To Coat or Not To Coat: A question on porosity and coating in building material

Building material has been one of the aspects in architecture that directly relate with the overall building performance. Nowadays, porous traditional building material, such as bricks, stones, concrete, is still preferred due to its performance of porosity that supports passive cooling and reduces the building’s energy consumption. However, the porosity of building material could also cause many problems, such as damp, fungal and moss growth, that could cause deterioration of the building leading to the practice of coating. This paper questions how the act of coating often seen as a way of keeping the building in perfect condition with disregard to the building material’s porosity. It investigates how the different mechanism of porosity in building material in turns triggers a different act of coating. Furthermore, this paper argues that the act of coating should consider the performance of porosity to achieve a better building performance, not just regarding the energy efficiency but also the ecological sensibility towards the environment.

Er apostrofen et økologisk instrument?

Hans Lind: “The apostrophe – an ecological instrument?”This article investigates the relationship between the lyrical apostrophe and ecological thinking. Drawing on literary theories and ecological thinkers such as Jane Bennett and Timothy Morton, the article concludes that the apostrophe is related to the concept of ecological sensibility and is useful for communicating complex ecological ideas such as coexistence. These conclusions are based on an analysis of several poems containing apostrophes and a discussion of the role of poetry in soci ety and its ability to facilitate ecological thinking and awareness.

A Day in Algonquin Park: William W. H. Gunn and the circadian audio portrait

This article considers the place of William W. H. ‘Bill’ Gunn in the history of electroacoustic music with a focus on one of his earliest creative forays, the 1955 production ofA Day in Algonquin Park, a composition in the genre of what the authors have dubbed thecircadian audio portrait. In exploring Gunn’s compositional decisions and the political and creative contexts which surrounded them, we detail his sonic practice and make the argument that Gunn was a soundscape composer before the term was coined, a forerunner of the genre indebted to composers connected with the World Soundscape Project. In doing so, we must acknowledge the ways in which the album’s creation and reception play out paradoxical aspects of the wilderness myth, while feeding into the construction of a popular and idealised Canadian identity. We also find his modernist ecological sensibility struggling to articulate a place for human visitorswithinnature: in this, Gunn’s outlook and concerns were not very different from some contemporary soundscape composers. However, this study goes beyond acknowledging a previously ‘unknown father’ of familiar sounds and debates; in contextualising his work with environmental sound as a contribution to the genre of thecircadian audio portrait, we highlight an alternative genealogy for contemporary soundscape composition.