tectonic Assembly AlgoRithms

The forming of the urban context is based on the existing territory, something that changes slowly, and human activities, which are changing all the time. Due to the non-stop pace of human activities, the urban context remains in a cycle of perpetual negotiation. Like organic tissue, the city is always in a state of growth, decay, and rebirth.

In the initial forming of a city, people gather according to their habitual behaviors, which are collective ideas. The multiple and collective ideas often made singular. However, in the development of urbanism, master plans are always rigid and lack tolerance and changeability, like a machine. However, when a mechanical system is broken, it forms another context, in which the city can release and breath. Therefore, I would argue that an ideal urban design should be like a coordinating machine that retains flexibility for its users to adapt the city for themselves.

In the past, cities like Rome and Paris were driven by politics and symbolic development. Nowadays cities like New York and Los Angeles are driven by economics, like fields of shopping. I think the presentation of the practical urban layout can be derived from fields of shopping. A well function shopping field must contains coordination and flexibility at once, which is the exact ideal, a city should have. Moreover, a shopping field directly represents local habitual behaviors.

In order to attend this goal, designer Ta Yu uses aggregation as a driving technique to form buildings. In this technique, each social space is seen as a unit for aggregating the city. This technique will be combined with transformation to accommodate and articulate difference.

In summary, Ta Yu is going to develop a new urban fabric like an organic tissue by proposing certain rules but still keeping tolerance and changeability. An urban context that keeps growing is a field in which any particular locate can be modified to fit the new activities.
 

Ελεγείες

Το Μουσείο

Το Μουσείο Μαρμαροτεχνίας στον Πύργο της Τήνου δημιουργήθηκε από το Πολιτιστικό Ίδρυμα Ομίλου Πειραιώς (ΠΙΟΠ), το οποίο έχει και την ευθύνη για τη λειτουργία του. Ανήκει στο Δίκτυο Θεματικών Μουσείων του Ιδρύματος και είναι το πρώτο του είδους του στην Ελλάδα. Στεγάζεται σε σύγχρονες, πλήρως εξοπλισμένες εγκαταστάσεις, εναρμονισμένες με το χαρακτηριστικό τηνιακό τοπίο, στις οποίες περιλαμβάνεται και Αίθουσα Πολλαπλών Χρήσεων. Το έργο χρηματοδοτήθηκε από το Γ΄ Κοινοτικό Πλαίσιο Στήριξης, αφού εντάχθηκε στο Περιφερειακό Επιχειρησιακό Πρόγραμμα Νοτίου Αιγαίου 2000-2006, και την Τράπεζα Πειραιώς.

Στο Μουσείο παρουσιάζεται η τεχνολογία του μαρμάρου, υλικού που κατέχει ιδιαίτερη θέση στην αρχιτεκτονική και την τέχνη της Ελλάδας από την αρχαιότητα έως τις μέρες μας, ενώ παράλληλα περιγράφεται αναλυτικά το πλέγμα εργαλειακού εξοπλισμού και τεχνικών. Ταυτόχρονα, με την έμφαση που δίνεται στην προβιομηχανική και πρωτοβιομηχανική Τήνο, του σημαντικότερου νεοελληνικού κέντρου μαρμαροτεχνίας, αναδεικνύεται το κοινωνικό και οικονομικό πλαίσιο στο οποίο αναπτύχθηκαν τα τοπικά εργαστήρια.

Η μόνιμη έκθεση περιλαμβάνει ποικίλα κοσμικά, εκκλησιαστικά, επιτύμβια και καθημερινής χρήσης πρωτότυπα έργα σε μάρμαρο (υπέρθυρα, κρήνες, οικόσημα, φουρούσια, προσκυνητάρια, γουδιά, κ.ά.), πήλινα προπλάσματα και γύψινα αντίγραφα, εργαλεία λατόμευσης και μαρμαροτεχνίας, μηχανολογικό εξοπλισμό, αρχειακό υλικό, καθώς και την πλουσιότερη συλλογή σχεδίων παλαιών μαρμαρογλυπτών που υπάρχει στην Ελλάδα. Αυτός ο αξιοσημείωτος αριθμός αυθεντικών αντικειμένων συγκεντρώθηκε κυρίως χάρις στην ευαισθητοποίηση ιδιωτών αλλά και φορέων, οι οποίοι τα δώρισαν ή τα παραχώρησαν στο Ίδρυμα. Σε συνδυασμό, εξάλλου, με τις αλληλένδετες αναπαραστάσεις λατομείου, εργαστηρίου μαρμαροτεχνίας και συναρμογής δεσποτικού θρόνου, οι επισκέπτες έχουν την ευκαιρία να γνωρίσουν παραδοσιακές τεχνικές και διαδικασίες που αφορούν την εξόρυξη, την πρώτη επεξεργασία και μεταφορά του μαρμάρου, καθώς και τη μορφοποίηση και τοποθέτηση μιας κατασκευής· με άλλα λόγια, τη διαδρομή από την πρώτη ύλη έως το ολοκληρωμένο έργο. Παράλληλα, το οπτικοακουστικό υλικό της έκθεσης ζωντανεύει με τρόπο άμεσο τις παραδοσιακές μεθόδους εργασίας του λατόμου και του μαρμαροτέχνη, ενώ οι εικόνες του οδοιπορικού καταγράφουν την έντονη παρουσία του μαρμάρου σε ολόκληρο το νησί και παροτρύνουν τους επισκέπτες σε δικές τους περιηγήσεις.

Τέλος, η έκθεση επεκτείνεται στους υπαίθριους χώρους του Μουσείου. Στην πλατεία μπροστά από την είσοδο εκτίθενται ανυψωτική μηχανή μαρμάρων (μπίγα) και βαγονέτο για τη μεταφορά όγκων, από το λατομείο της Βαθής· στον εξώστη, μπαζοβαγονέτο (σέσουλα), στροφή και ράγες από το λατομείο της Πατέλας, μαζί με ολοκληρωμένα και ημικατεργασμένα μαρμάρινα έργα. Ο ιστορικός μηχανολογικός εξοπλισμός, που παρουσιάζεται στην υπαίθρια έκθεση και ανασυνθέτει χαρακτηριστικές εικόνες από αντίστοιχους φυσικούς χώρους εργασίας, διασώθηκε, συντηρήθηκε και αποκαταστάθηκε λειτουργικά με τη φροντίδα του Πολιτιστικού Ιδρύματος Ομίλου Πειραιώς.





                                  

 

Ocean, Stone, Sea, Sand

The Museum of Ocean and Turf designed by Steven Holl and Solange Fabiao is ready.

The building form derives from the spatial concept “under the sky”/“under the sea”. A concave “under the sky” shape forms the character of the main exterior space, the “Place de l’Océan.” The convex structural ceiling forms the “under the sea” exhibition spaces. The building’s spatial qualities are experienced already at the entrance where the lobby and ramps give a broad aerial view of the exhibition areas, as they pass along the dynamic curved surface that is animated by moving image and light.

The precise integration of concept and topography gives the building a unique profile. Towards the ocean, the concave form of the building plaza is extended through the landscape. With slightly cupped edges, the landscape, a mix of field and local vegetation, is a continuation of the building and will host festivals and daily events that are integrated with the museum facilities.

Two “glass boulders”, which contain the restaurant and the surfer’s kiosk, activate the central outdoor plaza and connect analogically to the two great boulders on the beach in the distance. The glass boulders can be reached through the main entry lobby, which connects the street level to the cafeteria and surfer’s kiosk, and but are also accessible independently through the plaza, which serves as a main gathering space open to the public.

The museum store is located at the intermediate level of the exhibition spaces, with direct access to the entry lobby and the auditorium. The more intimate restaurant and the elevated outdoor terrace are at the top level of the museum, providing open ocean views.

At the building’s southwest corner, there is a skate pool dedicated to the surfers’ hangout on the plaza level and an open porch underneath, which connects to the auditorium and exhibition spaces inside the museum. This covered area provides a sheltered space for outdoor interaction, meetings and events.
 

archiPelago Surfaces

Designed and built in collaboration between Chalmers University of Technology and Röhsska Museum of Design in Copenhagen, the Archipelago Pavilion is a network of seating structures that inhabits the cortyard in front of the Museum. The structure provides shaded seating inside and creates shaded spaces around it to place existing chairs and tables. The structure was built on site by 33 architecture students.

The pavilion was parametrically designed in Grasshopper and Rhino and built from 2 mm thick laser-cut steel sheets. Exactly 133 pieces of steel were joint together with 1535 joints with a total of 3640 bolts holding it together. Inside the pavilion visitors can lie comfortably on the surface, thanks to the steel’s possibility to stay cool when shaded. The intricate web of spaces resembles clusters of small islands in an archipelago. The perforation on the roof spreads out an organic pattern resembling the one you would see from a tree in the forest.

The Archipelago Pavilion was initially created for the purpose of the course, as an exploration of translating computer generated design into built architectural objects through digital fabrication. After the summer the pavilion will be moved to the Chalmers University of Technology where it will stay during the autumn. After that, the Archipelago Pavilion will be for sale.

a Senior Material to draw...

The Ken Roberts is the most senior architectural drawing competition currently in operation anywhere in the world.

In the late 1920′s, The Architectural League of New York established the first American competition for architectural drawings. It was named after Birch Long, one of their greatly talented and much-loved members who died while working on their 1927 exhibition. The “Birch Burdette Long Memorial Prize” was awarded annually until 1972, when it was discontinued for lack of interest in architectural illustration.

It seems a remarkable coincidence, indeed that a new annual event in far-away Texas was initiated the following year by the Dallas Chapter of the AIA, and was subsequently named for the untimely death of a respected colleague.

This event preceded by two years the 1975 founding of the British Society of Architecture Illustrators (SAI), the first of several national organizations to follow. In 1980 the Japanese Architectural Renderers Association (JARA) was initiated, followed by the 1986 founding of The American Society of Architectural Perspectivists (ASAP) in Boston by Frank Constantino, Steve Rich and myself. The NYSR in New York and the short-lived New Jersey Association were formed soon after ASAP. After the Koreans founded KAPA in 1990, the Australians became the “newest kid on the block” with their AAAI, which was organized [in 1995]. All this makes the Ken Roberts the most senior architectural drawing competition currently in operation anywhere in the world. – (article researched and written by Paul Stevenson Oles, FAIA)

Eligibility

General
All entries must be of an architectural nature, and must be authored by one individual. Entries can be elevations, sections, or perspectives, and can be conceptual or final renderings. Exploration and innovation in unique techniques are encouraged. While there is no limit to the number of entries one can submit, submissions awarded in past Ken Roberts competitions are not eligible. Sketchbooks as a whole will not be accepted; a single, clearly marked page within the sketchbook may be entered.

Professional Eligibility
Each entry must have been executed while entrant is a professional in architecture or in related fields (architectural illustrator, educator, engineer, cg animation). Due to the versatile nature of the architectural profession, it is not required for the entrant to be employed at the time submitting work for KRob. All work completed after graduation from a design program is considered professional.

Student Eligibility
This category is open to individuals currently attending high school or pursuing a degree in architecture or design.

Calendar of Events

Entry Deadline
All entries must be received by Friday, October 26, 2012 5pm CST.

Awards Presentation, Wine Reception & Lecture
Tuesday, November 13th – 6:00pm – Dallas Center for Architecture – 1909 Woodall Rodgers Frwy, Suite 100

materials...in a Data Center

Despite the fact that data centers are “Giant, whirring, power-guzzling behemoths of data storage – made of cables, servers, routers, tubes, coolers, and wires,” they’re often hidden far away, where their energy-guzzling is more efficient (and way less less obvious).

Indeed, largely because of their gargantuan energy requirements and high-tech secrets, Data Centers have been shrouded in mystery since their beginnings. This is particularly true in Google’s case. When Andrew Blum, author of Tubes: A Journey to the Center of the Internet, visited Google’s Data Center in The Dalles, Oregon, he said it was like “ a prison,” and couldn’t even get past the cafeteria. Nary a peek has been seen of a Google Data Center.

Until now, that is. Google just launched a new website, Where the Internet Lives, which features never-before-seen images of eight of Google’s 9 data centers, the places the “physical internet” calls home. Natural and high tech materials in a multi cultural Network.
 

the Beauty

The beauty of marble tile has long been recognized. Used in early architectural design, marble tile has served to enhance buildings and structures, and augmented many works of art with its subtle, exquisite grace. 

Today, the use of marble tile is no less different or captivating. An expressive range of colors and textures allows for marble tile to elevate the presentation of any room. In both residential and commercial buildings, marble tile can add a touch of quiet sophistication, classic charm, or prominent boldness to rooms, hallways, floors, walls, and backsplashes.

Made In Italy

Italy is still the leader in processing and trading stone products, as
well as machinery and technology, with total exports in the first half
of 2012 in excess of 1.3 billion euros. This continues the market
revival for the Italian processed materials and semi-finished
products, thanks largely to exports which grew in value by 7.4% (from
777.9 to 835.3 million euros); On the other hand, machinery and
technology fell back slightly to 465.8 million euros (-1.9%), although
there are forecasts for a recovery by the end of the year.
 

E-Volo 2013 Skyscraper Competition

eVolo Magazine is pleased to invite architects, students, engineers,
designers, and artists from around the globe to take part in the eVolo
2013 Skyscraper Competition. Established in 2006, the annual
Skyscraper Competition is one of the world's most prestigious awards
for high-rise architecture. It recognizes outstanding ideas that
redefine skyscraper design through the implementation of novel
technologies, materials, programs, aesthetics, and spatial
organizations along with studies on globalization, flexibility,
adaptability, and the digital revolution. It is a forum that examines
the relationship between the skyscraper and the natural world, the
skyscraper and the community, and the skyscraper and the city.

Pylons for Humanity

Making only minor alterations to well established steel-framed tower design, we have created a series of towers that are powerful, solemn and variable. These iconic pylon-figures will become monuments in the landscape. Seeing the pylon-figures will become an unforgettable experience, elevating the towers to something more than merely a functional design of necessity. 

Male and female pylon figure animation.
The pylon-figures can be configured to respond to their environment with appropriate gestures. As the carried electrical lines ascend a hill, the pylon-figures change posture, imitating a climbing person. Over long spans, the pylon-figure stretches to gain increased height, crouches for increased strength or strains under the weight of the wires.
The pylon-figures in Iceland, showing variation in position.
The pylon-figures can also be arranged to create a sense of place through deliberate expression. Subtle alterations in the hands and head combined with repositioning of the main body parts in the x, y and z-axis, allow for a rich variety of expressions. The pylon-figures can be placed in pairs, walking in the same direction or opposite directions, glancing at each other as they pass by or kneeling respectively, head bowed at a town.
Some of the variations in the figures' posture possible with the design. 
Despite the large number of possible forms, each pylon-figure is made from the same major assembled parts (torso, fore arm, upper leg, hand etc.) and uses a library of pre-assembled joints between these parts to create the pylon-figures’ appearance. This design allows for many variations in form and height while the pylon-figures’ cost is kept low through identical production, simple assembly and construction.
Female and male pylon-figures.
Like the statues of Easter Island, it is envisioned that these one hundred and fifty foot tall, modern caryatids will take on a quiet authority, belonging to their landscape yet serving the people, silently transporting electricity across all terrain, day and night, sunshine or snow.

A marching series.

Icelandic selection committee’s competition report. “These designs were submitted as a competition entry in March of 2008 to Landsnet, Iceland national power transmission company who was working in collaboration with the Association of Icelandic Architects. The competition’s goal was to obtain new ideas in types and appearances for 220kV high-voltage towers and lines. The competition emphasized that specific consideration be given to the visual impact of the towers (or lines) and that careful consideration be given to the appearance of towers near urban areas and unsettled regions.

The competitors were free to choose whether all the towers would have a new look, particular towers and selected environments would have a new look, or whether the appearance of known types of towers would be altered. In addition, it was left up to the competitors whether the design would blend into the landscape in rural and urban areas, or the tower/towers would stand out as objects.

The main goal of the competition was that a new type of tower/towers would emerge, altering the overall appearance of line routes and that towers could be developed further with respect to environmental impact, the electromagnetic field lifetime and cost.

The competition was advertised in Iceland and abroad.
-adapted from the selection committee’s competition report, 2008


Project Details. Project Type  High-Voltage Pylon Competition

Location Iceland
Type of Client Landsnet, a public company that owns and runs the electrical transmission system in Iceland where 80% of the electricity is from green sustainable sources, such as geothermal power.

marble For a Breath

The ‘City Respiration Skyscraper’ designed by Czech architects Pavlína Doležalová and Jan Smékal is a helicoidal  240 meter-high structure designed to clean the air of the most polluted cities worldwide. Its primary structure is a concrete ribbon covered by air-cleaning algae. The outer cellular structure is a three-dimensional cluster of individual concrete three-spike units inspired by sea sponges. 

This helicoidal structure acts as a chimney where warm and polluted air is captured at the bottom and  filtered and oxygenated by the algae and a specialized water-sprayed system. A network of these skyscrapers strategically placed in the most polluted areas could clean a city in a couple of weeks. Inside, marble is a crucial factor for a Green Leed Building.