a Complex Oscillation

This proposal by Emergent is based on creating a complex visual oscillation between two and three dimensional realms. Somewhere between the disciplines of sculpture and painting, the piece registers as a mass but also as a graphic. Loopy, spotted patterns flow over manifold surfaces, simultaneously dissolving the mass and re-establishing it. Transparent zones allow people to view deep inside the object, their gaze pulled into involutions in interior surfaces. They can see the inside of the mass-painting.

The human brain, recent neuroscience suggests, is not engaged in “seeing” space, but in actively “modeling” space1. Residing on multiple ontological levels, this project is an attempt to force the brain to hedge and guess in its “modeling” of physical reality.

The colorful pattern language, while fanciful at first glance, is not simply a visual phenomenon. It is the result of intersecting a map of structural stresses with a painterly sensibility. The loopy mass is analyzed as a composite shell structure, revealing areas of low and high stress. The resultant color-gradient map is manipulated to produce certain visual effects but also broken down into layers of variable thickness and material strength. Color and pattern therefore only partially index material forces; the piece exceeds simple material expression towards something which correlates nature and culture.

Finally, layers of super-thin technology are embedded into the structurally sedimented fiber composite shell. Thin film solar tape is tucked beneath the outermost layer of the shell, while organic LED  lighting film is embedded on the inside of the shell, in accent layers. The solar tape creates micro-patterning which breaks down large surfaces and generates energy to power the lighting system. At night, mysterious graphic and silhouette effects are produced, heightening the dimensional play of the piece.

Είμαστε οι Μέλισσες του Αόρατου

Η Σοφία του Ρ. Μ. Ρίλκε

Σε έντεκα χιλιάδες γράμματα εκτιμάται το σύνολο της αλληλογραφίας του γερμανόφωνου ποιητή Ράινερ Μαρία Ρίλκε (1875-1926), προϊόν της επικοινωνίας του με φιλικά και συγγενικά πρόσωπα, καλλιτέχνες και νέους ποιητές που του ζητούσαν συμβουλές, πρώην και νυν ερωμένες. Η διεκπεραίωση αυτής της αλληλογραφίας ήταν καθημερινή ασχολία του ποιητή για αρκετές ώρες και δεν αποτελούσε γι' αυτόν κοινωνική υποχρέωση αλλά έργο πνευματικό, σχεδόν εξίσου σημαντικό με το ποιητικό του, αφού οι επιστολές του είναι συμπυκνωμένα φιλοσοφικά δοκίμια που καλύπτουν ένα ευρύτατο θεματικό φάσμα - από την καθημερινή συνύπαρξη με τους άλλους μέχρι τον ίλιγγο του έρωτα και από την απώλεια και τις δοκιμασίες της ζωής έως την καλλιτεχνική έμπνευση.

Ο Urlich Baer, καθηγητής Γερμανικών και Συγκριτικής Λογοτεχνίας, ανθολόγησε μέσα από χιλιάδες σελίδες αμετάφραστων επιστολών τα καλύτερα αποσπάσματά τους και τα συγκέντρωσε σε ένα βιβλίο-κιβωτό, που προσφέρει στον αναγνώστη όχι μόνο την απόλαυση ανάγνωσης ενός καλογραμμένου κειμένου αλλά και μια πηγή σοφίας στην οποία μπορεί ν' ανατρέχει κάθε στιγμή της ζωής του. Γιατί ο Ρίλκε δεν υπήρξε μόνο ένας από τους σημαντικότερους ποιητές του εικοστού αιώνα, ήταν πρώτα και πάνω απ' όλα βαθιά ανθρώπινος - μ' εκείνο το είδος της ανθρώπινης κατανόησης και ζεστασιάς που συχνά λείπει από τους διανοούμενους. Με γλώσσα ρέουσα και ποιητική και ύφος οικείο και τρυφερό σαν χάδι, ο Ρίλκε στοχάζεται και καταθέτει τις σκέψεις του στο χαρτί καταρχάς και στις καρδιές όσων τις διαβάζουν, στη συνέχεια.

Τα κείμενα που αναφέρονται σε βιβλία όπως ''Η σοφία του Ρίλκε'', δεν χρειάζονται πολλά λόγια και βαθυστόχαστες αναλύσεις, τα τριαντάφυλλα δεν έχουν ανάγκη ούτε από κομπλιμέντα ούτε από διαφήμιση - υπάρχουν κι αυτό είναι αρκετό. Ένα μικρό απόσπασμα από το βιβλίο: ''το εξοχότερο επίτευγμα της δύναμης της ζωής είναι ότι ερμηνεύει το κακό ως καλό και ουσιαστικά το αντιστρέφει... τίποτα δεν διατηρείται δυσκολότερα από το κακό, γι' αυτό κανείς άνθρωπος δεν θα έπρεπε να σκέφτεται πως είναι κακός. Φτάνει να σαλέψει λιγάκι κι αμέσως παύει να είναι.''
 

a Frozen Music

Anisotropia, the design for the new Busan Opera House by Orproject is based on Klavierstück I, a composition for piano by Orproject director Christoph Klemmt. It is based on a twelve tone row which is repeated and altered by the different voices, in order to create complex rhythmic patterns.

Anisotropia becomes the physical manifestation of Klavierstück I, a frozen piece of music. The design for the Busan Opera House is based on a simple strip morphology instead of a twelve tone row, which creates the facade, structure and rhythm within itself, its repetition happening in space instead of time. Layers of the strips form the façade structure, and the shifting and alteration of these patterns results in the formation of complex architectural rhythms which are used to control the light, view and shading properties of the façade.

Klavierstück I uses a twelve tone row which starts with the lowest key of the piano. After its first cycle the row gets repeated, though shifted up by a halftone. However rather than translating up every tone by a halftone, only the lowest tone of the row is translated up by one octave. Like this the row remains the same, but its range has been shifted.

In the next repetition this shift continues, but the range now also gets reduced in its size: The lowest tone gets translated up by one octave again, and the second lowest tone gets dropped out, so that only the remaining eleven tones of the row are played. Instead of the twelve tones the range now only covers eleven tones, and also its length is reduced accordingly.

The range of the twelve tone row continues to be reduced and shifted upwards until only one tone is left in each repetition of the original row. Then the range grows again, and still moving upwards goes through further modulations: The different voices of the piece are starting to separate, the size of the different parallel ranges starts to diverge, they move around each other, until finally they grow together again, still moving up and their range fading out with the highest key of the piano.

Cellular Geometries

The project was designed by Xing Wang in cooperation with Offenbach Academy of Art and Design. The design team was organized by Prof. Dr. Markus Holzbach and was exhibited in Frankfurt in January 2011. It explores the structure and combinatorics of cellular geometries, completely relying on computational design.

The project’s aim was to build a pavilion inside Diamantenbörse in Frankfurt. It was based on mobius geometry with 3d voronoi pattern structure. It tried to integrate special light effects for the media show during the exhibition. The 3d vronoi pattern structure is manufactured as straight wood panels by 5 axis milling machine and assembled on site. In order to save time and material, most parts of the wood panels were cut under 3 axis cutting method, only the both ends parts of the panels with slope are cut through 5 axis setting.

The task was to generate the complex 3d structure in a parametric way, and also prepare the fully detailed CNC manufacture files for the CNC lab. The parametric solution for this system gave the possibility to adjust the structure many times on different design stages.

 

Ανθίβολα...Ανθίβολα

Σχέδια µε «πατρόν» δεξιοτεχνών αγιογράφων από την Ήπειρο άφησαν τα ίχνη τους στην Ελλάδα και τα Βαλκάνια, σε τοιχογραφίες και εικόνες σε ορθόδοξους ναούς. Ιχνη που ακολουθεί το βιβλίο «Ανθίβολα από τους Χιονιάδες».

Από το ορεινό χωριό των Χιονιάδων µε τους µόλις 400 κατοίκους, τον 18ο και τον 19ο αιώνα µια οµάδα ή «κολεκτίβα» δεξιοτεχνών του σχεδίου και της αγιογραφίας κίνησε για να διαδώσει την τέχνη της θρησκευτικής ζωγραφικής στον ελλαδικό χώρο και τα Βαλκάνια. Οι ζηλευτοί τεχνίτες, µε ανθίβολα (σχέδια «πατρόν» αγιογραφιών) στις αποσκευές τους, ταξίδευαν από τη Βορειοδυτική Ελλάδα, τη Θεσσαλία, το Άγιον Όρος έως την Αλβανία και τη Βουλγαρία, τοιχογραφούσαν εκκλησίες και φιλοτεχνούσαν φορητές εικόνες, διατηρώντας το ορθόδοξο χριστιανικό πνεύµα ζωντανό στην οθωµανική επικράτεια.

Είκοσι τέσσερα ανθίβολα και σχέδια µεγάλων διαστάσεων, τα οποία ανήκουν στην πολύτιµη Συλλογή Μακρή - Μαργαρίτη, µπήκαν στο µικροσκόπιο της αρχαιολόγου δρος Ανδροµάχης Κατσελάκη και της ιστορικού Βυζαντινής Τέχνης καιθεολόγου Μαρίας Νάνου, µε σκοπό να ανιχνεύσουν τις βυζαντινές ρίζες της ζωγραφικής τέχνης στον ελληνικό και βαλκανικό χώρο. Στις 414 σελίδες του βιβλίου «Ανθίβολα από τους Χιονιάδες», εξηγούν πώς τα εύθραυστα και σηµαντικά αυτά σχέδια συναντώνται σε τοιχογραφίες και φορητές εικόνες ναών στην Ελλάδα και τα Βαλκάνια.

Και µάλιστα πολλές φορές τα ίδια ακριβώς σχέδια, που «ξεπατικώνονταν» στους τοίχους ή στο ξύλο, συναντώνται σε διαφορετικούς ναούς – και διαφορετικές εποχές. Τα έργα που παρουσιάζονται στο βιβλίο προέρχονται από τοπικά καλλιτεχνικά εργαστήρια της Βορειοδυτικής Ελλάδας και της Νότιας Βαλκανικής και βρέθηκαν στο αρχείο του αγιογράφου Ανέστη Γιαννούλη από το Ασηµοχώρι Ιωαννίνων. Ο πατέρας του, Παύλος Γιαννούλης, µαθήτευσε σε χιονιαδίτες ζωγράφους και συγκεκριµένα στους αδελφούς Χριστόδουλο και Θωµά Μαρινά. Ο Ανέστης Γιαννούλης χαρακτήριζε τα σχέδια του εργαστηρίου των Μαρινάδων «πλούτο γνώσεων» και «επιγραφοσυνταγές».

Ο πρώτος γνωστός χιονιαδίτης ζωγράφος είναι ο Κώνστας– ο οποίος ταυτίζεται πιθανότατα µε τον Κώνστα Θεοδόση. Το πρώτο ενυπόγραφο έργο του είναι η εικόνα του Αγίου Γεωργίου στο τέµπλο του ναού της Κοιµήσεως της Θεοτόκου στη Βούραµπιανη, κοντά στους Χιονιάδες, και χρονολογείται το 1747.

Οι χιονιαδίτες ζωγράφοι ασκούσαν οικογενειακά την τέχνη τους και κληρονοµούσαν τα σχέδια των προγόνων τους, που λειτουργούσαν ως πατρόν, καθοδηγώντας το χέρι του καλλιτέχνη.Ο χιονιαδίτης ζωγράφος Ζήκος ήταν ο πρώτος που απεικόνισε τον νεοµάρτυρα Γεώργιο εξ Ιωαννίνων, δεκατρείς µέρες µετά τον θάνατό του το 1838.

art in a Railway

IDEA Studio is a research program for designers, pursiung innovative projects that push design technology to its limits. Its residents have access to latest technology and coaching from Autodesk’s experts who can help them apply the latest technology to accelerate their projects. Shajay Bhooshan, lead researcher at Zaha Hadid Architects, used Autodesk Maya and Autodesk Algor Simulation software to create operative pathways from physically-based simulation designs to structurally sound architectural models. Bhooshan created a plug-in for Maya to visualize stresses in real-time, enabling him to integrate structural feedback into the form-finding process with minimal disruption to the creative experience. To test out the workflow, Bhooshan and his colleague, John Klein, created a case study design of a train station. Using 3D printers in the Autodesk Gallery, Bhooshan and Klein printed the 18 components of the train station design, which fit together to create one fluid form.

The Bangalore Railway design explores operative pathways from physically based simulation design to structurally sound architectural models utilizing specific software and computational techniques. Inspired by analogue architectural design methods that were established in the 19th century by architects like Antonio Gaudi the design creates a digital method to unite playful architectural form-finding with qualitative structural analysis in the early stages of the design process.

 

a Modular, a Parametric

The design for a modular, deployable, and adaptable bridge using parametric strategies and digital fabrication methods was developed by studio BÄNG. The design was conceived using the following rules:  Four data points were established at the beginning, middle, and the end of the bridge. These 12 parametrized points give the opportunity to steer the crosssection of the bridge at three important areas. Based on these points the defi nition creates three frames one for each end of the bridge and one in the middle.

All frames get connected and the resulting four-point polylines triangulated to get the base of the load bearing framework for each side of the bridge. The triangles get offsetted according to the sun and then moved in direction of their normals. By lofting the two resulting curves a rigid and complex looking shape occurs.

The most important benefit of parametric design and digital fabrication is the optimization of the whole design process. Modularity, the optimization of the construction time as well as saving material were the main goals.

All angles in the construction are measured to give them to the electronic press brake. After getting the laser cutted and electronical press braked elements from the factory the only thing the construction workers have to do by hand is to close the 16 elements by screws. After closing the elements the modules are ready to be transported up to the site where the bridge shall be situated. Two workers are able to connect the parts with screws in less than 2 days.

e Volo
 

a Library upon Pilotis

A proposal by Budi Pradono Architects for the Stockholm Public Library is based on a suspended slab set upon two large transparent pilotis. The simple conceptual form provides multiple benefits, anticipating a complex program to accomplish the difficult task for a contemporary library as both public venue and research retreat.

The library’s two collection floors are elevated to provide a more welcoming street front with a large plaza forming at the base of the building. The transparent columns contain various public spaces to engage group activities such as studios, an auditorium, restaurant, news room and reading areas as well as a office. The open view shed protected by the large mass above provides an open and compelling space to socialize in, acting as a communications hub for the city.

The main two levels stretch out over the site and contain the main book collections. Reading areas punctuate the floor plates, dipping below and opening to the ceiling where daylight glazing is incorporated into the roof deck. The reading pod’s oval shape contrasts with the monolithic slab, creating an informal area for research and immersion. The various apertures between the two floors also are intended to stimulate knowledge exchange among the library’s varied collections.

e Volo
 

a Landscape for Rosario

The New York based EFGH Architectural Design Studio designed a recreational landscape for the industrial area of Rosario, Argentina. The Studio’s work focuses on responsive design concepts and building techniques that challenge the conventional notions of program, material and context. The Billboard Park illustrates the unconventional strategic approach in designing public spaces.

The landscape engages both the horizontal and the vertical, in order to provide optimal use of open public spaces as well as to create an interactive structure offering various views of the Paraná River. Part of a public/ private partnership and constrained to a triangular plot of land set away from the water’s edge, Billboard Park rises up to form a vertical landscape, with its green side facing the river and its asphalt side facing the highway and neighborhood beyond.  A lightweight, soil-free growth medium is used to generate a vertical garden across a concrete structural honeycomb. The open structural pattern organizes both the horizontal and vertical planes and provides a number of niches as well as a dynamic visual icon for Rosario.
The surrounding development is a public/private venture focused on revitalizing the Rosario waterfront, and is currently under construction.

 

history in Tian'an Men

The National Museum of China is located on the east side of Tian'an Men Square in Beijing. It is the largest comprehensive history museum in China. Through display of both material and non-material collections and exhibits, it narrates the history created by the ancestors of the Chinese people.

The National Museum is built on the twin foundations of the former China History Museum and the former China Revolutionary Museum in 2003. The new museum is currently undergoing expansion. It has extremely rich collections and the excellence of its exhibits and depth of its research are second to none.

The National Museum holds the country's most important historical objects. Through China's History Exhibition, these are shown to visitors from both inside and outside China, to display the long history and shining civilization of the Chinese people. At the same time, the museum undertakes education projects, archaeological excavations and scientific research.

The earliest items on display here are the teeth of Yuanmou Man from Yunnan Province, dating back some 1,700,000 years. The most recent are historical artifacts from Xinhai Revolution of 1911.

The Early Society Exhibition starts with ancient inhabitants (around 1,700,000 years ago to 10,000 years ago), then clan society (around 10,000 years ago to 5,000 years ago) and the dawn of civilization (around 5000 to 4000 years ago). In :he ancient inhabitants' section you can see China's earliest 'sapiens' called Yuanmou Man, the slightly later Lantian Man, Beijing Man, Jinniushan Man, and also Shandingdong Man. The last had already entered the homo sapiens period. These ancestors wrote the first page in the chapter of China's history. Stone tools that they created, the seeds they collected, bones of the animals that they hunted are all documented in the exhibition cases. The bone-made needle and the teeth and shells that the Shandingdong Man used for jewelry indicate that by his time, mankind had already begun to sew clothing and have an awareness of aesthetics.

From around 10,000 years ago, mankind began to polish stone tools, make ceramics, weave cloth, and engage in other handicrafts production. The distribution of clans also began to be more widespread. In the exhibit, rice kernels from some 5,000 years ago, bone implements of some 7,000 years ago, and the model of a matriarchal village unearthed in Shaanxi Province from some 6,000 years ago can be seen. From around 5,000 years ago, agricultural techniques were well advanced and besides being able to provide for his own basic needs, man was able to produce a certain surplus. This led to a system of private ownership and the development of classes. At this time, special handicraft industries appeared, also the rudiments of writing, cultural arts and religion. In the exhibits, one can see important ritual implements of the period made from stone and jade.

Ading with the shape of the big broad-mouthed receptacle of the Western Zhou dynasty unearthed in Mei County,Shaanxi Province A Four-sheep zun of the Shang dynasty.

The slave society was mankind's first class society in history. This period is divided in the exhibition into Xia, Shang, Western Zhou, and Spring and Autumn periods and one that covers all tribes from Xia to Spring and Autumn.

The Xia Dynasty was the first kingdom in Chinese history. Its center of ruling power was the northern part of what is today Henan and the southern part of Shanxi provinces. The Bronze jue excavated from Yanshi in Henan, and the ceramic cup and so on indicate that agriculture was a primary economic activity in the Xia period, while the manufacture of bronzes was already quite developed.

The Shang period was a glorious time of Chinese bronze development. Craftsmen were able to cast very complex shapes and to create highly refined and beautiful inscriptions and ornamentation. The heaviest bronze piece discovered to date is on exhibit here; called the'Simuwu Ding,' which weighs 832.84 kilograms. A four-ram 'zun and other representative Shang dynasty bronzes are on display. In addition to bronzes, the manufacture of ceramics, lacquer-making, weaving, jade carving and so on also achieved a certain level of accomplishment. The early?porcelain zun excavated at Zhengzhou in Henan is one of the earliest pieces of porcelain found in China to date. Another notable achievement of the Shang dynasty is the ancient script known as jiaguwen, or ancient writing on the shoulder?blade bones of oxen and the front plates of tortoises. This writing began the construction of the basic shapes that later developed into 'Han characters.

Chinese bronze-making technology flourished during the Western Zhou period, following the Shang. In terms of political organization, China followed a system of divided feudal authority, and a severe system of rites and also punishments was instituted. The ceremonies or rites were used to moderate relations within the ruling class, the system of punishments was used to control and oppress commoners and slaves. Items on display give evidence of these things.