Thứ Sáu, 8 tháng 2, 2013
SuSu
Thứ Năm, 7 tháng 2, 2013
Beverly, Forest Trace
Thứ Tư, 6 tháng 2, 2013
Karen Walker X Advanced Style
Caustic Engineering
New milling techniques applied to glass and plexiglass panels could be used to "create windows that are also cryptic projectors, summoning ghostly images from sunlight."
[Image: A piece of milled plexiglass acting as a projecting lens; via the Computer Graphics and Geometry Lab at the École Polytechnique Fédérale de Lausanne].
They do so by "taking control of a seemingly chaotic optical phenomena known as caustics," in the words of New Scientist. Mark Pauly and Philippe Bompas have been experimenting with so-called "caustic engineering," combining Pauly's background in computational geometry and Bompas's interest in manipulating otherwise "unintentional light shows produced by the reflection and refraction of light from curved mirrors or glass structures." Indeed, Bompas's work has a somewhat Neoplatonic overtone, as it involves "working backwards from a pattern of light to deduce the structure needed to create it."
Working together, Pauly and Bompas—not Bompas and Parr—set out to fabricate "a large, transparent plate capable of generating a high-resolution image when a light was shone through it," and they "chose to make the plate in perspex, which is easier to shape than glass." You can see it in the image included in this post.
The architectural implications are obvious, and are brought to the fore by the New Scientist article from which I'm quoting. For instance: "Now [Pauly and Bompas] hope that the technique will be used in architectural design, to create windows that mould sunlight and throw images or patterns onto walls or floors," which, if timed, milled, and manipulated just right, could produce a slowly animated sequence of images being projected by an otherwise empty window during different times of day. After all, "it should be possible to create a transparent plate containing several overlayed caustics that become visible as an animation as the light source moves."
One piece of glass, infinitely dense with visual imagery, a kind of dream-prism casting slow two-hour films across the floor as the day goes by.
[Image: Reflections off glass or other polished surfaces could be controlled—that is, manipulated into producing recognizable images or specific shapes—by way of "caustic engineering"; Creative Commons photo by Flickr user passer-by].
This can work not only with light passing through milled transparent surfaces but with light bouncing off complexly shaped reflective surfaces—something the article describes as pieces of metal that look like "the mildly dented bodywork of a car" (i.e. parametric formalism in architecture today) creating recognizable images in the weird sprays of light they produce.
Curve a building just right with the daily passage of the sun, placing caustic windows at key moments so that their reflections or projections overlap like edits, and your building is now a cinema: an optical landmark with content, in the narrative life of the city. Buskers offer optional soundtracks. Reflection festivals arise on sidewalks. Milled glass objects play filmloops in the sun.
[Image: A piece of milled plexiglass acting as a projecting lens; via the Computer Graphics and Geometry Lab at the École Polytechnique Fédérale de Lausanne].They do so by "taking control of a seemingly chaotic optical phenomena known as caustics," in the words of New Scientist. Mark Pauly and Philippe Bompas have been experimenting with so-called "caustic engineering," combining Pauly's background in computational geometry and Bompas's interest in manipulating otherwise "unintentional light shows produced by the reflection and refraction of light from curved mirrors or glass structures." Indeed, Bompas's work has a somewhat Neoplatonic overtone, as it involves "working backwards from a pattern of light to deduce the structure needed to create it."
Working together, Pauly and Bompas—not Bompas and Parr—set out to fabricate "a large, transparent plate capable of generating a high-resolution image when a light was shone through it," and they "chose to make the plate in perspex, which is easier to shape than glass." You can see it in the image included in this post.
The architectural implications are obvious, and are brought to the fore by the New Scientist article from which I'm quoting. For instance: "Now [Pauly and Bompas] hope that the technique will be used in architectural design, to create windows that mould sunlight and throw images or patterns onto walls or floors," which, if timed, milled, and manipulated just right, could produce a slowly animated sequence of images being projected by an otherwise empty window during different times of day. After all, "it should be possible to create a transparent plate containing several overlayed caustics that become visible as an animation as the light source moves."
One piece of glass, infinitely dense with visual imagery, a kind of dream-prism casting slow two-hour films across the floor as the day goes by.
[Image: Reflections off glass or other polished surfaces could be controlled—that is, manipulated into producing recognizable images or specific shapes—by way of "caustic engineering"; Creative Commons photo by Flickr user passer-by].This can work not only with light passing through milled transparent surfaces but with light bouncing off complexly shaped reflective surfaces—something the article describes as pieces of metal that look like "the mildly dented bodywork of a car" (i.e. parametric formalism in architecture today) creating recognizable images in the weird sprays of light they produce.
Curve a building just right with the daily passage of the sun, placing caustic windows at key moments so that their reflections or projections overlap like edits, and your building is now a cinema: an optical landmark with content, in the narrative life of the city. Buskers offer optional soundtracks. Reflection festivals arise on sidewalks. Milled glass objects play filmloops in the sun.
Soft Launch
The long-awaited second installment of Bracket, a co-publication of Archinect, InfraNet Lab, and ACTAR, is finally here. The new issue is themed around "soft systems" in architecture and landscape design, or "systems, networks and technologies that are responsive, adaptable, scalable, non-linear, and multivalent," as the editors describe it. The resulting soft-systems issue was edited by Lola Sheppard and Neeraj Bhatia of InfraNet Lab, with guest input from Benjamin Bratton, Julia Czerniak, Jeffrey Inaba, Philippe Rahm, Charles Renfro, and myself. This month, Bracket will be hosting no fewer than three launch parties for the issue: Thursday, February 7th, at the University of Waterloo School of Architecture in Cambridge, Ontario, at 11am; Sunday, February 17th, at Architecture Center Houston, with presentations by Neeraj Bhatia, Scott Colman, Ned Dodington, and Christopher Hight; and this Friday, February 8th, at Studio-X NYC in Manhattan, kicking off at 6:30pm, with short presentations by Neeraj Bhatia, Fionn Byrne, Michael Chen, Leigha Dennis, Sergio Lopez-Pineiro, Chris Perry, and a few brief comments of my own about the guest-editorial process. The Studio-X event is free and open to the public, and takes place at 180 Varick Street, Suite 1610; information about the other events can be found through the links, above.
Read more about the Bracket editorial project at their website.
Thứ Hai, 4 tháng 2, 2013
Linda Machado
"Flamenco dance is a powerful, passionate, improvisational art form that allows me to explore my individuality, sharpen my creativity and keep in shape. I started dancing when I was 40 and never stopped. Flamenco dance is great for balance, coordination, bone density, muscle toning and cardio – things we need to be concerned with as aging women. Plus the costumes are incredibly fun!
While I may be a bit “young” at 62, I consider myself an “Advanced Style Apprentice”, learning from those older than me and inspiring those my age and younger. And with mentors such as the Advanced Style Women and heroes such as you, I am more excited about the next 40 years than I was when I was younger! "
Thứ Sáu, 1 tháng 2, 2013
February Book Signings
February 6
Florida
Presentation and Book Signing at Forest Trace
Location 5500 NW 69th Avenue Lauderhill, Flroida 33319
FREE and open to the public
RSVP required: 954-572-2100 ext.23
1:30 presentation
2:00 pm book signing
February 12
Stockholm
Book Signing at Nordiska Kompaniet
5:00-TBD
February 22
London
Location: The Royal Academy of Arts
Portarying Life: An Evening Lecture with Ari Seth Cohen, Fanny Karst, Daphne Selfe, and Nigel Hartley on how ageing can shift our presentation of self.
6:30-7:30 pm
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