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Monday, February 28, 2011
Monday, February 21, 2011
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http://esciencenews.com/articles/2009/05/04/research.gives.clues.self.cleaning.materials.water.striding.robots
http://www.thenakedscientists.com/HTML/content/interviews/interview/1046/
checking out a few of these websites I was looking at self-cleaning materials. This first site is all about a microscopic surface logic that allows for water to repel off. The second site is talking about self-cleaning glass, that works by breaking down any organic material.
Wednesday, February 16, 2011
Tuesday, February 15, 2011
Phytoplankton
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Phytoplankton live in the sunlit portions of the ocean and are capable of turning water and light energy from the sun into nutrients and oxygen through photosynthesis.
I thought this was interesting considering phytoplankton are single celled plant organisms, and I know we were talking about using a type of cellular structure in the skin designs.
Tuesday, February 8, 2011
Urban re(f)use An ecology of waste / tutored by François Roch
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The Beauty of Nature
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- The epidermis or outer layer of the leaf becomes the water collecting outer paneled skin.
- The spongy mesophyll becomes the water/air storage and bulging elements.
- The veins become the water cooling system.
Random Image
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Prototype I and II: Thermo-Strut and Tracery Glass by Tom Wiscombe
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Hydronic Heating and Cooling Methods
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- System cools through radiative heat transfer by keeping a water and glycol mix within the tubes at a temperature of 65 degrees.
- Ventilation is important to manage indoor humidity and air quality.
- Heating of the water is necessary for hydronic heating. Possibilities for solar collection for heat.
- Typical Materials for the systems above include:
PPT files
green skin
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Scenario:
1) Recognition of the “natural” fake of the place (polder developed on the lake)
2) Development of a strategy heterotopic, tentacular, uncertain, organic.
3) Scenarios of confusion between various natures - built natures (facade in hydro-aeroponiques, biodynamic green hairs) and urban, spontaneous, haunted natures, in order to generate a hybrid landscape, non-identifiable.
4) Using the photosynthesis of all green façades to recycle and clean waste water.
5) Introduction of this knotty geometry into indoor morphology of the exhibition rooms. A place where perdition, looseness is plausible, where the tangled up ambulation becomes the support of a collection which is not it less. Complexity is a tool of reprogramming and deprogramming, folding and unfolding.
6) Individual positioning by portable GPS, coupled to an informational PAD. The visitor use this i-compass to move and get more details (sound and video) on each art piece.
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1) Digitization of the envelope of a traditional habitat.
2) Scooping out hollows within this volume as if it were an ice cavity, but in full wood by a 5 axes drill machine.
3) Water states and flows vary according to the seasons: The ice flows and freezes; the ice façades freeze and melt, forming a pond in front of the building.
4) Exacerbation of the winter climate by artificial snow (500 m3)
5) Construction by CNC machine processing, 5 axes, in full wood (2000m3-1000 trees) and reassembling the manufactured 180 pieces on site.
6) Reactivation of local economy