chicago ILLINOIS

paul PREISSNER ARCHITECTS, LIMITED: by developing the plaza as a choreographed series of meetings and outdoor performance spaces, the proposal for sundsvall is able to reach from the historic art center to the advancement of the city/river. the theater offers a gradient of moments, from the impromptu participations in the plaza, to the formal performances within the hall.

location: sundsvall, sweden
client: steen&strom sverige ab, the municipality of sundsvall
program: arts centre, dance theatre, city plaza, parking
area: 16,000 sm
status: design 2008

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los angeles CALIFORNIA

tom WISCOMBE: the structure of the building is based on a hybrid of shell behavior, which is surface-based, and spaceframe behavior, which is vector-based. the structure adapts from an underdimensioned condition based on local geometrical and bending moment conditions. where the building shape allows for shell behavior, the depth approaches this minimum. where bending occurs, member depth is increased on a smooth gradient up to the maximum economical depth for a plate girder, at which point the structure delaminates to become a three dimensional vector-based spaceframe. this is a kind of structural phase change, or emergent effect, where the structural system changes in kind rather than simply in degree. it produces highly intricate and ornamental spatial conditions which can be understood qualitatively as well as quantitatively.

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copenhagen DENMARK

Practice report: digital design strategies and the sustainable agenda

Wednesday 26.11.2008 15.30 - 18.00h

Auditorium 6 - Royal Academy of Fine Arts - Copenhagen

panel
josh mason (aedas, london) aedas.com
andreas eggertsen (snøhetta, oslo) snohetta.com
volker mueller (bentley, research director for computational design) bentley.com
christophe barlieb (cdmb, berlin) barlieb.com
martin tamke (cita, copenhagen) cita.karch.dk

cita : centre for it and architecture
royal danish academy of fine arts, school of architecture
philip de langes alle 10
1435 copenhagen k

vienna AUSTRIA

stefan RITTER: floralities is an exploration into the aesthetics of artificial natures. at the scale of ornamentation, the piece creates a volumetric pattern based on the packing of blossoms. the formal language and curvatures were developed out of a dialogue between the lofting logic of the computer software and the inherent bending capabilities and elasticities of sponge rubber, the material used for the physical model.

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los angeles CALIFORNIAK

suckerPUNCH: describe your project.

dwayne OYLER + jenny WU: motivated by the desire to occupy the sci-arc gallery in a way that exploits the spatial potential of the existing venue, this oyler wu collaborative installation argues for an expanded relationship between tectonic expression and functional performance. the installation proposes a vertical circulation system linking the floor level of the gallery to the catwalk above.

collaborators: ming JIAN HUANG, matt EVANS, fayez AHDAB, phillip CAMERON, huy LE, erik MATHIESEN

engineering: buro happold

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los angeles CALIFORNIA

suckerPUNCH: describe your project.

jovan RODRIGUEZ YAPUR: before the advent of the print, books were a rare item only privileged to royalty, aristocracy and the clergy. this lack of information fueled the emergence of monumental cathedrals overloaded with visceral imagery to spread its sacred message. as the technology of printed books become obsolete and media starts to take on new forms of organizing and communicating, the public library, as we know it, will undergo a dramatic transformation. a return to this monumentality of space will be founded in the newly sacred typology of the public library.

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los angeles CALIFORNIA

tom WISCOMBE: the morphology of the project is based on patterns of armatures and pleats which form an intricate ornamental network. armatures are woven together to create the circulation and structure of the concourse, forming deep spaces and views from the plaza into the building as well as from the building down into the plaza and out into the city. micro-pleats track along the armatures but also spread out along surfaces, spatially drawing visitors inside the plaza. the sensations produced by this fluid geometry are heightened by a gradient of color which is most intense on the interior but fades out to the exterior of the building. formal and color intensities are at their peak in the concourse, and begin to atrophe toward the theater blocks at the perimeter of the site. in this way this project attempts to bridge classifications of generic and articulated form as well as monochromatic and variegated color.

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los angeles CALIFORNIA

tom WISCOMBE: this project revisits the problem of architecturalizing tower infrastructural systems. rather than expressing the literal image of technology, the goal is to create technological ambience. this ambience is defined by translucency, shrouding, and exotic lighting and color effects. but it is also the result of hybridizing mechanical systems with other building systems in a way that cross-wires traditional hierarchies and produces synergetic forms.

the point of departure for the design was to allow ductwork to migrate out of the central core toward the exterior. the glass envelope begins to take on duct behavior by delaminating to create pleats where air can flow. these pleats branch and run across the building facades, linking to floor plenums on each level at several locations along the perimeter.

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boston MASSACHUSETTSK

suckerPUNCH: describe your project in one sentence.

systemic PROCESS: responsive skin is an experiment in the conception of physical systems designed by scripted processes as a viable means towards producing an architecture which may form a tailored response specific to structural, environmental, and programmatic criteria.

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los angeles CALIFORNIA

robust morphologies & emergent tectonics

project team: steven ma/ tri do/ sanne kampinga

suckerPUNCH: describe your project.

“the intercalated urban system extends to the integration of horizontal, vertical, and diagonal movement at a range of speeds and viscosities. movement patterns develop as an emergent system of organization, and in combination with tectonic ordering systems, challenge the tyranny of centralized core and associated striation of space. this urban topology implies seamless connectivity through circulation patterns, extending into and reprogramming adjacent systems and spaces within the moma.
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