Drawing Jewel

There was an exhibition called, ‘Industrial Beauty’ dedicated to the french engineer, artisan and designer Jean Prouvé (1901-1984). Original posting is here. The drawings are absolutely beautiful and lovely. Human touch of pen, and pencil drawings make them artistic.

         ‘industrial beauty’ is an exhibition which is dedicated to the french engineer, artisan and designer jean prouvé (1901-1984).
curated by architect norman foster and professor of architecture projects luís fernández-galiano, this show revisits
and provides a detailed overview of his career.

following a chronological layout of prouvé in ten sections, each one featuring original drawings and photographs
accompanied by critical texts, the selection of works on view at ivorypress art + books mirrors the diversity of this multifaceted creator.
alongside original drawings, the show includes a large number of pieces of furniture, scale models, fragments of buildings
and even ‘6×6 house’, a prefab emergency housing for refugees from the second world war. the objects and documents on view,
many for the first time in spain, come from the collections of centre georges pompidou (paris),
he archives départementales de meurthe-et-moselle (nancy) and galerie patric seguin (seguin).

brought up in the artistic setting of the art nouveau school of nancy (of which his father, the painter victor prouvé, was a foundingmember),
apprenticing in metalworking, jean prouvé defined himself as a ‘constructor’, and le corbusier – one of the many architects who worked with prouvé –
called him the architect-engineer. his career was centred on a search to make the most off the techniques and materials available at any given time,
especially in the field of metal. to this end, he employed a highly elaborate constructive and structural intuition underpinned by the praxis
and creation of prototypes, which led him to conceive and fabricate with equal success everything from exquisite pieces of furniture
(such as the cité or visiteur armchairs, true icons of 20th century design) to components for construction and even whole flat-packed,
industrialized buildings.

        among his most significant architectural works are such seminal examples as the maison du peuple in clichy
(in conjunction with architects eugène beaudouin and marcel lods, and where prouvé designed one of the first ‘curtain walls’);
the maison tropicale (aprefabricated house featuring ingenious insulation and ventilation systems, designed with his brother,
the architect henri prouvé); his own home in nancy (built with pieces salvaged from the factory in maxéville,
precisely during the years in which the company’sfinancial backer took over control); the pavilion for the centennial of aluminium
(one of the few buildings for which he is wholly responsible,and completely dismountable); the pump room for the cachat spring in évian-les-bains
(where he rehearsed the original structural system of‘crutches’ which he would later use in various schools);
or the grenoble exhibition centre (together with his son, the architect claudeprouvé, and the engineer léon petroff,
and where he developed a new, highly efficient lattice structural system).

a founding member of the union of modern artists, active in the french resistance, mayor of nancy (france),
director of a factory self-run by over 300 workers in maxéville, teacher at the conservatoire national des arts et métier in paris,
independent consultant… jean prouvé’s career is a prime example of engagement with the technological and social advances of his time.

via www.designboom.com

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Dan Holdsworth

This exhibition is ‘Transmission: New Remote Earth Views’ at National Glass Centre, Sunderland.

To borrow words from the review by Dawn Bothwell:

“Within the polished and high precision images of ‘Transmission: New Remote Earth Views’, the boundaries of photography and place blend into one new perspective.

Dan Holdsworth’s new series of images depict the great, glacial landscapes of the west coast of North America. He has worked with the United States Geological Survey database, collaborating with experts in geomorphology and airborne laser mapping. The resulting works take on the role of highly tuned maps, containing vast amounts of data about their environments. These ‘maps’ offer a snapshot of the formation of the landscape which we now see, and by their scientific nature, could provide an accurate future picture.

The selection from this series currently shown at the National Glass Center in Sunderland is taken from Salt Lake City, Grand Canyon and Yosemite Valley: sites famously captured in the past by photographers like Carleton Watkins, defining the genre of documentary landscape photography.
Watkins’ images of Yosemite inspired the great naturalist John Muir to visit the cavernous landscape, which he lived by and fought to preserve: founding the first protected natural site and the concept of the National Park.

For Muir, living in and truly knowing first hand the Yosemite Valley, it represented spiritual planes thriving with proof of creation, marvelling in the unpredictable wilderness and its gradual formation far beyond human scale. In stark contrast to the early images taken by Watkins in the 1860s, Holdsworth’s images show a new side of man’s modern relationship with nature.

Built using algorithms produced from aerial laser scans and containing millions upon millions of co-ordinate data, each of these images show the new sublime – the modern technological sublime. This transfer of power from nature to technology holds unthinkable potential. The undiscerning view of these images unearths a primary concern of the documentary genre, removing the photographer from site. They embrace modern technology’s style and adopt its indifferent gaze: flatly downward, scanning the terrain, recording its gradual transformation with astounding detail.

This removal looks back to that seen in the work of artists like Robert Adams and Lewis Baltz, noted in the famous exhibition New Topographics, whose distanced photographic style was a mirror to the conscience of a rapidly changing society. The cool, sheen, rendered images in Transmission: New Remote Earth Views, take on a benign presence, echoing the formal concerns of the south-west ‘Light and Space’ artists of the nineteen-sixties. They inhabit a space and denote their own underlying ambition: revealing the unpredictable clauses of nature and the ever-expanding unknown of the realm of technology.”

There are more of his photography at his website, herehttp://www.danholdsworth.com/

I also like ‘blackout’ collection among others.

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Barajas Airport Spain, Madrid

Currently, I am working on the airport CONRAC (Consolidated Rental Car Facility) project and my colleague have recommended to check out the Barajas Airport in Spain. I soon have been moved and inspired by the project of Richard Rogers and Estudio Lemela.

Terminal 4 is the one that captured my attention.

The Barajas Airport was constructed in 1927, opening in 1931. Terminal 4, designed by Antonio Lamela and Richard Rogers was built in 2006. It’s the one of the world’s largest airport terminals in terms of area with 8,180,572 SQ FT in separate land-side and air-side structure according to Wiki.  The terminal’s design focus was to have a stress-free start experience in passengers’ travel. Elements that stands out are:

  • 25 acres of undulating aluminum standing -seam flying carpet roof  held by painted steel truss support on top of concrete base columns
  • A series of skylight domes to allow natural light on the roof with the bamboo suspended ceiling.
  • Endless transparent, light-filled vast halls and concourses with a structural glazing curtain wall system

From e-architect,

Aims of the Design

The design selected by AENA has four basic principles:

Integration into the landscape
Airport terminals are normally surrounded by secondary elements (car parks, power plants etc.) that obscure orientation through the airport. In this design, such structures are integrated into the main building, taking into account the topography of the local area. The canyons – large courtyards full of daylight – establish a sequence that incorporates the landscape into the interior space.

Despite the extreme heat of summer in Madrid, the design team were committed to the use of passive environmental systems wherever possible, while maximising transparency and views towards the aircraft and the mountains beyond. The building benefits from a north-south orientation with the primary facades facing east and west – the optimum layout for protecting the building against solar gain. The facades are protected by a combination of deep roof overhangs and external shading. A low energy displacement ventilation system is used in the pier, and elsewhere a more conventional high velocity system is used. Given the multi-level section, a strategy was also needed to bring natural light down into the lower levels. The solution is a series of light-filled ‘canyons’. The canyons are spectacular full-height spaces, spanned by bridges in which arriving and departing passengers, though segregated, can share the drama of the imposing space.

Spatial Clarity
Barajas is a model of legibility, with a straightforward linear diagram and a clear progression of spaces for departing and arriving passengers. The accommodation is distributed over six floors; three above ground for check-in, security, boarding and baggage reclaim, and three underground levels for maintenance, baggage processing and transferring passengers between buildings. The flow of passengers starts in the forecourt and goes through the check-in counters and the security control until the boarding lounge.

The layout proposed is adaptable to all activities at the airport, maintaining a strong architectural identity through all stages of the project, with a view to the need for potential extensions of the buildings.


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Glass Tube

Dulles Airport’s Aerotrain’s stations has a special element, glass enclosure for the train tunnels.

The AeroTrain at Dulles International Airport in Virginia was opened Jan. 26, 2010. This was one of their improvement planning and construction projects (more than $3 billion since 2001) that brought a significant change in passenger’s experience of the terminal. It may elongate the trip to a flight with different levels for gates and security checkpoints, but the pictures and walkthrough videos on Youtube seem to be delightful and fast (42 mph for max. speed and only 2 minutes wait time with 72 seconds for travel time between stations) as far as I can see.

You can find more information about the Dulles Airport’s Transformation projects:



It is interesting to see the different takes on the stations from different design firms with similar concept I would like to call, ‘glass tube.’ Responsible architects are SOM: Skidmore, Owings and Merrill (Main Terminal Station), HOK: Hellmuth, Obata & Kassabaum (Concourse A-B Train Station), KPF: Kohn Pederson Fox Associates (Concourse C East Train Station), and HNTB Corporation (Tunnels and Vehicle Maintenance Facility).

As one can see from the pictures, these glass enclosure for train tunnels is very clean, minimal and see-thru transparent! Typical automated sliding doors on train stations usually don’t look pleasant due to all the supporting hardware, signage, maintenance and safety reason like the image below.

Even from the train car view, interior of the glass tunnels are consistently clean and all the hardware and doors are designed flushed like in the linked YouTube video above and the photo below

I am not quiet sure about the whole experience of the space, but as far as floating-like translucent floor glass panel bridge and translucent glass enclosure of trains go, the Main Terminal Station by SOM looks really nice- especially when they are lit. You can find more great photos on Flickr.

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Goggle or Lens?

When I was a kid enjoying reading  Dragon Ball, one of fascinating gadgets that captured my attention was a ‘scouter‘ that can be worn/attached to one ear for reading and calculating the individual’s power level/ ‘ki’. It also can serve as a communication device with gathering information capability.

It remained as one of my wish list items for a while.

Then, I watched ‘Dennō Coil (電脳コイル)‘ or ‘Coil – A Circle of Children’, Japanese science fiction anime that showed AR (augmented reality) technology. I am sure the series became the current inspiration for lots of AR industry projects.

Through AR glasses children used, the director Mitsuo Iso showed the half-real, half-internet city by application of various ‘tool’ programs/software, techniques and digital pets.

And when I saw the film, ‘Augmented City 3D‘ created by Keichi Matsuda, it was a great envisioned project. You may want to have 3d glasses to watch 3D version.

Couple days ago, Google finally came up with their version of goggle called ‘Project Glass‘ with animated video showing how it might look from one point perspective.

Great thing about the video was that it seemed more realistic approach with a first person view perspective.

Now, if eye ware is a device that triggers and show half-digital world, lens should be able to do it as well.

If you prefer direct wear this might be a solution for Augmented Reality in a Contact Lens. You can find the post about the details at Spectrum.ieee.org.


fascinating – but can’t imagine having ‘spammers’ lying all over the place…who should we call? digital cop?

‘Control’ along with ‘Patrol’ should become critical as with everything else.

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Revolt on Typography

Anytime I work, I run into typeface dilemma. I wish I could spend more time in design or research on typography per project. Tonight, I have found a great posting titled, ‘Typographic Revolt’ from African Digital Art.

Typographic Revolt is a collaborative project by South African designers Ryan Atkinson and Stephan de Lange.

You can also find the posting on Béhance Network.

“Following great exposure with A Grotesk Love Affair, HypeForType approached us to work on a new project -They wanted to produce a 16 page Tribute to their Exclusive Faces range of fonts.

Instead of following the traditional convention of a read through booklet, we decided to go down a more conceptual route. The end result was a quick read through A3 magazine which also doubled up as a set of 8 typographic posters. Each page folds out to create an A2 double sided poster perfect for your studio or home wall space.

In this Direct Mailer , we instigated a typographic revolt, a rallying cry to all Type and their users to take up arms against the tyranny of mediocrity that assails our eyeballs and spits in the faces of good designers all over the world.Both copy and design have been carefully crafted with the conceptual theme based around Typographic Revolt. If you would like to purchase a copy of this you can, by clicking here.”

What a great project!

The concept to all the arrangement looks fantastic. It isn’t just a typical booklet, but a magazine that I can actually unfold it to put up on the walls.

While I did enjoy and appreciate the reading of the Red Letter Day in the booklet, the fonts that were used, graphics, and whole layout were beautifully designed in my perspective. They are very architectural in many ways (Grids, Composition, Mass&Void..). Very cold and clean design that fits the purpose of the concept and the context respectively.

I thought this can be another good example of using the right type right, I can learn from-!

Well done-

Screw democracy. Long live Typocracy.

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High technology with baby’s item

Long time no see.  This is 8.  I am so sorry to not post any until now.  I had been busy and messed around with my life recently.  Well, now my wife and I are moving to new city for my new job.  I do not know when I can post new article, but I want to tell what I found recently.

My wife is going to deliver a baby in three months.  Before it happens, we need to prepare for our new born.  So we went to a department store to buy some important items for our baby, which were a baby car, child seat, and a cloth to hold a baby.

I did not pay attention to any baby car until this time.  I was so surprised that the technology for especially baby car and child seat is so high.  I attach this link showing what we eventually bought.

The company is called Aprica that was started in Osaka, but they use  foreigners for their advertisement.  Anyway, this baby car tries to protect babies from heat, I think , especially from summer.  According to Aprica, in the summer the surface temperature on the ground could be 51.2 Celsius.  Up to 38 cm from the ground, it could be 40.1 Celsius which is really hot for a baby.  However, if you rise the level of the baby up to 50 cm, the temperature will drop to 38.4 Celsius.  This is the reason why Aprica made the seat 50 cm above the ground.

Secondary, the baby car can transform from confront position to back position smoothly.  The surprising technology is that Aprica create the situation that the front wheel is always free to move.  Isn’t it cool ?  Due to this inovation, you can easily turn the corner.  If  the front wheel cannot move, you will have difficulty to turn.  I could feel Japanese craftman soul, you know.

There are more to describe it, but I have to go to bed now.  Tomorrow, we are moving to new city.  I am so excited to have new life with my family.

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