Dream music video by Cauboyz

French design duo Cauboyz built a wall of illuminated words to make this typography-inspired music video (+ movies).

Dream music video by Cauboyz

Cauboyz created the Dream music video for French electro pop band Husbands by filming a wall of words that light up in time with the song’s lyrics, as the additional “making of” movie reveals (bottom).

Dream music video by Cauboyz

The lights were controlled by a large panel of switches. “The idea was to make something that we could play. We like doing it with our hands,” the designers told Dezeen.

Dream music video by Cauboyz

The lettering was designed to recall commercial neon signs and the typography found in old advertisements.

Dream music video by Cauboyz

“We wanted to do something simple with a little bit of poetry,” they added. “We like to see the lyrics like logos, as if the author wanted us to offer maxims.”

Dream music video by Cauboyz

Graphic designer Philippe Tytgat and photographer Bertrand Jamot met while at art school in Nancy and later founded Cauboyz as a vehicle for producing music videos.

Dream music video by Cauboyz

We featured another music video earlier this year, which saw a wall of bookshelves transformed into a futuristic backdrop – see all design for music on Dezeen.

Check out Dezeen Music Project for our pick of original tracks from upcoming musicians.

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57 Series by Omer Arbel for Bocci

In this movie by Gwenael Lewis, Canadian lighting company Bocci’s creative director Omer Arbel describes how bubbles in the firm’s latest chandelier look like an “internal universe” when illuminated.

"When lit an internal universe comes alive" - Omer Arbel of Bocci

The film show glass blowers using tools to form spheres of molten glass that they mould together and reheat into a cohesive, cloud-like piece. “We began with the idea that we can manipulate the malleability of glass based on its temperature,” says Arbel.

"When lit an internal universe comes alive" - Omer Arbel of Bocci

Blowing air into the glowing glass creates bubbles and pockets depending on the temperature of different areas. “The air is pushed into the assembly and makes its way out through the path of least resistance, which is where the glass is hottest,” Arbel explains.

"When lit an internal universe comes alive" - Omer Arbel of Bocci

The light appears to be a smooth, shiny bobbled surface while off, but the air pockets become visible when it is turned on. “When lit, an internal universe comes alive,” Arbel says.

The 57 Series will be unveiled as the centrepiece for Bocci‘s stand at Euroluce trade fair in Milan during Salone Internazionale del Mobile next month. We’ve featured a few movies by Gwenael Lewis about the making of Bocci chandeliers, including the 28 series and 14 series lights.

See all our stories about designs by Bocci »
See all our stories about chandeliers »
See all our stories about lighting »

Here’s some more information from Bocci:


Bocci at Eurolace 2013

During this year’s Milan Saloni, Bocci will be exhibiting for the first time at Euroluce. In conjunction with the world’s largest furniture exhibition, Salone del Mobile, the biennial Euroluce trade fair serves as a major platform for luminaire manufactures with high design ambitions. At the centerpiece of their 280 square meter stand, Bocci will unveil a new flexible chandelier called 57 in a dramatic installation.

Designed by Omer Arbel, Bocci’s Creative Diretor, 57 is an exploration of a technique of making analogous to that used for producing open cell foam. The process involves trapping voids of air of different sizes and configurations within a glass matrix, and then injecting air into the composition, yielding a shape loosely referencing a rain cloud. These pockets of air remain invisible when the piece is off, but come alive to reveal an interior universe when the piece is turned on. As with all of Arbel’s recent body of work, it is the technique of making that yields 57’s form, which is unique in every iteration of the procedure.

A flexible suspension system allows easy composition: Pendants may be clustered such that they touch each other, referencing a cloudy sky (an especially poignant reference in the City of Vancouver, where the idea was born); they may also be composed as a field, such that each piece can be perceived individually, perhaps referencing a child’s drawing of a could (equally poignant but in a more universal manner). Most chandeliers are fundamentally vertical in composition, which is why they work best in rooms with high ceilings; in contrast, 57 is conceived as a layer or strata of light, or in other words, a horizontal chandelier.

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Research Pavilion by ICD and ITKE

Researchers at the University of Stuttgart programmed a robot to wind 60 kilometres of carbon and glass fibre filaments into this pavilion inspired by a lobster’s exoskeleton (+ movie + slideshow).

The Research Pavilion was designed by academics and students from the university’s Institute for Computational Design (ICD) and Institute of Building Structures and Structural Design (ITKE) in collaboration with biologists from the University of Tübingen.

Research Pavilion by ICD and ITKE

The structure of the pavilion was based on their research into the complex layers and load-bearing efficiency of a lobster’s exoskeleton, which is made up of layers of chitin – a derivative of glucose – embedded in a protein matrix.

Research Pavilion by ICD and ITKE

They applied what they knew about the exoskeleton to design a structure that could be made from resin-saturated glass and carbon fibres laid down by a robot.

Research Pavilion by ICD and ITKE

The glass fibres mainly serve as the formwork for the layers, while the stiffer carbon fibres are responsible for the load transfer and rigidity.

Research Pavilion by ICD and ITKE

The robot wound the resin-saturated fibres onto a steel frame rotating on a turntable.

Research Pavilion by ICD and ITKE

The steel frame was then taken apart and removed, leaving behind a shell-like pavilion eight metres across, three and a half metres tall, but just four millimetres thick.

Research Pavilion by ICD and ITKE

We’ve reported on a few projects involving robots, including a robotic 3D printer that builds architectural structures from sand or soil and a robot that prints chairs made of recycled refrigerators – see all robots.

Research Pavilion by ICD and ITKE

Other high-tech pavilions we’ve featured include one in London’s Olympic Park that can be played like a musical instrument and a spiky structure in New York designed to neutralise air pollution – see all pavilions.

Research Pavilion by ICD and ITKE

Here’s some more information from the researchers:


ICD/ITKE Research Pavilion 2012

Institute for Computational Design (ICD) – Prof. Achim Menges
Institute of Building Structures and Structural Design (ITKE) – Prof. Dr.-Ing. Jan Knippers
University of Stuttgart, Faculty of Architecture and Urban Planning

In November 2012 the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) at the University of Stuttgart have completed a research pavilion that is entirely robotically fabricated from carbon and glass fibre composites. This interdisciplinary project, conducted by architectural and engineering researchers of both institutes together with students of the faculty and in collaboration with biologists of the University of Tübingen, investigates the possible interrelation between biomimetic design strategies and novel processes of robotic production. The research focused on the material and morphological principles of arthropods’ exoskeletons as a source of exploration for a new composite construction paradigm in architecture.

Research Pavilion by ICD and ITKE

At the core of the project is the development of an innovative robotic fabrication process within the context of the building industry based on filament winding of carbon and glass fibres and the related computational design tools and simulation methods. A key aspect of the project was to transfer the fibrous morphology of the biological role model to fibre-reinforced composite materials, the anisotropy of which was integrated from the start into the computer-based design and simulation processes, thus leading to new tectonic possibilities in architecture. The integration of the form generation methods, the computational simulations and robotic manufacturing, specifically allowed the development of a high performance structure: the pavilion requires only a shell thickness of four millimetres of composite laminate while spanning eight metres.

Research Pavilion by ICD and ITKE

Biological model

Following a “bottom-up” approach, a wide range of different subtypes of invertebrates were initially investigated in regards to the material anisotropy and functional morphology of arthropods. The observed biological principles were analysed and abstracted in order to be subsequently transferred into viable design principles for architectural applications. The exoskeleton of the lobster (Homarus americanus) was analysed in greater detail for its local material differentiation, which finally served as the biological role model of the project.

The lobster’s exoskeleton (the cuticle) consists of a soft part, the endocuticle, and a relatively hard layer, the exocuticle. The cuticle is a secretion product in which chitin fibrils are embedded in a protein matrix. The specific differentiation of the position and orientation of the fibres and related material properties respond to specific local requirements. The chitin fibres are incorporated in the matrix by forming individual unidirectional layers. In the areas where a non-directional load transfer is required, such individual layers are laminated together in a spiral (helicoidal) arrangement. The resulting isotropic fibre structure allows a uniform load distribution in every direction. On the other hand, areas which are subject to directional stress distributions exhibit a unidirectional layer structure, displaying an anisotropic fibre assembly which is optimised for a directed load transfer. Due to this local material differentiation, the shell creates a highly adapted and efficient structure. The abstracted morphological principles of locally adapted fibre orientation constitute the basis for the computational form generation, material design and manufacturing process of the pavilion.

Research Pavilion by ICD and ITKE

Transfer of biomimetic design principles

In collaboration with the biologists, the fibre orientation, fibre arrangement and associated layer thickness and stiffness gradients in the exoskeleton of the lobster were carefully investigated. The high efficiency and functional variation of the cuticle is due to a specific combination of exoskeletal form, fibre orientation and matrix. These principles were applied to the design of a robotically fabricated shell structure based on a fibre composite system in which the resin-saturated glass and carbon fibres were continuously laid by a robot, resulting in a compounded structure with custom fibre orientation.

In existing fibre placement techniques, e.g. in the aerospace industry or advanced sail production, the fibres are typically laid on a separately manufactured positive mould. Since the construction of a complete positive formwork is fairly unsuitable for the building industry, the project aimed to reduce the positive form to a minimum. As a consequence, the fibres were laid on a temporary lightweight, linear steel frame with defined anchor points between which the fibres were tensioned.

From the straight segments of the prestressed fibres, surfaces emerge that result in the characteristic double curved shape of the pavilion. In this way the hyperbolic paraboloid surfaces resulting from the first sequence of glass fibre winding serve as an integral mould for the subsequent carbon and glass fibre layers with their specific structural purposes and load bearing properties.

In other words, the pavilion itself establishes the positive formwork as part of the robotic fabrication sequence. Moreover, during the fabrication process it was possible to place the fibres so that their orientation is optimally aligned with the force flow in the skin of the pavilion. Fibre optic sensors, which continuously monitor the stress and strain variations, were also integrated in the structure. The project’s concurrent consideration of shell geometry, fibre arrangement and fabrication process leads to a novel synthesis of form, material, structure and performance.

Research Pavilion by ICD and ITKE

Through this high level of integration the fundamental properties of biological structures were transferred:

Heterogeneity: six different filament winding sequences control the variation of the fibre layering and the fibre orientation of the individual layers at each point of the shell. They are designed to minimise material consumption whilst maximising the stiffness of the structure resulting in significant material efficiency and a very lightweight structure.

Hierarchy: the glass fibres are mainly used as a spatial partitioning element and serve as the formwork for the following layers, whilst the stiffer carbon fibres contribute primarily to the load transfer and the global stiffness of the system.

Function integration: in addition to the structural carbon fibres for the load transfer and the glass fibres for the spatial articulation, functional fibres for illumination and structural monitoring can be integrated in the system.

Computation design and robotic production

A prerequisite for the design, development and realisation of the project was a closed, digital information chain linking the project’s model, finite element simulations, material testing and robot control. Form finding, material and structural design were directly integrated in the design process, whereby the complex interaction of form, material, structure and fabrication technology could be used as an integral aspect of the biomimetic design methodology.

The direct coupling of geometry and finite element simulations into computational models allowed the generation and comparative analysis of numerous variations. In parallel, the mechanical properties of the fibre composites determined by material testing were included in the process of form generation and material optimisation. The optimisation of the fibre and layer arrangement through a gradient-based method, allowed the development of a highly efficient structure with minimal use of material.

The robotic fabrication of the research pavilion was performed on-site in a purpose-built, weatherproof manufacturing environment by a 6-axis robot coupled with an external seventh axis. Placed on a 2m high pedestal and reaching an overall working span and height of 4m, the robot placed the fibres on the temporary steel frame, which was actuated in a circular movement by the robotically controlled turntable.

As part of the fabrication process the fibres were saturated with resin while running through a resin bath directly prior to the robotic placement. This specific setup made it possible to achieve a structure of approximately 8.0m in diameter and 3.5m height by continuously winding more than 60 kilometres of fibre rovings.

The parametric definition of the winding motion paths in relation to the digital geometry model, the robotic motion planning including mathematical coupling with the external axis, as well as the generation of robot control code itself could be implemented in a custom-developed design and manufacturing integrated environment.

After completion of the robotic filament winding process and the subsequent tempering of the fibre-resin composite, the temporary steel frame could be disassembled and removed. The remaining, extremely thin shell of just 4mm thickness constitutes an automatically fabricated, but locally differentiated structure.

The concurrent integration of the biomimetic principles of the lobster’s cuticle and the logics of the newly developed robotic carbon and glass fibre filament winding within the computational design process, enable a high level of structural performance and novel tectonic opportunities for architecture. Despite its considerable size and span, the semi- transparent skin of the pavilion weighs less than 320kg and reveals the system’s structural logic through the spatial arrangement of the carbon and glass fibres. The synthesis of novel modes of computational and material design, digital simulation and robotic fabrication allows both the exploration of a new repertoire of architectural possibilities and the development of extremely lightweight and materially efficient structures.

Project data

Address: Keplerstr. 11-17, 70174 Stuttgart
Date of completion: November 2012
Surface: 29 m2
Volume: 78 m3
Construction weight: 5.6 kg/m2
Material: Mixed laminate consisting of epoxy resin and 70% glass fibres + 30% carbon fibres

Project team:

Institute for Computational Design (ICD) – Prof. Achim Menges
Institute of Building Structures and Structural Design (ITKE) – Prof. Dr.-Ing. Jan Knippers

Concept development: Manuel Schloz, Jakob Weigele
System development and realisation: Sarah Haase, Markus Mittner, Josephine Ross, Manuel Schloz, Jonas Unger, Simone Vielhuber, Franziska Weidemann, Jakob Weigele, Natthida Wiwatwicha; with the support of Michael Preisack and Michael Tondera (Faculty of Architecture Workshop)
Scientific development and project management: Riccardo La Magna (structural design), Steffen Reichert (detailing), Tobias Schwinn (robotic fabrication), Frédéric Waimer (fibre composite technology & structural design)

In collaboration with:
Institute of Evolution and Ecology, Department of Evolutionary Biology of Invertebrates
University of Tübingen – Prof. Oliver Betz,
Centre for Applied Geoscience, Department of Invertebrates-Paleontology,
University of Tübingen – Prof. James Nebelsick
ITV Denkendorf – Dr.-Ing. Markus Milwich

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See-through computer allows users to “grab” digital content

SpaceTop 3D computer by Jinha Lee

News: a transparent computer that allows users to reach “inside” the screen and manipulate content with their hands was unveiled at the TED conference in Los Angeles last week.

Introducing the SpaceTop 3D desktop computer at the TED conference, interaction researcher Jinha Lee explained that enabling humans to physically interact with machines could make computing more intuitive.

“The gap between what the designer thinks and what the computer can do is huge. If you can put your hands inside the computer and handle digital content you can express ideas more completely,” he told the BBC.

Working in collaboration with Microsoft and its Kinect technology, Lee developed a system that combines a transparent LCD display with built-in cameras that track gestures and eye movements.

SpaceTop 3D computer by Jinha Lee

Users place their hands behind the screen to scroll or type just as they would with a normal computer, but they can also raise their hands up to grab and manipulate the virtual 3D elements.

One camera is used to track fingers, recognising gestures like pinching and dragging, while the other camera faces the user and tracks the position of their head to display perspective-corrected 3D graphics.

SpaceTop 3D computer by Jinha Lee

A graduate of the Massachusetts Institute of Technology, Lee is currently carrying out his compulsory military service in South Korea at electronics firm Samsung, where he is developing television interfaces.

Last month Google released a movie preview of what it would be like to wear its voice-controlled Google Glass headset, while earlier this year we reported on an augmented reality iPad app that allows architects to look inside static architectural models – see all technology news.

Images and movie are by Jinha Lee.

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Movie: Basket Apartments by OFIS Arhitekti

A student housing block in Paris modelled on a stack of wooden baskets features in this latest movie about the work of Slovenian studio OFIS Arhitekti.

Basket Apartments by OFIS Arhitekti

Entitled Basket Apartments, the ten-storey building was completed in autumn 2012, but was officially opened at the end of January this year.

Basket Apartments by OFIS Arhitekti

OFIS Arhitekti conceived the building as a series of “spinning and rotating baskets”, that each contain a cluster of rooms with private balconies. See more information and images of Basket Apartments in our earlier story.

Basket Apartments by OFIS Arhitekti

Filmaker Carniolus has produced a series of movies about architecture by OFIS Arhitekti, including one about an Alpine holiday hut and another about three baroque houses converted into apartments.

Basket Apartments by OFIS Arhitekti

See more architecture by OFIS Arhitekti on Dezeen, including a culture and technology centre inspired by a conceptual space station.

Photography is by Tomaz Gregoric.

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Buttons by Studio Swine

London-based Studio Swine has produced a set of gold and silver clip-on buttons inspired by the textures and shapes of modernist architecture (+ movie).

Buttons by Studio Swine

Studio Swine designed the accessories to clip over standard shirt buttons so they’re easy to transfer to different outfits.

Buttons by Studio Swine

“We felt that men’s accessories were quite limited,” the studio told Dezeen. “We wanted to create some that are accessible and make it easy to customise your clothes into a special piece.”

Buttons by Studio Swine

The seven designs are largely based on patterns of modernist concrete buildings, like the ones in São Paulo that feature in the movie above. “We wanted to make buttons that would carry tactile information; wearable architecture.”

Buttons by Studio Swine

Shapes include a perforated gem, square gem, cloud, triangle, factory, star and special-edition pixel.

Buttons by Studio Swine

Ranging from seven to twelve millimetres in diameter, the hand-finished buttons are available in 18-carat gold or silver plate.

Buttons by Studio Swine

They have recently launched on crowd-funding website Kickstarter.

Buttons by Studio Swine

Our last story about Studio Swine featured a movie about an open source chair made from plastic salvaged from the sea.

Buttons by Studio Swine

More jewellery posts on Dezeen include a ring made from human leather and body jewellery inspired by Japanese baskets.

Buttons by Studio Swine

See all our stories about design by Studio Swine »
See all our stories about jewellery design »
See all our stories about fashion »

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A Million Times by Humans Since 1982

Stockholm studio Humans Since 1982 has combined 288 analogue clocks to create an installation of shifting monochrome patterns, lettering and numbers (+ movie).

A Million Times by Humans Since 1982

Called A Million Times, the piece by Humans Since 1982 for Victor Hunt Designart Dealer features 576 motors to drive each minute and hour hand independently.

A Million Times by Humans Since 1982

The patterns created by the rotating black hands against the white clock faces are controlled via customised software on an iPad.

A Million Times by Humans Since 1982

This piece follows on from the designers’ Clock Clock project from 2009, which used 24 analogue clocks to spell out the time like a digital display.

A Million Times by Humans Since 1982

“With this installation, Humans since 1982 finalised the clock projects and their escape from a solely pragmatic existence,” says Victor Hunt.

A Million Times by Humans Since 1982

“Locked in its functionality to show the time, the natural character inherent to an analogue clock – with its two arms constantly dancing in slow motion around the center – unveils hidden figurative qualities without denying its primary purpose.”

A Million Times by Humans Since 1982

The new piece will be presented at Design Days Dubai from 18 to 22 March 2013.

A Million Times by Humans Since 1982

Humans Since 1982 was founded by Per Emanuelsson of Sweden and Bastian Bischoff of Germany in 2008 while they were studying at Högskolan för Design och Konsthantverk (HDK) in Gothenburg, Sweden. Their other projects include a lounger that incorporates a crucifix and a hair clip with eyes on to make the wearer look like they’re standing the other way round and wearing a niqāb headdress. See all work by Humans Since 1982.

A Million Times by Humans Since 1982

Based in Brussels, Victor Hunt represents young designers including Tom Price, Kwangho Lee and Maarten De Ceulaer. We also ran a series of movies the gallery made about the processes behind the design pieces it promotes, called Tales of the Hunt. See all our stories about design at Victor Hunt Designart Dealer.

A Million Times by Humans Since 1982

Other unusual clocks on Dezeen include a film of two men with brooms pushing debris to form moving clock hands by Maarten Baas and another that only tells the time when you feel its face. See all clock designs.

A Million Times by Humans Since 1982

Credits:

Designer and producer: Humans since 1982
Engineering: David Cox
Editor: Victor Hunt Designart Dealer
Dimension of installation: 344cm x 180cm x 5cm
Number of single clocks: 288
Number of installed motors: 576
Material: aluminium + electric components
Electricity: standard 100-240V, 50-60Hz socket
Operation system: customized software to be controlled via iPad
Finish: powder coated white + black hands, screen printed dials

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Brackets by Nendo for Kokuyo

Product news: Japanese design studio Nendo has come up with a modular office furniture system with tall backrests for extra privacy (+ movie).

Above: movie shows various configurations of the modules

Created for Japanese office furniture and supplies brand Kokuyo, the Brackets sofa and table units by Nendo are intended to surround their users “like parentheses.”

Brackets by Nendo for Kokuyo

The seven sofa types and four table types can be combined into numerous combinations, from rows of alternately facing single seats to compact meeting booths.

Brackets by Nendo for Kokuyo

At 140 centimetres tall, the backrests screen the occupants and provide privacy as well as dampening surrounding noise.

Brackets by Nendo for Kokuyo

Other products launched by Nendo recently include bent wood chairs that flick out as if they’re wearing capes and a series of 30 lamps made from a modular set of parts – see all design by Nendo.

Brackets by Nendo for Kokuyo

Earlier this month we reported on the studio’s mountain range of laser-cut foamboard installed at Stockholm Design Week, where Nendo was guest of honour – see all news and products from Stockholm 2013.

Brackets by Nendo for Kokuyo

Photographs by Akihiro Yoshida.

Here’s some more information from the designers:


Brackets

An office-use unit sofa designed to create a communication space by ‘bracketing’ its inhabitants like parentheses.

Brackets by Nendo for Kokuyo

Users can freely combine the seven sofa types and four table types into a variety of spaces with a finely tuned balance of openness and privacy, concentration and relaxation and individuals and groups.

Brackets by Nendo for Kokuyo

The sofas are composed of sharp outer lines and softer inner curves, so that they respect the mood of the office environment while providing for user comfort.

Brackets by Nendo for Kokuyo

The height of the backrests, relatively tall at 1400mm, provides visual privacy and dampens the surrounding noise, allowing for focussed conversations.

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for Kokuyo
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Movie: Sliced Porosity Block by Steven Holl Architects

The second of two movies in this series about Steven Holl’s Sliced Porosity Block in Chengdu, China, is a walk through the spaces of the mixed-use complex.

Sliced Porosity Block by Steven Holl Architects

Produced by filmmakers Spirit of Space, the architectural tour begins with the approach route into the public plaza, which is surrounded by the five towers of the scheme and sits above a shopping centre.

Sliced Porosity Block by Steven Holl Architects

The movie shows the daily activity in this plaza, where three staggered terraces feature seating areas, trees and large pools of water.  In the first of the two movies Steven Holl explains that he designed this space first, then added the architecture around it.

See more images of Sliced Porosity Block in our earlier story, or see more architecture by Steven Holl Architects.

Sliced Porosity Block by Steven Holl Architects

Spirit of Space previously filmed two movies about the Steven Holl’s Daeyang Gallery and House, an underground gallery with a pool of water underneath. See more movies by Spirit of Space on Dezeen.

Architectural photography is by Hufton + Crow.

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“This isn’t just some iconic skyscraper” – Steven Holl on Sliced Porosity Block

New York architect Steven Holl describes how he designed the mixed-use Sliced Porosity Block complex in Chengdu, China, as a container for public space in the first of two movies by architectural filmmakers Spirit of Space.

“This is an example of how you can shape space first and the architecture supports that,” explains Holl. “This isn’t just some iconic skyscraper.”

Sliced Porosity Block by Steven Holl Architects

Completed at the end of 2012, Sliced Porosity Block is of one of a string of recent projects by Steven Holl Architects in China, which include a pair of museums for Tianjin, a “horizontal skyscraper” in Shenzhen and the Linked Hybrid complex in Beijing. “One of the things about working in China is that right now I feel it’s a culture that understands the urgency of building for the future,” says Holl.

The complex comprises a cluster of five towers around a public plaza, with a shopping centre tucked underneath. Holl cites New York’s Rockefeller Centre as inspiration for his design concept, which rejects the “towers and podium” approach commonly adopted for large mixed-use developments. “Rockafella Centre shapes a big public space without any building being iconic,” he says.

Steven Holl

In the movie, the architect gives a walking tour of the completed project and visits some of the integrated installations, including the Light Pavilion designed by Lebbeus Woods. “The concept of buildings within buildings was something that was driving the original design,” he adds.

See more images of Sliced Porosity Block in our earlier story, or see more architecture by Steven Holl Architects.

Sliced Porosity Block by Steven Holl Architects

Spirit of Space previously filmed two movies about Steven Holl’s Daeyang Gallery and House, an underground gallery with a pool of water underneath. See more movies by Spirit of Space on Dezeen.

Architectural photography is by Hufton + Crow.

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