The process, which the designers call “anti-gravity object modelling”, is a form of extrusion that instantly creates chunky three-dimensional rods, rather than slowly building up two-dimensional layers like a standard 3D printer.

Mataerial Introduction from Mataerial on Vimeo.

Erosion Series by Tamsin Van Essen explores erosion and the disruption of form. Focusing on biological erosion,Tamsin´s intention in this work is to convey the idea of a host being attacked and eaten away by a parasitic virus, highlighting the creeping spread of the infection as it corrupts the body. Erosion is a series of angular porcelain forms, sandblasted to wear the surface and reveal inner strata.

This aggressive process, contrarily, creates a delicate vulnerability in the shape. The translucency of the porcelain and the interruption of the surface make it possible to glimpse through to layers beneath, creating a tension between the seen and the obscured.

(All images by Güvenc Özel)
We traditionally assume that the built environment, whether in the architectural or the urban scale influences our psyche. What if we can reverse that relationship? What if a kinetic architecture could establish a direct connection between the thoughts of its user and itself in order to reconfigure its physical boundaries accordingly?

“Cerebral Hut” is an interactive installation that explores the relationship between technology, movement and human thought. It is the first interactive space in the world that morphs physically according to brain activity. Based on data it receives from a sensor that detects concentration levels of participants, it kinetically re-configures itself continuously and through time.

Güvenç Özel is Assistant Professor at Studio Greg Lynn, Institute of Architecture at the University of Applied Arts in Vienna.

CEREBRAL HUT from Guvenc Ozel on Vimeo.

Addressing current issues related to the creation of tall concrete structures , Cast Thicket by yo_cy seeks to refine the typically heavy system of construction . The project proposes three refinements to the site-cast concrete frame , replacing the steel frame and rebar with a prefabricated internal steel frame; replacing the the solid shears walls with a network of struts .

Through the use of lightweight formwork and a redundant structural system , and by leevraging the fluid materiality of concrete , Cast Thicket work addresses current issues in creating tall concrete structures and seeks to refine the typically system of construction.

This year’s exhibition grouped the work into clusters based on the type of project, where it was located, how it was conceived, and by semester. The projects from Spring 2012 to Fall 2012 were arranged in a simple three dimensional grid based on the above qualities. This grid was then dynamically adjusted into clusters around four qualities of the work. Each project was then used to generate a cell. This provided a cloud like cell structure that looked like it was grown rather than organized. The underside of this hanging structure was clad with color coded images of the student work. The clad “under belly” creates a solid landscape of images at various angles that visitors explored much like a cave, finding images in crevices as they walked around each cluster. The bottom appeared continuous and solid, while the structure above was very porous to allow for the ceiling light to still penetrate into the gallery.

The hanging installation was made of over 250 unique cells. These were each custom laser cut, assembled, and clad with custom cut images. The structure is exceptional light while still being very strong and taking up large volume. Much like a sponge and in many ways an architecture students education; it relies on redundancy, many connections, complexity, and irregularity to produce an overall structure that is light, nimble, unique, but still open in its ability to grow.

Professor : Michael Szivos with Carrie McKnelly

Design Team : Maryam Delshad, Maurizio Huaylla, Sira Kiatnum, Taesoo Kim, Trey Lindsay, Katia Loizou, Dong Gyum Park, Ally Speir, Jenna Steinbeck, Darion Washington, Nick Wright, Matiss Zemitis

(image Alan Tansey)

(image Alan Tansey)

(image Alan Tansey)

(image Alan Tansey)

(image Alan Tansey)

CL:OC – A Kinetic Installation from Grosse 8 on Vimeo.

CL:0C operates using elements of light, sound and motion, primarily acting as a kinetic element in space. The unfamiliar use of both analogue and digital aspects changes the whole room. Familiar two-dimensionality is transformed by the 28 elements of CL:0K into a full three dimensions of length, breadth and depth.
During the various phases of the transformation, each of the elements changes its position in space and the way it is perceived in an ostensibly labyrinthine choreography. For brief moments there will be a sense of structure and shape, until CL:0C in its continuing mutation once more discards them.
Unexpected pauses interrupt the mutation and project film stills into a space with no screen. While their vivid colours echo on the retina, the viewer then rediscovers time. Analogue digits extend into all dimensions of the space, awakening in the viewer once more the sense of how quickly time passes – CL:0C.

spotted on createdigitalmotion.com

Tex-Fab´s International Design Competition
BRIEF + CRITERIA
The building envelope and the transition between what is outside and what is inside presents the most complex and fundamentally linguistic element of architecture today. The form and performative capacity of what we might call the activated envelope is foundational and presents a dialogue the building has with itself and that of its context. A building’s skin has the potential to synchronize form and illustrates the totality of the project, while driving how the building responds to its context, its role and ultimately its utility. Fundamental to this is an explicit or implicit adaptability found in its performance – how it functions and meets the needs of the building. In the preceding 100 years since the beginning of the 21st century the transformation from a static, heavy and obfuscating series of load bearing walls, to its current role of a communicative skin, dynamical and exploratory, sets the stage for what we believe is the most important area of research in architecture. SKIN, as a digital fabrication competition, asks architects, designers and researchers to speculate, or if they so choose present existing research, on its role – by exploring new methods to enable the performative qualities of a façade.

Design submissions may develop any context they choose, real or virtual, at any scale and on any building type so to present a complete thesis. Integrating structure, dynamical cladding or other system whether static and active may be submitted. We encourage the boldest visions and challenging technologies in the development of your proposal. The competition will select four of the most robust and intriguing projects, that best rethink the envelope, supporting those selections through prototypes developed to illustrate the potential of the competition submission.

CONTEXT + MATERIALS
SKIN is a two-stage international design competition established to foster the deeper developments within the field of computational fabrication. We are soliciting design proposals that further existing research, by enabling prototyping at a larger scale or full scale, and proposals to jumpstart new research and design concepts into a first prototype. Choice of project location, contextual constraints, programmatic and functional requirements are open and should be freely interpreted to further the proposal’s thesis.

SKIN seeks proposals that leverage the advancement of metal fabrication systems; however, we are open to hybridized material assemblies. As such it is not expected that metal is the only material system utilized in the design research, though we are seeking to collect and promote a concentrated body of work that can focus not only on its application but also the methodology. You must propose a specific fabrication method based on your research, thus the competition entry needs to specify techniques and materials.

For all the above information, including the competition schedule, eligibility and specific terms – please visit tex-fab´s competition page.

Inkscapes is an interactive drawing performance designed for the 120 by 11 feet video wall at the InterActive Corps (IAC) building in New York, created in collaboration with DI Shin.

inkscapes from Adrià Navarro on Vimeo.

The content of the installation is dynamic and different every time it runs: three artists create it live, by drawing on an iPad that scales their sketches to the unexpected magnitude of the giant screen. The narrative is guided through the dialog between performers and the system itself, which evolves and transforms the drawings over time.

The installation is composed of four custom applications running at the same time to control every step of the process. The app on the iPads is built in OpenFrameworks. It reads the drawings and sends TCP messages to a central laptop over a local wireless network.

A control panel application built in Processing acts as a middleman between the wireless and the ethernet networks. It runs on a laptop, monitoring the iPads and forwarding their messages to the server that controls the screens. It also enables some extra features, like recording and playing back the performances.

The MPE Server runs on one of the three Mac towers that control the screens. It’s part of the Most Pixels Ever library by Daniel Shiffman and it’s used to synchronize the three parts of the screen. One instance of another OF application –the main one– runs on each of these machines, reading messages from the server and turning them in real time into high resolution graphics for the video wall. In the end, the project has a global resolution of 11520 x 580 pixels, distributed along 568 LED screens.

Helix is a half-scale spi­ral stair created by Matter design studio . While a reduced size resolves a num­ber of prac­ti­cal concerns—weight, lia­bil­ity, access—the piece cel­e­brates its impracticality. It is both column and stair, yet hangs from the ceiling. Its uncertainty and changed scale inject play­ful char­ac­ter­is­tics into the surrounding space, while main­tain­ing an allegiance to the past and known. Helix will be exhibit­ing at this years Design Bien­nial Boston.

Each tread of the stair is cast in a fully encap­su­lated cus­tom mold. These molds are rub­ber with a solid wood mother-mold to clamp the assem­bly together. The molds are vibrated rig­or­ously dur­ing the pour­ing process and then imme­di­ately steamed for twelve hours to cure.

The entire stair assem­bly hangs from a beam two sto­ries tall. This beam then drops down a threaded rod to a base that serves as a pen­du­lum bal­ance. Each tread is designed to hook over this threaded rod and be bolted down to its neigh­bor below. The geom­e­try of these treads lock into each other with a series of three-dimensional keys that reduce any shear or slip­ping between units. Typ­i­cally a stone spi­ral stair is held from the perime­ter. In this case, the stair is com­pressed in the col­umn to ensure stability.

Entropya it’s a 3d printed fashion collection created by AmniosyA and printed by I.materialise with Polyamide material.
This project comes from the studio interests in the simulation and animation,used as generators of morphological shape at different scales.
The name Entropya comes from the Greek which means inside the transformation,and it’s a synonymous of the measurement of the present disorder in a physical system. It’s a spontaneous change of state.

The collection comes from a generative design strategy ,a dynamic fluid simulation, in which a planar surface it’s altered from the energy generated by the the physical system, up to the achievement of an harmonic-formal shape.