Hillside Continua Housing
Big idea is how to transform the pattern into architecture. Transforming pattern into architecture needs a system that is capable of adopting the possible constraints by changing the pattern’s scale as well as the form of the pattern. I studied pattern with this premise and pattern’s transformation into architecture.
The pattern which I found is the result from the effort to maintain 3 - dimensional continuity and the relationship established by these ‘continua’. Overall system is made up of triangular module. Every triangle must share its three sides with other three triangles to maintain this continuity.
There are three criteria of transformation that occurs to change this initial pattern : scale, form, and the layering effect. At first, the system begins with a module of an equilateral triangle, however, the scale change within the system morphs into isosceles triangles whose sides are now reduced to maximum of 54 percent of its initial triangle. Secondly, the internal control point within the module triangle does not only influence the internal shape but also affects the external pattern as a whole. Adding to the change of scale, the layering logic of this pattern also provides the variation of pattern.
SUNGGOO YANG
“quote from c3 magazine”
Serpentine Pavillion 2007
Serpentine Gallery Pavilion 2007, designed by Olafur Eliasson and Kjetil Thorsen song: Amy Winehouse
It is a very good example of how light can be used as a design element.
An Incomplete Manifesto for Growth
Written in 1998, the Incomplete Manifesto is an articulation of statements that exemplify Bruce Mau’s beliefs, motivations and strategies. It also articulates how the BMD studio works.
1. Allow events to change you. You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.
2. Forget about good. Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth.
3. Process is more important than outcome. When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.
4. Love your experiments (as you would an ugly child). Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.
5. Go deep. The deeper you go the more likely you will discover something of value.
Muji Awards (is it really international?)
The first years’ MUJI Awards announced at the website.
The winning suggestions are open to discussions. I think the third winner MUJI Roll, deserved to be at the first place. However, the interesting point is the winners’ list. All the winner prizes went to Japanese competitors. The questions rises: Among the 4758 works from 52 countries, is it only the Japanese people who can make minimalist designs?
Internet is a good platform where you can sustain the transparency of any competition. Since physical space is not a limitation, we expect to see the other applicants’ works on the website.
ZorluCenter Architectural Design Competition
Zorlu Yapı Yatırım A.Ş. (Zorlu Building and Investment Co.), a member
company of Zorlu Holding, acquired 96.505,33 sq-m of land located in Istanbul, through a public bidding organized on March 7th 2007 by the Republic of Turkey, Priministry, Directorate of Privatizations.
Turkish and international architecture and urban design offices are invited to apply for qualification for ZORLU CENTER to be designed and built on this land as a mixed urban use complex. Architects, city planners and urban designers are invited to submit their credentials under the conditions specified at the web site cited below. The minimum requirement is to have completed a project work with a minimum 100.000 sq-m of built-area from concept design to tender documents. National and international awards, prizes, medals, international publications and jury memberships will also be among the criteria for selection.
Zorlu Yapı Yatırım A.Ş. will remunerate every selected project submission with a fee at international standards. Turkish competitors
may apply by forming consortia with international partners.
More detailed info on the web site dedicated to the competition. The competition phase is organized and directed by the former general secretary of Aga Khan Awards.
Magazine for Critical Urbanism
I just stumbled upon a new magazine on urbanism, including lots of critical texts with well known good names. MONU (Magazine on Urbanism) calls for submissions of each issue via its website. However the last issue is announced for Winter 2006 but the site is not updated yet.
It is good to have such a magazine which focuses not only the single artifacts of the architectural production, but the overall field where architects are actually should play. One wishes such a magazine and its alikes reach a wider community.
Steven Holl’s self promotion of his project in Beijing
Steven Holl explains housing development project, Beijing Looped Hybrid. The project aims to create a city within a city rather than freestanding good looking towers. It is exciting to listen a project from its architects. The presentation has two sections. First one is below, the other one is on the rest of the post.
Invisible Architect of the “Nip Tuck”
Everyone watching the famous TV series Nip Tuck may realize that, most of the scenes are interior shots, even though the story takes place in a sunshine filled city like Miami. However, there is something attractive in those spaces. Every interior set is carefully designed into the smallest object. The heavy use of artificial light, the absence of direct sunlight and the struggle to avoid of the outside view is considerable. Apart from these points, the sterilized, hygienic use of the interior spaces is interesting. They are so well designed that it would be insane to use them. One can feel that none of the people in the story actually uses those spaces. Actually the players are like visitors in the rooms they are in. They do not use the props in the sets, they do not mess up with the furniture, everywhere is so tidy, clean, hygienic and thus so disturbing, so stressed. Thus it goes very well with the plot and the characters…
One considers who is behind of all of these. It was Ellen Brill, the architect who designed all of the interior sets of the Nip Tuck TV Series. And Nip Tuck is not the only one she took care of. She is also the interior set decorator of many TV series and films. More can be found on her neat web site.
