Christian J. Lange and Ingeborg M. Rocker will present their paper “Serial Architectures, Systems of Multiplicities and Adaptability” at the upcoming ICAMA 2013 conference. The international conference on Adaptation and Movement in Architecture will be held at Ryerson University, Toronto Canada during October 10-12 2013.
For more information please visit: http://www.icama2013.com//
Rocker-Lange Architects were awarded a honorable mention in the international design competition for a new bench design for the Kowloon East district in Hong Kong. The competition was held in conjunction with the 13th Venice Biennale International Architecture Exhibition, Hong Kong Response Exhibition.
The redevelopment of Kowloon East will have a diverse array of spatial conditions, from new, open public waterfront parks to tightly planned former industrial areas. Traditionally urban furniture consists of repeatable standardized elements while being installed in various conditions. The problem with repeatable elements is that they don’t adapt necessarily very well to the specificity of each site condition. The key concept of the “Urban Adapter HK 2.0” project is to establish a system that can address the explicit conditions of each site, and to blend each bench with a variety of programs. The specific design methodology and the computer aided construction and assembly process allows making every bench unique while creating a distinctive family of urban street furniture that creates a merging identity for Kowloon East.
This project with its unique user surfaces will have the capacity to place the user in a new position with the urban reality and its ecologies as much it may reposition the urban reality all together. Not only will it improve the quality of the public realm, it will also establish a new framework for use and for seeing and being seen in the urban streetscape of Kowloon East.
The material for this street furniture will be wooden slats making it a positive sustainable contribution. The finish of the bench is made of climbing rope or rubber band finish. Each bench will have a distinct color out of a specific color family making each bench identifiable. The wooden slats are CNC cut, making sure that each bench can be precisely assembled.
Associate Professor Ingeborg M. Rocker publishes essay entitled “Calculated: formal excesses of digital ornaments,” as a chapter in Ornament Today: Digital, Material, Structural edited by J. H. Gleiter, Professor of architectural theory at the Technical University Berlin.
Rocker’s chapter is part of her ongoing research in the role of computation for the theorization and production of architecture. Rocker’s research of “digital ornament” began in 2009 with her paper “Computation in Command? Fading Flamboyant Architectural Aesthetics,” presented at the Harvard Design School’s Critical Digital Conference.
Her current contribution, “Calculated Excess,” contextualizes the development of ornament within shifts of production logics, from hand-crafted, to industrially produced, to digitally fabricated. Rocker marks the ambiguous terrain between the investigation of production techniques and the ornamental, while drawing parallels between the digital ornament of today and those of the past. Does the computation ability to facilely produce variation through the manipulation of code suggest considering ornament and architecture as a like set of endless differentiations? Or does it rather recommend looking at architecture and ornaments at the level of code itself?
For further details see:
Book:
J. H. Gleiter, editor. Ornament Today: Digital, Material, Structural. Bozen: Free University of Bozen Press, 2012.
Rocker Lange Architects have been recently featured in a video by the Wall Street Journal called “Architects Tackle Density in Hong Kong”
The creativity of architects and designers from around the world, applied to imagining a brighter, more efficient city, is on display at the Hong Kong architecture biennale. WSJ’s Diana Jou talks to chief curator Anderson Lee to get the scoop on some of the most fascinating projects.
Rocker-Lange Architects are participating in this year’s Hong Kong & Shenzhen Biennale with their research project entitled “Density & Openness Revisited: Recoding Building Bulk in Hong Kong”. The project will be on display until April 24th and is located in the Hong Kong Pavilion of the show.
Hong Kong’s cityscape is primarily shaped by the typology of the tower. While specifically in Hong Kong the tower is utilized as an extension of the urban programmatic user surface, the question of public space within this vertical urban fabric remains unaddressed.
The research project “Density & Openness Revisited: Recoding Building Bulk in Hong Kong” is the search for an alternative approach to think about open and public spaces in the context of the city. Instead of extruding the maximum boundary condition of a given site to determine the building mass, this model incorporates a ratio of open space in the design process.
At its core is a computational logic that calculates the amount of open space for each city plot. The rule-based model can adapt to different site and programmatic conditions and produces varying spaces and varying densities This approach offers the capacity to generate new forms of public space, semi public and private exterior and interior spaces.
Rocker-Lange Architects are releasing their competition entry for the idea’s competition “Busan Opera House” in Busan, South Korea.
Our project for the Busan opera house is an interior/exterior plaza for the arts, in which the public may engage with various art programs during the daytime and nighttime, in settings ranging from an opera to a public plaza. The design is an extended landscape intended for display and for being displayed, for engaging with the arts. Much of the scheme is a sloped ground, designed for seating and viewing. The interlocking of the urban fabric, the land, and the water in a single design creates a stage for the city, as much as it re-frames the city as stage. Public life, high-arts performances and exhibitions, as well as the beauty of Busan’s natural surrounding are equally on display. The exterior strategies for the design are continued inside, where the scheme promotes a continuity of the landscape in the public plaza beneath and surrounding the theaters and the opera. The public realm ‘folds up’ as a large landscape-like staircase in order to reach the large, suspended auditorium spaces inside and the viewing terrace on the roof outside.
The design enables the public to participate in cultural events in and nearby the new Busan Performing Arts Center. The building’s public space is accessible throughout the day and night. The design of interior and exterior public space is suggested as a space and place of performances, of enactments informed through relationships as they unfold in time. The design is structured to stimulate and care for relationships, for the spaces in between. Upon arrival, different paths disclose the sites of performance on the sloped architectural-landscape inside and outside the building. The stages that may hereby be encountered are both fixed and temporal, as the performances energize them with life. Changing events, pattern’s of life’s activity, are anticipated rather than determined through the design.
Located on a peninsula in direct proximity to the Busan Port, and the city center of Busan, our project aims to offer to Busan citizens a public interior and exterior space that is equally engaging the water as well as the park and the city scape. The opera is designed as a landmark, in the literal sense of the word, it is marking the land, marking the new cultural scape of Busan at the same time it is an icon for Busan. The overall structure of the opera is designed as a large habitable ground that slowly ramps from the water and the park up to become an architecture that allows the viewer to link to both the water and the city. The building becomes a stage located in the water, as it also stages the beautiful bay, the ocean on one side and the lively city and its skyline on the other side.
Students at the Graduate School of Design at Harvard University under the guidance of Professor Ingeborg M. Rocker of Rocker-Lange Architects , have built a wall structure out of chipboard bricks.
The research seminar On the Bri(n)ck II: Architectural Envelope traces the historical development of a debate about the architectural envelope that began at the end of the 19th century. It was a critical period in the industrial revolution when new materials and technologies became available and started to inform architectural design and debate. Architects began to question the role that mass-production should play in architecture, and also questioned the influence that new notation and construction-techniques had on the architects’ work. Today these and similar questions are resurfacing as the digital medium literally informs the conceptualization and production of architecture.
In the beginning of the 20th century brick became the dominant local material, embodying the socially and politically motivated expansions of rapidly growing European cities. Brick was particularly favored in the urban centers of the Netherlands, Germany and Austria. Today the role of brick has evolved, though solid and capable of bearing great loads, it is now mostly used as cladding. On the Bri(n)ck II focused consequently on the changing role and materiality of brick today.
The project engaged several teams to develop architectural envelopes that were constituted from either mass-produced or mass-customized load bearing brick units, or alternatively mass-produced or mass-customized non-structural brick cladding. In addition to the research on different discretization techniques and structural properties of surfaces, the research-seminar also sought to identify alternative brick materials that were widely available, sustainable, light and inexpensive. On the Bri(n)ck II (1:1) project employed several hundred cardboard brick units to form the geometry of a Limaçon surface. This is a continuous geometry that inscribes an interior space with a single surface. The openings of the brick-units along with the units adapt in size, geometry and width to the surface’s geometry. At the same time the overall surface geometry is challenged through the discretization techniques generating the bricks. Using a 2-dimensional material to create a 3-dimensional brick unit was challenging. Research had to overcome obstacles such as the geometric construction of the unit, its ability to unfold and resourceful use of the material. Working with chipboard also required a very precise study of the units’ geometry in relation to their structural stability. Much attention was paid to the units, their seams and the ease in which one was able to assemble and disassemble them. A chipboard rib further stabilized the unit connections.
The project was designed and built using the CAD/CAM facilities at the GSD. Overall the design and building process brought up questions regarding mass-production and mass-customization. The project explored the limits of a mass-customization process; examining how the same procedure can lead to an array of possible results.
Credits:
Instructor:
Ingeborg M. Rocker, Ph.D.
Research Collaborator:
Hiroshi Jacobs (MDES)
Core Team: Mais Al Azab, William Choi, Hernan Garcia, Casey Hughes, John Jakubiec, Lesley McTague, Marta Nowak, and Mark Pomarico
Team: Harvard GSD Students
Drawings: Hiroshi Jacobs + Casey Hughes
Renderings: Will Choi
Funding: Junior Faculty Grant from the Department of Architecture, Harvard University, GSD
Ingeborg M. Rocker of Rocker-Lange Architects will present a lecture entitled “Emerging Structures: Concept and Realizations in the 1960’s” at the faculty of architecture TU Graz on Thursday March 16th 2011. For more information about this event please goto TU Graz.
Rocker-Lange Architects are participating in this year’s Venice Biennale with their project entitled “Serial Architecture – Systems of Multiplicities”. The scheme on display is part of the exhibition “Quotidian Architectures” in the Hong Kong Pavilion.
Hong Kong housing is based predominantly on the typology of the tower. While this configuration allows for many different interpretations, the common approach to this design task is based on repetitive, reductive and profit driven ideas. The potential for innovation in form and organisation of this typology remains yet unbuilt.
This project interrogates these circumstances by investigating possible alternative design techniques that can result into a series of tower configurations that vary and possibly produce unique identities.
With the introduction of digital media and digital manufacturing processes, the conception of modularized architecture constructed out of nearly identical industrially mass-produced components has been challenged. Today, with the use of the computer and various open software packages, architecture can instead be realized as varying prototypes of a series. Within each series a variety of design versions can be realized. Each of these design versions is unique and yet also part of the series.
Rather than having a fixed form, this approach offers the ability to develop models that describe a flexible space that is based on a set of relationships of discrete elements. Hence, the designer is able to constantly redefine and alter the model, capable of producing many possible versions based on varying input data.
Rocker-Lange Architects are releasing their competition entry for the idea’s competition “Fashion Museum Omotesando” in Tokyo.
The design of a fashion museum on Tokyo’s renowned Omotesando district asks for a unique answer. While the height of the tower in a low-rise area guarantees that the building will have an iconic flavour by default, one has to express still its significance and otherness in comparison to generic towers. Conventional tower configurations lead usually to a stratified system. In order to avoid a disconnected and discrete spatial succession, this design utilizes the concept of an expandable and differentiable ribbon as a continuous organizational strategy.
The ribbon that resembles a trefoil knot ensures that the narrative of the Fashion history is told in an uninterrupted way. The ramp is providing an easy access for handicapped people by maintaining a slope of 6%. The system ramps up the entire height of the tower and provides a user interface for a continuous experience in revealing the history of the fashion industry chronologically from the 1900’s to the 2000’s.
Since the circulatory principal is the main concept behind the design, it is used furthermore to organize and articulate the façade system. This outer membrane is a direct interpretation and transformation of the interior movement inside the tower space. The design seeks to achieve a unique formal character and a unique spatial configuration by implementing cross scalar variation.
By maintaining a uniform and holistic building envelope the proposal ensures a strong iconic identity for the building and the entire urban area of Omotesando. This enhances the unique and special atmosphere of this district. The façade material is made of white enamelled metal panels with bronzed tinted glass elements that provide sufficient protection to the exhibited fashion artefacts. The façade with its porous nature offers continuous and constant 360 degree views over the city of Tokyo.
In order to provide maximum interaction with the ramping system the structure opens up an extended urban space underneath the building. The enclosed space of the museum is lifted up by 4.00 m to provide alternative relations with the urban surrounding. This way the ramp can be understood as an extension of the urban space by providing a gradual transition from exterior to interior space.
