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.

 

non Parametric Flowers

Black Narcissus highlights the importance of encompassing all methods of fabrication; digital and analog in terms of technology, management efficiency and time towards the production the project. The piece is constituted of 1,000 pieces including the 644 pieces of CNC routed syntra, 50 large flowers with jewel like crowns and 100 small flowers. The idea was to produce a structure that combines a parametrically designed large form ornamented and gardened with nonparametric flowers.

Through this gardening process of aggregation, the flowers produce a sensation of excess in a garden of delight.
The precedent came from looking at contemporary fashion sensibilities and techniques thinking of it as an “haute couture” surface. We also took a look at the 1947 Michael Powell film Black Narcissus, where a group of nuns travel to a remote location in the Himalayas to set up a school and hospital and “domesticate” the local people and environment, by conversion and gardening, only to find themselves increasingly seduced by the sensuality of their surroundings. The location, the culture and the mountain air all begin to have a strange affect on the nuns. What was important about the film is understanding the power “sensual”, the way the recognition of your desires to the point of self-contemplation; an aesthetic displacement, you see your sensual self in the work as an act of narcissism. You become as beautiful as what surrounds you. Narcissism as a natural condition of self-admiration and a distorted self from reality, which it is more about the absurdity of the “cultural” concept in a pursuit for an argument of beauty.

Black Narcissus is a garden of contemplation where the surface of reflection is the piece itself. The piece is joyous and ominous, it attracts and repels because it sense of superficial ornamentation. It climbs up the wall caressing it. This piece does not operate within the notion of effect (literal reflection) but through affect, a true moment of qualia.

Design: Gabriel Esquivel & David Hernandez
Team: Erin Templeton, Dylan Weiser, Arnold Ghil, Miaomiao Xiao, Catlan Fearon, Hugo Ochoa, Megan Arrington, Le Phuc

Merry Merry Christmas

Wishes and Love to be!

into Ottoman's Empire

The main purpose is to design a multifunctional complex for people with an interest in knowing about Islam during the time of the Ottoman Empire. The Ottoman Empire was the last big Islamic Empire and one of the most powerful during the Islamic era up until recent times. The building will serve as a hub for social activities and will portray the Ottoman Empire, especially, in an artistic sense.

The building conceived by Yusuf Onder will have a library, museum, lecture rooms, workshop level and a rooftop garden/cafe. Another goal is to offer people a place to learn and understand about this unique, hybrid of, culture and religion and it’s place in the Ottoman Empire in a hope to diffuse the sense of xenophobia towards the religion and culture. This thesis expounds on the, long old, idea of constant integration of religion and culture from history.

Users of the facility will comprise, the numerous tourists in the Bay Area San Francisco, especially those with a curiousity about the diversity of San Francisco and then the Islamic World. Another category of Users are tourists visiting San Francisco and the Site with the Contemporary Jewish Museum or the St. Patricks Church. This new architectural edifice complete the triangle of the major religions and becomes a beacon for unity.

San Francisco is deal for this kind of Center, because San Francisco as a multicultureal metrepolitan city is iconic for it’s integration of many sorts of people and socio-cultural ideas. Already exists in the city is a strong presence of other major religions eg. Christianity and Judaism amongst others: this last piece of the pseudo-puzzle would complete the already begging polity for a complete and balance hybrid society. It would be examplary for San Francisco to have or to show the World how open minded they are and with a Topic as sensitive as an Islamic Culture Center it would win the Hearts Muslims around the World.

a Linen Collar of the 1600's

The award winning lighting design is based on the effects of the Dutch ruff, a decorative linen collar considered fashionable in the 1600′s. The collars required several yards worth of linen, and had to be starched and ironed into pleats, or even supported on wires, in order to achieve their voluminous appearance. Inspired by the way Flemish baroque painter Cornelis de Vos illuminated these items, Andrew Saunders created the similarly shaped Luminescent Limacon. The design integrates historical referencing to the contemporary fabrication techniques, transforming the traditional piece of garment into a vehicle for manipulating light.

This occurs at two levels, both as an ephemeral reflective source and as a figural volume with a material presence. This dense accumulation of light is achieved through a combination of the chiaroscuro painting technique, which uses dramatic contrast of light to build volume, and by trapping light through a process of periodic folding that creates a deep translucent ruffle. The geometry of the structure is determined through use of the polar equation-based Limacon curve. Rolling of the curve at different speeds generates self-similar profiles. Two levels of geometry appear simultaneously: the primary one is combined vertically, while the secondary, following similar geometric progression, creates folds that are nested diagonally and can be interconnected when they meet flush. For fabrication and assembly, these surfaces are embedded with a number of parameters including placement of apertures for connection points, material thickness, tabbing and indexing. Each individual unrolled developable surface contains a unique and specific location and assembly instruction.

geometric Ornaments

The basic idea of the project is rooted in the notion of flows. It strongly references historical, environmental and even biological diversification and friction that shaped the contemporary city of Istanbul. The geometric form dominating the building is combined with typical Turkish patterns and ornaments, displaying both European and Asian cultural influences.

Located at the boundary between continents, the city of Istanbul is experiencing geophysical friction generated by the shifts of continental plates. The friction between two forces generates dramatic reaction of the elements; it can be transferred to all four basic elements in nature, with an impact determined by the level of energy. The same rule is applied to the urban environment. The layout of the structure reveals an atrium building, organized around the central square. The central area symbolizes aether, the 5th element in nature. Aether is also called, from Latin, ‘quinta essentia’ which stands for the element that unites the other four.

The entire building is divided into three sections: conference, educational and infrastructure. A shelter with a capacity of 150 people, divided into 2 parts, contains places to sleep, to sit, toilets and a place to prepare meals. It’s the last room to be visited during the trip around the Centre. The long corridor that leads to it demonstrates and recalls anxiety or even fear connected with situations in which it needs to be used.

Barcelona 40 years later...

The project was developed by IAAC students Carolina Aguirre, Xiomara Armijo and Carlo Caltabiano during the MAA Emergent Territories Studio directed by Willy Müller. FlexHubDock envisions Barcelona city 40 years later, with the Port Area as new Hub not only for commerce/logistics but for people and the city, rethinking it as a new social layer.

The FlexHubDock is the best example of how Port and City can coexist in harmony. A smart-shared surface will enable the Port area as both a Dock for ships and public Plaza. Depending on the needs for public space and activity as dock, it can be totally managed in real-time, by embedded sensors and network system that receives information of space requirements to begin its transition. In a single day the function and shape of the FlexHubDock can change several times and even share functions.

The solution is based on a new concept of shared space. Flexible enough to respond to the demands of the Port as Dock and as new Social/Mobility Hub; able to transform as the users interact as Agents, optimizing space in different time scales, receiving and processing parameters in real-time.

A Dock is usually associated as in the limits between the city and the water. But the FHD is able to somehow use the water as land, and transform this land into water, giving the city a whole new layer. Spaces can appear and disappear.

The FHD modular/parametric system, provides an adaptable additive structure open for future applications in other ports and cities around the world. The FlexHubDock Project aims to offer new possibilities, some perhaps still unimaginable today.