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juniperpublishers-fashion-b-blog · 5 years

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Textile from the Waste: An Overview of the State of the Art in the Leather Production Process- Juniper Publishers

Opinion

I believe that as human being, as individuals and communities we have an impact on our environment. It is a perfect system in which we live. The problem of the resources exploitation is a dangerous reality, the industrial production is a huge weight on the planet, from water pollution to energy use.When we think about textiles and their production process people use to don't think about all the ecological implication that are connected to this system, they focus their attention on the final object (clothes, shoes, accessories). This article wants to analyse one of the world most popular textile: the leather Leather is a very ancient material and a lot of people tends to think of it as an environmental friendly one because in the collective imagination it is a resulting material, but that's not true.The leather production requests the use of a variety of chemicals that can be harmful if worked off in the wrong way. Today tanks to different organizations and their reports, that monitor environmental issues, we know that, especially in third- world countries, there are pollution problems in the leather industry that the current laws cannot solve. The Green Cross Switzerland put the Leather tanneries at number four on the list the most dangerous sources of toxic pollution in the developing world.It is emblematic that this position is just behind battery recycling, lead smelting and mining and ore processing. All factors that easily are related to their dangers. The Blacksmith Institute, one of the most important no-profit organization that fight against the pollution, has proved that there are almost 100 sites around the world that have been, or are being, polluted by tanneries. This not supervised contamination could potentially threatens more than two million people.The process that transforms an animal hide into a piece of textile requires a series of chemical treatments:

a. The hide is soaked in an alkaline solution containing sodium sulfide to remove hairs.b. The solution pH is reduced to 9 or 10 with salts like ammonium chloride, and then it's acidified all the way to pH 3 or 3.5 with acids like sulfuric acid.c. After been soaked, the skin is treated with tanning agents (trivalent chromium sulfate).d. The tanning agent stabilizes the leather and imparts desirable properties like flexibility and durability.e. Chemicals like sodium formate are then added to neutralize any remaining acid, the leather is dyed with one of a wide range of dyes, and the manufacturer applies a surface coating, usually a reactive oil, to give the leather the desired finish and help to preserve it.

At the end, there are different tanning wastes that include strongly alkaline or basic mixtures, strongly acidic mixtures, sulfides and chromium salts [

]. All these substances are highly noxious. If a tannery is properly managed, the waste will be handled in a way that avoids pollution. The acidic and basic mixtures should be neutralized and the sulfides should be oxidized to sulfates. Chromium tanning liquors can be re-used so the chromium they contain can be recovered. All these steps are complex and in the developed countries there are specific regulations but there is a big part of our world where all this does not happen.In poorer countries, where there are a lot of small tanneries, people cannot afford proper pollution control and for this reason they discharge their waste directly into dump sites [

]. India is one of these countries and in the recent years the city of Kanpur is became a case study thanks to its level of pollution.In the last ten years the reports show that there is a very dangerous level of hexavalent chromium that is highly hazardous to both human and animal health. This substance is the result of the oxidation of the trivalent chromium that is in these wastes [

]. These kinds of pollution problems, could be easily solved but requires stricter standards in developing nations and possibly training for tannery owners and operators to ensure they know how to properly dispose of their waste.Unfortunately, we are going to a future where this kind of solution will not be enough and this is why we need technology and research to aid the industry to convert/transform their production process and even the final product itself.In this scenario, the 2017 Global Change Award, contest powered by the Swedish brand H&M and its foundation is a very interesting case study [

]. This year the winner is an Italian project called Grape Leather that is an innovative vegetal leather that is made starting from the grapes and the wine wastes.Vegea is the Italian company that has created and is developing this idea. The company is born in 2016, its founder Gianpiero Tessitore studied the physical and mechanical properties of various plant fibers, and their ability to be transformed into eco- friendly materials. His research result is “wineleather” a sturdy and real-feeling vegetal leather made from the grape skins, stalks, and seeds. Annually there are almost 26billion liters of wine produced in Italy that create a ton of organic waste and Vegea is using it to make a fashion forward product.This is the perfect result of the joint work of different competences: design, chemistry and economy. This product guarantees the safety of the animals and prevent the use of the chemical products [

]. The impact of the leather on the environment is almost zero and it leads to a virtuous cycle that starts and ends in the soil.This idea has changed the way the system thinks and produces this kind of textile therefore it is successful [

]. The design is able in this situation of trespassing the simple ethical question and give industry a way to think and act in favour of the Earth.Even if it is in an embryonal state the Grape Leather shows the potentiality of the union of new technology and engineering to produce a positive model that can be followed and used by the others. The innovation and the bond between the different disciplines and the exchange of knows lead the way to a conscious and proper life style.

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salentopergiovani · 5 years

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#NoMad(E+)

The project was written by young people from the 7 partner organizations following personal cuts with violence, radical views and inter-religious confessions. The young people in the project writing team knew about and debated the first stage of the needs at the base of which they left. They built the needs tree. The identified needs were:

1 Locally

- Young people in the local community had no key competences and were not tolerant of other young people

- The young people had a low level of knowledge of the derives and liberties

- A small number of young people took part in the E + projects

2 At the level of NGOs:

- NGOs had little visibility before this project

- Restricted number of volunteers / young people

- Poorly represented operationally

3 At the level of young participants:

- Young people did not know their rights and abilities

- They were not tolerant and had stereotypes about other nations / ethnicities

- Did not use non-formal education methods

- They were marginalized and felt excluded

- They did not trust their own forces

Through the activities we have achieved our objectives set at the beginning of the project:

1 44 young people from the 7 countries of the program were acquainted with human rights knowledge, backgrounds and freedoms as a result of mobility in Horezu, Romania.

2 As a result of the project, 44 young people have developed their artistic skills in film, acting, creation, music and have sent positive messages to young people in their local communities.

3 Following the project, 44 young people developed their feelings of active European citizenship, interculturality, solidarity and international promotion of human rights through different non-formal education methods.

4 Increasing the international attractiveness and visibility of the 7 partner organizations through cooperation and the realization of films that promoted human rights among adolescents.

Participant selection was made by each partner for his youth country team in the organization.

The selection procedure of the participants was the following:

1 After receiving the approval response and the infopack, the partners placed the selection announcement

2 Send the application form to those interested

3 Applications of young people in the organization / community

4 Skype interview with SO

5 Evaluation of participants

6 Final selection of participants

7 The participants who were approved were announced and we had the waiting list

8 Each SO has made a reserve list (3-4 persons) in case of emergency

9 Selected youth confirmed participation

Profile of participants (PP):

- Age between 18 and 30 years old

- Creative, passionate art: music, theater, film with or without artistic experience

- Need to develop artistic skills in different areas

- I encouraged the SO to select young people who have never participated in the E + projects

- Participation of young people with fewer opportunities was encouraged

According to the ASK methods following the non-formal eucation methods developed, the young participants gained us:

1. Attitudes - Attidudes

- Increasing self-confidence

- Reaction to human rights

- Responsibility and relationship between different groups of young people

2. Skills - Skills

- Developing leadership, concentration, attention and logical thinking skills

- Develop human rights reactivity skills

- Improve communication in English

3. Knowledge - Knowledge:

- I know the types of education methods, some of the non-formal education methods and the E + program information

- They discovered new non-formal methods

- They have acquired new knowledge about other cultures

The impact of the project was divided into:

I. Impact on participants:

- 44 young people who have participated in this mobility know about fundamental rights and freedoms

- They have developed their knowledge and know new ways of promoting human rights

- The 24 young people with opportunities have become more integrated into the community

- They have developed their artistic abilities in making #No Mad (E +)

II. Impact on participating NGOs

1 The visibility of partner NGOs has increased both in the community and in the region

2 The 7 partner organizations have developed their logistical and operational capabilities

3 The members of the partner NGOs have acquired and acquired new skills in working with young people

4 Organizations have know-how in working with young people about non-formal education methods

5 The organizations involved young people with limited opportunities, which in turn disseminated in the local community through live communication

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euroyouthontherun · 5 years

Text

Project #NoMad(E+)

The identified needs were:

1 Locally

- Young people in the local community had no key competences and were not tolerant of other young people

- The young people had a low level of knowledge of the derives and liberties

- A small number of young people took part in the E + projects

2 At the level of NGOs:

- NGOs had little visibility before this project

- Restricted number of volunteers / young people

- Poorly represented operationally

3 At the level of young participants:

- Young people did not know their rights and abilities

- They were not tolerant and had stereotypes about other nations / ethnicities

- Did not use non-formal education methods

- They were marginalized and felt excluded

- They did not trust their own forces

Through the activities we have achieved our objectives set at the beginning of the project:

1 44 young people from the 7 countries of the program were acquainted with human rights knowledge, backgrounds and freedoms as a result of mobility in Horezu, Romania.

2 As a result of the project, 44 young people have developed their artistic skills in film, acting, creation, music and have sent positive messages to young people in their local communities.

4 Increasing the international attractiveness and visibility of the 7 partner organizations through cooperation and the realization of films that promoted human rights among adolescents.

Participant selection was made by each partner for his youth country team in the organization.

The selection procedure of the participants was the following:

1 After receiving the approval response and the infopack, the partners placed the selection announcement

2 Send the application form to those interested

3 Applications of young people in the organization / community

4 Skype interview with SO

5 Evaluation of participants

6 Final selection of participants

7 The participants who were approved were announced and we had the waiting list

8 Each SO has made a reserve list (3-4 persons) in case of emergency

9 Selected youth confirmed participation

Profile of participants (PP):

- Age between 18 and 30 years old

- Creative, passionate art: music, theater, film with or without artistic experience

- Need to develop artistic skills in different areas

- I encouraged the SO to select young people who have never participated in the E + projects

- Participation of young people with fewer opportunities was encouraged

According to the ASK methods following the non-formal eucation methods developed, the young participants gained us:

1. Attitudes - Attidudes

- Increasing self-confidence

- Reaction to human rights

- Responsibility and relationship between different groups of young people

2. Skills - Skills

- Developing leadership, concentration, attention and logical thinking skills

- Develop human rights reactivity skills

- Improve communication in English

3. Knowledge - Knowledge:

- I know the types of education methods, some of the non-formal education methods and the E + program information

- They discovered new non-formal methods

- They have acquired new knowledge about other cultures

The impact of the project was divided into:

I. Impact on participants:

- 44 young people who have participated in this mobility know about fundamental rights and freedoms

- They have developed their knowledge and know new ways of promoting human rights

- The 24 young people with opportunities have become more integrated into the community

- They have developed their artistic abilities in making #No Mad (E +)

II. Impact on participating NGOs

1 The visibility of partner NGOs has increased both in the community and in the region

2 The 7 partner organizations have developed their logistical and operational capabilities

3 The members of the partner NGOs have acquired and acquired new skills in working with young people

4 Organizations have know-how in working with young people about non-formal education methods

5 The organizations involved young people with limited opportunities, which in turn disseminated in the local community through live communication

0 notes

youthexperience2013 · 5 years

Text

#NoMad(E+) - Project

1 Locally

- Young people in the local community had no key competences and were not tolerant of other young people

- The young people had a low level of knowledge of the derives and liberties

- A small number of young people took part in the E + projects

2 At the level of NGOs:

- NGOs had little visibility before this project

- Restricted number of volunteers / young people

- Poorly represented operationally

3 At the level of young participants:

- Young people did not know their rights and abilities

- They were not tolerant and had stereotypes about other nations / ethnicities

- Did not use non-formal education methods

- They were marginalized and felt excluded

- They did not trust their own forces

Through the activities we have achieved our objectives set at the beginning of the project:

1 44 young people from the 7 countries of the program were acquainted with human rights knowledge, backgrounds and freedoms as a result of mobility in Horezu, Romania.

2 As a result of the project, 44 young people have developed their artistic skills in film, acting, creation, music and have sent positive messages to young people in their local communities.

4 Increasing the international attractiveness and visibility of the 7 partner organizations through cooperation and the realization of films that promoted human rights among adolescents.

Participant selection was made by each partner for his youth country team in the organization.

The selection procedure of the participants was the following:

1 After receiving the approval response and the infopack, the partners placed the selection announcement

2 Send the application form to those interested

3 Applications of young people in the organization / community

4 Skype interview with SO

5 Evaluation of participants

6 Final selection of participants

7 The participants who were approved were announced and we had the waiting list

8 Each SO has made a reserve list (3-4 persons) in case of emergency

9 Selected youth confirmed participation

Profile of participants (PP):

- Age between 18 and 30 years old

- Creative, passionate art: music, theater, film with or without artistic experience

- Need to develop artistic skills in different areas

- I encouraged the SO to select young people who have never participated in the E + projects

- Participation of young people with fewer opportunities was encouraged

According to the ASK methods following the non-formal eucation methods developed, the young participants gained us:

1. Attitudes - Attidudes

- Increasing self-confidence

- Reaction to human rights

- Responsibility and relationship between different groups of young people

2. Skills - Skills

- Developing leadership, concentration, attention and logical thinking skills

- Develop human rights reactivity skills

- Improve communication in English

3. Knowledge - Knowledge:

- I know the types of education methods, some of the non-formal education methods and the E + program information

- They discovered new non-formal methods

- They have acquired new knowledge about other cultures

The impact of the project was divided into:

I. Impact on participants:

- 44 young people who have participated in this mobility know about fundamental rights and freedoms

- They have developed their knowledge and know new ways of promoting human rights

- The 24 young people with opportunities have become more integrated into the community

- They have developed their artistic abilities in making #No Mad (E +)

II. Impact on participating NGOs

1 The visibility of partner NGOs has increased both in the community and in the region

2 The 7 partner organizations have developed their logistical and operational capabilities

3 The members of the partner NGOs have acquired and acquired new skills in working with young people

4 Organizations have know-how in working with young people about non-formal education methods

5 The organizations involved young people with limited opportunities, which in turn disseminated in the local community through live communication

0 notes

thechampionofcyrodiil · 7 years

Text

Sword Combat in Video Games: The line between fun and function

Like many of you, I have a very fond love for video games. In fact, one evening in my earlier years whilst playing Mount & Blade, I asked myself the question “How did Knights fight?” and this led me down the rabbit hole of HEMA in which I now dwell. Seeing these brave warriors engage in mortal combat on my computer screen always was quite invigorating. I always projected myself in games such as The Elder Scrolls and Fable as these warriors. It was what I always wanted to be and video games became my vehicle for living out this dream, well that was until I discovered HEMA.

Fast forward 8 years, I have dedicated much time and money to this art (though I have yet to compete) and trying to perfect my knowledge on Longsword combat. I also have not stopped playing the same video games that got me started on this path. With this being the case for many of us I think it is safe to say that with our new found knowledge of how these weapons were used, we tend to go back to these games and start to pick apart the experience and it’s flaws and inaccuracies. Recreating a lost, but returning art into these games seems like a simple task, but once we begin to explore further into how this would significantly alter the mechanics of the modern action-RPG, this process becomes quite complicated.

“Complicated how? It can’t be that difficult to make an accurate representation of sword fighting in video games!” Is possibly what you are thinking right now, and rightfully so. To counter that, I have compiled a list of obstacles that impede our hopes and dreams from coming true to help articulate the difficulty, and also reflecting on these and how we could possibly achieve this elusive goal of accurate sword fighting in the video game world. So let’s get this shindig going!

1. The true speed of real sword combat.

One very common complaint is the overly telegraphed and exaggerated moves that are animated onto the characters. They wildly flail their swords around with wide, sweeping arcs and accentuated “heavy” attacks with no short supply of war cries and grunts. This is quite an over-dramatic, inaccurate and quite silly display for a HEMA practitioner to witness, but there is a practical reason behind this. Now to be fair much of the dramatics we can due with out, but the telegraphing and accentuated swings like we see in titles such as For Honor are needed to help the players react in a timely manner to an attack. In a real fight, quick and sudden attacks can be observed and responded to in a quicker fashion simply due to the fact that the information given in real life is perceived much quicker due to the fact that the image we are seeing in front of us is sending clues direct from the source, where as information and visual cues sent from the game take longer to process due to the information having to go through multiple stages before it reaches your eyes, not including the time it takes for your own brain to process this as well.

2. The complexity of true sword combat.

Now some games have tried to replicate the different variable of sword combat, and one of the most successful thus far would be Kingdom Come: Deliverance. It boasts a combat system which has 8 angles of attack, 8 defensive guards/wards, active defense as well as a reactive parry/riposte system. Also when wearing a proper early 15th century harness, your vision is restricted, and swords do not do nearly as much damage, where as if your opponent is wielding a mace or war hammer you might be in trouble. This sounds pretty amazing, but even with all this, sacrifices were made in order to make the gameplay fun and enjoyable. For instance, even if a foe is in head to toe plate armor, you can, with a little effort, slay them by smack your sword against their armor. Aside form this, there are so many other uncontrollable variables such as random failures in blade integrity, accidental missteps, and how to work grappling into the mix. Not to say this is impossible, but the line between fun gameplay and accuracy is quite thin.

3. Pleasing the crowd.

Let’s be honest here guys and gals. Us, meaning the HEMA community, are the vast minority in the worldwide gaming community. While we want a game where it is set in a true historical period and your character, whom we most likely would like to be a knight, only wears full harness when he goes to war and in such a battle scenario, he uses a pole-axe as his primary and only deploys his sword when is necessary but the majority of people just, well, don’t. They want to use whatever weapons their hearts desire to fulfill their personal image of the warrior, which might include a buster sword wielding fantasy viking with huge horns on his/her helmet with skimpy leather armor and a pet baby dragon named sparky. At the end of the day, the video game industry is a business, and businesses exist for 1 purpose alone: to make a profit. If it is that fantastical and dramatic idea of an RPG that sells, then that is what we will get.

Despite these aforementioned reasons above, it is not an impossible task, but we have been looking in the wrong places for the solution to our problems. We cannot and should not look toward the big triple-A publishers and developers such as Bethesda, Bioware or Ubisoft to give us this experience. The answer lies in the rising indie game industry. In the early 2000′s, a small indie game titled Mount & Blade had an unexpected explosion in popularity and was, in my opinion, the grandfather of this new historical RPG genre. It was a risky title with no real plot, and at face value very basic and uninspired gameplay. But as players began to dig deeper, they discovered the true wealth of the game in it’s uncanny ability to allow you to live out your medieval fantasies in quite an authentic way, leading great assaults upon castle walls, gaining fame with tourney after tourney, and discovering it’s deep economy and political mechanics.

Now Kingdom Come: Deliverance, I feel, serves as a proof of concept in a sense. Their wildly successful kickstarter campaign shows us there is a market out there, with hundreds of thousands of people who are willing to support such endeavors. I feel it is a matter of time before someone takes on the challenge, and as the team as Warhorse studios takes the torch and carry’s it forth, I am excited to see who is to carry the torch next and how it will impact the gaming industry.

Written and edited by: Cory Zamparelli

#hema #history #game #video games #sword #combat #fencing

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thorzahnpointsoflightmaxinn-blog · 7 years

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replacement for glass panels ETFE foil roofs can be supplied as a single layer membrane supported by a cable net system or commonly as a series of pneumatic cushions made up of between two and five layers of a modified copolymer called Ethylene Tetra Flouro Ethylene (ETFE). The ETFE copolymer is extruded into thin films (or foils) which are used to form either a single layer membrane or multi-layer cushions supported in an aluminium perimeter extrusion which, in turn, is supported by the main building frame. In the case of ETFE cushions, they are kept continually pressurised by a small inflation unit which maintains the pressure at approx. 220 Pa and gives the foil a structural stability and the roof some insulation properties. Insulation: While a single ply ETFE membrane has an approximate U value of 5.6 w/m2K, a standard three layer cushion can achieve a U value of 1.96 w/mK a better insulation value than triple glazing when used horizontally (glazing manufacturers figures are for vertical glazing which considerably enhances the figures). The insulative qualities of ETFE cushions can also be improved by the addition of more layers of foil (up to five in total) or by treating the foil with specialist coatings to enhance the thermal properties. Transparency: ETFE Foil is naturally a very transparent material and transmits light across the entire visible light region (380-780nm). A single layer of medium weight ETFE has an approximate 85% light transmission, although multiple layers will lead to a small reduction. Transmission across the ultraviolet range (320- 380nm) is also very good (approx 83-88%) and therefore allows plants and vegetation underneath to thrive. It is also important to note that the film absorbs a large proportion of infra red light transmitted, a quality which can be exploited to improve buildings energy consumption. Solar Control: As described above, the base material of an ETFE installation is very transparent, however, the ETFE Foil can be treated in a number of different ways to manipulate its light transmission properties. These include: Printing: Also known as fritting, the surface of the foil is covered with a variety of patterns to reduce solar gain while retaining translucency. By varying the percentage of coverage and density of the ink, the energy transmission can be altered. Alternatively, the foil can be over printed with a number of treatments to affect transmission. We offer a standard range of over 20 standard fritting patterns to achieve this variety of light transmissions, however, bespoke patterns are available at an extra cost. Tinting: A selection of coloured foils are also available, although less readily than the standard clear foil. Coloured foils can be used alongside clear foil to incorporate branding and large scale imagery. White ETFE foil can be used to reduce glare but maintain some light transmission and insulation properties. Surface treatments: Surface treatments undertaken during the manufacturing process can vary the properties of the fabric and allow us to manipulate light transmission. These treatments render the foil matt in appearance and therefore provide an excellent projection surface for light shows and images. Radiation: The foil be conditioned with a range of radiation treatments which can reduce the levels of IR and UV rays transmitting through the membrane skin. Adding additional layers of ETFE foil to a cushion also allows light transmission and solar gain to be controlled. Multi-layer cushions can be constructed to incorporate movable layers and intelligent (offset) printing. By alternatively pressurising individual chambers within the cushion, we can achieve maximum shading or reduced shading as and when required. Essentially this means that it is possible to create a building skin which is reactive to the environment through changes in climate. G Value: The G value of an installation reflects the fraction of solar energy transmittance through glazing. This is usually expressed as a percentage or a value between 0 & 1; the higher the number, the more energy is being transmitted through the glazing and the more the building will heat up. The G value of an ETFE roof can be reduced to as little as 0.48 for a 2 layer system with a fritted top surface and to around 0.35 by using a 3 layer system. For comparison, standard glass is approx 0.88 whereas some specially treated glass may be as low as 0.46. It must be noted that the G value of any ETFE installation is very dependant on aspect and location and should be calculated on a project by project basis taking these elements into account. Life: ETFE Foil has an excellent life expectancy as it is unaffected by UV light, atmospheric pollution and other forms of environmental weathering. While no ETFE structures have been in place for long enough to gain a true understanding of the life cycle of the foil, the material has been extensively researched and tested in a laboratory environment and out in the field. These tests have concluded that no degradation or loss of strength has occurred and there is no sign that the material will become brittle or discolour over time. As a result, it is anticipated that the material has a life expectancy in excess of 50 years. Fragility: ETFE foil cushion systems are certified as class C non fragile roof assembly in accordance with ACR(M)001:200 test for fragility of roofing assemblies. Class C is the lowest class of non-fragile assembly and, particularly if engineered to pass the test criteria, may be close to the boundary between fragile and non-fragile. Its classification and use therefore requires the following to be taken into account: a) Normal industry-recommended best practice is that Class ‘C’ assemblies should never intentionally be walked upon and appropriate temporary access equipment, such as crawling boards, etc., should always be used. Note: Accidental damage to such assemblies might render the classification void. b) A Class C assembly must be treated like any other safety critical item, e.g., a safety net. Therefore, any adverse occurrence that could affect its fitness for purpose should trigger an inspection. If an assembly has been subjected to an impact load (such as a trip or stumble), it can be treated as a fragile area and identified and protected accordingly, until it has been replaced and the adjoining fitted panels inspected by a competent person and replaced if necessary. Procedures to ensure this happens must be in place. c) The workforce must be aware of these limitations, as required by Regulations 3 and 8 of the Managing Health and Safety at Work Regulations [MHSWR]. d) Any person falling on a class C assembly may make it fragile for subsequent loads. While persons may be capable of self-recovery from a fall or stumble, where they are unable to, the additional weight of a rescuer may cause the assembly to fail. And, because all non-fragility classifications depend on the fixings of assemblies, any adjoining assemblies may also have become fragile. In such situations the incident panel and all adjoining panels must be treated as fragile. This is a foreseeable risk of selecting Class C assemblies. Therefore, where class C assemblies are being used, rescue plans must be developed in advance of work starting. Again, in accordance with Reg. 5 and 8 of the MHSWR, the workforce needs to be aware of the Rescue Procedures. Inflation Units: ETFE cushion systems are continually inflated by air handling units from which air pipes run to each individual cushion. As the cushions only need to maintain pressure and not generate air flow, the energy consumption used by these units is minimal. An entire roof is generally powered by a single air handling unit which contains 2 fans powered by electric motors. For large installations there is sometimes a need for additional air handling units to be installed. The fans run alternately to maintain pressure within the cushions, with only one fan running at any given time. In the event of a cushion failure, adverse weather conditions or a drop in cushion pressure, both fans will run simultaneously to maintain a steady pressure. If required, the inflation units are also fitted with dehumidifiers to dry the air being fed into the cushions. A typical air inflation unit measures 1.2m x 1.2m x 0.9m and is located near to the ETFE cushion system, internally or externally. The system requires a dedicated and secure power supply consisting of two 240V 13 amp electrical connections as the ETFE foil roof is a live system the cushions are permanently linked to the air inflation unit to ensure the pressure is maintained. Control System: As standard our ETFE cushion roofs are supplied with a state-of-the-art active monitoring system. This continually supplies real-time information on the pressure within the cushions, the local weather conditions, temperature and humidity levels and any faults or changes within the operation of the system to a local LCD screen see fig. 1. It is possible for Architen Landrell (or a designated user) to gain access to the control system remotely which assists with off-site updates or diagnostics in aid of fault finding and can allow minor pressure and performance adjustments. Continual monitoring allows the system to automatically adapt to avert potential problems. In the event of a problem the control system will automatically try to compensate for the fault; for example, when a drop in pressure occurs the rate of airflow to the cushions will increase automatically. In addition, the fault is logged and displayed on the main controller and relevant air handling unit (using the traffic light system described below) and an automatic alarm notification can also be sent to a predefined person. The alarm will be raised as soon as a fault is registered. To allow simple diagnostics, maintenance staff can inspect the coloured indicators traffic lights on the front of the air handling unit. The traffic lights display the status of the inflation equipment: Green light all working fine Green & amber lights minor problem, needs attention (for example, a partially blocked air filter) Red Immediate attention required Power Failure: In the unlikely case of a power failure, the ETFE cushion system will maintain pressure for between 3 and 6 hours before deflating (dependant on weather conditions). This is due to the non-return values built into the air inflation units. After this time, there is a possibility that, as pressure drops, the roof will become damaged. As a result we recommend that there is either a standby generator or alternatively a cable bracing system installed to support the cushions should this situation arise. Aside from this, we always recommend that the roof is closely monitored to avoid predictable problems occurring. Safety/Explosion Risk: As a flexible material, ETFE Foil can take very high loadings for a short period of time which makes it an ideal material for use in locations where there is a risk of explosion. If vandalism is a threat, ETFE foil is also an advantage as the cushions will not break or fall from the extrusion frames if damaged. Repair and Replacement: One of the outstanding characteristics of EFTE foil is its exceptional tear resistance, lack of notch weakness and stress crack concentration. Any cuts and scratches initially propagate but the material rapidly stretches and rounds out into a tough low radius area that dissipates the loads and prevents further tearing. Minor repairs to the foil, such as a puncture hole, can be carried out in situ and within a relatively short timescale by using an adhesive ETFE foil patch. Fritted material would be used to match existing fritted foil in order that repairs do not affect the aesthetics of the structure. If an ETFE Foil cushion becomes more significantly damaged, an individual cushion can be easily removed and replaced with minimal disruption to the installation as a whole. The outside surface of the ETFE cushion can be accessed by technicians, using rope access techniques, from the main structural steel support. This would require the rigging of working ropes from the steel and is routinely done under the IRATA guidelines. Should a problem occur with the control system, every effort will be made to diagnose the problem remotely. Once the problem is identified, it can be fixed in one of two ways: Remote repair (software problems)On site (hardware problems). If on site repair is required, we will only need access to the building control room to resolve the problem. Birds: The most common threat of tearing or damage is from birds; excessive bird pecking can cause small punctures in the ETFE cushions. In general this poses no threat to the stability of the cushion as a whole as our system is supplied with built in active monitoring which will automatically adjust to compensate for the slight drop in pressure. As a precaution, all Architen Landrell structures are supplied with bird wire deterrent to stop bird perching on the extrusion/steelwork. Fire: ETFE Foil as a material has low flammability (270C) and is considered self extinguishing. In the event of a fire, hot smoke will cause the foil to soften, fail and then shrink away from the fire source to create natural ventilation. The quantity of material used in the roof is not important in this situation the foil will not create molten drips or any fumes. ETFE foil has been comprehensively tested. This is a selection of the fire results: DIN 4102 Class B1 EN 13501-1 Class B-s1,d0 NFP 92-505 M2 NFPA 701 Pass For more information on specific fire tests, please contact Architen Landrell. In some cases, it is not possible to guarantee that smoke will reach the ETFE at a temperature which will cause the cushions to fail, therefore, it is worth considering the installation of automatic actuators in order to ventilate the space of smoke. Acoustics: ETFE foil cushions are a relatively transparent form of roofing which means that there are minimal acoustic benefits in its natural state. Rain noise can be suppressed using a rain attenuation layer added to the top surface of the cushions. This acts as a dampener, stopping the sound reverberating around the space below. In general, the installation of a rain attenuation layer is only necessary in exceptional circumstances. This can be retro fitted to the ETFE foil cushion system and therefore we recommend that rain noise is assessed prior to making a decision to install. Environmental: The raw material associated with ETFE is a class II substance admitted under the Montral treaty. Unlike its class I counterparts it causes minimal damage to the ozone layer, as is the case for all materials used in the manufacturing process. The production of ETFE involves the transformation of the monomer TFE in to the polymer ETFE using polymerisation; no solvents are used in this water based procedure. The material is then extruded to varying thicknesses depending on application; a process which uses minimal energy. Fabrication of the foil involves welding large sheets of the ETFE; this is relatively quick and again a low energy consumer. ETFE can be recycled with ease, but due to its properties (does not degrade under UV light, sunlight, weather, pollution) it has a very long life which is estimated between 50-100 years, making the need for recycling small. Excess material from the cushion manufacturing process can be recycled effectively by all ETFE suppliers. The aluminium frames do require a high level of energy for production, but they also have a long life and are readily recycled when they reach their end of life. ETFE cushion systems offer both good insulation and translucency, due to the fact they trap a layer of air and can be adapted using dot matrix coatings to change the solar transmission. The weight and size of the EFTE has added benefits making it much more energy efficient than materials with the same desired architectural effect. For example, transportation of the material is much easier as it can be rolled, taking up less space, hence the need for less conveyance. The cleaning and maintenance of ETFE is also small, the majority of the time water will wash off any dirt, this is due to the smoothness and anti adhesive properties of the material. If cleaning is needed then only light PH neutral detergents are used making the environmental impact minimal. Rainwater & Drainage: All ETFE structures are designed with curvature to ensure that rainwater does not pond or collate on the top of the membrane as this leads to deformation of the foil. Rainwater will be channelled to the perimeter of the roof where it can be collected in the main gutter system. Gutters are not supplied as standard within most ETFE installations but they can be incorporated if required. See fig.2 Gutter Detail. Cleaning: Unlike traditional fabric structures, ETFE Foil is an extruded material and therefore has a smooth surface. This smoothness reduces the amount of dirt retained on the ETFE foil surface and allows the rain to wash away the majority of bird droppings etc. As a result, we advise that ETFE foil cushions are cleaned externally every 2-3 years. The cushions themselves also need to be cleaned internally, although far less often. Depending on the amount of dirt collected in the internal atmosphere, we would recommend they are cleaned every 5-10 years on the interior surface of the cushions. We recommend that the inflation units are serviced every year, however, an active monitoring system is incorporated in all our units which supplies continual information on performance. If a rain attenuation layer has been installed the frequency of cleaning required may be increased but this will vary from site to site. Architen Landrell has a designated Maintenance Department which deals with planned and emergency works at sites across the world. Our maintenance personnel are based at our office in Chepstow and have a fleet of vehicles available for site visits. In the event of an emergency, we also have a 24/7 dedicated telephone line for call outs and advice. Weight: ETFE Foil cushions are extremely light weight weighing only 2 – 3.5 kg/m. Cushion size: ETFE foil cushions can be manufactured to any size and to fit any shape. Size is limited by the wind and snow loading allowed for within the design and by the orientation of the cushions i.e. whether they are installed horizontally or vertically. As a general design guideline, rectangular cushions can span up to 3.5m in one direction and as long as required in the other direction. For triangular cushions, the size can be greater than this. If design dictates that larger cushions are required, these can be created by reinforcing the internal and external layers of the cushion by cable restraints. Warranties: Warranty is available for all our ETFE foil cushion systems. We recommend that a maintenance agreement is also undertaken to ensure the foil and air inflation equipment are in full working order. Material Strength: Based on 250 micron ETFE Foil Typical section through an ETFE cushion Perimeter steel connection detail Author - Amy Wilson of Architen Landrell

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