This is a port terminal for the lake called Yangcheng, known for the production of Shanghai crabs. The Japanese architecture firm aimed to build a topographic structure as a large hill by randomly placing aluminum extruded materials with single-sized sections.
Inside is designed as the assemblage of slanted floors, in order to maintain the same landform both in inside and outside that create some random yet ambiguous state.
Studio Gang Created The Aqua Tower With a Vertical Topography in The Facade in Chicago, Illinois
At 82 stories, reaching a height of 876 feet,Studio Gang‘s Aqua Tower Chicago, Illinois is one of few tall buildings to create a community on its facade. Designed by american architecture studio, the Aqua Tower, when viewed obliquely the highrise transforms into a slender rectangle from a far distance. Generic Cialis http://valleyofthesunpharmacy.com/cialis/
Vertical topography of the facade is created by the outdoor terraces which change in the plan gradually over the length of the building. The towers sculptural form allows for solar shading and views.
Combining a hotel, offices, rental apartments, condominiums, and parking, along with one of Chicago’s largest green roofs, Aqua facilitates strong connections between people and to the city.
The design for Aqua uses architecture to capture and reinterpret the human and outdoor connections that occur more naturally when living closer to the ground. Its distinctive form is achieved by varying the floor slabs across the height the tower, based on criteria such as views, sunlight, and use. Xanax online http://kendallpharmacy.com/xanax.html
Strategically sculpting the shape of each floor slab offers comfortable outdoor terraces, where neighbors can casually and comfortably interact when desired, as well as views to Chicago landmarks, navigating sight lines around the corners and through the gaps between existing buildings. The overall design is the cumulative result of responses to specific conditions of density, environment, and use.
Architects : Studio Gang Location : 200 North Columbus Drive, Chicago, IL 60601, USA Architect Of Record : Loewenberg & Associates Owner : Magellan Development Project Year : 2009 Photographs : Hedrich Blessing, Studio Gang Architects
Text description provided by the architects. Modernism has a famous motto: A house is a machine for living in. However, as we progress further away from the machine age, we are left with a question: what message should architecture convey? What is the house of today?
Like other fast developing suburbs in North America, Mississauga is seeking a new identity. This is an opportunity to respond to the needs of an expanding city, to create a residential landmark that strives for more than simple efficiency and that provides residents an emotional connection to their hometown.
In place of the simple, functional logic of modernism, our design expresses the complex and multiple needs of contemporary society. This building is more than just a functional machine: it responds to the significance of being located at the junction of two main streets, elegantly bearing its landmark status and acting as a gateway to the city beyond. It is something beautiful, sculptural and human.
Despite its landmark status, the emphasis is not solely on height. Our design features a continuous balcony that surrounds the whole building, eliminating the vertical barriers traditionally used in high rise architecture. The entire building rotates by different degrees at different levels, corresponding with the surrounding scenery. Our aim is to provide 360 degree views for each residential unit, and to get city dwellers in touch with the natural elements and reawaken their appreciation of nature.
The Absolute Towers are nicknamed as “Marilyn Monroe Towers” by the locals for the sinuous shape.
Directors: Ma Yansong, Yosuke Hayano, Dang Qun Advisor: Bao Pao Design Team: Shen Jun, Robert Groessinger, Florian Pucher, Yi Wenzhen, Hao Yi, Yao Mengyao, Zhao Fan, Liu Yuan, Zhao Wei, Li Kunjuan, Yu Kui, Max Lonnqvist, Eric Spencer Associate Architect: BURKA Architects INC. Structural Engineer: SIGMUND, SOUDACK & ASSOCIATES INC. Mechanical Engineer: ECE Group Electrical Engineer: ECE Group Landscape Architect: NAK Design Interior Designer: ESQAPE Design Photography:Iwan Baan
Hyundai Motorstudio’s Kinetic Installation in Goyang Consists of 1,411 Aluminium Rods.
The Hyundai Motor Studio in Gyoang, South Korea opened in 2017, with an impressive kinetic sculpture forming the highlight of the thematic parcours, the stage of the exhibition exploring each step of the research and production process.
The Hyundai Motor Studio in Gyoang, South Korea opened in 2017, with an impressive kinetic sculpture forming the highlight of the thematic parcours, the stage of the exhibition exploring each step of the research and production process. From the first sketches to the finished car.
The Hyundai Design Philosophy, “Creating Design From Movement” is expressed in a brilliant show. Hired by and collaborating with ATELIER BRÜCKNER, TAMSCHICK MEDIA+SPACE developed, designed and realised the choreography of the kinetic installation, the visual design and the accompanying film in the Design Room.
The central meaning of the Hyundai brand’s design is emphasized by a mesmerizing sculpture composed of 1411 aluminium rods, which move simultaneously with a film displayed across 56 monitors. In a performance spanning just under four minutes, the sculpture wakes to life, emulating natural, organic forms and then flows into the contemporary shape of a Hyundai car.
The multimedia choreography communicates a feeling for the modelling and design process to visitors. The energy filled synthesis of kinetic sculpture, video, music and light makes the Design Room a unique attraction, uniting high quality content and innovative technology in a sensational experience.
Client: Hyundai Motor Company
Area: (sqm) 4,000
Exhibition Design, Scenography, General Planning: ATELIER BRÜCKNER
Light Planning: LDE Belzner Holmes
Media Planning: medienprojekt p2
Film Production and Choreography ‘Design’: TAMSCHICK MEDIA+SPACE
UNIC, MAD Architects’ first built project in Europe, is nearing completion. Led by Ma Yansong, MAD was awarded the project in 2012 through an international design competition in collaboration with local French firm Biecher Architects. The projects located in Paris, France.
Located in Paris’ 17th arrondissement, Clichy-Batignolles is a newly developing area of the city. ‘UNIC’ emerges as part of the mixed-use masterplan envisioned adjacent to the Martin Luther King Park – a 10-hectare green space.
Unlike the static Haussmann apartment blocks that define Paris, MAD’s project is characterised by its interaction with nature in the urban environment. Its undulating floor plates form a series of terraces, creating dynamic spaces within and expansive gardens and balconies on the exterior.
Each asymmetrical level slightly tapers as the building ascends, with the upper floors boasting panoramic views of the surrounding city and the Eiffel Tower.
Clichy-Batignolles provides the opportunity for French and international architecture firms to collaborate and create a new part of Paris. The neighbourhood re-activation plan includes construction of new residential buildings, as well as other community resources. The area was divided into nine plots which were each assigned to a group comprised of architecture companies and developers. After winning the competition, these groups met regularly to discuss each team’s project within the bigger scheme of the neighbourhood.
They particularly participated in a series of workshops to explore topics from the macro-scale urban plans to micro-scale details, such as sustainable community development, resource sharing, energy management, and population demographics. MAD’s design was the result of these workshops with the developers, architects and the Clichy-Batignolles inhabitants. In addition to which, the residential plot for ‘UNIC’ includes both private housing and affordable housing, thus enriching the dynamics of the neighbourhood.
Situated in this evolving socio-economic boundary, ‘UNIC’ reinterprets the conventional residential typology. The design is characterised by sinuous floor plates, vertically extending the neighbouring green park. By combining residential density with raised gardens, the project is an upwards-growing organic arrangement, one that blurs the boundary between architecture and nature. Sharing the same podium with the affordable housing, its communal programming is further realised with the addition of the kindergarten, retail spaces, and other community resources at ground level.
A metro station is integrated with the building, linking the community and neighbourhood to the greater Paris area. In contrast to typical modern cities that displace the connection between the ground and nature as they grow increasingly dense and vertical, MAD’s scheme creates an environment that is generous in natural spaces.
Embracing the Parisian legacy of integrating nature and gardens into the urban center and everyday activities, ‘UNIC’ actively enhances relationships within the community, represents the neighbourhood’s evolution, and offers a contemporary vision of how nature can be integrated into the urban environment.
The project is expected to be completed in September 2019, with an estimated move-in date scheduled for November.
Year : 2012-2019 Typology : Residential Status : Under Construction Expected completion : September 2019 Site Area : 1,033 sqm Building Area : 6,600 sqm Building Height : 50 m Principal Partners in Charge : Ma Yansong, Dang Qun, Yosuke Hayano Associate Partners in Charge : Andrea d’Antrassi, Flora Lee Design Team : Zhao Wei, Wu Kaicong, Daniel Gillen, Jiang Bin, Tristan Brasseur, Juan Valeros, Gustavo Alfred van Staveren, Xin Dogterom, Juan Pablo, Cesar d Pena Del Rey, Natalia Giacomino, Torsten Radunski, Rozita Kahirtseva Client : Emerige Lead Architect : MAD Architects Team Coordinator : BIECHER Architectes Executive Architect : BIECHER Architectes Structure Engineers : BECIP – BET Structure MEP Consultant : ESPACE TEMPS – BET Fluides Landscape Designer : PHYTOLAB – BET Paysagiste Interior Designer : Charles Zana Project Management : Artelia Construction Company : Vinci Sicra Ile-de-France
The catenary and the Arc by Manuel Bouzas and Santiago del Aguila is a temporary installation occupying the courtyard of Flores & Prats‘ Casal Balaguer Cultural Center in Palma de Mallorca.
Displayed during insòlit 2019, a festival of temporary installations that opened the doors of palma’s courtyards to creativity during the first week of july, the project draws from the architecture of the building, confronting two opposing geomtries: the arc and the catenary.
Seduced by the beauty of the stone arches in the patio of casal balaguer, an aristocratic house dating back to the 14th century, manuel bouzas & santiago del aguila have created a temporary installation that reflects their form with a reverse geometry. The large catenaries are built using light steel meshes and covered with acetate, projecting a warm light in the interior of the courtyard.
‘We want to confront two opposite geometries: the arc and the catenary,’ explain the architects, ‘one fights against gravity while the other one works with it; one requires mass while the other achieves lightness; one is compressed while the other stretches; one is opaque while the other lets light pass through it; one provides shade while the other projects its color; one grows from the ground while the other falls from the sky; one was already there while the other not yet.’
The catenary and the arc was presented during insòlit 2019, a festival of temporary installations curated by aina bigorra, Erik Herrera and Pep Rovira. The festival aims to promote and show in an active and participative way the heritage value of the balearic islands, through temporary creative actions.
Architects : Manuel Bouzas, Santiago del Aguila Location : Carrer de la Unió, 3, 07001 Palma, Illes Balears, Spain Collaborators : Clara Alvarez García and Alexander Zikanov Area : 200.0 m2 Project Year : 2019 Photographs : Antonio Bouzas Barcalz Manufacturers : Leroy Merlín, Maxi products
The Australian social media celebrity and YouTuber, Alex Hirschi presents BMW Vision Next 100. The new generation of BMW cars are shape-shifting autonomous cars with artificial intelligence. Alive Geometry is a new feature by BWM which they introduced it as shape-shifting geometry in the Vision Next 100. For example the front part of the outer skin of the car consists of many tiny triangles which they would open and close to allow the car wheels turn to left and right. It allows the care to communicate with the rider. Also inside the car there are many small triangles which act like a reptile skin. These triangles warn the driver whenever a pedestrian gets closer to the car.
Visions Take Shape:
Visionary concepts, strong brands and new ideas for the mobility of the future. To mark its centenary, the BMW Group presented ground-breaking innovations in Munich, Beijing, London and Los Angeles, under the name “Iconic Impulses. The BMW Group Future Experience“.
Ideas, opinions and visions: What will mobility look like in the future? What role will companies play in society? How and where will people live? How are digitalisation and globalisation changing our world? How can we continue to be a driver of progress? These questions are addressed in the publication “THE NEXT 100”.
A sign for the future – The BMW Group centenary signet.
The central element of the centenary communications will be the signet, consisting of four triangles combined to form an arrow symbolically pointing forwards into the future. The signet’s four individual elements represent the cornerstones of the BMW Group identity: trust, success, responsibility and pioneer thinking. They also reflect the versatility of the company and its brands, and the diversity of its associates.
Part Architecture are cooperating with KINO landscape architects to design the Urban Jungle Vertical Park, a spatial installation in the form of a vertical park in the new gigantic shopping centre T1 in Ülemiste district of Tallinn, Estonia.
The aim of the structure is to create a common identity for the various levels of the 30-metre atrium and to provide an enjoyable environment for spending time. The motif of a cliff proposed by the landscape architects was developed further by the architects with the aim of finding a solution that would not imitate nature but instead form a clear contrast to the plants flourishing on the “cliff wall”.
The basis for the structure (that is, the algorithmic cell) is established by a polyhedron that – albeit strictly geometrical in form – allows to generate in repeated modules a free form volume filling the space. The room dividers based on the organic growth algorithm form surfaces for climbing and hanging out on various levels.
The pre-manufactured elements forming the structure are made of steel and they can be easily rearranged and replaced. The geometrical structure of the Urban Jungle Vertical Park resembles a cliff ledge covered with climbing plants with the light and shadows from the cavities alternating with views of the expanses above. The work creates a contrast between the organic and technological material that will find its balance over time in cooperation between the gardener and nature.
San Francisco based British artist, James Owen, creates Flourishing named series of motion graphics using complex mathematical formulas in 3d modeling software.
Flourishing is a study of light, shadow, form, and function. Built on the basic principles of trigonometry and a simple mathematical formula, this series aims to encapsulate the beauty of repetition while embracing the familiarity of space.
About James Owen:
James Owen is a Director and designer with meticulous attention to detail. He is originally from London, United Kingdom and he is currently based in San Francisco, California. He is an artist and designer who’s spent over a decade crafting iconic content for the world’s top brands and leading agencies. He’s now more focused on long-term projects in the pursuit of craftsmanship and artistry.
Buga Fibre Pavilion by ICD/ITKE University of
Stuttgart in Bundesgartenschau, Heillbronn, 2019
the wavelike landscape of the Bundesgartenschau grounds, the BUGA Fibre
Pavilion offers visitors an astounding architectural experience and a glimpse
of future construction. It builds on many years of biomimetic research in
architecture at the Institute for Computational Design and Construction (ICD)
and the Institute for Building Structures and Structural Design (ITKE) at the
University of Stuttgart.
demonstrates how combining cutting-edge computational technologies with
constructional principles found in nature enables the development of truly
novel and genuinely digital building systems. The pavilion’s load-bearing
structure is robotically produced from advanced fibre composites only. This
globally unique structure is not only highly effective and exceptionally
lightweight, but it also provides a distinctive yet authentic architectural
expression and an extraordinary spatial experience.
Novel Composite Building System Inspired by Nature
most load-bearing structures are fibre composites. They are made from fibres,
as for example cellulose, chitin or collagen, and a matrix material that
supports them and maintains their relative position. The astounding performance
and unrivalled resource efficiency of biological structures stem from these
fibrous systems. Their organization, directionality and density is finely tuned
and locally varied in order to ensure that material is only placed where it is
Fibre Pavilion aims to transfer this biological principle of load-adapted and
thus highly differentiated fibre composite systems into architecture. Manmade
composites, such as the glass- or carbon-fibre-reinforced plastics that were
used for this building, are ideally suited for such an approach because they
share their fundamental characteristics with natural composites.
builds on many years of biomimetic research at the Institute for Computational
Design and Construction (ICD) and the Institute for Building Structures and
Structural Design (ITKE). It shows how an interdisciplinary exploration of
biological principles together with the latest computational technologies can
lead to a truly novel and genuinely digital fibre composite building system.
Only a few years ago, this pavilion would have been impossible to design or
Integrative Computational Design and Robotic Fabrication
is made from more than 150.000 meters of spatially arranged glass- and carbon
fibres. They all need to be individually designed and placed, which is very
hard to achieve with a typical linear workflow and established production
technologies. Thus, it requires a novel co-design approach, where architectural
design, structural engineering and robotic fabrication are developed in
continuous computational feedback. In this way, the fibre arrangement, density
and orientation of each building component can be individually calibrated,
structurally tuned and architecturally articulated, while remaining directly
components are produced by robotic, coreless filament winding, a novel additive
manufacturing approach pioneered and developed at the University of Stuttgart.
Fibrous filaments are freely placed between two rotating winding scaffolds by a
robot. During this process, the predefined shape of the building component
emerges only from the interaction of the filaments, eliminating the need for
any mould or core. This allows for bespoke form and individual fibre layup for
each component without any economic disadvantage. In addition, there is no production
waste or material off-cuts. During manufacturing, a lattice of translucent
glass fibres is generated, onto which the black carbon fibres are placed where
they are structurally needed. This results in highly load-adapted components
with a highly distinct architectural appearance.
production took place at the project’s industrial partner FibR GmbH. Each
component takes between four to six hours to make from around 1.000 meters of
glass fibre and 1.600 meters of carbon fibre on average.
Unique Lightweight Structure and Expressive Architectural Space
covers a floor area of around 400 square meters and achieves a free span of
more than 23 meters. It is enclosed by a fully transparent, mechanically
pre-stressed ETFE membrane. The primary load bearing structure is made from 60
bespoke fibre composite components only. With 7.6 kilograms per square meter,
it is exceptionally lightweight, approximately five times lighter than a more
conventional steel structure. Elaborate testing procedures required for full
approval showed that a single fibrous component can take up to 250 kilonewtons
of compression force, which equals around 25 tons or the weight of more than 15
cars. The pavilion shows how a truly integrative approach to computational
design and robotic fabrication enables the development of novel, truly digital
fibre composite building systems that are fully compliant with the stringent
German building regulations, exceptionally light, structurally efficient and
the wavelike landscape of the Bundesgartenschau grounds, the pavilion
translates the innovation on a technical level into a unique architectural
experience. The black carbon filament bundles, wrapping around the translucent
glass fibre lattice-like flexed muscles, create a stark contrast in texture
that is highlighted by the pavilion’s fully transparent skin. This distinctive
architectural articulation is further intensified by the gradient from sparser
carbon filaments at the top towards their denser application on the slenderest
components that meet the ground. While most visitors may not have seen anything
like it before, the pavilion exposes its underlying design principles in an
explicable yet expressive way. Its unfamiliar yet authentic architectural
articulation evokes new ways of digital making, which no longer remain a
futuristic proposition but already have become a tangible reality.