Skin Design

Dear Diary,

Its 4:07 am and the Sweep Tool's and I are currently making up given the recent fight we had. I'm still mad at Sweep 2 because he refuses to work well with with everyone else... Simply put he's being mean... At least Sweep 1 apologized and agreed to play nice. I've decided to include a picture of Sweep 1 and I getting along just incase we get in a fight again, I can look at it and remember the good times.

- Mike

"Sweep 1 and Mike - Best Friends For..... now"

Fuerza Bruta

This is just a video clip of Fuerza Bruta - a show that gained a great deal of hype back on Broadway a few years ago. Before you begin thinking that it is a response to what could be a new Cirque show, this comes as a response to Ashley's earlier post on her design.  In this video clip you will see a small pool of water (with a transparent bottom) suspended over an audience (why make it safe and easy?).  Though not nearly as deep as the pool requirements for the studio project, it does highlight alternative strategies - most notably a series of trusses that effectively offer a structural "cage" (as Ashley was describing).  The trusswork could hold up the water however the trick becomes how such an assembly would be supported by the column(s)...

HOW HIGH?

Here's an image I found online, which shows the current training facility for Cirque du Soleil. If you didn't already have a hear attack, it's ridiculously high. Try and do the flying trapeze off of that. Oh and design for your space to be this high!

Project 4A

For those of you who weren’t able to view my final submission for Project 4A, here are a few images from it.

Here are my previous concept sketches for the building and the massing model, which in no way is a reflection of the final product (weird).

As I previously had blogged, the components design for Project 4A was focused on lighting, both in its subtlety and its spectacle. For the subtlety aspect I designed for natural light to permeate through the building whether it be through an open clear story of plastic tubes or thorough the silk fabric blinds, which respectively cast a patterned shadow on the floor or create coloured swatches on the ground (in this case red).

In its spectacle I designed for the plastic light tubes as well as LED edge panels to light up. If it were my choice, the lights would only be white, but for the sake of venues or events there is a possibility to add colour, or much like the Cosmopolitan LED, allow for graphics along it.

For the silk fabrics, it is not necessarily going to be made of red silk, I was even thinking of making it available for the venue to silk screen ads for shows on them like advertisements.

I would love to further refine/ develop this component in the building, but all I need is time and considering there is only 13 days left to the Project 4B…heart attack!

Design Concept 2

Here are a few pages from my sketchbook of what I’ve conceived for the building design. I looked at folding architecture as a design inspiration, but Vince mentioned that it was a fad that withered away in the late 90s… so I decided to bring it back. I’m trying to create a more dynamic form, which much like folding architecture allows for floors to become ceilings and ceilings to become walls and walls to become floors (the circle of life). By doing this I,’m creating distinct spaces for each program that allows for different views between each one. Also, the atrium space that in my sketches looks like it’s 200 meters tall, will need to be scaled properly because it will probably be less than half of what you see. The atrium will also serve as a light tunnel, as I am focusing on light as my major design theme. Also, a way-back to Cultura, the edge of the form will be lit *Thanks Vince. That is all for now!

Design Concept 1

One of my design concepts is a dynamic public space designed as a large atrium space, which will feature a range of Cirque de Soleil programs; aerial acrobatics as the main feature (a human chandelier), water feature below (pool bowl), transforming stage (possibly), etc. Here’s a video on aerial acrobatics, which will probably shape most of my design. Also, a key design element in my design is the use of light, which I will try and appropriate into the entire complex (emphasis on try).

Training at Cirque

Here are a couple of useful videos that provide a sense of what training (minimum 2-3 hours each day per performer not including conditioning and rehearsal!), equipment, and safety precautions must be taken in the development of a Cirque show.



There apparently was a Cirque du Soleil reality tv show... really...


One note about the Jukari Fit program... you might wish to see the requirements that this Cirque/Reebok program demand.


A bit of clarity on the Cirque du Monde program...


And just keep on thinking about Cirque's next show...

And on to Project 4

I swear I'm trying my best to work on Marco Polo's essay. The architect I chose for that paper is Dan S. Hanganu who designed Cirque du Soleil's studio in Montreal. I have found a very insightful and informative video that describes the Cirque's facilities as well as some of the 'values' that the company is based on. There are even some remarks as to sustainable design. I really recommend you take a look at it; it has definitely got me brainstorming for Project 4!

View the video here.

Las Vegas Shows

Though there were ample opportunities for research and design work during the days in Las Vegas, the nights were typically reserved for recreational activities from casino gaming to shopping to taking in some of the local shows.  All of the students were able to catch at least one of the Cirque du Soleil shows in Las Vegas (there are currently SEVEN in Las Vegas alone!) as well as the hybrid comedy/magic performance by Penn and Teller.  As described in the lectures in Toronto, entertainment, though a small fraction of the financial gains of a resort casino, is critical in establishing an identity as well as a tourist draw for casinos constantly battling each other for gambling revenue.

Las Vegas provides an escape for its visitors.  Beyond relief from the banal daily routine, the Strip offers visitors a chance to engage in activities and meet with people they never would have a chance to otherwise.  While Klingmann describes the experience economy and Pallasmaa advocates for a level of multisensory design, one cannot deny the fact that architecture supports these events and activities; weak architecture seeks to become the event and activities on their own.