The project for a new chiller plant at the University of Chicago provided the opportunity to design for function, performance, materials, construction while simultaneously considering how the technical equipment could be displayed as if it were a piece of art. As the utility equipment is exposed, other elements of construction remain “uncovered” – concrete walls and floors, steel structure, ducts, light fixtures, and pipes.
This is a masterpiece of interdisciplinary work between architects and engineers. The goal to create a low energy need building with cutting edge if state-of-the-art technology required a very strict and close cooperation. The airport has the world's tallest free-standing control tower, and the world's third largest single-building airport terminal and it is the third busiest airport in Asia.
Creating the architectural form by its function, the geometry of the super-truss girder was determined through the level of the bending moment. Sized to accommodate future growth, the trellis provides an important functional advantage as well as an architectural one. With louvres positioned to shade the structures from direct sunlight, mechanical loads are reduced.
The guests approach the porte-cochere and enter the atrium lobby entrance which is a grand spatial volume that makes the single greatest impact upon the guest, visitors know they have arrived and the expansive view of the ocean beyond adds to the wow factor. The atrium lobby entrance is the central heart and marks the arrival point of the hotel - a non-linear geometric shell structure supported by the circulation cores and the ground, with a 50 m span and height of 35m. Although the geometry of the structure is asymmetric, it is based on a geodesic dome shape that allows a self-supporting structure without the need for internal columns. Inspired by the majestic natural surroundings of the ocean, wave and mountains, the design embraces elements to create a sense of place, embodied in a sculptural building form that has a distinct spirit, an organic dynamic shape evoking a sense of movement frozen in time as the "Fertile Moment".
The extension building compliments and contrasts the existing Hancock Museum in form and use; they are separated visually and physically by a double height glazed ‘galleria’ allowing their identities and forms to read strongly whilst providing appropriate scale against adjacent buildings and providing new east / west entrance points.
The new building contextually derives its form, size and elemental composition from the Hancock building; strong horizontal datums and vertical rhythms transfer from the existing building across to the new building. Contrast is achieved through modern materials and detailing, and the bold use of accent colours.
The building is zoned with retail and hospitality to the front spaces and galleria; circulation is ordered about the existing four stone stairs and new galleria stair; education, special exhibition and society spaces are stacked vertically through the new extension.
Sir Terry Farrell
Sir James Dyson
A new chair is a designer grail, even though history has already given us an astonishing choice of ways to sit down. Riccardo Blumer's 1996 Laleggera chair for Alias, being sufficiently innovative and amply beautiful, is one of the very few recent efforts that will one day achieve classic status. Making a clear reference to Gio Ponti's revered Leggera chair of 1954, Blumer used advanced manufacturing technology to achieve both a practical and aesthetic advance on history. His design of engineered wood is astonishingly light and so elegant it almost disappears.
Inspired by cellular forms found in nature, Lovegrove who calls his design process "organic essentialism," said his work creates industrial objects that are aesthetically elegant and functional.
Made from injection-molded polypropylene reinforced with fiberglass, the Supernatural chair is recognizable by its rounded, perforated back. The holes are not merely decorative; they eliminate excess material, reduce the chair's weight, provide elasticity and improve comfort.
Both the original and the imitator are 32 inches tall with a seat height of 18 inches, but the original is nearly 2 inches wider and 3 inches deeper. It also has a slot in the seat, right, for rain drainage if the chair is used outside. The Supernatural is available in six colours, including turquoise and fluorescent green.
Its higher price helps to defray the development of the product and royalty payments to the chair's creator.
21st century Art
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Howard Hodgkin himself has said that he paints "representational pictures of emotional situations," a statement that fixes him firmly as an advocate of the expressionist movement.
Hodgkin's appeal to representationalism prevents his categorization as an abstract expressionist - although some artists within that movement do execute representational paintings that are consumed into the expressionistic vortex of their particular psychodrama.
Neville Brody's posters
collage on canvas by G. Subramanian
Popular reproduction of famous design
"infinitely reproducible lacks the aura of the unique work of art."
Its a British classic, with its moveable shade and smart cotton braided flex, the Hector table light and its accompanying floor light perfectly marry style and function. The range includes a collection of simple bone china pendants and practical, space-saving wall lights for a subtle source of ambient light.
In the 40s their Streamlite case was aimed at the growing number of airline passengers. The Classic attach was a result of careful market research and captured the mood of the sixties executive. Samsonite luggage was produced by Shwayder Bros, a company little known outside the US at the end of the 50s.