Chakakahn who are you?

I'm just going to through out a few names.
Lindsey Cohen, Tye Law, Helen Furjan, someone smart, Jody, someone with too much time on there hands, Asiel...

We will find you, we will hunt you down, and we will thank you.

Predator, Greg Lynn AD Vol 72 No. 1 January 2002

PROject

In their collaborative project, Greg Lynn and Fabian Marcaccio explore architectural concepts of scale in space, program, material and ambient effects. The result is a plastic sculpture which due to its lack of an interior space and an exterior space accomplishes nothing. The placement of the object in the site of the Wexner Center in Ohio is argued to create interesting spaces around, not to mention the piece itself if and interesting installation.

I don’t like it. It looks awfull.

PROcess

Through the process of applying an interpretation of the spatial dimensionality of the two dimensional painting to an unfolded surface, (its design origin has yet to be determined) an attempt to explore manufacturing technologies and methods were considered relevant to this project.

Simply stated, “the alien organism as architecture was designed digitally with animation software which produced many variations prior to the ACTUALISATION of a specific form.”

I can only assume the chosen variation was selected due to its aesthetic properties and anticipated possibilities. The design process focuses on an abstract animation of both the act of painting and the painting composition itself.

It is noted that the organization of the painting provided the data for the generation of the object. “Fabian’s painting in black and white was used as a displacement map to generate ideas for different effects.”

MANufacture

There are tree stages to the manufacturing of this project. First, the form is created with vacuumed formed transparent plastic. Second, images of the original painting are printed onto the form. Third, an additional application of paint was layered onto the form. The resulting object produces interesting light patterns and gradients due to the passing of light through the three layers of properties applied to the translucent plastic. This sounds rather grotesque but it is not suppose to be a fixture, furniture or wall, but rather a study the layering affect they produced.

The manufacturing of the form was not limited but ordered by the manufacturing of components limited by the 3-axis milling machine. They were constructed in pieces and assembled together to make the whole.

CONclusion

At first glance the project itself appears as if it was constructed in a hap hazard manner and is very messy. A closer look will reveal the a well crafted and constructed form with great attention to textural detail. The painted surface does seem to be forced over the milled plastic form and jumps the gaps where manufactured slits were cut out. As a whole I cannot say this project has provided new incites in Material properties, special exploration and organization, I have not experience this installation at the Wexner center.

Yokahama International Port Terminal, FOA

Forign Office Architects

Peter Slatin, Open Architecture, Architecture, February 2003

Although this article explains very little about the process involved in the design of the Yokahama International Port Terminal, there are references to the employment of sophisticated software, the mobius strip and FOA’s intent to blur the relationship between interior and exterior space.

TOPics

“Technological invention and geopolitical relations”

“Architecture as cultural signifier”

Port history and site program was crucial to the projects development.

“Employed sophisticated computer software.”

What was the software and how was it employed?

“Moving from outside to inside…, ramps, and…, unfolded surfaces”

Could this be the underlying design intent?

What produced the specific configuration of the ungulating planes in this project?

Did the project simply manufacture a pedestrian structure based on the properties of waves and the sites program?

“Mobius strip of a building”

“origami architecture”

A design needs to be inspired by something, and a designer needs to develop a form generative process which creates usable space. I think using a real flow program, (or whatever they used) and Cad as tool for generating complex form created a real interesting result. Is there more to it than that? Where there decisions and thoughts that help define the project during the process? Did someone google the mobius strip? Maybe.

“From organic topography, a basis for structure”

“As the deck of the plaza weaves under and around itself, interior and exterior merge-and the resulting folds and creases become structure”

How does this relate to Deluzez? What is it about the act of thinking about architecture, helps you design architecture?

Deluze or Sue G. says something about interior/ exterior space.