Æsthe/tech:Tonik
Building | Beauty | Consuming | ImageMonsters of Intuition
A recent presentation on the value that I believe intuition holds as a design tool in contemporary processes, which have become increasingly more tech-driven. This discussion was given to a small group of designers and architects of varying ages and demographics.
This is in no way a presentation seeking nostalgia, but more identifying where the human variable exists in the design world we are operating in today.
MS
KRob 2011
For those familiar with the annual Ken Roberts Memorial Delineation Competition, check out this years Best in Show. All show both the breadth and depth of architectural visualization, and the extents to which it has evolved. I think there is something in here for everyone.
These are some that caught my eye. The entire list of winners and finalists can be seen at the competition website.
Enjoy
MS
Beijing House II
This project via Archinect this morning by Yaohua Wang for best thesis 2010 at Sci Arc. Occassionally one comes across imagery that represents a project unlike something seen before (personally) – this is one of those times.
These are compact, and efficient images that seem to convey the object as a physical model rather than a a moody experience. Well crafted and nuanced.
Neil Denari is smiling somewhere.
MS
Atelier Olschinsky
Some incredibly inspired work by Atelier Olschinsky. Sometimes visual, sometimes spatial, always mesmerizing. Enjoy.
“Founded in 2002 (Atelier Olschinsky) is a small creative studio based in Vienna, Austria. Peter Olschinsky and Verena Weiss are operating in various fields such as graphic design, illustration, photography and art direction.
In addition to their jobs for clients they also run several independent projects, always trying to develop and refine their work.”
MS
Amplified Representation
The question of representation for me has always been one of great interest in its relevance to architecture. This topic has been exhausted in most instances with methods and techniques of representation ranging from technical drawing, digital rendering, watercolor, photography, or all of the above. We can, however, draw a line in the sand between those works which use a representational technique simply as illustrative of an idea, and a means to communicate the dimension and material of the architecture, versus those works who employ representation as implicit in part or whole of the concept. In the former, the art form and craft of the representational technique is distinct from the idea conveyed in the architecture, whereas in the latter the two are synthetic.
Historically, projects and architects who engage in this discussion are too numerous name – some recent / not-so-recent standouts for me are representations of projects from Morphosis and Wes Jones, to Ali Rahim and Hernan Diaz Alonso. All have a common thread, and are able to create compelling and communicative representation while still maintaining the semblance of a larger message and atmosphere.
Most recently, as architecture always seems to be the slowest to adopt lessons from other media, there has been a surge in what could be called amplified representation. This technique, rather than use reality as an unattainable benchmark, uses reality as a backdrop to amplify the subject (or visa versa), and a way to ground the absurd in something familiar. In effect, this tends to heighten the affect of both – as one registers each one against the other.
Three examples that come to mind may be familiar. The Amazing World of Gumball on the Cartoon Network has to be one of the most visually compelling pieces of TV I have seen in a while – not because of the content (although cute), but because of the visuals, which for me, steal the show. Here, cartoon characters are not just overlaid onto real backdrops, they are embedded in them. Materials reflect and characters cast shadows. The visual mood of the scene is translated to the characters through light and camera effects, all of which creates a surreal and incredibly compelling environment. Even the characters themselves begin to take on a vintage visual undertone which I never tire of.
While I don’t fancy myself an expert on comic art (read: nerds don’t kill me), I have always had an incredible appreciation for the methods and conventions of the craft. What comics lack is motion, and as such, they rely on the distortion and amplification of the subjects through representation to convey movement, action and atmosphere. Again, artists use familiarity to underscore the exaggerated, super-human characteristics of the subjects.
For instance, we know what our own legs look like, and we also know that they don’t ever appear backlit, menacingly bent, with a superfluous amount of muscles. Put together these are illustrative the subject, but are also synthetic to the very core idea of the comic – making still pictures move.
300, a movie out for long while now, also employs a different technique to achieve a similar end. Having begun as a comic, the director made painstaking steps to recreate scenes in the comic. However, as the comic was rooted in reality, but did not adhere to it’s rules, we find that making that leap required significant shaping of atmosphere, mood, physique, and physical environment by Zack Snyder.
Here, color is altered, contrast is elevated, action is subject to time changes – all in service of elevating or amplifying the subject to convey the aggression and moodiness of the story. Interestingly enough, the movie actually tried to slow the action in scenes to capture the still imagery conveyed by the comic.
While just a few examples it will be interesting moving forward to see how this type of technique will continue to trickle into architecture more convincingly than a SketchUp model Photoshopped into a street photo, as a way to underscore an larger concept.
MS
Whale Tail
So I had a dumb-ass idea for a t-shirt and I decided to follow it through by submitting it to Threadless. Now I am shamelessly plugging it. Vote if you likey (or if you don’t) – Be nice:
Stay tuned for a post regarding architectural representation.
Happy Wednesday,
MS
Paper Cut
Are you a sucker for geometry? Me too. Check out some of these amazing still life photographs from Carl Kleiner. Compelling in a number of ways, these work at the compositional level, but are also incredibly well crafted – so much so, that they are barely discernable as photographs.
MS
GOLDEN RATIO & FRIENDS / ICOSAHEDRON V.1
THE BÆRTLING WANNABE (1&2)
Dynamic Component Test
Here are two facade skin tests re: SketchUp‘s dynamic component functionality. Type A creates an operable, editable component that rotates a louver 0°, 45°, 90° from normal on click. Type B creates a component that opens a double hinged shutter on click. One can see the shift in affect that multiple compositional strategies can have on the overall system, and the ease at which they can be tested.
While not groundbreaking in terms of computation, they were purposeful in finding a sound technique in developing a practical façade solution in a very short amount of time. The overall result was also somewhat unexpected – a happy accident.
Dynamic Skin: Type A from Michael Suriano on Vimeo.
Dynamic Skin: Type B from Michael Suriano on Vimeo.
MS
RGB
Posted to Voxl.
Follow @aesthetechtonikFrom the proposal:
The Pushkinsky Cinema proposal is rooted firmly in the desire to maintain the integrity of the urban plaza facing Tverskaya and extend its popularity as an icon in Moscow City. While the venue is currently successful as an urban destination and social junction, it lacks the architectural gravity that its cinematic heritage suggests. This proposal aims to ensure its stature in the years to come at the forefront of international film sites.
The intent through the design is to set the plaza façade as a foil to the east / west faces to create interest, difference, and contrast. The longer side facades are subdued, linear, quiet, and punctuated with integrated signage. The plaza however, is in stark contrast to ambitions of the sides, seeing that austerity fall away, revealing nuance, color and material difference.
From a site standpoint, the necessity of elevating patrons over the road, and up to the entry is focal. This proposal maintains the intent of the original cinema, but uses the civic scale circulation to house moments of repose to serve a dual purpose. The first is to allow opportunity for congregation and interaction on a day-today basis, and secondly, to allow for spaces outbound of the primary circulation when the cinema’s primary event is elevated to a national or international level. These spaces will allow one to see, and be seen on the red carpet.
The front façade employs the use of two DuPont products as double skin of sorts. The outer is Corian exterior cladding, panelized as a frame, and systematically inflected inward to the entry. As this façade can be seen not only in elevation, but obliquely as well, the frame’s faces are coded differently according to RGB (red, green and blue) values – a hint to the primary light colors needed to create white light, and subsequently the projected motion picture. These produce an array of affect as one moves around and through the façade. The Corian system is backed up by a Sentry glass curtain wall, which provides the thermal enclosure for the space.
This proposal reflects a civic presence akin to the Russian persona – one that is at once quiet and stoic, and at others full of life and color.
MS
ShapeShift
In speaking of Research and Development in it’s truest sense, it can be difficult to apply in the fields of design as a blanket statement. Research comes in many forms – papers, data, experimentation, etc. Architecture can be one of those fields that focuses its “research” on larger umbrella types of issues that have a foothold in culture, sociopolitics, economics, environment, and all the forms that those things take. It is possible however, that we are on the cusp of a return to a type of research in our profession that positions itself firmly in a realm of making. The real kind of making. The kind of making where you might get a finger cut off and you need to wear a mask. The kind of making where material and shape and structure are reimagined through a lens of craft and invention in a tangible way.
I recently had the pleasure of being presented a project by Manuel Kretzer and his team at the CAAD at the ETH in Zürich that demanded that type of reaction. To put it simply, it explores the potential application of electro-active polymer (EAP) at an architectural scale. What I found most intriguing about this however, aside from the obvious incredible potential in terms of building technology, is the spirit in which it was approached, and the delight it inspires. From the team:
ShapeShift is an experiment in future possibilities of architectural materialization.
As a collaboration between the chair for Computer Aided Architectural Design (ETHZ) and the Swiss Federal Laboratories for Materials Science and Technology (EMPA), ShapeShift bridges gaps between advanced techniques in architectural design/fabrication and material science as well as pushing academic research towards real world applications.
The initial concept was to develop an automated/responsive air control and lighting/shading system, which could be incorporated in a new kind of building skin.
The distinctive properties of the material should not only become a mere actuator replacement but be orchestrated for their aesthetic qualities. EAP is a highly attractive component for kinetic architectural applications due to its extreme flexibility, lightness, thin dimensions and smooth actuation.
The thin film shall function as a possible replacement for conventional building skins and envisions the concept of a futuristic soft and flexible architecture. This is intended to generate a unique spatial experience and to change how the built environment is perceived in general.
