The building uses light, both natural and artificial, to choreograph the user experience of the spaces. Graduates have gone on to postgraduate studies and professional careers in a wide variety of fields including journalism, landscape design, sustainable design consultancy, lighting design, international development, fine arts, photography, printmaking, arts education and management, events management, urban planning, law, accounting, property valuation and construction management. New girl Lolli Lane comes over and works your cock good Lolli is new in town and heard you are a fun fuck. These chicks love threesomes. The device looks to engage an audience to question the balance between man-made environmental issues and the human intervention required to reduce their impact.
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Wild Hearts Can't Be Broken. Casse-Noisette et les Quatre Royaumes. Les crimes de Grindelwald. La Guerre des cartels. The projects are contextually sensitive while being contemporary and innovative in their architectural agenda. They vary in scale — from a secluded nunnery to a large infrastructural hub in the historic centre — with each responding to the cultural and urban diversities we found in the city.
Based in the heart of Mexico City, the aim of the project is to reinterpret and reconstruct Mayan relief patterns with modern digital technology. Inspired by the geometric architectural decorations on the ornamental zoomorphic entrance from the Rio Bec, Chenes and Puuc regions from the 7th to 10th centuries, the building consists of a reusable building fabric that constantly changes according to the reconstruction that is taking place.
The building project is a new factory typology where flexible surfaces control visibility and light. The project studies the behaviour of woven strands through large-scale physical prototypes of foam and concrete. A particular interest in fluid dynamics and substances interaction was tested through a series of casts and moulds.
These initial tests informed the notion of generating unique spaces using simulation in the building project later on. The project focused on the transformation of fluid, freeforming material such as expanding foam into a structured and controlled architectural proposal. The resulting porosity and opacity gradients allow for varying quality of light. The material was tested using a bespoke apparatus in order to create a family of structural joints.
The roof folds create shading for the outdoor performance area and also establish a highly spatial experience for the dancers inside. The proposal plays with a very particular political idiom in the city — the exchange between the market union leaders and the political delegate of the borough.
The building provides a hostel for the tianguis market vendors between their nomadic trips across the city visiting other markets, office space for the local delegate and the vendors, and in addition, it augments the existing tianguis by introducing a new through-route. The building consists of modular timber-frame components which can be adapted for various uses — housing market stalls, or creating stairs and roof platforms.
The structures plug into the existing market street, creating a dialogue with the context and existing activities.
Pokemon Lucario And Lopunny Sex Hot Girls WallpaperThe project is located in a residential area in Mexico City. The building skin also guides visitors through the building, creating a smooth transition between inside and outside. The design is inspired by traditional Mexican dresses with their rich layers of patterns and materials.
Studies into the movement of a Mexican dress. The angular outer geometry of the building is designed to draw away from the noise of the busy traffic on the adjacent motorway. The idea of the fold is taken from the entrance through to the communal courtyard landscape and the student rooms. The doors of the student units are able to fold across, allowing the students to create a highly social atmosphere.
The skin is inspired by the geometric nature of traditional Mexican textiles which blend patterns of various geometries and sizes into one another. The building provides space for children to. The project proposes an architecture of continuous excavation — a space that is constantly growing whilst adapting to ever-changing programmatic, structural and geological conditions.
It was on this site, half a millennium ago, that magnificent architecture once stood, its passages and cooling channels built in honour of the flow of wind and rain. Today, all that remains of this historic place of worship is the crown jewel of the once-great complex, the central shrine to Ehecatl. This scheme aims to become just that, a future monument to a city densely layered in history and culture.
A constructed ruin, where the boundary between architecture and landscape becomes blurred. This four-dimensional, inhabited excavation occurs in stages, after one year, 10 years, 25 years, perhaps even 50 years; with the architecture constantly adapting to unpredictable geological conditions, the unforeseen unearthing of Aztec remains, and the rapidly evolving programmatic and infrastructural requirements.
The programme is a ceramic artist residence. The building exhibits ceramic artworks and also provides a residence for national and international ceramic artists to stay in temporarily. Hanging tensile structures create an upside-down school, allowing for existing archaeological heritage and public space to exist below. Intricate structural skin allows light to penetrate deep into the classrooms and ground plane.
Inspired by early studies into water flow and corrosion, the project exploits the potential of entropic. The general arrangement of water, trees and public circulation through the building forms a symbiotic system. The skin and roof are designed to absorb and collect water through porous concrete panels which gradually degrade over time.
Spaces are naturally uncovered over the year lifespan of the building, colours bloom over time due to the corrosion of copper panelling, light enters through increasingly porous external walls, and water is allowed to flow via its natural path through the site, as if to converse with the delicate and fragile relationship between time and architecture.
Students' work exists between the made and imagined, the prop and the portrayal, the artefact and the dream. Theme We investigate ideas of energy, mass, light, duration, acceleration, the kinetic, potential, entropy, resonance, half-life, after-life, state change, transcendence and glow.
Brief This year we considered energy, light, mass and the architectures that house power, reimagining the mute monoliths and glittering citadels that proliferate within our cities and landscapes. Yet London has a gilded history of architect-led powerhouses, such as the iconic Bankside and Battersea Power Stations, now cultural and social hotspots.
We sought to establish new terms of reference in the creation of architectures that flux, aura, shimmer and hum. Resonant Dissipation In Project 1, students made 1: The interventions explore the idea of energy as light to form the basis of short films which premiered at a public cinema, The Institute of Light. Reykjavik, Iceland Energy is free in Iceland thanks to its abundant natural geothermal activity.
Due to its climatic extremes, beguiling landscape, spectacular light and unique culture, Iceland delivered a tantalising test bed for this year's unit. Powerhouse This major building programme explicitly and openly explores the full range of ideas that a powerhouse suggests. We are interested in the interconnection between energy mass and light as contained, resonant and motivational elements within a creative design process.
Giselle created the impossibility of a cloud floating within a disused warehouse space. The illusion is generated through the manufactured prop — in this case a framing armature holding an array of atomisers. The temporary relationships between built object, water vapour, background space, lighting and filmic sequence or photography are the parameters within which the illusion is generated.
Film still showing a series of x mm carved wooden blocks laid out on a stainless steel mortuary table. An animated datastream is projected from above, following the aesthetic principles of a clinical scanner. Component study for bathing areas. Installed on new developments across Iceland as a community outreach.
Adaptable structure fragment study and deployable container drawing. Sited in a remote geothermal location, the centre contains an array of heated pools set within the landscape. Exploded component drawing for glasshouse roof structures. Iceland is populated with glasshouses to sustain its population, and the project sought to evolve this language through the brief.
A model of the Kvoldvaka Chapel set within a defensible compound. Both projects are located within the same remote geothermal site and adopt this free energy in equally unique ways — as light and heating for the mass production of rose petals and as limitless power source to sustain a postapocalyptic community. The duality of the brief sought to memorialise both the implosion of stars and the creation of energy through nuclear fusion.
This is a building fragment for Dark Adaptive Corridor, which prepares visitors for night sky vision. Projects illustrated on this page and overleaf were sited within the rough-hewn landscape of an abandoned quarry. The building adopts a solar array and supplementary lighting to capture and recreate a Valencian dusk in the form of an extended Golden Hour.
The premise of the solarium brief is one of transcendence during the dark months with residents bathing in light for therapeutic benefit. Many thanks to Gavin Hutchison for his continued help and advice as our technical tutor. UG4 explores architectures that embody character, challenge stereotypes and engage with the public through the new media that contemporary designers have available to them.
We are intrigued by the ability to tell stories and create experiences through combinations of craft and new technologies that challenge architecture by pushing the experiential boundaries of place and space. We propose architectures of communication that challenge and enhance the spatial art. Our students design events, attractors and virtual spaces as a counterpart to physical designs.
We fold new technologies into making drawings, crafting models and synthesising stories into the buildings we design. Our projects strive to challenge architecture in a supersaturated world. This year we researched the city that provoked studies into saturation over 40 years ago — Las Vegas. The archetypal city of desire, and a mythical destination summoned from the desert by the money of gambling institutions, Las Vegas is a city borne out of the technological event, a synonym for packaged pleasure and excess.
In , Robert Venturi and Denise Scott-Brown produced their seminal and controversial book 'Learning from Las Vegas', which studied the ways in which Las Vegas communicated with its visitors. They perceptively foresaw architecture as a multimedia discipline. This year, our projects drew from the energy, irony and saturation of The Strip, channelling this into buildings that gazed down upon the lights from a giant man-made land formation on the outskirts of the city.
VR and videogame technologies embellished structures and challenged boundaries between the digital and the real in architectural space; encrypted furniture and algorithmically generated terrazzo patterns formed the key to unlocking the safest safe in Vegas; new conceptions of the retreat revived the cosmic landscapes of the Native Americans and made worlds for casino carpet obsessives, while the material limits of steel created architectural mirages — buildings becoming bodies of water in times of drought.
The Ascaya City Hall is the civic hub for a gated community just outside Las Vegas, which is experienced as both a physical building and virtual reality videogame space. Playing on the history of exaggerated neoclassical architecture used in American municipal buildings, the project extends this language via VR technologies.
Building upon a playable architectural videogame that examines the plight of the pedestrian on the Las Vegas Strip, the project explores how virtual worlds can be used to satisfy the symbolic portion of American civic architecture. The research explored architecture in relation to videogame space, and the direct use of game-engine technologies such as Unity in architectural design.
The project is a centre for rest and relaxation but additionally acts as an undercover water collection and storage facility. Existing as a cavern in the landscape, water becomes a priceless resource in the face of worldwide desertification. Las Vegas is the city of the endangered.
Unprofitable casinos are exploded, out-of-fashion entertainers are sidelined to the off-strip and. Carpet could be something more. The project proposes an enclosed resort for lovers of carpet in Las Vegas. The building includes a carpet-weaving workshop and a relaxation area amongst carpet spa and saunas. Sited on the top of a hill overlooking Vegas, the project becomes almost a site of religious revelation, a monastery for those devoted to the aesthetics and haptics of carpet.
This project preserves all three. Geriatric performers sing amongst the pens of endangered lizards which scuttle around the luminous turrets of the latest casino to be demolished, in a landscape of surreal pathos. A crazy golf course where players de-stress from the rigours of life on the strip by pitching and putting their way through a strange Martian landscape.
By means of a series of conceptual and theoretical studies, the project explores the distillation of. Clients watch as facsimile environments are grown from their algorithmic DNA and become architecturalscale souvenirs delivered direct to their door. The building leads a double life, presenting a carefully cultivated face to the residents while also appearing pumped-up and.
Through the careful use of lighting, inflatable structures and light-catching meshes, the building bulks itself up by night while appearing permeable by day — an architecture that places layer upon layer of armour on itself. Here we see the building as it appears to the resident, the police officer and the criminal. The project was designed in response to the huge amount of cultivated landscapes within Las Vegas, and the armies of staff required to maintain them.
It takes the form of a housing scheme built around an artificial oasis that uses collected water to drive a series of algae systems that turn the building into a readout of environmental conditions. By providing market stalls and community spaces, the building offers the maintenance workers of the Vegas Strip their own private paradise.
Under this guise, the project proposes that what ostensibly appears to be a solar energy plant is in fact a private club and holiday home for rich Chinese investors attracted by these visa loopholes. Read by a US factory inspector, the building appears to be a working industrial facility, yet through the eyes of a Chinese speaker, an entire other architectural landscape unfolds.
Taking inspiration from the American desire. A series of sweat lodges and other vernacular spaces are woven into the building, where gentle transitions in materiality and climate demarcate the move from one landscape to another. Together, these become a microcosm of the indigenous lands that responds to the overbearing cultural appropriation of the Las Vegas Strip by proposing an architectural counterpoint that draws from the spirit of its sources rather than becoming a parody of it.
Low-poly, videogame-like geometries and replica animals mix with intrepid hunters in a game with only one winner. Evoking the safari-hunter paying thousands of dollars to have their perfect shot lined up by local trackers, the building provides a satirical environment that mediates between the simulated and the absurd. Engaging with the Native American culture of Nevada, the project transcribes the landscapes from a number of reservations across the state into an architecture that is cut into the surrounding site.
Taking in Native American conceptions of the sky and the ground, the building sits as. Given its climate, Las Vegas and its surroundings are prime mirage country. Yet on the few rainy Nevada days, rapid plant growth raises the risks of wildfire. Water leads to fire.
In response, the project, a local fire station, attempts to create a water-like architectural mirage by means of a treated blue steel roof that nestles into the site to be superheated by the sun. Underneath, a well-insulated engine bay holds the fire engines and a series of training spaces for firemen that emerge onto the roof, turning the heated surface into part of their regular fire simulations.
On the hottest days, the building will appear to hover in the air like a film of liquid in an ironic nod to the dangers of rainfall in Nevada. Drawing from first term research. Elements of the built fabric push, slide and lock into place causing the building to respond. Algorithmically designed terrazzo surfaces combine ornamentation with advanced security features that explore how contemporary digital encryption techniques could be applied to architecture.
This year our unit started with an experimental investigation into the practice of quarantine as a strategic spatial tool. In medical terms, quarantine is described as a state of isolation imposed to prevent the spread of disease. We explored quarantines in a much broader sense: China became the test bed for our investigations. China today seems omnipresent — in the news, in our workplaces and in every trip to the shops.
Its growth seems unprecedented and unending. Our appetite for consumption and our concern for the health of our planet creates an uneasy contradiction: What architectures can we propose for those uncertain and fragile relationships? We explored various scales of quarantines and our investigations reached from everyday spatial interventions to the great firewall of China.
In early January, we travelled to Shanghai and Hangzhou. In our search for sites, we found a fast-moving and muscular city. Its architecture contains a permanent tension between the past and the future. The main brief challenged the unit to site the research from their project within a real context. Briefs ranged from an urban clay quarry to a G20 summit guesthouse, from a wildlife research center in the strangely illuminated forest of Hangzhou to a bone china pet cemetery.
The current legislation of the Hukou system limits internal migration and only provides healthcare and education to nationals if they remain within the constraints of their Hukou passport. A modular diaphragm roof hybridises vernacular construction with high-tech, serving as a barometer and litmus test for the city whilst recording and displaying pollution levels. It aims to create virtual scenarios that speculate about the future and the past of the city of Hangzhou and its natural surroundings.
The building acts as a safe haven for injured and sick dolphins along the Yangtze River. Dolphins that require extra care and attention will be temporarily relocated to the sanctuary, where they recover, and gradually helped to return to the wild. The building negotiates the unpredictable behaviours of flood water, which is celebrated and welcomed into the building in order to optimise the use of the facility and recalibrates the shifting boundary between water and land.
The scheme proposes a new dating spot for the elderly, where modular buildings contains unfolding market stalls that maximise productivity and provide a socialising platform. Proposed from the phenomenon of Shanzhai, the project creates an arbitration institute in the Free Trade Zone of Shanghai to protect the legal rights of abused factory workers in China.
Using a typology of the anti-monumental to entice migrant workers to a usually intimidating legal environment, owners of factories are coaxed into legal conversations and covert transactions with their factory workers. The project serves as the. Located in Dishui Lake, bat droppings are a key renewable component for material processes in the factory.
Sited in the water village Zhujiajiao, Shanghai, the complex provides visitors with a healing, organic and overall green experience as plants are cultivated for herbal medicines and broths. An arena dedicated to the sport of cricket fighting. Fighter crickets require specific diets, exercise and environments which are incorporated into both the human and cricket spaces within the building, creating a constant fluctuation between cricket and human scales.
The project is a deconstruction of a censored government building to provide democratic space for the exchange of uncensored information and freedom of speech. The target is the National Museum of China in Beijing, where a new landscape is being carved and designed.
The nature of the architecture is to be open and. The clusters of pods and lower-ground spaces is reminiscent of Shanghainese communal living culture, and opposes the mass construction of residential high-rises. Just last summer, we watched Rio de Janeiro open the 31st Summer Olympics to welcome athletes from across nations.
While the Games presented an opportunity to celebrate the coming together of the global community, other forms of migration today present far greater challenges: Back in Britain, after a vote to leave the European Union, businesses begin to relax, as the grey-cloud prophecies of the end to free movement of labour have not yet come true — Brexit, of course, is still to come.
This century will see a dramatic rise in different types of migration, from communities escaping from the political or environmental conditions of their home to mobile people who choose to live in other parts of the world simply because they can. With the question of how future migrants will integrate, live and operate in their new host environments the unit continued to consider the organisation of communities, and to explore the architectural design of the individual and shared programmes, spaces and infrastructures.
The brief was an invitation to explore this theme from the abstract to the poetic — and from the pragmatic to the fantastic. Where do these journeys begin? How do they unfold? Do they end, propagate or simply continue to drift? The main brief for the year was a challenge to consider the Arrival City beyond the merely pragmatic — what is desirable? And how do we integrate qualities of transience, flexibility and adaptation?
In a cityscape with shifting territories and ecologies, mobile and settling communities, how do we design spaces that have practical, social and cultural value? What stories can future communities share? The work from the unit is filled equally with optimism, provocation and wonder. The school aims to stimulate urban water sensitivity by positioning itself as a water recycling interface.
Captured rainwater and grey water from surrounding houses is filtered and used as a resource for play, learning and spiritual reflection. By placing the building along the canal in Mile End Park, students are encouraged to interact with gardens and greenhouses to influence the way people experience nature. With old Arts and Crafts techniques re-emerging, the project encourages local communities to come together in artisan workshops and.
A community theatre created as a space for stories to be told through performances and conversations, providing a shared experience to empower the voices of both immigrants and. An urban secret garden that assists newly-immigrated women to integrate into their new environment through blurring exterior and interior boundaries by manipulating light, sound and views. The project investigates the concept of the building acting as a theatre stage itself, creating surprising moments for visitors as they become part of the act.
An alternative city farm typology which also functions as a market. Providing three guest accommodation typologies existing alongside current residents, this project focuses on the spatial requirements needed to accommodate residents who will be staying on different timescales: The issue of migration pushes the city of London to grow outwards and upwards.
The project instead proposes a low-rise, high-density residential development that integrates ecological density through an interweave of green courtyards and pockets. The project nurtures the passing on of traditions and knowledge of different cultures, and encourages intergenerational connections by incorporating greenhouses of varying climates that celebrate universally significant activities of growing, cooking and eating.
The Whitechapel Carpentry Guild looks to revive the fading crafting culture by providing. A housing scheme focusing on adaptability for individual and communal interests. Thank you to our technical tutor David Storring and computing tutor Sean Allen Thank you to our critics: But today the fundamental relationship between water and human habitation is being transformed in the wake of an escalating global crisis.
To explore this, the unit travelled to New Orleans, a city virtually surrounded by water. Built on thousands of feet of soft sand, silt and clay on the banks of the Mississippi, the city actually sits within a bowl, surrounded by protection levees and floodwalls, with half of the city located eight feet below sea level.
But that same infrastructure also set in motion environmental shifts that made the city more vulnerable to storms. Today, the Mississippi Delta is sinking a centimetre a year, whilst sea levels are rising at an accelerating rate, and are predicted to be two metres higher by the year , submerging most of New Orleans. Over the next 15 years scientists believe that, if nothing is done, over square miles of Louisiana will disappear, with many fearing New Orleans might become one of the first cities of the modern age to face extinction, creating a modern-day Atlantis, lost to the sea.
It is this ever-changing relationship between water and human habitation that we wanted our students to investigate, but before we set foot in the Crescent City, they were tasked with exploring, researching and re interpreting the specific effects of water on New Orleans in an attempt to understand its history, masterplan, neighbourhoods and most importantly, inhabitants.
By extrapolating these findings they began to design their own drawn, modelled or collaged urban water narrative that culminated in an architectural or infrastructural innovation, allegorical or real in nature. These macro-scale interventions were, in some form, taken to New Orleans where they were applied as a strategic compass to discover their future programme and site for the main building project, the only requisite being that the building in some form dealt with water.
This proposed underwater settlement posits a world where sea levels have risen above the protection levees of New Orleans, forcing American suburbia to retreat into the ocean, creating a new form of wet living. With a population of zero, Pilottown, located at the mouth of the Mississippi River, has become a ghost town lost to the floods.
This proposed retreat, for six elderly and original residents of the town, aims to prolong — through a communal form of architecture — the lifespan of Pilottown before it is altogether consumed by rising waters. This new home for the voodoo practitioners of New Orleans sits within the famed St. Louis Cemetery, where Marie Laveau,. Controlled by sunlight and moonlight, the building is activated incrementally at particular times across the day to allow its inhabitants to follow the very specific voodoo calendar of rituals.
Situated along, and being intrinsically linked to, a new floodwall along the Lower Ninth Ward, this institute for flood research and spiritual enlightenment inhabits the boundary between sanctuary and threat. The architecture aims to create a new sacrificial symbol of safety for New Orleans. Located on the famed Royal Street, the building is an ironwork foundry that restores and replaces ironwork in disrepair.
Alongside this, the building is a refuge for woman during and after a flood, containing enough water, food and beds to ensure a safe haven for anyone who enters. This investigation creates, measures and occupies unseen spaces. A series of concocted material samples underwent an overlaid scanning process through a bespoke device to develop visible and invisible data points.
Each of these points became a peak or trough marker creating a visual, spatial map that is both macro and micro in scale. In its 50th year, The Smithsonian Institution has commissioned a Guild to present and preserve the indigenous crafts of Louisiana.
Located on Royal Street, alongside a succession of craft and antique outlets, folk craft practitioners work side by side, exploring local traditions such as steam bending and Bousillage. Crafted entirely from the bald cypress tree, the official state tree of Louisiana, the Guild aims to promote both local traditions and the use of locally sourced materials.
The columbarium, set above the existing concrete landscape, is built to lift the curse believed to have begun when the Girod Street Cemetery was demolished to make way for the Superdome that created the longest losing streak the New Orleans Saints have ever seen. This project proposes the creation of a new yacht club that is also a specialised water film studio, bringing a new industry to.
New Orleans, capitalising on what famously surrounds this city — water. The new yacht club sits within a carved landscape that forms a giant, open air water tank for filming. When full, and being used for a film, the club itself is completely submerged in water and it is not until the tank is drained that the architecture is revealed.
Coastal erosion and rising sea levels have forced the tribe to move. This government-funded proposal creates a new permanent homeland for the tribe that is self-sustainable, flood-resistant and revives lost traditions, allowing the people to live off the land once again.
Sited in an area destroyed by Hurricane Katrina, domestic rooms are scattered around this liquid landscape, each embracing a characteristic and phenomenon of water. In the Hoffman Neighbourhood at the centre of the Seventh Ward, an area severely hit during the catastrophic events of Katrina, lies this new gospel performance building.
Funded by local entrepreneur and long-time resident of the Triangle, Troy Jackson, this new communal building — dedicated to. This new street square in the heart of the Ninth Ward aims to protect the traditional vernacular and way of life of the residents hardest hit by Hurricane Katrina.
This sculpted concrete and tile landscape, inspired by the ghostly foundations of the building lost to the flood, accepts that future floods will occur so prepares its inhabitants through an architecture of disassembly. In the event of a flood, the shotgun house, a common typology of New Orleans, can be dismantled in a matter of hours and stored in a concrete appendage located within the square, which also acts as a retreat for the residents for the duration of the flood.
Special thanks to our technical tutor Jerry Tate Thank you to our critics, speakers and supporters: Progress is all about being wrong. Searching for the horizon, we must be ready to find the edge of collapse as a place of excitement. To try is to fail and to fail is to discover.
This year, Unit 8 sets out to explore the fringes of failure as a space of seduction and a vehicle for creative opportunity. In architectural education most are scared of the very idea of failure. Perhaps it could be considered the point where learning begins — a liberated escape from the shadow of rehearsal.
In our Laboratory at the Edge of Failure, we chased the subtle delights of this nimble edge, tempting us beyond assumption into the world of the unexpected. To do so, we operated with a sense of poetry and tenacity, but also with utmost precision, producing well-crafted failures on the edge of perception, collapse or consciousness. We hunted the boundaries of structural and material performance, chased the seduction of the glitch, the misaligned and mistranslated, the shadows of knowledge and common sense, the technological blind-spots and slippages of control.
On our field trip from Vienna to Budapest and through the wild countryside in between, we tracked the experiments of a series of architectural and artistic misfits, outsiders venturing to the edges of failure, consciousness and supposed good taste: The building projects continued our research into strategies of disturbance and failure by translating ideas into inventive architecture.
Our projects were situated along the Danube trajectory in difficult topographies and various cultural conditions, in order to serve up a range of possibility and resistance to spatial ideas. In Unit 8 we like to make disobedient things and find curiosity within challenging ideas. This is delightfully hard but is nurtured within the studio through creative practice — a focused learning of architectural craft and technique through repeated prediction, attempt, reflection and iteration.
This allows for the development of an intuitive ability to become precise in a manner that holds no responsibility to prove, but, more importantly, does have the will to find out. We seek pleasure in the precision of the unresolved. Through an intimate architectural dialogue between the ruin and the leather structures, notions of performance and reality, and between artifice and authenticity, are blurred and dissolved.
The project operates through the simultaneous simulation, scripting and actuation of hybrid physical and digital, architectural and acoustic models. The vaults store secrets instead of money. This programmatic duality is explored through a kinetic shift in the building that changes the bank into a publicly accessible art gallery and pavilion. A tailoring shop in central Vienna uses strategies of material and programmatic inversion on the scales of the body, the garment and the building.
A gallery situated in Vienna to house a permanent theatre exhibition capturing the magic of stage and illusion. The project merges intuitive analogue figure-modelling and digital fabrication to bridge the boundaries between sculpture and architecture, and building and exhibit.
This is a conceptual arts faculty for the Viennese. Academy, emerging from an imaginative misreading of the Semperdepot as well as from an illusionistic ceiling painting and an ongoing genealogy of mistranslated panda light drawings. It seeks to manifest the expectation and interpretation of the designer into an architectural form. The project aims to explore aspects of climbing: A cantilevering lightweight chassis, in the form of a library, supports a mass of counterbalancing books, only achieving its equilibrium by its symbiotic relationship with an out-ofbalance climbing wall.
A micro-distillery and hotel exploring the interaction between a tasting experience and the perception of colour. The perfect geometries of the computationally designed inflatables are distorted when tailored and cast, creating shells of collapsing curved surfaces with traces of deflation. The house explores the manipulation of sound and light through an architecture of thin, layered translucent screens made using the Baroque technique of scagliola.
Enveloping a central auditorium, these form a sequence of structurally independent layers that create acoustic and atmospheric buffers between the city of Budapest and the inhabitants and functions on the house. A 35mm film museum in Vienna which, through the hand-crafted alchemy of celluloid, seeks to spatially compose an internal landscape and architectural binary of positive and negative.
It negotiates the discrepancy between the projected flicker and the fall of natural light on textured plaster through a curated architectural aperture. Secret mechanisms, out-of-sight ornaments, strangely familiar shadows - these things are uncanny: The back of the building emerges, the entrance is lost in darkness. Crafted nooks and passages seduce and bewitch the occupants.
The memory of home blurs as the architectural uncanny materialises. A language school in Vienna considers learning as a performative act: It translates performances into landscaped ceramic floors, sculptural cores and baroque revolving doors. Unit 9 also continues an ongoing collaboration with Denis Vlieghe, who runs a Physical Computing Workshop as part of Project 1 Interactive Device Thank you to our critics: Architecture is the opposite of an image.
Architecture is not about space, but about time," Vito Acconci This year, our investigations began by considering the concept of dimension beyond physical objects, negotiating between different planes of time to create the architecture of the Ephemeral City. Our early studies explored Mexican culture from afar, to design and create a time-based, spatially embedded device.
Speculative in nature, these design explorations are nonetheless bound by determined roles and relationships and form the basis of an architectural analysis — measuring geographically defined qualities of space such as rhythm, tempo and speed, creating kinematic representations of place closely related to the performance of its inhabitants.
Our field trip led us to Mexico City, where we considered Mexican culture across multiple planes of time — the modern-day capital, the Spanish-colonial influence, and the ancient sites of the Aztecs — the combination of which creates the vibrant, complex and overflowing metropolis that is Mexico City today. Our main project is a complex building for a public programme that speculates on and suggests new forms of the Ephemeral City.
The projects propose a new urban typology for an architecture that could act as a generator for future change, or as a resource for forgotten communities. Unit 9 is interested in an architecture that mediates between matter and form, and the relation between design and occupation. We are interested in the celebratory, the continually reconfiguring and reinvented.
We see performance as intrinsically linked to the development of technology beyond the discipline of architecture. We are critical of the passive consumption of technology and instead support rigorous investigations into its application to design processes. We continually question the conventions of the production of architecture, pushing the boundaries of drawing, making and interactivity to actively promote both analogue and digital craftsmanship.
The device is a micro-archive of different water samples found in Mexico City. The building is a proposal for a nighttime hand-gliding club. The proposal consists of an indoor training section which allows beginners to practice, as well as multiple runways for more advanced users and viewing platforms for visitors. This proposal is for a drug rehabilitation centre in Mexico City.
The architecture of the building consists of a series of carefully choreographed waterscapes that create soft barriers. This is juxtaposed against the rigid daily routine of the programme. Using only natural light, users are directed around the building throughout the day.
Sunlight falling onto the different surfaces of the building, together with the presence of flowing water, creates moments in which matte concrete walls become mirrors of their context, and shallow ponds not only reflect the sky, but also create moving rainbows. The performance of the device allows viewers a sense of flight. The proposal is for a cinematic courthouse in Mexico City.
The architecture intentionally dramatises key figures moving through spaces, by using cinematic lighting and moving cameras. Viewers attending court proceedings or viewing remotely via smart devices are fed live footage of the events, with all key figures portrayed as equals. It is hoped that justice can be served without prejudice. Throughout history, people have had the desire to fly.
The building captures the lost lakes of Mexico City. The proposal includes private laboratories, a water archive, a public park, and nutrient-emitting cranes hovering above open lakes. Different parts of the building are allowed to be flooded as the landscape fluctuates with the seasons. The architecture is a cross between a building and a scenographic landscape.
The device looks to engage an audience to question the balance between man-made environmental issues and the human intervention required to reduce their impact. Sited in Centro Historico, The Sound Archive uses an architectural language to act as instruments for rainwater during the wet season.
The sounds created are recorded as an archive for future reference. During the dry season, the archive sounds are replayed to create a folly-esque representation of water flowing through the design. The experience of the architecture juxtaposes live and mediated soundscapes.
The building is for a vertical market to accommodate the production of the much-loved baby Jesus dolls. Sited in Centro Historico, the programme also includes bars, restaurants, museums and platforms, which offer stunning views across the city centre. Much of the building is made up of large exposed ramps and stairs, which encourage informal trading and community life, all of which are visible to the public at street level.
There are also plug-in pods for more permanent activities and back-of-house spaces. Situated in Roma Norte in Mexico City, the building is a labyrinth for gamers, developers and viewers. To gamers on VR headsets, the spaces they occupy have the ability to appear bigger than their physical presence, thereby creating infinite possibilities within the game.
To viewers, they are simply running around the same reconfigured spaces using sliding and rotating elements within the architecture. There is a park in front of the building, and the building sits on an island site with a front-facing public park. Here, the digital language of code is an allegory for verbal language. This project is an experiment in generative design which uses the cellular structure of the Voronoi mesh for the subdivision.
By day, the building deploys vendor carts across the local neighbourhood to sell street food popular with local residents and tourists. By night, the carts dock at the main building to create a large kitchen, turning the building into a series of restaurants and bars, housed in inflatable structures. The architecture is visually open in order to preserve the tradition of street food and aims to provide a more sustainable approach for the future.
The building uses light, both natural and artificial, to choreograph the user experience of the spaces. The building is a combination of sports complex, public park and bus stop. Made from concrete panels of different bounce tolerance, occupiers are free to use its surfaces for impromptu sporting activities — thereby encouraging visitors from afar who have travelled there by bus, and local residents, to interact with it in a playful way.
There is also a dedicated sports complex for more formal activities such as basketball, mini-football, squash and swimming. Located on the island of the Lago Mayor in Mexico City, the Cartographic Library houses maps of places that never existed. Upon arriving at the library, visitors may enter the underground archives of the physical maps. The underground spaces are designed following principles of landscaping, and assuming arrangements that combine central nodes of activity.
Conceptually, the architectural experience of the building is structured around the concept of deja-vu, created by the duplication of experiences. This creates an stereoscopy of similar experiences, whose similarity questions the memory of the past, the integrity of the present and the assumption of the future.
Thank you to our guest critics: Open-source and parametric online platforms are accelerating this process, turning each contributor into an active node of a much larger and ever-growing system. Design, engineering and fabrication processes are merging, giving birth to a new kind of digital polymath role which replaces the different related professions.
More than one year on, a lot has happened, but most importantly in this context the UK has voted to leave the European Union. Methods of design moved between digital intentions and physical modelling in order to test the nature of materials alongside computational logic.
The building projects that followed ask the same question at a larger scale, with the added challenge of programmatic considerations. Some students gravitated towards the design of construction systems, while others focused on the potential of formal possibilities. Questions were raised about the economic future of small craft-based practices in the East London area and how a community can work more collaboratively.
This changing landscape of small industries has provided inspiration for students to rethink how we design and make. With the rise of digital fabrication technology, architecture is evolving into an ecosystem of codes. These codes can be interlinked to inform each other through the use of structural and environmental simulation as well as material behaviour.
Similar to the empirical process that was key to the evolution of cathedrals, the design of building components can optimise itself via an accelerated digital process. If buildings become self-optimising codes and cranes become 3D printers, what will be the role of the client, architect, engineers, quantity surveyors, project managers and the contractor in the near future?
Which vital forces will drive and infuse the humanless codes? In relation to questions of aesthetic and tradition, will these forces be naturally implicit within the systems? This is a project about humanising parametric architecture. It is a series of selfbuild timber structures that create an urban agricultural landscape.
The aim is to create a structure that can resonate with the existing Victorian gas-holders while restoring the contaminated site. Various kerf-cut incisions on a triangular lattice hinge component investigate how a two-dimensional pattern can modulate three-dimensional space both structurally and.
A learning and communication centre with indoor greenhouses and leisure spaces for visitors to participate in the processes of growing vegetables, idea sharing and enjoying their produce as a community. The project focuses on the materiality of plaster and its ability to translate pollution into art. This project explores disruptive innovation and how this can be encouraged in a workspace.
The building encourages disruption through maximum interconnectivity: Within the building, there are unconventional suspended spaces, both static and moveable, in which these unexpected. A museum of making that questions how art is made and how it is displayed by proposing ordered maker spaces and disordered exhibition spaces that challenge convention. Combining maker spaces with exhibition spaces, this created a building that celebrates the entire making process from concept to completion.
This series of renders travels through spaces that are progressively corrupted as dance studios. This is a sectional render of the vertical progression in corrupted dance studios. The project refurbishes Bow Road Underground Station by replacing the existing roof structure with a playground to serve the family-based communities of Bow. The project celebrates the act of waiting, and questions accessibility and visibility in public space.
This project proposes a faith-led community YMCA, combining physical fitness, spirituality and accommodation. Its aim is to illuminate a polluted void in Hackney, located under the A This project uses algorithmic systems to explore the capabilities of CLT and give expressive form to a typically uniform construction material. This sectional drawing shows a mixed programme factory and innovation centre within an algorithmically generated structure.
In the beginning of the 20th century, the art historian Alois Riegl wrote of a decisive change that took place at the time — namely the transition from the valuation of old materials to the valuation of new ones. This reflected the shift in early modern Europe towards a preoccupation with newness, which eventually paved the way for the constant invention of new materials that could be easily manufactured via mechanised mass production, as opposed to artisanal making.
This shift effectively also triggered the modernist collapse of the links between design, form and materiality. More than a century later, the material invention paradigm that Riegl once witnessed is now happening at an exponentially fast rate, with new materials and production methods being concocted each and every day.
In architecture, on the other hand, the age-old separation of the types of construction in tectonics and stereotomics are — surprisingly — still valid, illustrating quite clearly the fact that architecture, and the way it is designed and built, has yet to catch up with the exponentially advancing material innovations of today. In this context, the objective of the studio is to align with these developments, and to attempt to generate a new architecture in sync with contemporaneous material advances.
Rethinking the ways in which space is conceived and designed, buildings are constructed, and architecture is inhabited generates for us an unprecedented opportunity for spatial and architectural innovation, informed by twenty-first century materials and materialisms. In pursuit of this, we initially looked into materiality in its malleable, liquid state.
We explored different ways in which liquid materials can be physically admixed and cast, and their rheological properties — with flow and coagulation simulated digitally. In parallel with this, we pursued unconventional fabrication techniques that explored the reciprocal relationship between mould and cast, pushing the solidified materials to breaking point, and understanding both the inherent and unexpected properties of our admixtures.
We then travelled to Los Angeles and Phoenix. In this land of extreme juxtapositions and odd notions of architectural normality, the truth in materials was whatever we decided it to be. Our search explored the banal, weird and wonderful ways that cast materials can be produced. Our aim was to formulate a firm architectural position through recursive readings of the habitat and instil some of these observations into the urban context of LA, where our buildings were situated.
In this process of architectural transplantation, we aspired to rebuild the modernist collapse of the relationship between form, design, materiality and process in order to generate a new type of architecture, or a 21st-century Arcology that has finally caught up with the future. Gradient concrete-spraying study model of the inhabitable scaffolding module.
A 3D-printed framework designed through liquid material simulations is openly inhabited by homeless people currently occupying large parts of Skid Row in Los Angeles. The main spaces consist of a central communal area that is designed to provide basic sanitary facilities and specialised areas that enhance the interactions of the occupants. In addition, the open-cellular organisation of the living units aims to strengthen the micro-social relationship of homeless people.
Forming an oasis in the endless desert of the interstate highways complex, the project consists of an automated.
Plurality of programme was encouraged, and projects sought to express how the big shed might be stitched into the town and landscape beyond, or were considered as new, large ex urban interiors. Use of the Services by you 5. Some countries choose new capitals that are more easily defended in a time of invasion or war; others build in undeveloped areas to spur unity, security and prosperity. Elle s'enfonce le levier de vitesse dans la chatte.
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- By night, the carts dock at the main building to create a large kitchen, turning the building into a series of restaurants and bars, housed in inflatable structures.
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- A pioneering birthing centre in New York for the population of Queens; sculpting an aquatic landscape in which women and new families can feel safe and at home.