Z E NSTILATION
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BOXEL//
david lemberski & group of students
The Boxel pavilion. Parametric design has taken over recently. Grasshopper as a plug in for rhino proved that how it’s capable of designing new type of products. This program based on the idea of constraints and variables. Play with the sliders and you’ll get almost an infinite number of possibilities instantaneously. The unit of the pavilion is the beer box! More than 2000 boxes come in a composition together with invisible wooden connections and screws in a free form.. Add the simple light installation and enjoy the sustainable simple amazing spatial installation with the shades of yellow at night and as an excellent shading device in the light . The summer pavilion was constructed by a group of students in Detmold university who were asked to not only design but realize the construction and implementation on site in scale 1:1 in order for the shape to hold itself.
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100 COLORS//
emanuelle moureaux
Designed by the French architect Emmanualle Moureaux, 100 colors was exhibited in Shinkjuki Creator’s Festa 2013, Japan last month. The installation created a floating volume of continuous spectrum of 100 shades. Composed of 840 colored papers from Takeo attached to the ceiling in perfectly aligned rows, the art piece displayed a product line from the Japenese paper manufacturer. Bean Bags were placed underneath the art work to invite visitors to immerse themselves into different angles and perspectives of the space created above. On the rear wall, hundred circles in the colors used in the istallation were placed where visitors can indicate their favorite color. Inspired from Tokyo’s ‘flood’ of colors, Moureaux’s design concept ‘shikiri’ is using three-dimensional color elements to create and redefine space. 100 colors is the launch of an exhibition series which Monreaux is planning to feature in different cities around the world.
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COLA-BOW//
penda
The “Cola-Bow� is a public art installation designed by Penda for the 2nd Beijing University Creation Expo. The aim of this installation is anawareness of the recycle plastic waste. So the designer creates a shelter made out of more than 17,000 recycled Coca-Cola plastic bottles, and its form inspired by the swings of the Coca-Cola logo. This huge number of bottles was collected by the idea of giving citizens a bottle of Coke for every 10 empty ones brought back to a recycling spot.
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TECTONIC OF TRANSPARENCY//
chrisitno parreno architects
“Tectonics of Transparency� is a glass undulating architectural structure installation created by Chirsitno Parreno Architects. It is currently installed at the International Design Center at MIT in Boston, MA. This project emphasizes the interaction between screen and light that describes different perceptions form different angles, thus its appearance changes according to the position of the viewer. The themes such as perception, privacy, transparency, light and opacity were explored by only using glass as its material.
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HATS//
akio hirata
Hats by Japanese milliner Akio Hirata appear to float between the floor and ceiling in this installation by Japanese designers Nendo. The 4000 hats are suspended from invisible threads, surrounding visitors and appearing to hover like ghosts.The mass-produced non-woven fabric hats we created for the space are the antithesis of Hirata’s carefully handmade hats, and bring them into sharp relief through dramatic contrast.Hirata oversaw the shape of these hats, which float and stream through the exhibition like ghosts or shells of the real hats exhibited. Some are exhibition stands; others become walls, ceilings and diffusers to scatter light through the space. Flooded with roughly 4000 of these ‘ghost hats’ as though shrouded in a cloud, the exhibition space softly invites visitors inside. There, they find not clearcut paths to follow but an environment in which they can wander and discover Hirata’s creations as they like, as a way of physically experiencing the creative freedom that underlies Hirata’s work.
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SCULPTING WITH NAILS//
john bisbee
John Bisbee is an artist who spent nearly 30 years using nails as his sole medium to create geometric sculptures, organic installations, and unwieldy objects from thousands of nails that are hammered, bent, welded, or fastened together in a seemingly limitless procession of forms.It all started when he was in college scavenging in an abandoned house looking for items to incorporate into a series of found-object sculptures. Through chance, he kicked over a bucket of old rusty nails that, surprisingly, had fused together into a bucket – shaped hunk of metal.His mantra: “Only nails, always different.” He shares with American Craft, “A nail, like a line, can and will do almost anything. What can’t you draw with a line? The nail is just my line.”
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FXOFOWLE LOUNGE//
This installation features a self-supporting architectural pavilion. Using technically sophisticated scripting software with simple museum board were the tools that the architects used to create. It is composed of 180 varying components that, when together, make up the form of parametrically structural geometries. Each component was pre-assembled in a factory by hand into 19 different ribs. They connected each piece using only Elmer’s glue and a stock adhesive. They were then installed upright and fastened to each other through zip ties.
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URBAN NATURE//
urban systems office
The installation titled ‘Urban Nature’, has been designed by Urban Systems Office as an interpretation of urban structures responding to dynamic environments similar to natural ecologies. Its shape and material system is informed by the circulation and viewing opportunities around the site, the entrance of the PH7 store at the Xintiandi Style mall.The piece is intended to be read as an aggregate of architectural elements, visually resembling a building structure or high-density urban area that grows and adapts in relation to the economical and cultural forces of everyday life. This follows the designers’ interpretation of contemporary cities as living, growing and evolving ecologies, incorporating complexity and variation within the design to create adapting structural and spatial qualities.The installation is fabricated using low-cost and 3D-printing technologies, using a bio-degradable plastic made from corn starch. It was designed through a customised digital design process, which allowed to calibrate more and more detailed versions of the design in relation to the limited site, budget and construction time.The internal variations are achieved through a small number of families of different components, limiting the range of component types and reducing the complexity of the assembly process. A manual for the assembly of the installation was produced by the same digital design process, documenting the precise sequence of the construction stage which had to be completed in just two nights and two days.
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MARCUS PRIZE '13//SOU FUJIMOTO
Fujimoto was invited to work with graduate students of SARUP, during the spring semester. The result of the collaboration, coordinated by Dean Mo Zell, was faBRICK – a small installation meant to revitalize an unused lot in Milwaukee’s East Side during the summer. The installation consisted of a linear “chain” of bricks, connected with bolts, anchoring plates and plywood, forming wave-resembling “arches”. Unlike vaulted arches, these are compressed horizontally and are held in place by friction.
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WoVEN STEEL OYLER WU STRUTURE//COLLABORATIVE
An installation that includes a seating place is made up of 13,700m of woven rope that is strung through a steel frame. This design approach creates an optical illusion. This entire structure is pushing the boundaries of how we perceive. This steel wall module is visibly recognized as a controlled series of patterns. As the audience moving around the structure sees the 4th dimension the way we view the sculpture changes drastically and reveals its complex nature. Swinging back and forth from a series of twisted surfaces and absorbing play of spaces and material thickness. The span of this sculpture is 6.6 meters and is composed of lightweight steel frames analytically wrapped in rope. Geometry demanded incredible accuracy and highly corresponding teamwork. As structural design had to follow the requirement for vitality and visual permanence, it lead to the examination of methods which introducing arithmetical complexity along with the prerequisite for better degree of viewers appointment. This structures design is suppose to mimic furniture of the street.
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LOS TROMPOS//
esrawe & cadena
It’s time to rewind your memories back to childhood days when you used to play with those colorful spinning tops. Mexican designers Héctor Esrawe and Ignacio Cadena, have given a new spin to these playful memories by re-creating life-size interactive design installations called Los Trompos (Spinning Tops) in Georgia, Atlanta. Esrawe explains the idea behind the design saying: “The concept behind Los Trompos is based on an approach of traditional toys, their colorful expression and the way they are constructed. We wanted to talk about the traditions and skills of the craftsmen in Mexico, as an inheritance of our culture. We like the idea of translating these techniques into new symbols.”Los Trampos features more than 30 of these larger-than-life tops which can be spun on the top of their bases by their visitors. Each of these tops are crafted and created in part by Mexican Artisans in traditionally woven fabric.
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PLEXUS//
gabriel dawe
When textile, meets art, meets perception in a creative, colorful and dynamic way you have the Rainbow installation by Gabriel Dawe. The PLEXUS installations inhabit the space like a spider web. They make sublime dream-like visuals that hypnotize the viewers while they explore their way around them and experience the distinctive perspectives that they offer. The light that infiltrates the space likewise assumes a critical part as it offers an extra point of view as the semi-straightforward establishments become full of energy all of a sudden. Each installation, depending on its size, takes hours to be installed. They are meticulously set up together where every bit of string makes a bend like frame that strengthens the visual perfection of every piece. Together with the hues and the great utilization of the space, every installation passes on an earnest feeling of quietness. At the point when seen from distinctive edges, the consummately extended strings appear to be just about to challenge gravity and go into the space.
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DYNAMIC PerFORMANCE E/ B OF NATURE// OFFICE
Global sensors for wind, temperature, seismicity and other factors, feed data to 1,888 full-colour RGB LEDs which translate this into continuous photonic waves across the wall, displaying changing trends as they occur. The colour range of the wall reflects temperature, the speed of the colours’ flow across the wall is indicative of actual wind speed, and when an earthquake occurs, the lights arrange themselves into a distorted map of the world, showing epicentre and intensity. It is calculated that this wall, constructed of recycled HDPE fins, saved around 3 tons of plastic from landfills. All 176 fins are unique, acting together with solar powered LEDs to form the sine-derived figure of the wall. occupiying 1300 sqft of vertical exhibition space it acts as a programmatic threshold between exhibit spaces.
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FICTION OF THE SEON FABRICATED IMAGE//GHI BAHK The installation from Seoul based artist Seon Ghi Bahk, is part of the series titled ‘An Aggreation’. The installation is a sheer work or abstraction and delicacy where the artist intention is to explore the relationship between nature and humans. Bahk’s uses charcoal pieces hung by nylon threads to represent architectural forms and elements from which floating and crumbling particles defragment out. The installation has unique appeal to it because of the paradox created in the art work. The artist combines a strong depiction of columns or structural elements along with a feeling of explosion creating a contrast through fragments. His intentions of highlighting the debility of humans in the face of nature are clearly illustrated in his work, where the decaying and fragile nature of the columns overpowers its strength and stability.Rather than considering nature as the setting for its development, Bahk elucidates it as a vital part of our civilization. He says “Our quest to control nature is only an liiusion, Infact, our development is purely impossible without her”.
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MILKYWAVE//
AIDIA STUDIO
The projects intention is meant as a commentary on the practice of urban fabrication through object that are easily recognizable in a collective memory. Furthermore, adding value and a renewed use to mundane objects. This particular installation uses 1664 recycled ceramic yogurt bottles and transforms them from a found classic in Beijing Hutongs, to a large-scale light installation.They are essentially taking a common and recognizable object part of the Beijing landscape that is familiar enough to activate old memories in a new form that will enable new sensations. The yogurt bottles are suspended from the ceiling and spans a double height space above a hallway and stairs in a fluid wave.
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GRAVITY DEFYING JACOB PAPER TAPESTRIES//HASHIMOTO Jacob Hashimoto has taken a deeper approach to the Japanese tradition of kite-making. Drawing on his heritage, Hashimoto creates three-dimensional structures made out of thousands of miniature kites. The installations form cascading shapes that appear to float in mid air.When the kites are assembled on an intricate network of thread, they evoke a feeling of stillness and weightlessness like gravity defying paper tapestries. Jacob is a contemporary artist who currently lives and works in New York.
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PASTELITO//
MARTIN HUBERMAN &off the records
Named “Pastelito”, after the typical Argentinean pastry, this installation is the result of a contest to be a part of the “Muestra #4″ (Event #4) at the gallery MONOAMBIENTE, cured by Martín Huberman and “off the record” group . Part their work consists of the prototyping of modular systems, which they use to create structures that transform the space in different ways. Under this logic, “Pastelito” shows the exploration of the origami technique applied to the module of a commercial size of paper; exploiting the possibilities of both the paper and the module as building materials. The repetition and interaction between these modules resulted in an extensive mesh made out of around 8,000 pieces of hand-folded paper. This mesh presents a changing behavior which vistors took advantage of to interact with the space inside the gallery.
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PORTAL OF AWARENESS//
ROJKIND ARQUITECTOS
This portal, conceived through spatial design, activated by the city dwellers and the everyday stimuli of Mexico City’s life, becomes a new public piece in one of the city’s most important avenues, Paseo de la Reforma. Nescafé comissioned 8 artists to develop specific installations with the basic requirement of utilizing a maximum of 1500 metal coffee mugs. The final shape of the portal, along with the different colors of the mugs selected, reinforce the sense of movement of the piece, which plays a key role in the concept of the project. The steel planters anchor the structure and allow for the vines to grow in between the rebar, with the idea that in time it will cover the entire structure in a green foliage from the outside, while the inside displays the gradient of the mug’s chromatics.The play of the shadow’s patterns casted on the sidewalk add an extra layer that shifts throughout the day. This installation is intended to be in place during the winter months, providing a space of expression and interaction in the public realm.
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CLOUDY HOUSE//
The 2009 installation at Andersen’s Contemporary Berlin GmbH called “Cloudy House” consists of a composition of geometric paper clouds that explore visions of the future.
TOMAS SARACENO
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PRATT GAUD EXHI.//
GRADUATE &URBAN STUDENTS
Pratt Institute’s Graduate Architecture & Urban Design exhibition of student work has been curated, designed, and fabricated by a group of students in a course taught by professor Michael Szivos, Softlab principle, alongside with Carrie Mcknelly, and they decided to do the same this year. Each year the course attempts to produce an installation that explores digital fabrication methods, while showcasing the previous year’s student work. A cloud-like structure hangs over the students work. Each cell represents a project. The underside of this structure is clad with colour coded images of the students work. The bottom appears solid, but the structure above is very porous to allow for light to still penetrate into the gallery. The hanging installation is conceived in the Hazel and Robert H. Siegel Gallery and made of over 250 unique cells. These were each custom laser cut, assembled, and clad with custom cut images. The structure is exceptional light, while still being very strong and taking up large volume.
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tectonic landscape//
h ga live components
The landscape consists of 2-dimensional and 3-dimensional layers, which contains the folded view of natural landscape with overlapping each other.The project represents a spatial drawing for Korean landscape, as well as experiential drawing which makes it possible to walk, climb, rest and play. Beyond the independent art work, it provides the space for sitting and resting to the people who visit this museum.The recycled industrial materials, 1000 pieces of plastic pallets, had been gathered and formed into the poetic space with different assemblage logics for functional, spatial, and structural purposes. This work is the final version of consecutive research about pallets which explored the landform with horizontal laying, as well as the screen effects from vertical laying.Three layers of pallets made it possible to erect the maximum 5m-height screen wall with varying heights. It also shows the dynamic screen effects following the viewing angles and distances. The whole combination of horizontal and vertical layers folds following the c-shaped boundary of exhibition space, which leads visitors’ gaze and circulation.
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parametric structure//
ball state uni
A group of architecture students from Ball State University, together with professors Gernot Riether and Andrew Wit, have transformed a post-industrial landscape in Muncie, Indiana, into a new destination for the city’s local art fair with the construction of the Underwood Pavilion. The parametric tensegrity structure, made from 56 lightweight, self-shading modules of Elastan fabric, provides visitors with refuge from the sun and framed views of the surrounding landscape.
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Lightweight structure: The Underwood pavilion’s modules were developed from different variations of a 3strut tensegrity module. Varying the distance between the upper face and the lower face and varying the scale between the upper face and the lower face of the module informed the curvature of the envelope. These variations also generated a different rotation within each module causing the envelope to twist in different directions. The structural simulation engines Rhino Membrane and Kangaroo were essential tools in the form finding process of the pavilion’s structure.
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The final tensegrity state of a module could only be reached with all cables in tension and all bars in compression. The entire system remained loose with all members being connected except one. This allowed for the modules to be stacked and transported efficiently as a loose low–volume bundle of bars and cables (3” x 3” x 6’). At the site of construction only one cable per module had to be joined. Using a turnbuckle to connect the final node allowed regulating the stress in the module until it snapped into the predicted tensegrity geometry. Each of the 56 modules describes a volume of 3’ x 3’ x 3’ to 4’ x 4’ x 4’. Self-shading envelope: To respond to a specific context the modules were arranged in a tensegrity pattern. Skipping every second module in every second row created smaller and larger openings that were placed to frame the environment. Elastan, an eco-friendly polymer originally used for sportswear was adapted to create the pavilion’s self-shading envelope. Elastan is created from filaments that are more durable than non-synthetic materials such as rubber. It can be produced from 100% renewably sourced raw material such as recycled polyester. Once all modules were connected each module was dressed with an elastic fabric to form a minimal volume that was defined by the location of the struts and the elastic quality of the fabric. Tensegrity structures have large advantages compared to other structural systems. Using predominantly tension members they are lighter and stronger than conventional systems. As temporary lightweight structure the Underwood pavilion additionally takes advantage of the self-erecting behavior of tensegrity systems. Using physics engines as a design tool shows how tensegrity systems can be parameterized to adapt to site and program.
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PARAMETRIC INSTALLATION//
DOUBLE STUDIO
The Italian DOUBLE STUDIO directed by Maria Rosaria Melia, Antonella Buono and Benedicta Mariani in collaboration with the talented architects Arturo Tedeschi and Maurizio Degni introduced an innovative parametric installation, in the evocative setting of the Cloister of Bramante. It explores indeed the instant effect of Architecture on the field of Fashion & Vice-Versa. The installation blends the individual disciplines by establishing a unique expressive manifesto, with the use of high precision methods such as the parametric design, an advanced procedure that “promotes� digital models fabricated over new computer-aided programming techniques. It consists of four dresses along with accessories, which are located within a parametric framework in continuation with the exhibition space, embolding simultaneously the audience in an interdisciplinary learning mechanism.
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MOBI//
SUNG JANG The works include a room-sized installation, inspired by the generic form of a house, and a series of furniture objects, such as a long bench, a table and a suspended object – all realized with a modular tripod piece, entitled Mobi, inspired by the buttresses of European cathedrals.Mobi is the result of the artist’s previous research on the harmonious balance between clear structural functionality and architectural expression – or “Elegance and Extravagance”, as he refers to the two elements. A 3D printer was used to complete a prototype of the module in order to test its stability and strength. This was later sent to a Chinese factory which produced injection-molded plastic versions in polypropylene.Thousands of Mobi modules were used for the Chamber series.
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TRYlletromler//
fabric Architecture
The King’s Garden of Rosenborg Castle – the oldest example of classical garden design in Denmark – is the site for FABRIC’s installation, the Trylletromler.The Fence ransforms to represent the 3 main periods of the site’s history – The original based on principals of Euclidean Geometry, followed by Baroque style mazes and labyrinths and finally being bisected by the ‘kavalergangen’ and the ‘damegangen’ – the 2 tree-lined promenades.The fence, with each member separated by a solid wedge, in patterns both irregular and repetitive, gives an illusion of transparency while enclosing you within the bounds of the maze. in continuation with the fluid movement of the fence, circular openings, like the lifting of the curtain in places, subtly guide the path of visitors around the pavilion.
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TUBE NET//
NUMEN/ FOR USE
Visitors to an Innsbruck gallery can crawl from room to room via a series of bouncy net tunnels installed by design collective Numen/For Use. "Tube is a new installation concept constructed of stitched safety nets, which assume a form of a closed hose that pulsates and oscillates in the longitudinal section," said Numen/For Use. "The object is suspended from surrounding surfaces with numerous elastic strings, channelling a giant convulsing centipede." Materials used to create these structures include sticky tape, ropes and carpet. The net tunnels create a route between different spaces, rising up through holes in the floors and circling around structural columns – though some of the tubes lead to dead ends. "Such dispersed structural support enables even distribution of forces and allows the structure to feel soft and fully transparent as it transcends the architectural void, causing the sensation of free floating for the person inside," Numen/For Use said.
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Spacer fabric//
TAICHI KUMA
The labs of Stuttgart University have produced a fabric that could finally justify the change of the design process, from a linear design-to-implementation process, to an experimental method that is being implemented during the design process. Taichi Kuma, a science master holder in the university, with the advisory of several professors of his university, successfully developed this spacer fabric for architecture, a fairly big breach of the world of architectural technology. The final product could be manipulated with and formed in three main scales: an overall scale letting designers form the curve or shape they desire, a more detailed scale that would allow designers to form ornaments and/or functional partitions of the shape, and a minimal scale resulting with extra functionality and a more complex after-all form.The material is one of the most economic approaches of the implementation of elastic fiber in the field of architecture, and it opens the door for a wide range of complex designs. When asked about the most important aspect of the project, Taichi Kuma explained “I want to explore the possibility of the elastic material for architectural material. “Spacer fabric” is usually used for bed or mattress material, but it has certain stiffness because of its 3D knitting pattern. This is why we can create complex and characteristic geometry without using any formwork.”
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Bloom installaion//
DO SU STUDIO
Progressive architecture as it is seen today focuses on environmentally responsive design through research into performative skins and passive energy conserving methods. The Bloom Installation at the Materials and Application Gallery in Los Angeles, California explores just that. Its 4,000 temperature sensitive sheet metal panels, the installation acts more similarly to the human skin: dynamic, performative, and responsive. The thermobimetal surface respond directly to temperature: when the temperature rises, the sheet metal will curl up and vice versa. This continuous expanding and contracting creates a constantly changing kinetic sculpture that opens up opportunity and research into new dynamic materials that are afforded to people today. The perforations on the surface act to filter light towards the bottom in order to illuminate the walking space underneath. Like the skin, the structure also is flexible in order to accommodate for a performative skin.
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SPRAYING BUBBLES//
emmanuelle moureaux
Emmanuelle Moureaux is the designer of this coca cola bubbles installation; this piece is to rejuvenate the coca cola heritage glass created by Thomas Meyerhoffer. The installation consists of 800 acrylic spheres that are used in the representation of the fizz. Within each sphere are tiny bubbles that when light hits them it is reflected causing them to sparkle. The idea behind the work is to invoke a sense of emotion; memory or feeling that can be associated with the tasting of the beverage. When seen from a distance, due to the positioning of the glass below the sphere, which is hanged in an undulating waveform of varying heights, this gives the impression of the fizz spraying from the glass at force causing them to disperse. This is aided by the funneling illusion given by the layout of the bubbles.
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PUPA INSTALLATION//
LIAM HOPKINS
Commissioned by Bloomberg Philanthropy, the piece expounds the theme of “Waste not, Want it”. Situated in their London office, the installation is an exercise in encouraging creativity through otherwise waste material and consists of a series made almost exclusively out of Bloomberg’s waste. The waste comes in dump bales and is reconstituted to make cardboard.The piece utilizes:-3,972 triangular cardboard borders make up frame ,3,972 triangle inners fill the exoskeleton providing the cover, 180 wooden pallets taken apart for chair frame and legs, 11,000 nails removed from wooden pallets, 252 leather offcuts from make up the chair seats.The installation is an ode to natural habitats like beehives, cocoons, spider webs and nests found and the sheer intricacy and the hard work behind them. Hence, a sort of perforated tunnel is created with internal seating and drop lighting. The piece shows a wonderful contrast in processes as the design itself is computer aided but the construction is by hand.
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the starry wander//
FABCRAFT DESIGN LAB
The Starry Wander installation, Designed by Fabraft Design Lab, is a project that combines the symbol of both hope and eco-friendliness. Located in CMP Block Museum of Arts in Taichung City, Taiwan, this installation was a part of a Christmas celebration where visitors made wishes under the star-like lanterns above.The eco-friendly aspect of this installation lays in the use of solar lanterns that absorb solar energy during the day in order to use it for lighting during the night hours. Also, abandoned tires with various colours were used as furniture material with a vantage aspect.Visitors walking beneath the lanterns can sit on these tires and make wishes for themselves and others. Inspired from starlight, the lanterns are located at different heights to resemble the stars of different distances. To add to the positive spirit of the project, various activities were set on site to allow visitors to participate in the positive energy of the community and to also help charity associations in Taiwan.
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algorithm//
TOAN NGUYEN
Milan-based designer Toan Nguyen was invited by VIBIA to design a light piece for Euroluce 2015, the biennial international lightning exhibition, part of Milan Design Week. The result is an elegant light installation which uses mathematical order to form endless geometrical compositions – hence its name is : ‘Algorithm’.The light globes consist of blown brown glass, with a striated texture. Each one is fitted with a 2W LED – the light can be adjusted in intensity, while the texture of the glass helps to dim it. The globes are connected with slick metal pieces to an anchored mesh, forming a background. Together, the technical pieces create interesting shadows, depending on the geometrical configuration and represent the “rational” part of the project. In contrast, the light globes represent the more “human”, poetic part – their texture and geometry offer a tactile experience by inviting viewers to touch them. The delicate suspended globes “express harmony, rhythm and the poetry of mathematics and nature“, as VIBIA mentions. As most of their projects, ‘Algorithm’ can be custom designed to fit any space, according to its destination and the needs of the client. Its configurations are a reminder of nature’s algorithmic geometry formed by flocks of birds, raindrops or constellations.
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tape paris//
numen for use
Tape Paris took twelve people about ten days to wrap up tape membrane above and around the columns in the main exhibition space of the Palace- thus exploring the potential of these usually dead and empty overhead spaces in a highly interactive way. This play of translucent biomorphic skin against the formal concrete columns invoked romantic notions of the material’s aspiration for lightness. These accessible passageways provided the visitors with an extremely different psychological experience and an interesting play with their senses as they climbed, slid, relaxed, or simply moved through the elastic insides.
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inRIA INSTALLATION//
THE VERYMANY
Mac Fornes of THEVERYMANY created two permanent installations – Sous Tension (2013) and Under Stress (2014) – at the Department of Computer Science in the French Institute for Research in Computer Science and Automation (Institut National de Recherche en Informatique et en Automatique – INRIA) in Rennes. The light aluminum structures were designed as social catalysts for the school’s public areas. They express the tension between the dynamic interactions from the multi-directional and converging paths within the public spaces, the practice mentions. The location for these installations couldn’t be better, as the vision and approach of the New York based studio is focused on engaging Art and Architecture through the filter of systematic research and development into applied Computer Science and Digital Fabrication. The design concept is enhanced by the technical component of the two projects, as the geometry and patterns were optimized by programming techniques. As Marc Fornes states, the premise was distributed “agents parts” following tension “lines”/direction along the surface – the organic shapes derive from the study of stress flows obtained from structural analysis (for Under Stress) and tensions lines (for Sous Tension), while the patterns are achieved by breaking down the overall surfaces in thin aluminum stripes connected with rivets.
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LIGHT HOUSE//
SOFT LAB
SOFTlab was commissioned by Sonos – which has developed a smart system of HiFi wireless speakers and audio components – to design this light to spatial sound installation that would respond in real-time to the music played on Sonos components.This installation consists of a hanging grid of about 600 CFLs spaced a little apart from each other and also at varying heights from the ceiling in such a way that the central grid remains a little higher than its ends. Each of these CFLs are pre-programmed with custom built chips that utilize processed sound patterns flowing from Sonos components in order to rhythmically change their light quality. According to SOFTlab,”Although the piece is technically complex, the goal was to produce something that was visually simple. It is this simplicity that allowed us to use light as an architectural detail and the ability to focus on light, animation, and interaction as a building materials.”
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vana installation//orproject
India Design Forum commissioned a nature inspired canopy for the Brick House at New Delhi, India. Orproject, a London –based design creative practice with an expertise in geometry and computation completed the project called ‘Vana Installation’. This installation has been exhibited by Project Janpath – a platform for artists and designers to showcase their work and engage with people from a wide variety of backgrounds.Orpoject developed series of algorithms in order to create brightly-lit columns, branching out to form a tree-like canopy above an exhibition hall. It comprises of four column-like structures which form a canopy ceiling emulating an organic growth process. Geometrical perforations are introduced as a tensile medium using bending and compression on the panels for movement.According to the architects, “The systems consist of a set of seed points that grow and branch towards target points in order to maximize exposure to light for each leaf. As the prototype for a large scale canopy construction, Vana has been developed as iso-surface around an anastomotic network diagram, as the cortex around the venation system.” The form is achieved using triangular segments as units which are stitched together at joints. The flow of seeds is brought to life by using LED lights.
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unwoven light//
The Korean artist -based in New York – ” Soo Sunny Park” amazed us with her largescale installation “Unwoven light.” Park linked thirty seven individually sculpted units and filled them with small pieces of Plexiglas squares. When light –with different angles- falls on this grid the wave-forms capture and reflect the light to look like a colorful diamond collection.“My work often deals with this idea of liminal space, or interstitial space…there’s this feeling that I’m always looking out, from the inside out. There’s physical reality and the ideal reality, so I’m trying to balance between the two.”In July 2012 she visited the “Rice gallery” in Houston to experience the natural elements of the space; proportions, surfaces and specially the lighting conditions either natural or artificial. “We don’t notice light when looking so much as we notice the things light allows us to see. Unwoven Light captures light and causes it to reveal itself, through colorful reflections and refractions on the installation’s surfaces and on the gallery floor and walls.” Park said.
soo sunny park
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cloud installation//
BEa & mecha palacio
Using materials that were destined to be discarded, the duo has created a design that allows one to drift in an illusion. Elements used, such as light, allow for a more engaging atmosphere. “The Cloud� installation is made out of pipe shaped Polyurethane foam; after many processes of cutting, measuring, assembling and painting, the undulating installation hangs above the wooden stairs.Each module has a special measurement and location organized in order to create a lightweight undulating surface. Inspired by concepts of light and delicacy, the installation creates a very sensational atmosphere. An addition of a mirror gives this beautiful installation the illusion of being infinite.
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translucent hi density//
andrew saunders
The exhibition Futures an installation has been designed by Andrew Saunders who inspired the design by the affects of luminosity, translucency, and weightlessness transposed from The Hyde Collection’s painting of The Annunciation by the Italian Renaissance master, Sandro Botticelli (1444-1510). Andrew challenges the Cartesian geometry and symmetry of the gallery space as it fluctuates between display and partition. It provides an affective environment that influences circulation as well as divides, unites and exhibits the Z-print models. During a four days workshop, six proposals for this installation have been developed by Faculty-led teams of students. At the end of the four days, each team delivered its sketching, modeling and brainstorming. Finally, the installation has been developed and manufactured from 1,224 translucent, high density, folded, polyethylene, rolled, developable surfaces that are composed together, creating durable, and long-lasting form.
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urban installation//
To develop this lightweight structure and its complex connections, Atelier UM+D started from a Delaunay triangulation of a pseudo-random network that is differentially extruded following a set of attractor curves, then extend the connecting nodes’ geometry to stabilize the structural parts in the direction perpendicular thereto. The parametric design have been developed through separated phases of five Grasshopper definitions and one RhinoScript, this mainly for team working, but through these phases 540 unique pieces of polystyrene were CNC cut and assembled with screws to develop the installation. These distinct components link forming an interlocked arrangement structurally specific to the site, in an arrange specific to the user and to the multiple relations made possible by the city, inside a connectivity between the parts and the whole.
atelier UM+D
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touch the virtual//
Geometry, form, structure and pattern were the key issues. An art form expressing the structure and aesthetics simultaneously; is standing on a base and three points from the base are spirally moving upward, splitting on the way and finally meeting at one point centrally. These three points formed three identical clusters which blend with each other and the twisting geometric pattern made an illusion from different angles.As the initial form is a doubly curved geometry, it needs to be converted in a single curved surface to get the unrolled layout for cutting pattern. The joining detail in both linear edges makes a floral pattern throughout the form which becomes a point of interest and expresses its beauty most.Computational design and fabricating tools are inseparable in the design process. But this experiment has been accomplished with a mixed approach of both digital and manual; 84 strips in total and of that 28 identical in each cluster, were printed in a model paper and cutout manually by scissor and NT-cutter; three clusters were made separately by joining the strips and assembled finally on the base. The interesting point of this installation is glue less join between two strips.
SOFTLAB AIUB
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LA VOUTE DE LEFEVRE//
FELLOW DESIGNERS
The vault is computed with a solver-based model that elicits a compression-only structure, from a non-ideal geometry. The model requires a fixed geometry as input, and opens apertures in order to vary the weight of each unit. This dynamic system re-configures the weight of the units based on a vol umetric calculation. If unit A contains twice the volume of unit B, then unit A weights twice as much. It requires that the material of the project be consistent, and solid (hollow does not work). The com puted result produces a project that will stand ‘forever’ as there is zero tension in the system precisely because of the weight and volume of the project, and not in spite of it.The vault is produced with Baltic Birch plywood. The plywood is sourced in three quarter inch thick sheets awaiting the ‘thickening’. Each custom unit is dissected and sliced into these thicknesses, cut from the sheets, and then phys ically re-constituted into a rough volumetric form of their final geometry. These roughs are indexed onto a full sheet and glued, vacuum pressed, and re-placed onto the CNC (computer numerically con trolled) router.”
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400 SEATS//
EB OFFICE
The structure was built by starting from the edges and corners and working in towards the middle, connecting the chairs together with bolts, clamps, and hidden screws. The project formalizes the transformation of chairs from detached useable objects into structural and spatial components of an ambiguously occupiable edifice. SEAT is composed of approximately 400 simple wooden chairs arrayed and stacked in a sine wave surface drawn into an agitated vortex rising from the ground. It formalizes the transformation of chairs from detached useable objects into structural and spatial components of an ambiguously occupiable edifice. It’s intended to be legible and readable as a collection of individual seats, but when approached, visitors realize that sitting down in any one of them amounts to a deliberate act of occupation one can’t take for granted as usual; a temporary social contract to redefine their perception of sitting embodied as architecture. The structure is zoned by rotational differentiation in groups. The chairs are additively assembled through a modified “corbelling” process achieved by sequentially attaching chairs beginning at the edges and corners working towards the center. Parametric detailing manages tolerances and connection pecifics of this hardware. Moment and shear forces are transferred through the entire structure as a continuous diaphragm ultimately loading at the vortex center and the seated periphery on the ground. A number of base connections, platforms, or struts may also augment structural stability and anchorage. Some cantilevered extensions exist to create overhanging enclosure, but are minor in actual weight aloft. Redundancy in aterial and connection will allow for stability, flexibility, and safety overall.
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clothespin//
martin Huberman
Concentrating on other uses of everyday objects, Argentina-based Normal Studio creates colorful sculptures using hundreds of clothespins that have been dipped in paint. Originally planned as a one-off installation, the “Tender Project” explores the use of humble objects to create interesting forms.“Tender is an installation born from a research based on the concept of “ready made” or “found art” explains Martin Huberman from Normal Studio in a Yatzer. com interview, “By placing a large number of clothespins on a tight mesh, the weight of the clothespins generates, on its own, a complex surface known as a Hyperbolic Paraboloid, a geometric shape of sensual simplicity,”
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paper plates//
abhidnya ghuge
“I am inspired by the stillness within me. My art celebrates colors, organic forms and sensory experiences based on basic human emotions, and reactions.� Ghuge says.Inspired by the cellular systems of the natural world, Ghuge deploys various print making techniques on hand made paper plates that she assembles into reef like forms suggestive of sponges or shellfish clusters or improbably massive wasp nests. It is all about home and how creatures large and small situate themselves within their environment as well as psychically within themselves. This process of situating oneself within routinely shifting conditions is common to all life forms and Ghuge’s meditative immersion in this most fundamental of creative processes offers intuitive insights and even intimations of solace.
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interactive cube//
shandong jianzhu uni
The student team studied human movement and their interaction with objects in the space; walking through, leaning on, or just sitting. This interaction helped direct the flow, openings and direction of the cube. The curvilinear and fluidity the cube has in inspired from the womb as the group feels that helps inspire a soft and gentle space that will help people relax and unwind. Motion sensors were installed and the LED lit up as someone approached them, when someone was close enough the microphone units will collect audio signals around the cube, once detected the LEDs give a gradient change.
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cutting edge research//
loop .ph
Through a collaboration between London based design studio Loop. pH and Nobel Prize-winning scientist John Walker large-scale interpretations of his molecular research and metabolic machines were translated into architectural structures around the city. Loop.pH hopes these designs will help bring cutting edge science closer to the public making it relatable and part of their everyday life.One of the projects took place in an east London estate notorious for drug use. The installations helped transform that area into a useable space. “It’s not about telling people what to do, it’s about trying to help find the opportunities and develop the skills so they can be practised” explains Mathias Gmachl.This project focused on involving the community and allowing them to take charge and ownership over the design, something Gmachl admits may be abit of a challenge for designers as they like to have full control and decision power.
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jix straw//
patrick martinez
The system is made via a series of pioneered nodes which connect with drinking straws to create form. He uses his modular system to contrast between informal, chaotic doodles and rigid grid forms. The pieces are made from recycled materials, and are minimal in material usage making them highly sustainable. The sculptural pieces have the ability to be deconstructed down in too smaller pieces to be re-assembled at other locations with ease.He used Kickstarter to turn his sculptural system into a product for commercial use. Using the simple connector’s one can build entire structures from typical drinking straws. The design focuses on user flexibility both in size and shape.The ability to create both curvaceous sculptures and rigid grid forms quickly, easily, and with little material usage, is a great minimal construction toy for designers, artists and architects.
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CLOUD CEILING//
WAYNE GARRETT & CAITLIND RC BROWN
Located in the heart of Boystown, Progress Bar is a strip in Chicago that has an interesting celling design constructed from hand-bent steel, reflective mylar, electronics, motion sensors, LEDs, and 15,000 re-appropriated incandescent light bulbs. The CLOUD CEILING creates a glowing electric heartbeat for Boystown, visible throughout the neighbourhood through the window of Progress Bar. More details from the designer come after the jump. CLOUD CEILING is an interactive installation created by Canadian artists Wayne Garrett & Caitlind r.c. Brown(Calgary). Constructed from hand-bent steel, reflective mylar, electronics, motion sensors, LEDs, and 15,000 re-appropriated incandescent light bulbs, the piece is an permanent installation designed specifically for Progress Bar in Chicago. As bar patrons pass beneath the installation, they trip motion sensors within the CLOUD, creating “lightning” beneath the cumulous surface of light bulbs, mapping their progress through the space and the social “electricity” between people.
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ARCH & URBAN EXHIBIt//
pRATT GRADUATE 2014
The installation acts as both a display and a commentary on the organic growth and nature of how projects are produced and evolve together in a studio environment.The models float atop this ‘cloud-like’ base constructed from cardboard tubes that also act as a scheme of directing the visitors to specific locations to view the projects. As mentioned, the models sit in this interior space, position at an elevated street level while images of student’s work are displayed on the ground. They look as though they are being projected from the cardboard tubes above.The structure of the ‘floating clouds’ is hung but using custom designed laser cut Mylar panels. The weight of the cardboard model platforms causes the Mylar to act in tension and thus resulting in its final shape. By covering the bottom in custom tyvek panels they are obscuring the models and creating a surprise effect for the sake of the visitors exploration and engagement. This is a unique experience in which people can view and evaluate the student’s work.
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ESPRISS CAFE//
HOOBA DESIGN GROUP
The aim of the project was to renovate a gift shop and change it to a cafe, considering the small size of the project and its location the main idea inspired by the urban context to transform the traditional elements into an architectural interior space. In designing the spatial diagram, the materiality concept is based on an integrated geometry continues from outside to inside. The neighboring building, Iranian handicrafts Organization with brick facade, was the inspiration to use the same material for the cafe. Concerning the small size of the project, a brick with 5*10*20 dimensions sliced into eight smaller pieces of 5*5*5 centimeters which one side of the bricks glazed in turquoise blue color. The 3D diagram created an integrated structure for all the features required to work out the issues of the existing structure which also introduce morphology of brick an light as all the bricks are positioned based on the 3D diagram.To achieve this goal each section of brick contours printed in large format in one to one scale. the metal frames placed on the printed posters and bent following the curve lines, each brick positioned using the small cylinders attached to the frames and installed via the holes on the back side of the bricks which done in order to the 3D spatial diagram.
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LAMINAR FLOW//
SCI ARC 1A DESIGN CLASS
The Sci-arc 1A Design Studio Class under the supervision of the professors Andy Ku, Marcos Sanchez and Jenny Wu fabricated an utterly advanced parametric modelling installation that followed a developed collaborative process which merged a culmination of the skin & shape design. It is a rather complex structural frame development, due to the advanced fabrication acquisition of materials. Additionally it follows an essential process, starting with sophisticated paper sculptures handcrafted by each student, then focusing on smaller group models informed though by the original geometries & varied in a wide range of ways.Finally it concludes to the actual construction of the installation. As far as the concept is concerned, it functions as an experiential three dimensional graphic of people’s Laminar Flow through the entry. The Laminar Flow defines as the indexical impedance of flow as fluid motions within a “space”. In this case “the fluid being people & the space being the entry”.The installazione actually consists of 57 plywood profiles hand cut into an internal truss mechanism of 132 disparate pieces, all interlocked together, with a total of 6000 notches, which allows the 3950 linear feet of hand cut 1/4″x1/4″ basswood strips to be linked directly to the profiles. This masterpiece constitutes a very powerful structural system with a high level of material efficiency.
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PART TO A WHOLE//
HG A : LIVE COMPONENTS
Following the universe concept, which is starting from a small unit such as an atom to create tissues and construct bodies to build an environment, HG-A | LIVE COMPONENTS has designed ‘part to whole’ pixelated spiral installation placed in Korea’s national museum of modern and contemporary art.A set of circles moving in a curve, through the 9.076 modules , to dig a volume out of the cube to create a continuous opening forming the maximum available space and the minimum amount of material, so the pattern is made of varying degrees of solid and void.
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HIGHER ATLAS//
BARKOW LEIBINGER
One of the local techniques that became compelling is traditional Moroccan weaving on a wood frame loom a craft which involves organizing wool or cotton yarn into an array of (typically colored) lineal lines of yarn warped through a loom weaving and tying in order to produce a woven fabric surface. The frame of the loom is a rigid structural frame which holds yarn in place as a series of parallel lines forming surfaces a technique we reapplied at an architectural scale with the ambition of producing not 2-dimentional surfaces but rather 3-dimensional volumes stretched over a series of fixed wooden frames. The ultimate site for our work, the ruin at the Mosque Koutoubia, informs and locates the proposed project and establishes a scale for the work. The broken-off columns establish a grid of 5x5 meters that the installation is adjusted to by halving it to a 2.5 x 2.5 meter grid, which in the logic of a hyperbolic surface established a 2.5 height in relationship to viewers who can walk around it or through it. The repetitive column grid of the ruin also establishes the repe- titive cellular grid of the loom-hyperbolic which is inserted into an open, slightly depressed, platform surrounded by the grid of the ruin on three sides. The roughly 1 to 2 cm spacing of the yarn defines hyperbolic volumes 18 times. The spacing is such that it generates enough surface to define these forms while allowing the forms to appear transparent, ephemeral, and layered when viewing them from different angles in contrast to the opaque and beautiful masonry sur- faces around it.We chose a simple local construction of light hand-peeled pine poles attached to steel plates and tubes (which establish and fix the geometry) then pull yarn over the frames which alternate in their positions and tie them off as if they were laid over a giant loom spaced closely together. The irregular slightly bent forms of the wood poles softens the hard geometry of our digital computer drawings sympa- thetically. The lines of the yarn generate a lineal “ruled-geometry� which forms the hyperbolic surfaces.
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MARCO CASAGRANDE
SANDWORM/
From the architect. Sandworm is an organic structure/space/creature realized on the dunes of the Wenduine coastline, Belgium. The 45 meters long and 10 m wide and high installation moves freely in-between architecture and environmental art and is constructed entirely out of willow following the local knowledge of a continuing interaction between work and environment. Casagrande worked hard with his team of young architects and local experts for 4 weeks in order to create something that he describes as “weak architecture” – a human made structureThe visitors are describing the Sandworm as a willow cathedral finely tuned to celebrate the site specific conditions of the Wenduine tidal beaches. The space is used for picnics, relaxation and post industrial meditation. Designing is not sufficient. Design should not replace reality. The building must grow out of the location; it must react to its environment, it must be a reflection of life and also be itself, as every other living being. Architectural control goes against nature and thus also against architecture. The built human environment is a mediator between human nature and nature itself. To be part of this, man must be weak.
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DRAGON SKIN//
EMMI KESKISARJA&KRISTOF CROLLA&SEBASTIEN DELAGRANGE
The Dragon Skin Pavilion is an architectural art installation that challenges and explores the spatial, tactile, and material possibilities architecture is offered today by revolutions in digital fabrication and manufacturing technology. Its highly expressive and porous skin questions the notion of boundary: as light and views are filtered, softened and dampened towards the interior, the interior is slowly and more hesitantly revealed outwards.The emerging patterns and rhythms of the pavilion challenge the perception of structure versus structurally defined ornament. A careful balance takes place between the regular, repetitive framework of the rectangular panels and their gradually irregular interconnections as they configure the overall shape. The combination of a new material and contemporary digital design and fabrication methods allowed us to execute an accurate construction process without the need of conventional on-site communication methods like plans or drawings. The sole material used in the pavilion is post-formable Grada Plywood, a brand new material that seems to revolutionize the bent plywood industry. A CNC-router was used to make a wooden mould in which pre-heated flat rectangular pieces were bent into shape. A computer programmed 3D master model generated the cutting files for those pieces in a file-to-factory process: algorithmic procedures were scripted to give every rectangular component their precisely calculated slots for the sliding joints, all in gradually shifting positions and angles to give the final assembled pavilion its curved form. A meticulously pre-choreographed montage sequence required all components to be uniquely labelled and numbered for assembling or dismantling the structure. The 163 plywood components were manufactured in Finland at TUT and shipped to Hong Kong, where our team assembled the pavilion on the exhibition area situated in Kowloon Park.
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FOREST PAVILION//NARCHITECTS
nARCHITECTS’ Forest Pavilion - completed in May 2011 - serves as a shaded meeting and performance space for visitors to the Da Nong Da Fu Forest and Eco-park in Hualien province, Taiwan. The project was conceived within the context of an art festival curated by Huichen Wu of Artfield, Taipei for Taiwan’s Forestry Bureau with the object of raising public awareness of a new growth forest that is being threatened by development. The pavilion is comprised of eleven vaults built with freshly cut green bamboo, a material first used by nARCHITECTS in the internationally acclaimed 2004 Canopy for MoMA P.S.1. As an extension of techniques developed in 2004’s Canopy for MoMA/P.S.1, the 60’ diameter and 22’ tall pavilion is built with green bamboo. Forest Pavilion was chosen to host the opening and closing ceremonies of the art festival, becoming a focal point for the park.This new circular gathering space emerges from the ground in a series of eleven green bamboo shading vaults, organized in two rings around a void. The plan is inspired by the rings of a tree, and the different form of the vaults by growth patterns in nature. In the same way that the infinite variety of shapes in a tree emerge from very simple branching rules, the configuration of vault shapes uses a single geometry, the parabolic arch, in a way that could in theory generate endless configurations.
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LEDSCAPE//
LIKE ARCHITECTS
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BCN RESET//URBANUS
Every year Catalonia citizens memorize the BCN re.set events of 11th 1714 – when the War of the Spanish Succession that has come to symbolize what Voltaire called “the Barcelonans’ extreme love of freedom.” – This year it’s the 300th anniversary of the event and Fundació Enric Miralles curated 7 public installations all around the city as part of Tricentenari BCN program. One of these installations designed by the Chinese-based studio Urbanus, with a theme of ‘identity,’ divided plaça nova into two parts to host different activities showing the Catalonian identity. The bamboo grid installation reinterprets ancient roman and Catalan vaults.
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PERSPECTIVE CUBE//
OYLER WU COLLABORATVE
The Cube, a sixteen meter tall painted steel and rope installation designed for the 2013 Beijing Biennale by the Oyler Wu Collaborative, challenges the volumetric perception of its own archetypal geometry. The aspiration of the installation is to achieve the transcendence of the first dimension - the line - by simulating warping two-dimensional planes, which penetrate and populate the object framework, to create the perception of inhabitable three-dimensional space.By repetitiously manipulating the position and orientation of rope around a rigid, planar geometric framework, the installation simultaneously conveys the volumetric coherence of a cube and the contortionism of an extrapolated, two-dimensional geometric pattern. Moving perpendicular to the planes is a series of surfaces made of lines, adapting, twisting and contorting in order to connect the six planes together. Cavities of space are formed by these continuously warping planes that reach deep into the volume of the cube." Eventually, the planes spill out of the volume, lifting the volume into the air, and becoming structural supports for the now precariously tilted volume of lines.�
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PARAMETRIC VAULT//
OTA UT STUDENTS
The project began with a competition between students in Bieg’s design-build studio. The brief was to design a structure using aggregation, weaving and stacking techniques to create an assembly that could transition from graphic to flat surface to volumetric enclosure. To enable a smooth transition from a flat, two-dimensional ground surface into a volumetric, three-dimensional vault, the studio used a diamond pattern that could work as both an aggregate and woven rib-system. Though the diamond pattern appears to be series of stacked cells, the structure is actually three layers of overlapping ribs. Large, continuous primary ribs form the seams from vault to vault, while secondary ribs span between each seam. Tertiary ribs complete the web and enclose each cell to create a rigid structure. A core goal of the studio was to introduce asymmetry into what would otherwise be a symmetrical form. The vault is roughly 11’-0” at its highest point, enclosing a space small enough for occupants to engage directly with the surface, a condition atypical for most vaults which often frame larger and much taller spaces. Caret 6 was designed to fill an already existing space, so it was necessary to design a geometry that responded to the existing room, especially at the edges, where the vaulting forms project toward the walls.
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PLEATED INFLATION//
MARC FORNES THEVERYMANY
New York-based designer Marc Fornes has completed an outdoor installation for a French school, consisting of perforated aluminium plates that cast patterned shadows on the ground below (+ slideshow). Called Pleated Inflation, the permanent structure serves as an informal amphitheatre at the Lycée Christian Bourquin, a newly constructed high school in Argeles, France. Fornes, who leads the Brooklyn-based studio The Very Many, stitched together perforated metal plates to create the web-like canopy, which casts lacy shadows on the concrete below. The installation is made up of 990 multi-coloured aluminium shingles that are bolted together to form archways, columns and walls. The overlapping of the shingles creates rigidity and structural strength.The canopy – which measures 21 feet (6.4 metres) at its highest point and 46 feet (14 metres) at its widest – is anchored to the ground by 26 base plates. The form was computer-generated and the parts were digitally fabricated. A 2D network of lines as a footprint inflates and expands in the air, resulting in a voluminous space created with minimal lightweight material, the firm added The installation was built over the course of four days by a team of four people.
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MIS EN ABYME//
MATTEO FOGALE LAETITIA DE ALLEGRI
London Design Festival 2015: holes cut out from vertical sheets of coloured acrylic form a tunnel designed to distort perspective across a bridge in the V&A museum (+ slideshow). The duo, took influences from the areas of the V&A close to the site they were given – a bridge that crosses over the museum's Medieval and Renaissance sculpture gallery. "We looked at the Renaissance room downstairs and the glass room next door, and these were our starting points," he added. Along its length, vertical sheets of acrylic are spaced at intervals and tinted with different hues – remaining almost completely transparent yet slightly reflective. Irregular openings cut out from each panel gradually become smaller along the route while the tints become darker. This serves to exaggerate the perspective when looking through the tunnel formed by the overlapping sheets.
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