Pier Solar and the great Architects #54 - Schwerer Verlust
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Pier Solar and the great Architects #54 - Schwerer Verlust - Video
Five things you need to know to create a well-designed subdivision
If you #39;re thinking about subdividing your property watch Context Architects new video on five things you need to know to create a well-designed subdivision. It looks at the best process...
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Five things you need to know to create a well-designed subdivision - Video
ARCHITECTS have designed a pair a buildings that will work together to not cast a shadow.
With a proliferation of new skyscrapers in recent years and plans for 230 more to be built in the near future, the problem of shade invading public space is a growing one for the capital.
To combat this problem, architects NBBJ used a computer modelling program to design two buildings that work together to refract and disperse light from the sun. They've called the project 'No Shadow'.
The buildings are designed in such a way that as one creates shade, the other - effectively a gigantic, curved mirror - reflects the light downwards into its shadow. Although not in the kind of aggressive, focused way of London's "Walkie Scorchie".
The relationship between the sun and shadow is the relationship between the two buildings.
- Christian Coop, NBBJ's design director
The team has placed the initial design proposal in Greenwich, near the O2 Arena, right on the prime meridian, but Coop tells Wired the computer program could be altered to create a similar pair of buildings anywhere else in the world.
This type of design could therefore inspire planners in other dense urban areas like Manhattan or Hong Kong.
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Architects have designed a skyscraper with no shadow
River Pointe Church Student Building- Studio RED Architects
The design for River Pointe Church Student Building by Studio RED Architects won the Solomon Award for Best Special Project by WFX Magazine. The Student Building is praised for its relational...
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River Pointe Church Student Building- Studio RED Architects - Video
The Shadow of Doubt - Architects - Zach Ziomek (Studio Quality Drum Cover) New 2015
Business inquires Zach.ziomek@yahoo.com. For anything, band try out, collab, or drum tracks. Hit me up! SUBSCRIBE IF YOU WANT MORE! I #39;m Zach, 19 years old! Fell in love with Architects recently...
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The Shadow of Doubt - Architects - Zach Ziomek (Studio Quality Drum Cover) New 2015 - Video
Architects - The Shadow of Doubt [B-Side]
#39;The Shadow of Doubt #39; is taken from the deluxe version of Architects #39; album #39;Lost Forever // Lost Together #39; - Out March 27 via UNFD! Pre-Order #39;Lost Forever // Lost Together (Deluxe Edition) #39;:...
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Pier Solar and the great Architects #59 - Die Eishle
Nix mehr verpassen: http://goo.gl/iYz3bn Playlist: http://goo.gl/mZJVbh VLogs: http://goo.gl/EGdeMp ----------------------------------------------------------------------------------------...
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Pier Solar and the great Architects #59 - Die Eishle - Video
Not many architects can claim to have spearheaded a major design movement. Michael Graves played a prominent role in three.
Graves, who died Thursday at 80 of natural causes at his home in Princeton, N.J., was a pioneering figure in postmodernism in the 1980s and '90s. He added historical ornament and bright color to prominent and often controversial buildings like the Portland municipal building in Oregon, the Denver Central Library, the 26-story Humana tower in Louisville, Ky., and the Disney Studios in Burbank.
As a product designer, creating chess sets, stainless-steel colanders and dustpans for Target and tea kettles for Alessi, Graves brought high-design housewares to a broad public, paving the way for the later success of Design Within Reach and Ikea and arguably setting the stage for the ascendance of new stars like Apple's in-house design guru Jonathan Ive.
Late in life, after complications from a sinus infection left him in a wheelchair, Graves became a leading voice calling for reform in healthcare design, arguing that hospitals and medical products were not just thoughtlessly made but often soul-sapping for patients.
If there was a thread connecting that disparate work, it was a deeply felt populism, a philosophy embodied in the slogan Target attached to his products: "Good design should be affordable to all."
His architecture, similarly, represented an effort to bring back all the crowd-pleasing details columns, gables, gargoyles that dour modernist architects, with their emphasis on flat roofs and functionalist dogma, had banished. Though many of his buildings had a limited, scenographic quality more effective as eye-catching billboards for innovative design ideas than as built space and haven't aged well, they were always full of vitality and humor.
Graves was born in Indianapolis on July 9, 1934. After earning a degree in architecture from the University of Cincinnati in 1958, he enrolled at Harvard's Graduate School of Design, a place very much still in thrall to the ideals of strict modernism. After finishing at Harvard and spending two years at the American Academy in Rome, Graves settled in New Jersey, joining the Princeton University faculty, where he would spend his entire teaching career, and opening his own practice.
Early on, Graves' architecture reflected the influence of his time at Harvard. He was a member (with Richard Meier, Peter Eisenman, Charles Gwathmey and John Hejduk) of the so-called New York Five, a collection of young architects who produced abstract designs reminiscent of the French modernist Le Corbusier.
But the group was always a loose-knit one philosophically; they first came together almost by chance, having been invited by Museum of Modern Art curator Arthur Drexler to meet in 1969 to discuss their work and contemporary design. The 1972 book "Five Architects" nearly cemented their reputation as a coherent group.
But only nearly. And it was Graves who broke from the pack and proved how flexible its bonds had always been by beginning to look to history and ornament as sources of explicit inspiration. In fact an important early project, the 1972 Snyderman House in Fort Wayne, Ind., was completed the same year "Five Architects" was published, while undermining some of its modernist principles.
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Michael Graves dies at 80; pioneering figure in postmodern architecture
Growing cities around the world have nowhere to go but up, leadingto taller and taller buildings. But while mega-skyscrapers are the most efficient wayto build new homes,they also cast long shadows, drawing the ire of people living and working below. One solution: a pair of buildings that work together,reflecting sunlight to minimize shade.
About 250 skyscrapers are slated to redraw Londons skyline in the near futureeach with its own darkimprint on the streets below. So architects at the firm NBBJ in London decidedto see if they could come up with an entirely shadowless building. They used computer modeling to design a pair of buildings, one of which works like a gigantic, curved mirror. The glass surface of the northernmost building reflects light down into the shadow cast by itssouthern partner. And the carefully defined curve of that glass allows the reflected light to follow the shadow throughout the day. Note that the reflected light is diffusenot a focused death ray that could fry an egg or burn tourists. The relationship between the sun and shadow is the relationship between the two buildings, says Christian Coop, NBBJsdesign director.
To come up with that shape, the architects entered various building requirementslike footprints for office and living spaceinto design software called Rhinoceros. Then they told the program togeneratedesigns that maximize the light reflected onto the ground. The computer tests out every possible shape and spits back the best ones. Some are bonkers, Coop says, so to get a more practical design, the architects have to adjust the requirementslike more space on the lower levels. Then they run the program again. After several iterations, they finally gota shape they liked. Its a bit like working with clay, Coop says. The final design, with a thin base expanding as it climbs, reduces shade by up to 60 percent.
The architects designed this particular concept as a potential pair of towers in Greenwich, England, right on the Prime Meridian. But Coop points out that the software can be used to build any skyscraper anywhere. All you need to do is change the inputs: when and where the sun passes overhead at your location. The approach could be helpful inplaces like New York, where residents have resisted the construction of several new skyscrapers that they say will plunge Central Park into shadow. And itll be useful in developing countries like China and India, where new skyscrapers are going up at a rapid pace. More skyscrapers is something of an inevitability, says Daniel Safarik, a spokesperson at the Council of Tall Buildings and Urban Habitat. Were not going back to an agrarian lifestyle.
Although the idea of reflecting sunlight to brighten up shadows isnt new (its even been used to light up an entire town), more of thesekinds of designs are still needed. Sydneys One Central Park has moveable mirrors that reflect light onto shaded areas below or block the sun during the hot summer. And in November, the Council on Tall Buildings and Urban Habitatnamed the 363-foot high structure the best tall building in the world. Its definitely high time for this type of design to be baked into the building so it can play well with the environment, Safarik says. It should be standard practice. Maybe soon, everytall building will brighten up your day.
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The Plan to Build a Skyscraper That Doesnt Cast a Shadow
Not many architects can claim to have spearheaded a major design movement. Michael Graves played a prominent role in three.
Graves, who died Thursday at 80 of natural causes at his home in Princeton, N.J., was a pioneering figure in postmodernism in the 1980s and 90s. He added historical ornament and bright color to prominent and often controversial buildings like the Portland municipal building in Oregon, the Denver Central Library, the 26-story Humana tower in Louisville, Ky., and the Disney Studios in Burbank, Calif.
As a product designer, creating chess sets, stainless-steel colanders and dustpans for Target and tea kettles for Alessi, Graves brought high-design housewares to a broad public, paving the way for the later success of Design Within Reach and Ikea and arguably setting the stage for the ascendance of new stars like Apples in-house design guru Jonathan Ive.
Late in life, after complications from a sinus infection left him in a wheelchair, Graves became a leading voice calling for reform in health care design, arguing that hospitals and medical products were not just thoughtlessly made but often soul-sapping for patients.
If there was a thread connecting that disparate work, it was a deeply felt populism, a philosophy embodied in the slogan Target attached to his products: Good design should be affordable to all.
His architecture, similarly, represented an effort to bring back all the crowd-pleasing details columns, gables, gargoyles that dour modernist architects, with their emphasis on flat roofs and functionalist dogma, had banished. Though many of his buildings had a limited, scenographic quality more effective as eye-catching billboards for innovative design ideas than as built space and havent aged well, they were always full of vitality and humor.
Graves was born in Indianapolis on July 9, 1934. After earning a degree in architecture from the University of Cincinnati in 1958, he enrolled at Harvards Graduate School of Design, a place very much still in thrall to the ideals of strict modernism. After finishing at Harvard and spending two years at the American Academy in Rome, Graves settled in New Jersey, joining the Princeton University faculty, where he would spend his entire teaching career, and opening his own practice.
Early on, Graves architecture reflected the influence of his time at Harvard. He was a member (with Richard Meier, Peter Eisenman, Charles Gwathmey and John Hejduk) of the so-called New York Five, a collection of young architects who produced abstract designs reminiscent of the French modernist Le Corbusier.
But the group was always a loose-knit one philosophically; they first came together almost by chance, having been invited by Museum of Modern Art curator Arthur Drexler to meet in 1969 to discuss their work and contemporary design. The 1972 book Five Architects nearly cemented their reputation as a coherent group.
But only nearly. And it was Graves who broke from the pack and proved how flexible its bonds had always been by beginning to look to history and ornament as sources of explicit inspiration. In fact an important early project, the 1972 Snyderman House in Fort Wayne, Ind., was completed the same year Five Architects was published, while undermining some of its modernist principles.
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Michael Graves, pioneering figure in postmodern architecture, dies at 80