Showing posts with label Projects. Show all posts
Showing posts with label Projects. Show all posts

April 09, 2008

DISONANCIAS : 2nd Meeting in Bilbao

The DISSONANCIAS initiative promoted a meeting in Bilbao between all the artists and companies that are developing collaborative researh projects. When half of the research period is completed, this meeting was an opportunity to see all the works in progress and to share experiences and ideas that could enrich the further development of the works.

In this session, ReD and IMAR had to make a 15 minute presentation to the other participants. The reactions to the work in progress on investigating design and technical possibilities to develop 3d variable components in perforated and expanded sheet metal were generally positive. This fact encourages the next evolution of this collaboration, which will involve the prodution of a 1:1 scale physical prototype.
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01 Meeting with all the participants in the DISONANCIAS initiative in the TECNALIA Building at the Polígono industrial de Zamudio in Bilbao, Spain.
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March 12, 2008

SampleBOX installed @ Lisbon Airport

ReD's winning project of the architectural competition promoted by LABICER and the Ordem dos Arquitectos is now built in the Terminal 1 at the Lisbon Airport. Its opening was on the 12th of March and it can be visited until the 1st of April.
Additional information about the SampleBOX and competition materials can be seen here.

01 Topographic ground made out of variable MDF panels.
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02 View of the variable and colored landscape, made out of several layers of CNC water-jet cut Vitrakem panels.
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December 04, 2007

SampleBOX in Prototiping

ReD's project SampleBOX, winner of the recent "Arquitectar o Ambiente" competition is now in progress towards its final construction. A 1:1 scale protoype of a part of the installation was CNC fabricated to test the whole building system. Luis de Sousa travelled to Lisbon to check in the factory the prototype and brought some pictures.
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01 General view of the protoype.


02 Detail of the longitudinal fixing system.
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November 22, 2007

ReD @ DISONANCIAS Seminar in Bilbao (Spain)

Between November 20 and 22, ReD travelled to Bilbao to attend the Seminar on Methodologies organized by Disonancias. This event gathered and presented all the artists and basque industrial companies, launching the start of their collaborative research projects. In this context, ReD and IMAR had the chance to explain the nature of the project that both companies will develop together until July 2008. At the end of the Seminar, the Disonancias 2007/08 initiative was oficially presented to the press at the Diputación de Álava (Vitoria) by:
- Hernando Lacalle, Director of Economy from the Department for Innovation in the Diputación Foral de Álava
- Josu Ocariz, Director of Innovation in SPRI
- Roberto Gómez de la Iglesia, Director of DISONANCIAS and Managing Director of Grupo Xabide
- Alvaro Castro, artist selected for DORLET
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The press dossier can be downloaded here.
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Image 1: Group photo of the artists selected for the DISONANCIAS 2007/08 initiative, together with some of the managers from the participating companies. ReD principals, MMA and JPS, are sitting in the front row behind the panel, whle Jon Viteri, manager of IMAR, is standing-up in the back (2nd from the right).
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Image 2: Press conference in Vitoria (Diputación Foral de Álava).
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September 27, 2007

"Habitar Portugal 2003-05" exhibition in Bratislava under construction (Slovakia)

ReD installs the "Habitar Portugal 2003-05" Exhibition in the Design Factory gallery spaces, in Bratislava (Slovakia). An installation team from the company Perfactory came from Germany and, with the help of the Design Factory production team, assembled in three days the exhibition structure and materials produced by Procedes. During this time, un unexpected problem was overcomed when, in one space, a totally new wooden structure had to be invented and mounted to avoid perfurating the existing false ceiling.


01 Sequence of the installation process of the suspended aluminum structure, following the plan marked in the ground.
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02 Sequence of the installation process of the printed fabrics in the aluminum structure.


03 Photo of the Perfactory team with ReD principals and

October 10, 2005

PROJECT: VAPOMATIC Loft completed (Spain)

ReD has completed the renovation and interior design of a loft for a photographer in Barcelona. The rooms are organized around the photo studio, a double-height space that can be crossed over a small bridge.

September 30, 2005

PROJECT: M-City Opening + Catalog Launching (Austria)

M-City exhibition is now open in Graz, and is a major event in the city's programme of Steirischer Herbs Festival 2005. The show, designed by ReD, will last to January 8, 2006. ReD's work is featured in the exhibition catalog.

September 26, 2005

PROJECT: M-City Installation completed (Austria)

ReD's installation for the upcoming M-City exhibition at Kunsthaus has been completed sucessfully. Works of 30 different artists (including G. Richter, D. Graham, K. Park, M. Portc and many others) will now begin to be installed for the opening day.

August 31, 2005

PROJECT: MCity Design @ Graz starts fabrication (Austria)

ReD's M-City Exhibition Design has begun fabrication, with the collaboration of local architect Niels Jonkhans. The 574 hanging elements + 6 large cones are being produced by the company Procedes (Germany).

August 01, 2005

PROJECT: DRAGORAMA completed (Spain)

ReD decorative panels -DRAGORAMA- for the waiting hall of a Chinese Medicine Center in Barcelona are installed. A computed ornamental pattern was engraved in acrylic panels with a CNC router, creating an effect of variation and continuity.

June 28, 2005

PROJECT: ReD Project @ Kunsthaus Graz (Austria)

ReD is designing the "M-City" exhibition at Kunsthaus Graz, which will open on September 30rd. 2005 and is curated by Marco de Michelis and Katrin Bucher.

June 25, 2005

PROJECT: "SkyShelf" Design for house in Oporto (Portugal)

ReD is designing "SkyShelf", a 7-meters high interior bookshelf structure for the ZM2 House in Oporto, a building designed by JPS (ReD) and Pilar Luz.

June 06, 2005

PROJECT: VAPOMATIC Loft - Construction Starts (Spain)

ReD's renovation project of a loft space for a photographer in Barcelona goes into construction with site supervision of Sarah Collado.

January 01, 2001

Flying Carpet

1. DATA
.......................................................................................................................................

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Place /Date
___FIL, Lisbon, Portugal
___2008 (Under Construction)
Clients
___Labicer
_
2. DESCRIPTION
.......................................................................................................................................
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O projecto da FlyingCARPET procura testar uma solução construtiva inovadora utilizando Vitrakem, numa estrutura de média dimensão a instalar no aeroporto de Lisboa. Considerando este espaço, a formalização deste projecto procura estabelecer várias relações simbólicas com temas associados a esse contexto.
Como o próprio nome indica, a FlyingCARPET é um tapete voador que se encontra estacionado temporariamente no interior do aeroporto. Sendo uma superfície complexa (de dupla curvatura), este tapete desafia a investigação de soluções de representação e construção que permitam descrevê-la e executá-la. Para além do valor metafórico, a FlyingCARPET apresenta-se como um exercício privilegiado para a exploração do Vitrakem em novas situações. O desenvolvimento desta proposta, como se ilustra neste dossier, evolui ao longo de vários desafios de projecto e construção que foram sendo lançados sucessivamente. Tendo em conta as características dimensionais e formais do Vitrakem, a escala da FlyingCARPET obriga a desenvolver uma aproximação por componentes construtivos para investigar a sua materialização. Simultaneamente, a irregularidade da sua geometria implica que estes componentes tenham geometrias diferenciadas para poderem adaptar-se à sua variação. Para a resolução deste desafio, torna-se necessário desenvolver um processo computacional avançado que permita o desenvolvimento a três-dimensões do projecto, contemplando em simultâneo questões formais, construtivas e de fabrico.
A uma triangulação inicial da superfície sucedeu-se a derivação da estrutura de suporte. Pensando em utilizar Vitrakem para resolver estes elementos, concebeu-se um sistema de construção de vigas compostas por duas lâminas juntas de Vitrakem, que se estendem através de encaixes tipo “rabo de andorinha”. Um total de 144 perfis diferentes permite compor 23 vigas completas, que abrangem a totalidade da área da FlyingCARPET seguindo uma organização ortogonal. Estas vigas intersectam-se segundo encaixes tipo “cutelo” criando um conjunto estruturalmente estável e sólido. Devido à sua geometria a FlyingCARPET apoia no chão em três momentos, havendo partes que se encontram projectadas sobre o solo. Para optimizar a solução estrutural, a secção dos perfis estruturais vai diminuindo com a altura da construção, para que o seu peso próprio seja menor nessas zonas críticas. Finalmente, a geometria destas vigas contempla ainda uma série de saliências para proporcionar o encaixe dos painéis de revestimento.
A triangulação da superfície inicial da FlyingCARPET constituiu um ponto de partida para investigar soluções de revestimento mais elaboradas. Seguindo uma preocupação estrutural, uma análise em altura da superfície é utilizada como argumento para criar aberturas progressivas nos diversos painéis originalmente triangulares. Para além de uma evidente optimização estrutural, através da diminuição do peso do revestimento nas zonas mais elevadas, esta estratégia permite criar uma solução formal de grande diferenciação geométrica, gerando efeitos de luz e ornamentação interessantes. Mais uma vez, para além da variação geométrica, a FlyingCARPET procura expor a diversidade de opções cromáticas que caracteriza o Vitrakem. Considerando o contexto de implantação deste projecto, procedeu-se a um processo de manipulação digital de uma imagem de um céu com nuvens, para fazer corresponder o seu gradiente de cores naturais a cores existentes no catálogo do material. No seu total, o revestimento da FlyingCARPET é composto por 162 painéis, formalmente todos diferentes, que combinam 25 cores de Vitrakem. Tendo em conta uma planificação cuidada do processo de fabrico, o recurso a máquinas de corte por jacto de água controladas numericamente por computador permite viabilizar economicamente este tipo de exploração não-standard.
O resultado final da FlyingCARPET, 100% construída e revestida com Vitrakem, apresenta uma complexidade aparente, que não deixa indiferentes as pessoas que com ela se deparam, convidando à sua observação e interacção (sentar, atravessar…). Desafiando os sistemas de produção convencionais baseados na standardização, a sua concepção e execução constitui um exemplo claro da implementação de um processo de produção avançado com Vitrakem, baseado na personalização. Fundamentado na geometria, no comportamento estrutural, nas propriedades do material e nas tecnologias de produção digitais, o sistema construtivo investigado e aqui apresentado, permite estender os seus princípios para outras aplicações para além da FlyingCARPET. A execução de fachadas ou coberturas arquitectónicas de geometria variável em Vitrakem, são campos naturais para uma exploração futura, da qual a FlyingCARPET constitui o primeiro protótipo.
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3. CREDITS
.........................................................................................................................................
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Architecture
___ReD, Research+Design
___
Design Team
___M. Malé-Alemany
___Jose Pedro Sousa
___
Collaboration

___João Palaio Albuquerque
___Luís de Sousa


Production
___Proceedis (Berlin, Germany)
___Daniel Pinto (Oporto, Portugal)
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4. PROJECT IMAGES
.......................................................................................................................................



Figure 01: flyingCARPET Render
(Image Credits: ReD)

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Figure 02: flyingCARPET Render
(Image Credits: ReD)

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Figure 03: flyingCARPET model
(Photo Credits: ReD)

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Sample BOX

1. DATA
.......................................................................................................................................

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Place /Date
___Airport, Lisbon, Portugal
___2008 (Under Construction)


Clients
___Labicer
_
2. DESCRIPTION
.......................................................................................................................................

O projecto da SampleBOX é uma estrutura que serve dois objectivos em simultâneo:
· demonstrar potencialidades específicas do Vitrakem para a construção em arquitectura;
· funcionar como um mostrador das diferentes variações de Vitrakem, presentes no seu catálogo;
· ser um ponto de referência para as pessoas que passam pelo aeroporto.

Sendo um material plano tipo “chapa”, o Vitrakem presta-se a ser trabalhado por processos de corte. A utilização de técnicas avançadas de fabrico assistido por computador, particularmente o corte por jacto de água CNC, está na base da concepção do projecto SampleBOX. Com o auxílio do computador, é então possível projectar e fabricar peças de geometria variável sem que tal represente um acrescento significativo no custo e no tempo de produção, desafiando o paradigma da estandardização vigente na indústria da construção. O Vitrakem é um material variável em termos de aparência, e pode ser, também, variável em termos da sua geometria.

Procurando demonstrar esta dupla versatilidade SampleBOX consiste numa caixa de 1.80x5.00 de base, com 1.50m de altura. Volumetricamente, pela sua condição ortogonal e plana, esta caixa remete para uma exploração espacial e construtiva mais tradicional. No entanto, no seu interior, a realidade e o interesse são outros. Um conjunto de 53 placas de Vitrakem, correspondendo às diferentes cores existentes no catálogo da marca, é digitalmente cortado através da simulação de passagem de pessoas através da caixa, o que provoca a personalização geométrica de cada uma delas. Este jogo cria nichos para sentar e percursos espaciais de secção variável, ao longo dos quais se pode apreciar um catálogo de soluções cromáticas do material. Para além destes elementos verticais, a concepção antropomórfica dos atravessamentos cria simultaneamente uma variação topográfica ao nível do chão, que contribui para uma experiência de percurso mais interessante.

Construtivamente, as paredes exteriores são compostas por uma construção tipo sanduíche. Esta é composta por um contraplacado de madeira e uma placa de Vitrakem interior, ambas cortadas e perfuradas (para proporcionarem encaixes para as placas interiores coloridas), e uma placa Vitrakem exterior que vem cobrir esses momentos de fixação. As várias placas interiores, cortadas individualmente por jacto de água CNC, possuem umas saliências para fixação à parede-sanduiche envolvente. Quanto ao chão, este consiste numa série de blocos de MDF fresados individualmente por CNC de acordo com as geometrias específicas definidas no modelo digital. A sua sequenciação entala as placas de Vitrakem coloridas, o que contribui para que todo o conjunto se apresente estruturalmente estável e construtivamente sólido, funcionando em bloco.
Por uma certa ambiguidade e surpresa, o resultado formal da SampleBOX tem o poder de se tornar um objecto marcante no espaço interior do aeroporto. O contraste entre a simplicidade formal e escura das paredes exteriores e a profusão de cores e superfícies variáveis do seu interior, desperta a curiosidade das pessoas, desafiando-as a aproximarem-se e experienciarem esta estrutura. Considerando os percursos traçados e a envolvente do aeroporto, a SampleBOX poderá ser posicionada de modo a integrar-se nos fluxos de percurso das pessoas que por aí passam.

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3. CREDITS
.........................................................................................................................................
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Architecture
___ReD, Research+Design
Design Team
___M. Malé-Alemany
___Jose Pedro Sousa

Collaboration
___João Palaio Albuquerque
___Luís de Sousa


Production
___Proceedis (Berlin, Germany)
___Daniel Pinto (Oporto, Portugal)
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4. PROJECT IMAGES
.......................................................................................................................................





Figure 01: sampleBOX Render
(Image Credits: ReD)



Figure 02: sampleBOX Render
(Image Credits: ReD)

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Figure 03: sampleBOX Diagram
(Image Credits: ReD)

[e]3

1. DATA
.......................................................................................................................................

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Place /Date
___SCI-ARC, Los Angeles, USA
___2003 (Built)
Clients
___SCI-ARC Gallery
_
2. DESCRIPTION
.......................................................................................................................................
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3. CREDITS
.........................................................................................................................................
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Architecture
___ReD, Research+Design
Design Team
___M. Malé-Alemany
Collaboration
___Jose Pedro Sousa
___Brian O'Laughlin

Production
___Proceedis (Barcelona, Spain)
___Pintos (Oporto, Portugal)
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4. PROJECT IMAGES
.......................................................................................................................................


Figure 01: [e]3 Exhibition's image
(Photo Credits: Inês d'Orey / ALMAMATE)
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Figure 02: [e]3 Exhibition's image
(Photo Credits: Inês d'Orey / ALMAMATE)
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Figure 03: [e]3 Manufactory
(Photo Credits: Inês d'Orey / ALMAMATE)
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PROJECTS: MorSlide

1. DATA
.......................................................................................................................................
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Place /Date
___Barcelona, Spain
___2005 (Built)
Clients
___Jordi Ferré and Miriam Alemany
Type
___Interior Design + Product Design
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2. DESCRIPTION
......................................................................................................................................._
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MORSlide is a system of surface panels and sliding doors, which was designed to produce a continuous enclosure around the wet core -kitchen and bathrooms- of an existing apartment in Barcelona. By hiding the programmatic subdivision behind it, this wrapper created a larger box that offered a suggestive opportunity for ornamental exploration.Given the random location of the existing doors, the challenge was to develop a three-dimensional texture that would hide the edges of each panel by emphasizing the overall continuity. ReD designers contemplated all possible positions of the sliding doors, aiming for an uninterrupted skinning effect. With that in mind, the MORSE code was explored because its three basic constituent symbols –dash, dot and space- offer endless combinatorial possibilities to create a strictly horizontal yet randomly distributed field pattern. This strategy required investigating several ways of translating the graphic pattern into a three-dimensional digital surface. Despite their identical shape, each of the panels was differentiated with a unique ornamental texture. MORSLIDE is thus another project from ReD that takes advantage of digital design and fabrication technologies to challenge standardization principles. For its fabrication, subtractive CNC machining provided viable means to produce variable relief effects, enabling multiple ways of engraving this pattern into standard plywood panels. Milling the plywood produced a new visual pattern (by exposing the colors of the wood laminations) superimposed onto the digital model. In that manner, MORSlide explores the interaction between digital and material information as a design opportunity.
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3. CREDITS
........................................................................................................................................._
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Architecture
___ReD, Research+Design
Design Team
___M. Malé-Alemany
___J. Pedro Sousa
Collaboration
___Sarah Collado
___Katherine Jofre (Assistance)
Production
___Fustas Beltran (Barcelona, Spain)
___Absis
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4. PROJECT IMAGES
......................................................................................................................................._
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Figure 01: Movement of the panels
(Photo Credits: Inês d'Orey / ALMAMATE)
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Figure 02: MorSlide general view
(Photo Credits: Inês d'Orey / ALMAMATE)
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Figure 02: MorSlide Manufacturing
(Photo Credits: Inês d'Orey / ALMAMATE)
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Horror Vacui – Urban Implosions

1. DATA
.......................................................................................................................................

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Place /Date
___Portuguese Pavilion, Lisbon, Portugal
___2007 (Built)
Clients
___NAi – Netherlands Architecture Institute
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2. DESCRIPTION
.......................................................................................................................................
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Invited by curator Hans Ibelings and the Netherlands Architecture Institute / NAi, ReD designed the “Horror Vacui – Urban Implosions” exhibition, which was presented at the 1st Lisbon Architectural Triennal as the official representation of the Netherlands. The theme of the exhibition -Horror vacui- refers to the idea of the fear of emptiness, and has roots in visual arts history. In the field of architecture and the city in particular, the curator describes it as a concept that represents a model of growth towards the full occupation of empty spaces (not expansion), which illustrates the process undertaken by the construction of cities in Holland.
Considering this theme, ReD’s installation proposes the full occupation of the space assigned to the Dutch representation, with a light and thin tubular aluminum structure with 300 meter length, which configuration responds to an imaginary volumetric construction, abstractly related to those populating cities. Beyond its reference to the theme of the exhibition, this structure organizes the entire space of the show as well. It is a single continuous line with 300 meters length, which through its orthogonal movements, generates the support for all the exhibition contents: physical models and panels with photographic images and drawings.
Given its material characteristics and dimensions, the structure occupies the space without imposing any visual subdivision and, because it is hollowed, it hides inside the whole electrical installation. The only elements that partially interrupt this view are the exhibition panels, which are naturally meant to be observed. Considering its scale, the structure can be traversed in several directions permitting many possible visiting trajectories. By visually framing the visitors all around, the installation integrates them as part of the overall spatial scenography.

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3. CREDITS
.........................................................................................................................................
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Architecture
___ReD, Research+Design

Design Team
___M. Malé-Alemany
___J. Pedro Sousa

Collaboration
___João Palaio Albuquerque

Production
___Procedes (Barcelona, Spain)
___Daniel Pinto (Oporto, Portugal)
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4. PROJECT IMAGES
.......................................................................................................................................

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Figure 01: Horror_VACUI render
(Photo Credits: Inês d'Orey / ALMAMATE)
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Figure 02: Exhibition's image
(Photo Credits: Inês d'Orey / ALMAMATE)
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Figure 03: Exhibition's image
(Image Credits: ReD)

PROJECTS: Xurret

1. DATA
.......................................................................................................................................

Place /Date
___Barcelona, Spain
___2005 (Built)
Clients
___Jordi Ferré and Miriam Alemany
Type
___Interior Design + Product Design
_
_
2. DESCRIPTION
.......................................................................................................................................
XURRET SYSTEM is a seating structure or bench, designed by the architects Ábalos & Herreros (A&H) for the Barcelona 2004 Forum of Cultures and produced by the company ESCOFET, S.A. Due to the formal complexity of its shape and ornamental intricacy, ReD was asked to implement a digital production process to link design, development and fabrication in order to elaborate on the designer’s ideas and bridge them to final mass production. The original design consisted of 5 parts that were able to be connected end to end in multiple ways, to create an array of seating combinations that could vary in length, orientation and overall shape. Beyond its irregular form, the designers envisioned the bench covered by a “filiform texture”, an analogy taken from the image of a leaf with extremely visible veins. In the XURRET System project, ReD engineered form and ornament so that -no matter what the combination of parts may be- the overall result looks continuous and differentiated. Ornamentation was thus a strategy to blur the boundaries between the parts, highlighting the unity of a whole assembly. With that aim, the digital model became a fundamental tool to guarantee control and precision in the formal continuity –which affects both shape and texture- and extend it into fabrication. Given the design information provided by A&H, ReD developed a process that evolved chronologically as follows: an initial 3D modeling of the parts; the CNC production of a volumetric prototype to test different combinations and spatial occupation; the generation of a digital model of a 2D parametric pattern; its 3D mapping onto the surface of each part; the development of “controlled” textural effects with tubular veins; and a final CNC fabrication of the resulting prototypes.Parametric design was used to develop an interactive process that linked the topology of the parts with a 2D drawing that followed the principles of the filiform ornamental concept. This drawing was constructed as a geometrical structure of curves controlled by parametric key-points: some spatially constrained to assure the continuity of curves from part to part, and additional ones with greater “freedom”. By adjusting these parameters, one can modify aspects such as the density and curvature of the threads, or the width of the zones required for enforcing tangency conditions. Simultaneously, this motif is vector mapped at 1:1 ratio onto the parts and used as extrusion paths to generate tubular veins with parametric circular sections. Beyond supporting the exploration of several solutions, the final model merged design with fabrication information, serving as the data source to drive 5-axis milling CNC machines for the construction of 1:1 scale prototypes. Besides the significance of a venture achieved in true collaboration –between different architectural practices and also with fabricators- the XURRET System project epitomizes a continuous process from virtual information to materiality with a digital methodology that allows evaluation of the design while testing the product at a 1:1 scale. At another level, the use of digital tools also shows how an ornamental effect emerges from a programmable design environment, combining mimetic intentions with the abstraction of mathematical rules. In its production, XURRET System is an experience that exceeds its furniture scale to become architectural, with a final mass production of large built components –some of them reach 3mts in length and weight up to 2.5 Tons-, which are monolithic and made from a single material –concrete-, blending structure and surface, volume and texture, form and ornament.
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3. CREDITS
.......................................................................................................................................

Architecture
___ReD, Research+Design
Design Team
___M. Malé-Alemany
___J. Pedro Sousa
Collaboration
___Sarah Collado
___Katherine Jofre (Assistance)
Production
___Fustas Beltran (Barcelona, Spain)
___Absis
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4. PROJECT IMAGES
.......................................................................................................................................
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Figure 01: XURRET in Parc Litoral
(Photo Credits: Inês d'Orey / ALMAMATE)

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Figure 02: XURRET in Parc Litoral
(Photo Credits: Inês d'Orey / ALMAMATE)
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M-City Exhibition FLUOScape

1. DATA
.......................................................................................................................................

_
Place /Date
___KunsthausGraz, Graz, Austria
___2005 (Built)
Clients
___KunsthausGraz
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2. DESCRIPTION
.......................................................................................................................................
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M-City was a large exhibition that took place in the KunsthausGraz, the “friendly alien” building designed by Peter Cook and Colin Fournier. Dedicated to the examination of new urban landscapes in average European cities, it presented the works of 30 different artists structured in two main curatorial subjects: urban themes (1st floor) and city portraits (2nd floor) Invited to design the installation to accommodate this dense programmatic organization, ReD was interested in exploring the striking features of the Kunsthaus building to inform the generation and development of the proposal. ReD’s design concept was focused on creating a response of the ceiling to the artwork laid out beneath, controlling the light and suggesting various circulation paths. While this similar concept was applied to both floors, their spatial differences suggested two formally distinct installations: FLUOScape and CONEplex.
FLUOScape is the installation developed by ReD in the 1st floor of the Kunsthaus, to accommodate the urban themes section of the M-City exhibition dedicated to Earthscapes, Eurosprawl, Mapping, No Vison? and Shopping. In this space, the excessive and monotonous grid of 587 fluorescent lights provided the basic infrastructure to generate a completely new spatial effect. By fixing to each fluorescent light a soft cover (a flag) of varying lengths, the flatness of the ceiling would be transformed into an inverted topography that would flow over the entire space dedicated to themes. With their differentiated lengths, which were related to the exhibited works below, this topography of flags suggested areas and circulation paths without using any traditional walls or corridors. To design and control the complexity of such design exploration, ReD developed its own ‘design tool’ –FLUOSoft- a specific computer program written in AutoLISP. The 587 different flags were CNC laser-cut in Germany using all the individual contours and labels specified by the script.
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3. CREDITS
.........................................................................................................................................
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Architecture
___ReD, Research+Design
Design Team
___M. Malé-Alemany
___J. Pedro Sousa
Collaboration
___Teddy Slowik (project assitant)
___Neils Junkhans (local architect)
___
Lichwitz (graphic design)
Production
___Procedes (Barcelona, Germany)
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4. PROJECT IMAGES
.......................................................................................................................................

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Figure 01: Exhibition's image
(Photo Credits: Inês d'Orey / ALMAMATE)
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Figure 02: Exhibition's image
(Photo Credits: Inês d'Orey / ALMAMATE)
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Figure 03: Exhibition's image
(Photo Credits: Inês d'Orey / ALMAMATE)
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