Martha Rosler, The Bowery in two inadequate descriptive systems (1974–75)
Silk Pavilion is a biomimicry project from the always amazing MIT Media Lab.
About the project:
The Silk Pavilion explores the relationship between digital and biological fabrication on product and architectural scales.The primary structure was created of 26 polygonal panels made of silk threads laid down by a CNC (Computer-Numerically Controlled) machine. Inspired by the silkworm’s ability to generate a 3D cocoon out of a single multi-property silk thread (1km in length), the overall geometry of the pavilion was created using an algorithm that assigns a single continuous thread across patches providing various degrees of density. Overall density variation was informed by the silkworm itself deployed as a biological printer in the creation of a secondary structure. A swarm of 6,500 silkworms was positioned at the bottom rim of the scaffold spinning flat non-woven silk patches as they locally reinforced the gaps across CNC-deposited silk fibers.
You can read more here or watch the video to learn more about the project:
1. I Always Go Back to Me (2010)
2. Please Take Care of This (2009)
3. Be With and Without Me (2009)
4. Face the Whole (2011)
5. Blow your Mind (2010)
6. Bright Darkness (2010)
7. You are Now (2013)
8. Faces that I Have to Face Before I Sleep (2010)
9. The Inner Inside (2009)
10. Weight of You (2009)
Bridget Collins - Olly Olly Oxen Free, 2011-12
Hiroshi Sugimoto - Appropriate Proportion: Go-Oh Shrine (2002)
“Go-Oh Shrine traces its origins back to the Muromachi (Ashikaga) period (1338-1573). In recent years, however, the structure had deteriorated considerably and was slated for reconstruction under the Naoshima House Project.
Called in as artist-designer, I avoided existing shrine typologies and tried to recreate an imaginary architecture more in keeping with ancient Japanese Shinto worship.
Prior to shinmyo-zukuri (the first Shinto architectural style formalized in the 7th century), animist worship is thought to have focused on sites in nature where some special quality or force was felt—ineffable ‘power places’—whether in giant trees or waterfalls or boulders.
The ancient Japanese conceived of their kami (deities) as manifesting themselves only when humans purified their ‘power places’ for them. Thus, my vision of Go-Oh Shrine started from the giant rock slab visited by the local kami.
The shrine comprises 3 main parts: the Worship Hall, the Main Sanctuary, and the Rock Chamber. The massive rock slab completely cuts off the Worship Hall and the Main Sanctuary from the Rock Chamber; only the ‘stairway of light’ joins the celestial and earthbound realms.
From the underground chamber, a concrete-walled passage leads to the mountainside. Visitors to the shrine first worship at the divine iwakura (stone seat) and shrine hall, then descend to the ‘ancient’ underground chamber via the concrete passage, lastly taking in a view of the sea through the portal to the present on the way out.”