PAPER DOME - Osaka-cho, Gifu, Japan, 1998

A contractor of wooden building required an enclosed shelter that would allow outdoor work to proceed even in inclement weather, but the structure had to be simple enough for a crew to spontaneously assemble by themselves. Due to the conditions of the site as well as the conditions for use, a large arched roof spanning 27m, 8m in height at the center and covering a space 23m wide was created. Since the paper tubes could not be curved, the entire arch was divided into 1.8 x 0.9m modules. Lateral stability is accomplished through the use of structural plywood instead of metal bracing. Each panel of plywood is pierced by a circle made as large as possible without compromising its structural integrity, in order to let natural light stream in through the corrugated poly-carbonate panels covering the dome. To minimize the expansion and contraction of the paper tubes caused by humidity over time, the tubes are waterproofed with a clear, liquid urethane. The ends of the paper tubes and the joints are flush with each other to transfer the loads and reduce the bending moment. There are reinforcing steel tension rods and braces used as a precaution against sudden changes of load.

http://www.shigerubanarchitects.com/SBA_WORKS/SBA_PAPER/SBA_PAPER_8/SBA_paper_8.html

Paper bridge unveiled in southern France

apanese architect Shigeru Ban -- iconic for his use of eco-friendly, lightweight materials -- on Friday lifted the veil on a paper bridge over the Gardon River in southern France. Built half a mile from the Pont du Gard -- a section of ancient Roman bridge classed as a UN World Heritage site -- Shigeru's cardboard-tube structure is strong enough to carry 20 people at a time. Reaching over the water to a sandy islet mid-river, it opens to the public for six weeks starting on Monday, before it is dismantled for the rainy season. "It is a very interesting contrast, the Roman stone bridge and the paper bridge. Paper too can be permanent, can be strong and lasting. We need to get rid of these prejudices," Ban said. "A bridge was one of my dreams," he said, as he thanked the two dozen French architecture students and three from Japan who built the bridge as a month-long project. Weighing 7.5 tonnes, the bridge is made from 281 cardboard tubes, each 11.5 centimetres (four inches) across and 11.9 millimetres thick. The steps are recycled paper and plastic and the foundations wooden boxes packed with sand. Balloons filled with 1.5 tonnes of water were used to test its resistance, said Ban's assistant Marc Ferrand. Born in 1957 in Tokyo, Ban made a name by designing cardboard shelters for use by earthquake victims in Japan, Turkey and India and by refugees following the 1994 Rwandan genocide.

日建築師坂茂環保設計 河上紙橋 可承載20人

中時電子報 記者:　實習編譯胡琦君／綜合報導 擅長以輕量環保材質作設計的知名日本建築師坂茂昨天在法國南部揭示他搭建的一座紙橋。紙橋橫跨加爾河，與聯合國指定世界文化遺產的「嘉德水道橋」相距不過八百公尺，二者形成明顯的對比。 坂茂表示：「把紙橋與古羅馬石橋放在一起，是個有趣的對比。其實紙也和石頭一樣堅固、穩健並能持久，大家應該摒棄對紙的偏見。」像這座橋雖然是紙做的，卻能一次同時承載廿人。 蓋一座紙橋是坂茂長久以來的夢想，如今在廿多位法國建築系學生及三位日籍學生的協助下如願以償。他們採用紙管作為建材，花一個月的時間蓋好。紙橋將自下周一（卅日）起開放參觀，預計在六周後雨季來臨之前拆除。 這座紙橋重達七．五公噸，由二百八十一個紙管組成，每個紙管直徑長十一．五公分、厚十一．九公釐。所有階梯均採用再生紙及回收塑膠作建材，並以裝滿沙的木箱作為橋基。坂茂是目前國際最受矚目的日本中生代建築師之一，於一九五七年生於東京，畢業於美國南加大藝術學院，取得建築碩士學位。他曾在九十四年十月初受邀來台，展示阪神大地震後他為神戶災民建造紙教堂。 坂茂一向主張採用建材輕巧的自然材質作建材，並大膽採用紙管材料，創發一系列「紙建築」的探索與實驗。他也是一位人道主義者，他不僅替日本、土耳其、印度等地震災戶設計硬紙板製的收容所，也為一九九四年東非國家盧安達種族大屠殺倖存者搭建臨時棲居場所。坂茂也因此受到國際間的尊崇與好評。

public art- strange cargo. UK

http://www.strangecargo.org.uk/

Public Art

Festivals

public art- strange cargo. UK

Public ArtOver its eleven year lifespan, Strange Cargo has established a reputation for high profile quality public art, and has delivered award-winning projects, including Like the Back of my Hand, an extensive installation at Folkestone Central station which recently won the Rouse Kent Public Art Award. In its public art involvement, Strange Cargo seeks to create works of context, leaving communities with lasting meaningful landmarks and a sense of participation in their surrounding environment.
FestivalsStrange Cargos participatory festival work is one of its most high profile areas of work. Annually the Company works closely with schools and the community to design and run Charivari Day, a popular and vibrant carnival in Folkestone, each year. Elsewhere, the ethos of access, participation and excellence has been extended to develop festivals, carnivals and lantern processions such as Ramsgate’s Skelly Night, the Jersey Lanterns procession and the Festival of Humour in the French town of Tourcoing, among others—including elements of the Lord Mayor’s Show in London, and the Canterbury Festival.
The East Kent Giants ProjectThe East Kent Giants project brings rural communities together to create their very own Giant to act as an iconic representative of their town or village, while encouraging the forging of strong links with Europe. The Giants project has its roots in the French geants tradition, and Strange Cargo is excited to be introducing this concept to the UK
TrainingThrough its various training programmes, Strange Cargo aims to encourage creativity on a holistic level in people’s daily lives. Working closely with schools, the Company trains teachers in the skills needed to encourage creative thinking in all areas of the curriculum. Strange Cargo also provides hands-on training to new artists and arts companies to pass on its knowledge and, for corporate training days, it assists in developing innovation and team achievement within company workforces.
Georges House Gallery has been established in Folkestone’s Old Town—and new creative quarter since 1998, offering a unique and inspirational developmental space for artists to experiment and expand their practice. The Gallery is a dynamic arena which creates opportunities both for the exhibiting artists and the local community; it is an unrestricted exhibition venue, and Strange Cargo encourages each exhibitor to be inventive with the space. Artists are encouraged to invigilate their own work, which means that they are usually on hand to discuss it with visitors, an element which is beneficial to both parties. In the running of Georges House Gallery, Strange Cargo has a policy of encouraging innovative work, both contemporary and traditional, and is proud of its track record in supporting artists in their careers and encouraging them to develop further. genuine community engagement and involvement, while still retaining the integrity of the artwork. Relating work in the public realm to its environment is a fundamental aspect of any brief, and Strange Cargo is able to work closely with commissioners to devise practical creative solutions to bringing site specific work into new build scenarios and regeneration initiatives.

muf, barking project

Barking Town Centre is part of the Mayor's 100 public spaces programme. The public realm design makes a coherent new space for the town square where the town hall, library, a faculty of the University of East London, the one-stop-shop, a child and primary health care centre, approximately 500 new homes, retail, cafes and a major public art commission all come together. The public art element provides the fourth elevation to the wall, conceived and developed and implemented by muf, this 7 metre high folly recreates a fragment of the imaginary lost past of Barking. The project involved a number of diverse groups in its detail design, this included students from the Theatre School, elders from the Afro-Carribean lunch club and apprentices from the local bricklayers college.
winner of 2008 ,EU, urban public space compeitition

music and personality

根據英國海華大學（Heriot-Watt University）的研究，一個人的音樂品味和其性格特質密切相關，例如喜歡古典樂的人害羞內向，喜歡Rap的人明顯外向。

　諾斯說，這項研究最令人意外的結果之一，就是古典樂迷和重金屬樂迷的性格其實有許多類似處，兩者都具有創造力，安逸自在，但都不外向，一般刻板印象以為重金屬樂迷都具自殺傾向的抑鬱性格，其實並非如此。

　音樂類型與性格的關連：

　藍調─高自尊，具創造力，外向，溫和自在。
　爵士─高自尊具創造力，外向自在。
　古典樂─高自尊，具創造力，內向自在。
　Rap─高自尊，外向。
　歌劇─高自尊，具創造力，溫和。
　鄉村音樂─刻苦耐勞，外向。
　雷鬼樂─高自尊，具創造力，不刻苦耐勞，外向，溫和自在。
　舞曲─具創造力，外向，不溫和。
　搖滾樂／重金屬─低自尊具創造力，不刻苦耐勞，不外向，溫和自在。
　靈魂樂─高自尊具創造力，外向溫和自在。

from:http://tw.news.yahoo.com/article/url/d/a/080906/57/15fwy.html

Serpentine Gallery Pavilion 2008

The Serpentine Gallery Pavilion series, now entering its ninth year, is the world’s first and most ambitious architectural programme of its kind, and is one of the most anticipated events in the international design calendar.

Frank Gehry said: 'The Pavilion is designed as a wooden timber structure that acts as an urban street running from the park to the existing Gallery. Inside the Pavilion, glass canopies are hung from the wooden structure to protect the interior from wind and rain and provide for shade during sunny days. The Pavilion is much like an amphitheatre, designed to serve as a place for live events, music, performance, discussion and debate. As the visitor walks through the Pavilion they have access to terraced seating on both sides of the urban street. In addition to the terraced seating there are two elevated seating pods, which are accessed around the perimeter of the Pavilion. These pods serve as visual markers enclosing the street and can be used as stages, private viewing platforms and dining areas.'
Julia Peyton-Jones, Director, and Hans Ulrich Obrist, Co-Director said: 'It is an exciting moment for London. Frank Gehry’s visionary Pavilion is remarkable and will be a landmark for the city this summer.'
The Pavilion is the architect’s first built structure in England. He has collaborated for the first time with his son Samuel Gehry. Since 2001, Peter Rogers, Director of Stanhope, has donated his expertise to all aspects of the Serpentine Gallery Pavilions and he continues to play a major role. The Pavilion is a fully accessible public space in the Royal Park of Kensington Gardens, attracting up to 250,000 visitors every Summer and is accompanied by an ambitious programme of public talks and events.
Frank GehryRaised in Toronto, Canada, Frank Gehry moved to Los Angeles in 1947. He received his Bachelor of Architecture degree from the University of Southern California in 1954, and studied City Planning at the Harvard University Graduate School of Design. In subsequent years, Gehry has built an architectural career that has spanned four decades and produced public and private buildings in America, Europe and Asia. His work has earned him several of the most significant awards in the architectural field, including the Arnold W. Brunner Memorial Prize in Architecture, the Pritzker Architecture Prize, the Wolf Prize in Art (Architecture), the Praemium Imperiale Award, the Dorothy and Lillian Gish Award, the National Medal of Arts, the Friedrich Kiesler Prize, the American Institute of Architects Gold Medal and the Royal Institute of British Architects Gold Medal. Recent projects include the Guggenheim Museum Bilbao in Bilbao, Spain; Maggie’s Centre, a cancer patient care centre in Dundee, Scotland; and the Walt Disney Concert Hall in Los Angeles, California. Some current projects include the Lou Ruvo Alzheimer Center in Las Vegas, Nevada; the Princeton Science Library in Princeton, New Jersey; the Hall Winery in Napa Valley, California; and the Puente de Vida Museo in Panama City, Panama.
Arup Arup has worked on many of the Pavilions commissioned by Julia Peyton-Jones. Arup collaborated with Gehry Partners LLP to help evaluate the design strategies, choice of materials and structural typology of the 2008 Pavilion. Arup is also providing the engineering and specialist design on the project. The Arup