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Reflections on the Artist: Costantino Nivola. A collection of images from Elemental Principal, Carl Stein’s recent presentation at the Italian Embassy in Washington DC

It’s not possible to describe Costantino Nivola – Tino – in a few paragraphs or a few pages. His art as well as the sum total of his life have far too much range and depth. Rather than making a futile attempt at comprehensive inclusion, I will try to add texture to his accumulative portrait by sharing some personal recollections drawn from more than thirty-five years of knowing Tino as a mentor, a colleague and a friend.

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Elemental is proud to announce that it’s award-winning historic reconstruction of Shepard Hall at The City College of New York is included in the current exhibition Buildings = Energy on view at the Center for Architecture in New York City as part of the month-long celebration Archtober.  The exhibition explores how critical choices and consumption patterns of professionals and building occupants can make positive energy changes in our cities.  Shepard Hall was selected as an exemplar of sustainability in historic reconstruction.  This is particularly evident in considering the use of Glass Fiber Reinforced Concrete (GFRC) as the primary reconstruction material, in lieu of other materials.

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Elemental Architecture, a firm recognized for its pioneering work in sustainable architecture, design and advocacy is pleased to announce that founding principal Carl Stein, FAIA will be delivering a keynote address at the 16th International Congress on GRC in Istanbul, Turkey on September 6, 2011.

The four-day conference brings representatives from twenty nations to share knowledge and advancements in glass fiber concrete technology. Keynote presentations by Elemental Architecture, New York and Foster and Partners, London.

Details on the Congress can be found here.

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Elemental Architecture’s award winning process for restoring City College’s Shepard Hall, discussed in an in-depth interview with Carl Stein on PROSOCO’s blog, “Green Journey” – Shepard Hall Restoration.

Robert Bryce’s June 7, 2011 Op-ed in the New York Times “The Gas is Greener” zeros in on a fundamental fault in the logic of depending on solar, wind and other renewables as primary sources of energy.  As Bryce correctly points out, generating large quantities of electricity from renewable sources requires vast amounts of natural resources — most notably, land, not to mention the energy and resources expended to collect and distribute that power that could be generated.

These realizations aren’t new. Interestingly, in 1993 Carl Stein notes in “Energy Conscious Architecture” for the National Council of Architectural Registration Boards (NCARB) that a report from the Energy Policy Project determined:

“From 1965 to 1973, U.S. energy consumption grew at the annual rate of 4.5 percent. This is doubling roughly every 15 years. If we could, miraculously, switch to total solar power in 1995, and if this switch created a return to the “cheap energy” attitudes of the 1960s with the associated exponential growth, by 2010, we would have to devote one percent of our land area to solar collection; by 2025, 2 percent; by 2070…10 percent of the United States would be taken up by collection systems; and before 2110…solar collectors would completely cover the United States.”

Clearly, there is no “silver bullet” to meet our demand for energy consumption and when considering the environmental impact of creating such systems the attitude that renewable energy is the answer is, in fact, directly contradictory to an environmentally responsible point of view. As Carl further points out, “…we must never fall in the trap of thinking of [renewable energy] as easy, cheap or environmentally neutral.” Simply put, there is no free lunch.

The best and most immediate solutions to address the demand for energy are by decreasing the rate of consumption through conservation, resourceful planning and energy conscious design.

I follow the thin black line.
Drawings by Costantino Nivola

Although Costantino Nivola was an extraordinary draftsman, and for almost ten years had worked as a graphic designer and a professional illustrator, he regarded himself above all as a sculptor, or more precisely a sculptor-builder, heir to the ancient nuraghi builders, faithful to the vocation passed on to him by his mason father. This is why his graphic work has gained little recognition. Yet, it is a body of work of great interest and quality, a cross-section of which is exhibited for the first time: over a hundred works, almost all unpublished.

The drawings and illustrations on display, made between 1941 and 1980, document the central and most productive phases of the artist’s career: his first period in New York, shortly after his flight from Fascist Italy, divided between commercial graphics and exploratory works (1940-1945); his approach to sculpture in 1950 and a return to his home-town, Orani, in 1958; the preparatory drawings for major public commissions; the so-far ignored episode of tapestry design (1960 – 1966); the private series of the Beds and Male Figures; the biting drawings of political and social criticism he had begun working on since 1968.

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John Barboni, co-founder of elemental, is featured in the New York Times T Magazine’s article “Dinner at 8″ by Stephanie LaCava.

In a recent posting on BuildingGreen.com, “Does Saving Historic Buildings Really Save Energy?” Tristan Roberts pointed out a number of benefits that may be realized by the adaptive reuse of older buildings; however, he dismissed the notion that there is value in the energy embodied in these structures.  While he is correct in his assertions about the cultural and urban value of historic buildings, he misses the point, or at least part of the point of the value of the energy embodied in those buildings.  Despite the fact that there is no way to “recover” the embodied energy in old buildings, if their reuse offsets the need to build replacements, the energy that would have been embodied in those new buildings is saved – avoided cost.

Of course, there will almost certainly be some construction, and therefore some energy commitment, required to extend the useful life of older buildings including implementation of measures to significantly improve performance.  The net avoided energy cost will be less than the total energy cost on the new building.  Nonetheless, the new energy that must be “embodied” into the existing building will typically be 1/3 to 2/3 that of starting from scratch.  Additionally, there is that much less debris sent to landfill and that much more “embodied” culture carried forward.

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