In October 2018, Switzerland-based 3-D-graphics software company Imverse released a public beta version of its LiveMaker modeling tool. This powerful virtual reality interface allows for the transformation of 2-D inputs into immersive 3-D environments. While the use of VR in the field of architecture and design is by no means novel, it has primarily remained a tool for the final visualization of a project. LiveMaker not only allows the user to navigate and interact with spaces and objects within a rendered 3-D environment, but also facilitates the real-time manipulation of details such as geometry, color, and placement. Within the digitally rendered environment, specific details imported from 2-D images are easily replicated and moved about the space. The foundation of Imverse’s ability to create this malleable VR interface is its proprietary voxel-based gaming engine. According to Benoît Perrin, head of marketing and communications, “most 3-D graphics today are based on polygons that complicate what should be the seamless creation of content, LiveMaker is the first application of a voxel engine as a 3-D modeling tool.” One of the more impressive tools stemming from the use of a voxel engine is the dynamic shading and lighting characteristics applied to objects–the shadow cast by a column at any time of day is immediately available. How is the application most useful for architects and designers? The platform presents a number of positive implications for firms involved in historic restorations or reconfigurations of protected sites. For example, with 360-degree imaging of Austria’s Hellbrunn Palace, a user can interact with walls, columns, and other elements. If the user comes across a specific detail or object of interest, they can be copied and exported as 3-D models across different rendering platforms. Going forward, features within LiveMaker will be upgraded and expanded by Imverse following feedback from users of the public beta release.
Posts tagged with "historical restoration":
The Sunday Craftsman House Tour is Craftsman Weekend’s signature event, featuring fine examples of the beautiful Craftsman architecture that makes Pasadena the destination for Arts & Crafts enthusiasts from across the country. Homes participating in the tour are located in Pasadena’s newest Landmark District and first Landmark District. Pasadena Heritage helped create the Landmark District legislation more than two decades ago.
In the two years since restoration work on the largely-forgotten Fort Moore Pioneer Memorial restoration in Downtown Los Angeles began, the areas around the isolated military memorial fountain have begun to see signs of change. To the north, the LA Plaza Village project, a new mixed-use development by architects Johnson Fain and landscape architects SWA Group, will likely transform the area when its 355 housing units and 46,000 square feet of commercial spaces come online in 2018. That project will take over several Los Angeles County–owned parking lots occupying the relatively isolated blocks east of the memorial. These formerly-neglected hillside lands are populated mostly by encampments, parking lots, and planted slopes and are relatively difficult to access on foot. The LA Plaza project will feature, however, a central, stepped paseo connecting across several blocks, linking the memorial with the pedestrian life of the Olvera Street area to the east. The Civic Center area to the south of the memorial, meanwhile, is working toward implementing the initial phases of a new, transformative master plan that seeks to convert the bureaucratic enclave into a mixed-use residential neighborhood in its own right. If there’s anything in the air around these parts, it’s change. Work on the Fort Moore Pioneer Memorial continues in pursuit of these changes, as the fountain—its waters shut off since the 1977 drought—is meticulously restored by the Los Angeles County Department of Public Works under the guidance of Conservator Donna Williams and Civic Art Collections Manager Clare Haggarty. The memorial is located atop the stubborn slope that gives Downtown Los Angeles’s Hill Street its name and is dedicated to the Mormon Battalion and the New York Volunteer American military forces that first raised the American flag over the recently-conquered California territory on July 4th, 1847. The memorial is situated in a sunken plaza that features a large, running-bond brick expanse on its northernmost end. Next follows the 80-foot-wide waterfall backed by small, colorful tiles. The southernmost portion of the memorial contains a 78-foot by 45-foot terra cotta bas relief installation designed by renowned German sculptor Henry Kreis depicting the flag raising ceremony mentioned above. The bas relief installation also features a trio of symbolic narrative compositions celebrating the area’s conquest via Manifest Destiny. The uppermost panel celebrates the post-indigenous Spanish ranchos and agricultural pioneers of the area. The central panel depicts a “prairie schooner,” a type of stagecoach used by the early American settlers “who made Los Angeles a city,” while the lowest panel celebrates the might of industrial “water and power” that allowed for the region to be inhabited on a mass scale. The overall memorial was designed by Southern California architects Kazumi Adachi and Dike Nagano between 1947 and 1957 and officially dedicated in 1958. The memorial also features a 68-foot-tall triumphal pylon designed by American sculptor Albert Stewart. The pylon is itself embossed by a 16-foot by 11-foot sculpted eagle bas relief and an inscription dedicated to the “brave men and women” who played a role in “extending the frontiers” of the United States westward. Haggarty spoke to The Architect’s Newspaper (AN) via email, explaining that work on the memorial restoration is well underway, with the restoration of the waterfall’s tile backing proceeding toward completion. Craftspeople are recreating replacement tiles for the wall by hand in an effort to match the original installation. Haggarty explained that when the waterfall was turned off during the 1977 drought, the monument began to fall into disrepair, but that many of the artistic components are in decent shape, otherwise. She explained, “The materials [like] grout, tiles, etc. started to get brittle and began to delaminate” when the water was originally shut off and that after over 40 years of neglect, “the plumbing for the waterfall needs to be entirely replaced.” A goal of the restoration is to return the monument to its original function as a fountain, assuming there is enough water to go around. Haggarty explained, “It is supposed to be a fountain and turning it off caused most of the issues. Another big issue is graffiti and prior methods of removal that have done more harm than good.” A broad, sandblasted patch along the brick wall portion of the project is a testament to that fact. Haggarty and Williams will both be presenting at the Los Angeles Visionary Association salon on Sunday, April 30th. The event, organized by preservation advocates Kim Cooper and Richard Schave, will include lectures from the women behind the restoration project as well as a tour of the restoration site. Schave told AN via email, “The Fort Moore Memorial is a huge part of the downtown landscape, poorly understood, and neglected, and now, thanks to the LA County Arts Commission, it is coming back into focus.” Schave added that the restoration “allows us to reassert the lost history of [Fort Moore] Hill—the demolished layers from the 19th and early 20th centuries, including the people who lived there—and the monument itself.”
Design professionals are being sought for a consulting role to provide a conditions assessment of the historic First Presbyterian Church complex in Stamford, Connecticut. As part of a multi-year campaign to repair, conserve, restore, and upgrade the complex, the selected team will be expected to complete an architectural analysis of the current conditions of the building and provide recommendations for its rehabilitation and restoration as part of Phase I. Phase II will see the implementation of these concepts by the same selected team. The complex in question includes the magnificent Wallace K. Harrison-designed sanctuary, completed in 1958, the 56-bell carillon tower, a community/education wing, and the surrounding 10-acre grounds. Over 20,000 pieces of faceted glass dapple the hushed sanctuary with its vaulted roof in sun-drenched color. The church itself is often likened to a fish, a symbol of early Christianity, and it, along with its sweeping complex, occupies an eminent spot on the Connecticut State Register of Historic Places. The conditions assessment in Phase I will help anticipate capital needs and outside grant funding needs in 2016 from the State Historic Preservation Office of the Connecticut Department of Economic and Community Development, as well as private foundations. Specifically, the chosen architect should earmark and document comprehensive repair needs for the envelopes, structure and MEP systems, and the interior finishes, and then also provide recommendations and a phasing framework for the restoration. The facade itself is notoriously water-permeable and lacks weatherproofing, made from béton glass secured to side wall concrete panels with caulking. As such, high on the checklist for the chosen architect is to examine the extent of moisture infiltration of the sanctuary Dalle de verre and improve climate control in the sanctuary to facilitate summer use. The architect should also observe the structural movement of the Carillon Tower, with the end objective of establishing a preliminary project scope and expected cost of repairs in compliance with SOIS, budget, and schedule. The Highland Green Foundation and Fish Church Conservancy will oversee the entire multi-year restoration campaign, and will provide the architect with digital files of the original construction drawings of the complex. Leaders of the proposed teams must attend a mandatory walk-through at the church on July 9, 2015, at 10:00 a.m. RFQs must be received at the church office (1101 Bedford St) by 3:00 p.m. on July 24, 2015. For more information about entry requirements and the judging panel, click here.
A bespoke aluminum building skin transforms an abandoned war bunker into a high-performing boutique hotel.Restoration hotelier Unlisted Collection recently acquired a historically listed, vacant municipal building in London’s East End that served as a set favorite for film luminaries like David Lynch. The 1910 Edwardian fore building and its utilitarian 1937 addition had served as the town hall of Bethnal Green before World War II. In order to convert the complex into a boutique hotel, Unlisted hired London-based architecture practice Rare and tasked the firm with designing an addition to the existing buildings to add space for more guest rooms and amenities, while unifying the three disparate elements into a single entity. Rare directors and founders Nathalie Rozencwajg and Michel da Costa Gonçalves answered this last charge with an ornamental screen facade that visually ties together the historic and modern buildings while also improving user comfort and environmental performance. “The yellow brick facade of the 1937 building wasn’t finished due to the outbreak of the Second World War, when it was repurposed as a bunker,” Rozencwajg recently told AN. Since the building had suffered no major damage during the war, the designers had to move forward while abiding by the English heritage guidelines for preserving historical structures, including the decorative Eduardian facade along the street front. To expand square footage and enable the building’s function as a hotel, the team designed a fourth-level add-on for additional guest rooms. The addition is enclosed in a double-glazed curtain wall that is screened by a parametrically designed ornamental skin. Working in a custom-scripted plugin for Rhino, the team designed a pattern for the screen wall derived from an old ventilation grill that they found in the 1937 extension. In developing the pattern, the designers divided the project into three major zones. The uppermost level functions as a brise soleil with a tightly defined pattern that blocks most of the southern sunlight that impacts this part of the building. Toward the center, the pattern is varied, more open in some places and more closed in others to accommodate interior programming—guest rooms feature smaller apertures for greater privacy while the public spaces are clad in a more open screen. At the bottom level, apertures are kept small to provide privacy from street-level passersby. Approximately 980 feet of the building’s surface is wrapped in this screen, fabricated from laser-cut, 4-mm-thick aluminum sheets. Eight 7-by-4-foot panels in varying pattern densities are bolted into a frame that hangs from the curtain wall. At the roof level, the panels were designed to conceal the building’s elevator towers, plenum, and pitched roof profiles. Rozencwajg estimated that unique panel shapes make up 30 percent of the screen system. Each panel was numbered for efficient installation and bolts in each of the panels’ four corners prevent damage from wind and other environmental factors. The modularity of the panel system also provides for future design flexibility. “If you rearrange the space internally and want to reconfigure the facade, you can change out the panels for more or less opacity,” said Rozencwajg. The panels are finished with a metallic powdercoat that changes hue based on the sun’s angle. Since the historical listing prohibited the architects from altering the existing building—including the old sash windows—the new curtain wall had to improve overall building performance. The south elevation features double glazing to minimize heat gain and natural ventilation is enhanced with trickle vents and energy-efficient windows on the new level. The combined efforts resulted in a BREAM rating of Very Good.