Christoph Korner outlines the major themes of Graft’s practice, stressing being prepared to recognize inspirations, and to take advantage of serendipitous encounters. Lars Krückeberg surveys Graft’s work, moving from small to large projects, including exhibits, retail, a dental clinic in Berlin, a zero-energy house for Kuala Lumpur, apartments, cultural facilities, hotels, a green mixed-use development in Dubai, and projects in China for eco-tourism and skiing. Krückeberg also surveys some of Graft’s activities outside of architecture, including furniture design, the Make It Right project in New Orleans, a therapeutic intensive care room, and Solar Kiosk sustainable recharging stations in Ethiopia and Kenya.
Wolf Prix begins by speaking of Raimund Abraham as a friend and founding father for a generation of Viennese architectural rebels. He identifies in Viennese architecture from the Baroque to now a concern with spatial sequences. He surveys many works by Abraham from the 1950s and 1960s, relating them to his own work, and work by Hans Hollein, Walter Pichler, and Günther Domenig. Prix discusses the importance of drawing in his own work, and in the work of Abraham. He concludes by discussing recent projects, including the Dalian International Conference Center (2012); the Open Parliament of Albania project (designed 2011); the House of Music II, Aalborg, Denmark (2014); a small church in Hainburg, Austria (2011); and the European Central Bank, Frankfurt (2014).
SCI-Arc Fall 2013
Applied Studies Seminar
Instructor: Devyn Weiser
TA: Jeff Halstead
Robot House Manager: Jake Newsum
Team: Lung Chi Chang, Nanyen Chen, Lin Wenxin, Lily Nourmansouri, Austin Samson
This project aims to provide a better understanding of the robots inability to produce exact replicas of a portrait painting by understanding its tendency to create unforeseen effects due to certain environmental and technical factors such as the properties of the tools, mediums, or manual interaction from humans.
In the earlier experiments, we discovered that the markers were capable of producing streaks of very fine linework when they are used in a specific manner.
During later experiments we spent time trying to understand all the different parameters that can affect the type of streak, the density of the streaks, and the thickness of the lines.
During final production we refined and mastered those parameters so that we could begin to control the discrepancies of the linework in a much more localized and decisive fashion.
The parameters we were taking control over included the tension of the canvas as it was being hung, the dryness and thickness of the marker, the path of the marker, the amount of pressure given to the marker against the canvas, and the type of stroke. The result was a series of paintings that used a hand-like wrist movement (much like a painter stoking a brush) along the contours of a face that were created by using a 3D model of a face within a digital interface.
Each series of paintings changes slightly in density and lineweight as we pressed the canvas harder against the marker and allowed the marker to dry out over the course of its path.
This project aims to explore the possibilities of a mid-rise tower with a disrupted center rather than the normal differentiated top or bottom. The disruption is created through the bending and twisting of wood planks in order to produce different conditions based on the amount of twisting or bending applied.
The disruption of material into a twisted or looped condition is an attempt to rethink the role of the envelope as a barrier between outside and inside. By creating a twisted or looped condition where the surface is constantly weaving in and out of itself, the distinction between inside and outside becomes blurred, producing series of intertwining public and private spaces. Four of these twisted tower conditions were created and then grouped around a center core.
The program is a standard office tower, where in normal towers, the bulk of public area is located in the top and bottom of the tower. Here, the envelope splits and twists at the middle thus opening the envelope to the outside resulting in the moving of most of the public program to the center of the tower. Program differentiates between the center core and the middle of each twisted part of the tower. Down the center, standard floor types occur. In the twisted conditions, two story cubes along with outdoor floor-plates are nestled within the twisting envelope creating continuity between the twisted envelope and the cube. Placing cubes in the center of disruption also allows for the ability to explore ways of transitioning the envelope between disruption and normal conditions.
The use of two envelopes explores the use of de-lamination as a technique to create space between two surfaces that are being pulled apart.
A look at projection mapping onto a moving 6-axis robotic arm. The projection map is highlighting the edges of the arm. Projection mapping was used as part of a larger project that involved using robots as a way to create an interaction between a human and a robotic arm.
Eye Robot Class : Spring 2014
Instructor: Curime Batliner
Robot Tech: Jake Newsum
Sci-Arc Robot House
A paneling system was created to emphasize the movement of the surface as it twists around itself to create the knots for each piece. Two materials are being tested, wood and a glass material to create apertures. A skin was then added to create a second layer of space as it creates moments where one skin (represented as black) and the second skin (represented as wood paneling) separate or de-laminate from one another to create pockets.
Exact Inexact_Full Paper
[bibliography and citations in paper]
The use of code to generate form and automated machines to produce said form has led to a false notion of the architect’s ability to produce perfect form or reproduce a form multiple times while maintaining its exact characteristics. In parallel, the current text and shoptalk of coded architecture only adds to the falsity of exact form by explaining it through mathematics that creates only the basis of the form generators and never take into account all of the external conditions that do not carry the same level of precise modeling that mathematics seems to assume. Therefore, a rethinking of the current shoptalk is needed by looking at how it could be possible to use the exact qualities of coded design and fabrication as it intersects with the inexact qualities of certain 3D modeling and fabrication tools, mediums, and material.