Posts filed under 'Architecture'
Smartgeometry is pleased to announce that sg2013 will be at The Bartlett in London from 15-20 April 2013. The four day Workshop (15-18 April) and two day conference (19-20 April) will follow the format of the highly successful preceding events sg2010 at IaaC in Barcelona, sg2011 at CITA in Copenhagen and 2012 at RPI in Troy.
One of the workshops from SG2012 held in Troy, New York
Design and construction, increasingly more information-centric, must also address issues of computational ambiguity. We are limited by the fact that only a subset of the relevant factors in design can be represented in standard CAD systems. As users, we must drive computational systems to assume new roles and subsume more domains to meet the needs before us. We must consider issues of time and permanence within a cultural and technological landscape of constant change – our most grand gestures will define our environment physically, culturally and economically for generations. As designers, we must deal with realities and future uncertainties of context, material and immaterial, and their manifestations in scale from spaces to buildings to cities.
In designing for the built environment, sg2013 will exploit digital technologies to help us move beyond traditional dichotomies and find new paths. How can we explore computational techniques such as optimization beyond the limits of quantifiable phenomenon to the qualities of an uncertain future? What is the role of efficiency in a dynamic environment? How will we resolve the gaps between the certainty of digitally calibrated fabrication and the roughness of existing conditions, construction tolerances, and the uncertainty of future occupant behavior?
UCL's Quadrangle, the site of SG2013 10th Anniversary Party
Where historic responses to uncertainty constructed a simplistic environment with basic mechanisms for aggregation and subdivision, we augment these with smart, dynamic and interactive systems. Where modeling capacity has been limited, we now take advantage of vast amounts of data collected by sensing and scanning devices, processed by cluster or grid computing, filtered by machine learning algorithms into patterns, and communicated by ubiquitous devices. Our past data trajectories can guide us in discovering robust and tolerant design systems to meet the demands of a malleable present and uncertain future.
Find out more about the workshops that will be running here.
March 12th, 2013
Organised by the Professorship for Architecture and Digital Fabrication of ETH Zurich in collaboration with the Bartlett School of Architecture, University College London, FABRICATE 2014 will bring together researchers and practitioners in design and making within architecture, construction, engineering, design, manufacturing, material and software design.
Photos from FABRICATE 2011 Publication – Edited by Ruairi Glynn & Bob Sheil, Published by Riverside Architectural Press
Reviewed by an international panel of experts, projects presented at the conference will be selected through a call for work. An international publication and exposition will complement the conference. FABRICATE 2014 will disseminate selected work alongside a series of thematic essays by world leading architects and engineers. Submissions of all scales and stages of realisation are welcome.
Prof. Neil Gershenfeld is the Director of MIT’s Center for Bits and Atoms. His unique laboratory is breaking down boundaries between the digital and physical worlds, from creating molecular quantum computers to virtuosic musical instruments. Technology from his lab has been seen and used in settings including New York’s Museum of Modern Art and rural Indian villages, the White House and the World Economic Forum, inner-city community centers and automobile safety systems, Las Vegas shows and Sami herds.
Vincent Scully Visiting Professor of Architectural History, Yale University; and Ecole d’Architecture de Paris-La Villette (currently on leave). After studying architecture and history in Italy, Mr. Carpo was an Assistant Professor at the University of Geneva in Switzerland, and has been a tenured Associate Professor in France since 1993. Mr. Carpo’s research and publications focus on the relationship among architectural theory, cultural history, and the history of media and information technology.
February 12th, 2013
Well I’ve finally found the time to edit the footage and pick out some images for my far to infrequent posts to this blog. The good news is that a complete overhaul is in progress with a whole new website coming soon. More on that later. For now here are a few photos and a film of Fearful Symmetry in action.
Fearful Symmetry – Tate Modern 2012 from Ruairi Glynn on Vimeo.
Special thanks to my great team.
Robotics – Vahid Aminzadeh (KCL) & Alex Zivanovic (Middx Uni)
Computer Vision – Paul Ferragut & George Profenza (UCL)
Mechanical Engineering – Neil (Spike) Melton (Middx Uni)
Sound Design – Emmett Glynn & Sam Conran
Light Engineering – Lianka Papakammenou (UCL)
Photography – Simon Kennedy
Puppetry Consultant – Ronnie Le Drew
Graphic Design – Amy Lewis
Filming – Ronan Glynn
Communication – Ollie Palmer (UCL) & Diony Kypraiou (UCL)
Fabrication Assistant – Djorn Fevrier
Built with the Support of…
Bartlett School of Architecture, UCL
Centre for Robotics Research, KCL
Product Design Engineering, Middlesex University
One short with the lights on and me very tired indeed
Lighting Sponsored by Lumitec AG
January 12th, 2013
Tomorrow I go into the Tate Modern to install my new interactive work that has been a year in the making. That among other things is the reason this blog has been so quiet in recent times but I thought I’d post something for those who are still subscribed to this blog. Its certainly time to bring it back to life and thats the plan following the Tate. For now the focus however is on assembling the worlds largest Delta Robot as part of what I hope will be a dramatic 2 days within the newsly commission Tanks space at Tate Modern in London.
As you might imagine things are little hectic for me right now so to save time I’ve just pasted the press release below along with photos from the final days of preparation.
Within the subterranean bowels of The Tanks, something primitive animates the darkness of Tate Modern’s dramatic new gallery space. A glowing tetrahedron glides through the air, suspended above peoples heads from a 21-metre motorised rail holding the world’s largest delta robot. As the only light source in the room, the tetrahedron acts as entertainer and guide to the space, dancing with the audience, and playfully encouraging them to become an active part of the performance. Through the interplay of luminous form and motion, ambiguity in visual perception is explored and manipulated in an unfolding interactive performance between the public and a kinetic installation.
“This work is a direct reaction to The Tanks space itself,” says Glynn. “We will fill the space with the sounds of this living machine, mixed live by our team of sound artists. The movements have been choreographed by master puppeteers with a lifetimes’ experience breathing life into inanimate objects. The entire installation will be constantly creating a different environment from one moment to the next, and is completely reactive to the audience in the space.”
The work builds on Glynn’s earlier pieces, Motive Colloquies (2011, Pompidou Centre Paris) and Performative Ecologies (2008, National Art Museum Beijing). Both of these examined the way in which audiences react to differing roboticised dances – but this is his most ambitious project to date. Taking its title from William Blake’s “The Tyger”, the installation returns visitors to a primal state of hyper-awareness through advanced computer vision, robotics and interactive choreography, the sum of which creates an intense, visceral and primal way to experience the Tate’s Tanks.
Motive Colloquies - Centra Pompidou Paris 2011
The work is part of the Tate’s Undercurrent programme directed at young audiences through a series of events, installations and interventions by audio, visual and performance artists. Glynn describes how “the installation engages with a treasure of a youthful mind, the ability to wilfully suspend disbelief, often a faculty lost slowly and imperceptibly with age. Young audiences of my installations care little for the technology that animates the work. So ever-present in their lives, they take it for granted, focusing instead much more on experience. They, in this respect, are my greatest critics. Equally, they are my greatest allies in their wilful suspension of disbelief at the perceptual boundaries between analog and digital, creature and machine, life and death.” Release yourself from civilized thought, suspend your disbelief and play, perform and explore the Tanks with Fearful Symmetry.
August 19th, 2012