Thursday, February 28, 2008
Wednesday, February 27, 2008
Mesh Experiments on site
This are some of the digital experiements I have done for the site. I'm using a set of points and playing with 3 variables: Density, Grid Amount and Size (ocuppation). At the same time I'm trying to reproduce some of the local and global transformations I did for the model process. Tuesday, February 26, 2008
CRASH-ing Follies
Follies
Bernard Tschumi's La Villette follies involved the superimposition of a point-grid onto the site that establishes links to nodal points of circulation.
My design approach is to go beyond the the technique of superimposition and instead investigate the formal qualities produced with the CRASH-ing of forms into the site (landscape + existing blocks).
CRASH
CRASH01 - Follie to Corner of Existing Block
CRASH02 - Follie to Center of Existing Block
CRASH03 - Follie to Site Ground
Hence the follies are no longer objects in the site but parasitic intrusions on the existing block that deforms the existing gentrified blocks, a new urban relationship is established.
These follies would then be meshed to create structure and fenestration with a connective hair-like membrane weaving through and between them.
Bernard Tschumi's La Villette follies involved the superimposition of a point-grid onto the site that establishes links to nodal points of circulation.
My design approach is to go beyond the the technique of superimposition and instead investigate the formal qualities produced with the CRASH-ing of forms into the site (landscape + existing blocks).
CRASH
My studies on the site has shown a trend of black/white; family/singles displacements with scant social interaction between people around the area.
What better way to 'force' social interaction is there than 'crashing' people together?
CRASH-ing invokes the notions of collisions/destruction but also it creates new formal strategies that is iterated in Maya through softbody dynamics.CRASH01 - Follie to Corner of Existing Block
CRASH02 - Follie to Center of Existing Block
CRASH03 - Follie to Site Ground
Hence the follies are no longer objects in the site but parasitic intrusions on the existing block that deforms the existing gentrified blocks, a new urban relationship is established.
These follies would then be meshed to create structure and fenestration with a connective hair-like membrane weaving through and between them.
Wednesday, February 13, 2008
Ceramic Rods at NYT Bldg
Ouroussoff's two main criticisms include the tower's crown and ceramic rod facade/screen, but he also mentions the concerns of his coworkers, which include an abundance of empty space in the newsroom and the sterile look/feel of the glass offices. Regarding the screen of ceramic rods adorning the building's facade, he writes:
"...despite the architect’s best efforts, the screens look flat and lifeless in the skyline. The uniformity of the bars gives them a slightly menacing air, and the problem is compounded by the battleship gray of the tower’s steel frame. Their dull finish deprives the facades of an enlivening play of light and shadow."
Similar rods line the facade of Piano's 22-floor Debis Tower in Berlin, Germany also (pictures available here). I was never and still am not a huge fan of the look that the ceramic rods provide, however, I do understand their purpose and the decision-making process behind their inclusion in the project. The exterior ceramic rods work with the building's large glass window panes and photosensor-controlled interior blinds to improve efficiency in a variety of areas. Designed with help from Lawrence Berkeley National Laboratory, the thin ceramic tubes actually help reduce the building's cooling (energy) loads, while the automated roller-shades help manage potential glare problems, and maximize the opportunity for daylight and views -- this is called 'daylighting.' You probably wouldn't be able to tell, but the glass walls themselves are actually made of low-iron, water-white, double-pane spectrally selective glass. In fact, LBNL ran a nine-month study to perfect this system specifically for The New York Times.
So even though the ceramic rods are not the best look for the building's facade, at least they serve a purpose.
"...despite the architect’s best efforts, the screens look flat and lifeless in the skyline. The uniformity of the bars gives them a slightly menacing air, and the problem is compounded by the battleship gray of the tower’s steel frame. Their dull finish deprives the facades of an enlivening play of light and shadow."
Similar rods line the facade of Piano's 22-floor Debis Tower in Berlin, Germany also (pictures available here). I was never and still am not a huge fan of the look that the ceramic rods provide, however, I do understand their purpose and the decision-making process behind their inclusion in the project. The exterior ceramic rods work with the building's large glass window panes and photosensor-controlled interior blinds to improve efficiency in a variety of areas. Designed with help from Lawrence Berkeley National Laboratory, the thin ceramic tubes actually help reduce the building's cooling (energy) loads, while the automated roller-shades help manage potential glare problems, and maximize the opportunity for daylight and views -- this is called 'daylighting.' You probably wouldn't be able to tell, but the glass walls themselves are actually made of low-iron, water-white, double-pane spectrally selective glass. In fact, LBNL ran a nine-month study to perfect this system specifically for The New York Times.
So even though the ceramic rods are not the best look for the building's facade, at least they serve a purpose.
Tuesday, February 5, 2008
Monday, February 4, 2008
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