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Croatia’s ‘Floating Pavilion’ / Venice Biennale 2011

CROATIA’S ”FLOATING PAVILION” FOR THE 12TH INTERNATIONAL ARCHITECTURE BIENNALE IN VENICE, ITALY
image courtesy pavilion.hr
photo by zelimir grzancic
For the event of this year’s venice architecture biennale, croatia has designed
and built a floating pavilion on an existing barge to be tugged by a tow boat
to the site of the international event. Constructed out of 32 tons of steel,
the structure’s form is defined by a methodical system consisting of over 40 layers
of welded Q385 wire mesh. Each layer contours at varying depths and lengths
to create a carved out space which plays with different transparencies, densities,
and vision lines. Despite the solid and heavy materials, the resulting effect is
a blurring of form;at a distance, the pavilion conveys elements of fragility and lightness.
the project is a collaborative effort by 14 croatian architects and members
of the local maritime industry.
However, despite the relatively short journey from croatia to venice,
the pavilion experienced structural problems and never made it to the italian site.
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Case studies

Cite du Design

Cite du Design, Centre International du Design, is a center for research and studies in design completed in 2009 is located in St. Ettiene , France. LIN Architects won this international competition with a proposal that consist in a 3d triangular skin pattern that becomes the structural walls and roof of the building allowing to have an open and flexible interior.

© Christian Richters

© Christian Richters

© Christian Richters

This structure contains spaces for exhibitions, auditorium, library, and internal gardens. The building has a very efficient system of heat exchange to reduce the energy consumption.

© Christian Richters

© Christian Richters

The skin of the building has an integrated system were they control the openings for light control and privacy depending of the interior use, the application of photovoltaic cells in the grid produced all the energy consumed by the facility.

© Christian Richters
HYPOSURFACE

HYPOSURFACE begins with an idea of the Emerging MIT Research that proposed a mechanism for an interaction between the user and a surface , after experimenting for a couple of years they have being improving the mechanism and attaching some new features. Though this years they have participated in international exhibitions and won many awards.

Hyposurface is a display system where the screen surfaces moves and respond to sensors or pre-controlled patterns like logos, text display, colors, or sound.
It could have many uses for exhibitions or commercial promotion , or even for a facade that could reflect whats happening in the inside or outside of a building.


For video check, watch?v=_biPcv7KZoU
Source of information, http://hyposurface.org/

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ClouDs by Ronan&Erwan Bouroullec

Clouds by Ronan and Erwan Bouroullec

French designers Ronan and Erwan Bouroullec have designed a           modular room-dividing system called Clouds for textile                       manufacturers Kvadrat.Clouds consists of textile pieces held together with elastic bands to make free-standing or hanging structures, which can be used to divide space and absorb sound.

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WooDen texTiles

“The world around us is becoming increasingly immaterial. We are now used to write emails instead of letters, to pay online, to download music and touch virtual buttons on touch screens. We live in a society of images, a visual culture full of colours, advertisements, television and the internet. There is not much left to feel. Giving importance to surfaces that are desirable to touch can reconnect us with the material world and enhance the emotional value of an object.
“Wooden Textiles” convey a new tactile experience. We are used to experience wood as a hard material, we know the feeling of walking across wooden floors, to touch a wooden tabletop or to feel the bark of a tree. But we usually don’t experience a wooden surface which can be manipulated by touch.”Elisa Strozyk

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(X) house

The (X) house is designed to address the extreme changes in temperature that the region faces throughout the year.The project’s name refers to the funnels found within the house which channel sunlight and air from the outside in. The architects were interested in “designing the conditions as opposed to conditioning the design”, and thus sought to incorporate as many passive systems as possible. The “black lung” absorbs heat during the day and shelters the interior spaces, while the surface of the “white lung” captures and bathes the internal terraces in light. By providing a sheltered, controlled and well illuminated environment, Multiplicities hopes that they can provide a system that can adapt to the environment of Inner Mongolia. (images and information by http://www.inhabitat.com/architecture)

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Chamber Music Hall

This Chamber Music Hall designed by Zaha Hadid Architects. The design process involved architectural considerations of scale, structure and acoustics to realize a dynamic formal dialogue inseparable from its intended purpose as an intimate chamber music hall. A layering of spaces and functions is achieved through the ribbon wrapping around itself, alternately compressing to the size of a handrail then stretching to enclose the full height of the room. Circulatory and visual connections are continually discovered as one passes through the multiple layers of space delineated by the ribbon.

The ribbon itself consists of a translucent fabric membrane articulated by an internal steel structure suspended from the ceiling. The surface of the fabric shell undulates in a constant but changing rhythm as it is stretched over the internal structure. (images and information by http://www.architeria.com/)

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AirSpace Tokyo

Beige Architecture, in collaboration with Proces2, covered the AirSpace Tokyo with a layer of artificial vegetation.The building, located in the Kitamagome Ota-ku district, is a four story multi-family dwelling unit with professional photography studios.The exterior building skin is conceived as a thin interstitial environment, which articulated densities of the porous and open-celled meshwork are layered in response to the inner workings of the building’s program. (images and information by http://coolboom.net/)

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Toyo Ito and Cecil Balmond the Serpentine Gallery Pavilion 2002

There are two ideas, based on structural thinking, one for a floor that swelled up to support a flat roof; the    other for a flat roof composed exclusively of random cross lines and supported only by the line of the exterior  walls, in all forming an absolute box. They went for the second idea, where Cecil Balmond found a simple  algorithm for getting the seemingly chaotic pattern of lines. “Propose an algorithm: half to a third of adjacent  sides of the

square. The 1/2 to 1/3 rule traces four lines in the original square that do not meet. (Choose the half point  instead of each side, the trace 1/2 to 1/2 closes back on itself like a billiard ball bouncing perfectly around a  square enclosure.) The half to a third rule forces one to go out of the original square to create a new square so  that the rule, the algorithm, may continue. Continue for six cycles and a primary structure is obtained. Then if  these lines are all extended, a pattern of many crossings results. Some are primary for load bearing, some will  serve as bracings to secondary and the rest will be
a binding motif of the random across the surface of the box typology.” (Balmond 2006)
That approach based on algorithms offers greater freedom, but it is also a tool for thoughts since it is very hard to imagine randomness on your own. Algorithms enables you to create unpredictable complexity and hybrid situations, which are still calculable and manageable.

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Case Studies – Emergent – Libeskind

EMERGENT – Tom Wiscombe – Building systems hybrid

Emergent Architecture has designed three prototype panels; Thermo-strut, Tracery glass, Lizard panel. The three panels integrate thermal solar systems, PV systems, algae photo bioreactor coils, radiant cooling systems and gray water capture systems. The idea is that the panels should work as a fully integrated three-dimensional ornamental sustainable assemblies system.







The Thermo-strut panel is made out of low-res steel beams. The beams are covered with a transparent fiber composite shell embedded with solar technology.







The Tracery glass panel reconsiders glass and transparency in architecture. The “glass” is polycarbonate with embedded technology which is simultaneously operative and ornamental. It’s an exploration in energy friendly alternatives to stained glass.





The Lizard Panel prototype that embeds algae bioreactor pipes for energy generation and deep channels for reclamation of gray water from rainfall. The panel is inspired by the Agamid Lizards way to harvest rain water.


Daniel Libeskind – Futuropolis

Daniel Libeskind has designed the installation Futuropolis. The whole structure and is parts are defined by the intersection of two sets of extruded profiles. The installation consists of 2164 wooden parts, which is controlled by a completely parametric CAD-model, based on the algorithmic design rules. Translation of the geometry information into the machine code for the CNC-router is done by a script that also calculates the material costs and for preparing the raw boards is automatically exported as spreadsheets. The installation consists of 360 square meters of 32 mm thick boards, altogether almost 11.5 cubic meters of birch wood.
















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Voussoir Cloud

“Voussoir Cloud design explores the coupling of potentially conflicting constructional
logics the pure compression of a vault with an ultra-light sheet material.
The wedge shaped masonry blocks that make up an arch, using a system of three
dimensional modules formed by folding paper thin wood laminate along curved seams.
The curvature produces a form that relies on the internal surface tension to hold its
shape and allows for a structural porosity within the constraints of sheet material.
Concave modules pack together; naturally creating vaulted forms with a light porous surface.
The form-finding exploration of the whole is thus dependent on the geometric performance
of the individual units and their relation to the gallery walls. Intentionally confuses the structural
and material strategies. Bybeginning with a material operation, the design process is focused
on calibrating the relationship of digital model to physical result.”
Installation by American architects IwamotoScott in collaboration with Buro Happold
for the SCI-Arc Gallery 2008
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