recycled toy furniture video

This is the video from the recycled toy furniture project that I worked on this past summer at Greg Lynn's office. The project was exhibited at the Venice Biennale and won the Golden Lion award for best installation.
While the actual toys used in this project were not recycled, the idea is for them to be in the future. At the office we have digitized versions of several different plastic toys, which can allow us to custom make any piece of furniture from our library of toys. Since each toy is individually cut via robotic arm, the complexity of the overall composition is almost irrelevant. As an idea I think this is quite provocative and forward thinking, but it is still in the early stages of implementation.


Greg Lynn Form

Hernesaari Yacht Club Final Images

Following are images from the Sotamaa research studio final review as well as project descriptions:

The research studio, titled “Spasms, Convulsion, Eruptions”, explored sensations of movement in architecture at both the scale of a building as well as at the scale of the city. These sensations of movement were first explored through still images, carefully analyzed for visual traits which conveyed movement. A gradient of light, blurry colors, contorting linework or ripples in a surface are all visual signs of physical movement. When translated to an architectural scale, these sensations move architecture from a purely functional endeavor, but instead provoke an emotional response from the viewer and directly engage them in the work. This studio focused on the role which aesthetics play in design and how to integrate aesthetics with functional concerns.

Architectural examples of movement based design, most notably the work of Frank Gehry, Zaha Hadid, Aero Saarinen, and Antoni Gaudi were studied for the experience they produce. These architects, without being directly metaphorical in their approach, managed to create work which moves beyond the practicalities of program and context and engage the user at an emotional level. At a smaller scale, we also researched automobile design and specifically the use of lines, creases, and folds as a graphical means conveying emotion in design. Car designers are able to highly specifically create designs which are “aggressive”, “cute”, or “rugged”. This kind of design integrates aestheticism and functionalism without becoming superfluous.

This sensibility reinterprets the baroque into an architecture conveyed with a high level of detail articulation, but without superfluous formalism. The Hernesaari urban proposal is treated holistically, not as a collection of individual elements, but as a series of untraceable design moves working in concert to produce overall sensations. Just as in product or automotive design, lines serve both an aesthetic and functional purpose. The site linework both develops structure and program as well as aesthetically ties together the vertical accumulations to the horizontal landmass.

Each tower is programmed using ratios of residential, office, entertainment, retail, essential commercial and hotel which are applied to each tower individually based on contextual information, parking, transportation infrastructure, views and proximity to boat berths. After the program ratio is determined, a scripted process creates the inner core to each tower. This process offsets the tower surface to create an inner skin. The offset distance varies depending on the program mixture. The residential spaces receive a low offset, so that they sit very close to the outer surface, while entertainment and commercial spaces get offset farther inwards, creating a situation where the public programs sit within the poche space of the wall section.

HERNESAARI YACHT CLUB

The yacht club is located at the narrowest point of the site, and is situated almost entirely underwater. The yacht club questions the relationship between the marina and the city. While the use of the water is public, yacht clubs traditionally are highly exclusive environments which attempt to isolate themselves from the rest of the city. In our proposal, this isolation comes through the use of water as a material.

the last weekend of freedom...

The last year of graduate school begins in three days. I am sure the intensity levels will be much higher in previous years, but now that I am out of core classes the direction of my work and research will be much more self driven. This fall quarter I am hoping to be able to focus on smaller scales of detail and perfect the transition between digitally designed work and fabrication. I enjoyed the taste of fabrication which I experienced during the Superglow project, but the experience was lacking in many respects.
Last year's technology seminar was an exercise in futility. Sure, we learned to take a design from the computer screen to the storefront, but the methods to accomplish this were outdated, inefficient, and highly wasteful to non-renewable resources. The money that was spent on plastics, foam, lights and finishes would be enough to build a small house in many parts of this country.
The 3-axis CNC mill is yesterday's toy, and the process of vacuum forming plastic as we know it, came into use in the 1920's. I'm tired of hearing about "cutting edge" CNC fabrication; I am ready to experiment with new techniques and technologies. For example, when are architects going to stop describing their work through biological analogies, and instead actually learn to "grow" a building, if not literally in a biological sense, shouldn't we at least be focusing more energy on efficient means of design, construction and usage? Why do we devote so much effort to writing and speaking about the design of architecture, and so little on the physical ramifications of real design? Why was the full size 3d printer developed by a civil engineer and not an architect? Perhaps architectural education needs to focus less on learning the latest software package, and instead research physics and the biological sciences. Perhaps we need to pull our heads up from the computer screen and look around at the rest of the world. Perhaps innovation doesn't come from talking, but from doing.

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Or maybe not. At any rate, I feel there is still much to be learned, and I am hoping to find some answers this year. This marks the culmination of many years of schooling and I hope to be able to pull together some meaningful research and cap my education off with an innovative project.

I'll leave you with an image from a recent trip to San Fransisco:
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St. Mary of the Assumption Cathedral, by Pier Luigi Nervi 1971