3D Scan of Audience made by ScanLAb
FABRICATE 2011 co-chaired by Ruairi Glynn and Bob Sheil was an International Peer Reviewed Conference with supporting publication and exhibition held at the Bartlett School of Architecture, University College London from 15-16 April 2011. FABRICATE brought together pioneers in design and making within architecture, construction, engineering, manufacturing, materials technology and computation with discussion on key themes including how digital fabrication technologies are enabling new creative and construction opportunities, the difficult gap that exists between digital modeling and its realization, material performance and manipulation, off-site and on-site construction, interdisciplinary education, economic and sustainable contexts. The conference framed discussion around the presentation of built or partially built works by individuals or collaborators in research, practice and industry selected from submissions through a call for work in the fall of 2010.
Photos of the Conference & Exhibition.
Architecture and engineering have a history where research and practice go hand in hand, where many great practices have grown as a result of fundamental research and where many research projects arise from groundbreaking design. This is especially true during periods of economic inactivity when recent modes of working are called into question and new modes (sometimes based on rediscovered historical precedent) are established. This can lead to the formation of innovative practices and to the start of academic careers in research and teaching.
Constructing Realities showcases work of recent graduates supported by the Economic Challenge Investment Fund. This exhibition organised with the generous support of Arup’s Phase 2 Gallery shows how some of the best Masters portfolios and theses contain the seeds of serious design research proposals, and how these might be taken forward to create new types of place, novel interactive building elements and new façade and structural systems.
Curated by Stephen Gage & Ruairi Glynn
Exhibition Design by Nick Westby. Special thanks to Dr. Jennifer Greitschus, curator of Arup’s public exhibitions programme at the Phase 2 Gallery
Digital Hinterlands features a diverse range of work by some of the best recent architecture graduates from London’s Architectural Association, Bartlett, Royal College of Art, and University of Westminster. Organised by Ruairi Glynn and curated in consultation with Arup, this exhibition reveals how the latest computational design and rapid manufacturing processes are providing new ways of understanding and designing space. From built models, 1:1 fragments, material experiments and installations, to interactive devices, virtual worlds and robotics, this exhibition presents the ideas of a wave of young designers, operating on the speculative hinterlands of architectural design.
To celebrate London as a centre of design and innovation, the ‘Digital Architecture London’ Conference held at the Building Centre on 21st September 2009 presented a selection of London’s leading architects, artists, designers and engineers, examing how London is shaping the digital future of the built environment.
Introducing the latest developments in digital design practice, the conference explored new spaces, social interactions, design and fabrication processes, and speculated on architecture’s post-digital futures. DAL09 was directed by Ruairi Glynn with the support of London Digital Week, The Building Centre, Arup & The Bartlett School of Architecture.
Patrik Schumacher, Director and Partner, Zaha Hadid Architects and Co-Founder, Design Research Laboratory, Architectural Association.
Neil Spiller, author of Digital Architecture Now , Visionary Architecture  and many more; Professor of Architecture and Digital Theory; and Director of AVATAR at the Bartlett School of Architecture.
Brett Steele, Director of the Architectural Association School of Architecture and AA Publications; and Co-founder and former Director of the AADRL.
Tony Dunne, Professor and Head of the Design Interactions Department at the Royal College of Art; and Co-founder of Dunne & Raby.
Geoff Manaugh, Author of the popular website BLDGBLOG and recently of The BLDGBLOG Book, Chronicle Books .
Usman Haque, Director of Haque Design; Research and founder of Pachube.com; and recent recipient of the 2009 World Technology Award (Art), Design Museum, 2008 (Interactive) Design of the Year Award and Wellcome Trust Sciart Award.
Daniel Bosia, Director of the Advanced Geometry Unit, Arup
As well as Murray Fraser, Hanif Kara, Rachel Armstrong, Bob Sheil, Charles Walker, Tobi Schneidler, Marcos Cruz, Alvin Huang, Matt Webb, Stephen Gage, Ruairi Glynn, Alan Penn, Marjan Colletti
“I wanted to know how it is possible, without having a maze of strings attached to one’s fingers, to move the separate limbs and extremities in the rhythm of the dance. His answer was that I must not imagine each limb as being individually positioned and moved by the operator in the various phases of the dance. Each movement, he told me, has its centre of gravity; it is enough to control this within the puppet. The limbs, which are only pendulums, then follow mechanically of their own accord, without further help. He added that this movement is very simple. When the centre of gravity is moved in a straight line, the limbs describe curves. Often shaken in a purely haphazard way, the puppet falls into a kind of rhythmic movement which resembles dance.”
On the Marionette Theatre, 1810, Heinrich von Kleist
Heinrich von Kleist’s essay in 1810 describes the Marionette in surprisingly similar ways to how we might start describe (or build) a Marionette in code. “Gravity, Pendulums, & Collisions” was a collection of works exploring Kleists test on the ‘BIX’ Media Facade of Peter Cook & Colin Fournier’s Kunsthaus, Graz, in Austria. A series of acts were broadcast out over the city of Graz and internet in November 2008.
Organised at the Lighthouse Gallery, In partnership with RIBA, and the Architecture Center Network Brighton, Slow Furl is the making of a room size textile installation that acts and reacts on its inhabitation. The installation exists as a soft and pliable skin that lines the Lighthouse space. The skin shifts. As guests enter and move within the foyer, the skin moves imperceptibly at deep timeframes, creating new cavities and spaces, revealing slits and apertures.
The project explores the notion of flow. Rather than fixing the digital in a responsive relationship to the user, where every call defines a reply, Slow Furl finds its temporality outside the immediately animate. The thick skin envelops the space in a deep furl. Like a glacier, this robotic membrane, is formed by its slow action, reacting imperceptibly to its inhabitation.
Organised with the support of Eyebeam, The Bartlett School of Architecture, & Parsons The New School for Design.
2 Day Conference & Seminar Organised with the support of the Institute of Digital Art & Technology