Project summary coming soon!
The selection of flora suitable for vertical facade cultivation encompasses three distinct categories, each possessing unique botanical characteristics. The first category comprises self-clinging climbers, which exhibit an inherent capacity for adhering to vertical surfaces, obviating the need for auxiliary support structures. This group's botanical composition facilitates seamless integration with the facade, fostering a harmonious coalescence of the vegetative element with the architectural substrate.
Conversely, the second category encompasses climbing plants necessitating an external framework for ascension. These botanical specimens, characterised by their propensity to scale through tendrils or other specialised structures, depend on a supportive lattice or trellis. The provision of such supplementary structures ensures the optimal vertical growth of these climbers, allowing them to flourish in tandem with the facade's design.
The third category encompasses plants requiring a container for sustained growth. These specimens thrive within designated receptacles affixed to the facade. By virtue of this containment, these plants find their niche within the vertical expanse, their roots firmly ensconced within the provided vessel. This methodology accommodates the diverse needs of this botanical category, permitting them to thrive in their designated vertical habitat.
The design of the facade, therefore, is thoughtfully tailored to accommodate these three distinct groups of plants. Notably, the selection of illustrated flora resonates with the local botanical milieu of Amsterdam, underscoring a contextual and ecologically informed approach to vertical greening. This meticulous curation not only enhances the aesthetic appeal of the facade but also engenders a sustainable and vibrant biotic community within the urban fabric.
Recycled brick and concrete aggregate sourced from deconstructed buildings form the basis for 3D printing the ground floor facade. Serving as the binder, a composite material of limestone and calcined clay-based cement is employed. Concurrently, the primary construction phase commences with the installation of robust timber components. Cross-laminated timber (CLT) beams, columns, and walls are strategically placed to allow for disassembly, facilitating their repurposing in alternative constructions. Notably, the 3D printed elements maintain a similar adaptability, capable of being reconfigured into new 3D printed components in subsequent iterations. This cohesive approach underscores a commitment to sustainability and resource efficiency in the construction process.
“I don’t think that architecture is only about shelter, is only about a very simple enclosure. It should be able to excite you, to calm you, to make you think.”
I hold the belief that architecture should possess the power to astonish and stir emotions upon the very first encounter, while also nurturing a sense of refuge and assurance as time unfolds. A building, in its silent dialogue with us, need not rely on words to convey its message. Personally, I find greater resonance in instances where architecture evokes profound emotions, leaving an indelible imprint even before direct interaction takes place. The allure lies in the ability to feel a connection within, an emotional resonance that transcends verbal description.
The Archixation project remains an ever-evolving endeavor, with no foreseeable conclusion. Amidst the contemplation of spatial implications, this project remains, at its core, a passionate exploration of my diverse interests and fascinations. It takes on multifaceted forms, not strictly confined to the realm of architecture, and I find myself eagerly anticipating the mysteries it holds for the future. The fluidity of this project’s journey intrigues me, as it continues to unfold, revealing new facets and unexpected horizons.
The central theme of the graphics was to encapsulate the transcendental experience of electronic music. The visuals were crafted to reflect the dynamic and pulsating energy of the genre, with a psychedelic twist to mirror the auditory journey that the event promised. Our palette centred around vibrant purples and deep blues, with a neon-esque glow that aimed to represent the electrifying atmosphere of the night.
Incorporating complex geometric patterns and fractal-like designs, the posters and graphics symbolised the intricate layers and textures found in electronic music and string art. The central figure, a spectral entity, serves as the avatar of the event – a being composed of the very vibrations and rhythms that define the genre.
The concept was to create a visual explosion reminiscent of the event's namesake, combining the raw power of music with the chaos and beauty of the cosmos. The interplay of light and shadow, coupled with abstract lines and dynamic forms, aimed to evoke the feeling of creation and the beginning of a musical universe.
The artwork featured a complex, layered composition with golden lines that stretched outwards, creating a sense of movement and depth, much like the auditory experience Manoid is known for. This central theme of intersecting lines and light beams was used to represent the interconnectedness of music, people, and the universe, converging on the night of the event.
The design was inspired by the event's name, which evokes notions of atomic energy and fusion. We chose a dynamic abstract art style that fused elements of nature with a sense of digital disruption. The artwork was intended to reflect a collision of sounds and rhythms, akin to atomic particles in a reactor, signifying the explosive performances set for the night.
The visuals combined deep, saturated blues with contrasting reds, creating a vivid backdrop that mirrored the intense beats and pulsating lights expected at the event. The fluid, marbled patterns suggested a state of flux, a nod to the ever-evolving genre of electronic music and the transformative experience of the night.
