Renzo Piano’s done it again at Harvard. Read more.


Landesgartenschau Exhibition Hall | ICD/ITKE/IIGS University of Stuttgart | Via

The Landesgartenschau Exhibition Hall is an architectural prototype building and a showcase for the current developments in computational design and robotic fabrication for lightweight timber construction. Funded by the European Union and the state of Baden‐Württemberg, the building is the first to have its primary structure entirely made of robotically prefabricated beech plywood plates. The newly developed timber construction offers not only innovative architectural possibilities; it is also highly resource efficient, with the load bearing plate structure being just 50mm thin. This is made possible through integrative computational design, simulation, fabrication and surveying methods.


120 Doors | Pezo Von Ellrichshausen Architects | Socks Studio

These five perimeters operate as fences that confine a progressive sequence of interiority and depth of the space. Seen from the outside the exterior perimeter is a compact horizontal block. In the interior space is closed laterally and opens to the sky and the ground. This configuration establishes a series of paths along narrow spaces, verti-cal in section, that dissolve into a cubic central space confined within the smallest perimeter.

With this, what we were really looking for was a way to evidence how relative and artificial the distinctions of limits within a work of architecture are and, hence, within one of art. We are interested in exploring the points of transmission, or friction, between one place and another.

We think of the doors as a turning point that sub-verts temporally the definition of space, adding a dynamic dimension to the construction of walls in a work of architecture, something that could be seen as a key that regulates the fluctuation of forces.


Weaving Facades out of Clay | Jared Friedman | Via

Low-cost 3-D printers that produce tchotchkes made of melted plastic wouldn’t satisfy Friedman’s architectural ambitions, so his team decided to build their own machine. “We were tired of seeing the same things over and over being 3-D printed within the design community,” he says. “The scale was always very small due to the size of standard 3-D printing machines and everything relies on a ‘layer upon layer’ process.”

The team appropriated a robotic arm from a factory floor, bolted a giant clay-filled syringe to it, and employed a printing process developed by the Harvard Graduate School of Design Robotics Group. He created CAD files that specified paths for the robot to follow and as it progressed clay was squeezed like toothpaste from the metallic cylinder onto an irregular surface forming a two-foot square panel. Half-inch thick clay coils were woven, braided, and built-up in patterns on the panel, but despite their futuristic pedigree they were actually inspired by much older manufacturing processes. “Tools such as the industrial robot can allow for designers to revisit techniques such as weaving, and leverage the abilities granted by the robot to produce new and unique products,” says Friedman. After the pattern was completed the panel’s edges were trimmed, they were fired in a kiln, and assembled on a steel scaffold.


Aluminium panels open like flower buds on warehouse facade by Brisac Gonzalez


A yellow wall of storage divides this Portuguese apartment by architects Pedro Varela & Renata Pinho

got my first “where are you from? …no, where are you *really* from?” today. It’s been a while. I haven’t missed it. -__-

Another day in USA