The tower was developed using topological network systems in conjunction with a tetrahedral growth algorithm. The research began as a way of testing and developing tetrahedral growth schemes using scripting and Finite Element Analysis. In order to develop a global morphology, however, these needed to be embedded within a network. The basic inspiration was a tower with an exoskeleton that acted as a primary structural system, in which secondary and tertriary support evolved based on changing programmatic needs. The interior pods are composed EFTE pillows that control the interior climate, with areas between the pods are similarly skinned but on a larger scale to identify potential emergent programs and feaures. The global structural behavior of the tower is that of a counterbalance in order to continually shift and displace the function of the primary office spaces.
Matt Bua and Maximilian Goldfarb
Combinatorial Tower (study)
Ship of Theseus
Interview/ DSN radio / Strategies for Public Occupation
Interview with Michael Yarinsky of DSN Radio on December 16 at the opening of Storefront’s exhibition Strategies for Public Occupation – click here for broadcast
Silent Manifesto (Storefront for Art and Architecture)
Silent Manifesto, presented by Peter Macapia labDORA. A silent film of Buster Keaton and Charlie Chaplin, accompanied by live music performed by the 99 Cent String Band from OWS (Craig Judelman, Kristin Andreassen, Chance McCoy, Luke Richardson), with special guest Jesse Lenat
Part of the Storefront Manifesto series — Strategies for Occupation of Public Space.
For Storefront click here, for video of Manifesto (with live audio performance) click here
Public Occupation (Storefront for Art and Architecture)
Then Laocoön rushes down eagerly from the heights
of the citadel, to confront them all, a large crowd with him,
and shouts from far off: ‘O unhappy citizens, what madness?
Do you think the enemy’s sailed away? Or do you think
any Greek gift’s free of treachery? Is that Ulysses’s reputation?
Either there are Greeks in hiding, concealed by the wood,
or it’s been built as a machine to use against our walls,
or spy on our homes, or fall on the city from above,
or it hides some other trick: Trojans, don’t trust this horse.
Whatever it is, I’m afraid of Greeks even those bearing gifts.’