http://cargocollective.com Conceptual DG Tue, 01 Feb 2011 20:47:08 +0000 http://cargocollective.com en http://cargocollective.com/ConceptualDG/Realized-Work http://cargocollective.com/ConceptualDG/following/ConceptualDG/Realized-Work Tue, 01 Feb 2011 20:47:08 +0000 Conceptual DG 1007278 Hayes Addition A tension cable structure with canvas canopies. Construction by Rylan Hayes <img src="http://payload.cargocollective.com/1/1/53436/1007278/01 I_860.png" width="860" height="577" width_o="2025" height_o="1359" src_o="http://payload.cargocollective.com/1/1/53436/1007278/01 I_o.png" data-mid="4841058" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/1007278/IMG_6933_860.JPG" width="860" height="1146" width_o="2048" height_o="2730" src_o="http://payload.cargocollective.com/1/1/53436/1007278/IMG_6933_o.JPG" data-mid="4840836" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/1/53436/1007278/IMG_6935_860.JPG" width="860" height="645" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/1/53436/1007278/IMG_6935_o.JPG" data-mid="4840837" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/1/53436/1007278/beam detail I_860.png" width="860" height="169" width_o="2048" height_o="404" src_o="http://payload.cargocollective.com/1/1/53436/1007278/beam detail I_o.png" data-mid="4841014" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/1/53436/1007278/IMG_9481_860.JPG" width="860" height="645" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/1/53436/1007278/IMG_9481_o.JPG" data-mid="4840840" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/1/53436/1007278/02 I_860.png" width="860" height="604" width_o="1537" height_o="1081" src_o="http://payload.cargocollective.com/1/1/53436/1007278/02 I_o.png" data-mid="4841012" border="0" align="left"/> Fullscreen Photographs courtesy of Rylan Hayes. Utah Geological Survey Sample Library Expansion While working at the Division of Facilities and Construction Management for the State of Utah I was asked to write the program documentation and work out the initial design for this project. There is another architect of record, but I was the Designer. I show here the initial rendering I produced in 2007 for construction documentation to be created from. There were some interesting programmatic need that needed to be addressed <img src="http://payload.cargocollective.com/1/1/53436/1007278/IMG_7792_860.JPG" width="860" height="573" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/1/53436/1007278/IMG_7792_o.JPG" data-mid="4841112" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/1007278/RENDERING _860.png" width="860" height="584" width_o="1543" height_o="1048" src_o="http://payload.cargocollective.com/1/1/53436/1007278/RENDERING _o.png" data-mid="4841113" border="0" align="left"/> Fullscreen Hayes Addition A tension cable structure with canvas canopies. Construction by Rylan Hayes Photographs courtesy of Rylan Hayes. Utah Geological Survey Sample... http://cargocollective.com/ConceptualDG/Furniture-Design http://cargocollective.com/ConceptualDG/following/ConceptualDG/Furniture-Design Fri, 24 Dec 2010 04:38:39 +0000 Conceptual DG 879505 <img src="http://payload.cargocollective.com/1/1/53436/879505/Sonata Panel_860.png" width="860" height="430" width_o="1632" height_o="816" src_o="http://payload.cargocollective.com/1/1/53436/879505/Sonata Panel_o.png" data-mid="29767316" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/01_860.png" width="860" height="645" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/1/53436/879505/01_o.png" data-mid="29767091" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/02_860.png" width="860" height="645" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/1/53436/879505/02_o.png" data-mid="29767117" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/05_860.png" width="860" height="495" width_o="1600" height_o="922" src_o="http://payload.cargocollective.com/1/1/53436/879505/05_o.png" data-mid="29767133" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/IMG_9357_860.JPG" width="860" height="1290" width_o="2048" height_o="3072" src_o="http://payload.cargocollective.com/1/1/53436/879505/IMG_9357_o.JPG" data-mid="29767190" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/IMG_9359_860.JPG" width="860" height="1290" width_o="2048" height_o="3072" src_o="http://payload.cargocollective.com/1/1/53436/879505/IMG_9359_o.JPG" data-mid="29767215" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/IMG_9360_860.JPG" width="860" height="595" width_o="1984" height_o="1374" src_o="http://payload.cargocollective.com/1/1/53436/879505/IMG_9360_o.JPG" data-mid="29767222" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/IMG_9364_860.JPG" width="860" height="1290" width_o="2048" height_o="3072" src_o="http://payload.cargocollective.com/1/1/53436/879505/IMG_9364_o.JPG" data-mid="29767275" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/IMG_2514 w_860.jpg" width="860" height="573" width_o="1555" height_o="1037" src_o="http://payload.cargocollective.com/1/1/53436/879505/IMG_2514 w_o.jpg" data-mid="29767288" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/IMG_2502 w_860.jpg" width="860" height="573" width_o="1555" height_o="1037" src_o="http://payload.cargocollective.com/1/1/53436/879505/IMG_2502 w_o.jpg" data-mid="29767291" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/IMG_2513 w_860.jpg" width="860" height="1289" width_o="1037" height_o="1555" src_o="http://payload.cargocollective.com/1/1/53436/879505/IMG_2513 w_o.jpg" data-mid="29767294" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/IMG_8207_1_860.png" width="860" height="566" width_o="1021" height_o="673" src_o="http://payload.cargocollective.com/1/1/53436/879505/IMG_8207_1_o.png" data-mid="5508320" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/IMG_8209_1_860.png" width="860" height="573" width_o="1037" height_o="691" src_o="http://payload.cargocollective.com/1/1/53436/879505/IMG_8209_1_o.png" data-mid="5508322" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/IMG_8237_1web_860.png" width="860" height="574" width_o="1296" height_o="866" src_o="http://payload.cargocollective.com/1/1/53436/879505/IMG_8237_1web_o.png" data-mid="5508488" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/IMG_8208_1 copy_860.png" width="860" height="573" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/1/53436/879505/IMG_8208_1 copy_o.png" data-mid="5494631" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/IMG_2018_860.JPG" width="860" height="645" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/1/53436/879505/IMG_2018_o.JPG" data-mid="4210093" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/Bureau Seat_860.jpg" width="860" height="556" width_o="1794" height_o="1161" src_o="http://payload.cargocollective.com/1/1/53436/879505/Bureau Seat_o.jpg" data-mid="4210095" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/bureau-seat_860.jpg" width="860" height="645" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/1/53436/879505/bureau-seat_o.jpg" data-mid="4210096" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/879505/IMG_2012a_860.jpg" width="860" height="556" width_o="1530" height_o="990" src_o="http://payload.cargocollective.com/1/1/53436/879505/IMG_2012a_o.jpg" data-mid="4210097" border="0" align="left"/> Fullscreen Attraction (Image 1-4) a custom designed chandelier. Inspired by ideas of string theory manifested into the everyday.The piece acts as a discriminator of realities from a moment in time. A parametric design etched onto an acrylic light-box acts as a threshold which the light passes through and scatters into every corner of possible universes. As the pattern changes across the surface of the light it effects the way the light is propelled uniquely across its entirety. The Chandelier hangs elegantly from your ceiling as an extension of the ceiling above. It will accent and enliven your entry way, staircase, or double hight space beautifully. The Chandelier has an air of sophisticated simplicity and at the same time speaks to the domestic. Design Team: Hailey Glasgow, Ralph Spencer Steenblik <img alt="" border="0" src="https://www.paypal.com/en_US/i/scr/pixel.gif" width="1" height="1"> $449.99 Bureau Seat (image 5-8) Our entry in the Phoenix Contemporary Design Fair's international design competition which, showcased our piece. The feature can be found in the May 2008 issue of Kontakt Magazine, with a follow up article in the June issue. We were one of the finalists with our recyclable entry hanger chair; the Bureau Seat. Design Team: Chad Beus, Ralph Spencer Steenblik Attraction (Image 1-4) a custom designed chandelier. Inspired by ideas of string theory manifested into the everyday.The piece acts as a discriminator of... http://cargocollective.com/ConceptualDG/Exhibition-Gallery-Curation http://cargocollective.com/ConceptualDG/following/ConceptualDG/Exhibition-Gallery-Curation Wed, 22 Dec 2010 15:34:24 +0000 Conceptual DG 876695 Call for Entries - SUPERFRONT LA TIMELESS An Architectural exhibition exploring the four dimensional possibilities of architecture Deadline April 30th, 2011 Curators Martin Roy Mervel Ralph Spencer Steenblik Curitorial Team Naomi Scully Tiffany Shaw Collins Chris Martin Adriana McElwain Christian Contreras SUPERFRONT Program Director Mitch Mcewen Call for Entries Architects and designers are invited to submit work to be shown in the exhibition ‘Timeless,’ located in SUPERFRONT’s gallery at the Pacific Design Center. The show will include projects of all types pertaining to the theme. The curatorial team welcomes entries from any spectres; both theoretical and real-time as well as varied in execution with any medium. They will select work for presentation in public fora, an on-line installation and an exhibition for summer 2011. A catalogue of the work will be published and a lecture series will follow the opening on May 26th, 2011. For more information about past SUPERFRONT exhibitions please see SUPERFRONT.ORG. Theme: Timeless - An Architectural exhibition exploring the 4D possibilities of space Film has influenced architecture since the dawn of the modern era. The creative process for entertainment as well as spaces for life and work share common ground. Film influences the profession of architecture through its speculative spaces which are removed from the constraints of reality. These instances serve as inspiration in the creation of the architecture past and future. Timeless looks at designers (including filmmakers, architects, media artists, set designers, etc...) dealing with the mode and processes of “blurring the threshold of both spatial and temporal constructions.” The Call for Entries addresses space in time and time in space and how to compose that relationship. The curatorial team seeks project and design approaches that address existing or experimental ways of working dealing with the timeless challenge of composing in time. Eligibility Entrants must submit work done independently; no work done as an employee of another company, where the entrant is not a principal or partner, is eligible for submission.If the individual(s) is/are the sole principal(s) of a company, the company name will be listed as well. Where only one partner of a firm is submitting work, he or she can enter as a single entrant. Educators may not include work done in their classroom/studio or for their teaching. Architecture and design students are also eligible to submit work. Collaborative work between unrelated entities or individuals is eligible if the partnership is equal [does this mean agreed upon or that they equally own the rights?] and any project with collaborators must include a signed document from the other collaborator(s) outlining the collaborative nature of the work. Submission requirements Please submit images of the work (no smaller than 640x480dpi) for the catalog with title, dimensions, year of completion, author(s), location, required media, etc..., and a written description of the work, not to exceed 250 words, which defines and considers the work under the rubric of the competition theme (significant weight is given to how an applicant’s work addresses the theme). We must also receive written consent to use the work in print on the web and to show the work in the exhibition. Submit Entries to: superfront.timeless@gmail.com no later than April 30th, 2011. Selected Entries; Follow-up: The actual work must be received no later than May 15th, 2011. Please call 310.421.8042 to arrange a pickup or confirm delivery of your exhibited works. Send CDs, models, slides, transparencies or other materials to: SUPERFRONT Attn: Timeless Curatorial team 255 S. Grand Ave #1005 Los Angeles, Ca 90012 Returning the Work Please ensure that you arrange the shipping of the work. SUPERFRONT assumes no liability for the work. The curatorial team will take every precaution to return submissions in the condition they were received, but assume no responsibility for loss or damage. Questions For more information, email superfront.timeless@gmail.com or call 310.421.8042. Selection Please submit early to ensure a streamlined curatorial process. Authors of selected work will be notified shortly after submittal. Key Sponsors: (SUPERFRONT is a nonprofit organization.) Brooklyn Arts Council, Brian & Suzanne Selmo, Betty J Webb, HDR Architecture, and Architectural League of New York. Past Exhibitions Relatively Spacial - of space and time 2010 A mixed media art showing, presenting work which engage ideas of space and time... Hosted by the poor DESIGN co-op, Curated by Ralph Spencer Steenblik Thurs, August 12th, 2010 @ 3:00pm-Late Artist’s Talk: Hosted Tuesday, August 17th at 7 pm (same location) <img src="http://payload.cargocollective.com/1/1/53436/876695/IMG_5918[1]_860.JPG" width="720" height="480" width_o="720" height_o="480" src_o="http://payload.cargocollective.com/1/1/53436/876695/IMG_5918[1]_o.JPG" data-mid="4194926" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/876695/IMG_5925[1]_860.JPG" width="720" height="480" width_o="720" height_o="480" src_o="http://payload.cargocollective.com/1/1/53436/876695/IMG_5925[1]_o.JPG" data-mid="4194927" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/876695/IMG_5933[1]_860.JPG" width="860" height="263" width_o="912" height_o="279" src_o="http://payload.cargocollective.com/1/1/53436/876695/IMG_5933[1]_o.JPG" data-mid="4194928" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/876695/IMG_5936[1]_860.JPG" width="720" height="480" width_o="720" height_o="480" src_o="http://payload.cargocollective.com/1/1/53436/876695/IMG_5936[1]_o.JPG" data-mid="4194931" border="0" align="left"/> Fullscreen Featuring works of: F. Myles Sciotto Ben Brooksby Jacob Boyle NH Rather Kenny McNett MSC Reed Simonsen Christopher Skeens Matt Au Tyler McMartin An exploration of displacement within the context of dynamics: Consider for a moment chronophotography and the way that motion in time is captured. This is an analog process that attempts to distill four dimensional concepts into a two dimensional medium. This collection of work takes steps toward understanding, harnessing, and manipulating displacement and social dynamics in a comprehensive real-time way. Much like its two dimensional counterpart, it is important to minimize the variables, in an effort for maximum comprehension. Chronophotography simplified it for the most complex comprehension with the tools available at the time. Our tools today are much more flexible and comprehensive, thus enabling us to take a much deeper look into the phenomenon surrounding dynamics. Considering the ease with which we comprehend three dimension it is stifling how much more complex things become just by adding one more dimension. It is the combination of at least these four dimensions which makes our world so vibrant. Real time adaptation could be considered the holy grail or the fountain of youth. Peoples of the ages have done their best to adjust in real time. Those who have been most successful at this have prevailed. Something as simple as juggling has proved successful for many a street performer, the reason? There is power in controlling objects in motion. Heisenberg confirms the untouchability of comprehending both space and time simultaneously. The Uncertainty Principle states that in measuring particle dynamics you can either know its location or its velocity. The more accurate the measurement of the location the less accurate reading of rate of motion. The adverse is also true. After Heisenberg expressed the uncertainty principle, at the Niels Bohr's institute in 1927, Einstein set out to disprove it. He was never successful although he did make Heisenberg revise some of the Principle’s postulates. I believe Einstein's hunch was correct. He once stated 'No problem can be solved by the same consciousness that created it. We need to see the world anew.' We mus approach the solution from a higher plane. This collection of art attempts to prove what Einstein couldn’t. I submit that their is a necessary component of intuition that must be employed in mastering the simultaneity of space and time. This is why attacking the problem from an ephemeral or intuitive understanding is so important. The joint means of human sense and mechanical sensor becomes imperative. Call for Entries - SUPERFRONT LA TIMELESS An Architectural exhibition exploring the four dimensional possibilities of architecture Deadline April 30th, 2011... http://cargocollective.com/ConceptualDG/The-Art-of-Archive http://cargocollective.com/ConceptualDG/following/ConceptualDG/The-Art-of-Archive Wed, 22 Dec 2010 13:14:06 +0000 Conceptual DG 875796 Eli Broad’s recently challenged museums to display or loan more of their collections, saying, “Get art out of the basements.” According to The Art Newspaper, he is dismayed that 90% of collections are languishing in storage. The article has generated broad agreement that Mr. Broad has a good point. Though there are some obvious practical limitations to displaying even 50% a collection there has been an honest movement to transform storage spaces into something more than black holes. SD Fine Art Storage would like to bring to everyone’s attention to some attempts (public, private, and commercial) to transform storage into an art form. <img src="http://payload.cargocollective.com/1/1/53436/875796/6947[1]_860.jpg" width="720" height="480" width_o="720" height_o="480" src_o="http://payload.cargocollective.com/1/1/53436/875796/6947[1]_o.jpg" data-mid="4190766" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/875796/LN04[3].png" width="640" height="512" width_o="640" height_o="512" src_o="http://payload.cargocollective.com/1/1/53436/875796/LN04[3]_o.png" data-mid="4194823" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/875796/LS03[1].png" width="640" height="512" width_o="640" height_o="512" src_o="http://payload.cargocollective.com/1/1/53436/875796/LS03[1]_o.png" data-mid="4194830" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/1/53436/875796/LD03[1].png" width="640" height="480" width_o="640" height_o="480" src_o="http://payload.cargocollective.com/1/1/53436/875796/LD03[1]_o.png" data-mid="4194860" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/1/53436/875796/Boards small_Page_3.tiff_860.JPG" width="860" height="651" width_o="1694" height_o="1284" src_o="http://payload.cargocollective.com/1/1/53436/875796/Boards small_Page_3.tiff_o.JPG" data-mid="4197550" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/875796/Boards small_Page_5.tiff_860.JPG" width="860" height="656" width_o="1683" height_o="1284" src_o="http://payload.cargocollective.com/1/1/53436/875796/Boards small_Page_5.tiff_o.JPG" data-mid="4197555" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/53436/875796/Boards small_Page_6.tiff_860.JPG" width="860" height="664" width_o="2048" height_o="1582" src_o="http://payload.cargocollective.com/1/1/53436/875796/Boards small_Page_6.tiff_o.JPG" data-mid="4197557" border="0" align="left"/> Fullscreen As the visitors wander through the public atrium space below the galleries the art is being zipped from the archive to the gallery in much the same way the fountain dances to music. Casting fl uid shadows below on the people who are there to see that very same work. The curator has the opportunity to effect not only the contents of the gallery but the nature and the aesthetic of the museum itself. If the archive is expressive on the facade then the curation defi nes the museum entirely. Our proposed museum is most easily likened to a modern library with an automated retrieval system. However, we are proposing that hiding this systems, while both increasing effi ciency in terms of space, time and capitol, weakens the museum-goers experience. It is dishonest tectonically and politically to steal the archive away, hidden in a mysterious basement. Instead we proposed freeing the archive by allowing it to wrap around the galleries. When this concept is considered we fi nd that it requires an interstitial space that the robotic retrieval system can occupy. This is a very liberating idea architecturally because now we are charged with designing the gallery spaces, archive, and, the spaces in between. We have chosen to create an archive that envelopes the entire site, arching and warping in response to the urban condition and the ellipsoidal galleries inside. This archive is a complex pattern of high performance storage units. Because they are can act as a skylight (or light box) the curator of the museum has the additional responsibility of deciding where to store art. By doing so they can generate simple or intricate patterns along the facade as viewed from inside, and especially outside at a distance. This simple binary on/off condition can be used savvily to generate patterns that can morph over long time frame-potentially decades as a refl ection of the literal state of the art of storage. A robotic retrieval system moves art as it arrives into specialized units which are then guided along rail systems embedded in the facade of the galleries and archive itself. In this manner the art is guided to its temporary home in the archive. It can be retrieved any time by the curator, and delivered to any of the fi ve galleries. This can encourage impromptu viewings that might otherwise be too diffi cult to arrange. And, potentially, the citizenry can vote democratically by searching a virtual archive and then selecting what the want to view, only to have it appear minutes later. Embellishing the ritual of curation; the art of archive. It is important to consider the unconsidered. Architecture can be looked at as circle with things like space, light, and geometry. Yet multimedia, Mechanics, and sensors are not as readily considered. Yet with the understandings of chaos theories there is an necessity to acknowledge that there are too many variables within any real world situation to be considered simultaneously. Therefore it becomes imperative to collect multidisciplinary collaborations. This is necessary for producing singular product. To continue the metaphor architecture or any other discipline are not two dimensional, and not even three dimensional. Disciplines are at least four dimensional. Therefore it is essential for a societal embrace of collaboration to address issues. Putting blinders on and ignoring the inter-connectivity of information is short sided. Let us not forget the implications of cloud computing goes far beyond our ability to process information, it has a conceptual relationship to the thoughts and ideas of society at large. Works Cited: SD Fine Art Storage & Services. “The Art of Storage.” The Fine Art of Storage. 27 Aug. 2010. Web. 13 Dec. 2010. Eli Broad’s recently challenged museums to display or loan more of their collections, saying, “Get art out of the basements.” According to The Art Newspaper,...