Using aluminum casts that have been drilled to allow light to filter through, Japanese architect Kengo Kuma has created a tranquil space that is the Vanke Art Gallery. Located in the Wuxi province, just West of Shanghai, the gallery's amoeba-like footprint is derived from the shape of the local Taihu Lake stone that was once at the epicenter of Taihu culture in China. Kuma's project also involved the renovation of a former cotton mill that is also part of the gallery complex. The curvaceous aluminum-panelled facade wraps around the main structure, clad with glass, giving it a wide berth. These panels allow light to permeate through myriad gaps and gently illuminate the interior gallery. Because the facade was placed in front of the actual glass elevation, the effects of shadowing are exaggerated. Meanwhile, light is also allowed to reflect off water that bridges the gap between these two facades. In some places, this shallow pool of water's footprint extends beyond that of the aluminum facade. As a result, three distinct footprints interplay, with the water acting as the initial threshold, of a series of three, between the public and private space. The water, as the primary threshold, also establishes a calm and tranquil environment, something Kuma was eager to construct with the area's history of being home to a bustling brick-built cotton mill. This is then reinforced via light filtering through and the choice of materiality. Kuma, while disrupting the function within the immediate vicinity also instills a sense of tradition, drawing on the history of Lake Taihu, where the form of the Taihu stone comes from. Wuxi Vanke Art which occupies a combined 112,375 square feet also offers spaces for commercial functions and offices within the two structures.
Posts tagged with "light":
While the world has been discussing how much Drake’s “Hotline Bling” music video borrowed from James Turrell’s installations (Hint: a lot*), ARoS Aarhus Art Museum in Denmark announced that the artist is collaborating with Danish architecture firm Schmidt Hammer Lassen on the museum’s new expansion. “The Next Level” expansion project will contain a 12,900-square-foot subterranean gallery and two semi-subterranean art installations, The Sphere and The Dome. Intended to “bring the museum into the elite world of modern art museums,” the extension will cost an estimated $32 million. Schmidt Hammer Lassen originally designed the space in the early 2003 and is working with the museum and the artist to retain the building’s original integrity so the expansion will feel seamless and natural. The firm also worked with Olafur Eliasson on Your Rainbow Panorama, which opened last year. “The Next Level project will develop the museum horizontally in contrast to the existing vertical movement and it is exciting to work with the great lines spanning from the river to the square of the Aarhus Music Hall. Our studio is not just designing a new room for a new artwork, we are co-creating the space and the installation simultaneously with James Turrell,” Morten Schmidt, founding partner at Schmidt Hammer Lassen said in a press release. It seems that Turrell is having quite the week. In addition to the AroS expansion, it was also reported that Yvette Lee of the Guggenheim and Whitney Museum will be the new director of the Roden Crater in Arizona (The crater’s completion date has still not been released.) Responding to Drake's video set*, Turrell had a few select words. "While I am truly flattered to learn that Drake f*cks with me," wrote Turrell in a statement from his lawyer via Vice, "I nevertheless wish to make clear that neither I nor any of my woes was involved in any way in the making of the ‘Hotline Bling' video." If you want to decide for yourself, we recommend watching the music video below and then glancing at a few installations. (If you want to go further down the bizarre rabbit hole, AN has also previously reported rumors from CityLab that “Hotline Bling” is about poor city planning.) https://www.youtube.com/watch?v=uxpDa-c-4Mc
The current focus on research in architectural practice normally means thinking out the design and materials of an upcoming project or a prototype for a hoped-for commission. But when Norwegian and American firm Snøhetta was given the chance to do a research project by the Zumtobel Group they created Living The Nordic Light, and it became an exhibition at Berlin’s Aedes Architecture Forum. Snøhetta joined with artists, writers, and research institutions to investigate the relationship between natural light, people, and habitat in the northern region of Norway. By interviewing four centenarians living their entire lives above the Arctic Circle, they explored the irrevocable and inherent relationships of light and darkness, lived time, and individual perceptions of these relationships. It’s not the sort of research that has a direct relationship to building practice but will surely influence the intelligence with which the firm conceptualizes architectural projects and issues. A catalogue which is part of Zumtobel's annual report—a model which we wish was picked up by American companies—is available at Aedes. The exhibition is open at Aedes until October 1, 2015.
As AN recently reported, a fire that destroyed a warehouse in Williamsburg, Brooklyn has rekindled questions about a long-promised waterfront park. Back in 2005, Michael Bloomberg rezoned much of Williamsburg and Greenpoint leading to a surge in glassy towers. With those towers was supposed to come Bushwick Inlet Park, a 28-acre green space along the East River. But in the decade since, only parts of the park have been completed. That is partly because when the city rezoned the waterfront, it didn't purchase the 11-acre Citistorage property that sits in the middle of the planned park. Now, with one of the warehouses destroyed, local residents and elected officials are urging the de Blasio administration to finally acquire the lot and deliver more green space. But with the property reportedly valued between $75 million and $100 million, the de Blasio administration says it has no plans to do so. In spite of that, over the weekend protesters used "light graffiti" to urge the administration to change course. Gothamist reported that images were projected on the side of a storage facility next to the charred site that read: "The city mapped it, designed it, and promised it and we need it more than ever," "Hey de Blasio Where's Our Park?" and "This Right Here is Supposed to be a Park." There were also details displayed about an upcoming rally planned outside City Hall on Thursday. The event in Williamsburg brings us back to 2011 when Occupy Wall Street protesters projected so-called "bat signals" on the side of the Verizon Building next to the Brooklyn Bridge.
In architecture—and especially in warm, sunny locales like Southern California—light is a double-edged sword. Successful daylighting reduces dependence on artificial lighting and enhances occupants' connection to the outdoors. But the solar gain associated with unregulated natural light can easily negate the energy savings effected by replacing electric lights with sunshine. As leaders in the field of high-performance building envelope design, James Carpenter and Joseph Welker, of James Carpenter Design Associates (JCDA), are no strangers to the benefit-cost balance of designing for light. Carpenter and Welker will draw on their firm's extensive portfolio of both civic and commercial projects for "Light in the Public Realm," the morning keynote address at next month's Facades+ LA conference. "We'll talk about the approach we have to light—how you use light for the occupant, and for the public realm," said Carpenter. "It obviously has technical components, like cable walls and curtain walls. But the thread might be less about a purely performative agenda and more on performance and aesthetics together." JCDA's notable facades include two joint projects with SOM, 7 World Trade Center and the Time Warner Center atrium, both in New York. For 7 World Trade Center, the firm was tasked with integrating the glass tower and concrete podium. By floating vision glass in front of a stainless steel spandrel panel, the architects encouraged the play of light on the tower facade, creating an ever-shifting dynamic that blurs the line between building and sky. In the case of Time Warner Center, JCDA designed the largest cable-net wall ever constructed, and achieved the remarkable feat of hanging two cable-net walls from a single truss. To hear more from James Carpenter and Joseph Welker on JCDA's approach to light and the building envelope, register today for Facades+ LA. More information, including a complete schedule of speakers and workshops, is available online.
Tomorrow, June 21, is the summer solstice. On the occasion, the Solomon R. Guggenheim Museum will open the doors on a major solo show of the work of James Turrell, called simply James Turrell. It's a fitting day to open an exhibition on the American artist. Since the 1960s, Turrell has developed a diverse body of work that uses light as material and medium. The centerpiece of the show is Aten Reign, a site-specific installation that fills Frank Lloyd Wright's famous rotunda. Made from a series of interlocking fabric cones that relate to the Guggenheim's interior ramps, Aten Reign interlaces the prevailing daylight with subtly changing color fields produced by concealed LED fixtures. Viewed from below, on reclining benches or lying flat on the floor, with the gentle bubbling of the Guggenheim's fountain providing aural accompaniment, the installation provides a meditative, perception altering experience. In addition to Aten Reign, the exhibition features several of Turrell's older works that focus on light and perception. Afrum I (White) (1967) presents viewers with a glowing white cube that, upon closer inspection, reveals itself to be simply two intersecting planes. The Single Wall Projection Pado (White) (1967) turns a section of wall into what appears to be a luminous opening to another realm. Litar, one of Turrell's Space Division Constructions, troubles the viewer with a rectangle of uncertain description. Is it a flat panel of color? A foggy void? Or an opening into another chamber? James Turrell runs from June 21, 2013 until September 25, 2013.
The 1973 World Trade Center twin towers by Minora Yamasaki were not great buildings but in various light conditions or in the dark of the night they would take on a mute sculptural quality that New Yorkers now remember with fondness or nostalgic reverence. Now something quiet similar may be happening with the replacement to the tower—One World Trade Center. In certain light and atmospheric conditions the top floors of the building seem to glow like a bright incandescent light build. Walking down Church Street on Tuesday, May 21 about 10:00a.m. nearly every pedestrian headed south on the street stopped in amazement and if they had camera phones pointed them towards the tower which had become shrouded in shimmering clouds or fog and had taken on a magnificent glowing presence. The effect only lasted for a few fleeting minutes when the clouds moved on and horizontal shafts of light streamed out of the upper floors of the still unfinished structure. The top floors of the glass tower-unlike the lower floors- are translucent allowing views in and out of the building and this may be causing the glow. But whatever is causing this and whether it will remain when the building is finished is anyone's guess but for the time being the effect is nearly magical.
Before there was the Kindle and the Sony Reader, there were paperback novels, newspapers, magazines, made of tangible materials, like paper and ink. One could ride the subway and sneak a glimpse into the mind of his fellow passengers without ever exchanging a word; the title printed on the cover of the book you were reading might reveal volumes about your interests and curiosities. With the invasion of e-books and e-readers, there is just no way to tell what people are reading these days. Designers Brian W. Bush and Yong Ju Lee of E/B Office New York changed that with their Filament Mind installation that debuted in late January at the grand opening of the Teton County Library in Jackson, Wyoming. Filament Mind is a complex and intricately crafted ceiling installation comprised of over 1,000 fiber-optic cables (totaling over 5 miles) and 44 LED illuminators connected to data processing systems in libraries all across the state of Wyoming. The cables, which are categorized according to the Dewey Decimal System, continuously flash different colors according to the specific words and subjects (for example: “landscape architecture” or “computer methods”) that people enter into the library search system. As users click into different categories and explore new content, the cables burst into an array of colors, making for a truly interactive user experience. With this larger-than-life sized installation Brush and Lee have not only created a visually stunning experience but have also presented library visitors with a unique opportunity to communicate with one another, share and exchange ideas, and inspire each other to delve into subjects that might normally be off their radar. Additionally, the artists honor the donors who funded the project by equipping the installation with a “donor mode.” Periodically the cables will burst into a brilliant light show, randomly glowing from green to pink to blue to yellow. The effect of this technologically detailed installation provides library visitors with a seemingly magical light show that has encouraged people from all across the state to make a trip to the library. “It’s the heart of the community, it’s where people come to share their ideas, and to explore new things to enrich their lives,” says artist Brian Brush. [Via Wired.]
Once again the courtyards at the USC School of Architecture are bubbling with installations as part of the second-year 2b studio, in which several teams of undergraduate students design and build structures in a very short period of time. Perhaps the most striking is the shimmering pavilion created by the 14-student class of professor Roland Wahlroos-Ritter. The studio focused on glass' structural, reflective, and refractive qualities. All of those attributes are apparent in the installation, in which 800 translucent and triangular polycarbonate pieces (actual glass was deemed too expensive and time-consuming) were folded like origami and zip-tied together. Each piece was drilled with several holes and inserted with vinyl tubing to reinforce the connections. In fact, the model for the structure was made with paper, then translated into its new, highly refractive form. The installation was brought to the site in five segments and then pieced together on site. The students see this as a 1:1 prototype for a future pavilion to be built in glass.
Alyson Shotz: The Geometry of Light Indianapolis Museum of Art 4000 Michigan Rd. Indianapolis, IN Through January 6, 2013 Following the U.S premiere of her animated Fluid State, which visualizes the creation of matter in a fictional landscape, artist Alyson Shotz has adapted her installation The Geometry of Light for the Indianapolis Museum of Art’s Efroymson Family Entrance Pavilion Series. Shotz—who is recognized for exploring the physical world by engaging with concepts of light, gravity, and space—uses industrial materials such as stainless steel wire, silvered glass beads, and cut Fresnel lens sheets to form a sculpture that considers the duality of light as both particle and wave. During daylight hours, natural light filters through the lens sheets, and the varying angles bring life to the piece as the position of the sun changes throughout the day. By moving through the room, visitors perceive how light and motion shape the experience of space.
SITU Fabrication produces and installs a Dev Harlan-designed projection wall in three weeks flatFor Adidas street fashion line Y-3’s 10th anniversary, the company commissioned New York City-based artist Dev Harlan to produce one of his distinctive 3D light installations. Y-3 wanted the installation to serve as a backdrop for a runway show at this September’s New York Fashion Week. Harlan designed a 170-foot-long wall with a deeply textural pattern of 656 skewed pyramids made prismatic by projected colored light and geometric shapes. He called on Brooklyn-based SITU Fabrication to produce and install the work in three weeks flat. “We had worked with Harlan before on ‘Astral Fissure,’ a sculpture of folded aluminum plates that he projected light on,” said SITU partner Wes Rozen. “This time the budget and timeframe were much less, so we worked with foam core instead of aluminum.” Harlan designed the projection wall in Maya and then transferred the model to Rhino to break down the 3D geometry into rationalized segments for fabrication. SITU took the Rhino files and developed them into 2D fabrication documents before feeding them into a CNC router, which cut the profiles out of the Ultraboard foam core panels. The fabricators were able to derive clusters of three pyramids from each 4-foot-by-8-foot sheet of foam core. The CNC router, equipped with a 45-degree V bit, also scored the back of the panels so that they could be bent into the 3D pyramid shapes. “The material is plastic enough that it doesn’t break on the fold,” said Rozen. “You don’t want to bend it back and forth too much, but it’s fine for one bend.” Once bent into shape, the fabricators applied hot glue along the seams to lock the pyramid clusters into place. Once that was done, the lightweight foam pyramids were stacked and then trucked to the site. In addition to developing the flattened pyramid geometry in the fabrication files, SITU worked out an interlocking tab detail along the edges for the purpose of mounting. Once on site, the team fastened the pyramids to a pre-constructed plywood wall with screws. The pyramids were placed from the bottom up. Once the first course was screwed to the plywood the next higher course was slotted and screwed into place. In all, the 3D projection wall took merely 8 hours to install, all while Harlan and his team worked on overlaying the video projection. See a video of the installation here.
Cecil Balmond, who famously left ARUP to start his own firm, Cecil Balmond Studio, a couple years ago, has a mesmerizing new project. The ethereal light sculpture, dubbed Snow Words, stretches out towards the Alaskan sky and illuminates the lobby of the new Crime Detection Laboratory in Anchorage. Suspended between a glazed skylight and a mirrored floor, the 30-foot-high beacon, which opened last month, seems to float within its laser-cut cylindrical shell. Made of LED-lit rods calibrated to a unique sequence, the installation commemorates the officers who have lost their lives in the line of duty. The tower of light features 24 aluminum tubes containing 206 LED strips encased in acrylic and spaced according to patterns which “draw inspiration from prime numbers.” Each tube is programmed independently allowing for infinite variety as the lights gently pulsate from a bright white to a faded glow. Balmond has been busy—and exhibiting his adventurous, artistic side—since leaving Arup. Some other new work includes Arcelormittal Orbit (2012), the wondrous pavilion with Anish Kapoor for the London Olympics; and Star of Caledonia sculpture in Scotland (2011). More images of Balmond's new work below.