Site Photographs
Disability
Prosthesis
The human body is a remarkable piece of biological machinery, and your limbs are no exception. For example, consider the delicate and complex tasks hands can perform, such as writing in calligraphy or playing the violin. At the same time, hands have the strength and durability required to grip heavy objects and withstand impacts. Legs are equally impressive, enabling a person to run long distances without tiring and navigate across uncertain terrains.When someone loses a limb due to injury or disease, the rich functionality once offered by that limb is lost as well. For a lower extremity amputee, someone missing portions of one or more legs, this could mean the loss of the ability to walk or run.
Prosthetic limbs are incredibly valuable to amputees because a prosthesis can help restore some of the capabilities lost with the amputated limb. Although prosthetic limbs have still not advanced to the point where they can rival the functionality provided by biological limbs, the capabilities they do provide can be significant. Great strides are being made each day in the field of prosthetics, and while great technological challenges remain, artificial limbs are becoming increasingly similar to real limbs.
Prosthetic limbs are incredibly valuable to amputees because a prosthesis can help restore some of the capabilities lost with the amputated limb. Although prosthetic limbs have still not advanced to the point where they can rival the functionality provided by biological limbs, the capabilities they do provide can be significant. Great strides are being made each day in the field of prosthetics, and while great technological challenges remain, artificial limbs are becoming increasingly similar to real limbs.
Prosthetic Legs in Sport
Newer materials, such as advanced plastics and carbon-fiber composites allow prosthetic limb to become lighter, stronger and more realistic. Electronic technologies make today's advanced prosthetics more controllable, even capable of automatically adapting their function during certain tasks, such as gripping or walking.
While new materials and technologies have certainly modernized prosthetics over the past century, the basic components of prosthetic limbs remain the same.
The pylon is the internal frame or skeleton of the prosthetic limb. The pylon must provide structural support and has traditionally been formed of metal rods. In more recent times, lighter carbon-fibre composites have been used to form the pylons. The pylons are sometimes enclosed by a cover, typically made from a foam-like material. The cover can be shaped and coloured to match the recipient's skin tone to give the prosthetic limb a more lifelike appearance.
The socket is the portion of the prosthetic device that interfaces with the patient's limb stump or residual limb. Because the socket transmits forces from the prosthetic limb to the patient's body, it must be meticulously fitted to the residual limb to ensure that it doesn't cause irritation or damage to the skin or underlying tissues. A soft liner is typically situated within the interior of the socket, and a patient might also wear a layer of one or more prosthetic socks to achieve a more snug fit.
The suspension system is what keeps the prosthetic limb attached to the body. The suspension mechanism can come in several different forms. For example, in the case of a harness system, straps, belts or sleeves are used to attach the prosthetic device. For some types of amputations, the prosthetic is able to stay attached just by fitting around the shape of the residual limb. One of the most common types of suspension mechanisms relies on suction. In this scenario, the prosthetic limb fits snugly onto the residual limb, and an airtight seal keeps it in place.
Though most prosthetic limbs have these basic components in some form, each device is unique and designed for a specific type and level of amputation. Whether an amputation is above or below major joints, like the elbow or knee, makes a big difference in what type of prosthetic limb is required. For example, an amputation above the knee requires a prosthetic device with an artificial knee, while an amputation below the knee allows the patient to retain the use of his or her own knee.
While new materials and technologies have certainly modernized prosthetics over the past century, the basic components of prosthetic limbs remain the same.
The pylon is the internal frame or skeleton of the prosthetic limb. The pylon must provide structural support and has traditionally been formed of metal rods. In more recent times, lighter carbon-fibre composites have been used to form the pylons. The pylons are sometimes enclosed by a cover, typically made from a foam-like material. The cover can be shaped and coloured to match the recipient's skin tone to give the prosthetic limb a more lifelike appearance.
The socket is the portion of the prosthetic device that interfaces with the patient's limb stump or residual limb. Because the socket transmits forces from the prosthetic limb to the patient's body, it must be meticulously fitted to the residual limb to ensure that it doesn't cause irritation or damage to the skin or underlying tissues. A soft liner is typically situated within the interior of the socket, and a patient might also wear a layer of one or more prosthetic socks to achieve a more snug fit.
The suspension system is what keeps the prosthetic limb attached to the body. The suspension mechanism can come in several different forms. For example, in the case of a harness system, straps, belts or sleeves are used to attach the prosthetic device. For some types of amputations, the prosthetic is able to stay attached just by fitting around the shape of the residual limb. One of the most common types of suspension mechanisms relies on suction. In this scenario, the prosthetic limb fits snugly onto the residual limb, and an airtight seal keeps it in place.
Though most prosthetic limbs have these basic components in some form, each device is unique and designed for a specific type and level of amputation. Whether an amputation is above or below major joints, like the elbow or knee, makes a big difference in what type of prosthetic limb is required. For example, an amputation above the knee requires a prosthetic device with an artificial knee, while an amputation below the knee allows the patient to retain the use of his or her own knee.
http://science.howstuffworks.com/prosthetic-limb2.htm
Difficulties for My Client
My client suffered an accident in her childhood which left her with a prosthetic leg, which makes everyday life difficult for her. For example collecting her recyclable materials would be extremely hard and tiring for her. Furthermore, even using everyday objects such as the toilet will be extremely difficult and she would need a specially designed bathroom which allowed her to move around the space comfortably.
As she has a prosthetic leg, climbing stairs or walking up steep slopes is very uncomfortable for her, which may mean I need to incorporate a ramp, stair lift or lift to allow her to move around the space more easily.
As she has a prosthetic leg, climbing stairs or walking up steep slopes is very uncomfortable for her, which may mean I need to incorporate a ramp, stair lift or lift to allow her to move around the space more easily.
Precedent Studies
The Guggenheim - Frank LLoyd Wright
An internationally renowned art museum and one of the most significant architectural icons of the 20th century, the Guggenheim Museum is at once a vital cultural center, an educational institution, and the heart of an international network of museums.
Designed by Frank LLoyd Wright, the cylindrical museum building, wider at the top than the bottom, was conceived as a "temple of the spirit" and is one of the 20th century's most important architectural landmarks. The building opened on October 21, 1959, replacing rented spaces used by the museum since its founding. Its unique ramp gallery extends from just under the skylight in the ceiling in a long, continuous spiral along the outer edges of the building until it reaches the ground level.
Designed by Frank LLoyd Wright, the cylindrical museum building, wider at the top than the bottom, was conceived as a "temple of the spirit" and is one of the 20th century's most important architectural landmarks. The building opened on October 21, 1959, replacing rented spaces used by the museum since its founding. Its unique ramp gallery extends from just under the skylight in the ceiling in a long, continuous spiral along the outer edges of the building until it reaches the ground level.
http://www.guggenheim.org/new-york/about
The Guggenheim Museum - Frank Gehry
When it opened in 1997, the Frank Gehry–designed Guggenheim Museum Bilbao—a spectacular structure made of titanium, glass, and limestone—was hailed as the most important building of its time. Located in the Basque city of Bilbao in northern Spain, the museum features exhibitions organized by the Guggenheim Foundation and by the Guggenheim Museum Bilbao, as well as selections from the permanent collection of the Guggenheim Museums.
The Solomon R. Guggenheim Foundation selected Frank Gehry as the architect, and its director, Thomas Krens, encouraged him to design something daring and innovative. The curves on the exterior of the building were intended to appear random; the architect said that "the randomness of the curves are designed to catch the light". The interior "is designed around a large, light-filled atrium with views of Bilbao's estuary and the surrounding hills of the Basque country." The atrium, which Gehry nicknamed The Flower because of its shape, serves as the organizing center of the museum.
The Solomon R. Guggenheim Foundation selected Frank Gehry as the architect, and its director, Thomas Krens, encouraged him to design something daring and innovative. The curves on the exterior of the building were intended to appear random; the architect said that "the randomness of the curves are designed to catch the light". The interior "is designed around a large, light-filled atrium with views of Bilbao's estuary and the surrounding hills of the Basque country." The atrium, which Gehry nicknamed The Flower because of its shape, serves as the organizing center of the museum.
http://www.guggenheim.org/bilbao/about
Lou Ruvo Center for Brain Health - Frank Gehry
Mr. Gehry wanted to create a place that would be memorable: "The mantra is Keep Memory Alive," he noted. "I'm trying to make a building that people will want to visit, remember, talk about, and enjoy, and ultimately will want to partner with us at the center to help cure brain diseases."
Mr. Gehry acknowledges a personal connection to brain health and preserving memory. The wife and three brothers-in-law of Dr. Milton Wexler, Frank Gehry's longtime analyst and friend, were stricken with Huntington's disease. For roughly 35 years, Mr. Gehry has served on the board of Wexler's Hereditary Disease Foundation. Huntington's disease is now one of the disorders studied at Cleveland Clinic Lou Ruvo Center for Brain Health.
Mr. Gehry acknowledges a personal connection to brain health and preserving memory. The wife and three brothers-in-law of Dr. Milton Wexler, Frank Gehry's longtime analyst and friend, were stricken with Huntington's disease. For roughly 35 years, Mr. Gehry has served on the board of Wexler's Hereditary Disease Foundation. Huntington's disease is now one of the disorders studied at Cleveland Clinic Lou Ruvo Center for Brain Health.
http://www.dezeen.com/2010/06/17/lou-ruvo-center-for-brain-health-by-frank-gehry/
http://www.keepmemoryalive.org/about_us/facility/frank_gehry
http://www.keepmemoryalive.org/about_us/facility/frank_gehry
The Jewish Museum - Daniel Libeskind
The Jewish Museum Berlin, which opened to the public in 2001, exhibits the social, political and cultural history of the Jews in Germany from the 4th century to the present. The museum explicitly presents and integrates, for the first time in postwar Germany, the repercussions of the Holocaust.
The new design, which was created a year before the Berlin Wall came down was based on three conception that formed the museum’s foundation: first, the impossibility of understanding the history of Berlin without understanding the enormous intellectual, economic and cultural contribution made by the Jewish citizens of Berlin, second, the necessity to integrate physically and spiritually the meaning of the Holocaust into the consciousness and memory of the city of Berlin. Third, that only through the acknowledgement and incorporation of this erasure and void of Jewish life in Berlin, can the history of Berlin and Europe have a human future.
The new design, which was created a year before the Berlin Wall came down was based on three conception that formed the museum’s foundation: first, the impossibility of understanding the history of Berlin without understanding the enormous intellectual, economic and cultural contribution made by the Jewish citizens of Berlin, second, the necessity to integrate physically and spiritually the meaning of the Holocaust into the consciousness and memory of the city of Berlin. Third, that only through the acknowledgement and incorporation of this erasure and void of Jewish life in Berlin, can the history of Berlin and Europe have a human future.
http://archikey.com/building/read/2680/Jewish-Museum/201/
http://daniel-libeskind.com/projects/jewish-museum-berlin
http://daniel-libeskind.com/projects/jewish-museum-berlin
Royal Ontario Museum - Daniel Libeskind
The Extension to the Royal Ontario Museum (ROM), now called the Michael Lee-Chin Crystal is situated at one of the most prominent intersections in downtown Toronto. Opened in June 2007, the Extension provides 100,000 square feet of new exhibition space, a new entrance and lobby, a street level retail shop and three new restaurants. SDL also renovated ten galleries in the existing historical building as part of this project.
The Michael Lee-Chin Crystal derives its name from the building’s five intersecting volumes, which are reminiscent of crystals. The intersection of two of the crystals, both dedicated to new galleries, creates a void, known as the Spirit House. A large atrium rising from below ground level to the fourth floor and criss-crossed by bridges at various levels, the Spirit House is intended to be a place of reflections for visitors. A fourth crystal, known as the Stair of Wonders, is dedicated to vertical circulation but also features exhibition vitrines at the landings. A fifth crystal houses a restaurant. The intersecting spaces of the Michael Lee-Chin Crystal create a variety of atriums at different levels, affording views into galleries and other spaces within the Museum. One large atrium, known as the Gloria Hyacinth Chen Court, separates the new construction from the ROM’s existing heritage building and provides a nearly complete view of the restored heritage facades.
The Michael Lee-Chin Crystal derives its name from the building’s five intersecting volumes, which are reminiscent of crystals. The intersection of two of the crystals, both dedicated to new galleries, creates a void, known as the Spirit House. A large atrium rising from below ground level to the fourth floor and criss-crossed by bridges at various levels, the Spirit House is intended to be a place of reflections for visitors. A fourth crystal, known as the Stair of Wonders, is dedicated to vertical circulation but also features exhibition vitrines at the landings. A fifth crystal houses a restaurant. The intersecting spaces of the Michael Lee-Chin Crystal create a variety of atriums at different levels, affording views into galleries and other spaces within the Museum. One large atrium, known as the Gloria Hyacinth Chen Court, separates the new construction from the ROM’s existing heritage building and provides a nearly complete view of the restored heritage facades.
http://daniel-libeskind.com/projects/royal-ontario-museum/images
Jewellery
David Bizer
The Waveform Necklace by Berlin-based designer David Bizer is created from a digital audio recording of a voice or song. Bizer offers the jewelry in a wide range of materials including silver and wood and also offers a tutorial on how you can do it yourself.
http://www.thisiscolossal.com/2012/06/waveform-necklaces-and-bracelets-designed-from-a-recording-of-your-voice/
Dukno Yoon
Kansas-based metalsmith and jeweler Dukno Yoon creates rings, bracelets, and other devices that mimic the movements of birds by harnessing the motion caused by the flick of the wrist or flexing of fingers. Yoon received his BFA from Kookmin University, Seoul and a MFA from Miami University, Oxford, Ohio and most recently has been working on a series of metronomes that also explore the movement of birds.
http://www.thisiscolossal.com/2012/02/wearable-kinetic-rings-mimic-the-flight-of-birds/
Gary Schott
Garry Schott is a jeweller, artist and metalsmith who creates these small kinetic sculptures that produce tiny, intimate gestures. The attention to detail in each piece is astounding, from the early detailed sketches and balsa wood models, to the selection of materials, and even the color of fabric—all to create a tiny device, the sole purpose of which is to gently evoke a smile, to express, in the words of the artist, an action of love.
http://www.thisiscolossal.com/2011/11/wonder-object-playful-mechanized-objects-by-gary-schott/
Zaha Hadid
Architect Zaha Hadid has created a set of rings from lattices of gold filigree for Swiss jewellery brand Caspita.
The designs were inspired by natural cell structures and comprise a double layer of polygons that form a delicate mesh over the finger. The front of the band is shaped into a claw-like asymmetric point while the other side is shorter.
Made in black, white, yellow and pink gold, some of the rings have diamonds set into sections of the lattice. Bracelets in a similar style also form part of the limited-edition collection.
"This feat of entwined geometries reveals its extraordinary sparkle thanks to the skill of the goldsmiths who expertly hand-polish these prodigiously meshed works," said the team behind the designs.
The designs were inspired by natural cell structures and comprise a double layer of polygons that form a delicate mesh over the finger. The front of the band is shaped into a claw-like asymmetric point while the other side is shorter.
Made in black, white, yellow and pink gold, some of the rings have diamonds set into sections of the lattice. Bracelets in a similar style also form part of the limited-edition collection.
"This feat of entwined geometries reveals its extraordinary sparkle thanks to the skill of the goldsmiths who expertly hand-polish these prodigiously meshed works," said the team behind the designs.
http://www.dezeen.com/2013/11/29/zaha-hadid-creates-rings-from-gold-lattices-for-caspita/
Fashionable Prosthetic Limbs
http://hannamawbey.wordpress.com/2012/05/08/the-prosthetic-limb/
As my concept I decided that my client would embrace the fact that she suffered from a disability and through her work as a jewellery designer I wanted her to create fashionable prosthetic limbs that models can show off on her catwalk which runs through her gallery space and building.
Recycled Jewellery
I began to research into some jewellery constructed from recycled materials as I wanted my client's jewellery to centre around using recycled materials for her prosthetics. The massing piece of jewellery in my design would provide my client with the materials that she needs to create her wonderful sculptures and pieces of art.
Contemporary Architecture and Design
The Darcons Headquarters
I began to look at the Contemporary architecture and design that my client would use in her designs of her jewellery and I wanted to incorporate the contemporary style into my building. I really liked how the Mexican architects of The Darcons Headquarters used extruded cantilevers to create a space which looked as if it was floating. I may try to incorporate this into my design somehow.
Zaha Hadid
Zaha Hadid
I then started to look at the work of Zaha Hadid and how she almost creates streets within her building. In my design I want to incorporate something similar and as passers by on the street look at the building from the front elevation view they can make out little spaces and crevices and almost like small streets running through my building.
Heliodon Testing
Sketch Up Models
Sketch Up Models
I began to test my sketch up models in the heliodon to see how the light would flood into my building. I raised the heights of the different buildings to allow light to move through these spaces. In my other sketch model I increased the slopes of my buildings roofs so that they are permanently covered from the weathering. However not much light entered the spaces around the building so I may have to reconsider my design ideas.