Final work from the class last year, the product of a collaboration between the Parks Department, The Columbus Amsterdam BID, and Lincoln Square. These modular, mobile, interactive wind harps were installed across the street from Lincoln Center and later during the 106th Street Family Days. The colorful wind harps were made from off-the-shelf roofing material and each produced a distinct tone when ambient wind from the street funneled down the Broadway/Amsterdam Junction passed through the apertures and reverberated through the hollow column, plucking the various string widths and producing sound of various, distinct pitch. The concept was adapted from the design of Aeolian Harps – passive wind instrument which many people “find alludes to higher realms”. These also worked as improvisational instruments, that could be played on the street by passersby. The bright colors created a welcoming sight which invited participation and the strings made the foreign-seeming objects instantly recognizable as a harp/guitar like stringed instrument.
Images from the three-day event in Queens, sponsored by the great team at the Jamaica Center for Arts & Learning and with Joaquin Reyes.
The Inflato Dumpster is a radical new conception of what constitutes public space in New York City. This site-specific work creates an open, engaging street-level structure that acts as a mobile learning laboratory through creative programming events that reflects the diversity of its location. The project takes advantage of digital design and new lightweight fabrication techniques to create a framework for small group discussion and engagement.
The project includes 165 square feet of enclosed space with maximum dimensions at 17’ height by 12’-6” wide and 24’ long. The main element is an inflatable membrane containing 2000 cubic feet of volume, weighing less than 20 lbs. Made from a combination of lightweight inflatable materials and a modular city dumpster, the Inflato presents a subdued silver, semi-reflective surface from the outside, while the interior creates a gold, brightly gilded interior.
The Flux 2016 exhibition invited 19 artists to study the effects of art in public spaces and provokes conversations regarding art’s role in community, participation, commerce, and urban renewal.
This was a preview exhibition of the Inflato project before its full activation (complete with pre-fab metal base) on the 165th Street Pedestrian Mall.
Presented here is a (losing) competition entry for a re-design of the ubiquitous “urban shed” – the pole and plywood constructions temporarily thrown up to protect pedestrians from falling building debris during facade renovations. They are an interesting typology, both because they are everywhere and are also built using pre-fabricated components in a completely market driven approach, every element has been pared down to cost per protective surface. Every couple of years someone tries and re-thinks these things, but due to the cost and existing, entrenched interests, these re-designs never go anywhere. The argument I was trying to push was twofold: 1) taking advantage of an existing material that already relates to street protection could offset costs, and 2) that the design would be exciting enough that building owners could reap some economical benefit through a boost in traffic flow by putting up something like this. Project text below:
A city manifests itself through its architecture, its built form represents its values and priorities. This ideas competition hosted by the New York Building Foundation is an amazing opportunity to explore how the city and building owners will proceed to treat what is in many ways the most modest and ubiquitous of architectural elements, but one that we all encounter each and every day – the construction shed.
The questions before us are simple, will the form of the shed continue to be dictated by that which presents the perceived lowest cost per sf? This is a notion dictated more by complacency and inertia as opposed to New York ingenuity and data-driven metrics. Or, will the shed evolve into a form as slick and scaleless as the latest glass and steel construction, furthering the ever expanding gulf between New Yorkers and relegating architecture and engineering to the realm of a luxury item. Or, will it pursue a sustainable, iconic, human-scaled solution, which can adapt to changing needs in neighborhoods as diverse as ours?
The proposal included here envisions a future construction shed built from reclaimed NYPD wooden sawhorses. These sawhorses were retired in 2007, but they are still available for donation and hold a prominent place in the collective consciousness of the city. Their familiarity with New Yorkers imbues them with an ingrained acceptance to their position as part of the urban streetscape – like seeing an old friend again, but their novel use here, elevates the basic construction assembly into an uplifting form that makes the shed into something more than pure tectonics.
They also present us with an opportunity to acquire a readily available, highly-durable material for a low-cost. In a practical sense, the sawhorses in their previous life as crowd control devices had to withstand a number of structural requirements. Here, the existing sawhorse connection techniques – slotting, nailing and screwing – are used again, this time to withstand a vertical load through multiple connecting load paths and redundant connections that will meet and exceed Section 3307 of the New York City Building Code. Wood also allows for ease of assembly through cutting of pieces and through the use of inexpensive attachments and fasteners as required.
Lastly, this design represents the transformations inherent in the evolving city over the last 50 years. The NYPD wooden sawhorse material here is no longer one that restricts movement and creates artificial barriers in urban space, but rather it is put to a new purpose, one that enables free and open movement while providing shelter and protection for all.
The Inflato Dumpster was back as part of the 6th Annual Bloomingdale Family Days located in my neighborhood, steps from my apartment in fact. Many thanks to the Columbus-Amsterdam BID and Budget Dumpster for the generous support. It was a great turnout and a really successful event.
Please see this link for more about this ongoing project.
Building off of previous work that looked at real-time sound visualization, the intention of this exercise was to create a series of physical objects that legibly conveyed the transformation of sound into a landscape. Four specific indicative moments of recorded sound were rendered as a topographic form in Processing, then 3d printed. Any piece of real-time or recorded sound would work, however, these prototypes were chosen because they highlight special snippets or short moments during signature songs that could warrant further observation of the ordered or chaotic underlying sound structure. Once printed, each piece creates a striking object that allows for ease of visual comparison.
The four selections shown here include:
1) “Young Americans” – David Bowie. The brief pause at 4:19. (youtube link) Also, per Jennifer Egan in A Visit to the Goon Squad: “This is a lost opportunity. Hell, it would’ve been so easy to draw out the pause after ‘…break down and cry…’ to a full second, or 2, or 3, but Bowie must’ve chickened out for some reason.”
2) “Ride of the Valkyries” – Richard Wagner. The introduction of the main theme including the arrival of the brass instruments. (youtube link)
3) “Mood Indigo” – Duke Ellington. Jimmy Hamilton’s introduction on the clarinet. (youtube link)
4) “Sonified Starlight” – NASA. Translation of light waves emanating from star KIC 7671081B into an audible pattern via NASA’s Kepler Input Catalog. (soundcloud link)
Lastly, drop me a line if you’d be interested in your own 3D printed soundwave.
“Sonified Starlight” – NASA. Translation of light waves emanating from star KIC 7671081B into an audible pattern via NASA’s Kepler Input Catalog. (soundcloud link)
“Young Americans” – David Bowie. The brief pause at 4:19. (youtube link)
“Ride of the Valkyries” – Richard Wagner. The introduction of the main theme including the arrival of the brass instruments. (youtube link)
“Mood Indigo” – Duke Ellington. Jimmy Hamilton’s introduction on the clarinet. (youtube link)
Nice to see the Inflato Dumpster pop-up in Gestalten’s The New Nomads, Temporary Spaces and a Life on the Move pub. This is a project I’m really excited about, and am looking forward to further installations around the city throughout the summer.
Inspired by Ai Wei Wei and aided by modern journalism’s canny ability to simultaneously photograph the same object from multiple vantage points, I wanted to find a way for everyone to identify and express displeasure at the “98% of everything that’s built and designed today [that] is pure shit.”
This is the fourth in a series of 3D Printed experiments in using reality capture software to generate 3d printable models. Each experiment is printable within 2 hours.
…shitty click bait articles…
…shitty generic glass buildings in historic neighborhoods…
…shitty innocuous luxury condos…
…shitty condos on Cathedral property…
…oh wait, nevermind, actually I guess this one is ok…
.STL MODEL LINK:
In the heady days of 2004, I was a green architecture intern fresh out of school, and the first building project I worked on was this – The Taubman Museum of Art in Roanoke Virginia. Having the opportunity to design with and learn from Randall Stout on an exciting, high-profile project like this was basically everything I imagined that being an architect could be. This was to be thrown into the emerging world of digital design and geometrical control (hello Rhino V3), close collaborations with players at the forefront of manufacturing complex, building-scale cnc fabrications, and the promise of architecture as a driver of transformative urban change. School couldn’t touch this. In the intervening decade I’ve learned quite a bit more about the behind the scenes maneuvering that morphed an existing regional art collection’s initial, modest desire for a few extra square feet of exhibition space into an ambitious plan to remake a town through a $90 million dollar building. The reality of the inherent impotence of a singular built object to somehow negate or transcend the complex network of entrenched and competing political, cultural, and institutional factors is something that continues to play out in cities all over the world. But those questions were irrelevant to the families I saw enjoying the “weird, but cool” free museum on a Thursday afternoon, the local artist exhibiting hyper-saturated photos of the building at Thelma’s Chicken and Waffles, or the bins of embroidered fabric decorated with the building’s distinctive profile. Basically, it was breathtaking to finally experience the building in all its divisive glory. I wish Randall were here so I could tell him all about it.
These are a few of the images I captured while in town. Presented here to amplify the building’s binary formal references as I had always imagined them in my mind. While there is no true “back” facade, there are two clearly distinct sides to the building: the angular, more constructivist facade facing the railroad tracks and industrial edge of town, and the softer, billowing blue forms facing the city which frame the Blue Ridge Mountains receding into the background.
As part of a series of quick exercises using a consumer-grade 3D Printer, the following pieces were created. All were designed and modeled in keeping within a set of strict guidelines.
The rules of the game:
(1) All 3D mesh geometry is generated via photogrammetry
(2) No manual 3D modelling is to take place
(3) A 3D print ready file is to be generated within 2 hours
(4) All software used is to be open source, or free for non-commercial use
(5) Prints are built irrespective of plastic type, print resolution, color, printer, and printing technique
This was the third in a series of quick experiments using a personal 3D printer. The goal here was to construct a 3D printed piece to interact with an existing physical landmark displaying complicated surface geometry. This lion with an enigmatic mein was chosen because the complicated contours would provide the framework for a compelling proof of concept. The building is named after one artist, but it was the surreal Belgian artist who often explored enshrouded objects that provided the inspiration for this form.
1) Collect a series of photographs to describe the object
2) Generate 3D model in 123D Catch
3) Use cloth and wind simulation effects in Maya to deform a plane
4) Bring the deformed mesh into Cura to prepare for 3d printing
5) 3D Print on an Ultimaker2
A small selection of the amazing work the group produced in class this semester. Click on the images above for more information.