The Audacity of Preservation. BIG! BAD? MODERN

Chapters in this book

1. Frontmatter 1
2. Table of contents 4
3. Preface Michelle Howard. Introducing Research – Observe – Make (ROM) 10
4. Book + Research – Observe – Make + Reflect
5. The Development of Research – Observe – Make (ROM) 16
6. +1. Construction Material Technology (CMT) Konversationsreihe 24
7. Book 1. Elemental Interactivity
8. ROM – Vorsprung durch Technik 37
9. 1.1 Elemental Interactivity I Building a Good Climate
10. Building a good climate. Studio description 49
11. 1.1.1 Position vs disposition 53
12. 1.1.2 Moss Pavilion 54
13. 1.1.3 Bamboo Pavilion 56
14. 1.1.4 Activating Schiller 58
15. 1.1.5 Neglige 60
16. 1.1.6 Stacked Pavilion 62
17. 1.2 Elemental Interactivity II. Gone with the Wind
18. Gone with the Wind. Studio description 65
19. 1.2.1 Desislava Petkova and Matej Malenka The Beast 67
20. 1.2.2 The Wind Waves Instrument 71
21. 1.2.3 Exhausted! – Recycling Unwanted Air 72
22. 1.2.4 Two Frames. Perceiving Energy 74
23. 1.3 Elemental Interactivity III. On the Modifications of Clouds
24. On the Modifications of Clouds. Studio description 77
25. 1.3.1 Hygrometer 80
26. 1.3.2 110G 82
27. 1.3.3 Interpolation 83
28. 1.3.4 Particles 86
29. Book 2. Spatial Interactivity
30. ROM – Das Einmaleins 89
31. 2.1 The Spatial Interactivity I. Building Fast – What Succeeds the Secession?
32. 2.1.1 Haus 01 103
33. 2.1.2 Simple and Strong 104
34. 2.1.3 Pixellate 106
35. 2.2 Spatial Interactivity II. Connecting Spaces
36. Connecting Spaces. Studio description 109
37. 2.2.1 Connecting Cubes 112
38. 2.2.2 The Way 114
39. 2.2.3 Atrium House 116
40. 2.2.4 Vertical Town Square 119
41. 2.3 Spatial Interactivity III. The Audacity of Preservation
42. The Audacity of Preservation. BIG! BAD? MODERN 121
43. The Audacity of Preservation. Studio description 124
44. 2.3.1 Grasping Character, Introducing Looseness 128
45. 2.3.2 Just Enough Light 131
46. 2.3.3 The Well-Tempered Environment of the University of Economics 132
47. 2.3.4 Continuous Change 134
48. 2.3.5 Modern Tourism 136
49. 2.3.6 Connecting Spaces 138
50. 2.3.7 Lonely Platforms 140
51. 2.4 Spatial Interactivity IV. The Efficiency of Looseness
52. The Efficiency of Looseness. Studio description 143
53. 2.4.1 Vertical Looseness 147
54. 2.4.2 On Air 149
55. 2.4.3 Cutting Transitions 150
56. 2.4.4 Undesired Solitude 152
57. 2.4.5 Loose Hub 154
58. Book 3. Material Interactivity
59. ROM – Eine Abrechnung 157
60. 3.1 Material Interactivity I. Landscape Una[Bridge]d
61. Landscape Una[Bridge]d. Studio description 162
62. 3.1.1 Mind the Gaps 167
63. 3.1.2 Detour 169
64. 3.1.3 The Nature and Technology Trail 171
65. 3.2 Material Interactivity II. Water, Aggregate, Cement and a Container
66. Water, Aggregate, Cement and a Container. Studio description 172
67. 3.2.1 Eleven Vaults 176
68. 3.2.2 Topographic 178
69. 3.2.3 Templar Landscape 181
70. 3.2.4 Hidden Innards 183
71. 3.2.5 Cones of Light and Shade 185
72. 3.3 Material Interactivity III. There is a Light that Never Goes Out
73. There is a Light that Never Goes Out. Studio description 186
74. 3.3.1 Body, Brain and Light. A project for people with epilepsy 190
75. 3.3.2 Retrospect and Prospect. A project for people with dementia 193
76. 3.3.3 Light Movement Number 1. A project for people with Cystic Fibrosis 194
77. Book 4. Workshops, Lectures and Experiments
78. ROM – Modellbau ist Denken 197
79. 4.1 Workshops & Short Projects
80. 4.1.1 Glass I: Seeing Through the Transparency Myth 204
81. 4.1.2 Glass II: There is a Light that Never Goes Out 208
82. 4.1.3 The Good Climate Workshop 210
83. 4.1.4 The Acoustics Workshop 214
84. 4.1.5 The Concrete Workshop 215
85. 4.1.6 The Architecture of Small Spaces Workshop 219
86. 4.2 Lectures and Experiments in Shaping Material
87. 4.2.1 Folding Concrete 220
88. 4.2.2 Controlling Deformation 223
89. 4.2.3 An Experiment with a Stretch Wrapping Film 224
90. 4.2.4 Destroyed Trees 225
91. 4.2.5 Inflatable Formwork for Organic Solid Shapes 226
92. 4.2.6 Cuir Bouilli 227
93. 4.2.7 Smocking Structures 228
94. 4.2.8 Sugar Landscape 229
95. 4.2.9 Concrete from Scratch 230
96. 4.3 Lectures and Experiments In Observation
97. 4.3.1 144 Hours in a Train 232
98. 4.3.2 Daily Dust Diary 235
99. 4.3.3 Analysis Type II 236
100. 4.3.4 It’s a Noisy Day 237
101. 4.4 Lecture Series
102. 4.4.1 Materialising Ideas in an Age of Digital Production 238
103. 4.4.2 Our Concrete Ideas 242
104. 4.4.3 The Practice of Research 243
105. Appendix
106. Contributors 245
107. Commentators 250
108. Sponsors 254
109. Imprint 255