Full – scale sketches of future residential plot by maider lopez

The Intermedio project that we found on Ideas to steal is a creative way of looking at future residential developments before they will be build. The project consists of ” lines painted on a plot representing the future houses that will be built there“, as the artist that created them says. The creator of this project in Cordoba, Spain, is Maider Lopez, a talented Spanish designer that “enjoys creating interventions in spaces, situations and architecture. Her works often involve the active participation of the viewer and can take the unprepared by surprise as an aspect of a familiar space mischievously highlighted or altered.” This full-size architectural sketch allows curious people see how the house would feel like in terms of space and arrangement. This opens up the mind to imagining 3D versions of the future residence, creating the opportunity of enjoying an urban space in a whole new perspective – with a future attached to it.

Anisotropia Installation as a Frozen Piece of Music / Orproject

Anisotropia is based on Klavierstück I, a composition for piano by Orproject director Christoph Klemmt. The piano piece uses a twelve tone row which is repeated and altered by the different voices, in order to create complex rhythmic patterns. Anisotropia becomes the physical manifestation of Klavierstück I, a frozen piece of music. The installation is based on a simple strip morphology instead of a twelve tone row, which creates the structure, openings and rhythm within itself, its repetition happening in space instead of time. Layers of the strips form the wall system, and the shifting and alteration of these patterns results in the formation of complex architectural rhythms which are used to control the light, view and shading properties of the structure. The system has also been used for our design proposal for Busan Opera House.
Shifting tones
Klavierstück I uses a twelve tone row which starts with the lowest key of the piano. After its first cycle the row gets repeated, though shifted up by a halftone. However rather than translating up every tone by a halftone, only the lowest tone of the row is translated up by one octave. Like this the row remains the same, but its range has been shifted. In the next repetition this shift continues, but the range now also gets reduced in its size: The lowest tone gets translated up by one octave again, and the second lowest tone gets dropped out, so that only the remaining eleven tones of the row are played. Instead of the twelve tones the range now only covers eleven tones, and also its length is reduced accordingly.
The range of the twelve tone row continues to be reduced and shifted upwards until only one tone is left in each repetition of the original row. Then the range grows again, and still moving upwards goes through further modulations: The different voices of the piece are starting to separate, the size of the different parallel ranges starts to diverge, they move around each other, until finally they grow together again, still moving up and their range fading out with the highest key of the piano.
Piano Piece No.1 is based on a simple row of the twelve tones, but by shifting and translating its range of influence, complex and continuously evolving rhythmic patterns are generated and turned into a floating field of sound.
Structure and light
The proposed façade system becomes the physical manifestation of Klavierstück I. It uses parallel bamboo lamella which are creating the rhythmic structure. The basic unit of two strips is creating form into two dimensions, and becomes a straight extrusion into the third dimension. Like this it gets multiplied into the first two dimensions, where it develops and gets modified in the same way in which the twelve tone row gets repeated and modified in time.
The extrusion in the third dimensions allows for a horizontal modification during the development of the wall, which is used in a linear direction similar to the continuous upwards movement of the piano piece. In the piano piece always only the upper few tones of each twelve tone row are audible and create the floating field of rhythmic transformations. Similarly in the installation, only the peaks of each strip become visible and create a floating field of structure, shadow and light.
Designed by: Xin Wang and Christoph Klemmt
Project Team: Shuai Yang, Duan Duan, Haobin Lee

Arts Square in Daqing, China Explores the Relationship of Water, Sky and Earth

This project is a winning entry conceived by architects Chi Wai Chan, Xinyu Wan, and Geng Ke for a competition to design an arts and cultural square at Lake Sanyon in Daqing, China. The project examines the relationships between the elements of water, sky, and earth. A waterfront promenadethat ensues the formal attributes and fluidity of the water, a 1,394 m long canopy with LED display that transpires the form of the clouds, and a ground condition of self-similar marine lifeform that establishes view corridors to the lake. These three design elements serve as the organizing  apparatus for the design of the square.

The architecture of the individual buildings experiments with a contemporary aesthetics attainable  through digital design.  Tools such as Maya, Rhino and Grasshopper were utilized during the  design process. But considerations were also given to achieving a balance between buildability and creativity. The architecture and the aesthetic affects were shaped by the materials and construction methods available, and by considerations of the process and fabrication technologies available in translating a digital model into reality.

tokujin yoshioka: phenomenon for mutina

'honeycomb' ceramic tiles series of phenomenon collection by tokujin yoshioka
image courtesy of tokujin yoshioka design inc.
 

in recent years, japanese designer tokujin yoshioka has aimed to incorporate the law of nature
into his designs and pursued the elements of sensation in human beings. his new project 'phenomenon'
is a collection of ceramic tiles for italian ceramic design company mutina, consisting of the series 'snow',
'honeycomb' and 'rain' that draws on natural phenomena, showing the relationship between humans and nature.

'... in this collaboration with mutina, I have pondered in designing ceramic tiles, which express the textures of
the material derived from nature. my intention is not to manipulate the appearance of nature, but to create a design,
which stirs one's heart and imagination and remains deep inside one's memory. 'phenomenon' integrates small substances
and produces both depth and expanse. various expressions, such as honeycomb, snow crystal, icicle, plant cells evoke one's
memory of the scenery in nature. the flooring series, 'snow', adopt the texture of japanese paper.

'... I have selected colors and materials that can express the magnificence of the natural texture to the fullest.
the main color of the product is white, which I intend to emphasize the contrast of light and shadow when applying
the light over the surface... even though the material was arranged as ceramic in advance, I did numerous experiments
and research in order to draw out the most beautiful aspect of the material itself.'

'In my opinion, italian design has weight on originality and uniqueness while japanese design has poetic feeling,
which I think is heavily influenced by the essence of nature. for this project, through the texture of italian ceramic,
I intended to express the essence of coincidence existing only for a moment just as the beauty of nature.' - tokujin yoshioka



honeycomb pattern
image courtesy of tokujin yoshioka design inc.



'phenomenon' ceramic tiles collection
image courtesy of tokujin yoshioka design inc.



tokujin yoshioka
image courtesy of tokujin yoshioka design inc.



'rain' and 'honeycomb' series
image courtesy of tokujin yoshioka design inc.



image courtesy of tokujin yoshioka design inc.



close up
image courtesy of tokujin yoshioka design inc.

tokujin yoshioka: twilight - moon and memory chairs for moroso

'twilight' installation by tokujin yoshioka at the moroso showroom during milan design week 2011
image courtesy of tokujin yoshioka


for milan design week 2011, japanese designer tokujin yoshioka has taken over by the moroso showroom
with his 'twighlight' installation. the calm and surreal environment of soft light floods over a display of
yoshioka's 'moon' chairs, sculpted after the celestial body, that were designed for the italian furniture company.



soft light creates a surreal environment within the space
image courtesy of tokujin yoshioka


the space of light and aura has been created so that the light reflects onto the surface of the chairs,
revealing the various textures in which they are made, existing in the different white materials,
such as plastics and unique fabrics.

see designboom's preview article on the 'twilight' installation and the 'moon chair' for moroso here.



general view
image courtesy of tokujin yoshioka



tokujin yoshioka's 'moon chairs' for moroso are displayed in which visitors can rest and contemplate
image courtesy of tokujin yoshioka



image courtesy of tokujin yoshioka



the light reflects onto the floor to create a textured looking surface
image courtesy of tokujin yoshioka



image courtesy of tokujin yoshioka



the light that floods into the showroom as if to appear like bright stars
image courtesy of tokujin yoshioka



image courtesy of tokujin yoshioka



tokujin yoshioka inside the 'twilight' installation
image courtesy of tokujin yoshioka



image courtesy of tokujin yoshioka



tokujin yoshioka sketching an abstract drawing 'twilight'
image courtesy of tokujin yoshioka



the moon chair is shown as a series - including fully upholstered, upholstered with sled base and plastic -
at the fairgrounds during milan design week 2011.



front, 3/4 view and back
image courtesy of moroso




upholstered version with sled base
image courtesy of moroso




fronts of each version
image © designboom




the backs of each version
image © designboom




fully upholstered version
image © designboom


also presented is 'memory',  with a foil-like surface that was presented last year while still in its prototype stage.
for the project, yoshioka developed a special fabric made with recycled aluminum, that transforms and memorizes its shape upon use.
the final product is a stunning sitting sculpture.


'memory' was shown last year while still in its prototyping stages - this year, the final version was presented
image © designboom

Winners of the TEX-FAB Repeat Digital Fabrication Competition

By: admin | November - 18 - 2010

The winners of the TEX-FAB Repeat Digital Fabrication Competition has been announced. The jury consisting of Patrik Schumacher, Marc Fornes, Lisa Iwamoto, Chris Lasch,  and Blair Satterfield decided that the winning project that will be built for the TEX-FAB Event in Houston in February 2011 was “Minimal Complexity” designed by Vlad Tenu. The Jury selected 1 Winner, 4 Runners-Up and 7 Honorable Mentions which will be exhibited along  the winner.

Minimal Complexity – Winner
Vlad Tenu

Along with its aesthetic beauty, technical superiority and elegance of detailing, the proposal was chosen because it employs structural robustness, material efficiency and an inherent logic of assembly.  A minimal periodic surface structure is created with the repetition of only 16 different components.  A macro-scaled modular cellular pattern emerges through symmetry that is infinitely expandable and open-ended while becoming differentiated at its edges.  Ornament functions as a simultaneous expression of the whole and the part working in dynamic equilibrium.

tetra|N – Runner-up
Glenn Wilcox and Anca Trandafirescu

TEXtile – Runner-up
Vasilena Vassilev & Clare Olsen

vFlow – Runner-up
Peter Romvari

Calculated Pull – Runner-up
Christina Ciardullo & Naomi Ocko

spülenkorb – Honorable Mention
Gabriel Esquivel, Ryan Collier and Michael Tomaso

Bow - Honorable Mention
Yan Gao, Ning Duo and Qiang Chang

aztekium hintonii – Honorable Mention
Daniel Segraves and Brent Watanabe

Hauer Redux – Honorable Mention
Ripon DeLeon and Noah Greer

SEaMM – Honorable Mention
Benjamin Ruswick

Bone Machine – Honorable Mention
Jonathan Chertok

Material Theatricality – Honorable Mention
Jenny Kwon, Rebecca Qin and Chris Bickerton