Beast By Neri Oxman
Frequently when I show students a demo in Maya they ask, “ok… so what do I do with it?” I thought I’d put together a bunch of projects that leveraged Maya pretty heavily. Nothing beats Maya’s sculptural interface and play between intuition and generation. Here’s a few projects that were at least partially done in Maya…
ALESSI TEA SET
Thanks to everyone for all of the feedback and suggestions after my post on fabric formed concrete a couple of weeks ago. A bunch of extremely interesting projects came my way, one in particular was the Casa La Moraleja by Miguel Fisac, a Spanish Architect who practiced for most of the 20th century.
Fisac is credited with being one of the first to implement hollow, post-tensioned concrete beams. In 1960, Fisac used his “bones” on the Centro de Estudios Hidrograficos, a facility for the Spanish Ministry of the Environment, spanning an area 88 meters by 22 meters… which is absolutely huge.
Fisac went on to experiment with concrete’s more formal qualities, using fabric forms on the Casa La Moraleja, creating parabolic board formed surfaces on Laboratorios Jorba, and textured reusable formwork on Teatro Municipal. His work is absolutely exquisite, check more out at the links below. Depending on your level of fluency with Spanish, you may be giving google translate a little bit of a workout…
This project was awarded a few years back, but I came across it again over the weekend and was really impressed with how clearly BIG represents their projects. I’ve written on BIG in the past, but this project is really incredible at explaining how they arrived at a very complex form and how it performs environmentally. More on big.dk.
I recently came across the University of Kassel’s Radiolaria Project and was very impressed. A group of students and faculty (shown in the last image) did some pretty interesting analysis of D’Arcy Wentworth Thompson’s studies of radiolaria. Architects and designers from Frei Otto to Marcelo Spina have looked to Thompson’s work to better understand the structural organizations of multi-celled organisms and utilize these organizations in Architectural projects. What’s unique about the Radiolaria Project is the team’s imposition of their analysis on a surface in order to create a more constructible proposal. The construction itself is very compelling, a series of aluminum tubes connected by CNC-milled MDF joints that allows supple curvature and a smooth realization of curvature. The project website has extensive documentation of the process, and is very much worth checking out.
I recently came across the “colorfully” named eff yeah brutalism, a tumblr feed that is a consistant stream of vintage photographs of brutalist architecture. maintained by michael abrahamson, it’s a fantastic collection of some rare photographs of well known works and some lesser known masterpieces.
Marjan Teeuween creates spectacular environments through appropriating clutter. Generally inserted in derelict buildings, the installations have a remarkable balance between complexity and simplicity that is manifested by incredibly intricate placements of thousands of objects, typically of similar colors. While architects like Lewis Tsurumaki Lewis have been exploring the repetitive application of discarded objects, these explorations are typically limited to one surface within the space. Teeuween creates a completely immersive environment that is dominated by the repetition of debris, but with a restraint of color that creates liberating experience.
one fine day architecture‘s treehugger is a temporary pavilion in koblenz, germany. it acts as a space for lectures + workshops for the local university and the city. it’s pretty structurally amazing, completely mobile, and an interesting example of a non-orthagonal (no right angles) system.
national geographic is running a story this month (december 2010) profiling gaudi’s sagrada familia. it’s absolutely fantastic to see the godfather of parametric design featured in the US’s most prestigious publication. from national geo:
“The Sagrada Família has always been revered and reviled. The surrealists claimed Gaudí as one of their own, while George Orwell called the church “one of the most hideous buildings in the world.” As idiosyncratic as Gaudí himself, it is a vision inspired by the architect’s religious faith and love of nature. He understood that the natural world is rife with curved forms, not straight lines. And he noticed that natural construction tends to favor sinewy materials such as wood, muscle, and tendon. With these organic models in mind, Gaudí based his buildings on a simple premise: If nature is the work of God, and if architectural forms are derived from nature, then the best way to honor God is to design buildings based on his work. As the Barcelona scholar Joan Bassegoda Nonell notes, “Gaudí’s famous phrase, ‘originality is returning to the origin,’ means that the origin of all things is nature, created by God.” Gaudí’s faith was his own. But his belief in the beautiful efficiency of natural engineering clearly anticipated the modern science of biomimetics.”
an interesting blog post from dc.streetsblog.org compares how the states of california and new york are spending their federal stimulus money in terms of transit improvement versus highway improvement.
california does better than the national average with a 66 – 33 split, but new york is planning on diverting more than 50% of their stimulus package to improving transit… the most progressive of all the states to announce their plans so far.