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Stuttgart Parasol
Research Pavillon ICD/ITKE 2010
Temporary parametric Pavillon consisting of 10m long, 6.5 mm thin birchwood strips
Institute for Computational Design ICD, Prof. Achim Menges
Institute of Building Structures and Structural Design ITKE, Prof. Jan Knippers
University Stuttgart Germany
photographed by
Frank Dinger
BECOMING - office for visual communication
Sukkah City' @ Union Square, NYC
by navema
ABOUT SUKKAH CITY
'Sukkah City' is an international design competition to re-imagine this ancient phenomenon, develop new methods of material practice and parametric design, and propose radical possibilities for traditional design constraints in a contemporary urban site. Twelve finalists were selected by a panel of celebrated architects, designers, and critics to be constructed in a visionary village in Union Square Park from September 19-20, 2010. Over 150,000 people visited Sukkah City. One structure is chosen by New Yorkers to stand throughout the week-long festival of Sukkot as the People's Choice Sukkah of New York City. The process and results of the competition, along with construction documentation and critical essays, will be published in the book "Sukkah City: Radically Temporary Architecture for the Next Three Thousand Years." Selected entries will also be displayed in an exhibit at the Center for Architecture in New York City during September 2010. Next year, Sukkah City will expand from New York City to cities all around the world.
People behind Sukkah City: Joshua Foer (a journalist, author and the founder of the Atlas Obscura - an online compendium of the world’s curiosities), and Roger Bennett (co-founder of the Idelsohn Society for Musical Preservation, and Reboot - a network of thought-leaders and tastemakers who work to "reboot" the inherited culture, rituals, and traditions and make them vital and resonant).
Partnerships: Jennifer Falk and the Union Square Partnership. Dani Passow of Yeshivat Chovevei Torah, and Thomas de Monchaux.
The Jury: Michael Arad, Ron Arad, Rick Bell, Allan Chochinov, Matias Corea, Paul Goldberger, Steven Heller, Natalie Jeremijenko, Maira Kalman, Geoff Manaugh, Thom Mayne, Thomas de Monchaux, Ada Tolla, and Adam Yarinsky.
For more info visit: www.sukkahcity.com
ABOUT SUKKAH OF THE SIGNS:
The structure is made of nearly 300 signs collected from indigent across the U.S. (San Francisco, San Diego, San Jose, Las Vegas, Oakland and Denver). The collection represents an incredible archive of the meaningful, yet often desperate, forms of communication that take place on the streets of cities every day. Like traditional sukkahs, which recall the 40 years of wandering after exodus in the biblical story, The Sukkah of the Signs calls attention to the contemporary state of homelessness. By purchasing homeless signs from the individuals who made them, we also contributed to the short term needs of people living on the street. Like the signs, the schach used to cover the roof was also collected from the street. Clippings from plants in Union Square Park and from the studio where the sukkah was constructed in Brooklyn create a dappling of light on the interior of the sukkah.
The final design varied from the original (which can be seen here: www.sukkahcity.com/sukkah/sukkah-of-the-signs.php) as the New York Building Department only allowed for a 10′ tall structure (vs. the original 18′ tall design). To maintain the original intent of framing the sky, the design was turned on its side.
Project Team: Blane Hammerlund, Maricela Chan, Emily Licht
Fabrication: Karol Popek (Modelsmith International Inc.)
The Homeless House (www.thehomelesshouse.com) is a website documenting the process of obtaining signs and the people and places encountered along the way.
ABOUT THE DESIGNERS:
RONALD RAEL, of Rael San Fratello Architects, is an architect, author, and Assistant Professor at the University of California, Berkeley. Prior to joining the faculty at Berkeley he was the co-director of Clemson University’s Charles E. Daniel Center for Building Research and Urban Studies in Genova, Italy, and coordinator of Clemson’s Core Digital Foundation Architecture Studios. He has been a member of the Design Faculty at the Southern California Institute of Architecture in Los Angeles, an Assistant Professor at the University of Arizona, and a Senior Instructor at the University of Colorado at Boulder. He earned his Master of Architecture degree at Columbia University in the City of New York, where he was the recipient of the William Kinne Memorial Fellowship.
Rael’s research examines the convergence of digital, industrial, and non-industrial approaches to making architecture. He was the recipient of a Graham Foundation Grant for “Constructed Topographies: Earth Architecture in the Landscape of Modernity”; winner of the Architectural League of New York’s Deborah Norden Competition for “Wadi Hadramut: Cities of Earth”; and is author of Earth Architecture (Princeton Architectural Press, 2008), which examines the contemporary history of the oldest and most widely used building material on the planet—dirt. His website, EarthArchitecture.org was ranked by MoPo 2009: Worlds Most Popular Weblogs on Architecture as among the top 20 blogs on architecture worldwide.
VIRGINIA SAN FRATELLO, NCAARB, B.Envd; North Carolina State University, M.Arch; Columbia University, is a licensed, practicing architect with over 10 years of professional and academic experience. Prior to joining the faculty at California College of the Arts she was the co-director of Clemson University’s Charles E. Daniel Center for Building Research and Urban Studies in Genova, Italy. She has been a member of the Design Faculty at the Southern California Institute of Architecture in Los Angeles and a Visiting Professor at the University of Arizona.
San Fratello’s research revolves around the convergence of digital, ecological, and building component design in architecture. She was the recipient of Metropolis Magazine’s Next Generation Design Award for her Hydro Wall concept and with Ronald Rael currently has a collection of recently designed masonry units which hold vegetation on display in New York. She is working with manufacturer / distributors to launch these innovative and sustainable architectural building components into the market place.
For more info, visit: www.rael-sanfratello.com/
Sukkah of the Signs, Ronald Rael, Virginia San Fratello, indigent, homeless signs, cardboard, cardboard signs, schach, Blane Hammerlund, Maricela Chan, Emily Licht, Karol Popek, Modelsmith International Inc., The Homeless House, Rael San Fratello Architects
ABOUT THE SUKKAH
Biblical in origin, the sukkah is an ephemeral, elemental shelter, erected for one week each fall, in which it is customary to share meals, entertain, sleep, and rejoice.
Ostensibly the sukkah's religious function is to commemorate the temporary structures that the Israelites dwelled in during their exodus from Egypt, but it is also about universal ideas of transience and permanence as expressed in architecture. The sukkah is a means of ceremonially practicing homelessness, while at the same time remaining deeply rooted. It calls on us to acknowledge the changing of the seasons, to reconnect with an agricultural past, and to take a moment to dwell on--and dwell in--impermanence.
SOME OF THE RULES - Historically, the sukkah's permanent recurrence is not as a monument, archetype, or typology, but as a set of precise parameters. The paradoxical effect of these constraints is to produce a building that is at once new and old, timely and timeless, mobile and stable, open and enclosed, homey and uncanny, comfortable and critical:
* A whale may be used to make a sukkah's walls. Also a living elephant.
* The sukkah must enclose a minimum area of at least 7 x 7 square handbreadths.
* A sukkah may be built on top of a camel.
* If the sukkah has only 2 complete walls, and they face each other, a third wall of at least 4 handbreadths must be within 3 handbreadths of one of the complete walls.
* The roof cannot be made of bundles of straw or sticks that are tied together (although untied straw or sticks may be okay).
* The roof cannot be made of utensils, or anything conventionally functional when it is not part of a sukkah.
* There is no maximum area, except in NYC where any structure larger than 19 x 8 feet is not considered temporary by the DOB.
* The roof cannot be made of food.
* The sukkah must have at least 3 walls, but the third doesn't need to be complete. The walls must remain unshaken by a steady wind.
* At night, one must be able to see the stars from within the sukkah, through the roof.
* The sukkah must have a roof made of schach: the leaves and/or branches of a tree or plant.
* If there are only 2 complete walls, and they form a corner, a third wall of at least 1 handbreadth must be within 3 handbreadths of one of the complete walls.
* A sukkah may be built on a boat.
* A sukkah may be built on a wagon.
* A sukkah may be built in a tree, like a treehouse. But it cannot be built under a tree, or any overhanging surface.
* In day, the roof must provide more shade than sunshine. Its individual construction elements must be less than 4 handbreadths in width.
* The sukkah must draw the eye up to its roof, and to the sky beyond.
* The roof must be made from something that once grew in the ground, and is no longer attached to the earth.
* The sukkah must be at least 10 handbreadths tall, but no taller than 20 cubits.
* The base of the walls must be within 3 handbreadths of the ground, but need not reach the roof.
Architects: Zaha Hadid Architects, 2011.
After the dusk visit of the day before, the visit on this occasion to see the interiors was a very different experience in all respects.
While the exteriors were under complete control of the architect and displayed as a pristine well crafted object as originally conceived, the interiors have life of their own and act as a rowdy child covered in cake and ice cream at a birthday party.
Those carefully designed sinuous curves suspended from the sensuous roof in pastel green colour probably looked great before the exhibits were brought in but for me the exhibits (display not designed by Zaha Hadid) filling this expensive structure can only be described as a 'mismatch' and an architectural disappointment.
The viewing conditions for a lot of exhibits are far from ideal for 'boffins' who have to virtually peep into the dashboard of an old classic car can barely see the car often suspended ten meters above them.
The simplicity of curvaceous roof simply travelling between the two end glazed walls and guiding the visitors under it is subsumed by the shapes and forms of exhibits and their display structures.
If the efforts and expense in creating the 'parametrics' also did justice to the main functions of the building, this building would have been a modern masterpiece.
Utzon gave Australia an icon as a gift and under the sails large enough volume to build and rebuild the Opera Halls for generations to come to suit their own needs and tastes.
Playing with Sine and Cosine functions. All of my postings are single object drawn by a pair of parametric equations. I'm imposing the constraint of "single object drawn by a pair of parametric equations" and seeing what I can do within the confines of that constraint.
'Sukkah City' @ Union Square, NYC
by navema
ABOUT SUKKAH CITY
'Sukkah City' is an international design competition to re-imagine this ancient phenomenon, develop new methods of material practice and parametric design, and propose radical possibilities for traditional design constraints in a contemporary urban site. Twelve finalists were selected by a panel of celebrated architects, designers, and critics to be constructed in a visionary village in Union Square Park from September 19-20, 2010. Over 150,000 people visited Sukkah City. One structure is chosen by New Yorkers to stand throughout the week-long festival of Sukkot as the People's Choice Sukkah of New York City. The process and results of the competition, along with construction documentation and critical essays, will be published in the book "Sukkah City: Radically Temporary Architecture for the Next Three Thousand Years." Selected entries will also be displayed in an exhibit at the Center for Architecture in New York City during September 2010. Next year, Sukkah City will expand from New York City to cities all around the world.
People behind Sukkah City: Joshua Foer (a journalist, author and the founder of the Atlas Obscura - an online compendium of the world’s curiosities), and Roger Bennett (co-founder of the Idelsohn Society for Musical Preservation, and Reboot - a network of thought-leaders and tastemakers who work to "reboot" the inherited culture, rituals, and traditions and make them vital and resonant).
Partnerships: Jennifer Falk and the Union Square Partnership. Dani Passow of Yeshivat Chovevei Torah, and Thomas de Monchaux.
The Jury: Michael Arad, Ron Arad, Rick Bell, Allan Chochinov, Matias Corea, Paul Goldberger, Steven Heller, Natalie Jeremijenko, Maira Kalman, Geoff Manaugh, Thom Mayne, Thomas de Monchaux, Ada Tolla, and Adam Yarinsky.
For more info visit: www.sukkahcity.com
ABOUT FRACTURED BUBBLE
The sukkah is a bubble: ephemeral and transient. It separates inside from outside with a thin, permeable membrane. Outside is the world of everyday life. Inside one gathers with loved ones. Together you look out to the world to find it fresh again, transformed.
To view the project design, click here: www.sukkahcity.com/sukkah/fractured-bubble.php
Grosman & Bryan’s design for Fractured Bubble began with a series of charettes to establish the design criterion for the final project. This became a balance between negotiating the constellations of Jewish Laws and competition rules, with the desire to create a contemporary and urban take on a traditional ritual structure. From the charrette came the conclusion that a sukkah is like a bubble: ephemeral and transient. It separates inside from outside with a thin, permeable membrane. Outside is the world of everyday life. Inside one gathers with loved ones turning together to look out to the world and see it fresh again, transformed. The bubble becomes the means through with the design negotiates all requirements, both Jewish Law and Building Code.
Their sukkah became a bubble made of simple materials, plywood, marsh grass and twine. Its form is a sphere, fractured into three sections. Each section is rotated around a common datum. The rotation of structural grid and puncturing of the skin are all controlled parametrically. The circles and the twine skin the interior surface of the sukkah. The twine weaves a radial layer of crosshatch, and the circles articulate the holes in the bubble. In addition to allowing for views above to see the stars at night, the holes equally allow for the view of the city. Parametric control of the structure adjusts the holes to frame selected views from any given site, to tailor the experience of looking out through the bubble.
Because of the spherical geometry, each of the sections is both wall and roof simultaneously. To make Fractured Bubble kosher, they provided three sections- (like walls) and covered each section entirely with marsh grass harvested from the park (like roofs). The visitor enters through the fractures. The roof material, or s'chach, is made of phragmites - an invasive species that has taken over New York’s wetlands. It grows fast and tall, and it is readily available for free. The phragmites attach loosely to the sukkah through randomly scattered holes in the ribs. They follow the curvature of the sections to create a crosshatched affect which provides shade from the sun. The density is calibrated such that one can still see stars at night.
On the night of September, 18, “Fractured Bubble” left a studio space in Gowanus fully assembled except for the grass. It traveled on a flat-bed truck to Union Square where it was installed in its final location. At midnight thirty hands went to work covering the structure with phragmites. “Fractured Bubble” opened to the public on the morning of September 19 at 7:00am.
ABOUT THE DESIGNERS:
* Henry Grosman received his B.A. in Computer Science from Columbia University and his M. Arch. from Columbia University Graduate School of Architecture, Planning, and Preservation in 2005. He has worked in such diverse fields as interactive media, game design and telecommunications in New York City and Berlin, Germany. He has taught at Parsons School of Design in New York as well as Columbia University. Grosman is currently working as an architect in New York and teaches a design studio and a seminar at the New Jersey Institute of Technology in Newark, New Jersey. His academic and design work explore the intricate relationship between emerging computational techniques and design culture.
* Babak Bryan is a registered architect in the State of New York, with over six years of experience building commercial, residential and institutional projects. With a degree in Engineering from the University of California at Berkeley and a Master of Architecture from Columbia University, Babak seeks to balance his professional practice between these two disciplines. He has taught design studios at the University of Pennsylvania and been a guest critic at several other architecture programs throughout the Northeast. He currently teaches a course in architectural drawing at the Graduate School of Architecture, Planning and Preservation at Columbia University that investigates the status of drawing within the digital age of architecture. He believes that without drawing there is no thinking.
For more info, visit: www.fracturedbubble.com
ABOUT THE SUKKAH
Biblical in origin, the sukkah is an ephemeral, elemental shelter, erected for one week each fall, in which it is customary to share meals, entertain, sleep, and rejoice.
Ostensibly the sukkah's religious function is to commemorate the temporary structures that the Israelites dwelled in during their exodus from Egypt, but it is also about universal ideas of transience and permanence as expressed in architecture. The sukkah is a means of ceremonially practicing homelessness, while at the same time remaining deeply rooted. It calls on us to acknowledge the changing of the seasons, to reconnect with an agricultural past, and to take a moment to dwell on--and dwell in--impermanence.
SOME OF THE RULES - Historically, the sukkah's permanent recurrence is not as a monument, archetype, or typology, but as a set of precise parameters. The paradoxical effect of these constraints is to produce a building that is at once new and old, timely and timeless, mobile and stable, open and enclosed, homey and uncanny, comfortable and critical:
* A whale may be used to make a sukkah's walls. Also a living elephant.
* The sukkah must enclose a minimum area of at least 7 x 7 square handbreadths.
* A sukkah may be built on top of a camel.
* If the sukkah has only 2 complete walls, and they face each other, a third wall of at least 4 handbreadths must be within 3 handbreadths of one of the complete walls.
* The roof cannot be made of bundles of straw or sticks that are tied together (although untied straw or sticks may be okay).
* The roof cannot be made of utensils, or anything conventionally functional when it is not part of a sukkah.
* There is no maximum area, except in NYC where any structure larger than 19 x 8 feet is not considered temporary by the DOB.
* The roof cannot be made of food.
* The sukkah must have at least 3 walls, but the third doesn't need to be complete. The walls must remain unshaken by a steady wind.
* At night, one must be able to see the stars from within the sukkah, through the roof.
* The sukkah must have a roof made of schach: the leaves and/or branches of a tree or plant.
* If there are only 2 complete walls, and they form a corner, a third wall of at least 1 handbreadth must be within 3 handbreadths of one of the complete walls.
* A sukkah may be built on a boat.
* A sukkah may be built on a wagon.
* A sukkah may be built in a tree, like a treehouse. But it cannot be built under a tree, or any overhanging surface.
* In day, the roof must provide more shade than sunshine. Its individual construction elements must be less than 4 handbreadths in width.
* The sukkah must draw the eye up to its roof, and to the sky beyond.
* The roof must be made from something that once grew in the ground, and is no longer attached to the earth.
* The sukkah must be at least 10 handbreadths tall, but no taller than 20 cubits.
* The base of the walls must be within 3 handbreadths of the ground, but need not reach the roof.
Study for interior partition based on a family of unique components which describe the vectorial construction of a surface.
generated using the java-script capabilities of Structure Synth this is a parametric shape directly rendered in Structure Synth
'Sukkah City' @ Union Square, NYC
by navema
ABOUT SUKKAH CITY
'Sukkah City' is an international design competition to re-imagine this ancient phenomenon, develop new methods of material practice and parametric design, and propose radical possibilities for traditional design constraints in a contemporary urban site. Twelve finalists were selected by a panel of celebrated architects, designers, and critics to be constructed in a visionary village in Union Square Park from September 19-20, 2010. Over 150,000 people visited Sukkah City. One structure is chosen by New Yorkers to stand throughout the week-long festival of Sukkot as the People's Choice Sukkah of New York City. The process and results of the competition, along with construction documentation and critical essays, will be published in the book "Sukkah City: Radically Temporary Architecture for the Next Three Thousand Years." Selected entries will also be displayed in an exhibit at the Center for Architecture in New York City during September 2010. Next year, Sukkah City will expand from New York City to cities all around the world.
People behind Sukkah City: Joshua Foer (a journalist, author and the founder of the Atlas Obscura - an online compendium of the world’s curiosities), and Roger Bennett (co-founder of the Idelsohn Society for Musical Preservation, and Reboot - a network of thought-leaders and tastemakers who work to "reboot" the inherited culture, rituals, and traditions and make them vital and resonant).
Partnerships: Jennifer Falk and the Union Square Partnership. Dani Passow of Yeshivat Chovevei Torah, and Thomas de Monchaux.
The Jury: Michael Arad, Ron Arad, Rick Bell, Allan Chochinov, Matias Corea, Paul Goldberger, Steven Heller, Natalie Jeremijenko, Maira Kalman, Geoff Manaugh, Thom Mayne, Thomas de Monchaux, Ada Tolla, and Adam Yarinsky.
For more info visit: www.sukkahcity.com
ABOUT FRACTURED BUBBLE
The sukkah is a bubble: ephemeral and transient. It separates inside from outside with a thin, permeable membrane. Outside is the world of everyday life. Inside one gathers with loved ones. Together you look out to the world to find it fresh again, transformed.
To view the project design, click here: www.sukkahcity.com/sukkah/fractured-bubble.php
Grosman & Bryan’s design for Fractured Bubble began with a series of charettes to establish the design criterion for the final project. This became a balance between negotiating the constellations of Jewish Laws and competition rules, with the desire to create a contemporary and urban take on a traditional ritual structure. From the charrette came the conclusion that a sukkah is like a bubble: ephemeral and transient. It separates inside from outside with a thin, permeable membrane. Outside is the world of everyday life. Inside one gathers with loved ones turning together to look out to the world and see it fresh again, transformed. The bubble becomes the means through with the design negotiates all requirements, both Jewish Law and Building Code.
Their sukkah became a bubble made of simple materials, plywood, marsh grass and twine. Its form is a sphere, fractured into three sections. Each section is rotated around a common datum. The rotation of structural grid and puncturing of the skin are all controlled parametrically. The circles and the twine skin the interior surface of the sukkah. The twine weaves a radial layer of crosshatch, and the circles articulate the holes in the bubble. In addition to allowing for views above to see the stars at night, the holes equally allow for the view of the city. Parametric control of the structure adjusts the holes to frame selected views from any given site, to tailor the experience of looking out through the bubble.
Because of the spherical geometry, each of the sections is both wall and roof simultaneously. To make Fractured Bubble kosher, they provided three sections- (like walls) and covered each section entirely with marsh grass harvested from the park (like roofs). The visitor enters through the fractures. The roof material, or s'chach, is made of phragmites - an invasive species that has taken over New York’s wetlands. It grows fast and tall, and it is readily available for free. The phragmites attach loosely to the sukkah through randomly scattered holes in the ribs. They follow the curvature of the sections to create a crosshatched affect which provides shade from the sun. The density is calibrated such that one can still see stars at night.
On the night of September, 18, “Fractured Bubble” left a studio space in Gowanus fully assembled except for the grass. It traveled on a flat-bed truck to Union Square where it was installed in its final location. At midnight thirty hands went to work covering the structure with phragmites. “Fractured Bubble” opened to the public on the morning of September 19 at 7:00am.
ABOUT THE DESIGNERS:
* Henry Grosman received his B.A. in Computer Science from Columbia University and his M. Arch. from Columbia University Graduate School of Architecture, Planning, and Preservation in 2005. He has worked in such diverse fields as interactive media, game design and telecommunications in New York City and Berlin, Germany. He has taught at Parsons School of Design in New York as well as Columbia University. Grosman is currently working as an architect in New York and teaches a design studio and a seminar at the New Jersey Institute of Technology in Newark, New Jersey. His academic and design work explore the intricate relationship between emerging computational techniques and design culture.
* Babak Bryan is a registered architect in the State of New York, with over six years of experience building commercial, residential and institutional projects. With a degree in Engineering from the University of California at Berkeley and a Master of Architecture from Columbia University, Babak seeks to balance his professional practice between these two disciplines. He has taught design studios at the University of Pennsylvania and been a guest critic at several other architecture programs throughout the Northeast. He currently teaches a course in architectural drawing at the Graduate School of Architecture, Planning and Preservation at Columbia University that investigates the status of drawing within the digital age of architecture. He believes that without drawing there is no thinking.
For more info, visit: www.fracturedbubble.com
ABOUT THE SUKKAH
Biblical in origin, the sukkah is an ephemeral, elemental shelter, erected for one week each fall, in which it is customary to share meals, entertain, sleep, and rejoice.
Ostensibly the sukkah's religious function is to commemorate the temporary structures that the Israelites dwelled in during their exodus from Egypt, but it is also about universal ideas of transience and permanence as expressed in architecture. The sukkah is a means of ceremonially practicing homelessness, while at the same time remaining deeply rooted. It calls on us to acknowledge the changing of the seasons, to reconnect with an agricultural past, and to take a moment to dwell on--and dwell in--impermanence.
SOME OF THE RULES - Historically, the sukkah's permanent recurrence is not as a monument, archetype, or typology, but as a set of precise parameters. The paradoxical effect of these constraints is to produce a building that is at once new and old, timely and timeless, mobile and stable, open and enclosed, homey and uncanny, comfortable and critical:
* A whale may be used to make a sukkah's walls. Also a living elephant.
* The sukkah must enclose a minimum area of at least 7 x 7 square handbreadths.
* A sukkah may be built on top of a camel.
* If the sukkah has only 2 complete walls, and they face each other, a third wall of at least 4 handbreadths must be within 3 handbreadths of one of the complete walls.
* The roof cannot be made of bundles of straw or sticks that are tied together (although untied straw or sticks may be okay).
* The roof cannot be made of utensils, or anything conventionally functional when it is not part of a sukkah.
* There is no maximum area, except in NYC where any structure larger than 19 x 8 feet is not considered temporary by the DOB.
* The roof cannot be made of food.
* The sukkah must have at least 3 walls, but the third doesn't need to be complete. The walls must remain unshaken by a steady wind.
* At night, one must be able to see the stars from within the sukkah, through the roof.
* The sukkah must have a roof made of schach: the leaves and/or branches of a tree or plant.
* If there are only 2 complete walls, and they form a corner, a third wall of at least 1 handbreadth must be within 3 handbreadths of one of the complete walls.
* A sukkah may be built on a boat.
* A sukkah may be built on a wagon.
* A sukkah may be built in a tree, like a treehouse. But it cannot be built under a tree, or any overhanging surface.
* In day, the roof must provide more shade than sunshine. Its individual construction elements must be less than 4 handbreadths in width.
* The sukkah must draw the eye up to its roof, and to the sky beyond.
* The roof must be made from something that once grew in the ground, and is no longer attached to the earth.
* The sukkah must be at least 10 handbreadths tall, but no taller than 20 cubits.
* The base of the walls must be within 3 handbreadths of the ground, but need not reach the roof.
1/3 scale mockup of parametric modules in polyster mesh and supporting cables and spacers (plus T shirt design)
An extremely well-equipped cassette tape deck from c.1982; it's the only hi-fi cassette deck I've seen that featured a parametric equaliser.
And just look at the distortion from the lens of the Sony H-1 digicam!