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Digital design meets traditional Chinese craftsmanship in a pavilion constructed like a paper lantern
Hong Kong-based architects Kristof Crolla (LEAD) and Adam Fingrut (Zaha Hadid) married traditional Chinese craftsmanship and digital design technology in their temporary pavilion, Golden Moon, which won the Gold Award in the Mid-Autumn Festival Lantern Wonderland last month. The 60-foot-tall structure was built in just 11 days atop a reflection pool in Hong Kong’s Victoria Park, proof that “complex geometry can be built at high speed and low cost with the simplest of means,” said Crolla and Fingrut, who sought to rethink digital design by “anchoring the paradigm in a strong materiality.”
We just got our first look at next year’s SCI-Arc graduation pavilion, League of Shadows, by Los Angeles-firm P-A-T-T-E-R-N-S. Whoah. The pavilion, which will seat 1,200 people, will be built in the SCI-Arc parking lot for graduation events in spring 2013. The three-fingered structure will be made up of multi-story, angled frames (ahem) patterned with dark, vaulted, and layered multi-colored fabric strips, with seams like sails. The pavilion’s significant height will provide long shadows (hence the project’s name) and its location on the south end of the SCI-Arc parking lot will make it a sign for the school. Entries from the four competing architects will be on display in the SCI-Arc Library Gallery from October 19 to December 2.
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Reimagining the chair as an architectural material
With their focus on “environmental acuity and a critical digital ethic,” Brian Bush and Yong Ju Lee of E/B Office describe themselves as “digital architects” who design “real projects that are virtually indistinguishable from their digital visions.” Their most recent vision included 300 of IKEA’s pine wood Ivar chairs arching through the air across the wide lawn at Freedom Park in Atlanta, where SEAT was installed earlier this summer for Flux Projects, a public art organization. Bush and Lee hope that SEAT will encourage people to reconsider the chair as more than just a passive, everyday object, but as an architectural structure in and of itself. Indeed, sitting amongst a swooping pavilion built entirely out of chairs, it would be difficult not to.
No doubt you’ve seen the Ivar chair before, or something like it. Popular for its low price ($24.99) and ability to be painted any color, Ivar is so basic it’s the kind of chair that should pop right up when you do a Google Image search for “chair” (it doesn’t, though IKEA’s Poang does). Because they came from IKEA, all 300 were assembled by hand by Bush, Lee and a team of 15. The chairs were unaltered except for the seat, which was removed from most to make them easier to connect. After Bush and Lee made a 3D model in Rhino with the help of a structural engineer, they launched right into building the full-scale version onsite. Read More
As part of Quennell Rothschild’s master plan for the Rockaways, WXY Architects was tapped to design the beach pavilion and two shade shelters. The pavilion will be open to the public tomorrow, Wednesday, July 18, with a ribbon cutting set for later this month. A wave-like roof flows from a utilitarian box enlivened by glazed brick stripes arranged in muted shades of mint, lime, and hunter green. Circular openings are punched into the roof covering a large outdoor boardwalk made of recycled plastic.
Rarely do red plastic coffee stirrers conjure notions of Walden Pond, but for architect Brian Ripel and artist Jean Shin, the notion is not that far fetched. The duo’s Tea House rooftop installation at the deCordova Sculpture Park and Museum in Lincoln, Massachusetts sits about a mile from Thoreau’s retreat. Ripel pointed out that the connection is somewhat difficult to discern in isolation, but the gabled pavilion frames pristine views absent of any evidence that the museum sits a mere twelve miles from downtown Boston.
Until recently, the only way to enter Central Park’s oldest and largest playground was through a chain-link fence. The great Heckscher Playground, impressive in scale and amenities, did not have an entrance to match, but a recently completed renovation to the building has retuned the structure to it’s original use with a contemporary twist blending the building’s history with contemporary needs.
The Venice Biennale is staged in an enormous old Arsenal building and in an urban park a few blocks away that houses 30 national pavilions. The first of these pavilions opened in 1907 and several were designed by famous architects like Josef Hoffmann (Austria), BBPR (Canada), Alvar Aalto (Finland), and Sverre Fehn (Nordic). The United States pavilion was designed by William Adams Delano. There have been very few buildings built in the garden since James Sterling designed the biennial book store in 1991, but just behind the U.S. pavilion the Australians are building a new exhibition space designed by Denton Corker Marshall. The Australian architects describe the pavilion as a simple structure or “a white box contained within a black box.” The pavilion will open in 2015 for the 56th art biennale and its $6 million price tag will be paid for with private funds.
Coca-Cola has big plans for an Olympic Park pavilion for London’s 2012 sporting extravaganza. London-based architects Pernilla & Asif have created the “Coca-Cola Beatbox,” a spiraling structure clad in red and white panels that appear to be suspended in frozen animation. It’s not only an intriguing structure but an interactive musical instrument. The experimental architecture works with cutting edge sound technology, encouraging people to interact and “play the pavilion.”
Inspired by sounds of the Olympic games—the plunge of an archer’s arrow into a target, athlete’s quickened heartbeats, squeaking sneakers—the Beatbox will be imbedded with sound-bites created by Grammy Award-winning producer Mark Ronson that allow visitors to remix their own mashed-up productions.
Design Miami, the high-design fair that runs with the giant, Art Basel Miami Beach, exhibited two objets d’architecture over the Miami Art Week, and named an architect, David Adjaye, as its 2011 Designer of the Year. Both objets were sculptural pavilions: one is an installation by Adjaye, commissioned for the fair, and the other a restored modernist icon with a utopian agenda. Continue reading after the jump.
Sometimes it seems like our world is peopled entirely by yesterday’s and tomorrow’s Designers of the Year. But at least DesignMiami’s Global Forum for Design’s Designer of the Year Award comes with a nifty commission. This year the honor goes to David Adjaye and he will be designing a site specific installation for the entrance to the fair’s temporary structure on Miami Beach, open from November 29 through December 4.