Instead of cutting the surface I use different curves as the section lines to build the blue surface, it has many gaps and details to be improved.
Tuesday, February 25, 2014
Sunday, February 23, 2014
changes2
The distortion of the first image is about the changes of scales of different axis, each row decreases progressively, using the same central plane.
Saturday, February 22, 2014
headphone
I add some details of the black soft part of the headphone, and I also split the side surfaces, offset the blue piece, make it similar to the real object.
Contemporary Techniques in Architecture
Contemporary design techniques provide new transformative effects in cultural, social and political production. Such a technique acts on or influences an objects, which in turn modifies human behaviors and technical performance.
Our work seeks to harness the potential of contemporary techniques to produce new architectural effects.
Technology is not efficiency-oriented practice measured by quantities but a qualitative set of relations that interact with cultural stimuli.
Contemporary techniques enable us to access the potentials for maximizing new effects and separate lineages.
Transmission across lineage is, perhaps, the major source of cultural change.
Contemporary techniques are organized and guided by probabilities, which are unlimited and allow for the production of performative effects in architecture.
Our intention in architectural projects is to actualise virtualities contained within the matrices of the Software that fully exploit its potential to produce new effects, which modify behaviors and performance.
Spaces are arranged by a more detailed set of performative possibilities. One location may provide for clustering and accumulative behavior, while another allows for ease of dispersion and continuity of space.
Spaces are modulated by the transformation of surface specificity which allows for various functions: sitting, eating, sleeping, bathing.
At the molecular level, continuous variation is possible within composite materials, densities or porosities provide a range of gradient effects.
The structure develops through the process simultaneously with its material counterpart, and affiliates itself with varying levels of porosity.
Our work seeks to harness the potential of contemporary techniques to produce new architectural effects.
Technology is not efficiency-oriented practice measured by quantities but a qualitative set of relations that interact with cultural stimuli.
Contemporary techniques enable us to access the potentials for maximizing new effects and separate lineages.
Transmission across lineage is, perhaps, the major source of cultural change.
Contemporary techniques are organized and guided by probabilities, which are unlimited and allow for the production of performative effects in architecture.
Our intention in architectural projects is to actualise virtualities contained within the matrices of the Software that fully exploit its potential to produce new effects, which modify behaviors and performance.
Spaces are arranged by a more detailed set of performative possibilities. One location may provide for clustering and accumulative behavior, while another allows for ease of dispersion and continuity of space.
Spaces are modulated by the transformation of surface specificity which allows for various functions: sitting, eating, sleeping, bathing.
At the molecular level, continuous variation is possible within composite materials, densities or porosities provide a range of gradient effects.
The structure develops through the process simultaneously with its material counterpart, and affiliates itself with varying levels of porosity.
Monday, February 10, 2014
Skins and Bones
The article mainly talks about fold, fold embodied in objects and spaces, join and divide at the same time, produce shapes, especially curved and involuted spaces.
The baroque is an architecture with endless folds.
A complex curving of the skin, that tends to ignore rather than privilege the interior.
The Leibnizian fold , as an interior mechanism which at once reflects the outside and represents the forces of the inside, is more of a mediating device.
The generation of form from the outside, as envelop or skin, removes the humanistic subject definitely from all individual considerations.
The inside of architecture would not be shaped by occupation or by any other attribute than its profoundly residual character.
The space inside, residual, entirely formed by the dictates of outer skin, and strutted according to the needs of the skin support, served a conjuncturally useful purpose.
Folded city, above-ground and below-ground, private inside and public outside are forced into each other.
The baroque is an architecture with endless folds.
A complex curving of the skin, that tends to ignore rather than privilege the interior.
The Leibnizian fold , as an interior mechanism which at once reflects the outside and represents the forces of the inside, is more of a mediating device.
The generation of form from the outside, as envelop or skin, removes the humanistic subject definitely from all individual considerations.
The inside of architecture would not be shaped by occupation or by any other attribute than its profoundly residual character.
The space inside, residual, entirely formed by the dictates of outer skin, and strutted according to the needs of the skin support, served a conjuncturally useful purpose.
Folded city, above-ground and below-ground, private inside and public outside are forced into each other.
Sunday, February 9, 2014
Saturday, February 8, 2014
Thursday, February 6, 2014
Monday, February 3, 2014
Lynn Readings
Geometry is the preferred language for architectural communication, geometric conflicts are important for the spatial and theoretical innovations. The exclusion of architecture from writing persists, demanding a further interrogation of geometry.
Any writing in architecture must begin with a geometry that does not reduce matter to ideal forms. The distinctions between exact, inexact, and inexact geometries, are becoming critical to any discussion of new spatial organizations.
A case study of the random section model of probable geometry will provide architecture with he possibility of writing volumetric indeterminacy with a precise and rigorous system of measurement.
Contingent factors such as the highly localized techniques of construction and the spatial techniques associated with the use and organization.
Blobs constitute a formal intervention in contemporary discussions of tectonics. Blob construction id only in its nascent stages of development in contemporary architecture culture. Especially talks about the problems which long-span roof brings.
The multiplicity of minor variations does not add up to a single, simple global structure but instead manifests a blobular singularity.
Any writing in architecture must begin with a geometry that does not reduce matter to ideal forms. The distinctions between exact, inexact, and inexact geometries, are becoming critical to any discussion of new spatial organizations.
A case study of the random section model of probable geometry will provide architecture with he possibility of writing volumetric indeterminacy with a precise and rigorous system of measurement.
Contingent factors such as the highly localized techniques of construction and the spatial techniques associated with the use and organization.
Blobs constitute a formal intervention in contemporary discussions of tectonics. Blob construction id only in its nascent stages of development in contemporary architecture culture. Especially talks about the problems which long-span roof brings.
The multiplicity of minor variations does not add up to a single, simple global structure but instead manifests a blobular singularity.
egg chair
Details
In 1958, Arne designed the Egg for the lobby and reception areas of the Royal Hotel in Copenhagen. The commission to design every element of the hotel building as well as the furniture was 's grand opportunity to put his theories of integrated design and architecture into practice. The Egg is one of the triumphs of 's total design - a sculptural contrast to the building's almost exclusively vertical and horizontal surfaces. This organically shaped chair has since become synonymous with Danish furniture design throughout the world. Because of the unique shape, the Egg guarantees a bit of privacy in otherwise public spaces, and the Egg - with or without ottoman - is ideal for lounge and waiting areas as well as the home. Our wonderful Arne Egg Chair reproduction features a molded fiberglass frame, fire retardant polyurethane foam padding, and covered with 100% leather.
Subscribe to:
Posts (Atom)