About a year ago this month, just before I headed off to Haiti, friend and fellow designer/builder Robert Redecker of Earthworks Natural Building Group invited me to do a few renderings to help flush out a circular cob and superadobe bench concept to be installed between three big shade trees at what was to become the Emerson Avenue Community Garden at Orville Wright Middle School in Westchester. At the time the “garden” was just a stretch of patchy lawn sandwiched between a soccer field and a few grand ideas. The 26-foot diameter seating area was going to become a teaching hub within the garden, a place where the school kids could gather around and learn about permaculture from a potential litany of travelers and luminaries in the know.
I punched out the renderings you see above, then got caught up with the journey to Haiti, then with dropping the Geo at clubs and the water harvesting system at Sugar and the Hanging Garden, and well… you get the idea. Then Robert called me about two weeks ago: “They’re starting the project this weekend and want our guidance.” So with camera and shovel in hand as Saturday morning dawned, I made my way out there for the groundbreaking, got introduced to something like 40 volunteers and found that a good part of the lawn had become, indeed, a community garden. We got busy on the building fast, and here’s a time lapse to tell the tale.
As you can probably tell, we just got to laying out the urbanite floor and setting up the trench for the foundation pour and there’s still more work to be done. Two more workdays are scheduled April 15 and May 5 and more volunteers certainly welcome. (Here or here for more details).
Robert himself has become a devotee of cob and superadobe building, both methods of building using almost entirely earth from the locale where the build takes place, meaning cheap, sculptable and simple construction that’s labor intensive but beautiful, deeply soothing, health- and ecology-enhancing and virtually indestructible when built by competent hands. Check out The Hand-Sculpted House: A Practical and Philosophical Guide to Building a Cob Cottage by Ianto Evans and Earthbag Building: The Tools, Tricks and Techniques by Nader Khaili if you’re interested in learning more; these two books are sort of the earth-building “bibles” and are full of methods, design philosophy and examples of some pretty amazing projects around the world.
And I must add that once lots of people get to work on grand ideas, they have a way of happening. Patchy lawns become hubs and hubs spawn more hubs. As I’ve mentioned before, there’s something afoot with gardens in the schools and it’s only a matter of time before their unused spaces become bona fide food forests cum education and activation centers. Then the food forests start to expand, partly because of people, but also because of birds and pollen and bees and it’s exciting to be here at the beginning of the evil plan for world liberation. Enjoy!
Ever the iconoclast, or at least ever the wannabe, I spent a good number of my teen years insisting on an all-black wardrobe, and to this day I still have my happy black days. Leaving for school in September, Mom would always ask “Aren’t you hot?”
“Nah…” (yes, but it was about looking good. Sweat, what sweat?)
So everyone knows a black outfit on a hot day is very different than a white one, even when they’re otherwise identical. Black absorbs heat and white reflects it.
But just how useful might this principle prove in ecological design? What opportunities does it provide? Could we generate flow in still ponds with patterns of black and white stone? Create temperate and tropical microclimates right next to each other? How about artificial winds where the air gets purified as it flows? Could we reduce the need for powered heating and cooling with color? If so, painting the house isn’t just about pretty; it’s functional… and more profoundly beautiful.
So to grow as a designer and see what’s possible, I pulled together an experiment. It isn’t rocket science, and I know I’m not the first to do it, but it was great to engage.
With one of my wooden octahedron prototypes, about 3 feet to a side already painted black for the LooptWorks show, I painted the other one white. On each I put a triangular “table top” made of half-inch ply, one painted black, the other white. Then I lined them up about two feet apart along the sun-arc so that both got full sun all day and so that neither sat on a hotter or colder spot than the other.
With a laser temperature gun, I took the temperature at the center and corner of each table top, and for comparison, took the temperature of the tar-panel rooftop itself. I should also mention that I did this experiment on a hot LA August day, with not a cloud in the sky after the initial coastal burnoff by probably 10 am.
I found several relationships. When the sun is directly overhead, there was as much as 65 degrees F difference between the tabletops. The black might close in on 150 degrees F while the white hovered around 80 or 90. The difference fell quickly once the sun dropped to the horizon, and disappeared entirely once it was gone, so with sunlight out of the equation, factors other than color determine temperature.
The temperature of the black octahedron swung wildly in daylight with even a slight breeze, more in the corner than the center. While I scanned with the temp gun for 20 seconds, the temperature at the corner might vary 10 degrees with a breeze. The thin plywood, with little thermal mass, would dissipate and regain its heat quickly. The white also fluctuated but not nearly so wildly. And the white sometimes even hung out in the 60 degree range while the hot sun roiled above, setting the roof ablaze to the tune of 120-140 degrees F. The temperature difference between the black center and black corner also varied as much as 20 degrees F while the sun was high up, showing again how the slight thermal mass and poor heat retention of the plywood gives it up to the air quickly.
So can we we generate flow in still ponds with patterns of black and white stone? Create temperate and tropical microclimates right next to each other? Artificial winds where the air gets purified as it flows? Reduce the need for powered heating and cooling with color? Yes, but exactly how and how much is a matter of more experimentation, as well as learning from people who have done these sorts of things, in some cases thousands of years ago, and in some cases learning from the most recent science available. A half-cup innovation plus a half-cup of remembering.
Thinking about the 2012 festival circuit, experimental structures in the “developing world” and some planned DIY offerings, this new awareness is definitely clarifying and helping to define some Vertecology build proposals already in the works.
Some design opportunities now apparent: Using a material other than wood will effect the temperature differences. Using steel or some kinds stone of could produce differences in the hundreds of degrees, maybe enough to turn electrical turbines or “magically” pull water out of “thin air,” though steel heat would probably dissipate a lot faster than stone heat.
Greater thermal mass would also take much longer to heat but also to cool, making it possible to radiate warmth well into the night and keep a house cool well into the day. And materials can be played against one another – low retention, low conductivity wood painted white, vs high retention and moderately conductive stone, vs highly conductive and low retention steel, to create truly designer passive solar effects.
Taking this into consideration, here’s one application of passive solar in a “permaculture structure” with multiple functions in the diagram below. This is based on solar updraft tower technology, and this specific set of diagrams takes the fuel-free energy-generation Botswana Solar Updraft test facility, which ran in 2007, as the starting point. (Their experiment documentation here).
While their small test tower would probably not generate much power, with the right combination and density of materials, its performance might improve dramatically without an increase in size. This at the very least would make a great project for the 2012 festival circuit, and it could become a model for community-scale free energy generation, desert-greening and even seed spreading and vertical habitat building… all at once. (I actually have less interest in really huge industrial versions of this structure 800 meters tall, which require industrial-scale funding, a corporate building approach, and which could have adverse effects on the earth’s atmosphere – think jets of our precious air superheated and streaming into space)
On a more immediate note I also now know why the Sugar Shack roof garden is frying, and we can do something about it. The first of the new tire planters has already been painted white, as of about 4 pm today.