an Abstract Of Birds

After five months of intensive design work and two weeks of building-up, on 29th of March the exhibition of THE SWARM – a Parametric Pavilion – took place in the outdoor area of the Bavarian Chamber of Architects in Munich. The main exhibit is a sculpture out of Alucobond which is 4 meters high and 15 meters long. Its shape describes an abstract swarm of birds.

The idea of THE SWARM was born on the new chair of Emerging Technologies at the faculty of architecture of the Technical University of Munich. The first concept made by Magnus Möschel was selected within an intern competition in the summer semester 2011 while the time of visiting professor Charles Walker. In the following semester, the students Sabrina Appel, Max Langwieder and Sascha Posanski developed the project and transformed it into a real building. They were supervised by the assistents Nadine Zinser – Junghanns, Moritz Mungenast and Wieland Schmidt.

The sculpture can be seen another two months; the exhibition can be visited until the 4th May in the Bavarian Chamber of Architects.

The project was supported by the companies 3A Composites GmbH, Aluform GmbH, Metallbau Böhm, Würth, Erco, Terrafix and Boels and by the structural engineers Leonhardt, Andrä and Partner.

an Unmask Mechanism

The project deals with the occularcentric nature of contemporary culture, by manipulating and unmasking its deceptive mechanisms. The design process starts with the fact that our ability to perceive the details is limited to the narrow fovea (the only part of the retina that permits 100% visual acuity) in the eye’s retina. Vision is then a matter of unconscious inferences: making assumptions and conclusions from incomplete data, based on previous experiences.

This inference and the inability to perceive the details trigger an attractive process, but the complexity of the component detail can be appreciated only at a scale where the perception of the whole is lost; rolling backwards, it becomes clear that the effect of the whole is more than just the sum of the constituent parts. It is an experiment (or proof of concept) on how morphology, organization, material systems and patterns have the ability to trigger dynamic behavioral effects and interaction in space and time.

From a technical standpoint, the structure was generated by triangulating the mesh and choosing triangles in an alternate pattern: this strategy maintains structural integrity (all remaining triangles are connected) while using half of the surface area. In order to increase complexity and enrich the range of effects, components have a gradient variation in height according to their horizontal condition: the more they approach the horizontal condition, the higher and more developed they become. Each component, realized through laser cut from polypropylene flat sheets, has 3 radial “petals” with variable number of cuts and curve tangency according to the individual morphology and the height gradient, embedding the necessary cuts for assembly. All components are assembled using plastic ties.

to Green the Steel

The incredibly destructive effects that coal plants cause to our natural environment are well documented and known, but 50,000 plants still operate the world over every day to power the planet, as green technology has not evolved to a point where they generate enough energy to replace fossil fuel processes. The “Coal Power Plant Mutation” project is a proposal for coal factory addendum, a skyscraper built over an existing factory that can reduce the amounts of harmful waste that spew from their chimney stacks while we wait for green technologies to take over.

The skyscraper coal cleansers are comprised of three long, tubular legs that join are built around the existing factory’s chimneys and meet high in the air to share a bio-filtering area that also has balloons to capture and hold waste particles. The structure is made out from multiple carbon-fiber steel props that are held together by a carbon-fiber steel mesh; the props are anchored in the existing foundation of the power plant. The chimneys rise 1,000 meters in the air; as the smokestack pollution rises through the tall skyscraper chimneys, tubes with various types of air filters with various densities are placed at different heights. The lower filters for carbon dioxide exhaustion use synthetic carbon fixation techniques, while filters located higher in the chimneys are bio-filters. , At the very top, the chimneys are equipped carbon and vapor capturing and filtering devices that keep the gasses from reaching the atmosphere. They are made of horizontal air pipes connected only to the exterior. The vapors condensate on them, and the resulting water is gathered and distributed back at the base.

The mesh that holds the skyscraper together is covered by a lightweight skin, a waterproof elastomer that isolates the gasses and vapors that are produced in the factory. (The skin keeps them separate, as the vapors and gasses mixing could lead to acid rain.) The skin has an area of 300,000 square meters and is covered with photovoltaic cells and air quality monitoring sensors.

The skin is also covered in LED lights as an instructive tool that promotes awareness. Most power plants are located close to cities; the LED lights shine vertical patterns to make people aware of their power demands and what these imply. The patterns change according to the inner and outer air quality, monitored by sensors.

to Mimic Waves and Sounds in a Remembrance

Designed in cooperation between Giuseppe Farris and Stefan Schöning, the proposed structure aims to capture several aspects of Arab culture: its tribal society and the transregional entrepreneurship. The building’s appearance refers to the date palm which, along with fruits and fronds continue to be an important product in Dubai’s everyday life, both as a commodity and as a material used in local palm frond houses, fishing boats and the local palm-weaving craft. The twining maze of the building’s exterior simultaneously represents the network of trade and commerce routes that have, through history, arrived and departed from Dubai. The exterior also commemorates the tribal legacy and reminds of the dynamic maze of tribal affiliations that has given Dubai’s society its basic cohesion.

Functionally, the building’s interior continues this celebration of the tribal cornerstone of Dubai identity, and it is designed to promote its rich values and its relevance for the 21st century. More in particular, visitors can enter via different routes, each time discovering different aspects of Dubai’s tribal culture and history. At ground level, it is an open structure, hence symbolizing the hospitality of the Dubai people and inviting all to enter. Visitors may find at different levels outside and inside the structure different kinds of majlis.
 

a Criminal Building

How can architecture represent the essence of law today, in a world focusing on decentralization and proximity? OMA’s project for the new Parisian Courthouse is a unitary building where the program is organized into three clearly identified parts: Civil, Criminal and Offices.

By inserting the tower (offices) in between the Criminal and Civil public spaces (courtrooms), OMA first optimizes the flow between different parts of the program (the tower is linked to the courtrooms with a hypercore system) while also giving a reason for height in the Parisian skyline. The emerging building, visible in the metropolitan landscape, is balanced and stable. The tower is about impartiality, discretion and the sublime.

The Criminal and Civil public spaces develop their own spatial identity. The Criminal, more introverted, is organized around a three-dimensional void. The Civil, more extroverted, looks towards the city. Each of them has a specific distribution system based on the frequency of use. To avoid the exclusiveness of an elevated Paris sky experience, the Salle des Pas Perdus — the main public space of the future Courthouse — is suspended to the edge of the Parisian rooftops.

a Parametric Fabergé

Fourfoursixsix (Daniel Welham & Mark Nicol) were invited to participate as one of the artists for the Fabergé Big Egg Hunt. The city will became home to 200 giant and uniquely crafted Easter eggs for an event that is a first of its kind, aiming to raise vital funds for charities Action for Children and Elephant Family, inviting tourists, locals, and visitors to join in a truly magical experience.

As an architecture practice, Fourfoursixsix  felt it would be both topical and interesting to apply a set of architectural principles to the overall geometric form of the egg. Through this process they played with structure, light, and shadow and began to develop a three dimensional architectural terrain.

Conceptually, the design works around a rational grid of components that have been configured to react to both light and scale over the surface of the egg. Each component was designed to incorporate an aperture which could adapt to these changing surface conditions, thus altering the patternation of the egg.

Working with EOS, the world leading manufacturer of laser-sintering systems and Ogle Models, exquisite cutting edge Model Makers, has enabled the construction of a piece that is at the forefront of three dimensional printing technology. The end result is a delicate, intricate and complex piece that intrinsically connects back to the original Fabergé brand concept. In some ways, their design brings this concept into the modern era on a larger physical scale; a piece of 21st Century digital opulence.
 

to Reflect Contingencies

This project designed by Arthur Azoulai and Melody Rees is a morphological study that assumes an extended field of movement and circulating forces. It is designed by simulating self-organizing biological systems where selective decision making is used to sculpt innate yet deliberate spatial relationships and formal qualities. At its pure essence, this project is an infrastructural system that acts as a receiver and link-up for formal architectural systems. The inherent continuity of the overall form as a topological surface allows for the emergence of roadways, interstitial interior space, and landscape.

With imbricating structural support systems, the collective tectonics provide a network of circulation paths for pedestrians, cars and trams in addition to an emphasis on temporary pavilion spaces such as transitory food markets, pop-up retail shops and time-share housing. With a temporal and ephemeral program the local culture of Santurce in San Juan becomes active. Correspondingly, the adaptive qualities of the infrastructural surface allow the building and site form an organic semiotic relationship where the building seamvlessly emerges from the land below. This is emphasized as the ecologically evasive character of Puerto Rico’s environment merges into the architecture. Thus this project articulates new formal relationships and interstitial space while also reflecting the contingencies of the current moment in San Juan, Puerto Rico.

via suckerPUNCH
 

a Master Vision Of Sea

Three Spirits” is the master’s thesis of Filip Kurzewski, from the Warsaw University of Technology. The project proposes a floating tourist base and hotel in the form of three ships. Each of the three ships functions as an independent unit. The initial vision of the project was propelled by the author’s numerous personal drawings and painting studies. A great inspiration for the direction of the form, colors, and spatial arrangement came from personal diving experiences. Hand drawing and personal reflections and experiences became a driving force for the author, and are visible throughout the project. They intentionally connect the design with the context of underwater world which hotel guests explore. The thesis topic was carefully selected to reflect the design process, leaving traces of hand sketches and gestures on the final unit. Hand drawings and sketching played an important role in keeping the conceptual idea through all the stages of the design process. The theme was very demanding when it came to the program, justifying the design. The project was also consulted with naval architects. The ships making up a complex ,to a certain degree, differ as for the applied program. If the appropriate localization is chosen, they may form the common assumption – an island “Lang”. Guests can then benefit from the broader scale of supplementary attractions. On the first ship they have a ballroom at their disposal, on the second one – a casino and on the third one – the hall of multifunctional purposes where, inter alia, film shows and theatrical performances are possible. When the ships “meet” they generate a common water area for guests to swim.

One of the main attractions of a particular ship is a diving capsule. Guests can not only practice scuba diving but also they can dive safely in significant depth to see ,for example coral reefs or wrecks. The set of boats is also delivered for guests, and it enables them to choose an appropriate place for recreation, among other things also for scuba diving during the stopover of the ship.

Since each ship is a separate unit there is a possibility of temporary separation of the “vessels” (“vehicles”) in order to carry out different cruises and afterwards a possibility of ships meeting again.

to Be Builded of War

Ružica Church (Rose church) is located in the Kalemegdan Fortress, in Belgrade, Serbia. A church of the same name existed on the site in the time of Stefan Lazarević. It was demolished in 1521 by the invading Ottoman Turks. Today's church was a gunpowder magazine in the 18th century, and was converted into a military church between 1867 and 1869. Heavily damaged during the First World War, the church was renovated in 1925. The iconostasis was carved by Kosta Todorović, and the icons painted by Rafailo Momčilović. The walls were covered in paintings by Andrej Bicenko, a Russian artist.

be Re Loved

Chris Bosse has sliced up the Panton chair as part of the Re-loved: designer stories at the Powerhouse Museum from July 31  to October 10.

Bosse, director of innovative architectural firm LAVA, is one of several designers commissioned by the Powerhouse to use a pre-loved chair to tell a story about a piece of furniture they love. He chose a design classic that relates to current design and manufacturing techniques.

The gravity defying Panton chair c1967 by Danish designer Verner Panton was a radical departure from traditional design and manufacturing techniques. It anticipated the digital revolution by 30 years and is the first freeform, organic molded piece of furniture. “I’ve chosen to represent this shape as slices, similar to an MRI scan in order to make visible its complex 3dimensional geometry. The chair is metaphorically and physically carved out of a sliced box ” says Bosse.

“The project retro-digitises the chair design, although it was the chair that preceded the digital design revolution.”

“What made the Panton chair so spectacular when it came on the market and what makes it so interesting today in terms of design history is not only its shape, which is as extravagant as it is elegant, but also the fact that it was the first chair made out of one piece of plastic. Every chair at the time was about the assembly techniques of materials, compression, tension, and junction. Verner Panton exploited the possibilities offered by the new material in order to achieve a total departure from classical design thinking.”