The Eden in Cornwall, by Nicholas Grimshaw | Halldóra Arnardóttir – Javier Sánchez Merina

El Edén en Cornualles, de Nicholas Grimshaw Halldóra Arnardóttir – Javier Sánchez Merina o1

We do not need to return to the primitive cabin to meet again a balance with the nature. The sophisticated technology of the major botanical covered garden of the world is a lesson of ecology and a bet for the use of the recycled materials.

La fascinación de Nicholas Grimshaw (n. 1939) por los tejados "anómalos" se plasmó por primera vez en la Terminal Internacional ferroviaria de Waterloo (Londres, 1993). Su interés por las estructuras no sólo procede de la brillante tradición ingenieril británica: uno de sus bisabuelos fue responsable de procurar el adecuado sistema de drenaje y saneamiento a la ciudad de Dublín, mientras que otro construía presas en Egipto. | Fotógrafo: Udo Hesse
Nicholas Grimshaw’s fascination (n. 1939) for the “anomalous” roofs it took form for the first time of Waterloo’s International railway Terminus (London, 1993). His interest for the structures not only comes from the brilliant tradition ingenieril British: one of his great-grandfathers was a person in charge of trying the suitable system of drainage and reparation to the city of Dublin, whereas other one was constructing dams in Egypt. | Photographer: Udo Hesse

The Eden Project was born of the will to show how we can recover, and even manage to coexist, with the nature. To carry out this idea, his architect, the Britisher Nicholas Grimshaw,  advanced in the investigation of extremely light structures with which to rescue a landscape desolated by the exploitation of a quarry. During the construction of the Project Eden, the study Grimshaw also developed a system of environmental management that was controlling the influence of his structures on aspects as the flora, the natural resources, the atmosphere or the local community. To this the credit owes come to being the first great study of architecture in to obtain the international ISO standard certified 14001, one that supports between his priority aims the protection of the environment and the prevention of pollution, in a balance sheet with the socio-economic needs.

At present, the Grimshaw study has adopted as tool of design his own system of audit that, with the name EVE (Environmentally Viable Architecture), consists of an IT program that verifies the impact of a project in each of his stages of design and construction.

Las ocho bóvedas tienen un tamaño variable, alcanzando la mayor de ellas los 200 metros de longitud, 100 metros de ancho y 55 de altura | Fotografía: EdenProject
Eight vaults have a variable size, reaching the major one of them 200 meters of length, 100 meters of width and 55 of height | Photography: EdenProject

The Eden Project.

His founder, Tim Smit, is a Dutch anthropologist, composer and musical producer, who reached popularity for his peculiar restoration of “Heligan Gardens” in Cornwall. These extraordinary Victorian gardens, which were showing exotic plants and horticultural innovative technologies, remained devastated in 1990, after the great storm that destroyed England. Smit’s achievement consisted of regenerating them promoting his self-sufficiency, for what they have managed, since then, to be the private gardens most visited of Great Britain.

In 1996, Smit wanted to reach a major hearing to which to transmit the importance of the existing relation between the man and the plants. For it the Eden Project founded, an immense garden with thousands of plants of different climates. This one would be neither a conventional large-scale greenhouse, nor a theme park; his basic aim was of encouraging the visitors to learn to find a balance with the nature.

Explica Nicholas Grimshaw que "la idea de usar el acantilado estuvo presente desde el principio, apoyándose sobre él. Desde la primera vez que lo vi. Al tener un muro verde, con el edificio inclinándose sobre él, casi se duplica el espacio.” | Fotografía: Grimshaw-architects
Nicholas Grimshaw explains that “the idea of using the cliff was present from the beginning, resting on him. From the first time that I it saw. On having had a green wall, with the building inclining on him, almost the space doubles.” | Photography: Grimshaw-architects

In search of the suitable place, Smit found an area near to St Austell, in the peninsula of the extreme southwest of England that points at the hot waters of the Gulf Stream. It was a great quarry of clay, already in disuse, with a surface equivalent to 35 soccer fields and with a depth of 60 meters. Smit entrusted to Nicholas Grimshaw a structure that was it sufficiently high to shelter the trees of tropical forests and it sufficiently wide to give cover to the sunny Mediterranean landscapes.

Éste es uno de los destinos turísticos más visitados de Inglaterra y entre sus patrocinadores se encuentran la Comisión Europea y la Millennium Commission, que gestionó las ganancias de la Lotería Primitiva en Gran Bretaña | Fotografía: EdenProject
This one is one of the tourist destinations most visited of England and between his sponsors there are the European Commission and the Millennium Commission, which managed the earnings of the Primitive Lottery in Great Britain | Photography: EdenProject

Geodesic domes.

Due to the instability of the area and his hanging fort, Grimshaw proposed that the structures of the greenhouses it should rest lightly on the surface. As if they were treating each other about bubbles of soap containing a specific climate each of them, he projected a sequence of eight biospheres arranged in two chains, each one with four inserted vaults some in others. To construct the as ethereal as possible structures, there re-used the geodesic vault that the designer, inventor and environmental American Buckminster Fuller patented at the end of the fifties. The geodesic beginning consists of joining flat surfaces to form a curved form, allowing to cover more space without internal supports that any other closing, beside admitting enormous variations into the edges. Of this form, as the structure increases in size becomes proportionally more light and strong.

Based on this beginning, Nicholas Grimshaw designed two immense biomas, which cover 15.600 and 7.000 square meters respectively, to accommodate the Tropical Humid Greenhouse and that of Hot Zones. Every bioma is protected by vaults that are realized by tubular sections of steel galvanized, mounted and screwed as a giant meccano to form 625 hexagons. The set of the structure is constituted by a three-dimensional studding of two caps by spherical curvature interconnected, that include almost 4.000 unions and more than 11.000 bars, reaching the major one of the domes 200 meters of length, 100 meters of width and 55 of height.

El Proyecto Edén (1996 – 2001) abrió sus puertas al público en el 2000, cuando la prensa lo nominó la Octava Maravilla del Mundo | Fotografía: EdenProject
The Eden Project (1996 – 2001) opened his doors the public in 2000, when the press it nominated the Eighth Marvel of the World | Photography: EdenProject

The ETFE sheet.

The enormous size of the hexagons, with vain of up to 11 meters, was making impossible the use of an alone glass to cover them. On having examined materials that were light, simultaneously that resistant, the architects verified that the sheet of etil-tetra-fluoridethylene (ETFE) had an ideal behavior. This industrial product, which is of common utilization in components of bombs, valves, chemical equipments and electrical mechanisms, is very transparent to the ultraviolet light, does not degenerate for the solar light and presents great capacity of thermal isolation with regard to the glass, beside being 10 times more light than he. The sheet, though it is vulnerable to the perforations, can be easily repaired by adhesive tape of the same material, is recyclable, is cleaned for yes alone and supports up to 400 times his own weight, that is to say, it manages to be the sufficiently resistant thing as to support the weight of a person.

ETFE was undoubtedly some ideal to shape a few elements in the shape of ink pad that they were adjusting easily in the hexagons and were adapting to the geometric variations of the biomas without having to realize an exhaustive previous project. The sheet shapes a triple membrane which interior is kept swollen blowing air constant to low pressure by means of solar screens. Also there was born in mind the useful life of this material, which is 25 years, by a design that facilitates the simple change of panels as new technologies develop.

Recovering the nature lost by the quarry, Grimshaw showed an extraordinary capacity of utilization of the Sol as principal source of energy to warm the biomas, and the water of rain to wet them. In addition it used recycled aluminium, wood proceeding from sustainable forests, the use of paper of newspaper to isolate térmicamente and stuffed great black-backed gulls of stainless steel with the local zahorra as walls of containment. All these are important materials in our raising awareness of the limited natural resources. Another mechanism of establishing direct relations with the company was the collaboration with companies that produce organic food, natural perfumes and those who promote the use of matter recyclable base in the industry.

The Eden Project continues evolving: the new Center of Education of Resources will open his doors in the spring of 2005, there will be constructed a future Bioma of Arid Tropics, and already the building of access has been projected. With a great initiative and knowledge it has managed to create a new architecture that answers to the balance sheet between nature, tourism and economy. Since it liked to argue Buckminster Fuller,

“there is no energetic crisis, only a crisis for ignorance.”

Halldóra Arnardóttir + Javier Sánchez Merina
PhD in art history. PhD architect
Murcia. decembro 2017

Halldóra Arnardóttir – Javier Sánchez Merina

Javier Sánchez Merina es Profesor Titular en la Universidad de Alicante. Anteriormente enseñó en Kingston University London y Carleton University en Ottawa. Sus clases, textos y obra construida buscan establecer relaciones entre la docencia, la investigación y la profesión. En la actualidad participa en el Proyecto de Investigación Europeo sobre Arquitectura Terapéutica.

Halldóra Arnardóttir. Doctora, (The Bartlett, UC London 1999 – homologación UMU 2007), Colaboradora con el Observatorio de Diseño y Arquitectura de Murcia (2008-10), acreditación de la ANECA como Ayudante Doctor (2012) y en la actualidad Coordinadora de Arte y Cultura como Terapia (HUVA) en colaboración con UMU, Profesora Ayudante Doctor (UCAM) y Azrieli Visiting Critic en Carleton University (Ottawa 2012).

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