Jim Bell

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This publication presents the Chemnitz Stadium, a project whose visual effects and structural qualities were shaped by a transition from hand sketches to a digital 3D model. Cologne-based architects Peter Kulka and Ulrich Königs, in collaboration with structural engineer Cecil Balmond of Arup, developed the design through hand sketches that were translated into a digital 3D model. The stadium’s structure consists of four formal elements: the lower stands, the upper stands, a series of columns, and a translucent roof, which the architects described metaphorically as an artificial hill, a floating object, a forest, and a cloud, respectively. These distinct forms layer ...
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Greg Lynn and Preston Scott Cohen discuss the Eyebeam Atelier Museum, a project for an art space in New York developed through 3D modelling to define a structure based on tensegrity. The project was developed for a competition in 2001 and was intended as a space for exhibition, education, and design in the domain of digital art. Preston Scott Cohen’s design defines distinct planes, chords, and stacked toroidal volumes in a segmented structural system that nevertheless allows for continuous and non-repeating circulation. Cohen’s use of digital technology for the Eyebeam project originated in his formal interests—specifically in geometry that could not ...
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This publication presents Interrupted Projections, an exhibition by Neil Denari at TOTOGALLERY・MA in Tokyo in 1996. Denari realized in built form the spatial character of his drawings and digital renderings of continuous curved surfaces, blending floor, wall, and ceiling. He built a structure inside the gallery space whose seamless surface was meant to be a physical representation of the way architecture can figuratively wrap itself around commercial and symbolic systems of value. As part of a multiyear project that includes three exhibitions on twenty-five seminal projects, the CCA and Greg Lynn are publishing a series of digital publications recording conversations with ...
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In this publication, Greg Lynn, Jesse Reiser, and Nanako Umemoto discuss RUR’s entry to the competition for the Kansai-kan, or Kansai branch, of the National Diet Library in Kyoto, a project that pairs an automated system for storing and retrieving library materials with a fluid landscape of public and research spaces distributed across three interconnected, sloping levels. RUR’s design, which was a finalist in the 1995 competition, fulfils the conventional program of a library—information storage and access—while addressing both the explosion of digital tectonics in surface modelling and new library technologies. The design process began with hand drawings and wax models; ...
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Often referred to by one of its clients as “Cleopatra’s submarine,” the Ost/Kuttner loft converts two adjacent apartments in a pre–World War II building in New York City into a single but divisible space used as a pied-à-terre and guest house. Sulan Kolatan and William Mac Donald of KOL/MAC extended this hybrid character into the design of the renovation, drawing an analogy between the apartment layout and a city where various zones or sites can be activated and linked together. The loft is organized into areas defined less by their programmatic identities—bathroom, bedroom, living space—than by a series of undulating landscapes ...
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This publication presents François Roche’s Water Flux, a project for a geology and glaciology museum and research centre in the Swiss Alps. Water Flux, begun in 2007 but never realized, involved digital design to control an automated manufacturing process. It was conceived as a monolithic structure in wood milled from local forests, resting on a reinforced concrete base. Roche and his office, R&Sie(n), developed the design through a digital 3D model and used parametric analysis to determine the exact structural conditions needed to realize the form. This digital information would then be applied to a milling process through computer numerical control ...

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