The Silk Pavilion explores the relationship between digital and biological fabrication on product and architectural scales.
The primary structure was created of 26 polygonal panels made of silk threads laid down by a CNC (Computer-Numerically Controlled) machine. Inspired by the silkworm’s ability to generate a 3D cocoon out of a single multi-property silk thread (1km in length), the overall geometry of the pavilion was created using an algorithm that assigns a single continuous thread across patches providing various degrees of density.
Overall density variation was informed by the silkworm itself deployed as a biological “printer” in the creation of a secondary structure. A swarm of 6,500 silkworms was positioned at the bottom rim of the scaffold spinning flat non-woven silk patches as they locally reinforced the gaps across CNC-deposited silk fibers. Following their pupation stage the silkworms were removed. Resulting moths can produce 1.5 million eggs with the potential of constructing up to 250 additional pavilions.
Affected by spatial and environmental conditions including geometrical density as well as variation in natural light and heat, the silkworms were found to migrate to darker and denser areas. Desired light effects informed variations in material organization across the surface area of the structure. A season-specific sun path diagram mapping solar trajectories in space dictated the location, size and density of apertures within the structure in order to lock-in rays of natural light entering the pavilion from South and East elevations. The central oculus is located against the East elevation and may be used as a sun-clock.
Parallel basic research explored the use of silkworms as entities that can “compute” material organization based on external performance criteria. Specifically, we explored the formation of non-woven fiber structures generated by the silkworms as a computational schema for determining shape and material optimization of fiber-based surface structures.
Research and Design by the Mediated Matter Research Group at the MIT Media Lab in collaboration with Prof. Fiorenzo Omenetto (TUFTS University) and Dr. James Weaver (WYSS Institute, Harvard University). Mediated Matter researchers include Markus Kayser, Jared Laucks, Carlos David Gonzalez Uribe, Jorge Duro-Royo and Neri Oxman (Director).
Video released under the CC-BY-SA 4.0 license.# vimeo.com/67177328 Uploaded 284K Plays 3,398 Likes 50 Comments
Archiculture examines the current and future state of studio-based, design education.
Archiculture takes a thoughtful, yet critical look at the architectural studio. The film offers a unique glimpse into the world of studio-based, design education through the eyes of a group of students finishing their final design projects. Interviews with leading professionals, historians and educators help create crucial dialog around the key issues faced by this unique teaching methodology.
1. Intro - Welcome to archiCULTURE
2. Design Education - So What Exactly is Design Education?
3. Studio Culture - Meet Your New Family
4. Critique - Desk Crits, Pin Ups, Juries O’ My!
5. Best Architects - Making it as an Architect
6. School vs. Practice - Two Worlds Collide
7. Starchitecture - The Plague of the Starchitect
8. New generation - The Designers of Tomorrow
9. The Future - I See Myself...
To stay updated about local screenings please follow us on our Facebook Fan Page: https://www.facebook.com/pages/Archiculture/176928975652899# vimeo.com/63420535 Uploaded 396K Plays 466 Likes 13 Comments
Zimoun : A Selection of Works 2005-2017
Compilation Video V.3.7 / Updated: August, 2017
HD 1920 x 1080 px
'Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of simple and functional materials, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena in Zimoun's minimalist constructions effortlessly reverberates.'
More works & information:
Current & upcoming Exhibitions:
HD Video Archive:
«The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the «artificial» and the «organic». It‘s an artistic research of simple and elegant systems to generate and study complex behaviors in sound and motion. Zimoun creates sound pieces from basic components, often using multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns.» Tim Beck
«Zimoun is best compared to a watchmaker of a self-reproducing time constructing his own gauging station.» Radjo Monk
«The clean, elegant sound sculptures combine visual, sonic, and spatial elements in an organically balanced entirely artwork. Using simple and well- conceived mechanical systems, Zimouns‘s work transforms and activates the space.» Jury Prix Ars Electronica 2010
«Zimoun creates complex kinetic sound sculptures by arranging industrially produced parts according to seemingly simple rules. Using motors, wires, ventilators, etc.., he creates closed systems that develop their own behavior and rules similarly to artificial creatures. Once running, they are left to themselves and go through an indeterminable process of (de)generation.
These quasi autonomous creatures exist in an absolutely synthetic sphere of lifeless matter. However, within the precise, determinist systems creative categorioes suddenly reappear, such as deviation, refusal and transcience out of which complex patterns of behavior evolve.» Node10
«It is a poetic and humorous absurdity we find in Zimoun’s work, which opens up a wide, refreshing and enriching space for discoveries, associations and a multitude of approaches.» Nina Terry
«The components used in Zimoun’s work are simple, functional and raw, whereas only aesthetically high-level and purposefully chosen elements and materials are used in minimalist fashion. Through radical reduction, Zimoun creates works of art which allow for a plethora of associations without being pinned down to a specific direction. Radical abstraction functions rather like a code in the background of things, thus elegantly avoiding an insinuation of direct, concrete attribution. Thanks to the abundance of mechanical activity, the range of perception, possibilities and interpretations is wide open.» Amanda Neumann
«Indeed, one of the refreshing elements of this work is the immediacy with which one can understand the sound-making process, where each micro-event is present, visible, and concrete. Yet at the same time the resulting complexity of the total system, conjured before your eyes, defies any attempt to dissect it. You might find yourself feeling there is a «prime mover» at work behind the scenes, but in fact it is just the characteristic reaction of materials behaving together and in unison with the space of their activity. A magic of the real.» Xymara
_# vimeo.com/7235817 Uploaded 919K Plays 9,074 Likes 135 Comments
EXOtique is a quick design through fabrication installation at Ball State’s College of Architecture. The Institute for Digital Fabrication invited us to lead the workshop/installation with student help, following three main constraints:
*Timeline- 5 Days: One day devoted to design, one day of modeling in Rhino / Grasshopper and materials testing, and three shared days of fabrication, assembly, and installation.
*Budget- $500 materials budget: white acrylic, white polystyrene, and 55 cord sockets and bulbs.
*Site- Ceiling above the foyer at the west entrance of the architecture building.
Through the use of computational tools (both software and hardware) the design through fabrication process can be drastically condensed. However the use of digital tools and design thinking for the purposes of fabrication rather than representation is not always at the forefront of designer’s minds. This project was aimed at using tools purely as generators for fabrication without the need for representation. As designers and creative thinkers, we do not have to lean on these tools for the purposes of imagery; imagination can act as renderer, and understanding of materiality acts as logic in the physical world. Yet, in order to create the complex and infinitely different component systems, we are dependent on, and benefit from these digital processes.
Our intention was to create a simple, hexagonally based, component system that would act as a lit “drop ceiling” for the space. All fabrication data was generated from a surface in Rhino, with all other processes accomplished through Grasshopper. The surface was triangulated and then associated into hexagonal groups. This was done with an understanding that the bending and folding could achieve non-planer geometry through the correct choice of material. The groups were unrolled and all other details were created. This includes joinery, labeling, patterning for distributed lighting, tolerance adjustments and other fabrication techniques (i.e. tabs for milling). Allowing flexibility within the computer to adjust tolerances made the feedback loop between digital and physical space easier and quicker.
There was no hardware used for connections besides the given hangers for the lamp cords. This cut costs and allowed our materials to work to each other’s benefit. Tabs on the styrene lock into the solid acrylic connectors as rigid sidewalls, causing the material to bend within the component as apposed to its edges. This let all the components meet evenly and create a rigid shell after being connected. The lit hexagonal panels act as the hanger connection point for the piece, and a custom acrylic tabs were created to hold the socket cable after being thread through the components, which attach to clips tied to the ceiling.
EXOtique combines an understanding of how materials react, then intelligently embeds that into the design process.
We would like to thank Curt Schriner and students from Atilier 3+U for their help assembling the piece, as well as The Institute for Digital Fabrication for their continuing support.# vimeo.com/21380958 Uploaded 16.6K Plays 181 Likes 2 Comments
For more information see kollision.dk/en/IH
The related project Urban Canvas: kollision.dk/en/urban-canvas
And Conference Hall: kollision.dk/en/conference-hall
Additionally see the following link for more media architecture projects from Kollision: Media Architecture by Kollision
IN THE HEART OF COPENHAGEN
In May 2013, The Confederation of Danish Industry (DI) moved back into their rebuilt headquarters at Raadhuspladsen right next to Tivoli and City Hall in the heart of Copenhagen. The extensive architectural task has been carried out by Transform who has redesigned the physical manifestation of the DI. The new exterior part of the building consists of a great media façade, as a beacon of aesthetics in a sea of visual noise flowing in and around one of the most heavily trafficked intersections in Copenhagen.
A LANGUAGE OF LIGHT
A team consisting of Kollision [kollision.dk], Martin Professional [martin.com] and Transform [transform.dk] worked with DI [di.dk] in designing and developing a language of light in line with the DI brand, exploiting the diagonal nature of the LED-structure on the façade. The different designs have been turned into generic light plugins that fit into Kollision’s player-system. These light plugins can be controlled by the graphical department at DI who can tweak and modify parameters like speed, colors, and direction creating thousands of different expressions - still within the limits of each plugin. All these light designs can be previewed in the 3D player system displaying each of the +80000 LEDs before adding them to the scheduling system. The system holds potentials for adding interactive components, allowing the citizens to interact directly with the façade.
As the media façade is the first of its size and kind in a Danish context, the professional team behind the project has worked on developing a design manual for how the dynamic content of the façade can change during day, night, seasons and special occasions. This design manual and the guidelines have been developed and discussed in collaboration with DI and the Planning Department of the Municipality of Copenhagen. The entire setup and aesthetic guidelines allow the client organization to use the facade as a dynamic interface between the brand, the building, and the urban setting it is situated in.# vimeo.com/65938382 Uploaded 31.2K Plays 297 Likes 4 Comments
Sobre : Teoria e Design na Primeira Era Digital.
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