Posts tagged with "Greg Lynn":

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Final part of Greg Lynn’s exhibition on early digital design goes on view at Yale School of Architecture

Archaeology of the Digital: Complexity and Convention, at the Yale School of Architecture, is presented by the Canadian Centre for Architecture as part of a research project that began in 2013. Curated by Greg Lynn, a professor at UCLA, the exhibition hosts five themes: high fidelity 3-D, structure and cladding, data, photorealism, and topography and topology. It draws from materials that have been built, dissected, and then reassembled in the 1990s and 2000s by international firms such as Van Berkel & Bos Architectuurbureau, OCEAN North, and Office dA. The exhibition will focus on how digital methods were integrated into architectural practice and will address the challenges of preserving digital architectural archives and making them accessible. Complexity and Convention is the final phase of a three-part exhibition.

Archaeology of the Digital: Complexity and Convention Yale School of Architecture 180 York Street, New Haven, Connecticut Through May 7, 2017

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Greg Lynn designs an autonomous cargo-carrying droid

Piaggio Fast Forward (PFF), an off-shoot of Vespa Piaggio, the company that gave us the iconic Vespa moped, has unveiled the "Gita." Based in Boston, PFF is spearheaded by American architect Greg Lynn. The Gita is reminiscent of a Star Wars droid; it acts as a personal autonomous assistant and is able to carry luggage while it follows its owner on its own. Though updated, modernized, and still hugely popular, Vespas are, in essence, a nostalgic symbol. They carry with them an aesthetic of a by-gone era and a rose-tinted view of travel and mobility. With the Gita, PFF is instead looking forward. Capable of hauling 40 pounds of baggage, the Gita can reach 22 miles per hour (meaning trying to run away from your own Gita will be rather tricky unless you're Usain Bolt). PFF envisions their two-wheeled, two-foot-high droid to be a kind of personal assistant. PFF Chief Executive Officer Jeffrey Schnapp said his firm saw the Gita as a "Twenty-First Century Vespa." "Gita," roughly translates to "short trip" from Italian. Cargo inside the Gita fits between the robot's two wheels from which its circular form is based around. A pop-up lid reveals and hides the storage. While the Gita can track its owners like a well-behaved dog, the device can also move on its own using an inbuilt mapping system. Lynn, who is chief creative officer, said that the firm "sees cities in a different way" compared to an "automobile company." "We think about people moving in a granular way," he continued. Schnapp, meanwhile, added that the Gita was "designed to leverage the power of human navigators of urban spaces." At the time of writing, it has not been disclosed when the public will be able to get their very own urban droid or how much the device will cost. That said, PFF has announced that pilot tests will be taken throughout the year as they finalize the product.
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Greg Lynn uses Microsoft HoloLens to visualize architecture at this year’s Venice Biennale

"The biggest problem an architect has," said Californian architect Greg Lynn of Greg Lynn Form (GLF), "is getting from the screen into physical space." And so Lynn, who is also a professor of architecture and urban design at UCLA, has been using the Microsoft HoloLens at the U.S. Pavilion for this year's Venice Biennale. Assigned the Packard Plant, a historic half mile-long abandoned car factory in Detroit, Lynn and his firm were tasked reimagining the site. The HoloLens, which is aided by tech firm Trimble's mixed reality technology, allowed Lynn to holographically visualize and navigate the space. "It actually changes the way you think about design" said Lynn, who added that the lens meant he could fully comprehend the scale of the site, something which he achieved by placing twelve Tate Moderns into the area, by virtual means. According to Lynn, the technology also allowed him to make decisions regarding design and spatial qualities much earlier than usual. "Without the HoloLens, I would have been making those decisions three, four months from now, but with the HoloLens, I'm making those decisions at the point of inception" said Lynn. The HoloLens can also be shared with clients, allowing architects to use the language of space to show why certain design decisions were made. "Using this technology I can make decisions at the moment of inception, shorten the design cycle and improve communication with my clients," added Lynn. AN got a chance to test out the device at the Venice Biennale last week. The use of Hololens in exhibition design is very useful in displaying the US Pavilion proposal. Visitors can see the history of the site holographically projected on the physical model, complete with diagrams that display change from year to year, tracking the growth and decline of the Packard complex. The technology also allowed the exhibition to be annotated with information about the design, as well as animations that made it come alive with images of drones and puffing smokestacks. "HoloLens is going to bridge that gap between the two-dimensional and the three-dimensional and physical space.... It's a revolution," Lynn concluded. https://www.youtube.com/watch?v=70xDCokzAck If you want to get your hands on a Hololens, they're only $3,000. According to Microsoft’s website, the device features sensors, a processing unit, special high-def color lenses, and built-in speakers. Microsoft is also collaborating with Lowe’s, the home improvement company, to help customers visualize new kitchen or living layouts, finishes, and more.
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The Greg Lynn Show LIVE: Schumacher, Denari, and more at the CCA

The Architect's Newspaper (AN) is live at the taping of the Greg Lynn Show at the Canadian Centre for Architecture in Montreal. Greg Lynn, curator of Archaeology of the Digital, is hosting a talk show that will serve as the public program for the opening of part 3: Complexity and Convention. "It will be all about the 90s" today, as the exhibition focuses mainly on the genesis of digital design and production. Part 3 is about seminal projects that have set standards for today's buildings. Live updates will come throughout the day. Lynn starts the show off by introducing the guests, including "stand-up comedian and special effects guru Neil Denari," and Patrik Schumacher, who is promoting his new book, "Para-Patrik Schumacher," which is about being Patrik Schumacher. UPDATE 2:32 EDT Denari is the first guest is Denari, who said that not much has changed since the 90s, as the software is not that much different, just easier to use. The impetus now is on pushing the concept further. This sort of supports Lynn's thesis for the show, which is that these are the seminal projects that still impact designers today. Denari thinks that drawing is still very important today, as 80-85 percent of the work today exists only as drawings, so much lives only in the digital world. It is very important to preserve and care for these files. Also, he said that figuration, abstraction, realism, and hyper-realism are as important today as they were in the early days of digital. OCEAN North was a collaborative that had several factions across Europe in the 90s. Kivi Sotamaa and Johan Bettum comprised OCEAN North, whose Jyvaskyla Music and Arts Center was at the front of digital and collaborative knowledge. They were using the computer to produce forms and working processes that included many actors. Sotamaa mentioned that the aesthetic they liked happened to be suitable for this type of work—if they were minimalists, they probably would not have used it. Bettum continued, "We had some radical political ideas about architecture that challenged existing conceptions of social space, and the computer allowed us to confront those." Up next is Enric Ruiz Geli, whose Villa Nurbs is still under construction after more than a decade of innovating and inventing new construction methods. The new relationships between clients, builders, manufacturers, and architects took many of the middlemen out and made the design closer to the architect's vision. "We were sending files like emails," he explained of this radical new way of working. UPDATE 3:04 EDT The always provocative Francois Roche up next, and Lynn says that there are several projects under plexiglass to protect the objects, but Roche's spiky Water Flux models are under plexiglass to protect the show from Francois. "I am not a digital masturbator," said Roche. "I wish I were a masturbator." The political agenda of Roche's project extends from ecology, but today he was discussing more about how "tooling is not innocent," as the new methods allow new meanings and relationships on the site. He said he is interested in how machines can transform a situation as an assemblage of parts. Ulirch Konig of Chemnitz Stadium fame explained how industry and military industries are innovating with digital technology. Cars went through the digital revolution a decade before architecture because architecture is slow. Lynn disagreed. Konig says that the digital revolution changed the visual language of architecture and what is possible aesthetically, but will now change how we live and how cities work, for example with autonomous driving. Peter Testa and Devin Weiser wrote some of the first scripts that were used in generative architectural design. They made scripts for weaving and braiding, which was different than some of the typical surface projects of the time. They told stories of how they crashed many computers and still do today, as they push the boundaries of what is possible through computation. Nader Tehrani claims that his work, Witte Arts Center by Office dA, is the least digital in the show. "We will be the judge of that," said Lynn. Their brickwork benefitted from the computer in the possibility of composition and construction, but not really as much in aesthetics. They pushed bricks further than they had been, such as finding all the increments in between the Flemish and standard bonds. Photoshop also came up in the conversation. Alejandro Zaera-Polo "was just a peasant from Spain," which made him interested in the hard work of drawing the Yokohama Port Terminal in AutoCAD himself. Rafael Moneo once told him it was interesting in the worst way possible. Japanese architects, however responded much differently, as they were surprised at the efficiency with which it was produced. Wolf Prix is up next, and makes an illusion to his inflatables in the 1960s as a proto-cloud. This connection between pneumatic structures and data comes from his idea that he doesn't care about the computer, but about new ways of making spaces that haven't been seen before. The BMW Welt project and its film are in the show. Prix explained how BMW wanted a huge model to demonstrate how the building would work and look. They couldn't do a 1:1 model, but instead made a very intricate movie that involved mixing physical models and digital surfaces, and a film crew of 30 with catering and everything. The final cost was 800,000 euros, but it convinced BMW to make the building, mostly because they saw a scale car, and it let them know it was a big building. Patrik Schumacher is here to talk about the Phaeno Science Center, a seminal work by Zaha Hadid Architects. MAXXI and the CAC in Cincinnati were also completed around this time. The delivery of the building required sophisticated millwork to produce the formwork for curved waffle-slabs. Some of these projects had the benefit of German engineering, but projects in places like Azerbaijan and China, where construction technology was not as sophisticated. The early work in Europe was good practice for these more complicated contexts. He explained that the modernist movement came about in the 20s, but only transformed the world in the 1960s, after an interruption from WW2. Likewise, he said, the digital came about in the 90s, and has been interrupted, but it is time now for the digital and parametric to transfrom the world: not as art, but as a complete reworking of the way we make society.
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Sam Fox architecture students build expanding foam boat prototype

Ten architecture students at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis have produced a working boat prototype, using expanding polyurethane spray foam as their primary material. The master’s students are following in the steps of the likes of Frank Gehry, Greg Lynn, and Zaha Hadid, who all have recently designed custom yachts. Paired off in twos, teams designed and tested a half dozen smaller prototypes, which they tested in the Grand Basin in Forest Park near the Washington University campus. Two of the prototypes were chosen to move forward to further development and a full size prototype. The goal of the project was to test the material possibilities of a product that is easily found in typical hardware stores, and usually used for housing insulation. The expanding foam for the project was provided by Fenton, MO–based manufacturer Convenience Projects. “The first half of the project was about learning what the material can do. What are its capacities?” Master’s candidate Benjamin Newberry, told WUSTL’s campus journal. “How do you convert it into something that floats?” https://youtu.be/XuG6f3jldh4 Frank Gehry, an avid boater, recently finished FOGGY 2.0, an 80 foot long sailboat he designed for his friend, real estate investor Richard Cohen. In 2013 Zaha Hadid unveiled plans for a 420-foot superyacht prototype which is being used a base design for further investigations by Hadid and Hamburg-based shipbuilders Blohm+Voss. Greg Lynn launched his own carbon-fiber 42 foot racing yacht last year. Lynn used the sailboat as a means of investigating the possibility of monocoque construction with composite materials.
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Ahoy! Greg Lynn’s carbon-fiber racing sailboat hits the water

Long interested in the potential of composites, Los Angeles architect Greg Lynn has just launched his 42 foot long by 32 foot wide carbon fiber racing sailboat. Created by Greg Lynn Form and a team at Santa Ana–based shipbuilding company Westerly Marine, the vessel was formed using CNC-formed molds, the resulting pieces held together with high tech adhesives. It's now docked in Marina Del Rey, and awaiting a new mast (the first one was damaged) so it can officially begin sailing. Lynn has started his own company, Greg Lynn Yacht, so he could begin producing more of the aerodynamic trimarans. “I used to think that aerospace was a great place to focus my research, but it became clear that racing boats were more interesting and more affordable,” noted Lynn. He believes carbon fiber will soon be more commonplace in architecture because of its strength, lightness, and malleability. “You only put the material where you need it. There’s so much less waste,” said Lynn. His boat, for instance, varies from 120 layers of carbon fiber to about six, depending on how much is needed. It's also his secret weapon to beat his friend Frank Gehry in sailing races. We'll keep you posted on how that turns out. Image converted using ifftoany
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Revolving Dean Door: Schools Coast to Coast In Search of New Leadership

There is a rumor making its way around the West Coast that Thom Mayne may have more than a new building in New York. He may be headed east to become dean of Columbia University, replacing the departing Mark Wigley. But we have also heard—despite his protests that he is happy sailing to Catalina—that Greg Lynn may also be interested in the Morningside Heights position. It could be that Lynn would join his wife, Sylvia Lavin, who has long coveted an East Coast deanship. How about if Mark Wigley and MoMA’s departing Barry Bergdoll simply swap positions? There seem to be no end to the rumors of who may be filling one of the vacant deans posts at Cooper Union, Columbia, California College of the Arts in San Francisco, Cranbrook, or the University of Kentucky. We hear that Cooper Union is assembling names and has created a short list (who would want that job now?) that includes the names of several current deans as well as alumnus Daniel Libeskind and philosopher poet Peter Lynch. Then what will happen in the next two years when deanships become available at Penn Design, Yale, and Sci-Arc? Now that Aaron Betsky has left parochial Cincinnati he may be looking for a more hospitable place to work.
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MAD Museum gets Out of Hand

A cross-section of postdigital design work illustrates the role of parametrics in the built environment.

Spawned from his 2011 show on Patrick Jouin, Museum of Arts & Design (MAD) curator Ronald Labaco conceived Out of Hand as a more comprehensive show that clarified the role of digital design, from its capabilities to its significance in our daily lives. “People just didn’t get it,” said Labaco of Jouin’s 2011 MAD show. “Unless you’re immersed in it, it can be hard to understand so I thought if we showed something like this in the galleries again, we needed to provide information that can be digested more clearly.” Staged across three floors of the museum, with two exterior sculptures, Labaco said the show is an important program for MAD among other New York art institutions like MoMA, Cooper Hewitt, and the New Museum. The goal to raise awareness of 3D printing is timely, by chance. “Paolo Antonelli’s Design and the Elastic Mind, and two shows from Material Connection were complements to my show for the uninitiated,” Labaco explained. Out of Hand’s broad scope includes digital designing and fabrication processes like CNC milling, digital weaving and knitting, laser cutting, and 3D printing to display how these technologies influence the built environment. “It’s a historical look at the last 8 years and works from as early as 2005 are incorporated because, in my mind, that was when the major shift between rapid prototyping and 3D printing really occurred,” said Labaco.
  • Curator Ronald Labaco
  • Location Museum of Arts & Design, New York
  • Date October 2013– July 2014
  • Materials ceramic, concrete, polyurethane, resin, PVC, metal, gypsum, wax, paper, wood, jacquard
  • Process water jet cutting, laser cutting, laser sintering, 3D printing, digital weaving
Organized in six themes, a cross-section of traditional methods and new design capabilities are illustrated by architects crafting art, artists doing design, and photographers making sculpture. Approximately half a dozen pieces were commissioned for the show while others were an extension of existing works: For example, a chair by Jan Habraken evolved into the more comprehensive Charigenics. Placards for each piece call out production methods, from 3D printing (10 materials are featured) to digital knitting, underscoring the multi-step creation process to make the point that digital design isn’t only press-and-print. And many of the show’s pieces are a combination of old-world handcrafting and newer digital geometries and computations. Pieces like Rapid Racer, Bosch’s 3D-printed vehicle fabricated over 10 days and weighing just 29 pounds, and Zaha Hadid’s Liquid Glacial "Smoke", a coffee table CNC-milled from polished plexiglass, illustrate the functional role of digital design. Data input is actively incorporated through two interactive pieces from Francios Brument, for which he developed his own scripting, as well as a Shapeways workshop that is open to the public. Traditional forms are realized by new methods in Nendo’s 3D-printed paper boxes that are lacquered with traditional urushi for a ringed faux bois. Other featured artists, architects, and designers include Richard DuPont, Greg Lynn, Anish Kapoor, Marc Newson, Frank Stella, Daniel Libeskind, and Maya Lin. Just as dynamic as the digital disciplines themselves, new pieces are being added throughout the show’s run. Look for a new piece from Iris Van Herpen by mid-November. Out of Hand will remain on view through July 6, 2014.
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On View> “3 in 1: Contemporary Explorations in Architecture & Design” at the Art Institute of Chicago

3 in 1: Contemporary Explorations in Architecture & Design The Art Institute of Chicago 111 South Michigan Avenue, Chicago, IL Through January 5, 2014 3 in 1 Contemporary Explorations in Architecture and Design is broken down into three small separate exhibitions each revealing different categories: architecture, product design, and fashion. In Reality Lab, the Japanese designer Issey Miyake, head of Reality Lab Studio, reveals a spectrum of diverse and innovative products resulting from his experiments with material, structure, and form. The exhibition includes Miyake’s two products lines: 132 5 and IN EI, which are based on origami-folding techniques that create two-dimensional geometric patterns and unfold into remarkable voluminous forms. Los Angeles architect Greg Lynn’s Stranded Sears Tower explores how computer programming can act as a mode of creative expression. Lynn re-envisions and reconstitutes Chicago’s Sears Tower in order to develop a new kind of flexible and fluid type of architecture. Lastly, the Dutch designers Scholten & Bailings combine craft and industrial practices in order to re-invent everyday objects. Through the use of different colors, forms, and materials, their Colour reveals the numerous amounts of projects that the designers have accumulated over the past 13 years.  
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Goldberger Sets Sail With Gehry and Lynn

Some recent tweeting by Paul Goldberger revealed that the Vanity Fair contributing editor had set sail off the coast of L.A. with architects/ seamen Frank Gehry and Greg Lynn. Broadcasting from FOGGY, Gehry’s Beneteau First 44.7 fiberglass sailboat, Goldberger sent out a rakish pic of Gehry at the wheel. (The name “FOGGY,” in case you couldn’t guess, it based on F.O.G., the maestro’s initials; the “O” stands for “Owen”). We hope to hear more about the voyage in an upcoming VF article and that the story involves pirates and lost treasure.
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Video> Greg Lynn’s House of the Future Radically Redefines “Mobile Home”

At the recent Interieur 2012 Biennale in Kortrijk, Belgium, Venice, California-based Greg Lynn shared his vision of the future of housing: architecture that rotates to accommodate different uses. The model above, called "RV Prototype" (RV stands for Room Vehicle), part of the Biennale's Future Primitives exhibition program exploring our future living environment, rotates via a robotic stepper drive and consists of a super-lightweight structure built with a carbon shell lined with a foam core. As its name suggests, the proposal is just a scale prototype, but if enlarged and tricked out, Lynn argues it could contain living spaces on one side and a kitchen or bedroom on another, for example. All you have to do is spin.  The device is now on a boat returning to Los Angeles from Belgium. We'll let you know when the future arrives—and where to store your forks and pillow when they're upside down.
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LYNN PROJECT SINKS

Bummer. SFMOMA, soon closing for several months for its Snøhetta-designed expansion, was hoping to keep things interesting by hiring Greg Lynn to design a floating exhibition in the San Francisco Bay. The project, coordinated with sail maker North Sails, would have included 200 sculptural chairs (made out of carbon fiber—the same material used in America’s Cup boats’ sails) under a large canopy on a large barge, providing clear views of the America’s Cup, which will soon be held in San Francisco. According to North Sails, Lynn may now produce some of the chairs for Vitra instead.