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Reasearchers at the University of Toronto are developing an intuitive 3D sketching interface to bridge the gap between intuitive drawing and manufacture.
ILoveSketch is not yet available, however everybody can experiment with Rhonda Forever by signing up to their beta programme.
The unit contends that we have entered a new period of architectural enlightenment where customary divisions between the built and the unbuildable, the inert and the reactive, the ideal and the real, have dissolved. Experimental design is no longer a remote discipline, confined to the flimsy and vulnerable materials of representation. In the post digital age, experimental design has transgressed the resistant protocols of manufacture and mass production and occupies the everyday. Space, the matter of architecture, is no longer real or digital; it is a seamless hybrid of both.
This year the unit’s reputation in the field of making and prototyping architecture will accelerate through a series of live projects at Kielder Water & Forest Park where the unit will establish an outpost residency. The year will be defined by three expeditions to site where students will explore and establish a role for experimental architecture, and they will build them. Unlike the work of the regulated and conformist, this repertoire of built work will operate as a collective research assembly and engage with a random and diverse audience outside professional or institutional boundaries.
Kielder occupies 650 sq km of managed forest in Northumberland and is centred on the largest man-made reservoir in Northern Europe. The territory is a confluence of opposing states from the man-made and the natural to the utilitarian and recreational. It is a manufactured terrain and the unit will adopt its dense mosaic as a laboratory in which to gestate, modify and release a new species of indigenous construct.
The work will be hosted by The Kielder Art and Architecture Programme who have invited the unit to pose provocative alternatives for elemental conditions such as station, observe, adapt and mobilise. The year will begin with a short project called ‘proto-prosthetic’ a design and manufacturing exercise in 2 and 3D which will introduce students to digital design and fabrication techniques. As a thematic undertone to the year, our expeditions to Kielder will be analogous to the three main fittings of bespoke tailoring the ‘Skeleton baste’, the ‘Forward’ and the ‘Finish bar finish’. Each expedition will take a separate route to Kielder combing the aftermath of Britain’s Industrial and Manufacturing legacy.
The Pump House Table serves as a scale model of the power plant scheme on which manoeuvres can be mapped out, as well as a drinking table from which the distilled ‘Island Spirit’ can be consumed.
Frank Gilks y5 U23 email@example.com
June 30, 2009
The City of London, said to be the financial capital of the world, is experiencing a crisis which challenges the mechanics of its existence. Starved of the ancient Livery Guilds, which once bonded the people through religion, ritual and regulation, the City has become severed from its historical roots based on kinship and fraternity. Further loss of ceremony, health and community has been exacerbated by the covering of the wells, springs and spas, which had cleansed London’s people and shaped its past. Hence, the Financial Services Authority is transformed with the gradual introduction of a parasitic architecture, which seeks to elevate this regulatory body and unearth these sacred sources of purgative minerals.
Tim Tasker Y5 U23 firstname.lastname@example.org 07951537631
June 29, 2009
Through the implementation of a Pioneering Vessel System in 2030, the project highlights a remediation avenue which initiates the longer term solution of converting the Texaco Oil Refinery in Milford Haven, Wales into a “New Haven”. The connected Vessels, which inhabit the redundant infrastructure of the refinery, utilise physical steam extraction, bioremediation and phytoremediation to cleanse the soil of toxins. This system allows the infrastructure of the refinery to remain, showing how it could be adapted and reconfigured into a new parkland that offers more than merely an industrial museum to fossil fuels.
Andrew Yorke Y5 U23 email@example.com 07801063265
‘The Tlonian Island;
An architectural interpretation in relation to the art of memory’
Inspired by the Borgesian parallel world of Tlon whereabouts our everyday assumptions of time, space and the individual are challenged. An island exists where anything imagined can take physical form, simultaneous sliding doors type situations, where time, the self and the double, imagination, memory and dream are sliding around in an infinite pool of possibilities. The architectures are located in symbolic moments of memories, dreams and realities of the inhabitant of the Island and assemble to tell the narrative of a journey through the magical landscape of his mind.
Rules on the Borgesian Island:
Katrina Varian Y5 U23 firstname.lastname@example.org 07976879018
June 26, 2009
The Chthonian Ecologies are of a mechanic phylum, delineated in a biological manner, warping the boundaries between the made and the born. The physiology of the species that make up the ecology are the abstract manifestations of the pivotal markers laid out in the chronicle of their birth.
James Barrington Y5 U23 email@example.com 07899878804
The project deals with the development of a computer controlled mechanical screen through a series of laser sintered prototypes. The screen consists of an array of blooming mechanical flowers coloured black on the outside and white on the inside in order to create a course pixel grid. The thesis discussed the deployment of the screen as an interactive stage set for a William Forsythe ballet drawing on the tradition of the choreographic poem using the song "Busby Berkeley Dreams" as a starting point.
The project concerns itself with sound and the body. Sound is an integral part of the way we understand the space surrounding us. Size, quality, timbre, texture and the atmosphere of a space can all be inferred by the way in which we experience sound. Based on ideas from the Suffolk island of Orford Ness the project developed a pre-occupation with the acoustic qualities of circular spaces and with ambient sonic landscapes.
The aim is to generate a physical construct that, whilst taking into account physics, music and architecture, sets out to explore how space can be understood through sound. If architecture is the manipulation of space, then the built form is a way of capturing the ambient.. At the core of this question is the way space is experienced as a function of the sounds found both within and around the space, and the sounds that result from occupancy of the space.
The interaction of the body within the materialistic world together with the phenomenological experience of a space is examined. The notion of silence’s relationship with the ambient - a strong theme in John Cage’s repertoire - is prevalent throughout the work as the building acts as a focus and filter of the ‘outer world of chaos’. By exploring concepts of resonance, reflection, absorption, forced and natural, the work will create a ‘sonic geography’ framed within a physical construct.
By using the concept of a transmitting space and one that receives, the latest form to be built developed into a metallic conoid space being suspended within an opposite conoid space built from wood. The project has an analogy to the human ear and uses similar terminology to describe the spaces. There is an outer listening space that uses reflections and the absorbent nature of wood to create a certain timbre of sound. The user is guided to walk and interact through the outer ring and into the central inner drum. This metallic inner drum, focuses the ambient sounds from the site towards the user.
The building is the final movement in the score of this experiential journey and by giving concepts physical form, the experience can be explored. Most of the building has been digitally manufactured in house with the Bartlett CNC machinery. It is a tour-able, demountable structure, designed to be erected by a maximum of 4 people. Explore, listen, improvise and experience.
For more information, visit www.riclipson.com
Subverting the LiDAR Landscape
Proposed are a series of strategic physical interventions which subvert the urban landscape through its digital counterparts.
The design and character of these interventions has been developed through commandeering these new technologies as part of a making lead design process.
Google Earth, Virtual London, and their soon to be released 3D counterparts are peoples preferred method of urban spatial research and are taken as virtual fact by a global internet population. These facts are collected through landscape scale 3D scanning, LiDAR. We are interested in subverting these facts at their point of collection; this is our tool for spatial redefinition and our medium for publishing truths/mistruths/facts and fictions. These subversions do not exist in a purely virtual world, although this is where they are most effectual. Instead the tools of subversion are often physical objects/additions/alterations to the urban fabric. These interfere with the collection of virtual data but also act as facts on the ground and as waypoints linking a physical and virtual world.
The technique of physical and virtual alignment (and more importantly misalignment) is used throughout the making process. I have developed my own 3d scanner which has allowed intuitive, made sketches into the digital realm where they receive a layer of digital editing to provide fixing points, jigs, and machined and 3d printed details, extractions and grafts. This process focuses on the accurate side of 3D scanning. A material and formal language of stealth and confusion is simultaneously developed through scanning to achieve invisibility, inaccuracy and abstraction. Through this process we design with an emphasis on the architectural flash, on stealth mechanics and on making the unscanable.
Matthew Shaw Yr 5 U23 firstname.lastname@example.org 07979958851