into the museum, Fisher said. Speakers during the opening ceremony frequently alluded to the addition as a new front porcha design concept made explicit by the inclusion of Spanish steps and a smattering of native plants provided by landscape architecture firm Studio-MLA. The new addition, completed to the tune of $75 million, is open to the public without the cost of admission, meaning that the average wanderer can now see plenty without making a financial commitment to the dinos and dioramas beyond. Walk past the cafe and theatre on the ground floor, which will no doubt draw visitors in on overly hot or rainy days, and youll find a public restrooma true rarity in Exposition Park, let alone Los Angeles!A large theater is located inside the museum ( Benny Chan/Courtesy Natural History Museums of Los Angeles County)The complimentary offerings continue up the escalator, from which a panorama comes into focus of Exposition Park. (This view is presently made unremarkable by a large patchy lawn that will, no doubt, be updated before the Olympics commence). At the top is the Judith Perlstein Welcome Center, a long room filled with piecemeal architectural flourishes responding to its permanent installations. A look at the Judith Perlstein Welcome Center ( Benny Chan/Courtesy Natural History Museums of Los Angeles County)On one side is Gnatalie, a green sauropod skeletal mount foregrounding a wall of wooden slats that continue the undulating motif from the facade indoors to suggest a recently unearthed excavation. On the other is Barbara Carrascos L.A. History: A Mexican Perspective (1981), an 80-foot composition of locally significant figures and events (including everything from the 1932 Olympic Games to Rick James), which benefits greatly from digital touchscreens that encourage visitors to pull even more information from an already jam-packed mural.Gnatalie, the green dinosaur presides on a white plinth. ( Benny Chan/Courtesy Natural History Museums of Los Angeles County)Though the only thing in common between the mural and the dinosaur is their length, they nonetheless form a memorable entryway to the ticketed portion of the museum, from which the heavy old wood and marble of the original structure is faintly visible.Shane Reiner-Roth curates images of the built environment on the Instagram page @everyverything.

When a new building or development is planned in a neighborhood, it is only natural that emotions run high. A new project doesnt just change the skyline and sightlines, after all; it alters the fabric of communities in a way that can be unnerving for even the most open-minded resident. In our practice, Work Program Architects (WPA), we work on civic-oriented projects, which often get some pushback from residents and other stakeholders. Each project is different, but collectively they have provided us with valuable insights about complexities of community dynamics and the value of a well-run community engagement plan.It may be tempting to regard this part of the process as another box to check, but designers and builders cant afford to treat community engagement as an afterthought. Done wrong, this critical part of the design process can lead to mistrust, opposition, and polarization.A community board meeting for a new school in Virginia held on June 27, 2024 (Courtesy WPA)Done right, it can foster genuine dialogue, build trust, and empower communities to shape their own futures. The rewards are significant: Projects that are embraced rather than opposed, smoother development processes, and, most importantly, more effective design that is influenced by the people who will be living with it.Heres how weve made it work, and why designers and builders need to take community engagement more seriously.Building Trust Before Sharing InformationWe learned early on that real engagement doesnt happen overnight. Most attendees are skeptical, afraid, and wary of change. We understand that this is a normal human reaction. To get everybody to a place where they trust that their voice is being heard, we schedule at least three separate public meetings. In the first of these meetings, our two primary goals are to listen and build trust. We ask attendees to share their impressions of the project and we transcribe what is said. Then we share an engagement summary with the community for final review, guaranteeing that their words are officially on record without alteration. This transparency sets the tone for future conversations, helping us move toward constructive dialogue. Without this foundation, the rest of the engagement process is futile.Atop this foundation built on trust, we hold a second meeting where we encourage the residents to open up, air their grievances, and express their worst fears. We listen and record, and then we reconsider our plans and approach with all of these thoughts and fears in mind. By the third meeting, most people have let go of their anxieties and are ready to find common ground. This structured approach allows people to move from fear to collaboration, creating a much smoother path toward consensus.(Courtesy WPA)Sometimes we need to go even further to earn a communitys trust. This is what happened while working on a residential housing project in the Olde Huntersville neighborhood in Norfolk, Virginia. Instead of showing up only when tensions were high, we attended community meetings early on, simply listening and observing, putting in the time to understand the residents concerns about preserving their neighborhoods identity and addressing housing needs.Eventually, after seeing our commitment and respect for their autonomy, they invited us in to help address specific planning needsparticularly around housing redevelopment and infrastructure improvements. This trust didnt develop overnightit was the result of showing consistent dedication to their vision before we proposed any designs.Engaging With Emotions, Not Just FactsIts easy to get bogged down in facts and figuresdemographics, traffic patterns, zoning regulationsbut raw data alone rarely changes minds. One of the most critical lessons weve learned is the importance of emotional engagement. For people to buy into change, they need to see how it connects to their personal stories and values. We dont just present hard facts; we ask personal questions, like: Could you imagine a future where your kids or grandkids might want or need to live in a place like this? This empathetic approach encourages people to connect their families futures with the proposed changes, helping them see the value of the project beyond the immediate disruption.By integrating both the factual and emotional dimensions, we get a more comprehensive picture of the communitys concerns and desires. This human-centered approach has been instrumental in moving the needle on even the most contentious projects.Rethinking and Flexing the FormatTraditional meeting formats often hinder productive dialogue. Picture this: Rows of chairs facing a presentation screen, followed by a Q&A session. Its a perfect recipe for one or two individuals to dominate the conversation with a highly contentious agenda. These formats rarely allow for genuine, collaborative problem-solving.(Courtesy WPA)Instead, we opt for round tables, small group discussions and interactive exercises. We force groups with opposing views to sit together and collaborate. In one particularly contentious meeting, we assigned community members leadership roles, giving them ownership over the discussion. As soon as people realize they are in charge of the conversation, they begin to see the project as theirs, not something imposed on them. This subtle shift makes all the difference.Of course, community engagement is not a one-size-fits-all strategy, and designers and builders need to embrace adaptability and responsiveness rather than rigidly adhering to preset plans. Early in our work, we thought we could tackle everything in one meeting, but quickly realized that was not enough. In one public meeting in Virginia Beach, we had planned to discuss several topics before getting to the issue of a public park. When an elderly man stood up and demanded to discuss the park immediately, we adapted on the spot. By reorganizing the agenda and addressing his concern first, we salvaged the meeting and gained the trust of the attendees, showing them that we were willing to listen and adjust.Inspiring Community Ownership of the ProcessThe ultimate marker of a successful community engagement process is when our role becomes invisible. When the project is no longer about us as designers or facilitators, but about the community taking ownership, we know weve done our job. When we hear phrases like my plan or our project, we know the process is working. When people start to see the development as something theyve created, not something being imposed on them, the project becomes a true reflection of the communitys values.One of the most rewarding outcomes weve experienced in our work is watching communities become educated on complex topics like zoning and demographic shifts. Initially, many community members oppose any change because they dont understand the larger forces at play. But once we take the time to bring them up to speedsometimes over multiple meetingsthey often begin to come around. The most memorable example happened during our community engagement process for a controversial multifamily project in the Poplar Halls neighborhood in Norfolk, Virginia. We hosted a series of workshops aimed at educating residents about zoning and demographic changes with many residents who were opposed to any form of new housing in their neighborhood.Using a kit that includes parts of housing and amenity types, we had residents work in groups to design their own neighborhood of the future and present it to the whole room. By the end of the process, one property owner who had been adamantly against the change suggested rezoning her own property for multifamily housing. This shift happened because we provided residents with the tools and knowledge to make informed decisions and trusted them to do so.Mel Price is CEO and cofounder of Work Program Architects, an architecture and urban design practice located in Norfolk, Virginia.Peter Johnston is the director of urban design at Work Program Architects.

On the Isle of Wight, Gianni Botsford Architects have transformed two redundant farm buildings into an armature for domestic life and artistic activityThis project was highly commended in the 2024 AR House awards. Read about the full shortlist hereEngland in miniature is a muchquoted epithet to describe the Isle of Wight, as if all the eccentricity and tumult of that green and pleasant land could somehow be distilled down to an island in the English Channel. In some ways, however, the Isle of Wight does neatly embody the English sociocultural spectrum, from royalty to old lags.It is impossible to imagine a prettier spot, said Queen Victoria of Osborne, her beloved Italianate palazzo, expressly designed to remind Prince Albert of the Bay of Naples. At the less rarefied end of things is HMP Isle of Wight, one of the largest mens prisons in the country. When it was first founded in the Victorian era, the island locale was doubtless chosen to deter escape attempts, like an English Alcatraz.Between these two extremes is a disparate stratum of activities and enterprises: farming, industry, shipyards, sailing (Cowes Week in August hosts one of the worlds oldest regattas), the summer bacchanal of the Isle of Wight Festival (graced by Jimi Hendrix among others back in the day) and more general, genteel tourism. Every summer we can rent a cottage in the Isle of Wight if its not too dear, chirped the Beatles in When Im SixtyFour.Poised just off the southern coast of England, the island luxuriates in a balmy, temperate climate, hence its enduring popularity with holidaymakers. From its more elevated terrain there are thrilling views over the Solent to the hulking, terra cognita of the mainland to the north, though some born and bred islanders never feel the need to make the halfhour crossing in their lifetimes. Perhaps they have a point; after all, they have England in miniature.Joseph Kohlmaier, the client for the Old Byre, has lived predominantly on the Isle of Wight for 17 years. As an artist, performer and associate professor at a London art school, he divides his time between London and the more bucolic milieu of the island. Changes in family circumstances prompted a move, with Kohlmaier spotting a cluster of disused farm buildings for sale just outside West Cowes on a ridge amid acres of pasture.He saw their potential and pounced, commissioning Londonbased Gianni Botsford Architects to remodel two of the buildings to serve not only as a home, but also as a residency and workspace for visiting artists, which Kohlmaier now coowns with economist and art collector Simon Bishop. Conjoined both spatially and socially, and further cemented by a common formal and material language, the domestic realm supports and stimulates the artistic, and vice versa.Embodying a rural bleakness and anomie straight out of Cold Comfort Farm, the monochrome before shots of the Old Byre record a clutch of dilapidated structures, ivy making inroads, machinery left abandoned, and everywhere, the claggy, residual muck of farm life. An ancient, castiron weathercock glumly surveys this decaying arcadia.The weathercock is still there, but its view has been palpably transformed. Two rejuvenated barn buildings enclose a slightly sunken courtyard, where cows were once herded in and out. Animals used to live here, says Kohlmaier. Now humans do. The sense of decrepitude has been supplanted by an invigorating crispness and lightness, the basic geometries of the barns as long, low volumes still legible, yet pulled into sharper, more refined focus.Yet the scheme is no romantic paean to rusticity. Taking its cues from the quasiindustrial language and materials of a working farm, it is consciously hardedged. Even the courtyard, now scraped clean of muck, has a kind of tough, wild grandeur. Tangles of impromptu foliage erupt from cracks in the concrete surface, the result of Kohlmaiers experiments with guerrilla gardening. I let seeds drift in naturally to see what happens, he says. Its a different weed display every year.Prioritising retention over demolition, the project preserves and consolidates the two barns through a series of deft, lighttouch moves. On the noncourtyard sides, the existing brick walls are wrapped in corrugated fibrecement board, a quotidian material commonly used in agricultural and industrial buildings. On the courtyard sides, a milky translucent and highly insulated new polycarbonate facade is punctuated by large, glazed aluminium doors which afford individual entrances to each of the living and workspaces. After dark, the polycarbonate glows with the soft, seductive intensity of a Japanese shoji screen, hinting at comings and goings within.Originally established in the 18th century, the farm grew and changed over time, and its architecture assumed an accretional, ad hoc quality. Today it comprises a series of mainly singlestorey structures tacked on to one other, like slightly dissipated drunks, amiably coexisting. A gallimaufry of stone, slate, brick, timber, clay tiles and polycarbonate sheeting charts the historical relationship between rural buildings and materials through the ages.The scheme is no romantic paean torusticity it is consciously hardedgedDating from the 19th and 20th centuries, the two barns are purposely disconnected, as Botsford puts it. Daily routine is animated by people nipping across the courtyard, from one volume to another, shuttling between private and social spaces through the cool morning air, rain and summer heat. Perhaps there is another Japanese precedent at work in the form of Tadao Andos 1976 Azuma House in Osaka, famously composed of two discrete volumes separated by a courtyard, inviting (or obliging) inhabitants to reconnect with the elemental forces of nature.The smaller and more recent structure has been remodelled as a single volume for communal living, dining and cooking under the original steelframed monopitch roof that gently swoops upwards towards the courtyard. On the noncourtyard side, a glazed door frames a view between adjacent farm buildings to rented pasture, where sheep are still grazed. In the distance, a vast panoramic sweep of landscape unfurls around the estuary of the River Medina, which cleaves the island in two.Configured on an Lshaped plan, the larger 19thcentury barn now forms a housewithinahouse for artists and other visitors. A series of bedrooms and studios are set within the inner, courtyard edge of the plan, fabricated from panels of spruce plywood. Tempered and modulated by fullheight doors without conventional handles or locks, these are more private, intimate enclaves, the effect rather like being cosseted in a cosy plywood cocoon.Each has its own door into the courtyard, but they are also linked, like beads on a chain, by what Botsford describes as a back alley extending along the long side of the plan. A concrete plinth supports the new polycarbonate facade, frames the courtyard and extends into the interior, providing the connecting ground for the transformation within.Brick walls, which have avisually delectable friability, are left bare, and roof structures are largely untouchedThroughout, the intention has been to retain, clean and expose the existing building fabric and simply let things speak for themselves. Brick walls, which have a visually delectable friability, are left bare, and roof structures are largely untouched. Especially evocative of the art of construction and the passage of time, the 19thcentury timber trusses bear their original carpenters marks. Aside from the plywood insertions, the only significant modification is the addition of new polished concrete floors with underfloor heating, an eminently practical response to the challenge of tempering the internal environment.For all the projects preserved distress and imperfect rawness, there is no attempt to impose a forced aesthetic; even in their restored states, the two barns are virtually indistinguishable from the surrounding farm buildings. Rather, the architecture has an empathic ease and generosity that establishes an armature for activities and encounters.As Botsford writes of the project, The archetypes that animate the design are the piazza, the archive, the sound of work and industry, the demand of the environment, the social, the sharing of food, and care. In the shadows of past lives, within the subtly revivified shells of ageing and disregarded buildings, a new narrative of artistic production amid the daily rhythm of domestic life quietly unfolds.Aerial photograph: James Eagle2024-12-11Catherine SlessorShare AR December 2024/January 2025Good rooms + AR HouseBuy Now

The jury of this years edition includes practitioners working across disciplines and around the worldEntries to the AR Future Projects awards will be reviewed by a panel including Loreta Castro Reguera, Joseph Grima and Indy Johar.Mexican architect Loreta Castro Reguera co-founded Taller Capital with Jos Pablo Ambrosi in 2010. The practice is concerned with projects of social and environmental infrastructure, such as Parque Xicotncatl, near Tijuana in Mexico, which doubles recreational spaces with a strategy for guiding water run-off. Castro Reguera was highly commended for the Moira Gemmill Prize for Emerging Architecture in 2023 and Taller Capital was highly commended in the AR Emerging awards in 2020.Joseph Grima is an architect, critic, curator and editor. He co-founded design studio Space Caviar with Tamar Shafrir in 2013, and has been the creative director of Design Academy Eindhoven since 2017. Space Caviar edited the book Non-Extractive Architecture, published in 2021 and SQM: The Quantified Home, reviewed by Jack Self in the AR in 2015. Grima has previously been the editor of magazineDomus and the director of New York City-based art and architecture organisation Storefront.Indy Johar co-founded London-based practice Architecture 00 in 2005 with Alice Fung and David Saxby. Projects include two of the buildings that form part of the Greenwich Design District from 20212022, as well as the Foundry, a social justice centre in London which won the RIBA London Building of the Year in 2015. In 2016, Johar co-founded the strategic design and research practice Dark Matter Labs, and is a founding director of open-source design companies WikiHouse and Open Desk. Johar is on the advisory board for the Future Observatory and has taught at various institutions, including the University of Bath, TU Berlin, UCL, Princeton and Harvard.Launched in 2002, the AR Future Projects awards are a window into tomorrows cities. Spanning 13 categories, they celebrate excellence in unbuilt and incomplete projects, and the potential for positive contribution to communities, neighbourhoods and urban landscapes around the world.In addition to future work, the awards recognise unbuilt and speculative projects and ideas that are currently being tested and investigated. Find out more about the prizes for student projects, unsuccessful competition entries and ideas for sustainable research and development on the categories page.There is a prizefund of 3,000 and all winners will be invited to an AR event in April 2025 during Milans Salone del Mobile. All entries will be published in the Future Projects awards catalogue, available to AR readers and MIPIM delegates printed copies of last years catalogue are availablehere.If you would like to connect with some of the worlds most successful architects and network with an influential constituency from the property and construction sectors, become an AR Future Projects sponsor please get in touch withlouise.sweeney@emap.comfor further information.2024-12-10AR EditorsShare

The Rockland Harbor Breakwater and Lighthouse is arguably the most iconic structure in the coastal town of Rockland, Maine. As Rockland was a major port and harbor, relying on the transportation of lime and shipbuilding for its economy, protecting the harbor was of paramount importance. Major storms in the 1850s highlighted the need for improved harbor protection, but federal appropriations for a breakwater were not approved until 1880. Between 1880 and 1900 theUnited States Army Corps of Engineers, under a series of Congressional appropriations, built the breakwater, a 4,364 foot long wall in the harbor built of locally quarried blocks of granite. It is truly a feat of engineering!The lighthousestanding at its end was added in 1902. The iconic breakwater is accessible by those who brave the crashing waves and distance to the end of the nearly mile-long walk out to the lighthouse. The structure is today maintained by volunteers and the City of Rockland.