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Showing posts with label architechture. Show all posts
Showing posts with label architechture. Show all posts

Wednesday, February 27, 2013

VTLZR @Zenith Paris

VTLZR @Zenith Paris:re-blog from 1024 Architecture
Wow, just wow.

We had an amazing show this week end at the Paris Zenith – the show was sold out -

Here are some pictures, which unfortunately do not properly render the mood of the show, as the lights were moving amazingly fast, in sync to the music.

Since we were playing “at home”, we had the opportunity to add a few fixtures to the setup, namely 20 Martin Viper, 20 more Shaprys (60 in total) and a grand total of 32 Atomic Strobs, all remotely controlled by Vitalic’s computer – on stage – from Ableton Live.
It was the perfect show according to our standards, everything went fine, despite 2 computer reboot during the show – thanks to the super tech team nobody noticed – and some heavy hum coming from the Midi cable … grrrr
Next show is in Cran-Montana, Swiss.

VTLZR-zenith-01

VTLZR-zenith-02

VTLZR-zenith-03

And the last one, which looks like a proof that 1024 is actually bending the light … ;) Space Warp anyone ?

VTLZR-zenith-04

Monday, February 4, 2013

Abies Electronicus 2.0 videoReport

Abies Electronicus 2.0 videoReport:
Finally, here’s the video report of Abies Electronicus,



shot in Brussels, BE, 2012.
technical info for da nerd:

4 Video Projectors 20k @1024*768

each projector was Space Scanned using MadMapper

Custom QC based software

26 LED rgb fixtures

DMX flashlights

DMX control over the existing facades

Lots of custom QC plugins

Running entirely off a single MacPro


Thursday, November 8, 2012

The Augmented City: Istanbul’s Data, Made Visible in Glitchy Structures

Our century is marked by a wash of data, flooding out of explosive urbanization. Humans and numbers, it seems, are now densely packed, dynamic, and essential. Yet with that same density, they threaten to become invisible.
The challenge of visualists: break the barrier to reveal that unseen world. Call it data mapping.
“Augmented Structures” is, first and foremost, rather lovely to look at. It’s a kind of architectural performance, in glitching, flickering contrasts of sound and light. Maybe the scale of transformation requires something aesthetic. Here’s what co-creator Refik Anadol has to say about it – thanks, Refik, for sending in your work.
‘Augmented Structures v2.0′ by Refik Anadol and Alper Derinbogaz is a distilled urban experience project which focuses on two dissimilar regions in istanbul and displays the inner characteristics of the texture of a city-center that has undergone a recent transformation within a suburban region consisting of gated communities. Presented at Istanbul Design Biennial within the ‘Musibet’ exhibition curated by local architect Emre Arolat, the work is based on soundscape and data mapping of two regions reveals the invisible information about their context and suggests an alternative way to understand the existence of urbanization through new media technologies.
By bringing disparate disciplines like sound, architecture and visual arts together, the development re-examines the world in aesthetic terms, in its capacity as an ‘interdisciplinary transformation’. ‘augmented structures series forces each discipline to alter its own ‘material’ state; transforming sound into mathematics, mathematics into architecture and architecture into a living structure, while presenting the viewer with a new media experience that is multi-levelled, produces sound, moves and breathes.’


The project in this case is augmented sculpture, beamed onto a structure. But I wonder how this same data might become part of the tapestry of architecture or urban experience. Perhaps that’s not where it belongs – maybe it’s best kept independent, a mirror in art. Whatever the context, it’s only natural that this substance of our age, data, would become artistic medium, rendered in terms as changing and fluid as it is.
More:
The team is diversified by sound designer Kerim Karaoglu and parametric designers Coşku Cinkılıç, Koray Bingöl. — at Istanbul Modern | Istanbul Museum of Modern Art.

Thanks to; IKSV, Emre Arolat, Nil Aynalı, Özlem Yalım Özkaraoğlu, Salon2, Antilop, Can Buyukberber, Başar Yurtçu.
From the same artist, Refik Anadol, here’s an intervention in urban space, with more fluid projections – and, again, a sonic element:

Augmented Structures v1.1 : Acoustic Formations / Istiklal Street from Refik Anadol on Vimeo.


Augmented Structures v1.1 : Acoustic Formations / Istiklal Street from Refik Anadol on Vimeo.
Augmented Structures v1.1 : Acoustic Formations / Istiklal Street

Architecture and (Media) Design are art forms that exist independently from one another. Over the last few years they have been growing together. They are entering into symbiotic dependencies and stimulations. Against the background of the information technologies, architecture has gained a new reality. No longer are objects or processes the constituting elements of a building. Now they are described as technical networks of communicating nodes, which balance themselves in contrived patterns.

“Augmented Structures v1.1 : Acoustic Formations/Istiklal Street” is an augmented structure, an installation by Refik Anadol and Alper Derinboğaz which is created through the use of innovative parametric architecture and audiovisual techniques. The projects deals with a new mediated space: How to translate the logic of media into architecture? In this first experiment field recordings of Istiklal Street will be transformed in to parametric architectural structure. The recordings were made by Kerim Karaoglu who also used these recordings to create an electro-acoustical composition. The project seeks interactions between space, sound, visual and light. A similar connection between architecture and media has been experienced in Philips Pavilion of Le Courbusier in 1958.

Beyond being an artwork this installation is an urban experience. The scale of surface, 2000sqm, and the dominance of the location will definitely take place in collective memory of İstiklal Street visitors.

There will be an exhibition opening on 20th of September at 19:30 in relation to this façade installation which showcases experiments of architecture- sound – visual correlations of Refik Anadol and Alper Derinbogaz.

During the night visual performance will be projected on the structure which will be accompanied with a generatively designed contemporary aesthetic visuals consisting of input data from the recordings and their transformed versions synchronized to the movement of graphics re-shaping and transforming the structure on which they are projected. The structure in turn influences and transforms the projections as well.

For more information: augmentedstructures.com

Refik Anadol / New Media Artist

refikanadol.com

Alper derinbogaz / Architect

salon2.info

Sound Design: Kerim Karaoglu

VVVV Realtime Graphics: Sebastian Neitsch

Projection Infrastructure: Visio-vox
augmentedstructures.com

Sunday, July 15, 2012

California Skateparks' Snake Run

California Skateparks' Snake Run: A return to skateboarding's roots through innovative design and construction at Camp Woodward


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Designed to mimic the sloping school yards and dried concrete waterways of Southern Califorinia, where skateboarding's roots reach deepest, the snake run is the most fundamental form of all skatepark designs. While most snake runs are characterized by a long narrow path—or ditch—flanked by banks and berms to channel the rider through without pushing, the freshly poured concrete at Pennsylvania's legendary camp Woodward resembles something significantly gnarlier. Designed and constructed by California Skateparks, arguably the world's best skatepark builders, Woodward's snake run stretches over 1,000 feet punctuated with head high jumps and quaterpipes.


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Since welcoming BMX riders in 1980, Woodward has become the most recognizable name in action sports facilities. While the camp has always been about innovation, the construction of the 20,050-square-foot Target Plaza by California Skateparks in 2009 marked the end of an era dominated by wooden ramps, proving a dedication to staying ahead of the curve in terms of concrete skateboard and BMX park design. Now, with the completion of phase two of the snake run, Woodward is returning to skateboarding's roots while still keeping an eye on progression.

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In terms of design, California Skateparks builder, former professional BMX rider and 22-year Woodward veteran Ron Kimler explained "there was never a drawing for anything." The design and building processes seem to happen simultaneously. Only the base and quarter-pipes require rebar and wooden support forms, the rest are simply sculpted by hand. "All the mounds and berms are piled up dirt. You shape it, then throw the gravel base on, then go around and shape it up with rakes and shovels," says Kimler. The construction then culminates with the pouring of concrete and the hand shaping of every angle, a primitive process which gives the experienced riders and builders the vital, final touch.


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Rather than stick to the idea of building a glorified golf cart path, Kimler and rest of the California Skateparks crew encouraged something better, and as the dirt was piled and concrete poured it grew. "They'd say make it two feet tall, and I'd make it three feet tall," says Kimler, laughing. This playful attitude helped the more-than-1,000-foot path develop into a destination for campers on both boards and bikes. To make it more appealing for users of all abilities Kimler and the crew built the lower portion at a mellower pitch, allowing it to be ridden in both directions. "I can just cruise through here, get most the way and turn around, take one pedal and come back," says Kimler. "You can ride most of the whole section back and forth, no sweat, just cruising through the rollers."

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By building the snake run in phases, California Skateparks is able to adjust their designs on the fly, adding or removing features at will. Even with all the pieces connected after more than 10,000 man hours, Kimler still sees the project as a work in progress. "Next year we can continue to add," he says. "Maybe we need pocket here, lip there, berm here—it'll get created, whatever's awesome."

For now the snake run stands as is for the many months of campers to come, but keep an eye on Woodward online for updates on future iterations. For a closer look at the construction and completion of Woodward's snake run see the slideshow.

Images by Graham Hiemstra

Friday, September 2, 2011

Phoenix International Media Center

Phoenix International Media Center: re-blog from CoolHunting

Chinese architects Biad UFO build Beijing's latest architectural feat

phoenixmedia3.jpg

Hand in hand with China's overall rapid growth and explosive urbanization, recent years have seen a wave of high-design architecture. The
Office for Metropolitan Architecture's
spectacular CCTV tower, opened in 2008 to house the nation's central television headquarters, is a fantastic example of forward-thinking architecture exploring contemporary concepts of shape and form. Now another Chinese media mogul is taking a swing at making their mark on Beijing's urban landscape, picking up where projects like the CCTV building left off after the boom spurred by the 2008 Olympics. The Phoenix International Media Center, scheduled to be completed in 2012, currently stands half complete adjacent to Chaoyang Park, signaling the ongoing development of radical architecture in the country as well as Chinese architects themselves, not to mention the strength of Chinese TV networks.


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Phoenix, a large satellite TV provider, will eventually move their programming operations there, in addition to housing other businesses, offices and restaurants. The shape of the building recalls yet another famously stunning example of what's been happening to Beijing's cityscape of late, the Herzog and De Meuron "Bird's Nest" Olympic Stadium. Here, the architects have managed to give the basket-like shape a sense of movement, reminiscent of a sea sponge or jellyfish. Digital renderings have the feel of the command bridge on a futuristic space station. The ambitious project has already drummed up a lot of interest, putting it on the shortlist for the 2009 World Architecture Festival and in the Verso Est Chinese Cultural Landscape exhibit at MAXXI in Rome.


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Unlike the CCTV tower, the Media Center was designed by BIAD UFo, a firm based in China. An impressive example of the nation's homegrown architectural talents in the country, it hints at the potential future of Chinese design as more and more buildings spring up.