For centuries before the invention of screws and fasteners, Japanese craftsmen used complex, interlocking joints to connect pieces of wood for structures and beams, helping to create a uniquely Japanese wood aesthetic that can still be seen in the works of modern masters like Shigeru Ban.
Up until recent times, however, these techniques were often the carefully guarded secrets of family carpentry guilds and unavailable for public knowledge. Even as the joints began to be documented in books and magazines, their 2-dimensional depictions remained difficult to visualize and not found in any one comprehensive source.
That is, until a few years ago, when a young Japanese man working in automobile marketing began compiling all the wood joinery books he could get his hands on and using them to creating his own 3-dimensional, animated illustrations of their contents.
Using the mechanical design software Fusion360 and employing self-taught woodworking skills, he began creating animations of the joinery and posting them to a twitter account.
The account now features 80 posts of various joinery techniques, some self-locking, some best used for turning-corners, some for creating beams. The complex cuts in the wood maximize the amount of surface area shared by the connecting wood elements, helping to create a snug fit held together by friction.
In modern times, the complex cuts necessary to create these joints have simply become too expensive to warrant to their use in standard architecture. But with the rise of CNC milling and 3D-printing fabrication techniques, it is not difficult to imagine a future where these techniques are not only affordable, but also the most reliable.
From the architect. MAAT is an outward-looking museum located on the banks of the Tagus in Belém, the district from where the Portuguese great explorers set off. Proposing a new relationship with the river and the wider world, the kunsthalle is a powerful yet sensitive and low-slung building that explores the convergence of contemporary art, architecture and technology.
Masterplan
The new building is the centrepiece of EDP Foundation’s masterplan for an art campus that includes the repurposed Central Tejo power station.
Blending structure into landscape, the kunsthalle is designed to allow visitors to walk over, under and through the building that sits beneath a gently expressed arch – one of the oldest forms in western architecture.
The roof becomes an outdoor room, a physical and conceptual reconnection of the river to the city’s heart – where visitors can turn away from the river and enjoy the vista of the cityscape, and at night, watch a film with Lisbon as a backdrop.
Below, the exhibition spaces are extensions of the public realm, with flowing interconnected places for experiences and interactions at the intersection of the three disciplines. These spaces complement the galleries of the converted Central Tejo building.
Building on Portugal’s rich tradition of craft and ceramics, three-dimensional crackle glazed tiles articulate the façade and produce a complex surface that gives mutable readings of water, light and shadow. The overhanging roof that creates welcome shade is used to bounce sunlight off the water and into the building.
BIG’s planned residential complex along the High Line in New York has gone through multiple iterations since its unveiling last November. Now, in its latest form of two twisting towers rising from a split podium, the project is receiving a new name and key program piece.
Image by BIG. Image via NY YIMBY
Taking its cue from its location at 76 Eleventh Avenue and West 17th Street in West Chelsea, adjacent to projects by Frank Gehry, Shigeru Ban and Jean Nouvel, the development will officially be known as “The Eleventh.” Also announced was a new partnership between developer HFZ Capital and international spa resort brand Six Senses, which will bring the company’s first resort in the United States to the complex.
Image by BIG. Image via NY YIMBY
Image by BIG. Image via NY YIMBY
Adding to the building’s planned 240 luxury condominium units, the full-block development will now also contain a 137-room hotel and luxury spa. The project’s two towers, reaching approximately 300 and 400 feet, will be the tallest in the neighborhood. The new spa will be located in the eastern tower, which leaves the best views of the Hudson River to the condo owners in the western tower.
Image by BIG. Image via Curbed NY
Image by BIG. Image via Curbed NY
The building will feature stone and metal as key materials and glass skybridges to connect the two halves of the podium and allow for vehicles to enter the complex below. HFZ also announced it will be teaming up with Friends of the High Line to create their own pedestrian promenade for the development that will run adjacent to the popular park.
Through their books, theories and design projects, there’s no doubt that Denise Scott Brown and Robert Venturi dramatically altered the course of architecture at the end of the Modernist period. In this interview conducted at the Harvard Graduate School of Design in 2013, Shalmali Wagle and Alen Žunić talk with Scott Brown about the origins of the groundbreaking theories that underpinned the work of Venturi Scott Brown and Associates, what she is working on now, and her hopes for the future of the profession.
When you decided to practice architecture, was there a second option? What could have been your alternate career?
Because my mother had studied architecture, I wanted as a child, to be an architect, and as she drew a great deal for us, I spent much of my preschool life drawing and painting. In grade school I loved my teachers and wanted to do what they did. And in middle school I wanted to write, study languages, travel, and perhaps be a librarian—a career I saw as appropriate to my interests and open to women. But on entering architecture school, I saw only men there (5:60 was the ratio everywhere, until almost 1980). But the architects I knew were women, so I had thought it was a female’s profession. “What are all these men doing in the studio?” I asked myself. When I was 40 I looked back and realized I had had all the roles I hoped to have but within the framework of architecture.
What are you working on at the moment, what preoccupies you the most?
I talk to students and others and write articles and books. Though no longer designing buildings I did design my photography show in Venice. But it I am mainly reconsidering our ideas of the 1960s and before and showing how they matured. In the 1960s Bob and I urged that the brave tenets of the early moderns be upheld but updated for our time—that form followed forces before function, and that our definition of function needed greater sophistication. Thereafter we spent a career in designing, proposing and analyzing, and our work shows answers we found to some questions. Differences between our writing before and now are the result of our careers as architects.
People at your age usually choose to retire. What is your alternative to practicing architecture these days?
Some people who retire take cruises but we’re not the type. But in our practice we had an equivalent luxury, a small research arm to support our teaching and project-related research. It was expensive but it brought us fun and made our architecture better. So in retirement I have taken our “cruise” by bringing our mini-university, home with me. Bob, when contemplating retirement, recalled the philosopher, George Santayana, who retired to a convent,where nuns took care of him. Every night he had dinner with the Mother Superior, who must have been a lively woman, or he would not have wanted to. Bob for his part watches “The Golden Girls,” an old TV show about four lively elderly women. I say, he dines with four Mothers Superior, rather than one. We go on Sundays to our local coffee shop and we welcome friends and our son when they visit. This suits us and we enjoy these calmer seas after the rough waves of architectural practice. But I am busy—I’m trying, I think, to leave architecture well set and forging ahead, for a new generation of enthusiasts who are on our wavelength.
Why do you say that?
For the most part, our generation could not understand why we were breaking ranks. They felt we were unpatriotic to architecture, in looking at popular culture and tastes—Las Vegas and things like that. Even my AA friend John Winter, a talented architect said “Denise is my oldest friend, but the things she likes are crap.” I felt like saying, “John, you cant afford to see so much of the rest of the world as crap. That’s just not going to work.” And certainly not from now on. That is my problem with my generation. Your generation is different. When I say that Learning from Las Vegas is in part a social tract, they don’t say what my generation would have said, “you’re kidding.” They say “we know that” or, in the American way, “no kidding.”
Has anything changed in global architecture after 2000? The beginning of the 20th century gave us modernism? What has the beginning of the 21st century given us and where is its greatest potentials?
Modernism has to be updated. The modernist idea that function can break open your aesthetics and help you find new ones applicable to your time is wonderful. But last year’s modernism cannot apply. It must be updated. Aalto and others updated it. So, to a certain extent did the New Humanists from Sweden. Then, the Smithsons. And we were yet another. Now it’s time for one more. With updates, modernism is a relevant doctrine for what we face now. But not Neo-modernism. It’s neither Modernist nor Post-modernist. It’s PoMo with Modern decorations. It does not believe in function as I define it and it’s bad for the city because it disdains the idea of context. Context for architects they say is a white page. Well, good luck. First, white pages scare architects. Second, it means designing without help from the generative power of the site and the city. I am happy indeed to see this generation reconsider what we did and wrote in the 1960s but, since then, we too have had to deal as architects with the challenges and opportunities of global change and the computer. This reconsideration is too wide a topic to cover here, but one aspect that I still handle today has to do with the growing and computer-related role of photography in all the processes of architecture. When I started photographing, I wanted record shots of buildings we saw while traveling and of our own work. As a student I added photography to illustrate ideas about architecture and design and objects of architectural relevance. As teachers, Bob and I used photography and photo essays to explain ideas and make points. And when computers came Photoshop and related programs vastly augmented our photographic tools. Over the length of our career photography has evolved from a tool to a discipline of architecture.
Should the focus of an architectural practice be more globally or locally oriented? Which new phenomena in architecture you find interesting for today’s context that the architectural studios are not using enough?
There are always going to be Locals and Globals or Cosmopolitans, as sociologists called them. They used these terms to consider how power (particularly political power) can derive from connections outward and inward. People like us have to travel to work, because few cities commission more than a couple of the kinds of buildings they would select us for, and for most of these they choose architects from outside. So to survive we must find employment in other localities and countries. But this brought wonderful work opportunities, fun, and adventure.
How important is the theme of the city, public space and landscape to architects? What does urbanism represent in today’s practice? Urban planning or urban design—what similarities and differences do you see between these domains? Many schools separate the education of architects, urban planners and zoning planners—is that a good thing?
That is a nice big narrow question. Yes, architects highly value the idea of public space but, whatever you call it, a place doesn’t become public until people find reasons to use it. And although architects design spaces they call public, people may not use them. Have you wondered why? And why do people flock to places like Las Vegas, no matter what we architects think of them? Our small amphitheater in the Quad at Penn can seat an audience for ceremonial functions, but most of the time it is just curved seating, where people sun themselves, study, eat lunch and meet friends. They do this because it’s in the right place and offers what users are looking for. In designing it we used principles and forms of analysis derived from urban land-use and transportation planning, and we take these inside buildings as well. For instance, in a lab building the bench grids that subdivide space are almost like the grids of a city. But because coffee is not allowed near expensive machines, researchers require coffee-lounges directly outside them. We think of lab corridors as streets that run through the building. Vertical circulation provides cross streets, and lobbies where the two meet are market squares. Locating coffee lounges on these squares allows people from different floors or far ends of the same floor to meet serendipitously. Provide an Informal space off the grid, with arm chairs, a good view, coffee, and blackboards—and the chance is there for a meeting of minds. Then where will the next Nobel prize be generated, at the bench or in the coffee lounge? Serendipitous meeting can be encouraged at various levels from coffee lounge to campus center, as long as pedestrian circulation volumes are appropriate and the needed facilities can be provided. But architects do not learn how to do it.
Concerning the second half of your question: urban design and urban physical planning are not large scale architecture, and urban nonphysical planning is far more than the study of zoning. Their curricula overlap with those of architecture but each has its own extensions into wider territory, and some of these can be used to very good effect in architecture.
How do you see the link between architecture and humanities, i.e. the “theoretical” professions—art historians, philosophers, sociologists, writers, and others who often write about architecture? How can their analysis method contribute to the contemporary practice?
I have concentrated more on linking with the social sciences than the humanities. But a comparison of their methodologies could be instructive to architects, especially regarding their views on analysis, especially quantitative analysis, and more broadly how each define rigor. Then there are the differences between the professional, learning-by-doing education architecture equites and the academic, learning-to-teach most of the others call for. And architects must get what they need from other disciplines,as architects, not try to become them.
Architectural history is a special case. It is so close that it can have many roles. Giedion’s was bringing to the attention of Modernists, things from history that would interest them. It was a focused role, illuminating for architects but in a way, false, and not the only role history should have for us.
Bob had another in his theories course, He loved history but, as a designer, tried to learn from it, not imitate it—to be his own kind of modern architect. This was useful for architecture students who had had scholarly architecture history courses with Scully and the other greats from different schools. I think we need all those approaches.
What we don’t need is historians who look at what we do and accuse us of doing things 180 degrees opposite from what we have actually done. Or they invent reasons for what we did, and those reasons become for them a premise for competing with other historians to describe “Venturi.”
At a conference I listened to one describing our reasons for publishing the second edition of LLV—for as long as I could, till finally I intervened: “You invented these reasons. We did it simply to make the book cheaper so students could buy it.” At that time a new edition would have sold at $75 a copy. Then I asked “Why, when we are still alive, did you not ask us?” He replied “You must admit, my version is much more interesting than yours.”
Who would you say is the most important/promising architect of the 20th century and why?
We are! I think we have had more to say than others. People tell us that Learning from Las Vegas turned around architectural research. Others have said that Franklin Court changed architects’ outlook on preservation. And, Complexity and Contradiction was said to have turned around the culture of architecture and how we look at historical reference, and freed architects from having only the Bauhaus as a reference.
What is your opinion on the current status of architectural periodicals? What should they focus on in the present day? It seems like they often set a trend, and architects sometimes blindly follow them.
Louis Kahn felt that architects learned superficial lessons on design from journals. “Did you get the latest issue?” He would ask sarcastically. “Read only the ads to see what’s available,” Corbu urged. I understand their concern but feel too that Bob and I have been given a fair hearing by journals, perhaps because we came later into the developing saga of photo journalism. And today online journals continue the story, finding their way through rich welters of options.
Who had most influence on your work, your understanding of architecture and your visual taste?
It’s hard to name only one. Gropius as a child, named “Farben,” meaning multicolored as his favorite color. Bob might name Donald Drew Egbert as his chief mentor, and Hagia Sophia as his all-time favorite building, and Villa Savoye in modern times, I agree on both. The work of Alvar Aalto is surely important for us and the Italian and English Mannerists. An ethnomusicologist friend taught me my best lessons on describing nonverbal arts like music and architecture in words. Social planners and social scientists in planning school, those passionate tormentors of architects, were my favorite mentors. I learned important lessons from Africa—particularly on how folk art adapts to urban culture. And of course there’s Las Vegas! So many lessons from so many sources.
Genesis 1.2. : “The Spirit of God descending like a dove swept over the face of the waters”.The characteristics of the pigeon are: gentle, tender, graceful, innocent, soft, peaceful, pure, patient, easily grieved or scared and faithful.
The White dove of the Holy Spirit, simple, contemporary, of pure volumes, in harmony by formal contrast to the towers of the existing hospital, joint from the central courtyard; with fluent Access from the main lobby, new lobby, cafeteria, Pediatrics and parking lot, Golden users (wheelchair, among others), can move freely by all internal and external spaces.
The floorplan layout corresponds to 10 m x 10 m symmetrical square. Each of its vertexes is oriented towards a cardinal point. It is preceded by an elongated foyer that serves as a connection between the exterior and the interior which guarantees privacy. This foyer is of low height averaging 2.30 m, which makes an asceding funnel effect whenever you access the main threshold into the interior of the chapel.
Plan
An interesting phenomenon is the natural lighting, inside the incidences constantly vary according to the time of day, this is achieved through skylights and due to the curved covering. The thin Windows absorb light forming a sense of spiritual twilight.
The exterior of the Chapel is sober of a cold white color, the vegetation was designed with flowers of the same color; and species as plumeria pudica and alba, flowers characteristic of the tropical climate including – Sacuanjoche – the national flower of Nicaragua. All these details create an effect of peace and tranquility.
Section
In the inside, materials and elements of warm color welcome the visitors. Accents in details of wood desings in furniture and floordecors. The colors ochre, red wine, purple and white each correspond to symbols related to the Holy Spirit.
In the carpentry works of the ceiling, the interwoven wood planks provide continuity to the curved covering. They represent branches of olive trees from which handcraft balsa wood pigeons dangle.
Section
The slender structure with capacity for 84 people, was built from Cemex reinforced concrete, of 4000 PSI, + grade 60 steele. With a maximum height of 14.50 m, settled by a large white cross on its Summit.
The Grey Belt. Image Courtesy of Transborder Studio
Oslo-based Transborder Studios is one of nine international firms competing to transform St. Petersburg’s “Grey Belt,” a 4,000-hectare territory of inactive industrial buildings and open spaces. The firm, which just won a competition for the development of Oslo’s new “Agricultural District,” is proposing a green rejuvenation with four multi-performing landscapes, a productive buffer, and development hubs.
Courtesy of Transborder Studio
Our concept consists of a landscape strategy for highly performative ecosystems, a strategy for sustainable industrial zones along the traffic corridors and a densification strategy around metro hubs building the foundation for a green future, not only the Grey Belt, but for the entire city of St Petersburg, says Oystein Ro, Transborder Studios Founder.
Courtesy of Transborder Studio
Bordered by the Ekateringofka River on the west and the Neva River on the east, the subjected area poses difficulties due to the cost of building transformation. Transborder aims to reuse existing resources — industrial heritage and existing public infrastructure systems — as instruments for sustainable development.
Courtesy of Transborder Studio
Courtesy of Transborder Studio
The firm’s proposed four green corridors (transforming existing green structures in the Grey Belt) consist of Ekatringofka Seaside Park, The Linear Park, the Vokovka River Park and the Neva Riverbank Park. In addition to immense areas of suggested recreational space, each system will offer numerous services for the city (i.e. cleaning up the air, rain filtration, an increase in biodiversity, or energy production).
Courtesy of Transborder Studio
Courtesy of Transborder Studio
“Leftover space” adjacent to toxic infrastructure will be turned into a productive buffer used for “sustainable large scale production, distribution, and repair.” Finally, the firm plans to center growth around current metro stops as these areas already attract daily passengers.
Courtesy of Transborder Studio
The Committee for Urban Planning and Architecture of St. Petersburg is currently judging proposals.
From the architect. The oil-tourism will step on strong in the near future. The developer of this rural resort knows this and has launched in La Mancha (land where Miguel de Cervantes got inspired to write El Quijote), a resort dedicated to oil.
Site Plan
In this hotel, designed by the architect Sergio Peralta, Ideo Arquitectura has done some interior design works: lighting, new façade openings, doors, wash basins, designer beds, stairs, kitchen, etc. The Architect, Virginia del Barco, has also designed the auxiliary furniture, such as mirrors, water taps, the patio water fall and the three coloured “ideo” sofa. All these has been done with much care and with the aim that the guest finds a world of different and new sensations in every detail. None of the construction elements has been manufactured in series. As an example, a more than 3 meter long metal beam becomes a washbasin. Two inclined trays collect the water driving it under the sink, which has also been designed by the Firm.
With regards to the finishings, we proposed an olive green as the main colour for the interiors project. All the construction elements such as floors, walls, concrete slabs, and many pieces of furniture, are impregnated with this colour, which makes the full project integrate with the nature. We have enlarged the size of the openings and windows in order to get the light in from La Mancha and invade every corner of the houses. This way, the interior and exterior merge together into a single space to achieve a perfect balance. The Senior Architect Mayte Barrios has been the Architect in charge of the Interiors and furniture project.
A 68 square metre compact 2 bedroom mews house and enclosed courtyard of 11 square metres in Highgate. This 2 storey brick house faces onto a quiet cobbled mews. Its 90 square metre site, on land to the rear of a 5 story locally listed building, was formerly occupied by a disused garage and derelict garden. It sits amongst a patchwork of rear fenced off gardens, garages, mews houses and ad-hoc rear ad-ons and a recently completed house, also by Russell Jones.
Originally a decrepit backland area, of run down and disused garages and a haven for crime and fly tipping, the location is now gradually developing into a secluded residential enclave.
The project was designed and developed with an economy of visual, spatial and structural means. The material palette and the design were kept intentionally simple. The volumes were handled in such a way as to make the most of a small site constrained by overlooking neighbours on most elevations, resulting in a building that has an overall sense of space and calm infrequently seen in properties of this size in London. The careful selection and crafted use of materials create an essential quality that isn’t apparent in the materials themselves. The resulting home, although compact, feels spacious and special.
On the ground floor the covered main entrance provides direct access to an open plan living, kitchen and dining area. This area opens out onto a rear courtyard via floor to ceiling glazing which provides a physical and visual continuation of the space. The paving stones form a continuous surface from the front external entrance through the internal areas and out into the rear courtyard. At the point of entry an external bicycle, services and recycling store is provided and, adjacent the door, a full height obscured glazed window. To the rear is a ground floor WC with laundry cupboard. The first floor is accessed via a single flight stair hovering beside the brick wall. On the first floor are 2 bedrooms, each with built-in storage, and a bathroom. Dormer and skylights are carefully positioned to bring daylight in to the interior.
Section
Section
In the courtyard a small niched area is incorporated into the brickwork wall for residents to place candles or herbs and plants to enliven the courtyard place.
The choice of building material for this small Mews House in Highgate was influenced by the original context, and the ongoing development of the mews into a new residential enclave. The prominent gable fronted terrace that faces the A1 carriageway on one side, presents itself to this backland location as a continuous wall of punctuated London Common Brickwork. Discussion with the Haringey Planning department led to a selection of a light coloured brick and mortar for new buildings in the mews, as a contrast to the weathered and dirty commons behind, to unify and instil a sense of continuity to the new developments in the mews, and also to increase light levels along the cobbled passage.
Wienerberger Marziale was initially used in the Mews on another project by Russell Jones and continued as the primary material for the small house. Marziale was selected for all external and internal structural walls, and precast concrete paving stones in a light tone to match the brickwork were used throughout the ground floor interior and exterior.
The quality of the brickwork has been enhanced through the use of a carefully selected mortar, using white cement, lime and washed river sand, and a subtle manipulation of the surface texture using a method known in Scandinavia as ‘Sækkeskuring’; A similar finish, known as ‘bagging’ was popular in Australia in the 1960s and 70s. This surface finish was appreciated as a way of creating a more monolithic Architecture, without losing the identity of each and every brick.
Douglas Fir was used in the first floor rooms and for the entrance joinery. Douglas Fir treads and fir faced structural plywood were used for the stair. To these, white oil was applied as the finish.
The building includes underfloor heating throughout and, built to level 3 Code for Sustainable Homes, makes use of a rainwater harvesting system and photovoltaic panels.
“Designed to eventually accommodate more than 1200 students, the new International High School to the east of Paris is deeply rooted in the Grand Paris (Greater Paris) project : to rebalance the city to the east as well as its insertion, at several scales, within the vast landscape at the edge of the Marne-la-Vallée plateau, overlooking the Marne River and the capital – both poised and raised on the city horizon.
General Plan
Model
The project is also strongly influenced by its exemplary sustainable development approach and durability : built on a tight budget that is expressed in the explicit simplicity of its volumes. The in-depth work on energy and the elements (water/air/earth) makes it the first ‘zero energy’ high school in the Ile-de-France Region.
In architectural terms, the project is planned around the ‘place-forte’ (stronghold) concept, at the same time able to take position and be located with precision within this exceptional site. It federates and unites the adjoining area through the exemplary nature of its public education programme and the quality of the calm public spaces it generates within its immediate surroundings. In an environment marked by deep inconsistency, there is only one exception : the Abraxas Palacio by Bofill whose exemplary ‘place-forte’ and durable construction have managed to maintain its dignity. The high school project takes on and extends this intention, noteably through the use of basic materials (concrete, brick, timber, glass), as well as in the rigour and simplicity of its structural expression where the concrete is – in contrast – visible and expressed in its essential and structural reality and not just as a cladding.
Here, the ‘place-forte’ by Vauban loses its defensive dimension to favour openess, expressed through the disappearance of the ramparts and by raising of the edifice above the slope, that is raised in order to see. This measure frames distant views and creates extensive glimpses of the imposing landscape, thus depassing the brief to give it an important sense of purpose – visuel and luminous – that this public project assumes with conviction.
This quality also precedes the work on the adjoining landscape, on the role of nature and planting in the high school. It contributes to the location of two appreciated gardens suspended overhead at the very centre of the edifice, but also the quality of the gardens and the external areas of the high school that are structured on the terraced slope with perennials, inscribed into the distant views from the site.
The ‘place-forte concept – beyond this high school – today becomes an ambition that every architect confronted with the mutations procurement in France, should assert in the role of edifices as well as the urban project. Especially for public works that should be identified as strong volumes set out in series within the public space, on this major site in the city”.
Renovating one of the City Center’s food court units to a new branch of “MOHAMMAD KEBAB” was proposed to our office in spring of 2016.
Diagram
The main restaurant of Mohammad kebab is locating in “Dorche” district near Esfahan city. Since It is the purity, originality and archaism which booms this type of old suburb restaurant, designing this branch in the food court of “City center” as a modern shopping mall, in fact was a new definition of this brand while keeping its original sprit of a suburb kebab restaurant.
Creating a space having presence sense and fixation without physical attendance became the base of designing ordering section In connection with the public court area and it became possible through scoping the mass volume emphasizing on the void.
Diagram
The project includes two parts of kitchen and ordering section .considering the limitations penetration of some parts of kitchen in ordering section and visual use of that was one of the solutions of Maintaining the originality and identity of MOHAMMAD KEBAB.
The result was a diverse combination of spherical arcs which is cut by a white skin so doesn’t end and enclasps a bigger space. This way the crowded public space penetrates into the narrow section of MOHAMMAD KEBAB.
Diagram
Considering the local Facilities, Constructing the spherical sections was done by the combination of accurate detailed maps and skillful workers.
The corporate identity of the whole branches was completed based on the new space and an animation plays by a video projector on the white skin as a dynamic shop sign.
Sig Nordal 