目前日期文章:20070718 (4)

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White Noise / White Light was one of 9 temporary interactive urban installations commissioned and installed for the Athens 2004 Olympics at base of the Acropolis as part of the Catch the Light Program. The project inserted a luminous interactive sound and landscape within the plaza to create a constantly choreographed field in flux. Semi-flexible fiber-optic strands responded to the movement of pedestrians through the field, emitting white light and white noise. Activated by the passersby, the fiber optics transmit light from white LEDs while the speakers below the raised deck emit white noise. Just as white light is made of the full spectrum of light, white noise contains every frequency within the range of hearing in equal amounts. This field of white noise creates a unique sound-scape in the city and masks out the noises from the immediate context, forming a place of sonic refuge within the bustling city. Each stalk unit contains its own passive infrared sensor and microprocessor. If motion is detected, the white LED illumination grows brighter while the white noise increases in volume. Once motion is no longer detected, the microprocessor smoothly decreases the light and fades the sound to silence. The movement of pedestrians creates an afterglow effect in the form of a flickering wake of white light and white noise, trailing and tracing visitors as they cross the field. Depending on the time of day, number of people, and trajectories of movement, the project is constantly being choreographed by the cumulative interaction of the public. The field becomes an unpredictable aggregation of movement, light and sound.




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Following the lineage of the Schindler house as an experiment in modern living in close relation to nature, our proposal "Fake Plastic Trees" is an attempt to investigate the formal, spatial and atmospheric potential of a vertically sustainable garden in synch with the most advanced technology for plant growth. The garden is composed of a branching circuitry network made of plastic PVC tubes. These tubes circulate and distribute water with a nutrient solution that nurtures aerial vegetation of different kinds. The section of the tubes diminishes as the trajectories they describe move up and away from the ground. The flow of water is induced by water pumps from several reservoirs located in the ground. Water is distributed directly to the plants base by pumping up from the reservoirs or indirectly down by dripping from the upper branches and then moistening down. Depending on the section of tubes, their capacity to carry more or less water, different scale of plants can grow from and within them. The artificiality of plants growing directly on water, the modulation and scaling of them as they detach from the ground, the dynamism of the branching and choreographed vegetation and its likely wind induced oscillation, and the occasional forms of animal life negotiating temporary shelter within the garden, amounts to an advanced living ecosystem that both challenges and amplifies the assumed relations between the architecture of The Schindler House and its surrounding “natural” environment.




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Based on a radical geometric contextualism, our concept for the 8746 Sunset Blvd attempts to produce an architecture of subtle sensations by inducing a physical and optical dynamism that both challenge and enhance the movement of the body. The formal logic of the facade is the outcome of a productive negotiation between geometric operations governed by the column grid of the existing building and driven by spatial conditions allowed by the singularity of the adjacent context. The spatial performance of the store is based on the bending effect of two reciprocally ruled surfaces: the façade that bends inside up and the pliant stair that bends outside down, create a magnetic field that gravitates towards the interior. The bent façade operates as a responsive skin that by means of local inflections senses the dynamics of pedestrian activity on the sidewalk and nearby strip. The interior bent surface fluidly shreds into steps allowing the emergence of a differential hybrid that operates as a stair and display system at the same time.




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Svärmisk Resort Apartments are located at the end of the picturesque Kiewa Valley at the foot of Victoria's Alpine Resorts. At the edge of the Mt.Beauty township, on what was known as the 'old Chalet site', covering a 5 acre sloping site. The landscaping and architecture carefully respect the sites mixture of exotic & indigenous trees, natural contours and state forest surrounds. The dilapidated Mt.Beauty Chalet & accommodation wings were largely removed but recycled as materials to be used in the new works. This submission involves the completion of the first six of twelve planned self contained units, along with general site establishment, roads and services. Based on a simple 6.0m X 6.0m footprint the units are a flexible accommodation model, 2 or 3 level, free standing or attached with internal zoning options for various uses. They are a compact yet articulated form with projecting decks, carports and offsets adding an expressive vitality. 5-6 Star energy ratings have been achieved. Colours and materials have been developed to produce an honest, economical, low maintainence, environmentally responsive design fully integrated with the landscape principles for the whole site. For instance storm water runoff collection, base gabion rock retaining and feature walls add to the rich existing landscape and site reponsive design. The northern orienatation, offering spectacular views down the valley, present the 'face' of the development to passing traffic heading to Falls Creek Alpine resort. Internally, almost all features are built in, utilizing an array of materials from plywood, recycled timber, fibreglass, to the colours of ceramic tiles, upholstered seats & simple laminated surfaces. Svärmisk Resort Apartments are a compact, site responsive and adaptive accommodation model with just a twist of scandinavian. 





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