Article_1  We have NO VISION by Verena Vogler

Verena Vogler

Buildings that communicate a message are the continuation of the centuries old tradition of prestigious architecture. Decorative columns and architraves, bell towers and domes, the impressively decorated palaces built by the nobility in bygone centuries and equally the modern skyscrapers - cathedrals of capitalism - have always been, and still are, designed as a statement of social status, not purely as practical considerations.

Prestigious buildings also have “something to say”, they have always intended to send a message:

  

Towers have always been a symbol of power and influence. The Crysler Building was the first building to surpass the Eiffel Tower in hight, until the Empire State Building won the title of the tallest building in the world.

Today buildings are about to literally incorporate the expression of a brand which are the manifestation of lifestyle choices through the intermediary of products and services.

There is no doubt that products of fashion, luxuary articles such as cigarettes or fragrances and certainly cars are contemporary lifestyle products. People buy specific brands because they feel an affinity with the style they represent, adapting the latter in their own lives. It is surprinsing that only a few of the biggest and best known global brands such as Coca Cola have grasped the opportunity of making use of architecture in their communication strategy. But for fact, in present, the large car manufacturers who base the design of their offices and showrooms on a distinct corporate identity and the transport industry is effectively the only sector to have truly grasped the extent to which architecture can underline and even enhance a service.

   
Calatrava’s futuristic TGV station in Lyon domonstrates the potential of expressive architecture in functional buildings for travellers.

A new trend towards corporate identity appropriate architecture started to develop in the 1990s, in an area of buisiness activity that uniquely exemplifies the evolution and future of brand communication: the design of exhibition stands for the world’s major trade fairs. At the bianual Frankfurt Motor Show (IAA), the major German brands such as Mercedes or Volkswagen take over an entire hall of the trade fair center and, for the 13 days of the show , completely revamp the interior to such an extent that the average visitor has no idea of the physical structure of the building. They create a brand environment that fully negates the structural context. The exhibitor, by contrast, builds a stage set on which to produce a tangible experience of the brand, and that is a completely different matter.

What is the intension of communicative architecture? Its aim is not merely to create a recognisable image, communicative architecture tries not to visually represent the brand.  Instead it tries to translate brand values into the language of architecture. And because brands represent modern- day values, the architecture must also be modern- today with an opening towards tomorrow.

Cathedrals of Modern Time: Zaha Hadid’s BMW factory in Leipzig. BMW, one of the German major brands in the automobil industry, tries to communicate the brand value “dynamic: joy in driving”. Architects such as Zaha Hadid and Coop Himmel(b)lau collaborate mainly with BMW and are estimated by the company because they transmit best these values into architecture. Likewise, the Dutch architect Ben van Berkel works together with Mercedes Benz.

 Sex sells - and today? “Architecture. The New Sexy Subject for Fashion Moguls.” (1) Understood from this perspective, constructed reality, architecture, provides a visible, tangible setting and a symbol through which self-perception can be conveyed. This may not be a really new concept, in addition to its actual function, architecture has always served to express the philosophy and identity of its patrons.

The historical proclivity “form follows identity” paradigm was largly forgotten in favour of the rationale “form follows function” in the mid- twentieth century. Obviously a greater emphases was placed on functionality. Only recently has a symbolic content of architecture enjoyed rebirth through communicative and image- values. The famous architect has come to be considered a status symbol. The client is now happy to scale back his practical requirements in favour of of a more pretigious result. The architect himself becomes a brand. The goal is “form follows identity”- and objective that naturally takes functional requirements into account, while at the same time expressing the essence of the brand.

 

  

(1) Suzy Menkes, “Architecture. The New Sexy Sunject for Fashion Moguls”: International Herald Tribune, 23.01. 2001

 

Sources:

 

Zaha Hadid, Architektur- architecture, Ostfildern- Ruit 2003.

Architektur als Markenkommunikation: dynaform + cube, Basel 2002.

Mercedes- Benz- Museum, Konstanz 2007.

Bauhaus, Koeln 2006.

Wolfgang Hofmann, Goldener Schnitt und Komposition, Wilhelmshaven 1973.

Manfred Omahna, Plurale Räume, Muenster 2006.

Zaha Hadid, urban architecture Wolfsburg- Rom- Cincinnati, Berlin 2000.

Robert Venturi, Learning from Las Vegas, 1978.


A MAGAZINE ABOUT ARCHITECTURE FOR TOMORROW

We have NO VISION is a Blog created by us, a group of 15 young architects from all around the world that write and discuss about emerent topics in the field of architecture. Most articles pose a critical and provocative question.  We all have instincts about the future of architecture, and our own ideas about what it may hold, but we obviously don’t know for sure.

So if there is anyone interested in this plattform feel free to discuss with us:  www.wehavenovision.com


III INTERNATIONAL CONGRESS OF ARCHITECTURE, LANZAROTE (CANARY ISLANDS, SPAIN)

TOPIC WORKSHOP: “EL VIENTO- WIND”

 


left: final presentation, IAAC Group: Jürgen Weiß, Verena Vogler, Luis Odiaga
right: United: Jürgen Weiß and Verena Vogler (IAAC), Oliver Tessmann (Staedelschule), Ignacio Lopéz Busón (ETSA)

THE congress and the workshop has been organised by the Centros de Arte, Cultura y Turismo del Cabildo de Lanzarote together with the Museum of International Contemporary Art (MIAC) in Arrecife, Lanzarote.

Three Architectural Schools have been invited by the Organisation: Staedelschule Frankfurt represented by Oliver Tessmann and Anton Savov, ETSA of Las Palmes by Juan Palop and the IAAC Barcelona, where I was a part of. All together, 35 students came to the island in order to work eight days on different architectural approaches that concern the maintopic: El Viento- The Wind, which is a very basic and specific issue at Lanzarote island.

The workshop was based on direct environmental research and self- exploration around the island, which we enjoyed with the same intensity as the group discussions in between us. The organisation planned trips to the fantastic National Park “Timanfaya” full of Lava and to very special places that show a great impact by the wind as Famara Beach in the northern part of the island.

Projects and proposals have been developed by each School internally. In my opinion this was a pitty, because we lost the entire workexperience and the interchange of conceptual ideas  in between the schools.

Anyways, some architecture students that grew up on the island like Patricia Acosta and Monika Vina did an amazing job in helping us and gave us the possibility to get a very special  impression of their island.

In the end we ended up with three large proposals developed by each school, which was very interesting to see.

During our stay in Lanzarote we took a look at architecture on the site. A very special and unique type of architecture built on the “LAVA Island” has been done by the local architect César Manrique.

 

“HUECOS”

Three main subtopics which were quite interesting were given to each school: CURVES, POROSITY and HOLES. The IAAC group decided to deal with the HOLES, in Spanish HUECOS. We started to devide the group again in subgroups and to start with observations in different sites.

 

LAS SALINAS

project by:  Patricia Acosta, Maria Eftychi, Luis Fraguada, Verena Vogler

The group where I was lucky to be a part of observed natural and artificial pools along the island which produce salt through the impacts of the wind, waves, the location and topography of the site.

Natural pools are holes washed out by the water and the wind along the cliffy coast composed of lava. Throughout the wind and the waves they capture salt water inside. The heat of the sun plus the water- destribution of the wind allow the appearence of salt at the bottom of the hole.

The artificial pendant to the natural pools we found in Las Salinas. The Salinas are acricultural territories for salt production with an economical and traditional importance for Lanzarote. One amazing fact was that the salt farms worked in ancient times in a completly sustainable way. Windpower was used to generate windmills that pumped the water into the basins. Once again, through wind and sun the basins dried out and salt remained at the bottom. Today engines are used to pump the water into the Salinas, which today have a greater importance for tourism than production.

 I IDEA

The principal thought was to combine the idea of a pool for leisure activities with the salinas based on production to create hybrid-system empowered by the wind.

II DESIGN TOOL- The Gradient

We decided to design a system that adapts itsself to any site given over the whole island of Lanzarote. Mainly the hybrid depends on three main parameters:

1. the distance from the coast, because the salt water needs to be transported into the system

2. the direction and power of the trade winds that come from the northeast, their impact in the north of the island stronger than in the south

3. the distribution and the impact of the man- made infrastructure (cities, villages, acriculture areas)

We set up one extrem condition for a system based on these parameters that produces 100 % salt. Leisure activities would not exist: For an optimized salt production, the system should be placed with the smallest distance to the coast, the wind needs to be strong, beyond any infrastructure. We concluded that the size of the basins should be smaller and more regular to optimize the production.

If Leisure activity pools come into play, which are not based on 100 %  of salt production, the condition can vary. For example, the wind can be lighter, the distance to the sea could increase and the pools could be closer to the infrastructure centers. The pools itselves need to be larger and deeper in order to use them.

These relations we used to develop a grid for each parameter that includes a gradient information:

Fig A shows a grid which is an offset of lines according to the coastline. The distance between the lines is smaller near the coast -> smaller basins for saltproduction.

Fig B shows the infrastructural centers of Lanzarote

Fig C these are some intersectionpoints that were extracted from the three layers of grids on top of each other

Fig D shows a ZOOM. the site was picked randomly and is used as example

 

A script using RhinoMonkey was developed which connects the 4 closest points and converts them into a surface. Depending on the size of the surface area the surfaces get a different colorcode. The colorcode encodes the depth of the area.

The relation in this case is very simple: the bigger the area, the darker the colour, the deeper the HOLE! -> pool for leisure activities, the smaller the area, the lighter the colour, the flatter the HOLE -> for salt production

 

III PROPOSAL FOR THE LANZAROTE ISLAND

 

 

In order to download the presentation “Ecolandscapes” of the entire IAAC Group click here -> iaac_presentation_lanzarote_workshop


The German National Merit Foundation (Studienstiftung des Deutschen Volkes) organised in the beginning of June a 4 day Design Conference in the Bauhaus Dessau, Germany. Students from the field of design, architecture, audiovisual media, art, interface design, etc. gathered in the small town Dessau in order to discuss the “Zeitgeíst” of design. Prof.Christian Janecke and Prof. Bernd Kracke from Offenbach School of Design opened the series of interesting lectures. Besides these we went to visit the Bauhaus School and the Meisterhäuser of Walter Gropius.

Discussions: Sabine Starke, Julia Apitzsch, Ulrike Storost, Stefan Lausch, Hanna Bruchmüller, Verena Vogler

I exposed in this context some of my work done in cooperation with students from IAAC Barcelona

 exhibition: panels, models (3d printed and lasercutted) and a small booklet

on the rooftop of the Bauhaus School

Bauhaus Dessau


ESSAY 05/2008 VERENA VOGLER

In the class of Architectural Theory directed by Neil Leach, I wrote an essay about Deleuze’s expressiveness and territorialization. I tried to find links to Delanda’s philosophy of New Materialism and relations to today’s urban territories. This field is very interesting.

Check the Essay here:  territorializationexpressiveness2


VERENA VOGLER: EXHIBITION DIGITAL TECTONICS,

GALERIE EIGENHEIM WEIMAR, GERMANY

/model Parametric Hat

Der Titel „Digital Tectonics“ scheint widersprüchlich in sich selbst. Wie kann das Digitale Tektonisch sein oder das Tektonische Digital? Viele würden behaupten, dass das Digitale zu einer völligen immateriellen Welt bestehend aus computergenerierten Algorithmen und das Tektonische als völliger Kontrast dazu sich auf die materielle Welt der Konstruktion  bezieht.

Aber was kann das in dieser Kombination bedeuten?

 

Der Titel bezieht sich hierbei auf ein neues Denkparadigma in der Architekturkultur. Computer erlauben uns heute immer fortschrittlicher 3D zu modellieren.

Das, was hierbei als „Material“ bezeichnet wird und somit auf den Begriff der Tektonik anspielt, wird als der kleinste Bestandteil- die Architekturkomponente- gesehen, aus welchem Modelle generiert werden können. Diese Modelle können komplexe strukturelle Systeme sein.

Im Bereich der Digitalen Architektur besteht heute ein großes Interesse die strukturelle Logik von (Gebäude)- Hüllen zu erfassen und diese herzustellen. Oft orientiert man sich an Systemen in der Natur und versucht deren Logik im Bereich von Design und Architektur anzuwenden.

 

In meinen Arbeiten möchte ich einige Beispiele und Anregungen zum Digitalen Entwerfen aufzeigen. Ich verstehe Digital Tectonics als Werkzeug und nicht als die absolute Wahrheit eines Algorithmus.

Zum einen sind meine Modelle parametrisch entworfen worden. Das bedeutet, dass ein einziges digitales Modell durch die Veränderung der designten Parameter an den Benutzer oder bestimmte Umweltbedingungen angepasst werden kann.

Zum anderen habe ich die Möglichkeit genutzt Formen über einen mathematischen Algorithmus zu beschreiben und diese als Anhaltpunkt für eine Weiterentwicklung zu benutzen. Siehe Strange Attractors. Somit sind reale komplexe Objekte sowie Oberflächen entstanden.“

 

Verena Vogler

 


CreaTure

07Jul08

/ Thesis Project 06/2008 by Verena Vogler

SUPERVISOR: Martin Sobota

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 /topview

INTRO

The movements of water like the flowing of a river provide a sustainable form of energy which interacts with all structures that interfere with the water’s current. In this project, the river´s energy is used to move a mobile platform, the so-called „structure“, in which the energy from the river is taken up from the front elements and passed on from component to component down to the tail of the structure, which moves around like the tail of a whale or another aquatic organism. As opposed to a snake which uses its own energy, this floating structure takes advantage of the river as source of primary energy and is moved around passively through the water. However, it s movements can be controlled actively through a fine system of gates and underwater-channels, in a way that closed gates rise the resistance against the water current and thus the affected part of the structure is dragged back and transforms the shape of the structure. After this internal deformation, the structure moves in relation to the river and to its fixation point as a second response. Both first and second responses of the structure towards the river’s water current bring about an oscillating and sustainable, natural movement.

STRUCTURE

In the run-up to this project, experimental testing on how structures of different shape and skin can move orthogonally to water current has brought some insight into principles of movements in water. Both active movements (snake !) or passive movements (algae or resting animals attached to a stone) have been investigated. Parallelograms near-parallel polygons proved most efficient and flexible for the projects’ purpose.

SURFACE ELEMENTS

Different surface elements were designed as an adaptable skin for the underlying moving structure. As reference, the BMW design project “GINA” was used, a futuristic automobile with an adaptable skin that integrates aspects of structure, function as well as design.

In our structure, the surface elements are of great value to include different functional aspects in the platform, for example exhibition components and walking area components. Also, they work as an additional way of controlling and restricting the structure’s movements. In particular, parallelograms of the structure are being restricted by surface triangles, which can be used as exhibition space (video projection etc.) as long as they stand upright as pavilions, and which block the structures movement once they are dragged to become flat triangles.

After all, the floating components and the surface element interact to bring about the oscillating movements of the structure in response to the water’s energy. Once we put this floating structure in the context of the London Thames River, these slow movements make an excellent ground for an public exhibition space. Different walking corridors, artistic elements and exhibition areas take up the rhythm and flow of the river to offer a unique and sustainable experience to the interested visitor. 

Click here in order to download the Final Presentation as PDF ->

 vv_-presentation.pdf


Dome Project

07Jul08

/ Project by Digital Tectonics Studio Class Iaac 2008

SUPERVISOR:
Marta M. Alemany

The Dome project is a very interesting task since the class of Digital Tectonics is working united on this project.
All 20 students come from different coutries and have never worked before in in a team of 20 people for one single project.
The goal was to design a parametric Dome with a complex skin and to fabricated it in the Scale 1:1 during a timeperiod of 5 weeks.
To begin with, we thought the DOME as a pavillon in which one could enter. The basic parameters for the shape for the surface were defined in a simple TopSolid model. Later points were spreaded throughout the surface and give the final posistion for the components.
Components are based on 2 folded triangles facing one another. Each triangles fits unfolded to IAAC Laser cutting machine.
The material is white cardboard.

 

/ Model Scale 1:1

The presentation of the project included three panels and a video. The first panel included a diagrammatic overview of the project’s process in time, following the work of each one of the 5 work groups and emphasizing on important moments of meetings, decisions or overlapping pieces of work. The second one gave a different aspect of this process in time by demonstrating mostly the side of human interaction and collaboration. The third one was dedicated to the final project, with combined information on the parametric nature of it and images of the fabrication process as well as the dome itself.

Panel 1

Panel 2

Panel 3


Tectonic Cube

07Jul08

EXPERIMENT WITH THE 3D- PRINTER

/project by Verena Vogler to see more look here !

the-tectonic-cube.jpg

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cube2-kopie.JPG

In Digital Fabrication Class we designed using Rhino an object inside of a virtual cube 6 x 6 cm. On each one of the 6 sides we were supposed to put a link in order to connect the model with others.

Using th 3D- Printer the digital model became a physical object. Today was the day to pick up our babies out of the powder after 14 hrs being printed layer by layer.

img_9319-kopie.JPG

img_9314-kopie.jpg

/3D Printer


/project by group #6
Our group was assigned rotational input and light output for our electronics assignment. We got off to a great start with the milling, and chip making.
We decided for the panel that it would be much nicer if the actual object that you controlled was the object that changed, so we devised a series of 8×8×8cm cubes that would contain the electronic components. These 9 cubes were mounted on a large base board, allowing the sensor to be fixed and the cubes to rotate. Many long discussion were fought about the layout of the cubes, but ultimately we decided that a fairly regular pattern would suit the project better.
The panel its self allows you to vary the rate at which the light blinks by the amount that you rotate the cubes.
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In the following bad solution (sorry) video you can see the effect.
 
To see more about the projects ans similar projects click here