American Museum of Natural History
Richard Gilder Center for Science, Education, and Innovation
“We uncovered a way to vastly improve visitor circulation and museum functionality, while tapping into the desire for exploration and discovery that is so emblematic of science and also such a big part of being human. Upon entering the space, natural daylight from above and sight lines to various activities inside invite movement through the Central Exhibition Hall on a journey toward deeper understanding. The architectural design grew out of the museum’s mission.” Jeanne Gang

アン·ハミルトン
앤 해밀턴
the event of a thread
Ann Hamilton is a visual artist internationally recognized for the sensory surrounds of her large-scale multi-media installations. Using time as process and material, her methods of making serve as an invocation of place, of collective voice, of communities past and of labor present. Noted for a dense accumulation of materials, her ephemeral environments create immersive experiences that poetically respond to the architectural presence and social history of their sites.

Submission
De Vries pulls together the human psyche by exploding a head into a variety of architectural structures and representations alongside the technology we use to feed thought and communication.

Blurring structure
Oliver Tessmann is an Assistant Professor (tenure track) in the School of Architecture and the Built Environment, KTH Stockholm. His teaching and research in the Architectural Technology Group revolves around computational design and digital manufacturing in architecture.

Anatomy of Form
The Divine Proportion in the Platonic Solids

In fact, the Graham Foundation recognized Tyng’s talent nearly half a century ago in 1965, when she was awarded for her project Anatomy of Form: The Divine Proportion in the Platonic Solids:In her research she developed a theory of hierarchies of symmetry—symmetries within symmetries—and a search for architectural insight and revelation in the consistency and beauty of all underlying form.It’s fascinating stuff, and the images alone have piqued my interest in Tyng’s theories, which cover topics from Jungian cycles to the cosmos. Tyng (b. 1920 in Jiangxi, China) was one of the first women to earn a Masters in Architecture from Harvard. She spent nearly three decades collaborating with Louis Kahn before shifting her focus to research at the University of Pennsylvania in the late 60’s. The title of the exhibition and her works belie the understated beauty of their execution, which demonstrate the expressive power of order and geometry. Tyng’s unique command of form is matched by her raw intellect; thus, she elegantly articulates her vision in the models seen here.

Serendiptichord

The result of a cross-disciplinary investigation spanning fashion, technology, music and dance, the Serendiptichord is a wearable musical instrument that invites the user (or movician) to explore a soundscape through touch and movement. This curious device is housed in a bespoke box and viewed as part of a performance. Unpacked and explored on and around the body, the Serendiptichord only reveals its full potential through the intrepid curiosity of its wearer. Adhering to the body like an extended limb, this instrument is best described as choreophonic prosthetic. Referencing the architectural silhouette of a musical instrument and the soft fabrication of fashion and upholstery, it is designed to entice the movician to explore its surface through touch, physical manipulation and expressive movement. Although this acoustic device can be mastered alone, it also holds subtle openings for group interaction.

Between I you I and I me
BETWEEN | YOU | AND | ME is a wall of sound and light. Like any other wall, it defines an architectural space. Given its ephemeral, dynamic media – ultrasound and beams of light – the wall can be perceived only when the visitor comes close and interacts with it. Two thin membranes of light form a visible frame filled with sound. Multichannel, extremely vectored hypersonic speakers render audible various textures of broken glass: a sound architecture within the wall, comprised of juxtaposed single sound beams, whose constellation changes depending on the visitor’s position. Observed from a distance, the wall fades away: clear transparency and only faintly resonant tones attest to its non-existence.

NEST

Inspired by Homer’s Odyssey
Loosely based on Homer’s The Odyssey, Marshmallow Laser Feast’s light installation lit the primary performance space within the chapel’s hazy internal dome. Grid-like projections crossed with mobile structures (designed by the architectural practice Studio Weave) as agile bodies crept over, in and through the many lit towers and surfaces. This first act was seen by the audience from the left and right balconies above. The second act, down flights of rope-lined staircases in the concrete basement, was more disorienting, lit only with triangular neon tubing and an eerie glow that seeped from an open door. The style of dance, in keeping with the more rapid and percussive score, by Canadian composer Christopher Mayo and electronic music composer / performer Anna Meredith, confronted the audience and was staged without boundaries dividing the dancers (some of whom were in street clothes) and viewers.

Chijikinkutsu
“Chijikinkutsu” is a coinage, specially created for the title of this work by mingling two Japanese words: “Chijiki” and “Suikinkutsu”.”Chijiki” means geomagnetism: terrestrial magnetic properties that cannot be sensed by the human body but that exists everywhere on earth. Since long before the Age of Discovery, people have traveled with navigation using compasses employing geomagnetism. In recent years, various devises that utilize geomagnetism have even been incorporated into smartphones[…] “Suikinkutsu” is a sound installation for a Japanese traditional garden, invented in the Edo period. The sounds of water drops falling into an earthenware pot buried under a stone wash basin resonate through hollow bamboo utensils. The concept of the work “Chijikinkutsu” does not derive from experimentalism of science and technology on which media arts rely, nor from architectural theory of western music upon which some sound arts lay their foundation. While utilizing the action of geomagnetism normally treated as a subject of science, this sound installation expands the subtle sounds of “Suikinkutsu” in the context of Japanese perspective on Nature.

n-Polytope: Behaviors in Light and Sound after Iannis Xenakis
N_Polytope: Behaviors in Light and Sound After Iannis Xenakis is a spectacular light and sound performance-installation combining cutting edge lighting, lasers, sound, sensing and machine learning software inspired by composer Iannis Xenakis’s radical 1960s- 1970s works named Polytopes (from the Greek ‘poly’, many and ‘topos’, space). As large scale, immersive architectural environments that made the indeterminate and chaotic patterns and behaviour of natural phenomena experiential through the temporal dynamics of light and the spatial dynamics of sound, the Polytopes still to this day are relatively unknown but were far ahead of their time. N_Polytope is based on the attempt to both re-imagine Xenakis’ work with probabilistic/stochastic systems with new techniques as well as to explore how these techniques can exemplify our own historical moment of extreme instability.

다니엘 아샴
ДАНИЭЛЯ АРШАМА
Connecting Time
‘Connecting Time’ is a survey show with works spanning Arsham’s entire career. Included are four at first glance ‘conventional’ architectural interventions that subtly manipulate the physical environment to create surrealistic settings. Fitness gear and objects rooted in pop culture are presented in eroded form as though excavated from some archaeological site, while swaddled animalistic figures recall the work of Christo or Man Ray, but with a playful, childlike twist.

Selgascano Pavilion
architectural photographer: Henry Woide
“Der 2015 Serpentine Gallery Pavilion wurde heute in London offiziell eröffnet und zeigt zum ersten Mal eine farbenfrohe und verspielte Struktur, die vom spanischen Büro SelgasCano entworfen wurde. Mit einer minimalen Metallstruktur, die von farbigen ETFE-Platten und Bändern umgeben ist, besteht das Projekt aus” geheime Korridore “, die den Zugang zum Hauptinnenraum ermöglichen, der vom chaotischen Londoner U-Bahn-Netzwerk inspiriert ist.
Bekannt für seine Arbeit mit synthetischen Materialien, verleiht die Wahl von SelgasCano durch das farbige ETFE der Struktur “Bewegung und Leichtigkeit”, da sich der Kunststoff ein wenig verdrehen kann, um den metallischen Elementen zu entsprechen. Der gemeinsam mit Ingenieuren von Aecom und David Glover entwickelte ETFE-Kunststoff wurde in 19 Farben gedruckt, um die Vielfalt der von Architekten gewünschten Farbtöne zu gewährleisten.
Die Architekten José Selgas und Lucía Cano, die im Jahr 2000 mit einer Struktur von Zaha Hadid anlässlich des 15. Jahrestages des Serpentinenpavillons eingeweiht wurden, erklärten, dass der neue Pavillon, obwohl das Projekt nicht wie etwas aussieht, das zuvor vor Ort durchgeführt wurde, dennoch “eine Hommage an” ist alle anderen und eine Hommage an alle Geschichten, die von diesen Projekten erzählt wurden”.” Rory Stott

clear orb

“The sustainable architectural culture that aspires the coexistence of human, nature and the architecture itself” is a core value of Heerim Architects and Planners in South Korea, the team behind a sparkling orb designed for Santa Monica Pier. A finalist in the biennial site-specific 2016 Land Art Generator Initiative design competition, which promotes the uptake of energy-generating public art that informs, delights, and uplifts communities and visitors, The Clear Orb reveals a playful approach to holistic design. Using transparent luminescent solar concentrators, the installation is purportedly capable of producing up to half-a-million gallons of fresh water each year for California.

architectural abduction

french artist pierre delavie has transformed the grand palais in paris into an ‘urban lie’, distorting the architecture of the famed building with ‘neo – rapt architectural’. questioning reality and manipulating city landscapes, delavie changes the face of building facades, integrating fake structural elements and projected light into the existing space. by manipulating the exterior skin of the renowned european museum, he forms a new archetype he calls, ‘architectural abduction‘, where the falsification of the traditional image is changed and reinterpreted as a new space. additions and subtractions render the structure imperfect, changing the manner in which passers-by perceive the historically significant landmark.

努维尔
جان نوفيل
ז’אן נובל
ジャン·ヌーヴェル
Жан Нувель
장 누벨
Serpentine Pavilion

The design contrasted lightweight materials with dramatic metal cantilevered structures, rendered in a vivid red that, in a play of opposites, contrasts with the green of its park setting. In London, the colour reflects the iconic British images of traditional telephone boxes, postboxes and London buses. The building consists of bold geometric forms, large retractable awnings and a sloped freestanding wall that stands 12m above the lawn.
Striking glass, polycarbonate and fabric structures create a versatile system of interior and exterior spaces, while the flexible auditorium accommodates the changing summer weather and Park Nights, the Serpentine’s acclaimed programme of public talks and events, which attracts up to 250,000 visitors each summer.
Nouvel’s Serpentine Gallery Pavilion, the architect’s first completed building in the UK, operates as a publicly accessible structure within Kensington Gardens and as a café. The pavilion design highlights the idea of play with its incorporation of traditional French outdoor table-tennis tables.
This 2010 Pavilion is the tenth commission in the gallery’s annual series, the world’s first and most ambitious architectural programme of its kind, which has become an international site for architectural experimentation and follows a long tradition of pavilions by some of the world’s greatest architects. The immediacy of the commission – a maximum of six months from invitation to completion – provides a unique model worldwide.

ECTOPLASMATIC HOUSING
File Festival
‘Ectoplasmatic Housing’ aims to speculate about how architecture can mediate the pervasiveness of the contemporary ‘infocalypse’ age. An architectural experiment of physical and digital space through the use of interactive design and augmented reality.

Browsing through a domestic safari of Trojan savannas or sterilised virus forests while contemplating the emergence of thousands of cheap-friends-facebook flowers blossoming among the pulsating cocoons of dying obsolete apps… Quantum reality theories are ripe for the picking from wiki branches of tweeting pink daily hit dwarfing trees…
Ectoplasmatic Housing aims to speculate about how architecture can mediate the pervasiveness of the contemporary ‘infocalypse’ age. It cultivates data for a spatial interactive second nature manifestation. It grows, blossoms, dies and haunts. Overlayed with the physical this unstable ectoplasmatic nature may shift radically into a rapid nuke ecology of nightmares.

Struct- Generative Realtime Audio-Visual Environment
The target of “Struct” was to create installation which could make immersive environment inside the space of public event dedicated to the opening of the office of an architectural company UNK Projects. It was planned to make this installation fully autonomic during the several hours as well as there was an idea to hold the public interested and immersed into the space of environment during the all period of time.

The main conception of the installation is to create the second alternative scale inside the internal space of the office. It was realized screen projection for this with the size of 18×4 meters and taken almost whole the length of the interior. The Animated surface was projected as the extension of the super-graphic situated on the facade of office`s building. The external graphic was created by Vladimir Garanin. The first one layer is the super-graphic onto the facade and another one layer is the real-time generative graphic inside the interior. The visual image and algorithmic sound of the whole structure are connected each other and are forming the whole organism.