Mathematician Origami

The project is installed at “Pommery” champagne factory in France, part of the largest underground systems of corridors and caves in the area. It combines computational design techniques with ancient paper folding techniques, resulting in a 345 cubic-meter suspended structure which acoustically amplifies sound. The Sound Factory project was designed in cooperation between artists Ali Monemi and Robin Meier and architect Hyoung-Gul Kook.

The structure is made of 285 flat sheets of aluminium/polyethylene composite. The idea of modulation and systems for actual construction was developed into combinations of basic geometry, with a specific visual and acoustic impact on the immediate surroundings. The form itself was inspired by mathematician and origami expert Taketoshi Nojima, especially his work reproducing organic forms from folded paper. It acoustically amplifies the sound form a single speaker-driver in order to create an enclosed space that overflows the listener in its center. Using the actual sounds of effervescence picked up by a special microphone immersed in the champagne vessel, a real-time analysis/synthesis audio system creates a continually evolving sound environment, diffused downward from above.

“La Fabrique Sonore”, as this project was originally titled, uses contemporary computer-aided design techniques in a program-specific fashion, avoiding the common trap of reducing it to formalistic experimentation.

based on the old Zeppelins

Passing Cloud is a project by Tiago Barros for the international ideas competition: “Life at the Speed of Rail”, organized by the Van Alen Institute  in New York City. It reveals a strong conceptual approach on new ways of traveling based on the old Zeppelins.

Nowadays, traveling is achieved with this idea of having a fixed destination and an estimated time of arrival. Passing Cloud completely inverts this system. A floating device is introduced that travels around the entire USA territory according to current predominant winds. It has no fixed time of arrival or place for arrival. The journey becomes the essence.

This project envisions a distinct approach towards moving around the United States being also a revival of the act of traveling. Why traveling at high speed? Why having the final destiny always defined? And why always departing and arriving on a tight schedule? Nowadays, everything is set and everyone is always running around.

Passing Cloud is an innovative and environmentally friendly method of transportation that doesn’t require expensive steel tracks or concrete highways. It is made of a series of spherical balloons that form the shape of a cloud. Its inner stainless steel structure is covered with heavy weight tensile nylon fabric. During the journey, It moves according to prevailing winds speed and direction at the time of travel. Since it moves with the wind, no wind is ever felt during the trip, offering the passengers a full “floating sensation”.

a Visualization Design

Kinematic Bloom is an interactive project designed by Daekwon Park, founder of the web-based Meta-Territory_Studio. The project took shape within the framework of Augmented Architectures course at Harvard Graduate School of Design. The course focused on the idea that spatial experience can be conceived, understood and designed as a series of reactive computational events. The goal of the course was to explore the realms of theory, visualization, design, and production of augmented architecture. It engaged in a critical discussion on the impact that our daily digital experiences have on the perception and expectation of physical experiences.

From a simple source of light, Kinematic Bloom is transformed into an interactive and responsive set of luminaries. Equipped with several sensory mechanisms (sound detection, reaction to light and movement) the structures change shape and level of brightness, depending not only on human movement but also on the proximity of other light sources. The claim of augmentation, which Kinematic Bloom explores, is not to apply sensor technologies to an inert object as a simple overlay, but to shape the entire design process with the idea of integrated systems as a determining factor. The intelligence of design, material and sensor technologies and computation will therefore become combined.
 

to Re Engineering

The Acapulco Chair is one of the most celebrated chair designs of the 20th Century. It is an anonymous design that emerged in the 1950’s in Hollywood’s favorite beach destination: Acapulco, Mexico.

The chair was born next to the famous “La Quebrada” divers cliff, a place visited by Frank Sinatra, Elizabeth Taylor and where John and Jacqueline Kennedy headed for their honeymoon.

The design enjoyed continuous success for almost five decades – being a designer’s favorite for its clean lines and comfort. It was manufactured by several artisanal workshops in Mexico, slowly disappearing from the market at the turn of the 21st Century.

After several design improvements, the chair is once again available with Electrostatic powder-coated steel frame and recycled UV filtered PVC woven cord shell, which makes it ideal for indoor and outdoor use.

The chair is available at thecommonproject, a design initiative based in Los Angeles, Barcelona, and Mexico City. In addition to this classic design, thecommonproject offers a stunning rocking chair version, as well as a kid’s size in both designs. Subtle and vibrant cord colors are the perfect accessory for any location.tyo

to Lava Bionic

“Architecture has to perform as an ecosystem within the organic tissue of the city.”

The intention of the Bionic Tower is to explore the array of ways in which natural and architectural can merge, creating the ultimate inhabitable structure. It starts at the basic level. Using references to the biological organization of the ecosystem, the design works its way from the smallest unit to the intelligence of the overall system.  By use of parametric modeling of a behavioral logic the system gets constantly optimized. Designed by LAVA, this biomorphic project is inspired by nature, and attempts to conceive a structure of great lightness, efficiency and elegance, using advanced design techniques.
to
The architects seem to address issues of ventilation, solar access and water collection as an evolutionary instinct of self-preservation, found in nature and adopted by architecture. Envisioned as equivalents to mechanisms of organic regeneration, the proposed systems are connected to the facade design. They are embedded in the façade in the form of intelligent automation of the surfaces, addressing pragmatic issues such as ventilation, solar access and water collection. New materials and technologies enable adaptability, responsiveness, environmental awareness and strength. The building systems and skin are controlled and react to external influences like air pressure, temperature, humidity, air pollution and solar radiation.

to Erase the Barriers of Art

DCPParquitectos proposal for the New Taipei City Museum of Art is an open and welcoming design that erases the barrier of exclusivity normally surrounding the world of art, patrons, and experts.

As such, the architecture of the New Taipei City Museum of Art is one that embodies this idea of erasure through eliminating the traditional borders between exhibition space and circulation, as well as exterior and interior. Every part of the museum is represented by a space without limits that can hold any type of expression.

Put together, each space is part of a large connected organism that expands and extends itself through the site, acting as a filter and transitional space between public and art.
A forest of columns, extending from the topography of the exterior into the interior spaces, acts as the device that delineates space, each program has a specific uniform distance between each column. This creates a unique atmosphere throughout the museum in which spaces are only roughly defined.

The first three levels of the museum sit in between the forest of columns around the building. As the visitor moves upwards towards the upper two floors that house the main galleries, this forest starts to disappear. Upon arrival, the visitor can enjoy a space that floats above all else.

These main gallery spaces are defined above all else by flexibility. Here, the column grid is the most open, allowing museum curators ample room to design exhibitions and sequences that can suit any particular need.

It is this level of flexibility and openness that will make the New Taipei City Museum of Art a unique public forum for art, learning, and culture.
 

a Great Inspiration in Art

In approaching the design for the new Kimball Art Center, we found great inspiration in the urban development of Park City, the Kimball site, and the citys mining heritage. We feel the form of the new Kimball Art Center emerges where these rich stories overlap. We were particularly moved when a long-time resident of Park City spoke nostaligally about the former Coalition Building, which once stood just south of the Kimball site.

It stood 80 feet tall for 80 years as an iconic landmark for Park City and a monument to the mining heritage, until a fire tragically brought it down on 1982. We wanted to recreate some of its attributes in the new Kimball Art Center – not only the proportions and materiality but the history it represented. Historically, timber was the primary construction material of the first miner settlers in Park City. Inside the mines, heavy timbers were stacked into retaining walls. The same technology was applied outside the mines as primary structure for most residential construction. We conceived the new Kimball Art Center as an evolution of this construction technique basically a highly-evolved log cabin at an unprecedented scale.

We found the most interesting challenge to be where the Kimball is situated in the urban context. At the intersection of the most socially active street Main St. and a diagonal street that has become the gateway to the city Heber Ave, the new Kimball needed to address both orientations. We solved this by essentialy giving each street a gallery. The building footprint sits in relation to Main St and the city grid, then as it rises it turns it to greet visitors entering the city via Heber Ave, creating an iconic yet contextual building at the citys doorstep.

 

a Monthly Rose

The new Dalian library conceived by Architects Collective is designed to become the center and heart for the local community with a strong relationship to the ocean and the bay. The building is placed in a park setting and aims to be a landmark for locals and visitors and a symbol for the creative and environmentally friendly future of New Pulian. It is a place for the public to read, contemplative and come together. The basic architectural form for the new library is the rose petal since the Monthly Rose is the city flower of Dalian. The new Pulian branch is one of several library branches in the Dalian region with each branch symbolizing a petal and forming a rose flower.

The Morpholio Project

The proliferation of device culture, social networking, and cloud technology is changing the way we work and connect on a daily basis. For designers, this means that technology is not only transforming the process of production, but also the processes through which we share, critique, and organize ourselves around the work we do. It has been predicted that in 2020, there will be 50 billion mobile internet connections worldwide, the equivalent of seven devices per person. Morpholio is not simply about the existence of technology, but rather is a tool for and an experiment in how we might better harness its power.

What is the future of critique, the driver of design culture, in this increasingly connected world? Is the speed at which images circulate around the globe, advancing the level of conversation within and amongst design disciplines? When placed in opposition, the time honored design school tradition of convening public debate around a set of images and ideas, presents a stark contrast to the typical comment forum found in social media. Taken together, however, a new spectrum of valuable means of gathering feedback about one’s work becomes visible. Its continued evolution will be impacted by the tools we create for sustaining and magnifying meaningful conversation, critique, feedback, and debate with a global community.

The Morpholio Project begins by re-imaging the portfolio. “Although essential to design culture, the current methods of creating and sharing design portfolios and presentations still ultimately rely on fixed notions of time, media and outdated technologies of sharing,” says Anna Kenoff, Co-Creator. The design world lacks the tools needed to understand how our work is consumed and experienced by those we most want to reach. The project ultimately asked, what would happen if you could merge processes of presentation, critique and collaboration into a single elastic platform?
Morpholio Beta 1.0: Present + Collaborate + Critique
The iPhone and iPad app, along with the MyMorpholio website, provides a unique space in which to collect, share, and discuss your work.

Present
This software begins by transforming the users portfolio into a constantly versioning and customizable collection of images that is more reflective of the way we work today. Capable of communicating with multiple devices, it organizes image collections in a comprehensible and accessible format that makes sharing and presenting work seamless and infinitely flexible.

Collaborate
Morpholio “Pinup,” allows collections to be posted for invited viewing and response. In “Pinup” you make your work public and searchable by all Morpholio users. You also have the option to send immediate invites to a targeted audience, and continuously update the images they see as you get feedback, and develop ideas. The “Co-creators” feature allows you to share and exchange image collections with anyone you choose, as well as give them access to selected images. Share image collections with your project team, consultants, or collaborators.

Critique
Morpholio “Crit” allows collections to be posted for private viewing and response. In “Crit” you can post work and invite other users to critique your work. Invited viewers can easily comment on any image by overlaying text, and will soon be able to use other feedback methods that are currently in development. Set up a critique for your studio, consultants, office, friends or project team.

to Bike Life

JDS’s proposal for the Bicycle Park in Chongming, China, consists of three landmark buildings, each portraying different aspects of the culture of cycling. With their spiraling shapes and sloping sides, the structures are accessible by bike, and offer a varied experience to visitors. The Park aims to inform and stimulate biking as an expression of social awareness, while illustrating the relationship between sport and technology through its distinctive architecture.

The Visitor Center acts as an entry landmark, serving as main access point and providing information about the park. The Bike Museum is a double helix, with its exterior portion used for the ride downwards. Swirling ramps provide excellent views of the surroundings, while the interior leads the visitors on a tour through the historical development of the bicycle. The multipurpose building is shaped as an island that can be used by people for various purposes. It can be used for holding conferences, competitions and even concerts. The slopes are at the disposal for biking enthusiasts to navigate.
The proposal seems to accentuate the accessibility of space by offering a bicycle-friendly environment and architecture that can be versatile in its use while still maintaining its educational and museological purpose.