The integration of the Passive House certified museum Kunstmuseum Ravensburg into the fabric of a medieval city challenges the identity of architecture by bridging 500 years of vernacular with a single gesture. The museum maintains the German city’s fabric with a nod in materiality and form, but resolutely avoids mimicry or nostalgia. If you quickly walked passed it you may not even recognize it is of our era. The barrel vault roof relief and rich, historical brickwork allow the mass to slip into the old, dense neighborhood with only a whisper and wink of the contemporary on the outside. Read the rest of this entry »
Johan Voordouw and Aisha Sawatsky have completed 12 digital etchings currently exhibited at the Rotterdam Kunsthal for IABR 2014 “Urban by Nature” biennale. Each etching contains a folly that articulates a specific weather condition. The project explores how shifts in climatic patterns will have a resultant cultural affect. Each of the twelve drawings expresses a weather condition, an activity, a different month and one of the Netherland’s twelve provinces. Therefore, the project is a reflection of the country as a whole, geographically, culturally, and with the passing of the seasons.
The final prints were produced by Mark Herschede of Haven Press Studio in Brooklyn. The digital drawings were photo-transferred onto a polymer plate and printed on 250gsm Arches Cover paper through a Takach Etching Press. Read the rest of this entry »
Seattle’s burgeoning waterfront, home to the world class Olympic Sculpture Park, will get a new residential mid rise inspired by the park’s wedged paths. The stepped tower is designed by Perkins+Will to create a dynamic but sensitive relationship with the park as a public and aesthetic resource. Aiming for a LEED Platinum certification the design is intended to be environmentally astute and regionally adapted. The folded veil facade is a core design gesture to facilitate multiple relationships both internally and externally. The diverging planes of the southern facade breaks the massing into more discrete elements, verticalizing the Z shaped topography of the park. Read the rest of this entry »
A massive inflated balloon erected inside the Gasometer Oberhausen, Germany is purported to be the largest inflated envelope suspended without a skeleton. Designed and installed by artists team Christo and the late Jeanne-Claude, Big Air Package is a radical play of both space and light, pushing the limits of scale for a temporary installation. Read the rest of this entry »
“Lotus Dome,” interactive artwork by artist and architect Daan Roosegaarde, is a living dome made out of hundreds of ultralight aluminum flowers that fold open in response to human behavior.
When approached, the big silver dome lights up and opens its flowers. Its behavior moves from soft breathing to dynamic mood when more people interact. The light slowly follows people, creating an interactive play of light and shadow. The graphic representations of the lotus flower on the walls, and the deep bass sound, transforms the Renaissance environment into a “Techno-Church.”
The smart Lotus foil is specially developed by Studio Roosegaarde and their manufacturers, and is made from several thin layers of Mylar that fold open and close when touched by light. This high-tech craftsmanship is similar to the innovative thinking of the church’s architecture of the 16th century. Roosegaarde: “We’re updating Renaissance.” Read the rest of this entry »
The Leviathan as an ancient sea monster is mentioned six times in the Book of Job where it is described in detail. Among Job’s portrayal of Hell’s gatekeeper are numerous material depictions manifesting the creature’s physical traits which allow him to move speedily at sea despite its heavy build. His back has rows of shields tightly sealed together; Each is so close to the next that no air can pass between them; They are joined fast to one another; they cling together and cannot be parted; The folds of Leviathan’s flesh are tightly joined; they are firm and immovable; His chest is hard as a rock, ‘hard as a lower millstone’ (Book of Job). This underwater wriggling serpent is here re-imagined as armor for the human torso, inspired by the Leviathan’s anatomy and physiology. Composed of a thin stiff shell, cuts are introduced into the surface to allow for the flexibility required for movement and stretching. This body suit is designed as a single continuous surface with thin slots printed in two materials. Each slot is double-sided such that soft materials make up its internal composition providing comfort, while a stiffer material is deposited externally to provide for a protective outer shell.
SOL Grotto, an installation completed in the Berkeley Botanical Garden by Rael San Frattello Architects, is a sensory oriented space using the discards of the infamous collapse of solar energy company Solyndra. The specialized glass tubes originally created for housing solar cells is repurposed to great spatial and tonal effect by placing them through a wall and connecting the outside within.
SOFTlab and The Living produced the exhibition design for ReGeneration at the New York Hall of science. ReGeneration includes ten installations produced by various artists that explore immigration, urbanization, and sustainability through art, science and technology. Our brief was for the exhibition design to not only be a platform for the other installations, but to also be an installation in and of itself making it one of the ten artist installations.
The New York Hall of Science is located in Queens, NYC, the most ethnically diverse county in the United States. The exhibition framed the idea of sustainability as a system that is exothermic. That New York City is an exothermic system that thrives on the infusion of energy through immigration and generates energy through ideas and knowledge. We looked at this idea at various scales: global, national, city, borough, etc. We found that it is not simply the infusion of various groups or energies into a system, but the mixing and tangencies of these energies and mixing that produces a “melting pot” of ideas. It is through this mixing and turbulence of many ideas that a larger community forms—one that can be seen as a larger whole while still retaining the ability to show a “finer grain,” much like the interconnected loops of an ecosystem, or like many local “weathers” within a regional or global weather system. We treated the overall exhibition as an opportunity for the mixing of various artists responding to the community in many ways, in hopes to create a critical mass of tangencies that extend an influence outside of the museum into the larger community.
We inverted the typical exhibition design of white walls and subdivisions and created a floating cloud that not only marked the zones of each artist installation but connected them under a common roof. More specifically, the “cloud” consists of multiple interconnected “weathers” at the multiple scales of the artwork, the community, Queens, New York City, the country, and the world. While each “weather” has its own features and identity, they have many overlapping, “common” themes, and there are many threads that tie them together into one “common” ecosystem. In other words, the cloud is a kind of weather for the Regeneration exhibition–but rather than a single weather, it is really several common weathers. Read the rest of this entry »
1001 was produced by the ID5 Interactive Systems faculty as the result of an iterative draft design process. Apart from design aspects, permanent adaption of the surface to the human body was the working team’s main focus. They adopted various approaches as a means of controlling spatial movements. CAD was essential in order to simulate specific deformation of the surface and, in subsequent work stages, to shape this deformation in all its conditions. The aim was for 1001 to be formally convincing not only as an object but also in every possible use situation. More than 30 clusters, each consisting of three elastic rods, are mounted on a spherical base and support the reclining surface, which has a corresponding geometrical pattern but consists of rigid segments. Read the rest of this entry »
DrawDEL Strands designed by Nikita Troufanov and Gonzalo Padilla is an experiment in the oscillation of materiality—layering information sets and shifting focus, materialized as part drawing part model.
In this hybridized 2d and 3d presentation neither mode of communication can stand without the other. It is an artifact to push the modality of fabrication not only for presentation but for its use as a design tool. Read the rest of this entry »