a video projection on a facade in Berlin
Showing posts with label Architectural Exemplars. Show all posts
Showing posts with label Architectural Exemplars. Show all posts
Friday, 28 October 2011
Saturday, 8 October 2011
Second Life
This is not an endorsement of Second Life, rather an objective look at a type of virtual world that has gained some success (although apparently in decline). Check the $10,000 USD award for SL architecture below!! I wonder if it was actually paid to the winners? hmmm...
from Wikipedia
http://en.wikipedia.org/wiki/Second_Life
Second Life is an online virtual world developed by Linden Lab. It was launched on June 23, 2003. A number of free client programs, or Viewers, enable Second Life users, called Residents, to interact with each other through avatars. Residents can explore the world (known as the grid), meet other residents, socialize, participate in individual and group activities, and create and trade virtual property and services with one another. As of 2011, Second Life has about one million active users.
Built into the software is a three-dimensional modeling tool based around simple geometric shapes that allows residents to build virtual objects. There is also a procedural scripting language, Linden Scripting Language, which can be used to add interactivity to objects. Sculpted prims (sculpties), mesh, textures for clothing or other objects, and animations and gestures can be created using external software and imported. The Second Life Terms of Service provide that users retain copyright for any content they create, and the server and client provide simple digital rights management functions.
Avatars
Avatars may take any form users choose (human, animal, vegetable, mineral, or a combination thereof) or residents may choose to resemble themselves as they are in real life, or they may choose even more abstract forms, given that almost every aspect of an avatar is fully customizable. Second Life Culture comprises many activities and behaviors that are also present in real life. A single resident account may have only one avatar at a time, although the appearance of this avatar can change between as many different forms as the Resident wishes. Avatar forms, like almost everything else in SL, can be either created by the user, or bought pre-made. A single person may also have multiple accounts, and thus appear to be multiple Residents (a person's multiple accounts are referred to as alts).
Avatars can communicate via local chat, group chat, global instant messaging (known as IM), and voice. Chatting is used for localized public conversations between two or more avatars, and is visible to any avatar within a given distance. IMs are used for private conversations, either between two avatars, or among the members of a group, or even between objects and avatars.
Economy
Second Life has an internal economy and internal currency, the Linden dollar (L$). L$ can be used to buy, sell, rent or trade land or goods and services with other users. Virtual goods include buildings, vehicles, devices of all kinds, animations, clothing, skin, hair, jewelry, flora and fauna, and works of art. Services include "camping", wage labor, business management, entertainment and custom content creation (which can be broken up into the following 6 categories: building, texturing, scripting, animating, art direction, and the position of producer/project funder). L$ can be purchased using US Dollars and other currencies on the LindeX exchange provided by Linden Lab, independent brokers or other resident users. Money obtained from currency sales is most commonly used to pay Second Life's own subscription and tier fees; only a relatively small number of users earn large amounts of money from the world. According to figures published by Linden Lab, about 64,000 users made a profit in Second Life in February 2009, of whom 38,524 made less than US$10, while 233 made more than US$5000. Profits are derived from selling virtual goods, renting land, and a broad range of services.
The Linden can be exchanged for US dollars or other currencies on market-based currency exchanges. Linden Lab reports that the Second Life economy generated US$3,596,674 in economic activity during the month of September 2005, and as of September 2006 Second Life was reported to have a GDP of $64 Million. In 2009 the total size of the Second Life economy grew 65% to US$567 million, about 25% of the entire U.S. virtual goods market. Gross Resident Earnings are $55 million US Dollars in 2009 - 11% growth over 2008. In March 2009, it was revealed that there exist a few Second Life entrepreneurs, who have grossed in excess of 1 million US$ per year.
Second Life is an online virtual world developed by Linden Lab. It was launched on June 23, 2003. A number of free client programs, or Viewers, enable Second Life users, called Residents, to interact with each other through avatars. Residents can explore the world (known as the grid), meet other residents, socialize, participate in individual and group activities, and create and trade virtual property and services with one another. As of 2011, Second Life has about one million active users.
Built into the software is a three-dimensional modeling tool based around simple geometric shapes that allows residents to build virtual objects. There is also a procedural scripting language, Linden Scripting Language, which can be used to add interactivity to objects. Sculpted prims (sculpties), mesh, textures for clothing or other objects, and animations and gestures can be created using external software and imported. The Second Life Terms of Service provide that users retain copyright for any content they create, and the server and client provide simple digital rights management functions.
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| Intro from Second Life site |
Avatars may take any form users choose (human, animal, vegetable, mineral, or a combination thereof) or residents may choose to resemble themselves as they are in real life, or they may choose even more abstract forms, given that almost every aspect of an avatar is fully customizable. Second Life Culture comprises many activities and behaviors that are also present in real life. A single resident account may have only one avatar at a time, although the appearance of this avatar can change between as many different forms as the Resident wishes. Avatar forms, like almost everything else in SL, can be either created by the user, or bought pre-made. A single person may also have multiple accounts, and thus appear to be multiple Residents (a person's multiple accounts are referred to as alts).
Avatars can communicate via local chat, group chat, global instant messaging (known as IM), and voice. Chatting is used for localized public conversations between two or more avatars, and is visible to any avatar within a given distance. IMs are used for private conversations, either between two avatars, or among the members of a group, or even between objects and avatars.
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| Intro from SL 'meet people' page |
Second Life has an internal economy and internal currency, the Linden dollar (L$). L$ can be used to buy, sell, rent or trade land or goods and services with other users. Virtual goods include buildings, vehicles, devices of all kinds, animations, clothing, skin, hair, jewelry, flora and fauna, and works of art. Services include "camping", wage labor, business management, entertainment and custom content creation (which can be broken up into the following 6 categories: building, texturing, scripting, animating, art direction, and the position of producer/project funder). L$ can be purchased using US Dollars and other currencies on the LindeX exchange provided by Linden Lab, independent brokers or other resident users. Money obtained from currency sales is most commonly used to pay Second Life's own subscription and tier fees; only a relatively small number of users earn large amounts of money from the world. According to figures published by Linden Lab, about 64,000 users made a profit in Second Life in February 2009, of whom 38,524 made less than US$10, while 233 made more than US$5000. Profits are derived from selling virtual goods, renting land, and a broad range of services.
The Linden can be exchanged for US dollars or other currencies on market-based currency exchanges. Linden Lab reports that the Second Life economy generated US$3,596,674 in economic activity during the month of September 2005, and as of September 2006 Second Life was reported to have a GDP of $64 Million. In 2009 the total size of the Second Life economy grew 65% to US$567 million, about 25% of the entire U.S. virtual goods market. Gross Resident Earnings are $55 million US Dollars in 2009 - 11% growth over 2008. In March 2009, it was revealed that there exist a few Second Life entrepreneurs, who have grossed in excess of 1 million US$ per year.
Education
Second Life is used as a platform for education by many institutions, such as colleges, universities, libraries and government entities.Since 2008, the University of San Martin de Porres of Peru has been working on Second Life virtual world, developing prototypes of Peruvian archeological buildings, and training teachers for new paradigm of education.
Second Life gives companies the option to create virtual workplaces to allow employees to virtually meet, hold events, practice any kind of corporate communications, conduct training sessions in 3D immersive virtual learning environment, simulate business processes, and prototype new products.
Religious organizations have also begun to open virtual meeting places within Second Life. In early 2007, LifeChurch.tv, a Christian church headquartered in Edmond, Oklahoma, and with eleven campuses in the USA, created "Experience Island" and opened its twelfth campus in Second Life. The church reported "We find that this creates a less-threatening environment where people are much more willing to explore and discuss spiritual things".
The Egyptian-owned news website Islam Online has purchased land in Second Life to allow Muslims and non-Muslims alike to perform the ritual of Hajj in virtual reality form, obtaining experience before actually making the pilgrimage to Mecca in person.
Second Life also offers several groups that cater to the needs and interests of Humanists, atheists, agnostics, and freethinkers. One of the most active groups is SL Humanism which has been holding weekly discussion meetings inside Second Life every Sunday since 2006.
Embassies
The Maldives was the first country to open an embassy in Second Life. The Maldives' embassy is located on Second Life's "Diplomacy Island", where visitors will be able to talk face-to-face with a computer-generated ambassador about visas, trade and other issues. "Diplomacy Island" also hosts Diplomatic Museum and Diplomatic Academy.
In May 2007 Sweden became the second country to open an embassy in Second Life. Run by the Swedish Institute, the embassy serves to promote Sweden's image and culture, rather than providing any real or virtual services. The Swedish Minister for Foreign Affairs, Carl Bildt, stated on his blog that he hoped he would get an invitation to the grand opening.
On Tuesday December 4, 2007, Estonia became the third country to open an embassy in Second Life. In September 2007, Colombia and Serbia opened embassies. As of 2008, Macedonia and the Philippines have opened embassies in the "Diplomatic Island" of Second Life. In 2008, Albania opened an Embassy in the Nova Bay location. SL Israel was inaugurated in January 2008 in an effort to showcase Israel to a global audience, though without any connection to official Israeli diplomatic channels.
The Linden Prize goes to … Studio Wikitecture and Virtual Ability
Posted on April 30, 2009 by Everett Linden
Studio Wikitecture and Virtual Ability are the winners of the 1st Linden Prize! Both projects will receive $10,000 USD–the largest award in the virtual world industry–in honor of their achievements. After 230 applications and two rounds of deliberations, the judges decided that these two projects were “like comparing Tuesdays and Oranges”, so they will share the award!
The Maldives was the first country to open an embassy in Second Life. The Maldives' embassy is located on Second Life's "Diplomacy Island", where visitors will be able to talk face-to-face with a computer-generated ambassador about visas, trade and other issues. "Diplomacy Island" also hosts Diplomatic Museum and Diplomatic Academy.
In May 2007 Sweden became the second country to open an embassy in Second Life. Run by the Swedish Institute, the embassy serves to promote Sweden's image and culture, rather than providing any real or virtual services. The Swedish Minister for Foreign Affairs, Carl Bildt, stated on his blog that he hoped he would get an invitation to the grand opening.
On Tuesday December 4, 2007, Estonia became the third country to open an embassy in Second Life. In September 2007, Colombia and Serbia opened embassies. As of 2008, Macedonia and the Philippines have opened embassies in the "Diplomatic Island" of Second Life. In 2008, Albania opened an Embassy in the Nova Bay location. SL Israel was inaugurated in January 2008 in an effort to showcase Israel to a global audience, though without any connection to official Israeli diplomatic channels.
The Linden Prize goes to … Studio Wikitecture and Virtual Ability
Posted on April 30, 2009 by Everett Linden
Studio Wikitecture and Virtual Ability are the winners of the 1st Linden Prize! Both projects will receive $10,000 USD–the largest award in the virtual world industry–in honor of their achievements. After 230 applications and two rounds of deliberations, the judges decided that these two projects were “like comparing Tuesdays and Oranges”, so they will share the award!
Some excerpts from 'Space Between People' edited by Stephan Doesinger
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| Locus |
Wednesday, 21 September 2011
from Production to Produsage
Axel Bruns
http://produsage.org
In this groundbreaking exploration of our developing participatory online culture, Axel Bruns (QUT) establishes the core principles which drive the rise of collaborative content creation in environments from open source through blogs and the Wikipedia to Second Life. He shows that what's emerging here is no longer just a new form of content production, but a new process for the continuous creation and extension of knowledge and art by collaborative communities: produsage. The implications of the gradual shift from production to produsage are profound, and will affect the very core of our culture, economy, society, and democracy.
In collaborative communities the creation of shared content takes place in a networked, participatory environment which breaks down the boundaries between producers and consumers and instead enables all participants to be users as well as producers of information and knowledge - frequently in a hybrid role of produser where usage is necessarily also productive. Produsers engage not in a traditional form of content production, but are instead involved inprodusage - the collaborative and continuous building and extending of existing content in pursuit of further improvement. Participants in such activities are not producers in a conventional, industrial sense, as that term implies a distinction between producers and consumers which no longer exists; the artefacts of their work are not products existing as discrete, complete packages; and their activities are not a form of production because they proceed based on a set of preconditions and principles that are markedly at odds with the conventional industrial model.
The produsage process itself is fundamentally built on the affordances of the technosocial framework of the networked environment, then, and here especially on the harnessing of user communities that is made possible by their networking through many-to-many communications media. By providing such functionality, network technologies have substantially extended the boundaries for the community of participants able to contribute to the produsage project. Indeed, even those members of the networked population who choose for the moment to remain users, simply utilising the 'products' of the produsage process as substitutes for industrial products, are always already potential produsers themselves - and recent developments have made it ever more easy, and in some cases even inevitable, for such users to become produsers (for example as their very patterns of usage become direct inputs to the continuing processes of produsage).
While produsage processes produce real outcomes, and while we could therefore describe produsage as a (commons-based, peer-to-peer) form of production, to understand the collaborative processes involved in produsage, and to examine their influence on the form and content of the information, knowledge, and creative work prodused in the process, our focus must turn elsewhere. An important consequence of this shift of focus, then, is also that we must revise our understanding of the outcomes of produsage process, distinguishing them from the products of the industrial model. Although produsage outcomes can substitute for conventional products, this dressing-up of the temporary outcomes of a continuing process as 'products' in their own right should not be misunderstood to indicate that these artefacts are anything but temporary, that they are anything other than artefacts. A physical product - and by extension, an informational product produced and distributed through conventional industrial models which are ultimately rooted in physical production paradigms - is defined by its boundedness; it is 'the complete package,' a self-contained, unified, finished entity. By contrast, the 'products' of the collaborative content creation efforts which we examine throughout this book are the polar opposites of such products: they are inherently incomplete, always evolving, modular, networked, and never finished. Their process of 'production' is a process of perpetual, ceaseless, continuous update, extension, and revision which operates not according to a predetermined blueprint or design, but is driven by the vagaries of user-producer interest in and enthusiasm for fixing specific problems or extending particular aspects of the project. Its outcomes are artefacts, not products.
The social, collaborative basis of the content creation communities engaged in produsage also indicates this; in produsage projects, the object of the communal effort is almost always as much the development of social structures to support and sustain the shared project as it is the development of that project itself. As Eric von Hippel notes in Democratizing Innovation, the object of such produsage is not simply information, but an information commons; in its full form, the information (knowledge, creative work) prodused by the community therefore exists not in abstraction from the social contexts of its development, as a stand-alone product, but exists only as directly embedded in such contexts, as a temporary artefact of continuing social processes of developing, extending, negotiating, and evaluating this shared content. Just as we do not speak of 'producing' our social networks (we build, extend, maintain, improve them), in collaborative content creation much the same observation applies: here, too, content creation is an act of maintenance and construction (of both content and the social relationships among participants) at least as much as it is one of production. Most participants in content creation communities will therefore see themselves exactly as that: as participants, not as producers. Although their behaviour in these communities may be 'productive' as their acts of participation accumulate, for some participants this may be only a corollary to their social use of the communal spaces, and to their engagement in the community.
Produsage: Key Principles
1. Open Participation, Communal Evaluation
2. Fluid Heterarchy, Ad Hoc Meritocracy
http://produsage.org
In this groundbreaking exploration of our developing participatory online culture, Axel Bruns (QUT) establishes the core principles which drive the rise of collaborative content creation in environments from open source through blogs and the Wikipedia to Second Life. He shows that what's emerging here is no longer just a new form of content production, but a new process for the continuous creation and extension of knowledge and art by collaborative communities: produsage. The implications of the gradual shift from production to produsage are profound, and will affect the very core of our culture, economy, society, and democracy.
In collaborative communities the creation of shared content takes place in a networked, participatory environment which breaks down the boundaries between producers and consumers and instead enables all participants to be users as well as producers of information and knowledge - frequently in a hybrid role of produser where usage is necessarily also productive. Produsers engage not in a traditional form of content production, but are instead involved inprodusage - the collaborative and continuous building and extending of existing content in pursuit of further improvement. Participants in such activities are not producers in a conventional, industrial sense, as that term implies a distinction between producers and consumers which no longer exists; the artefacts of their work are not products existing as discrete, complete packages; and their activities are not a form of production because they proceed based on a set of preconditions and principles that are markedly at odds with the conventional industrial model.
The produsage process itself is fundamentally built on the affordances of the technosocial framework of the networked environment, then, and here especially on the harnessing of user communities that is made possible by their networking through many-to-many communications media. By providing such functionality, network technologies have substantially extended the boundaries for the community of participants able to contribute to the produsage project. Indeed, even those members of the networked population who choose for the moment to remain users, simply utilising the 'products' of the produsage process as substitutes for industrial products, are always already potential produsers themselves - and recent developments have made it ever more easy, and in some cases even inevitable, for such users to become produsers (for example as their very patterns of usage become direct inputs to the continuing processes of produsage).
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| The produser |
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| The Information Commons of Produsage |
Produsage: Key Principles
1. Open Participation, Communal Evaluation
3. Unfinished Artefacts, Continuing Process
4. Common Property, Individual Rewards
AKT
Sawako and Panagiotis at AKT
http://www.akt-uk.com/
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| Tensor field streamlines |
Currently Sawako and Panagiotis are working as computational design researchers in Adams Kara Taylor based in London. They have worked on projects by well known architectural practices in the United Kingdom including Zaha Hadid Architects, Future Systems, and Foreign Office Architects in the development of architectural design involving complicated geometries. Their research aims in developing design solutions that respect criteria of structural efficiency and architectural intentions by interrogating the intrinsic properties of forms and their embedding space.
Panagiotis Michalatos
Studied Architecture at NTUA Athens Greece and graduated in 2001. He then went to Sweden to study at the art and technology course in Gothenburg a program jointly organized by Chalmers and IT-Universitet. His studies focused on the development of real time motion analysis software for interactive projections in public spaces, and development of a multi user real time architectural design software based on parametric objects that allows multiple people to work on the same model synchronically by employing a server client model.
Panagiotis worked as a programmer in the fields of interaction design and architecture and developed experimental computer games. He collaborated with choreographer Cristina Caprioli [CCAP] in Stockholm, developing software for her performances that generates patterns that react to or reinterpret the dancers’ movements.
Sawako Kaijima
In 2005, she graduated with a Master of Architecture from Massachusetts Institute of Technology after having previously studied in Keio University, Japan, where she earned her Bachelor of Arts in Environmental Information majoring in Media Design.
Her studies in MIT focused on developing design methodologies that aims to syntheses the multi-relational aspect of the design by means of digital computation. Specifically, she developed projects and design solution that are highly integrated with environmental information, which were presented at various schools including MIT, University of Pennsylvania, Architectural Association, and University of East London.
Panagiotis Michalatos
Studied Architecture at NTUA Athens Greece and graduated in 2001. He then went to Sweden to study at the art and technology course in Gothenburg a program jointly organized by Chalmers and IT-Universitet. His studies focused on the development of real time motion analysis software for interactive projections in public spaces, and development of a multi user real time architectural design software based on parametric objects that allows multiple people to work on the same model synchronically by employing a server client model.
Panagiotis worked as a programmer in the fields of interaction design and architecture and developed experimental computer games. He collaborated with choreographer Cristina Caprioli [CCAP] in Stockholm, developing software for her performances that generates patterns that react to or reinterpret the dancers’ movements.
Sawako Kaijima
In 2005, she graduated with a Master of Architecture from Massachusetts Institute of Technology after having previously studied in Keio University, Japan, where she earned her Bachelor of Arts in Environmental Information majoring in Media Design.
Her studies in MIT focused on developing design methodologies that aims to syntheses the multi-relational aspect of the design by means of digital computation. Specifically, she developed projects and design solution that are highly integrated with environmental information, which were presented at various schools including MIT, University of Pennsylvania, Architectural Association, and University of East London.
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| Design in a non homogenous and anisotropic space / Interrogating the stress tensor field |
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| “problem-formulation“ |
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| Sequence screenshots |
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| Field Interrogation |
biothing
biot(h)ing is a research-design laboratory whose structure derives from particular linkages between various disciplinary and technological nodes, promoting intra-specific creative relationships which in turn serve as a transformative tissue for the design process itself. An algorithmic articulation of the relation between the corporeal and incorporeal i s biot(h)ing’s attempt to engage with complexity. Away from individuations as subject or form, design is understood as genetic inscription. Parallel reality of the invisible code is a common ground for multiple actualizations.
www.biothing.org
alisa andrasek is an experimental practitioner of architecture and computational processes in design. In 2001 she founded biot(h)ing, a t rans-disciplinary laboratory which research focuses on generative potential of physical and artificial computational systems for design. Andrasek graduated from the School of Architecture, University o f Zagreb and holds a Masters in Advanced Architectural Design from Columbia University.
www.biothing.org
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| “swells: scripting logics“ |
Thursday, 8 September 2011
Tuesday, 6 September 2011
Burning Wastelands
The way to get wonderfully lifelike behaviour is not to try to make a really complex creature, but to make a wonderfully rich environment for a simple creature. – David Ackley
Designed by Charikleia Kalamari the above-mentioned project is one of thirteen design responses to this year’s Inter 3 brief about energy as relationships. Moving away from heavy mainstream infrastructures students explored platforming technologies, unconventional laboratories and guerrilla compounds, partly commentary, partly speculative, partly culturally injected. We critically reviewed India’s sacred and scientific as well as high-tech and low-tech sides in order to understand and discuss via design the high-contrast scene and processes involved in energy extraction, exchange/transfer, manufacturing, final use/consumption and renewal/feedback loop.
Numerous time based prototypes were built throughout the year to test and explore energy relationships, effects and performatic behaviours. Design, build, test, simulate, fail, re-build, design again… solve by iteration. Digital and analogue, fabricating and DIY techniques were used in order to hack and tinker daily live objects from electronic toys, antique mobile phones, vintage computers and musical instruments. From these experimentations some strange-behaving creatures emerged which later on turned into fine tuned wonderful designs that dream, dance, live/die, grow and sing, forming peculiar ecologies of novel energy-beings.
Articulating the ordinary Alexey Marfin (above) designed an interactive threshold controlled by the use of mobile phones on the site of Mumbai’s notorious Chor Bazaar (‘thieves market’) based on the concept of DIY and a disassemble/re-assemble strategy. Basmah Kaki reinterpreted sound and wind energy on the site of a vast and bleak granite quarry in Bangalore where a delicate instrumental apparatus nests on a gargantuan carved-out mountain contrasting with the harsh mine environment and the exploitation of women and children.
Among the tales of biological exuberance, death and life energy cycles were re-assembled in fragile bacteria lagoon laboratories and blossoming uranium landscapes scripted in an altered flora. Digital dreams of augmented reality discussing the concept of virtual religious rituals; a sonic Hindu temple in the marshlands of a slum controlled by the flow and tuned by the purity of water; global energy hunters gathered around the fires of e-wasted Microsoft hills and Intel mountains in Mumbai’s biggest landfills… students unveiled stories of horror and hope.
Inhale. Take in as much air as you can. This story should last about as long as you can hold your breath and then just a bit longer… – Haunted, Chuck Palahniuk
INTER 3 students 2010-11: Alexey . Basmah . Enrique . Harikleia . Hessa . Ilina . Lee . Maria . Min . Nara . Nathalie . Sergej . Vasu
Sunday, 14 August 2011
Exemplar Strategy - Mobile
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Nat Chard, Variable Picture Plane drawing instrument 02, 2006
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| CJ Lim / Studio 8, World of Cow |
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| CJ Lim / Studio 8, The Hanging Gardens of Wanton Harmony
This post looks at how a mobile architectural strategy could benefit Australia, and in particular Australian parliament. Being an expansive country with reasonably condensed population clusters, the nature of parliament can be described as remote.
Most pollies travel to the ACT when parliament is in session and remain in Canberra for the duration, possibly returning home for weekends. Parliament House is their home (virtually) for weeks, months on end. As our technology and lifestyle become more flexible, more convenient, more accessible should we look more toward mobile building typologies? No longer does an office need to be in an air conditioned building with artificial lighting. The technological superhighways of tomorrow are only just beginning to open up and with the implementation of cloud computing and connectivity, people of all walks will seek mobility and freedom for work and leisure.
   BOB is a hybrid home of the future, a mobile living tool for tomorrows generation of nomadic wanderers. Somewhere between a tent, a house and a Winnebago, BOB explores the relationship between the basic human requirements of travel and shelter.http://www.andrewmaynard.com.au/BOB01.html |
Exemplar Strategy - Virtual
CJ Lim
Virtually Venice
2004
Lim CJ., (2011) The Bartlett Faculty of Built Environment [Web log post].
Dan Slavinsky
A cage went searching for a bird
Virtually Venice
2004
Virtually Venice celebrates and adds to the connections between Venice and China. It began with the legendary story of Marco Polo’s meeting with the Mongol Emperor, Kublai Khan. In these portrayals of how Khan might have imagined Venice after their conversations, the city takes on aspects of the East and reconfigures itself in new architectural forms. While the two protagonists metaphorically represent East and West, this research aims to investigate cultural/identities differences and similarities.
Lim CJ., (2011) The Bartlett Faculty of Built Environment [Web log post].
Dan Slavinsky
A cage went searching for a bird
retrieved from http://butdoesitfloat.com/filter/Dan-Slavinsky
Julie Von Rohr
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| Julie Von Rohr, Colour Interface |
Julie Von Rohr exploring the theme of architecture as an environmental body-wrap. An array of illuminated points that are reminiscent of a synthesiser relate together with a keypad and a sound system.
Nat Chard
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| Nat Chard, Layer : Third Generation Architecture Built Within the Body |
Nat Chards work looks at optics, observation and controlled territories of vision. Layer 6 (2000) in 3D compares the analogies between the major functioning elements of the human body and typical architectural
or urbanistic arrangements.
Exemplar Strategy - Flexible
Neil Denari
Tokyo International Forum Competition,
1989
Ink on Mylar with pantone film.
Collection FRAC Centre, Orleans.
LA architect and 'machine architecture' protagonist Neil Denari...is able to be both gigantan (just look at those Goliath legs that straddle the green volume) and finicky (just pick your way among the balconies and ramps of the upper drawing). In earlier works he had already displayed a penchant for the combination of mechanised elements with large, bulk areas of containment. In the Tokyo project, he seems to effortlessly present present us with combinations of the reasonable: stripes of serviceable floors,one upon the other, intriguing series of cuts into the taller elements, and thena series of incidental built parts that sneak past, peek out, dangle down.
William Heath Robinson
'Carrying out the Correspondence for Mountain Climbing in the Home'
William Heath Robinson is a cartoonist from the first part of the 20th century who spent most of his time to invent complicated mechanical apparatuses in order to achieve a single action. The absurdity that emerges from those machines is...a pretty good expression of technophilia in its ambiguity.
William Heath Robinson chose to tweak the public with notions of the unlikely (but nearly possible) in a strategy of confrontation. He remains a reference for all who subscribe to the spirit of invention. Not a little of the naughtiness that can be found in early English 'High Tech' comes from his propositions, which includes strings, buckets, pulleys, buckets, or the waggling of the big toe to set up a chain reaction.
from Short Stories: London in Two-and-a-Half Dimensions
Daniel Libeskind
Little Universe, 1979
Ink on paper
Tokyo International Forum Competition,
1989
Ink on Mylar with pantone film.
Collection FRAC Centre, Orleans.
Cook, P. (2008) Drawing: the motive force of architecture Wiley & Sons Pty. Ltd. West Sussex, UK.
'Carrying out the Correspondence for Mountain Climbing in the Home'
Lambert, L. (2010, September 30). William Heath Robinson's Mechanical Apparatus' [Web log post].
'Stout members of the sixth column dislodge an enemy machine gun post on the dome of St Paul's'
Cook, P. (2008) Drawing the motive force of architecture Wiley & Sons Ltd., West Sussex, UK.
CJ Lim / Studio 8
"Dream Isle" by CJ Lim/Studio 8 Architectsfrom Short Stories: London in Two-and-a-Half Dimensions
Sound creating form - exploration - Carson Smuts - Columbia NYC
Daniel Libeskind
Little Universe, 1979
Ink on paper
Coop Himmelb(l)au
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| Coop Himmelb(l)au, Dosen-Wolke 1968 A proposal for a contraption, The dosen-Wolke for a gallery in Dusseldorf, that is part-dream, part gadget, part inflatable, part mechanism and perhaps part art-piece and part architecture. Peter Cook. |
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| Yuri Avvakumov and Yuri Kuzin, 1986-9 |
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