Sentences with phrase «into architecture materials»

Manufacturers and designers will now have the ability to integrate new colors of Prism into architecture materials to create dynamically changing environments.

Not exact matches

«Ultimately, we are trying to develop new surface chemistry that allows us to build higher ordered architectures on surfaces, and these might lead into applications such as building electronic devices, data storage devices or logic gates out of carbon materials.»

To overcome this challenge, the researchers from the Institute for Integrated Cell - Material Sciences (iCeMS) at Kyoto University borrowed a principle from polymer chemistry and developed it into a technique to assemble graphene into porous 3D architectures while preventing stacking between the sheets.

«Assembling nanoscale features into billets of materials through multi-leveled 3 - D architectures, you begin to see a variety of programmed mechanical properties such as minimal weight, maximum strength and super elasticity at centimeter scales.»

«By moving into new classes of materials like epoxies, we open up new avenues for using 3D printing to construct lightweight architectures,» says principal investigator Jennifer A. Lewis, the Hansjörg Wyss Professor of Biologically Inspired Engineering at Harvard SEAS.

For example Building - Integrated Photovoltaics (BIPV), these «panels» fit seamlessly into the architecture by replacing conventional building materials.

The design team identified the important educational objectives, regional materials, landforms, weather patterns, facility and site development strategies, and incorporated this understanding into the design of a modern, progressive school facility; thereby connecting the architecture of the new school to the people, place, and region of Holly, Colorado.

The design attributes of a yoga hermitage were carefully studied and used to incorporate views, location, materials and nature into a carefully woven and fully integrated architecture.

The design attributes of a yoga hermitage were meticulously analyzed and used to integrate vistas, location, materials and nature into a carefully woven and fully incorporated architecture.

The modern architecture, gardens and traditional Lombok building materials come together perfectly and melt into the sublime natural décor.

In his new works, Matthew Woodward continues his exploration of drawing and its boundaries, pushing his work further into ideas central to architecture and the built - environment at large: transparency, differentiation and repeatability, the artificial and the monumental; each called to attention through a material dexterity that is as illuminating in Woodward's work as it is compromised.

Using architecture as a raw material, he often carves into walls to retrieve material needed to build other objects.

Bottrop employs charcoal — a metaphor for what once powered the world, and a nod to the now - defunct mechanical industry — in an expansive wall - drawing engraved into slabs of Fermacell, a material now replacing sheetrock or gypsum used in the construction of institutional architecture.

Incorporating steel and concrete into a minimalist design, the texture, materials, and shapes of the structures will complement the existing architecture at the site.

These duplicative and reciprocal relationships produce an inquiry into progress, material failure, and the collapse of ideologies that accompany our architectures.

His work ranges from bent forms and fluid constructions in wood and metal to large - scale works that contain the architecture of a space to works that subvert industrial construction into a new meaning and material expression.

In Architecture and Design, a selection of chairs, each of a single material, along with experimental works of architecture, bring innovation into focus.

A House of Leaves will end with an epilogue, a final movement towards the void; the exhibition space will be emptied, exposing its architecture and volume, to reveal the museum's long - term works, special commissions and interventions that have been embedded into the material structure of the building.

2009, «The Polymorphic characteristics of disciplinary education» CITY COLLEGE OF NEW YORK, New York, NY 2009, «Mimetic Depth: from the Greek through the proscenium into the black box» PARSONS SCHOOL OF DESIGN, New York, NY 2009, «Drawing is thinking» CITY COLLEGE OF NEW YORK, New York, NY 2008, «Hunting Life; A Forever house» PARSONS SCHOOL OF DESIGN, New York, NY 2008, «Empathy; Material and Spatial» INSTITUTE DE RECHERCHÉ EN ARCHITECTURE, Montreal, Canada Canadian Center for Architecture / McGill University Symposium, 2007 (September) Reconciling Poetics and Ethics in Architecture: «No More Shall We Part» CITY COLLEGE OF NEW YORK, New York, NY Symposium 2007 (November) «Ineffable»; «Globe Double: Mimetic Capital; Technology», Ames, Iowa ON THE BEGINNING DESIGN STUDENT 2006 (April), Panelist.

Through abstraction, hints of architecture, and residues of bodies and histories, the artists present an unexpected fullness, packing what seems like the maximum of marks, material, and people into a given frame.

This exhibition will provide a rare opportunity to experience two large - scale presentations by Flavin and Judd that demonstrate both artists» unique ability to unify form and material while incorporating — through their deliberate installation and use of light and color — the surrounding architecture into the perception of the works themselves.

In architecture, we celebrate our command of materials and mastery of form by manipulating natural materials into engineered shapes, taking away the kinks, bends and knots that are not pleasing to the eye.

In keeping with its cutting - edge architecture, the Pompidou Centre achieved notoriety in March 2009, with its exhibition entitled The Specialisation of Sensibility in the Raw Material State into Stabilised Pictorial Sensibility.

Often using iconic paintings, stained glass windows, or frescos as source material, the artist re-contextualizes these masterpieces by transforming brush strokes, sculpture and architecture into algorithmically derived abstract geometry, moving image and sound.

In her sculptures and installations, Rita McBride explores public space, architecture, and the built environment, playing with scale and materials to transform the familiar into the unexpected.

Going beyond mere shelter, it's an intriguing idea to incorporate rehabilitative functions and pollution - sucking materials into our buildings, leading us closer to a kind of «living» or «genetic» architecture that responds to its environment, much like an organism would.

His remarks echoed points I've heard related to the study and practice of architecture, where schools have sometimes been slow to integrate full assessments of the energy and materials involved in buildings into how students undertake design projects.

Recycled materials from the surrounding area will be incorporated into the design, which is based on traditional architecture from Russia, Sweden, Finland and Norway.