http://hdl.handle.net/10453/51 Sat, 25 May 2013 13:37:56 GMT 2013-05-25T13:37:56Z http://hdl.handle.net/10453/21847 Concrete Tectonics II Orr, Kirsten; Nicholas, Natalie; Tringali, Jessica The Concrete Tectonics Studio 2012 was a research based design studio of sixteen Master of Architecture students led by Associate Professor Kirsten Orr, at the University of Technology, Sydney. The studio traversed the gap between analogue and digital spheres of architectural research, pursuing innovation in precast concrete through material experimentation and parametric design. The iterative nature of analogue-to-digital design ultimately manifested itself as an investigation of scale. Multi-scalar prototype-based research focussed on innovative fabrication techniques resulted in student work that tested and challenged the limits of precast concrete against complexities of scale, dimensional tolerance, materiality and mass-customisation principles. The students’ practical and hands-on material testing and prototyping was supported by a parametric scripting tool developed by Supermanoeuvre. The dynamic process of oscillating between the analogue and the digital allowed students to more actively engage with the design process, and to wrestle with the frequent incongruence between digital simulation and physical artefact. This book catalogues the Concrete Tectonics Studio processes into a series of scaled studies, enabling a detailed synthesis of the minute details of the individual components with the complexities of realising the whole. Scale is the lens by which the studio investigations are examined. At the scale of 1:20 is the exploration of form and parametric investigation. At 1:10, the design of the ground plane and scaffolding. At 1:5, the design of mass-customised concrete components and experimentation with casting techniques. At 1:2, the exploration of joints, reinforcement steel, materiality and integration of lighting. And at 1:1, are prototype investigations and the final assemblage. Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/10453/21847 2012-01-01T00:00:00Z http://hdl.handle.net/10453/17713 Paradigm Islands: Manhattan and Venice Stoppani Teresa Concerning architecture and the city, built, imagined and narrated, this book focuses on Manhattan and Venice, but considers architecture as an intellectual and spatial process rather than a product. A critical look at the making of Manhattan and Venice provides a background to addressing the dynamic redefinition and making of space today. The gradual processes of adjustment, the making of a constantly changing dense space, the emphasis on forming rather than on figure, the incorporation of new forms and languages through their adaptation and transformation, make both Manhattan and Venice, in different ways, the ideal places to contextualize and address the issue of an architecture of the dynamic. Contents: Part 1: Paradigm Islands Part 2: Frames 1. Learning from Manhattan, Designing the Frivolous: Rem Koolhaas from 'Delirious' to 'Junkspace' 2. Building on Tension, Learning from Venice: Manfredo Tafuri's History Between renovatio and Continuity Part 3: Makings 3. Manhattan Grid: the City as a Script 4. Manhattan Surfacing: Central Park 5. From Grid to 'Grid Effect' 6. Venice Traces: Grids, Mats, Tentacles 7. Venice Impossible: Representations of the Dynamic Part 4: Readings 8. Manhattan: Performance, Artificial Chorality and Exhibitionism 9. Venice: Normative Chorality, Masks, Tenderness Part 5: Modern(s) 10. Le Corbusier and Manhattan 11. Le Corbusier and Venice Part 6: Contemporaries 12. The City as Event: Bernard Tschumi in Manhattan 13. Topology to Diagram: Peter Eisenman Between Venice and Manhattan 14. The City as Diagram. Gianugo Poleselloâ¿¿s Venice Part 7: Representations Part 8: Islands Sat, 01 Jan 2011 00:00:00 GMT http://hdl.handle.net/10453/17713 2011-01-01T00:00:00Z http://hdl.handle.net/10453/14221 Chromatophoric Architecture - Designing for 3D media facades Haeusler Matthias Future facades will become 3D displays. New developments in display technology, so called voxels, allow revolutionary architectural expressions. Whereas spatial expressions have been largely determined by the physical attributes of the building material, voxel displays will shift these borders. With examples of contemporary projects this title looks at the latest developments of the 3D technology & considers its significance for our understanding of space & architecture. Fri, 01 Jan 2010 00:00:00 GMT http://hdl.handle.net/10453/14221 2010-01-01T00:00:00Z http://hdl.handle.net/10453/14220 The problematic of video art in the museum, 1968-1990 Manasseh Cyrus In the book Dr. Manasseh discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of video art and contends that analogue video art would be instrumental in the evolution of the contemporary art museum. By addressing some of the problems that analogue video art presented to those museums under discussion, Dr. Manasseh penetratingly reveals how video art challenged institutional structures and had demanded more flexible viewing environments from those structures. Dr. Manassehâ¿¿s book first defines the classical museum structure established by the Louvre Museum in Paris during the 19th century and then examines the transformation from this museum structure to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit analogue video art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. In the book MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to video art. The problematic of video art in the museum, 1968-1990 covers a range of issues. They include: video art: its origin, significance, significant movements, institutional challenges, and relationship to television; the establishment of the museum (its patronage, and curatorial strategy) "from the Louvre to MoMA; the relationship of MoMA to the Metropolitan Museum of Art; a comparative analysis of three museums in three countries on three continents; a close examination of video art exhibition; a closer look at three seminal video artists; and, finally, a critical overview of video art and its future exhibition. Thu, 01 Jan 2009 00:00:00 GMT http://hdl.handle.net/10453/14220 2009-01-01T00:00:00Z