http://www.k-w-y.org kwy Fri, 26 Apr 2013 04:13:42 +0000 http://www.k-w-y.org en http://www.k-w-y.org/Polypleats http://www.k-w-y.org/following/k-w-y.org/Polypleats Fri, 26 Apr 2013 04:13:42 +0000 kwy 5038769 <img src="http://payload136.cargocollective.com/1/0/8813/5038769/test 00_800.jpg" width="800" height="565" width_o="1754" height_o="1240" src_o="http://payload136.cargocollective.com/1/0/8813/5038769/test 00_o.jpg" data-mid="27010403" border="0" align="left"/><img src="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_02_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_02_o.png" data-mid="27413779" border="0" align="left"/><img src="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_03_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_03_o.png" data-mid="27413785" border="0" align="left"/><img src="http://payload136.cargocollective.com/1/0/8813/5038769/test 006_800.jpg" width="800" height="565" width_o="1754" height_o="1240" src_o="http://payload136.cargocollective.com/1/0/8813/5038769/test 006_o.jpg" data-mid="27010414" border="0" align="left"/><img src="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_04_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_04_o.png" data-mid="27413802" border="0" align="left"/><img src="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_05_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_05_o.png" data-mid="27413814" border="0" align="left"/><img src="http://payload136.cargocollective.com/1/0/8813/5038769/test 0010_800.jpg" width="800" height="565" width_o="1754" height_o="1240" src_o="http://payload136.cargocollective.com/1/0/8813/5038769/test 0010_o.jpg" data-mid="27010423" border="0" align="left"/><img src="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_06_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_06_o.png" data-mid="27413827" border="0" align="left"/><img src="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_07_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_07_o.png" data-mid="27413836" border="0" align="left"/><img src="http://payload136.cargocollective.com/1/0/8813/5038769/test 0014_800.jpg" width="800" height="565" width_o="1754" height_o="1240" src_o="http://payload136.cargocollective.com/1/0/8813/5038769/test 0014_o.jpg" data-mid="27010431" border="0" align="left"/><img src="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_01_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload136.cargocollective.com/1/0/8813/5038769/polypleats_01_o.png" data-mid="27413770" border="0" align="left"/>Ben Allen Ricardo Gomes Paul Jackson Karin Westermark Polypleats Mobile Pavilions for the City of Stockholm Competition Visualisation: Jens Gehrcken Polypleats is a modular system of pavilions designed to be a visually engaging addition to the built fabric of Stockholm and its environs. The pavilions have a sculptural and abstract quality when standing independently but when combined assume a greater, clearly identifiable whole. As such they are a statement of both individual identity and when combined, civic unity - an iconic symbol for the city of stockholm. The roofs of the pavilions are inspired by origami folding patterns. The starting point was a pair of complementary pleats, which when replicated and connected, form a multitude of geometric patterns. Depending on how they are are installed the choice of pattern can be random or more clearly geometric, one directional or radial. The possibilities are almost endless. In an urban context, as low rise structures, these strongly identifiable roof forms are clearly visible both from street level, buses and trams and particularly from the pavilions’ interior. The roof - the fifth elevation - will also animate the urban scene when viewed from surrounding buildings. In waterfront settings the pitched roofs are reminiscent of more traditional seaside architecture. The pavilions are made from a modular kit of parts that allows easy assembly, disassembly, and reconfiguration. Their structural rigidity when assembled means that they can also be lifted and transported as fully assembled units on a trailer. Each module measures 2.2m x 4.2m x 3.3m high externally. The predominant material of the pavilions is white painted steel. The smooth white surfaces are both neutral but also reflect the colours of the surrounding colours as well as the natural and artificial light. The walls and roof of the pavilions are fabricated from insulated sandwich steel panels. On the perimeter walls, these infill panels act as stiffeners for the corner columns. The end facades come in two possible configurations: with pivoting door panels and larger hinged double doors with a secondary glass door behind. The side facades also have two possible configurations: pivoting door panels and serving hatches complete with fold up awnings that double as shutters when not in use (horizontal sliding windows can be installed behind these for winter use). The base plates of the pavilions provide sufficient clearance from the ground, so that plumbing for toilets and kitchens can be housed in an insulated cavity below. Where required the base plates come with built in kitchen counters, appliances and toilets. The pavilions are ideally suited to serve as pop-up restaurants, bars and shops as well as more traditional street kiosks, information stands and market stalls. Larger configurations provide distinctive architectural spaces for a multitude of other “off space” functions such as temporary exhibitions, event and communal meeting spaces. The pavilions will be fabricated to the highest possible environmental standards with care taken to ensure compliance with regulations. The material used will be sustainable, durable, low maintenance and vandal proof. Panels can be easily removed to be cleaned, repaired or replaced. The pavilions are fully accessible for disabled users. Ben Allen Ricardo Gomes Paul Jackson Karin Westermark Polypleats Mobile Pavilions for the City of Stockholm Competition Visualisation: Jens Gehrcken Polypleats... http://www.k-w-y.org/Fifth-Wall http://www.k-w-y.org/following/k-w-y.org/Fifth-Wall Thu, 21 Mar 2013 15:44:33 +0000 kwy 5139867 <img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall RG4_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall RG4_o.jpg" data-mid="28144122" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall drawings_01_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall drawings_01_o.png" data-mid="27816436" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall drawings_02_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall drawings_02_o.png" data-mid="27816443" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall drawings_03_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall drawings_03_o.png" data-mid="27816455" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall drawings_04_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall drawings_04_o.png" data-mid="27816469" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall_800.jpg" width="800" height="565" width_o="1754" height_o="1240" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall_o.jpg" data-mid="27606792" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/diagram_800.jpg" width="800" height="565" width_o="2000" height_o="1414" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/diagram_o.jpg" data-mid="27815956" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall RG2_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall RG2_o.jpg" data-mid="28144100" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall RG3_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall RG3_o.jpg" data-mid="28144112" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall RG5_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall RG5_o.jpg" data-mid="28144129" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall12_800.jpg" width="800" height="565" width_o="1754" height_o="1240" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall12_o.jpg" data-mid="27606843" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall13_800.jpg" width="800" height="565" width_o="1754" height_o="1240" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall13_o.jpg" data-mid="27606856" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall14_800.jpg" width="800" height="565" width_o="1754" height_o="1240" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall14_o.jpg" data-mid="27606861" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall15_800.jpg" width="800" height="565" width_o="1754" height_o="1240" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall15_o.jpg" data-mid="27606866" border="0" align="left"/><img src="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall RG_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload141.cargocollective.com/1/0/8813/5139867/fifth wall RG_o.jpg" data-mid="28144081" border="0" align="left"/>Ben Allen James Bae Kirk Finkel Ricardo Gomes Fifth Wall Flint Public Art Project, Flat Lot Competition Model: Georg Düx-Rupp The Fifth Wall is an homage to the grandeur of old movie palaces and theatre stages that arose during the 1920-1930’s in America, updated here to be highly portable and function-variable for Flint’s public events. Made from white, high-density fireproof foam, Fifth Wall is a 35’10” x 35’10” x 27” volume comprised of two halves. Each lightweight half is made of CNC wire-cut blocks that in places can be removed and arranged as seating for the audience. Both halves will be mounted on industrial castors for ease of portability and arrangements specific to each event. Once all blocks are removed, an ornate proscenium of stacked arches is revealed as the vaulted backdrop of a stage. This corbelled structure is reminiscent of Muqarnas, a geometric system of tessellating vaults, arches and domes, traditional to the architecture of the orient.   During the day, the Fifth Wall creates a place of respite from the weather, easily adjusted to shade and accommodate the movement of sunlight. When enclosed the top-lit space is suitable for intimate gatherings, workshops, or exhibitions. At night the form opens, accommodating places for film, talks, concerts, and other events. In this regard, it is meant to be interacted with by its users and is endlessly configurable. We want Fifth Wall to be about a venue expressly for participation and access – in essence, breaking down the imaginary “fourth” and “fifth walls” of the normative stage, the figurative divide between the performance and the audience. It is a structure designed for people to walk through and use as needed, in this way levelling each person’s engagement –and relevance– in its democratic mise en scène. Ben Allen James Bae Kirk Finkel Ricardo Gomes Fifth Wall Flint Public Art Project, Flat Lot Competition Model: Georg Düx-Rupp The Fifth Wall is an homage to the... http://www.k-w-y.org/Crazy-Vaults http://www.k-w-y.org/following/k-w-y.org/Crazy-Vaults Wed, 13 Mar 2013 16:37:10 +0000 kwy 4815780 <img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_02_800.png" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_02_o.png" data-mid="27758991" caption="Albrechtsburg Grand Hall, Meissen - Benedikt Breitenhuber, Sten Klaus" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_03_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_03_o.png" data-mid="27759012" caption="Albrechtsburg Grand Hall, Meissen - Benedikt Breitenhuber, Sten Klaus" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_04_800.png" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_04_o.png" data-mid="27759059" caption="Church of St. Mary, Pirna - Albert Herrmann, Max Marschall, Bernd Miosge" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_05_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_05_o.png" data-mid="27759094" caption="Church of St. Mary, Pirna - Albert Herrmann, Max Marschall, Bernd Miosge" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_06_800.png" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_06_o.png" data-mid="27759121" caption="Church of St. Margaret, Břevnov, Prague - Jakob Cevc, Julian Meisen" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_07_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_07_o.png" data-mid="27759133" caption="Church of St. Margaret, Břevnov, Prague - Jakob Cevc, Julian Meisen" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_08_800.png" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_08_o.png" data-mid="27759170" caption="Basilica of St. Laurence and St. Zdislava, Jablonné v Podještědí - Anna Stoephasius, Olga Weber" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_09_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_09_o.png" data-mid="27759184" caption="Basilica of St. Laurence and St. Zdislava, Jablonné v Podještědí - Anna Stoephasius, Olga Weber" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_10_800.png" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_10_o.png" data-mid="27759208" caption="Church of St. Barbara, Kutná Hora - Sebastian Milank, Robert Patz" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_11_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_11_o.png" data-mid="27759234" caption="Church of St. Barbara, Kutná Hora - Sebastian Milank, Robert Patz" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_12_800.png" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_12_o.png" data-mid="27759253" caption="Monastery Church of the Nativity of Virgin Mary, Želív - Yana Kyuchukova, Muriel Merkel, Nandini Oehlmann" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_13_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_13_o.png" data-mid="27759291" caption="Monastery Church of the Nativity of Virgin Mary, Želív - Yana Kyuchukova, Muriel Merkel, Nandini Oehlmann" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_14_800.png" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_14_o.png" data-mid="27759313" caption="Church of the Annunciation of Virgin Mary, Bechyně - Katharina Bolle, Luise Marter" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_15_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_15_o.png" data-mid="27759334" caption="Church of the Annunciation of Virgin Mary, Bechyně - Katharina Bolle, Luise Marter" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_16_800.png" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_16_o.png" data-mid="27759384" caption="Abbey Church of Saints Peter and Dionysius, Banz - Samuel Barckhausen, Johannes Drechsler, Moritz Munk" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_17_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_17_o.png" data-mid="27759406" caption="Abbey Church of Saints Peter and Dionysius, Banz - Samuel Barckhausen, Johannes Drechsler, Moritz Munk" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_01_800.png" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload125.cargocollective.com/1/0/8813/4815780/crazy vaults KWY 02_01_o.png" data-mid="27773754" border="0" align="left"/> Crazy Vaults Seminar organised by Norbert Palz, Sven Kuhrau, Ricardo Gomes and Daniel Büning Assisted by Bernd Miosge and Nandini Oehlmann Digital and Experimental Design, Universität der Künste, Berlin(photographs by Robert Patz) Students: Samuel Barckhausen, Katharina Bolle, Benedikt Breitenhuber, Jacob Cevc, Johannes Drechsler, Albert Herrmann, Sten Klaus, Yana Kyuchukova, Max Marschall, Luise Marter, Julian Meissen, Muriel Merkel, Sebastian Milank, Moritz Munk, Robert Patz, Anna Stoephasius and Olga Weber Architecture is significantly determined by the possibilities of the increasingly digital world of work. Novel methodologies allow for new forms of representation in two and three dimensions qualitative simulations of structural, economic and performative aspects of a building and new geometric descriptions of complex spatial designs.  While geometry has traditionally been a key educational tool in spatial design, the digital design space can draw on a variety of three-dimensional modelling capabilities that go far beyond more traditional analogue drawing processes. This geometry requires a new emphasis on distinct mathematical areas such as topology, vector mathematics and differential geometry, which must be asserted in relation to their architecture potential and theory that is still in development. Universities must therefore adopt a considered approach to education while supporting digital development and its application in the contemporary design practice.  The 'Crazy Vaults' seminar was a cooperation between the the chairs of Digital and Experimental Design and Theory and History of Architecture. It was held in the context of a design studio with the didactic concept of introducing computer-aided design trough the study (and visit) of historical references and an analogous deployment of new digital tools. The analysed vault structures of late Gothic and Baroque buildings are traditionally described by classical two-dimensional orthographic projections; nevertheless, their spatial complexity extends beyond a "plan and section" approach and trough the use of contemporary software it can be drawn and examined directly in a three-dimensional space.  A program of lectures on each of the selected examples and two CAD seminars were held (Rhino3D and Grasshopper). The students conducted digital reconstructions of historical vault structures which were then built as scale models using additive fabrication technologies. The buildings were subsequently visited and each group of students presented the vault structures to the class on site. Following the excursion, the students were asked to summarize their findings both in the form of an essay and a short design study elaborating on the typology of vault studied.  The seminar aimed at weaving historical references with advanced technology – attempting to increase interest both in complex spatial typologies (from a contemporary design perspective) and new methods of design and fabrication.  Crazy Vaults Seminar organised by Norbert Palz, Sven Kuhrau, Ricardo Gomes and Daniel Büning Assisted by Bernd Miosge and Nandini Oehlmann Digital and... http://www.k-w-y.org/Harmonic-Pavilion http://www.k-w-y.org/following/k-w-y.org/Harmonic-Pavilion Thu, 05 Jul 2012 04:53:05 +0000 kwy 3694327 <img src="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton IMG_5436 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton IMG_5436 800px_o.jpg" data-mid="19224375" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-00_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-00_o.png" data-mid="19236197" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-02_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-02_o.png" data-mid="19236266" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-01_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-01_o.png" data-mid="19236277" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-03_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-03_o.png" data-mid="19236252" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-04_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-04_o.png" data-mid="19236240" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-05_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-05_o.png" data-mid="19236231" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-06_800.png" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton drawings 800px-06_o.png" data-mid="19236222" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/0/8813/3694327/P1_Littlehampton 565px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload69.cargocollective.com/1/0/8813/3694327/P1_Littlehampton 565px_o.jpg" data-mid="19182788" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/0/8813/3694327/P2_Littlehampton 565px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload69.cargocollective.com/1/0/8813/3694327/P2_Littlehampton 565px_o.jpg" data-mid="19182793" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/0/8813/3694327/P1_Night2_peopleRPM 565px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload69.cargocollective.com/1/0/8813/3694327/P1_Night2_peopleRPM 565px_o.jpg" data-mid="19182916" border="0" align="left"/><img src="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton IMG_5425 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload69.cargocollective.com/1/0/8813/3694327/stage by the sea- littlehampton IMG_5425 800px_o.jpg" data-mid="19224374" border="0" align="left"/>Ben Allen James Bae Ricardo Gomes Norbert Palz Harmonic Pavilion A Stage by the Sea Competition: 3rd place Structural and acoustic engineering: Arup Contractor: Littlehampton Welding Visualisation: Sven Hinrichs The Harmonic Pavilion serves both as stage and shelter. It is a seemingly simple yet engaging and playful openair structure, intended to reflect the architectural diversity of the renewed Littlehampton seafront. Of interest to us when considering the proposal were the octagonal forms of traditional English bandstands as well as the eclectic vernacular of Victorian seaside architecture – often inspired by designs and motifs from the classical Orient and the Far East. The Harmonic Pavilion engages with the geometry of the Longest Bench as well as the with construction and material of the nearby East Beach Cafe, utilising similar structural principles to create visual unity. Departing from the Hyperbolic Cube (Thomas C. Hull, 2006), a regular octagon symmetrically folded, we produced origami studies of octagonal and cubic volumes in order to understand the spatial qualities of classic hyperbolic paraboloid shapes. The geometric principle is a folded octagon that traces the outline of a cube, creating an internal, vaulted space. After several iterations we achieved the intended balance: the asymmetry of the structure enhances the visual properties of the basic form, the duplicity between the strong orthogonal geometry and the curvilinear forms continuously altering from different viewpoints. It reveals itself in a constant, visual shift as one navigates towards and around it. The larger of the façades frames the stage area and the smaller provides shelter. Internally, the shape creates a through-space which activates the volume and avoids the single-use impasse that a more formal stage would create. We feel that this lends itself to a greater variety of uses: while providing a fully functional stage for events, when not in use, the pavilion offers a place to rest, contemplate, and convene. Model and video: Kirk Finkel Music: Simple Hop, Broke For Free Ben Allen James Bae Ricardo Gomes Norbert Palz Harmonic Pavilion A Stage by the Sea Competition: 3rd place Structural and acoustic engineering: Arup Contractor:... http://www.k-w-y.org/Hebebrand-Citadels http://www.k-w-y.org/following/k-w-y.org/Hebebrand-Citadels Mon, 02 Jul 2012 05:17:28 +0000 kwy 3659589 Fullscreen <img src="http://payload67.cargocollective.com/1/0/8813/3659589/panels_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload67.cargocollective.com/1/0/8813/3659589/panels_o.jpg" data-mid="19121969" border="0" align="left"/><img src="http://payload67.cargocollective.com/1/0/8813/3659589/panels2_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload67.cargocollective.com/1/0/8813/3659589/panels2_o.jpg" data-mid="19121977" border="0" align="left"/><img src="http://payload67.cargocollective.com/1/0/8813/3659589/panels3_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload67.cargocollective.com/1/0/8813/3659589/panels3_o.jpg" data-mid="19121982" border="0" align="left"/><img src="http://payload67.cargocollective.com/1/0/8813/3659589/panels4_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload67.cargocollective.com/1/0/8813/3659589/panels4_o.jpg" data-mid="19121986" border="0" align="left"/>Ben Allen Eric Bernstein Kirk Finkel Ricardo Gomes Hebebrand Citadels Hebebrandquartier Competition; collaboration with Loma Hebebrand is an isolated urban site, an island within the city - albeit one with a limited number of good connections to the surrounding neighbourhoods and the city centre. In order to embrace this singularity we have created two connected communities with a defined perimeter border and designed a centrally focused urban development. The relatively dense and compact character of our proposal accentuates the abundance of nature/greenery on the surrounding site while electing the main connectivities with the different neighbourhoods as the principal organising axis of the new development. In general we have arrived to a similar route typology to that defined by the urban plan, emphasising its connections - in particular those with the Barmbek district. We suggest the improvement of these routeways and bridges with the hope of encouraging pedestrian and cycle through traffic en route to the City Nord business park and Winterhude district. A narrative approach was adopted which conceives a central route through two citadels, connected to one another via a pedestrian lane. As part of this sequence, a route was described that is furnished with all of the cultural apparatus and architectural meaning of a self sustained community. We intend that by building a number of key elements we will plant the seed for a vibrant new hamlet to develop and flourish in Hebebrand. This apparatus consists of a series of architectural elements which will have a strong identity and make the urban spaces readable such as lane, wall, gate, colonnade, market place, clock tower and town hall. Our idea is to phase the implementation of these elements so that the building of them will cement the sense of ownership of the first generation of residents for their neighbourhood. We envisage the wall and colonnade being the first elements to be implemented. This provides a framework against which future architects will build, defining heights and proportions and giving a unifying sense of identity – and thus allowing more freedom of expression in the architecture of the buildings themselves. We image the colonnade as an architectural devise which allows us to see our central route way as a hall and the public spaces as rooms. In this way the two citadels can been seen as two large buildings. We have imagined the colonnade as if it were the reused part of a ruin of a previous settlement and hope that, by acting as part sculpture part billboard the early construction of this element will already engage the interest of the citizens of Hamburg and possible future residents. The colonnade encloses the market square and provides an elevated walkway to the two S-bahn stations and Barmbek. In the layout of urban blocks we have sought to create more formal spaces along the main central routes and less formal arrangements on the periphery. A high density solution is proposed with larger four and five storey blocks with shared gardens and communal spaces and smaller two storey privately owned houses. We think that this density will support better and more intense cultivation of private and semi-private green spaces and create more intimate outdoor spaces. It also provides a greater degree of public space which is overlooked by fewer people. The plan creates a subtle play between the inside and the outside of the blocks – in some cases the blocks are reversed, so that what would normally be the rear becomes the front of the block. In this way we challenge the hegemony of the perimeter block. Views along pathways and secondary lanes connect many of the blocks and green spaces and also provides a diversity of routes and pathways to choose from when navigating across the settlement. Our masterplan seeks to challenge architects to design more intricate and humane buildings within its framework – the challenge of creating dense and diverse settlements which can cater for the needs of a diverse population of future residents in which the architecture will be a strong unifying element. Ben Allen Eric Bernstein Kirk Finkel Ricardo Gomes Hebebrand Citadels Hebebrandquartier Competition; collaboration with Loma Hebebrand is an isolated urban site,... http://www.k-w-y.org/Plenum http://www.k-w-y.org/following/k-w-y.org/Plenum Fri, 22 Jun 2012 11:09:57 +0000 kwy 2677343 <img src="http://payload18.cargocollective.com/1/0/8813/2677343/111018 SPD 001-01_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload18.cargocollective.com/1/0/8813/2677343/111018 SPD 001-01_o.png" data-mid="18742242" border="0" align="left"/><img src="http://payload18.cargocollective.com/1/0/8813/2677343/110928_P1_var_A2_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload18.cargocollective.com/1/0/8813/2677343/110928_P1_var_A2_o.jpg" data-mid="18741828" border="0" align="left"/><img src="http://payload18.cargocollective.com/1/0/8813/2677343/111009_P4_v4_half_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload18.cargocollective.com/1/0/8813/2677343/111009_P4_v4_half_o.jpg" data-mid="18741832" border="0" align="left"/><img src="http://payload18.cargocollective.com/1/0/8813/2677343/spd-stationberlin38 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload18.cargocollective.com/1/0/8813/2677343/spd-stationberlin38 800px_o.jpg" data-mid="18757066" border="0" align="left"/><img src="http://payload18.cargocollective.com/1/0/8813/2677343/spd-stationberlin40 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload18.cargocollective.com/1/0/8813/2677343/spd-stationberlin40 800px_o.jpg" data-mid="18757068" border="0" align="left"/><img src="http://payload18.cargocollective.com/1/0/8813/2677343/49_spd-parteitagsuper-jk8 800px C_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload18.cargocollective.com/1/0/8813/2677343/49_spd-parteitagsuper-jk8 800px C_o.jpg" data-mid="18757180" border="0" align="left"/>Ricardo Gomes Frank Haugwitz Plenum Sozialdemokratische Partei Deutschlands Parteitag 2011 Commission Collaboration with Super an der Spree Visualisation: Jens Gehrcken Housed in the STATION Berlin building in Kreuzberg, the design was comprised of a stage, surrounding walls, and furniture layout that accommodated 700 delegates, 1000 guests, and 200 journalists. Plenum covered an area of 4200 sqm and was designed to be erectable within a 48-hour period shortly before the beginning of the SPD 2011 Berlin conference. The main concept was to decrease the perception of the space's depth and low ceiling height by eliminating the traditional back wall of the stage, moving the focus towards the centre pivot of the hall. A perimeter wall was used to enclose the entire space and funnel attention towards the circular stage, flanked by two radial, inset side-screens. The ambulatory space – acting as a visual device – was conceived to express a sense of openness and democracy by allowing delegates to walk behind the stage while providing meeting rooms, lounge areas, and other facilities for party officials and conference staff. Traditional amphitheatre seating, in three stepped levels (delegates, press, and guests), was used for assuring unobstructed sightlines to the stage and ease of accessibility for attendees. The amphitheatre was also chosen for the continuity between stage and the audience, heightening its sense as a public forum. The conference was the launching platform for the SPD’s new graphic identity designed by Super an der Spree. The lectern designed for the conference by Super an der Spree and kwy have been adopted for use throughout all SPD sections for public events. Ricardo Gomes Frank Haugwitz Plenum Sozialdemokratische Partei Deutschlands Parteitag 2011 Commission Collaboration with Super an der Spree Visualisation: Jens... http://www.k-w-y.org/Learning-from-Berlin http://www.k-w-y.org/following/k-w-y.org/Learning-from-Berlin Thu, 21 Jun 2012 08:24:37 +0000 kwy 3615348 <img src="http://payload65.cargocollective.com/1/0/8813/3615348/FacadeFINAL 565px x 800px_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload65.cargocollective.com/1/0/8813/3615348/FacadeFINAL 565px x 800px_o.png" data-mid="18727183" border="0" align="left"/><img src="http://payload65.cargocollective.com/1/0/8813/3615348/Mapping Diagram_ no text 800px x 565px_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload65.cargocollective.com/1/0/8813/3615348/Mapping Diagram_ no text 800px x 565px_o.png" data-mid="18727193" border="0" align="left"/>Ben Allen James Bae Eric Bernstein Jeremy Burke Kirk Finkel Ricardo Gomes Jim Hudson Michael Lee Learning from Berlin Venice Takeaway Call for proposals How can Britain’s historic post-industrial cities emerge from the shadow of the capital and become self-sufficient, cultural, and ideological powerhouses with strong, independent identities? We look to Berlin, a city that has completely reinvented itself over the last 60 years; a city that is now the de facto centre of the art world and is poised to become one of the creative capitals of Europe. Berlin has achieved an almost mythical status as a place in which creativity thrives, becoming a Mecca for artists, architects, designers, writers, musicians and free thinkers. For two decades now they have been arriving in significant numbers from all around the world to take up residence in its neighbourhoods. Berlin’s recent successes were built on ten years of economic stagnation in Germany. Young Germans moved from the wealthier western cities to a still visibly post-industrial Berlin in search for a different type of urban life. The city has established a critical mass of creative activity, becoming the zeitgeist of the city itself, propagating its image outwardly and drawing in new participants. Can Britain’s cities look to their northern European counterpart, and, faced with similar economic stagnation, learn from Berlin’s example? We propose a discourse on the current state of Berlin and the factors that have led to the city’s change of fortunes. We will carry out a critical investigation into what constitutes the modern myth of Berlin for both residents and outsiders, as well as the realities of life in the city. We hope to distill Berlin’s success in creating a strong interconnected community of artists and creative professionals. We will also consider what the future might hold for Berlin - can this walled garden and island of free thought, built away from the heat of Western Europe’s economic power centres, survive the upturn currently experienced in the city during a time of intensified speculation and gentrification? Our proposition is to base our research on a cross-section of the British creative community based in Berlin. They are our explorers, explorers who never made the return journey home. This community spans from some of the most eminent names in Berlin’s cultural society to lesser-known recent arrivals. A central tenet of our study will be a consideration of the physical makeup of the city. Taking an archeological approach, we plan to investigate two specific aspects: - Looking beyond the homogenous facades of the city we will reveal the hidden uses behind them, surveying the radical juxtaposition of the diverse uses of structures housed within the industrial scale Berlin city block. - Working on a larger urban scale, we will evaluate how the city has changed over the last two decades, by considering the location and footprint of activity for the community we are studying. We hope to shed light on how the relative smallness of the city, in global terms, provides an ideal environment for creative professions as well as fostering an inter-connected creative community. Adopting this approach we intend to create a filter by which we will construct a visualised topography of the city. Our research will be based on ten interviews with Berlin residents of British origin. Each interview will be comprised of three parts: - A general discourse on the motives for coming to Berlin, their personal relation to it, the creative comunity here and a consideration of the myths and realities of the city. The presentation of this element is yet to be defined but could be either in transcribed, audio or video form. - A consideration of each interviewee’s physical habitat, including workspace, building, urban block, as well as how this information places them in the wider context of the neighbourhood and the city. - A mapping of urban change through time, by documenting the locations they frequent, their points of contact with other creative people and charting how their patterns of movement have developed since arriving in Berlin. The sketches displayed here indicate how this material could be presented. We plan to draw up the immediate environs of each interviewee as an illustrated architectural study, while the city-wide habitat will be mapped diagrammatically. We envisage a three-dimensional presentation in the form of a model by which each interview can be compared and overlaid. We intend that our investigation will give insight into a cross-section of the community that is behind the reinvention of Berlin in the context of the social, spatial, and architectural landscape of the city. We believe that Berlin is a perfect case study for British cities, a model for how economic hardship can provide the ideal circumstance for the physical and ideological re-imagining of a city. Ben Allen James Bae Eric Bernstein Jeremy Burke Kirk Finkel Ricardo Gomes Jim Hudson Michael Lee Learning from Berlin Venice Takeaway Call for proposals How can... http://www.k-w-y.org/Time-Garden http://www.k-w-y.org/following/k-w-y.org/Time-Garden Mon, 30 Jan 2012 08:31:36 +0000 kwy 2697861 <img src="http://payload19.cargocollective.com/1/0/8813/2697861/Ben Allen- James Bae- Ricardo Gomes- Prem Krishnamurthy- Time Garden- 2012- P1 533px_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/Ben Allen- James Bae- Ricardo Gomes- Prem Krishnamurthy- Time Garden- 2012- P1 533px_o.png" data-mid="13695362" border="0" align="left"/><img src="http://payload19.cargocollective.com/1/0/8813/2697861/Ben Allen- James Bae- Ricardo Gomes- Prem Krishnamurthy- Time Garden- 2012- P2 533px_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/Ben Allen- James Bae- Ricardo Gomes- Prem Krishnamurthy- Time Garden- 2012- P2 533px_o.png" data-mid="13695365" border="0" align="left"/><img src="http://payload19.cargocollective.com/1/0/8813/2697861/Ben Allen- James Bae- Ricardo Gomes- Prem Krishnamurthy- Time Garden- 2012- P3 533px_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/Ben Allen- James Bae- Ricardo Gomes- Prem Krishnamurthy- Time Garden- 2012- P3 533px_o.png" data-mid="13695368" border="0" align="left"/><img src="http://payload19.cargocollective.com/1/0/8813/2697861/siteplan final to web-02_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/siteplan final to web-02_o.png" data-mid="13695379" border="0" align="left"/><img src="http://payload19.cargocollective.com/1/0/8813/2697861/plan final-02_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/plan final-02_o.png" data-mid="13695388" border="0" align="left"/><img src="http://payload19.cargocollective.com/1/0/8813/2697861/section final web_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/section final web_o.png" data-mid="16157695" border="0" align="left"/><img src="http://payload19.cargocollective.com/1/0/8813/2697861/ISO 2 final-02_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/ISO 2 final-02_o.png" data-mid="13695408" border="0" align="left"/>Ben Allen James Bae Ricardo Gomes Prem KrishnamurthyTime Garden NYC AIDS Memorial Park Competition: honourable mention Acoustic engineering: Edward P. Arenius and Christopher S. Darland, Artec Consultants Inc Visualisation: Jens Gehrcken In Time Garden, we juxtapose two opposed yet equivalent qualities—the monumental and the temporal. AIDS is an ongoing matter of the present. Instead of approaching the park as a static gesture towards the past, our design incorporates a two-sided periscope for the projection of both historical and contemporary filmic works addressing AIDS related themes. We envision the park itself as an open platform to memorialize the victims, while also allowing for new ideas and artworks to vivify the space. As the history of the epidemic is still unfolding, the design serves as a vessel for future responses: an ever-changing, living monument. The design of the park mirrors the shape of its boundaries, and focuses upon three connected, concentric triangular planes that serve as sloping pathways. A gentle ramp descends from street level to a lawn amphitheater at the center—a sunken garden that functions as a protected space for contemplation, as well as the seating area for public screenings. The above grade built elements offer both visual and aural respite and refuge from the cacophony of the city. The simple vocabulary of the design is augmented materially by a fine white steel mesh upon the walls and glazed elements, which affords views of the garden while also providing protection from direct sunlight. From both the street and the garden, the monolithic form of the screen structure is the focus. This tower serves as a solemn and universal meditation on the crisis during the day, but also functions as a palimpsest for remembrances at night. Like a votive candle, the light of the screen gives motion to the memories of those already lost. A sequence of three linear gallery spaces form a spiraling perambulation within the structure. Beginning at street level and culminating one level below, the galleries double as exhibition, learning and meditation spaces; their flexibility allows for various uses to develop. The penultimate space, the tower, is a darkened periscopic chamber reflecting the projected images. When the screen is folded back this room serves as a stage for performance. The openness of our design should ultimately be reflected in curatorial programming that combines historical and educational documents on the AIDS crisis, films by artists who were victims of the disease, as well as contemporary artworks that reflect on longing, loss, community, and perseverance. These diverse materials, themselves of different temporalities, will offer engaging views to both the casual passer-by and the dedicated visitor. Time Garden is a continuous archive, a staging ground for purpose-made public works to be displayed in the future. With this new platform for outdoor projection and recreation, we are proposing to create a unique park where the local community can freely and openly contemplate, mourn, and celebrate the brave responses to AIDS and the ongoing questions it poses. Technical Description by Edward P. Arenius and Christopher S. Darland The main visual element of Time Garden is the tower, which incorporates exterior-rated, front projection screens, mounted flush on its surface. Video content for Time Garden is provided by Digital Light Processing (DLP) projectors, which are housed in a weather-protected module at the rear of the amphitheater area. The DLP projectors produce a brighter image than standard LCD projectors. The projectors are controlled by a central computer system and are fully programmable. The sound system, integrated with the video projection system, consists of main loudspeakers mounted on the tower to provide “source” sound for video program on the screens, while distributed loudspeakers throughout the park will enhance speech intelligibility, help reduce overall sound levels emanating from the park and improve the sound quality uniformly across the park. Because Time Garden is adjacent to 7th Avenue, and is located within a popular area for shopping and dining, there will be a substantial amount of noise from vehicular traffic, pedestrian traffic, shops and restaurants. The siting of the architectural elements will abate exterior noise and plantings along the border walls will help absorb exterior noise. Within the park the inclined diffusive wall surfaces and the architectural meshes will reduce noise. The diffusive surfaces will break-up and disperse sound as it reflects off them, while the architectural meshes, planting and trees will absorb sound energy. Loudspeakers distributed throughout will enhance intelligibility and reduce the need to increase the volume of the main loudspeakers – this has the benefit of reducing sound emanating from the park and intruding on the surrounding apartments, shops, and restaurants. Ben Allen James Bae Ricardo Gomes Prem KrishnamurthyTime Garden NYC AIDS Memorial Park Competition: honourable mention Acoustic engineering: Edward P. Arenius and... http://www.k-w-y.org/Vault http://www.k-w-y.org/following/k-w-y.org/Vault Thu, 26 Jan 2012 07:27:29 +0000 kwy 2403569 <img src="http://payload5.cargocollective.com/1/0/8813/2403569/111027 octogons 600c_800.png" width="800" height="476" width_o="800" height_o="476" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/111027 octogons 600c_o.png" data-mid="13562055" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/111027 patterns 600c_800.png" width="800" height="476" width_o="800" height_o="476" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/111027 patterns 600c_o.png" data-mid="13562058" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 04c2_800.png" width="800" height="476" width_o="800" height_o="476" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 04c2_o.png" data-mid="13563368" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 05c2_800.png" width="800" height="476" width_o="800" height_o="476" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 05c2_o.png" data-mid="13563373" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/plan c_800.png" width="800" height="476" width_o="800" height_o="476" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/plan c_o.png" data-mid="13562062" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/elevations c_800.png" width="800" height="476" width_o="800" height_o="476" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/elevations c_o.png" data-mid="13562056" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 01_18_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 01_18_o.png" data-mid="12149697" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 02_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 02_o.png" data-mid="12149804" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 03_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 03_o.png" data-mid="12149805" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 1 2011 pisa 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 1 2011 pisa 800px_o.jpg" data-mid="12146707" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2 2011 pisa 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2 2011 pisa 800px_o.jpg" data-mid="12146709" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 3 2011 pisa 800px_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 3 2011 pisa 800px_o.png" data-mid="12146712" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 4-5 2011 pisa 800px_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 4-5 2011 pisa 800px_o.png" data-mid="13563680" border="0" align="left"/>Ricardo GomesNorbert PalzVault Research project Digital and Experimental Design, Universität der Künste, Berlin The structure was designed in order to test a new three-dimensional printing technique. Being an additive process, the material, albeit reinforced with natural fibres, has low tensile strength and a compression only vault structure was preferred. Additionally, size limitations imposed a volume of 1 x 1 x 2 metres and with such constraints a vault would still manifest an architectural scale. The first tests were derived from traditional vault typologies and promptly developed into a free form geometric research that would best explore the technology's potential. Block Research Group's software was used to assist with the form-finding process while also ensuring that the material was always used in compression. Various plan outlines were tested and octagonal geometries that would produce a distinctive transition from columns to arches were researched. A sequence of models were produced in order to develop the form. A harmonic progression within the octagon determined the base grid. Since a faceted geometry would interfere with the continuity of the pattern, a squircle (a special case of superellipse) was eventually chosen as the underlying principal for the vault. This was then interpolated to define the ribbed structure. Since a degree of diversity in the pattern was necessary (to analyse both the form-finding as well as the printing process), three different arches were introduced: two catenary curves of differing heights and a third, which was obtained by diagonally dividing the vault. The final result could be described as a quasi threefold rotational symmetry. <img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 01_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 01_o.jpg" data-mid="12148613" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 06_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 06_o.jpg" data-mid="12148644" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 02_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 02_o.jpg" data-mid="12148616" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 04_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 04_o.jpg" data-mid="12148629" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 03_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 03_o.png" data-mid="12148624" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 05_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 05_o.png" data-mid="12148641" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 07_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 07_o.jpg" data-mid="12148648" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 09_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 09_o.jpg" data-mid="12148848" border="0" align="left"/> Digital and Experimental Design, new work Curated by Peter Spitzley, introduction by Oliver Elser 2 - 28 November 2011 Architekturgalerie Kaiserslautern (Assistants: Bernd Miosge and Nandini Oehlmann) The exhibition presents recent work from the department of Digital and Experimental Design, Universität der Künste, Berlin. The objects, models and drawings explore creative applications of large, architectural scale additive manufacturing. D-shape, a technology launched five years ago by the Italian developer Enrico Dini, allows for the materialisation of digital three-dimensional volume: natural stone granulate is layered with a binder which leads to a gradual strengthening of the object. The layer tectonics allows the production of complex three-dimensional morphologies by subdividing geometry in simpler horizontal planes – differentiated objects which would be difficult to produce through continuous manufacturing technologies can thus be obtained. The materiality experienced with the outcome of this production method is not in keeping with classical precision manufacturing (which is usually associated with digital processes). It presents anomalies specific to material and fabrication – resulting in a more complex relationship between digital content and produced objects. The exhibition displays a dual perspective: on the one hand it introduces modern form-finding methods to create novel morphologies (which can be obtained by parametric and generative design processes), and on the other hand it focuses on the autonomy that the material offers in the representation and production of experience. <img src="http://payload5.cargocollective.com/1/0/8813/2403569/1_L1040772_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/1_L1040772_o.png" data-mid="18798399" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/2_L1040776_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/2_L1040776_o.png" data-mid="18798390" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/13_L1040828_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/13_L1040828_o.png" data-mid="18798415" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/6_L1040796_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/6_L1040796_o.png" data-mid="18798421" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/4_L1040792_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/4_L1040792_o.png" data-mid="18798381" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/11_L1040819_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/11_L1040819_o.png" data-mid="18798367" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/5_L1040794_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/5_L1040794_o.png" data-mid="18798376" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/7_L1040801_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/7_L1040801_o.jpg" data-mid="18798176" border="0" align="left"/> Digital and Experimental Design, new work 21 May - 1 June 2012 Universität der Künste, Berlin (Assistants: Bernd Miosge and Nandini Oehlmann) Berlin | Kaiserslautern Ricardo GomesNorbert PalzVault Research project Digital and Experimental Design, Universität der Künste, Berlin The structure was designed in order to test a new... http://www.k-w-y.org/5-Curators-5-Cities http://www.k-w-y.org/following/k-w-y.org/5-Curators-5-Cities Sat, 20 Aug 2011 08:43:57 +0000 kwy 1752035 <img src="http://payload.cargocollective.com/1/0/8813/1752035/CIAC L1220343_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/CIAC L1220343_o.png" data-mid="14332017" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/CIAC L1220433_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/CIAC L1220433_o.png" data-mid="14332022" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/CIAC L1220539_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/CIAC L1220539_o.png" data-mid="14332030" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/AHN 01 L1220361_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/AHN 01 L1220361_o.png" data-mid="14334417" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/AHN 02 L1220620_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/AHN 02 L1220620_o.png" data-mid="14334428" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/WS 01 L1220520_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/WS 01 L1220520_o.png" data-mid="14334453" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/BLDNG P1020351_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/BLDNG P1020351_o.png" data-mid="14334654" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/_MG_4093_JB exhibition view 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/_MG_4093_JB exhibition view 800px_o.jpg" data-mid="9567884" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/_MG_3882_JB exhibition view 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/_MG_3882_JB exhibition view 800px_o.jpg" data-mid="9567882" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/_MG_3877_JB B exhibition view 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/_MG_3877_JB B exhibition view 800px_o.jpg" data-mid="9567880" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/_MG_3856_JB exhibition view 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/_MG_3856_JB exhibition view 800px_o.jpg" data-mid="9567879" border="0" align="left"/> Andrea Aquilanti Jan Bünnig Bang Geul Han Osman Khan Scott Kiernan Regine Kolle Mores McWreath Anders Hellsten Nissen MeeNa Park Shanta Rao Pietro Ruffo Mauro Di Silvestre Wolfgang Stiller Yangachi 5C5C Curated by Alberto Dambruoso, Jin Hwang, Jennifer Junkermeier, Clodagh Keogh, Shinnie Kim and Franziska Leuthäußer July 2011 - July 2012 Berlin, Paris, Rome, Seoul, New York 5C5C is a group exhibition presenting the work of 14 artists working in five cities: Berlin, New York, Paris, Rome and Seoul. The participating artists were selected by six curators, at least one based in each of those cities. Combining five distinct curatorial concepts, the show explores individual artistic practice and production in a global context. By the sheer nature of the project, the works selected shed light on current concerns when presenting artwork to the global art community and demonstrate the ways in which the prevailing contemporary art scene is constructed through a conjunction between the global and the local. The curators of 5C5C were thrown together by circumstance and the will and wit of two abettors of the art world. The project called upon the curators to select between two and four emerging to mid-career artists from their respective cities whose work exemplifies the "new" art being produced there. From here, dialogue between the curators ensued, involving intense interaction and occasionally requiring a leap of faith to steer the project to its final destination. Much communication, discourse and exchange took place at a distance, across the waves and often thanks to the World Wide Web. The exhibition veered away from one overarching theme in favor of diverse themes, providing an alternative format where open-ended meaning was developed by positioning different curatorial concepts side by side, allowing for a comparative study of contemporary international art. The Berlin concept aligns the city’s rich art history with the works of contemporary Berlin artists, placing them along the same time line as their predecessors, but setting them apart as citizens of cross-border and cross-cultural globalization. The New York concept examines freedom of choice as a dilemma, showcasing artists that question the ambiguity created by America’s current economic and social conditions. Paris affirms the existence of individual art practice as being distinct and independent of prevailing movements or trends. The Rome concept presents artists whose work and research embody the attributes of Italian contemporary art—defined by a close relationship between tradition and innovation; the global and the local-global and created through the use of various mediums in a hybrid of styles and techniques. The Seoul concept presents artists as being grounded in a worldview in which the whole is composed of local individual elements, each with its own significance and autonomy. The five different concepts reflect local concerns in a global sphere. This positioning and curatorial concern also extends to the placement of artworks within the exhibition as it moves from city to city. Each 5C5C exhibition is tailored to fit each venue in which it is displayed. The title “5C5C” is as much a reference to the various curatorial concepts that emerged as it is to the five cities represented. The absence of a subtitle reflects the open-ended dialogue and the interchangeable and free interpretation that the project aimed at provoking. 5C5C is reflective of our time. It is not conclusive, acting instead as a point of departure—the beginning of a dialogue. Contact: 5c5cities@gmail.com With the generous support of: <img src="http://payload.cargocollective.com/1/0/8813/1752035/Arts Council Korea 33px.png" width="64" height="33" width_o="64" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/Arts Council Korea 33px_o.png" data-mid="14016214" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/CIAC 33px.jpg" width="67" height="33" width_o="67" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/CIAC 33px_o.jpg" data-mid="9004991" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/Embassy 33px.jpg" width="104" height="33" width_o="104" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/Embassy 33px_o.jpg" data-mid="9004992" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/incontri 33px.jpg" width="132" height="33" width_o="132" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/incontri 33px_o.jpg" data-mid="9004993" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/KT-G 33px.png" width="124" height="33" width_o="124" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/KT-G 33px_o.png" data-mid="14016216" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/schlien 33px.jpg" width="102" height="33" width_o="102" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/schlien 33px_o.jpg" data-mid="9004994" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/Seoul Foundation for Arts and Culture S 33px.png" width="125" height="33" width_o="125" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/Seoul Foundation for Arts and Culture S 33px_o.png" data-mid="14016218" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/spedart 33px.jpg" width="41" height="33" width_o="41" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/spedart 33px_o.jpg" data-mid="9004995" border="0" align="left"/> Berlin | Paris | Rome | Seoul | New York 5C5C Andrea Aquilanti Jan Bünnig Bang Geul Han Osman Khan Scott Kiernan Regine Kolle Mores McWreath Anders Hellsten Nissen MeeNa Park Shanta Rao Pietro Ruffo...