With recent advancements in building technology, Revolution Pre-Crafted hopes to democratize the design of pre-fab structures, offering a line of products that incorporate the distinct spatial and social brands of the designers. See a selection of the Revolution Precraft line after the break.
Swarovski commissioned FR-EE / Fernando Romero EnterprisE to design an installation for Design Miami/ that "explores man's relationship with the sun." One billion times smaller than the sun, the installation - El Sol - is a spherical geodesic dome made from 2880 Swarovski crystals that "augment light emitted from its core" to "evoke the sun's gaseous, moving terrain."
"The project has allowed me to explore mathematics in relation to nature and my Mexican ancestry, which is very important and personal to my practice," said Fernando Romero.
Uncountable hours, and piles of failed sketches and models to go with them – much of the architecture process is left unseen, held behind locked doors, but Harvard Graduate School of Design (GSD)’s Pavilion for Design Miami exposes this process for the first time. After a school-wide competition involving over 100 students in 32 teams, a judging panel of GSD faculty and representatives of Design Miami selected “UNBUILT” to represent the school at this year’s fair.
Seattle-based architects Olson Kundig have opened their "Outpost Basel" pavilion for the Collectors Lounge at Design Miami/Basel in Basel, Switzerland. Incorporating materials and cultural elements from America, Japan, Austria, and Romania, the pavilion is a “high-design space made from everyday materials,” with a design centered on the idea of contrast, much like the concept of yin-yang. Different levels of lighting, material colors, and uses of space are contrasted with balance in order to create a functional, flexible meeting and gathering space.
Early this month at Design Miami/, Olson Kundig Architects celebrated the opening of “38 Beams,” a temporary collectors lounge named after the thirty-eight salvaged glulam beams that made up the structure. Originally milled in the 1950s, the Northwestern Douglas fir beams were once used to construct a Los Angeles building before being repurposed.
Approximately 15x30 inches around and up to 30 feet in length, 38 Beams formed a 2,400-square-foot lounge with an open lattice-work stacked 15-feet-high. The focal point of the space was a 28-foot Perrier-Jouët champagne bar lit by a chandelier of one hundred suspended light tubes designed by LILIENTHAL l ZAMORA.
More about the structure and images, after the break.
Formlessfinder of New York City has a vision "to liberate architecture from the constraints of form." Samuel Medina of Metropolis Magazine recently interviewed the Princeton duo on contemporary architectural practice - fittingly naming them "Formal Renegades."
“We like architecture,” says Garrett Ricciardi, with real sincerity. “We want to save architecture.” But from what? Ricciardi is one half of New York–based formlessfinder, the experimental—you might say radical—architecture firm he founded with Julian Rose in 2011, just after the pair completed a joint thesis at Princeton University. Their project, which laid out the blueprint for Ricciardi and Rose’s subsequent collaborations, advanced a daring proposition: to liberate architecture from the constraints of form.
“The basic idea of the formless is about freeing up architecture to make it about what we want it to be about,” Rose says. “The idea is that form has sort of gotten in the way,” he adds, before checking off a laundry list of offenders: parametricism, digital fabrication, blobs, minimalism. Where form has “always served to limit and control,” the formless, as the architects have come to define it, is subversive by nature. It’s an operation rife with uncertainty, producing “messy, equivocal, and, most importantly, generative” results.
La Maison au Bord de L'Eau, an unrealized beach house in Miami designed by architect, designer, planner and photographer Charlotte Perriand, has been built by Louis Vuitton for a Design Miami 2013satellite exhibition. Designed in 1934, the house was first conceived for a design contest held by L’architecture d’aujourd’hui magazine with the aim of creating a simple, economical form of holiday lodging for the mass market. After winning second prize it was never built but, eight decades later, "Perriand’s studies prove quite contemporary in light of the advancements in wooden architecture."
From the architects. Formlessfinder’s Tent Pile brings an intensely architectural intervention to Design Miami/, inventing a new building typology to provide shade, seating, cool air, and a space to play for the city’s public. The design practice, co-founded by Julian Rose and Garrett Ricciardi in 2010, approaches new projects with an interest in the specifics of geography — closely examining the spatial, social, and physical conditions of the location with which their structure will interact. They prioritize the use of available materials, committing to deploy them in ways that allow for reuse, an approach that produces what they refer to as “an architecture that can go from nothing to something and back again.”
Learn more after the break...
http://www.archdaily.com/459841/formlessfinder-s-tent-pile-a-hit-at-design-miamiJose Luis Gabriel Cruz
Each December, Design Miami/ commissions early-career architects to build a designed environment for the fair's entrance as part of its biannual Design Commissions program. This year's winning proposal, dubbed "Tent Pile," was designed by the New York-based architectural practice formlessfinder. Its design harnesses the properties of sand and aluminum to create shade, seating, cool air and a space to play for Miami's public.
London-based architect David Adjaye was selected for the 2011 Designer of the Year Award by Design Miami – a global forum for design that highlights influential collectors, gallerists, designers, curators and critics from around the world, presenting annual fairs in Miami, USA and Basel, Switzerland. Design Miami praised Adjaye for his “ingenious use of materials and unique ability to showcase light coupled with his democratized approach to the architectural process.”