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Modular Origami Stars (Maria Sinayskaya)
squares, 6 units, no glue
Will also work with double bronze rectangles.
This Lego clock tower modular is inspired by Prague Astronomical Clock in Prague, Czech Republic. Besides the clock tower there are also three small houses. Total width of all buildings is 48 studs and about 4100 bricks were used. Computer rendering but only existing bricks were used.
These are my modular buildings I've created several years ago. Most of these are already on Brickshelf but since I'm not able to access that account anymore I decided to upload them onto my Flickr account as well.
I still didn't have the heart to take them apart. I've even upgraded most of them over the years. Here's a little back story on all of them (from left to right)
The Bank is actually the fifth building I've created back in 2010. It does not contain an interior yet (altough I have plans to make one in the future).
The Ice saloon is the third building I've built (2009). I wanted to do something different with the facade and the floor. It worked out almost as what I had in mind.
The Pizzeria was the first MOC I ever created. It was build in 2008. I've upgraded it a bit over the years.
The florist I build directly after I built the pizzeria in 2008. It has a interior on the first floor.
The Book shop is adapted from a moc from xueren . I've created it in 2009.
The left building is supposed to be a post office/restaurant in a typical Dutch style. It has no interior yet but I plan to create one. I've built this one in 2011.
If you want any detail photo's, just ask. I'd be happy to post them.
My design for a modular train station. Lengthened and enlarged.
Here is the link to the main section: www.flickr.com/photos/94645638@N07/14534555239/
The starting point of this modular is, strangely enough, this Dollar Bull:
www.flickr.com/photos/garibiilan/4326820173/
while trying to bring more details to the Bull`s head, using a square paper that was closet-folded, I ended with a unique Double Fish-tale unit, but it was too flat, good for nothing but a cube. the CLICK! came with the idea to puff it, hence the name.
30 units, Tant paper, 4 greenish hues.
diagrams will be available soon. its much easier to fold then to diagram!!
This castle shows of the versatility of this system. Notice the inside and outside corners on the bottom level. This allows you to make any footprint you want.
My contribution to LitLUG City layout: LITLUG HQ (Office building), house from Vilnius and the "ugly duckling". Sadly these just look like Modulars, but they lack interior and cannot be taken apart by floors.
It was fun (and expensive!) little project to try building with normal bricks.
my lego street consisting of the Pet Shop, Detectives Office and the Palace Cinema.
Detectives office was my first modular and my favourite so far. need a couple more tho and to start adding my own
8-unit modular, designed and folded by me. The butterfly is supposed to look like the traditional origami butterfly, although the structure is different.
Modular Ornament
Folded by Marcela Brina
Designers: Stellated octahedron and cubic frame by Tomoko Fuse, Columbus cube by David Mitchell
More details in: www.artisbellus.com/2014/05/origami-decorations-modular-o...
London headquarters of Channel Four Television, including offices, post-production edit suites, restaurant, screening room and originally a studio. Built to designs by Richard Rogers Partnership (partner in charge, John Young), 1992-1994. Structural engineers Ove Arup and Partners.
The mapping of the listed building does not reflect the full extent of its below-ground footprint.
Reasons for Designation
124-126 Horseferry Road, built as the headquarters of Channel Four Television to designs by Richard Rogers Partnership 1992-94, is listed at Grade II for the following principal reasons:
Architectural interest:
* as an elegant work of the High-tech movement, displaying many of its key principles, such as the separation of services from the spaces served, the use of prefabricated elements and a technological aesthetic based upon expressed structure and exposed services; * for its logical L-plan with a dynamic, highly articulated corner composition and entrance sequence, dominated by a curved, top-hung, structural glass wall; * for the sophistication of its design, in which intricate details, executed in a consistent palette of materials, are integrated into a rigorous modular framework; * for its sequence of three linked interior spaces, centring on the dramatic full-height entrance atrium, to which are connected the fan-shaped restaurant and the subterranean screening room and foyer; * as a late-C20 exemplar of both a prestigious, owner-occupied headquarters building and a television centre, equipped primarily for the commissioning, but not the production of television programming, as per Channel 4’s remit; * for its designed flexibility to allow for changing technologies and operational needs, combining set-piece interiors with adaptable office workspaces; * for its degree of survival, with little alteration externally or to its key interior spaces.
Historic interest:
* as the purpose-built headquarters of Channel 4, a key player in television broadcasting history, commercially funded but with a public-service remit to provide innovative and diverse programming; * as an important British work by Richard Rogers Partnership, a practice of international renown led by one of Britain’s most celebrated architects.
History
124-126 Horseferry Road was built in 1992-1994 as the headquarters for Channel 4, a publicly owned, commercially-funded public service broadcaster, established with a remit to make innovative, experimental and distinctive programmes. After launching on 2 November 1982, its audience share gradually increased and the station soon outgrew its collection of rented offices in the West End. The switch to digital broadcasting also loomed. The chief executive, Michael Grade, and the chairman, Sir Richard Attenborough, took the decision to build a new headquarters. A suitable site was found at the junction of Horseferry Road and Chadwick Street, and a limited competition held in late 1990.
The commission was won by the Richard Rogers Partnership (RRP), who then explored the organisation’s needs through a series of workshops. As Channel 4 was a commissioner and transmitter, but not a producer of programmes, their main requirements were for offices and prestigious spaces to receive clients. The office space was specified to institutional standards so that the building could be readily let or sold in the event of a future move. A 10m deep basement already existed from a previous stalled development, so production and transmission facilities and a minimal studio occupied two subterranean levels, with provision made in the design for adding windows to the lower ground floor in the future, and flooring over the double-height studio to make the space more flexible.
RRP proposed a perimeter plan that reinforced the street pattern. Office wings at right angles were hinged by a ‘knuckle’, containing an entrance atrium and restaurant, with offices above. Behind the building a public garden was created, framed to the south and east by a separate housing development which fulfilled a planning condition set by Westminster City Council. In 2007 ‘the big 4’, a metal sculpture designed by Nick Knight and based on the channel’s current on-air identity was erected in the small piazza at the front of the building.
Richard Rogers was one of a group of British architects responsible for the High-tech movement, which originated in the 1960s with in a series of loose-fit industrial structures. By the 1980s High-tech architecture was increasingly being translated into urban contexts and cultural commissions. 124-126 Horseferry Road demonstrates many of its key principles, such as the separation of services from the spaces served, the use of prefabricated elements and a technological aesthetic based upon expressed structure and exposed services. It was Rogers’ first central London job after the Lloyd’s Building (1978-1986, listed Grade I), a seminal work of High-tech architecture. The image of Lloyds’ seems to have loomed large. For John Young, partner in charge, 124-126 Horseferry Road is ‘a building in the Lloyds mould.’ (Powell, 2001, 173).
The building’s drama is focussed on the entrance front; its transparency revealing the principal interior spaces, giving views right through the building to the public garden, and glimpses of working life within. ‘The effect, especially at night, is televisual’, commented Jonathan Glancey, (The Independent, 1994). The office wings are conventional in their planning and the building was designed to meet the bespoke needs of the client, as well as to be sufficiently adaptable should those needs change, or the building be sold.
124-126 Horseferry Road was a BBC Design Awards Finalist 1996 and won a RIBA National Award 1995; Royal Fine Art Commission Award 1995 and Civic Trust Award 1996. Since its opening the building has undergone several phases of internal refurbishment, including, in about 2010, the flooring-over of the double-height basement studio and repurposing of the space for various other uses. Externally, the building is largely unaltered.
Television as a broadcasting phenomenon began in the 1930s, with the first regular television service in the world introduced on 2 November 1936 by the BBC. The BBC’s monopoly was broken by the Television Act 1954, which created commercially funded Independent Television (ITV), served by regional franchised networks. Channel 4 arrived in 1982, established under the provisions of the 1980 Broadcasting Act. The act provided for a new, fourth, channel with a remit to ‘encourage innovation and experiment in the form and content of programmes’; its output was to be distinctive, offering programming for tastes not catered for by the commercial broadcaster ITV.
Its organisational model was equally distinctive, funded by advertising but adhering to a public service remit, it didn’t produce its own programming, instead commissioning and purchasing material from independent production companies. It employed commissioning editors to nurture the various strands and genres of the channel’s output and made particular efforts to employ people outside the television industry who could bring new and non-traditional perspectives. This meant new voices and new talents, and a greater plurality of programming and representation, including minorities. Channel 4 still proclaims its role as a ‘disruptive, innovative force in UK Broadcasting’ (Channel4.com, accessed 3 December 2021). Channel 4 has been major contributor to the British cultural landscape of the last four decades.
Richard Rogers, later Lord Rogers of Riverside, (1933-2021) was born in Florence. He trained at the Architectural Association and Yale University before setting up the Team 4 practice with Norman Foster and others in 1962. Their house for his in-laws, Creekvean in Feock, Cornwall (1964-1967) was listed Grade II in 1998 and upgraded to Grade II* in 2002. Rogers subsequently formed an architectural practice with his then wife, Su Rogers, and from 1970-1977, worked with the Italian architect Renzo Piano. Their Pompidou Centre building in Paris, which opened in 1977, is a major landmark of the High-tech style. Richard Rogers Partnership was formed the same year, with John Young, a veteran team member from Team 4 days, as one of several partners. The Lloyd’s Building together with the Pompidou sealed an international reputation. Other major works by Rogers include: the European Court of Human Rights, Strasbourg (1989-1995), Terminal 4 at Barajas Airport in Madrid (2004), the National Assembly of Wales in Cardiff (2005) and Terminal 5 at Heathrow Airport (2008). Rogers won the RIBA Royal Gold Medal in 1985, was knighted in 1991 and was created Baron Rogers of Riverside in 1996. In 2007 the Richard Rogers Partnership was renamed Rogers Stirk Harbour and Partners to reflect the practice‘s succession plan.
Details
Once national, now regional, headquarters of Channel Four Television, including offices, post-production edit suites, restaurant, screening room and originally a studio. Built to designs by Richard Rogers Partnership (partner in charge, John Young),1992-1994. Structural engineers Ove Arup and Partners.
MATERIALS: the majority of the building has a reinforced concrete frame with metal and glass cladding. The conference rooms have a steel pin-jointed frame and the atrium frontage is of glass, suspended from above and held in tension by a steel cabling system devised by Arup.
PLAN: the building is L-shaped in plan, occupying the corner between Horseferry Road to the west and Chadwick Street to the north, with rectangular office wings fronting each road and a concave quadrant knuckle connecting the two and framing a small piazza facing the road junction. The building has four floors above a basement and lower-ground floor levels. To the rear are two terraces; one at ground-floor level, above the larger footprint of the two lower floors, and one at third floor, where the footprint of the central knuckle is set back from the floors below.
Each office wing has two internal service cores and externally-expressed stair towers at each end. There is a lift tower at the far end of the Chadwick Street wing and three wall-climber lifts facing Horseferry Road, adjacent to the piazza. The basement level is given over to plant, storage, staff well-being facilities and edit suites. The lower-ground floor is a mixture of open-plan office space, meeting rooms and staff facilities; the main area of interest is the fan-shaped screening room with its circular foyer beneath the piazza, and stair connecting it to the atrium above. The ground floor contains the atrium reception area and large curved restaurant on a slightly lower level behind, overlooking the garden; the office blocks are given over to open-plan work space and a loading bay. First, second and third floors are mainly open-plan work space, with some meeting rooms and private offices as well. Key aspects of the building’s layout are original, including the screening room and foyer, reception atrium and restaurant. There has been reconfiguration in other parts, in particular the flooring-over of the studio, reconfiguration of the editing-suites and the removal of rows of perimeter offices.
EXTERIOR: the building’s key aspect faces onto the Horseferry Road/ Chadwick Street junction. The ends of the office wings are pulled back from the corner and the piazza is framed by a High-tech composition of glass and graphite-coloured steel, aluminium and cladding panels, punctuated by vertical flashes of red-painted structural steelwork. The full-height, concave, structural glass wall of the atrium is at the centre, suspended from above by a steel frame. Flanking it to either side are radiused stair towers. The stair towers have bands of glazing following the line of the stair within, almost uninterrupted by vertical supports because the cladding is supported internally on rods hung from above. To the left is a stack of conference rooms with glazed end walls, elevated and supported by a red pin-jointed steel frame. To the right is a stack of glazed lift lobbies serving a bank of three external ‘wall-climber’ lifts running along red steelwork; above are boxed-out service elements and a quasi-Constructivist transmission tower, creating a strong vertical element in the composition. Boiler flues add further interest to the roofline.
The piazza has shallow steps and flanking ramps which lead to a circular space immediately in front of the building. The centre of this is occupied by a circular skylight lighting the foyer of the screening room below; a bridge sheltered by a glass canopy stretches across it to a pair of revolving entrance doors. The sculpture, ‘the big 4’* stands towards the front edge of the piazza.
The office wings are clad with glazed panels of powder-coated aluminium, at ground floor these are set back behind the exposed concrete posts of the building’s frame, and above they are jettied out slightly, meeting at the corners with narrow, vertical, fully-glazed units. The panels each have four rebated horizontal glazed units divided by a fin-like transom, the lowest unit also having a band of sunscreen steel mesh in front. The floor plates are faced with panelled steel units. The facing components meet with a narrow shadow gap and the overall effect is of a modelled grid with a horizontal emphasis. The rear elevations, both to the office wings and the convexly curved knuckle, follow this aesthetic.
INTERIOR: the atrium is the building’s key public-facing interior space. The curved, full-height glazed wall is held in tension by a complex network of steel cables and suspended from above by exposed red steelwork. Set back from the wall, and above the ground-floor reception area, are curved cantilevered walkways at each floor, open to the atrium and floored in concrete panels set with circular glass blocks; behind, offices are enclosed by glazed walls.
Behind the reception, at a slightly lower level, is the staff restaurant. This has been refurbished a number of times but retains its distinctive fan shape, exposed concrete ceiling and glazed walls looking out onto the terrace.
The screening room, beneath the piazza, has a fan-shaped auditorium and circular foyer. Both spaces have been refurbished but retain perforated steel acoustic panelling and exposed concrete structural elements. The walls of the anti-room are hung with a chain curtain and the space is lit from above by the circular skylight in the piazza pavement; the glazing is held in a steel, umbrella-like structure. A concrete stair with steel balustrade leads from the foyer up to the atrium above.
The stairs in the four towers are dog-legged, red with stainless steel tubular balustrades; the treads and risers are of folded steel, supported at the half landings by flanged I-beam newels.
The interior most relevant to the building’s special interest are addressed in the paragraphs above. Throughout the rest of the building, the smooth round concrete posts and other concrete structural elements are visible, but spaces have been reconfigured and refurbished to suit operational needs.
* Pursuant to s1 (5A) of the Planning (Listed Buildings and Conservation Areas) Act 1990 (‘the Act’) it is declared that ‘the big 4’ sculpture on the building’s piazza is not of special architectural or historic interest, however any works which have the potential to affect the character of the listed building as a building of special architectural or historic interest may still require LBC and this is a matter for the LPA to determine.
A modular version of the Penrose triangle, designed by me for the last CDO convention contest, about origami using duo paper. Folded from 3 rectangles (15*7.5cm) of duo kami.
60° Origami Modulars (Maria Sinayskaya)
The same folding sequence applied to different rectangles - 2:3, 3:4, 2:√3 and 1:1. The square version, although works in terms of angles and pattern, doesn't quite work in terms of layers - there is too much paper inside. Everything else from about 2:3 to the double bronze rectangle works fine.
A couple of weeks ago, I got my hands on a 1592 Town Square set (Dutch version). I had to restore it a little, and then I got the idea to make a building for my modular street inspired by this set. So this is the result. A corner house, built in the middle ages, the last in its sort, next to the last remaining part of the city walls. Maybe it was the house of the gatekeeper. Today the space behind the gate isn't used as road any more, but houses a little snack corner, where you can eat 'soep en worst' (as in the original 1983 set).
Next to another modular MOC it looks very small, but that is to be expected from a little mediaeval house.
I haven't yet remade the statue and the parade from set 1592.
LDD WIP image. This pair of LEGO modular buildings are built on a 32x32 baseplate and are inspired by LEGO Bricksburgs buildings featured in the Video Game and Movie. Currently no interiors and planning a colour change on the narrow building.
Large Lego modular castle built with the Kingdoms Modular Castle system. ideas.lego.com/projects/116214/comments
This series of photos shows how the look of this castle evolves as you add and move small castle modules. Please tell Lego to make this a set by going to this link and clicking the Blue “Support” button. ideas.lego.com/projects/148797
LEGO modular post office.
6455 parts.
Building instruction is available at: rebrickable.com/users/peedeejay/mocs/
This was one of the most challenging facades I ever built, but I‘m quite happy how it turned out. Inside you can find also an architect‘s office. This gave me the chance to try some microscale building for the first time.
Tree technique by Ralf Langer.
3 modular builds for coffee, pizza and ice-cream. I guess it is time for something cold. All builds have the same Basic structure but difference is in the detail. The back alley can me lighted up and the pizza oven burns. Although the most popular business, it seems to be a coverup for something shady.
Exterior of adobe complexes at Taos Pueblo in New Mexico (circa 1000 - 1450). Houses finished with stucco façade over adobe bricks (earth, straws, water).
Sight of a home located on the side of Hlaukkwima (South House), opposite of the Hlaauma across from the Red Willow Creek.
UNESCO World Heritage whc.unesco.org/en/list/492
A modular school.
Building instruction is available at: rebrickable.com/users/peedeejay/mocs/
Every city needs a school! The build spans among 3 baseplates and consists of 10 modules. The baseplates can be separated from each other for easy transportation. The complete model weighs about 10kg and has 14417 parts.
The front part contains the main entrance, some trees and a bus stop. The roof areas contain the ventilation units, photovoltaics and the clock.
The ground floor contains the main entrance hall with washrooms for boys and girls. The right wing of the ground floor contains a standard classroom for maths and literature. The left wing of the ground floor contains the music classroom, featuring a piano, drums and some other instruments.
The middle floor contains a cafeteria, where the students can get a quick bite and some refreshments. The left wing of the middle floor contains an IT-classroom and it seems the students are well stocked on mobile devices. The right wing of the middle floor contains the science classroom. At the moment some experiments are ongoing in the chemistry class.
The upper floor contains the library.
The inspiration for this one has been pretty broad. You could look at pretty much any new place in the general area and say it had a part in the design. The design was mostly spur of the moment "it worked" and "eureka" moments put together to form this monster. This is my newest modular, which doesn't have a name but could be codenamed Fortress NEO since the MOC named Fortress was "sacrificed" to make this, and much of the tan 1*3 brick and the entire baseplate from it are in use on the right hand, corner module. 3 stories, two divisions, ground floor has tenants for an Irish Pub, tapas place and a furniture store which, until I find doors, is "robbed" and will be host to a crime scene diorama. This will be the second centerpiece for the Christmas layout and a companion to the Overpass from last year.
NOTE: There were errors on the Sand Blue side of the tower that were corrected.
5,8-Pointed Origami Stars (Maria Sinayskaya)
rectangles, 5,8 units, no glue
UPD. And the 8-pointed star turned out to be Stern Olga by Carmen Sprung! Happens a lot to me))