Hasta La Ideas

News: New York design studio Atopia has moved to defuse the row over the authorship of the 2012 Olympic cauldron, saying: “we have never accused Thomas Heatherwick of plagiarism”.

Atopia, which presented a concept for a pavilion (top image and below) at the London games to organisers LOCOG in 2007, has published a statement on its website distancing itself from media reports that UK designer Heatherwick copied its design.

“We have never accused Thomas Heatherwick of plagiarism,” says the statement. “We have never claimed to be designers of the cauldron in spite of claims in the press.”

Instead, Atopia says it believes its “narrative scenario” for the pavilion inspired LOCOG. “All we have sought from LOCOG since July 2012 is a formal acknowledgement of this.”

“We are entirely focused on the issue of how ideas transmit through large organizations, often organically and unconsciously,” the statement says.

The firm adds: “The issue for us is not about the object nor is it about Heatherwick’s design. It does bear a striking resemblance to our project work and sketchbook from 2008 and as such this has been the point of focus of the press.”

Atopia has also published its sketchbook of ideas for the London 2012 Olympics, showing how the proposed One Planet pavilion would be constructed from “umbrellas” that would be carried into the stadium by representatives of the competing nations as part of the opening ceremony and assembled into “a lightweight canopy for events”. This canopy would be made from “a large number of umbrellas like flowers”. The images shown in this story come from Atopia’s sketchbook.

The presentation continues: “After the games the umbrellas are removed in another ceremony launching a new journey for each of them… returning to the participating nations.”

The row over the design of the cauldron emerged earlier this week when UK newspaper the Guardian published a story highlighting the similarities between Atopia’s proposal and the Heatherwick’s cauldron (above and below), which became one of the most enduring and popular symbols of the games.

Heatherwick’s design featured 204 copper “petals”, each representing one of the competing nations. The petals were carried into the stadium by representatives of each team during the opening ceremony and then assembled into a flaming cluster. At the end of the games the petals were sent as gifts to each nation.

Heatherwick, who was awarded a CBE earlier this month for his work on the cauldron, has emphatically rejected claims of plagiarism, saying; “This claim is spurious nonsense. The ludicrous accusation that LOCOG briefed us to work with, develop or implement a pre-existing idea and that we acted in accordance with this briefing is completely and entirely untrue.”

See a movie about the design and testing of Heatherwick’s Cauldron. See all our stories about Thomas Heatherwick.

Below is the full statement from Atopia’s website:

Atopia London 2012 Press Statement

“We have never accused Thomas Heatherwick of plagiarism. We have never claimed to be designers of the cauldron in spite of claims in the press. We are entirely focused on the issue of how ideas transmit through large organizations, often organically and unconsciously. This becomes an even more complex issue when work and material submitted by small organizations is subject to stringent Confidentiality Agreements.

The issue for us is not about the object nor is it about Heatherwick’s design. It does bear a striking resemblance to our project work and sketchbook from 2008 and as such this has been the point of focus of the press. But for us this is not the point. It is the written narrative that we are concerned with as this is key component in the way we work, developing scenarios for clients that allow them to imagine possibilities years ahead of time and catalyze thinking within their organizations to deliver socially engaged innovation­­­­. It is the narrative scenario along with our other tender content that we believe proved inspirational at LOCOG and this is what it was intended to do. All we have sought from LOCOG since July 2012 is a formal acknowledgement of this.”

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of the cauldron” says Atopia appeared first on Dezeen.

News: the lighting of the London 2012 Olympic Cauldron was conceived as a religious ceremony, designer Thomas Heatherwick has explained.

“The Olympic Games is phenomenally religious,” said Heatherwick, who designed the cauldron. “The liturgy, the ceremonial dimension, is incredibly similar to a religious service.”

Speaking about his cauldron design at the World Architecture Festival in Singapore last month, Heatherwick compared the Olympic stadium to a temple and the cauldron to an altar.

“There’s very precise ceremonial aspects and a gravity to that process,” he said. “In a way, the stadium represented the temple to that, and this funny faith that is an Olympics also has miracles that actually maybe you do believe in. You’re not sure that someone ever did walk on water, but you do see this guy, who somehow is able to run faster than anything, and it’s like miracles.”

The Olympic opening ceremony, directed by Danny Boyle, was today cited by Monocle magazine as a key reason why Britain is now the most powerful cultural nation on earth.

Heatherwick decided to place his cauldron in the centre of the Olympic Stadium after working with Benedictine monks in England whose alter is at the centre of a circular abbey (below). “It felt so powerful where the alter is,” Heatherwick said.

The cauldron consisted of 204 flaming copper “petals” mounted on tubes, which mechanically rose into the sky and came together to symbolise the coming together of athletes from around the world.

The design of the cauldron remained secret until the opening ceremony on 27 July, when the petals were carried into the stadium by representatives of each of the competing nations.

Heatherwick explained that even the volunteers who stood in for athletes at rehearsals for the opening ceremony were unaware of the design and location of the cauldron. “They would be looking up wanting to know where the cauldron was going,” he said, not realising they were walking past it as they spoke.

The designer also explained how his studio researched past Olympic cauldrons and found that none of them had remained in the collective memory. “What people did remember was a moment,” he said. “Almost everybody only remembered one moment, which was the Barcelona 1992 opening ceremony, where the archer was lighting the cauldron.”

In a video interview with Dezeen conducted before the opening ceremony, Heatherwick said the cauldron was designed “not as a thing but as a moment”.

See all our stories about Thomas Heatherwick | See all our stories about the London 2012 Olympic Games

Below is an edited transcript of Heatherwick’s talk at WAF:

We worked on a project that needed to be very confidential, and it was for the London Olympic Games. There had been a decision taken that it needed to be one of the secrets of the Games. The other one was the Queen, waiting 86 years to show that she had a sense of humour. They managed to keep these two secrets.

The job was to make the holder and the flame that would be lit at the end of Danny Boyle’s opening ceremony. We were very happy to be asked to do this project, but we were very aware that cauldrons were these very funny objects – a bowl on a stick with a flame in it. You know when everyone says that everybody’s got a book in them? It was like, “What’s MY cauldron? I’m into twists, let’s do a twisted cauldron, or, I’m into square cauldrons, or a round cauldron,” like it didn’t have relevance to this phenomenal event, which was this coming together of 204 countries who for just two weeks don’t squabble.

And [this is] a time when we are in general less religious, and certainly in Britain. My father lived in Spain for a while and loved that there were all these festivals that brought people together, and in Britain we have been embarrassed to have the Union Jack, as it has been associated with, sort of, national fascism. We don’t have many things that bring us together. There was also a sense of, what do we do with this thing once the Games are over?

Typically, the Olympic parks are known for ending up as not as parks but as funny, weird derelict bits of ground five years after the games. And we were imagining whatever we designed sitting there ten years after, in a very sorry state with pigeon poo on it, and calling itself a fountain, spouting water where gas had come through. We just thought, how can the cauldron manifest the ephemerality, this temporary coming together for just two weeks?

This was a historic third time that London was hosting the Olympic Games. We sat with Danny Boyle and Danny was really interested in how we could possibly compete with Beijing’s phenomenal scale and grandeur. Danny Boyle described it as unplugging the computer, reboot, start again, and a question of whether the cauldron could be be like an unmarked police car when it does a chase. When it decides it’s going to chase, it gets the siren with a magnet and sticks it on the roof.

And where do you stick that cauldron on the roof? You’ve got this lovely pure simple stadium, and we were told that there was one particular part of it that had been strengthened to take 200 tonnes and it just felt that sticking it on the top of an object like that… why in one place? Why not another place? What was significant about any one bit of that roof?

We were also struck that in an Olympic Games the athletes parade happens and the 10,000 athletes all come in and the middle of the stadium becomes a total mess. The athletes are all there in a mish-mash and they’re all mixed up with each other, and maybe it was a slight urge to tidy up, but it felt that there was this power, a simple power to this circular stadium.

We’ve been working with a community of Benedictine monks in England, helping them to finish their church. Their church was built in the late 60s after the second Vatican Council where the Catholic Church gave permission for different forms of liturgy. And that church is in the round; the liturgy is in the round, so that the alter sits in the middle of a very large circular roof. And it felt so powerful where the alter is.

And it seemed to us that the Olympic Games is phenomenally religious: the liturgy, the ceremonial dimension, is incredibly similar to a religious service. There’s very precise ceremonial aspects and a gravity to that process. In a way, the stadium represented the temple to that, and this funny faith that is an Olympics also has miracles that actually maybe you do believe in. You’re not sure that someone ever did walk on water, but you do see this guy, who somehow is able to run faster than anything, and it’s like miracles.

The cauldron suddenly felt to us that it was a serious thing. Given its seriousness, the centre of that stadium suddenly took on an importance. Danny’s urge that the opening ceremony should be rooted in the athletes and the spectators, and not just getting bigger and fatter and more enormous, seemed to chime.

So our cauldron’s geometry was driven by exactly the shape of the stadium. It’s just a direct offset of the very slightly elliptical stadium. And it struck us that, if we made that cauldron as sort of part of the stadium, all of the athletes would be, like, a Terry’s Chocolate orange, or slices of cake, all the different countries, which would tidy up the athletes. And then the spectators seating almost became a ring above. The athletes, the spectators, and the main stadium itself somehow all became one object, one thing. And then this idea came of having something that no longer existed afterwards. How can these small things, 204 small things, make one thing that had meaning for two weeks, to then disperse, and these pieces could then go back to each one of the countries?

It felt to us that the metals gold, silver and bronze were going to be busy for the next three or four weeks, so copper – the material that British plumbing is made from, your boiler tank is made from – had this beauty, and this way that it would discolour in intense heat, that had value. Many years ago I’d spent some time raising copper sheets, using repousse hammers, which was where you would take the flat sheets of copper, anneal them, put them in pitch, and gradually shape, re-anneal them and stretch the metal into these forms. And so the same process on a larger scale is what’s being used typically in the old wheel arches and body panelling of cars back 100 years ago.

And there are just a few people who can do this wheeling technique to shape the metal. there was a British engineering company who became involved and a British car panel historical restoration company who made these pieces. Each one of these pieces was engraved with the 30th olympiad and the name of the country.

in our analysis of Olympic Cauldrons we were given all of these DVDs where it took us an entire weekend to watch every Olympic ceremony there had ever been, and ceremonies of all the other kinds of sporting events. But what we found was interesting: no-one could remember the design of the cauldron. We were being asked to design an object, but actually none had really remembered those objects. What people did remember was a moment. Almost everybody only remembered one moment, which was the Barcelona 1992 opening ceremony, where the archer was lighting the cauldron. And there was a moment, where all of our minds were thinking: “Is he going to do it? And if he misses, there is probably someone up there to light it, but they’re going to hit the person there to try and light it if he misses!”

You remembered the archer, but you didn’t remember the cauldron. And so we wondered if there was a way to make that process be the object, and if the object and the process were the same thing. And that’s what led us to this idea.  Each object was the size of an A3 sheet of paper – very small, and the stadium is gigantic. So at that moment when those objects were carried in we didn’t know if anyone would even notice that these children were carrying in these pieces. We didn’t know whether everyone would just groan and guess: “Yes, those are all little pieces of the cauldron”.

We also designed the tickets and the programmes for all the ceremonies, and we took this gamble that we would hide it in full sight – each ticket had a giant picture of the cauldron, but because it wasn’t a giant bowl on a stick, we hoped that you wouldn’t recognise that it was the cauldron.

We didn’t know if the [TV] commentators would give it away, despite the commentators not knowing what it was. There was a system where they would be given a piece of paper 20 minutes before something happened that they didn’t know about. So they didn’t know what those copper pieces were to become, other than being told to make people notice them.

The only way to keep it a secret was to rehearse at 3 o’clock in the morning when all of the volunteers and performers had gone home. You would talk to the volunteers who were there practising. During the rehearsals, they would have to practice the whole of the athletes parade, two hours, with no athletes. And so there were people walking along with plastic buckets, instead of [the elements of the cauldron], and bits of rope trying to be Spain, and for all of the athletes of each country. And you would talk to them, and you would find that when you spoke to them, they would be looking up wanting to know where the cauldron was going.

To make the project work, in effect it was making 204 cauldrons, and each one of those shapes was different. It felt to us that we couldn’t have 204 identical things, and we knew we didn’t want America to have a bigger one than Singapore. The thing that’s happening now is that they’re all being packaged up and being sent. Each piece has an imprint of that heat from the intensive two weeks; they became quite aged in that period of time.

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The first tailor-made 3D printed seats for wheelchair basketball are being used by competitors at the London 2012 Paralympics.

Developed by Loughborough University’s Sports Technology Institute alongside UK Sport, the seats are individually moulded each player’s body.

The customised seats consist of foam interiors and plastic shells, and are a kilogram lighter than conventional wheelchair basketball seats.

Participating athletes had 3D body scans to capture their movements and positions in their existing wheelchairs, then CAD technology was used to shape the outer layer of the seat to suit each individual player and help position the seat onto the frame. The seats were then built up layer by layer using selective laser sintering to accurately replicate the computer models. Four men and four women will use the seats at this year’s Paralympic Games.

The wheelchair basketball finals take place on Friday 7 and Saturday 8 September at the Basketball Arena and the North Greenwich Arena.

We’ve also featured wheelchairs designed to withstand heavy impacts for rugby and to be fast and lightweight for racing. See all our stories about design for Paralympic athletes »

Here is some more information from the Engineering and Physical Sciences Research Council:

Innovative tailor-made seats will be used for the first time by Paralympics GB for the wheelchair basketball events this summer.

Using cutting-edge research the seats are individually moulded for each player to provide the best possible support. They will help the athletes to improve their speed, acceleration and manoeuvrability around the court.

The seats have been developed with UK Sport funding at Loughborough University’s Sports Technology Institute, which is supported by the Engineering and Physical Sciences Research Council (EPSRC).

The new seats are revolutionary because they take the individual’s size, shape and particular disability into account. For example, a player with a spinal cord injury will have a seat that provides additional support around their lower back.

Harnessing a range of cutting-edge design and manufacturing techniques and developed in close consultation with the British men’s and women’s wheelchair basketball teams, these customised seats consist of a foam interior and a plastic shell. They are simply clamped onto the current wheelchair design in which the frames are already made to measure for the players.

You can find out more about the research from the team involved in an audio slide show.

“Within any wheelchair basketball team, both the nature and the extent of the players’ physical abilities vary considerably,” says Dr Gavin Williams, who has led the project.

“Traditionally players have had a very limited choice of seat designs and a tailor-made approach was not possible. The new seats, which include part of the back rest, are made specifically to accommodate each individual’s needs”.

Team members initially underwent 3D scans to capture their bodies’ biomechanical movements and their positions in their existing wheelchairs.

The seats are made up using cutting-edge design and manufacturing techniques
A moulding bag containing small polystyrene balls (similar to a bean bag style seat), was used to capture the shape of the player when seated. The seat was then made up by hand.

Computer-aided design (CAD) capabilities were then used to refine the shape of the outer layer of the seat to suit each individual player and help position the seat onto the frame.

Using this prototype the next stage involved quickly producing copies of each individual seat so that they could be further tested and amended if necessary following feedback. For this speedy production an additive manufacturing technique called selective laser sintering (otherwise known as 3D printing) was used to build up each seat layer by layer. This resulted in a final product that exactly replicated what was on the computer screen.

This is the first time anywhere in the world that these existing techniques have been harnessed together to produce a sports wheelchair seat.

Improvements in speed, acceleration and manoeuvrability for the players were achieved.

“The sprint tests, for instance, showed that the new seats enabled the athletes to shave tenths of a second off their best times,” says Dr Williams. “That represents a huge improvement in a player’s ability to reach the ball and move around the court.

The seats save a kilo of weight with the overall chair being two kilos lighter than the chairs that were used in Beijing because of other modifications to the chair itself.

“The advances we’ve made also have the potential to feed into improved seat design for wheelchair users in general,” says Dr Williams. “In particular, bespoke seats could reduce the problems with pressure sores currently experienced by a great number of wheelchair users.”

In total 8 players, four men and four women will be using the new seats at the Paralympics this year.

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for wheelchair basketball appeared first on Dezeen.

Chairs used in the wheelchair rugby event at the London 2012 Paralympics are designed to withstand heavy impacts and be easily manoeuvrable.

Above and top images by Channel 4

Also known as ‘murderball’, the full-contact sport requires equipment that is incredibly durable and can endure constant bombardment, as well as being light, fast and agile.

Above image by Channel 4

A bumper designed to help strike and hold opponents is attached to the front of the chairs.

Above image by Channel 4

Wings are positioned in front of the main wheels to make the wheelchair more difficult to stop and hold.

The wheels are covered by spoke protectors to prevent damage during collisions, and all chairs include an anti-tip device at the back.

Wheelchair rugby takes place on Wednesday 5 September in the Basketball Arena at the Olympic Park.

See all our stories about design for Paralympic athletes »

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wheelchair rugby appeared first on Dezeen.

Bespoke racing wheelchairs designed and manufactured by UK firm Draft will be used by a number of medal hopefuls during the London 2012 Paralympics, including Beijing gold medalist David Weir and London Marathon winner Shelly Woods (below).

The chairs are custom built for each athlete with particular attention paid to the seat to allow optimum body positioning.

Frames built from lightweight aluminium for speed and durability are constructed in V, open V or T styles depending on the lower body of each athlete, and foot plates are added if necessary.

Wheels are designed with either stainless steel spokes for rigidity or carbon fibre bracing/disks that weigh less and can increase speed.

Athletes from Great Britain, Spain, Finland, Canada and other countries will compete with the Draft chairs in the T54 category.

The wheelchair racing track events held in the Olympic Stadium begin on Friday 1 September and the marathons take place around the streets on London on Sunday 9 September.

We’re running a series of design for Paralympic athletes over the coming days – see our story about the Nike Spike Pad for Oscar Pistorius here and all our stories about London 2012 here.

Here is some more information from Draft:

The Draft Mistral comes from over a decade of quiet research and evolution leading to international acclaim as one of the best racing wheelchairs available in the world. The Mistral has been designed to achieve that sweetspot of being custom built, lightweight and stiff without compromising strength, performance and safety.

Available in an infinite number of different configurations from the traditional sitting position to full solid kneeler with foot pod, the fully custom built Mistral will allow you the range of positions you require to obtain the most efficient position for top flight competition. After an assessment (allow 2-3 hours), each chair is individually tailor made in our workshop for each client; no production lines or pre-fabrication. Clients are often asked for a fitting mid-build to allow any fine tuning to be done.

At an extra cost we offer a special build facility for those with a more unusual shape who might require some intensive development work. We also offer the opportunity to book a visit to the workshop and have your chair built around you. You can try your chair before we send it for spray or indeed take it away in a raw aluminium finish. Our specification form is essentially a blank sheet of paper, and we are always interested in new ideas which our clients bring us. This service and attention to detail understandably takes a little longer to deliver, but many world class athletes believe that it is worth the wait.

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racing wheelchairs appeared first on Dezeen.