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The pavilion bar designed by Margot Krasojevic is part of Paris’ flood control infrastructure. An enclosed circular glass bar rests over a bell mouth spillway which allows water to enter from it’s entire perimeter, directing the water throoughout the design, into the spillway.

The circular bar is zoned to direct water through it’s ramps and into the spillway situated under a moveable glass clad floor. The industrial function of the bar is combined with an ethereal monocoque shell that houses the light and reflective nature of the pavilion bar’s interior, etched glass gives an effervescent feel with the lattice spillway filtering water as it is channelled through the underground network of submerged canals, upstream to the impounded lakes and nearby reservoirs.

A lightweight composite fibre monocoque canopy covers the pavilion formed as a whirlpool to channel rainwater around it’s surface and into the spillway beneath it. Paris’ intircate and detailed manhole covers were the inspiration for the design. Read the rest of this entry »

The proposal “Sonic Scape” – The House of Hungarian Music, by Aaron Neubert Architects, is conceived as a tribute to the esteemed figures within the influential musical history of Hungary. In the spirit of composers Bela Bartok and Zola Kodaly, HHM will serve as an open, accessible, and flexible venue bringing the vast contemporary and historical traditions to the people, as well as welcoming emerging musical experimentation. The HHM will create a space of immersion in music, yet open to the urban landscape of Budapest and in particular that of the City Park. This proposal therefore serves not only as an experiential and interactive symbol for music, but also as an iconic incubator open to the citizens of Budapest and welcoming various influences. The building’s relationship to the site is developed to encourage park activities to flow through the HHM and conversely music activities, to spill into the park.

Specifically, the project explores two primary experiential objectives, a Measured Landscape and an Occupied Instrument. The first objective being the development of an architecture that acts as a tool to measure, survey, record, and ultimately engage the surrounding landscape – following the trajectory of Bartok and Kodaly’s field endeavors. The second objective is the creation of an immersive architectural experience – inspired by Mierswa & Kluska’s photographs of the interior of musical instruments. These two interests manifest themselves in HHM’s formal appearance, physical relationship to the landscape, and within the interior of the building. With the intention of creating an icon that can uniquely serve the diverse objectives and influences found within the Hungarian musical tradition and the project’s mission, as well as respond to the complexity of the City Park site, the HHM presents varied and evolving facades. References such as vernacular and civic architecture, traditional Hungarian musical instruments, contemporary acoustical geometries, sheet music, a grand piano, and an accordion are all evoked within the building.

The architectural fundamental principle the design attacks is linearity , which describes the dominating directional dynamic . This dynamic can be expressed both by individual and multiple lines of force , this has particular relevance to architecture both in terms of its making and resultant form. Perceiving lines of force originating from elements such as the bridge. As the architecture moves in the linear horizontal fashion it starts to grow and bend in reaction to the geometry from the bridge which has “ segmental ” arches. The curves from the volumes and the strands echo that geometry from the arches and braid themselves in a loose way to create an excessive and exuberant appearance which represent a lively energy and excitement as they reach for the nature which awaits for them in the other side of the bridge.

Symmetry will be kept visible in plan and elevations but the volumes will alternate their positions through out the bridge. Instead of being repelled by the large building set aside the bridge, the new design will embrace the building and provide connection and alternate pathways. A ground condition will become part of the volumes which circulate in a horizontal fashion with arc shaped strands that merge into and out from the bridge. The orthogonal manner of the existing building is to be broken with curvilinear surfaces that will create interior/exterior conditions when the volumes intertwine with each other. Program will be accommodated judging on the noise level of the two major perpendicular crossings which are the street and the canal. One which is close to nature and the other which resembles rush and mobility. The architecture will not only mimic the standards of the architecture of the bridge but will also respond to the conditions imposed by the context and topography.

The space will force itself to the user and pedestrian by becoming part of the pathways and being forced to interact with. The continuous deformations of the topology will acquire a constant logic and rule which will be repeated with the arc-like strands that the surfaces adopt to establish a visual logic of repetition and unity which is pleasing to the eye and brings a functional space to inhabit.

Design: Jean-Pierre Villafañe at the Savannah College of Art and Design Read the rest of this entry »

A multi-disciplinary sports complex & camel track located at the centre of the old creek district of Dubai designed by Thomas Hopkins at Bartlett School of Architecture

The design accommodates types of racetracks and sports facilities, tailored for the population demographics. These playing fields and tracks are amalgamated and fused into a programmatic proposition readdressing the conventional organisation of sports facilities. The notion of thresholds between the internal and external is explored through a series of precision analogue/digital models which help explain the spatial dialogue happening between the two realms. Solar gain and complex geometry are holistic themes within this project, helping to create interstitial spaces, interconnecting different playing fields and race tracks whilst also providing shelter from the extreme climatic conditions of Dubai.

Novel geometries are used to enhance and optimise the organisation of space and comfort within it, questioning the boundaries between external and internal. The varying patternisation within the canopies, inspired by the composition of ancient Mashrabiyas, is optimised according to solar gain within specific time periods to achieve environmental thermal comfort through the use of non-deterministic and performance-based design. The typo-morphologies subsequently produced, optimised with novel geometries, help to create a new composition of space leading to a more homogenous integration of the building within its landscape. This subsequently opens up the possibilities for new and different designs, questioning the way we understand our built environment.

“pina” is a part of the series of exploration by Taeg Nishimoto of fabric’s behavior in lighting, with three variations (#1 – #3.) The shade uses the fabric 95% cotton and 5% spandex. The fabric is hardened to structure itself while it is configured to make specific creases for light and shadow effects as the lamp shade. Fabric is cut into square and dipped into fabric hardener, then hung in a framed structure from four corners of the fabric. This hung fabric is pulled upwards from certain points by thread with spherical weight placed in between the pulled points so the fabric will create specific creases as well as stretch itself. This crease effect follows the way how the fabric behaves itself in relationship to the pulled points and different amount of weights. The hung fabric is left to dry until it is completely hardened. The resulting creased fabric is then placed upside down to create a lamp shade with the initial four corners of the fabric functioning as legs of the shade. When the light is not turned on, the object presents itself as a certain organic object. When it’s lit from below, the lamp shade creates light and shadow effects not only within the fabric creases but also on the adjoining wall. Read the rest of this entry »

eVolo_06: Digital & Parametric Architecture

Title: eVolo_06: Digital & Parametric Architecture
Cover: Perfect Bound
Size: 9″ x 12″
Pages: 312
ISSN: 1946-634x
ISBN: 978-1938740060

Digital & Parametric Architecture explores the development of the latest digital tools including advance-modeling software and computer aided design in the production of architecture. It is a journey through the most fascinating projects, digitally designed and fabricated, during the second decade of the 21st century. The book highlights the use of these technologies to explore tectonic operations such as sectioning, folding, contouring, and tessellating. A wide variety of projects that range in scale and location offer an insight into the architecture of the future.

Contributors: Benjamin Ball, Philip Beesley, Marcos Betanzos, Francesco Brenta, Dongyan Chen, Brandon Clifford, Raffaello D’Andrea, Cristina Díaz Moreno, Efrén García Grinda, Nataly Gattegno, Mark Goulthorpe, Michael Hansmeyer, Alvin Huang, Lisa Iwamoto, Jason Johnson, Alex Kaiser, Christoph Klemmt, Jan Knippers, Andrew Kudless, Magnis Larsson, Ilona Lénrd, Caroline Littlefield, Xiaodu Liu, Iain Maxwell, Wesley Mcgee, Yan Meng, Achim Menges, Andrew Michler, Kristine Mun, Gaston Nogues, Arthur Olson, Kas Oosterhuis, David Pigram, Steffen Reichert, Benjamin Rice, Craig Scott, Rajat Sodhi, Doris Sung, Ming Tang, Geoffrey Thun, Skylar Tibbits, Kathy Velikov, Dihua Yang.

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eVolo_06: Digital & Parametric Architecture
eVolo_06: Digital & Parametric Architecture
eVolo_06: Digital & Parametric Architecture
eVolo_06: Digital & Parametric Architecture
eVolo_06: Digital & Parametric Architecture
eVolo_06: Digital & Parametric Architecture
eVolo_06: Digital & Parametric Architecture
eVolo_06: Digital & Parametric Architecture
eVolo_06: Digital & Parametric Architecture
eVolo_06: Digital & Parametric Architecture

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FLOS String Light. Photo: Graham Carlow

The appeal of FLOS STRING LIGHTS by Michael Anastassiades should not be lost on anyone who appreciates a clean and modern construction. A subtle utilitarian appearance belies the sleek architectural design that brings functional, beautiful illumination to any space that appreciates a geometric aesthetic. STRING LIGHTS were available in limited quantities in Europe throughout 2013; however, made their debut in the USA this summer after winning the prestigious EDIDA 2014 award in the lighting category.

“They are inspired by three things,” Anastassiades comments on his inspiration. ”When I sit on a train, traveling, and I look out of the window, I always see these strings of electricity that connect the pylons. And as we move through at high speed, I see these perfectly parallel strings and find myself transfixed by the amazing sense of discipline.” STRING LIGHTS reflect his ability to translate the idea of a divided orderly landscape into an interior living space.

The design concept is meant to evoke the image of lights found in a quaint village square, where people gather to socialize and celebrate. Inherent in the brilliance of the design is the allowance of movement which encourages the user to fashion this stylish lighting as they wish. One may express their own creative vision, delineating space with geometric angles, clean, and sleek lines within a minimalist contemporary decor.

The lights are accompanied by an instruction booklet and smartphone app to guide self expressionists through the easy installation process, and an inspiring but short tutorial video shows just how quickly these lights can become a focal point of your interior design. Today, after a year’s wait, the lights are finally available at the FLOS USA online store.

FLOS String Light. Photo: Graham Carlow

FLOS String Light. Photo: Giuseppe Brancato

FLOS String Light. Photo: Giuseppe Brancato

FLOS String Light. Cone

FLOS String Light. Sphere

eVolo Magazine is pleased to invite architects, students, engineers, designers, and artists from around the globe to take part in the eVolo 2015 Skyscraper Competition. Established in 2006, the annual Skyscraper Competition is one of the world’s most prestigious awards for high-rise architecture. It recognizes outstanding ideas that redefine skyscraper design through the implementation of novel technologies, materials, programs, aesthetics, and spatial organizations along with studies on globalization, flexibility, adaptability, and the digital revolution. It is a forum that examines the relationship between the skyscraper and the natural world, the skyscraper and the community, and the skyscraper and the city.

The participants should take into consideration the advances in technology, the exploration of sustainable systems, and the establishment of new urban and architectural methods to solve economic, social, and cultural problems of the contemporary city including the scarcity of natural resources and infrastructure and the exponential increase of inhabitants, pollution, economic division, and unplanned urban sprawl.

The competition is an investigation on the public and private space and the role of the individual and the collective in the creation of a dynamic and adaptive vertical community. It is also a response to the exploration and adaptation of new habitats and territories based on a dynamic equilibrium between man and nature – a new kind of responsive and adaptive design capable of intelligent growth through the self-regulation of its own systems.

There are no restrictions in regards to site, program or size. The objective is to provide maximum freedom to the participants to engage the project without constraints in the most creative way. What is a skyscraper in the 21st century? What are the historical, contextual, social, urban, and environmental responsibilities of these mega-structures?

eVolo Magazine is committed to continue stimulating the imagination of designers around the world – thinkers that initiate a new architectural discourse of economic, environmental, intellectual, and perceptual responsibility that could ultimately modify what we understand as a contemporary skyscraper, its impact on urban planning and on the improvement of our way of life.

The 2015 eVolo Skyscraper Competition is possible with the support of Autodesk, real5D and v2com.


Registration

Architects, students, engineers, and designers are invited to participate in the competition. We encourage you to have multidisciplinary teams.

  • Participants must register by January 13, 2015.
  • Early Registration:  USD $95 until November 18, 2014.
  • Late Registration: USD $115 from November 19, 2014 to January 13, 2015.
  • One registration = One project
  • Participants may submit various projects, but must register each entry.
  • There is no limit as to the number of participants per team. Individual entries are accepted.

After your registration has been approved eVolo will send the registration number (within 24 hours), which will be necessary for submission boards.

-> REGISTER YOUR TEAM


Schedule

  • July 1, 2014 – Competition announcement, registration begins, acceptance of questions.
  • November 4, 2014 – Deadline for submitting questions.
  • November 18, 2014 – Early registration deadline
  • December 2, 2014 – Answers to questions posted on website
  • January 13, 2015 – Late registration deadline
  • January 27, 2015 – Project submission deadline (23:59 hours US Eastern Time)
  • March 24, 2015 – Winners’ announcement


Submission Requirements

This is a digital competition and no hardcopies are necessary. Entrants must submit their proposal no later than January 27, 2015 (23:59 hours US Eastern Time). Registered participants will receive instructions to upload their submission to the competition’s dropbox.

The project submission must contain the following files:

  1. Two boards with the project information including plans, sections, and perspectives. Participants are encouraged to submit all the information they consider necessary to explain their proposal. These boards should be 24″(h) X 48″(w) in HORIZONTAL format. The resolution of the boards must be 150 dpi, RGB mode and saved as JPG files. The upper right corner of each board must contain the participation number. There should not be any marks or any other form of identification. The files must be named after the registration number followed by the board number. For example: 0101-1.jpg and 0101-2.jpg.
  2. A DOC file containing the project statement (600 words max). This file must be named after the registration number followed by the word “statement”. For example: 0101-statement.doc.
  3. A DOC file containing the entrants’ personal information, including name, profession, address, and email. This file must be named after the registration number followed by the word “info”. For example: 0101-info.doc.
  4. All the files must be placed in a ZIP folder named after your registration number. For example:  0101.zip


Jury

Massimiliano Fuksas [principal Studio Fuksas]
Massimiliano Fuksas is the founder of Studio Fuksas with offices in Rome, Paris, Vienna, Frankfurt, and Shenzhen. From 1998 to 2000 he is Director of the VII International Architecture Exhibition in Venice: Less Aesthetics, More Ethics. He has been Visiting Professor at several universities including: Ecole Speciale d’Architecture in Paris, the Akademie der Bildenden Kunste in Vienna, the Staadtliche Akademia des Bildenden Kunste in Stoccarda, and Columbia University in New York. Since 2000 he is the author of the architectural column founded by Bruno Zevi in the weekly magazine L’Espresso.

Michael Hansmeyer [CAAD group at Swiss Federal Institute of Technology]
Michael Hansmeyer is an architect and programmer who explores the use of algorithms and computation to generate architectural form. Recent projects include the Sixth Order installation of columns at the Gwangju Design Biennale, as well as the the design of full-scale 3D printed grotto for the 2013 Archilab exhibition. He is currently based in the CAAD group at Swiss Federal Institute of Technology’s architecture department in Zurich. He holds a Master of Architecture degree from Columbia University and an MBA degree from INSEAD Fontainebleau. He previously worked for J.P. Morgan, McKinsey & Company, and at Herzog & de Meuron architects.

Richard Hassell [principal WOHA]
Richard Hassell graduated from the University of Western Australia in 1989. He was awarded a Master of Architecture degree from the RMIT University, Melbourne, in 2002. He formed WOHA as a partnership with Richard Hassell in 1994. Since then, the partnership has won a large number of local awards, and an unprecedented amount of international awards. WOHA won the Aga Khan Award for Architecture in 2007, they collected two awards each at the 2011 and 2010 RIBA International Awards, as well as the prestigious 2011 Lubetkin Prize from the RIBA. He is currently a board member of Singapore’s Urban Redevelopment Authority’s (URA) Design Advisory Committee and the Housing and Development Board (HDB) Architectural Design Panel. He has served as a board member of the Building and Construction Authority of Singapore, as well as committees for the URA and the Design Singapore Council. He is currently an adjunct professor at the University of Western Australia.

Alvin Huang [principal Synthesis Design + Architecture]
Alvin Huang, AIA is the Founder and Design Principal of Synthesis Design + Architecture. He is an award-winning architect, designer, and educator specializing in the integrated application of material performance, emergent design technologies, and digital fabrication in contemporary architectural practice. Alvin received a Master of Architecture and Urbanism from the Architectural Association Design Research Laboratory (2004) in London and a Bachelor of Architecture from the University of Southern California (1998) in Los Angeles. His work has been widely published and exhibited and has gained international recognition, including being selected to represent the UK at the Beijing Biennale in 2008 along with numerous awards including a 2014 ACSA New Faculty Teaching Award, 2014 ACSA Faculty Design Award (Honorable Mention), 2014 AIA Small Projects Award, 2014 Autodesk Small Business Innovation Award, 2013 Time Magazine’s 20 Best Inventions of the Year, 2013 AIA|LA NextLA Design Award, 2013 AIA California Council Merit Award, and 2009 D&AD Award for Environmental Design. Alvin is currently an Assistant Professor at the USC School of Architecture in Los Angeles, Co-director of the Architectural Association Visiting School Los Angeles, and Co-chair of the 2014 ACADIA Conference.

Yong Ju Lee [winner 2014 eVolo Skyscraper Competition]
Yong Ju Lee is a Seoul-based architect. He received a Bachelor of Architectural Engineering from Yonsei University in Seoul and a Master of Architecture from Columbia University in New York City. His research focuses on the use of parametric design in architecture to achieve new aesthetic and structural vocabularies based on the use of mathematic information. Yong Ju Lee currently is Faculty at Yonsei University in Seoul.

Wenchian Shi [project manager MVRDV]
Wenchian Shi graduated from Delft University of Technology in 2002 with a Master in Architecture and specialised in Urban Design. After working with the Office for Metropolitan Architecture and Kuiper Compagnons, she joined MVRDV in 2003. As project manager, she has been leading MVRDV’s major projects in Southeast Asia which include the TEDA housing and commercial development in Tianjin, built in 2009, Xinjin Water City in Chengdu and the winning competition designs for Gwanggyo Power Center in Seoul, South Korea, and the China Comic and Animation Museum in Hangzhou. Wenchian is currently overseeing the construction a CBD office and commercial district next to Hongqiao airport in Shanghai due for completion in 2015; No. 1 Art Zone in Nanjing which consist of a museum, a hotel, a cinema and design studios; and a shopping mall in Beijing.

Renske van der Stoep [project manager/architect MVRDV]
Renske van der Stoep is an architect and project manager at MVRDV. She graduated from the Building Academy Rotterdam with a Master in Architecture in 2004. She joined MVRDV in 1998 as an assistant designer, then worked at Concrete Architect, HvdN architects and Inbo, Amsterdam, and returned to MVRDV in 2006. As project manager, Renske is in charge of national and international competitions and projects of various scales and scopes. She is currently overseeing the construction of the Market Hall in Rotterdam, a mixed-use building which combines housing, market stalls, shops and parking, due for completion in fall 2014. Next to this, she is in charge of the projects for a warehouse transformation in Hong Kong, a tennis club house, both under construction, and a flagship store in Amsterdam. She was treasurer of the BNA Rijnmond region (Royal Institute of Dutch Architects) from 2008 to 2013. She regularly lectures at international institute and universities, and is currently teaching at the Willem de Kooning Academy in Rotterdam.

Wong Mun Summ [principal WOHA]
Wong Mun Summ graduated with Honours from the National University of Singapore in 1989. He formed WOHA as a partnership with Richard Hassell in 1994. Since then, the partnership has won a large number of local awards, and an unprecedented amount of international awards. WOHA won the Aga Khan Award for Architecture in 2007, they collected two awards each at the 2011 and 2010 RIBA International Awards, as well as the prestigious 2011 Lubetkin Prize from the RIBA. He is a board member of the Singapore Land Authority and the Board of Architects’ Design Panel. He was a board member of Singapore’s Urban Redevelopment Authority (URA) from 1999 to 2005. He also served on the International Design Consultancy for the Waterfront at the Downtown at Marina Bay, and as a member of URA design advisory panels for such projects as the Singapore Sports Hub, the Marina Barrage, and the Integrated Resort at Marina Bay.

Benedetta Tagliabue [principal EMBT Miralles Tagliabue]
Benedetta Tagliabue studied architecture at the Istituto di Architettura di Venezia (IUAV) and currently acts as director of the international architecture firm EMBT Miralles Tagliabue, founded in 1994 in collaboration with Enric Miralles, based in Barcelona and, since 2010, in Shanghai. Her studio works in the fields of Architecture, design of public spaces, rehabilitation, interior and industrial design. Her work received the RIBA Stirling Prize in 2005, the National Spanish Prize in 2006, the Catalan National prize in 2002, City of Barcelona prize in 2005 and 2009, FAD prizes in 2000, 2003 and 2007. She recently won the 2013 RIBA Jencks Award, which is given annually to an individual or practice that has recently made a major contribution internationally to both the theory and practice of architecture. In the teaching field, she has been a visiting professor at Harvard University, Columbia University, and Barcelona ETSAB, lecturing regularly at architecture forums and universities, and is part of jurors around the world, e.g. the Príncipe de Asturias awards. In 2004 she received an honorary doctorate from the Faculty of Arts and Social Sciences, Edinburgh Napier University, Scotland.


Regulations

  1. This is an anonymous competition and the registration number is the only means of identification.
  2. The official language of the competition is English.
  3. The registration fee is non-refundable.
  4. Contacting the Jury is prohibited.
  5. eVolo Magazine, as the competition organizer, reserves the right to modify the competition schedule if deemed necessary.
  6. Entrants will be disqualified if any of the competition rules are not considered.
  7. Participation assumes acceptance of the regulations.


Awards

  • 1st place – US $5000 + virtual visualization by real5D + press kit distribution by v2com
  • 2nd place – US $2000
  • 3rd place – US $1000

Winners and special mentions will be published in several print magazines including eVolo_09.

-> REGISTER YOUR TEAM

Previous winners have been featured in the following print publications:

ABC Magazine – Czech Republic, About:Blank Magazine – Portugal, Aeroflot – Russia, Architect Builder – India, Architecture and Culture – Korea, Architecture Design Art – Pakistan, Architektura Murator – Poland, AT Architecture Technique – China, Archiworld – South Korea AWM – The Netherlands, Azure – Canada, B-1 – Thailand,Bauwelt – Germany, Blueprint – United Kingdom, BusinessWeek– USA, C3 – Korea, CAAOH – Ukraine, Casamica – Italy, Casas y Mas – Mexico, Concept – South Korea, Courier Mail – Australia, Discover Magazine – USA, Donga – South Korea, Enlace – Mexico, Focus – Canada/Italy, Future Arquitecturas – Spain, Geolino Extra – Germany, Grazia Casa – Italy, Kijk – The Netherlands, L’Installatore Italiano – Italy, L’Arca – Italy, L’Uomo Vogue – Italy, La Razon – Spain,  Le Courier de l’ Architecte – France, Le Fourquet – Mexico, Mark Magazine – The Netherlands, Maxim – USA, Mercedes Benz Magazine – Germany, Mladina – Slovenia, Modulo – Italy, Modulor – Switzerland, NAN – Spain, Natur + Kosmos – Germany, New Scientist – United Kingdom, Oculus – USA, Of Arch – Italy, Pasajes de Arquitectura – Spain, Peak Magazine – Singapore, Popular Mechanics – USA/Russia, Popular Science – USA, Puls Biznesu – Poland, Quo– China/Spain, Rogue Magazine – Philippines, RUM – Sweden, Salt Magazine – The Netherlands, Science et Vie – France, Sciences et Avenir– France, Shanghai Morning Post – China, Space – South Korea,  Spade – Canada,  Spazio Casa – Italy, Specifier Magazine – Australia, SMW Magazine – Taiwan, Stafette – Germany,  Tall Buildings – Russia, Tatlin – Russia, The Broker – The Netherlands,The Outlook Magazine – China, The New York Times – USA, The Wall Street Journal – USA, Time Style and Design – USA, Travel and Leisure – USA, Vida Simples Magazine – Brazil, Vogue - Australia, USA, Vox Design – Poland, Wettbewerbe Aktuell – Germany, Wired – USA/Italy, Woongjin – Korea, World Architecture – China

The AA Visiting School is a worldwide network of design workshops and other programmes organised by the Architectural Association School of Architecture. The event will take place in Bilbao from July 23rd to August 5th, focusing on new lectures over territorial macro and micro scales.

We have 20 scholarships for our readers interested on this activity, you just need to send us your CV/portfolio and a statement explaining why you would like to participate in this event. For more details read below.

The workshop will explore the question of ‘place’ or ‘topos’ and its radical transformation in the recent years due to the proliferation and availability of environmental parameters. Departing from the notion of ‘computing,’ understood as information processing, strategies of ‘data mining’ and ‘indexing’ will be proposed as sensible readings of the site and the territory.

The breeding of local environmental parameters will generate new forms of architectural agency and expression. Diverse mechanisms will be used to materialize ‘invisible’ information such as environmental and social conditions, users’ preferences, digital information, etc. The capture of ‘local’ data will be done through the use of sensors, site specific simulations and rss feeds which will be used to capture information in the ‘network’. The workshop will provide the students with technical support to use microprocessors and sensing technologies. Each team will be looking at one main environmental parameter, in its broader sense, such as sun light, programmatic densification, urban flux, users’ data collected from urban behavioural patterns, potential energetic consumption/production, etc to synthesize ‘Datascapes’ that will feed into the projects. These ‘Datascapes’ will be built from the following devices, software and strategies. Read the rest of this entry »

Apertures by B+U. photo: Joshua White

Within the discipline of Architecture, the discussion of fields, networks, and smooth transitions has dominated the dialogue over the past 15 years. Rooted in philosophical models by Deleuze, systems theory, and parametricism, it has influenced many generations of architects. Parametricism promotes a relational ontology in which entities have no autonomous reality and are based on “continuous differentiation;” everything is connected, everything flows.

This position of an architecture rooted in dynamism and deterritoriali-zation is being opposed by a radically different approach, giving way to a contemporary design practice working with discrete figures that cannot be entirely understood through its pristine digital relations. This position is one that is obsessed with capturing qualities that would appear to be incongruous by incorporating analog features into a digital design process. The installation Apertures, designed for the SCI-Arc Gallery, is firmly positioned within this approach.

Apertures are the architectural catalysts for the installation design, being defined as objects within a larger building object that differ from its host in terms of morphology and performance. They are disruptive features to the overall building mass, but are able to interact with their environment, focusing on a symbiotic relationship between nature, building morphologies, and material expression.

Apertures have been an ongoing topic in our work, challenging the notion of an architectural opening as a static object by re-defining the DNA of a window, both in terms of its appearance and materiality, as well as its nature as an object in continuous flux, responding to its environment through movement or sound.

The 16-foot-tall, thin shell structure was designed to solely rely on its extremely thin surface (1/8”) as support, requiring no additional structural elements. Structure and surface are collapsed into a single component supported through its shape, creased surfaces and material strength only. Each one of the 172 panels is unique in terms of its shape. They are CNC milled from polyurethane foam, heat formed out of thermoplastic polymer resin, and then laminated together into a single object.

Unique to this project is the proposal of building as organism, challenging how architecture can interface with its users and its environment in a much more intuitive way. This entails both the use of technology to augment its performance and a design aesthetic that is incongruous and can incorporate analog features into a digital design process.

The project also offers a radically new design approach to sustainable design, emphasizing an Architecture in-between nature and technology that can operate as an interactive building organism where multiple discrete features operate simultaneously and independently. In this case sound is used to bridge the gap between the natural and the artificial, allowing the visitor to experience their own biorhythms.

Baumgartner+Uriu (B+U) Herwig Baumgartner and Scott Uriu, the founders of Baumgartner+Uriu (B+U), are an internationally recognized design duo operating at the forefront of contemporary design. Their design process can be described as driven by digital techniques and advanced computation that utilizes new technologies and material resources. B+U’s work consistently pushes the boundaries of architecture and urban design, experimenting with new spatial concepts, and intensifying existing urban landscapes in pursuit of a visionary aesthetic that encompasses all fields of design.

B+U recently exhibited at the FRAC Center in Orleans, France; the Centre Pompidou in Paris, France; the Museum of Contemporary Art (MOCA) in Los Angeles, California; and the 12th Architecture Biennale in Venice, Italy.

Two monographs have been published on Baumgartner and Uriu’s work. It has also been widely published and discussed in books, magazines and newspapers. The firm was recently awarded with the Maxine Frankel Award for design research, the AIA national award for emerging professionals and the Architizer A+Award for sustainability and the Graham Grant for advanced studies in Fine Arts. Read the rest of this entry »