A.R.T centre
studio 21 - zero-c data loop shi percy pan 904920
a spontaneous data robot that perpetually updates itself in pursuit of serving the greater community and hosting better data storage solutions.
contents:
i.
inspirations
ii.
site
p. 24 - 25
iii.
programs
p. 26 - 27
iv.
first development
p. 28 - 55
v.
second development
p. 56 - 75
vi.
bibliography
p. 4 - 23
A.R.T readings
toyo ito ei croquis, toyo ito, 2001-2005
toyo ito is one of the current architects who has thought most deeply about the state of the contemporary city, its inhabitants and architecture that makes sense designing for in this situation.
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he believes that in our time, there is a fictitious, imaginary urban space shaped like a collage of fragments that coexists with the real space; that tokyo is a simulated city filled with simulated life; that in a society like ours, with information invading everything, we have, as well as our real body, a virtual body created by the action of information; that a city like tokyo is a shapeless city that we enter unwittingly. what makes these ideas more interesting is that ito expresses his potential architectural responses to these features of life in a contemporary metropolis in the form of succinct metaphorical formulae.
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A.R.T readings
the tower of wind ei croquis, toyo ito, 1986-1995
the tower stands at the center of a roundabout in the bus terminal of yokahama station. it has the height of 21m. this is a reconstruction of the existing tower for ventilation and water tank for the underground shopping area for 20 years.
the idea is to place acylic mirror plates over the entire surface of the existing tower, and to sheath it with a cylinder of an oval cross section made of perforated aluminium metal. during the day, the aluminium panel relects the light and accentuates the simple form of the thin cylindrical structure. the structureal frame is visible through the panel when seen against the light.
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as the lamps are lit up in the dusk, the kaleidoscopic effect takes place. the lamps inside the panel repeat reflecting the light inside the mirror and the aluminium panel, and this is visible through the punched holos. there are 1,280 mini-lamps and 12 white ring-like neons inside the tower, and 30 flood lights at the base of the tower.
these lights draw various patterns as they are controlled by a personal computer which is placed at the foot of the tower.
the patterns of light changes
in accordance with the wind direction and velocity, and the surrounding noised. the movement of light is controlled as if it were environmental music. on such occasions, the aluminium panels becomes an almost transparent film. but at times, the panels rise to the surface in the flood light.
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A.R.T readings
the tower of winds is a project largely indicative of toyo ito’s approach to architecture, particularly his belief in the importance of technology and its vital role in the future architecture.
the tower itself can be seen as a combination of innovation and imagination. this project not only embraces technology and invloves it in a dialogure with the city, but also establishes a direct symboliv relationship between nature and the installation.
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the project sits as a technological sculpture, welcoming travelers arriving at the rail way station of yokohama, and oddly enough housing water tanks serving air conditioning machinery for the underground mall that it sits atop.
toyo ito creates an infinite relationship between technology, architecture, the city, and its inhabitants emphasizing the profound impact of the city on the human race and the crucial role of technology in architecture.
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A.R.T readings
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sendai mediatheque centre ei croquis, toyo ito, 2001-2005
the project of sendai mediatheque partially verified in some of his previous buildings and projects: lightness and simplicity, the negation for formality and spatial fluidity, architecture as a thin, transparent wraper, as an unstable, transitory phenomenon, as a whirlpool and filter of natural and artificial flows, as the mark and landscape of human actions, as a crossing and passage point of activities, as a permeable membrane between interior and exterior.
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A.R.T readings
the fun palace the fun palace: cedric price’s experiment in architecture and technology
the fun palace was not a building in any conventional sense, but was instead a socially interactive machine, highly adaptable to the shifting cultural and social conditions of its time and place. this constantly varying design for a new form of leisure center began in 1962 as a collaboration between cedric price and avant-garde theater producer joan littlewood
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cedric price, fun palace, sketches and notes, c.1964. cedric price archives, canadian centre for architecture, montreal
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A.R.T readings
cedric price, fun palace, axonometric section, c.1964. cedric price archives, canadian centre for architecture, montreal
the fun palace would challenge the very definition of architecture, dor it was not even a conventional ‘building’ at all, but rather a kind of scaffold or framework, enclosing a socially interactive machine - a virtual architetcure merging art and technology. in sense, it was the realization of the long-unfulfilled promise of le corbusier’s claims of a technologically informed architecture and the ‘machine for living’.
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the fun palace was not a museum, nor a school, theatre, or funfair, and yet it could be all of these things simultaneously or at different times. the fun palace was an environment continually interacting and responding to people. by the mid-1960s it had become a vast social experiment and a cause celebre for scores of london intellectuals who saw in it the germ of a new way of building, thinking, and being.
cedric price, fun palace, plan, c.1964. cedric price archives, canadian centre for architecture, montreal
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A.R.T readings
reyner banham and francois dallegret, illutration from ‘a home is not a house’, 1965
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a home is not a house banham, reyner. ‘a home is not a house’, art in america. 1965.
when the house contains such a complex of services that the hardware could stand up by itself without any assistance from the house, then why have a house ti hold it up? his main criticism was that dwelling was think as a ‘hollow shell’, which does noy efficiently protect people from the heat and the cold, thereby causing them have to pump more heat, light and energy into their homes.
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A.R.T readings
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banham is interested in architecture as a built regulator of the environment. obsessed with mechanical systems, he describes a house by its hardware. mechanical systems can now successfully regulate the environment, and architecture has become a thin dome to limit it. as he suggested: the transportable standard of living package, with it, you only need architecture as the boundary to the outside. he points out “mechanical invasion is a fact, and architects- especially american architects- sense that it is a cultural threat to their position in the world.� (Banham, 70) Mechanical invasion is a threat to architecture Architects need to learn to work with other professions, otherwise they will become obsolete.
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A.R.T readings
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parc de la villette congestion without matter, x, m, l, xl, o.m.a. rem koolhaas and bruce mau
1. initial hypothesis
2. the strips
at the first stage, the programe is
in the first primordial gesture the whole site is subdivided
read as a suggestion, a provisional
in a series of parallel bands - running east-west - that can
enumeration of desireable ingre-
accommodate, in principle, zones of the major program-
dients. it is not definitive: it is safe
matic categories: the theme gardens, the playgrounds,
to predict that during the life of
the discovery gardens, etc. in this way, concentration or
the park, the program will undergo
clustering of any particular programmatic component is
constant change and adjustment.
avoided; the bands can be distributed across the site part-
the more park works, the more it
ly at random, partly according to a logic derived from the
will be in a perpetual state of revi-
characteristics of the site.
sion. its ‘design’ should therefore be the proposal of a method that combines architectural specificity with programmatic indeterminacy.
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A.R.T readings
3. point grids, or confetti
4. access and circulation
the access and circulation system nourished all episodes of the park and ensures their most intense exploitation. since the park is divided in bands, it follows
it consists of two major elements: the boulevard and the
that the elements on the point grids will oc-
promenade. the boulevard, running north-south, sys-
cur in different zones, thereby both acquiring
tematically intersects all the bands at right angles and
and influencing the character of the ‘host’
connects the major architectural components of the park
zone. the occasional proximity of the various
directly. the plaza-like elements of the promenade are
elements distributed according to the dif-
connected by the east-west path of the strips, the bou-
ferent grids leads to random and accidental
levard and the promenade are formally joined through a
clusterings that give every constellation of
riverside ambulatory, so that the circulation system forms
points its unique configuration and charac-
a figure eight.
ter.
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5. the final layer
the final layer is a composition of the major elements - added and found - that are unique or too large to be located according to mathematical rules or to a system. the relative regularity and neutrality of the first three layers forms a background/ context against which these elements become significant.
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A.R.T site
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A.R.T programs
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first development
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the making of a ‘robot’
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the making of a ‘robot’
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the making of a ‘robot’
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the making of a ‘robot’
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A.R.T form finding
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form finding
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A.R.T formfinding
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A.R.T plans
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spatial experience
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spatial experience
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spatial experience
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second development
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an architecture robot
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perspective section
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A.R.T plans
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an architecture robot
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an architecture robot
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an architecture robot
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spacial experience
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spacial experience
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spacial experience
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A.R.T bibliography
Banham R and Dallegret F (1965). A Home is not a House. Art in America, April 1965. Pages 70-79 Banham R and Dallegret F (1965). A Home is not a House. Art in America, April 1965. Pages 70-79
Koolhaas, R. and Mau, B., 1995. S, M, L, XL. New York: Monacelli Press, pp.861-900. Mathews, S 2005, ‘The Fun Palace: Cedric Price’s experiment in architecture and technology’, Technoetic Arts, vol. 3, no. 2, pp. 73–91, accessed from <https://search.ebscohost.com/login.aspx?direct=true&AuthType=sso&db=a2h&AN=18346584&site=ehost-live&custid=s2775460>.
Toyo Ito, 2001-2005: beyond modernism / El Croquis, 123 Madrid: El Croquis Editorial, 2005 Ito, T., Futagawa, Y. and Hara, H., 2001. Toyo Ito, 1970-2001. Tokyo: A.D.A.
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